I had the darndest experience at the movies recently. I saw Corn's-a-Poppin', a presentation of the Northwest Chicago Film Society, which, proclaims its website, "exists to promote the preservation of film."
Few actors ruled the big and small screen with such vigor during the 1970s as William Devane. Using his classically handsome Irish features to embody parts best described as "Ivy League menace," Devane hasn't stopped working since making his film debut in 1967.
So many films today seem to carry the same references to earlier work, indicating the influences that shaped the filmmaker in his work. But references are one thing; using those references for fresh inspiration is something else.
I like to find spots of light and feeling around a location, and have made some mental notes already. We move around the theater, and in each spot, she intuits the essence and poses in perfect accord to evoke the feeling of the moment and space.
An Oscar nominated and Golden Globe winner, Karen Black had a unique gift for embodying characters sliding down the razor blade of life; dark, sexy and vulnerable with unexpected comic touches, often in the throes of falling apart.
Black was alternately eccentric, passionate, grounded and fascinating during our chat, her obvious intelligence shining through the entire proceedings. She remains one of my favorite conversations during nearly twenty years of doing interviews.
He is probably best known for his multi award winning debut feature Girl with a Pearl Earring (Scarlet Johansson, Colin Firth) but Webber is a fearlessly versatile director responsible for some impressively varied documentaries and TV work.
There's a trend in actor-turned-director helmed films at Cannes this year, an impeccable direction of the people on screen. One of the clearest examples of this is James Franco's new feature film, As I Lay Dying.
It was late and chilly on Wardour Street, a good three miles to the flat I was renting in St. John's Wood, yet I desperately needed that walk to get a grasp on the emotions churned up by the film I had just screened.
It's very nice that Oscars made a special tribute to movie musicals. The only problem is that not a single one of the musicals honored (Chicago, Dreamgirls, Les Miz) was ever eligible for Oscar's own category of "Best Original Musical."
Barbara Muschietti is a native-Argentinean who has traveled the globe following her dream, to make feature films. This January, her supernatural thriller Mama, starring Jessica Chastain and Nikolaj Coster-Waldau, hits theaters.
When you see the opening moments of Mighty Fine and catch your first glimpse of newcomer Rainey Qualley playing Andie MacDowell's daughter, your first thoughts will most likely be "Wow! That's great casting."
Experimental artists are often overshadowed by their more precocious and more flamboyant conceptual counterparts. Yet Clint Eastwood's success demonstrates that dictatorship is not the only way to make great movies.