Oppenheimer, Maestro, Spider-Man: Across the Spider-Verse and Society of the Snow were the big film winners at the Motion Picture Sound Editors‘ 71st Golden Reel Awards, which were handed out Sunday night at the Wilshire Ebell Theatre in Los Angeles. See the full list below.
Academy Award front-runner Oppenheimer from Universal took both marquee movie prizes — Outstanding Achievement in Sound Editing – Feature Dialogue/Adr and Feature Effects/Foley, — while fellow Best Picture Oscar nominee Maestro from Netflix won for Music Editing for a Feature Motion Picture.
Sony’s Animated Feature Oscar hopeful Spider-Man: Across the Spider-Verse, hot off dominating the Annie Awards, took the prize for Outstanding Achievement in Sound Editing – Feature Animation. And Society of the Snow went home with the Foreign Language Feature trophy.
Related: ASC Awards: ‘Oppenheimer’ Takes Film Prize – Full Winners List
“What makes this event so special is that we come together from around...
Academy Award front-runner Oppenheimer from Universal took both marquee movie prizes — Outstanding Achievement in Sound Editing – Feature Dialogue/Adr and Feature Effects/Foley, — while fellow Best Picture Oscar nominee Maestro from Netflix won for Music Editing for a Feature Motion Picture.
Sony’s Animated Feature Oscar hopeful Spider-Man: Across the Spider-Verse, hot off dominating the Annie Awards, took the prize for Outstanding Achievement in Sound Editing – Feature Animation. And Society of the Snow went home with the Foreign Language Feature trophy.
Related: ASC Awards: ‘Oppenheimer’ Takes Film Prize – Full Winners List
“What makes this event so special is that we come together from around...
- 3/4/2024
- by Erik Pedersen
- Deadline Film + TV
Oppenheimer prevailed in a pair of categories, while such features as Maestro, Spider-Man: Across the Universe and Society of the Snow also picked up prizes at the 71st Motion Picture Sound Editors Golden Reel Awards.
Hosted by Patton Oswalt, the Mpse ceremony was held Sunday at the Wilshire Ebell Theatre in Los Angeles. Michael Dinner, known for his work as a director, writer and producer on projects including The Wonder Years, Chicago Hope and last year’s Justified: City Primeval, was honored with the Mpse Filmmaker Award. Additionally, Dane A. Davis (The Matrix) received the Career Achievement Award.
In the feature competition, winners included Oppenheimer, for dialogue and Adr, and also for effects and foley; Maestro, for music editing; Society of the Snow, for a foreign language film; and Spider-Man: Across the Spider-Verse, for theatrical animation. For nonfiction filmmaking, 32 Sounds prevailed for sound editing in a documentary, while Pianoforte was...
Hosted by Patton Oswalt, the Mpse ceremony was held Sunday at the Wilshire Ebell Theatre in Los Angeles. Michael Dinner, known for his work as a director, writer and producer on projects including The Wonder Years, Chicago Hope and last year’s Justified: City Primeval, was honored with the Mpse Filmmaker Award. Additionally, Dane A. Davis (The Matrix) received the Career Achievement Award.
In the feature competition, winners included Oppenheimer, for dialogue and Adr, and also for effects and foley; Maestro, for music editing; Society of the Snow, for a foreign language film; and Spider-Man: Across the Spider-Verse, for theatrical animation. For nonfiction filmmaking, 32 Sounds prevailed for sound editing in a documentary, while Pianoforte was...
- 3/4/2024
- by Ryan Gajewski
- The Hollywood Reporter - Movie News
Blue Bloods keeps its NYPD cop stories true to life with the help of one of its very own cast members, James “Jim” Nuciforo, who plays Detective Nuciforo. Here’s everything you need to know about the former detective and how he contributes to the CBS procedural drama both on-screen and off. What He Does The police procedural’s consultant since Day 1—after a lengthy gig on Law & Order—is charged with ensuring Blue Bloods’ cops are depicted realistically. The retired NYPD detective works closely with the writers, who might ask, “I’m doing a story about this [case]; how do I get from point A to B? You got any good stories?” He certainly does, sometimes offering full tales. “Blue Bloods tries to keep it real, but a good technical adviser has to realize this is a TV show,” Nuciforo explains. “It has to be entertaining.” Will Estes and Vanessa Ray...
- 9/28/2023
- TV Insider
“Bohemian Rhapsody” and “A Quiet Place” split the top sound editing prizes Sunday at the 66th annual Mpse Golden Reel Awards. “Bohemian Rhapsody” took Dialogue/Adr and Musical honors while the innovative “A Quiet Place” scored for Effects/Foley at the Westin Bonaventure Hotel.
This sets up a competitive Oscar race down to the wire next Sunday between the two frontrunners. But there’s also a good chance that the popular Freddie Mercury biopic will sweep both categories as a result of its Cas sound mixing victory on Saturday.
Read More: Oscars 2019: Best Sound Editing Predictions
Meanwhile, “Roma” took the foreign trophy for its nuanced soundscape, “Free Solo” and Peter Jackson’s “They Shall Not Grow Old” tied in the documentary category, and “Spider-Man: Into the Spider-Verse” snagged animation and music score honors.
TV winners included “Westworld” (“The Riddle of the Sphinx”), “Altered Carbon” (“Out of the Past”), “The Marvelous Mrs. Maisel...
This sets up a competitive Oscar race down to the wire next Sunday between the two frontrunners. But there’s also a good chance that the popular Freddie Mercury biopic will sweep both categories as a result of its Cas sound mixing victory on Saturday.
Read More: Oscars 2019: Best Sound Editing Predictions
Meanwhile, “Roma” took the foreign trophy for its nuanced soundscape, “Free Solo” and Peter Jackson’s “They Shall Not Grow Old” tied in the documentary category, and “Spider-Man: Into the Spider-Verse” snagged animation and music score honors.
TV winners included “Westworld” (“The Riddle of the Sphinx”), “Altered Carbon” (“Out of the Past”), “The Marvelous Mrs. Maisel...
- 2/18/2019
- by Bill Desowitz
- Indiewire
The sound editing teams behind Bohemian Rhapsody, Roma, A Quiet Place and Spider-Man: Into the Spider-Verse were the winners on the film side at tonight’s 66th annual Golden Reel Awards at the Bonaventure Hotel in Los Angeles. The Americans, Atlanta, The Marvelous Mrs. Maisel and Westworld led the TV series side.
They were among the recipients in 23 categories recognized by the Motion Picture Sound Editors (Mpse) for feature films, long-form and short-form television, animation, documentaries, games, special venue and other media.
Antoine Fuqua – whose credits include The Equalizer films, The Magnificent Seven, and Training Day – accepted the Mpse’s 2019 Filmmaker Award. Supervising Sound Editor Stephen H. Flick was awarded the Mpse Career Achievement honor.
The Golden Reels honor the year’s best work in the various areas of sound editing: Dialogue & Adr, Effects & Foley, and Music.
Here is the complete list of winners:
Filmmaker Award
Antoine Fuqua
Career Achievement Award
Stephen H.
They were among the recipients in 23 categories recognized by the Motion Picture Sound Editors (Mpse) for feature films, long-form and short-form television, animation, documentaries, games, special venue and other media.
Antoine Fuqua – whose credits include The Equalizer films, The Magnificent Seven, and Training Day – accepted the Mpse’s 2019 Filmmaker Award. Supervising Sound Editor Stephen H. Flick was awarded the Mpse Career Achievement honor.
The Golden Reels honor the year’s best work in the various areas of sound editing: Dialogue & Adr, Effects & Foley, and Music.
Here is the complete list of winners:
Filmmaker Award
Antoine Fuqua
Career Achievement Award
Stephen H.
- 2/18/2019
- by Anita Bennett
- Deadline Film + TV
“Bohemian Rhapsody” followed up love from Cinema Audio Society sound mixers with a pair of honors at the Motion Picture Sound Editors’ 66th annual Golden Reel Awards Sunday night. The musical biopic scored wins for dialogue and Adr as well as sound editing in a musical.
The film is nominated for sound editing at the Oscars along with “First Man” and two other films that received Golden Reel Awards: “A Quiet Place” and “Roma.”
“Spider-Man: Into the Spider-Verse” also received a pair of awards.
TV prizes went to FX’s “The Americans” and “Atlanta,” Amazon’s “The Marvelous Mrs. Maisel,” HBO’s “Westworld” and Netflix’s “Altered Carbon.”
There were a pair of ties: In feature documentary, “Free Solo” and “They Shall Not Grow Old” locked horns. For episodic short form music/musical work, “American Horror Story: Apocalypse” and “Vikings” ended up in a dead heat.
Director Antoine Fuqua received the Mpse’s filmmaker award,...
The film is nominated for sound editing at the Oscars along with “First Man” and two other films that received Golden Reel Awards: “A Quiet Place” and “Roma.”
“Spider-Man: Into the Spider-Verse” also received a pair of awards.
TV prizes went to FX’s “The Americans” and “Atlanta,” Amazon’s “The Marvelous Mrs. Maisel,” HBO’s “Westworld” and Netflix’s “Altered Carbon.”
There were a pair of ties: In feature documentary, “Free Solo” and “They Shall Not Grow Old” locked horns. For episodic short form music/musical work, “American Horror Story: Apocalypse” and “Vikings” ended up in a dead heat.
Director Antoine Fuqua received the Mpse’s filmmaker award,...
- 2/18/2019
- by Kristopher Tapley
- Variety Film + TV
While “The Death and Life Of John P. Donovan” still needs the finishing touches put on it, writer/director Xavier Dolan has already booked his next gig. However, instead of going behind the camera, he’ll be in front. The filmmaker has long stated he wants to do more acting (his last, non-voiceover role was in 2014’s underwhelming “Elephant Song“) and he’s doing it with one helluva high profile project — his first big Hollywood role — with an eclectic ensemble.
Continue reading Xavier Dolan & Flea Join Joel Edgerton’s ‘Boy Erased’ at The Playlist.
Continue reading Xavier Dolan & Flea Join Joel Edgerton’s ‘Boy Erased’ at The Playlist.
- 8/30/2017
- by Kevin Jagernauth
- The Playlist
A Missouri man could face the death penalty following an alleged rampage in which he fatally shot and then burned four family members and a dog — whose bodies were all found at his rural residence in February 2016, People confirms.
Grayden Lane Denham, 25, has pleaded not guilty to the four charges of first-degree murder that he faces.
Mark Gibson, the assistant prosecuting attorney of Platte County, in northwest Missouri, filed a motion this week to seek the death penalty if Denham is convicted. The motion was on behalf of the county prosecutor, Eric Zahnd, who declined additional comment to People through his spokesperson.
Grayden Lane Denham, 25, has pleaded not guilty to the four charges of first-degree murder that he faces.
Mark Gibson, the assistant prosecuting attorney of Platte County, in northwest Missouri, filed a motion this week to seek the death penalty if Denham is convicted. The motion was on behalf of the county prosecutor, Eric Zahnd, who declined additional comment to People through his spokesperson.
- 6/1/2017
- by Jeff Truesdell
- PEOPLE.com
After more than 27 years, Gail Elieson thought she was finally getting closer to justice for her 18-year-old daughter Sarah Jo DeLeon, who was found stabbed to death in 1989 in Kansas City, Kansas.
But Elieson’s hopes were dashed last week when a judge in Wyandotte County, Kansas, dismissed the murder charge against 48-year-old Carolyn Heckert, during a preliminary hearing.
“He was the jury,” Elieson said about the judge’s decision. “Instead of letting it go before a jury to decide, he decided, ‘Nope, she’s not guilty.’ ”
Heckert had been the prime suspect in DeLeon’s death. Her arrest last...
But Elieson’s hopes were dashed last week when a judge in Wyandotte County, Kansas, dismissed the murder charge against 48-year-old Carolyn Heckert, during a preliminary hearing.
“He was the jury,” Elieson said about the judge’s decision. “Instead of letting it go before a jury to decide, he decided, ‘Nope, she’s not guilty.’ ”
Heckert had been the prime suspect in DeLeon’s death. Her arrest last...
- 4/12/2017
- by Elaine Aradillas
- PEOPLE.com
Shudder will take viewers to the place that's "not as brightly lit" this Halloween season, as the 1980s anthology series Tales From the Darkside will be available to watch in its entirety on the horror streaming service beginning October 1st:
Press Release: New York, New York – September 26, 2016 – The AMC-backed streaming service, Shudder, is The entertainment destination for everything you need to watch this Halloween season. Whether you’re a hardcore horror fan or simply looking for the scariest films to celebrate this time of year, Shudder has something for everyone in its sweeping library, carefully curated by some of the top horror experts in the world.
As Halloween approaches, Shudder is expanding its database with a variety of new titles including cult favorites, blockbuster hits, and classic thrillers. Additionally, for the first time ever, Shudder will be offering horror TV series to complement its expansive film library.
Premiering October 20th...
Press Release: New York, New York – September 26, 2016 – The AMC-backed streaming service, Shudder, is The entertainment destination for everything you need to watch this Halloween season. Whether you’re a hardcore horror fan or simply looking for the scariest films to celebrate this time of year, Shudder has something for everyone in its sweeping library, carefully curated by some of the top horror experts in the world.
As Halloween approaches, Shudder is expanding its database with a variety of new titles including cult favorites, blockbuster hits, and classic thrillers. Additionally, for the first time ever, Shudder will be offering horror TV series to complement its expansive film library.
Premiering October 20th...
- 9/28/2016
- by Derek Anderson
- DailyDead
Tony Award-winning stage legend Ben Vereen allegedly spent 36 years illegally married to two women. The Pippen star filed for divorce from his first wife, Andrea, whom he married 52 years ago and separated from shortly thereafter. The estranged couple appeared at Brooklyn Supreme Court on Thursday morning, where a judge urged the pair to settle their dispute outside of court, according to the defendant's attorney, Harold Mayerson. The actor's attorney, John P. Dimascio, did not immediately respond to a request for comment. Earlier on Thursday, he told Page Six, "This is a personal matter, and nothing has been proven yet." Mayerson,...
- 9/9/2016
- by Michael Miller, @write_miller
- PEOPLE.com
Sebastian sure knows how to throw a party under the sea. But it sounds like even he would be impressed by the party that’s coming together for Disney fans under the clamshell of the Hollywood Bowl next week. The Little Mermaid will get the live concert screening treatment at Los Angeles’ Hollywood Bowl on June 3, 4, and 6. The event’s creative director, Richard Kraft, has told HitFix the deets on all the exciting plans for the three shows that are sure to make Disney fans squee. Film screenings paired with a live orchestra performance of the movie’s score is no new thing. (E.T. the Extra-Terrestrial and Back to the Future are among the concert screenings at the Bowl HitFix has reported on in the past.) But events like this, for a musical, with live singing timed to picture, are new. As far as Kraft is aware, last Halloween...
- 5/27/2016
- by Emily Rome
- Hitfix
Singer-songwriter Carole King, filmmaker George Lucas, actress and singer Rita Moreno, conductor Seiji Ozawa and actress and Broadway star Cicely Tyson are the honorees recognized for their contributions to the arts in The 38th Annual Kennedy Center Honors two-hour special on CBS Tuesday, Dec. 29, at 9pm Et/Pt. President and Mrs. Obama are among the guests attending the ceremony at the John F. Kennedy Center for the Performing Arts in Washington, D.C. Photo: Credit: John P. Filo/CBS ©2015 CBS Broadcasting, Inc. All Rights Reserved
The post 38th Annual Kennedy Center Honors special on CBS Tuesday appeared first on Channel Guide Magazine.
The post 38th Annual Kennedy Center Honors special on CBS Tuesday appeared first on Channel Guide Magazine.
- 12/29/2015
- by Ryan Berenz
- ChannelGuideMag
Special Mention: C’est arrivé près de chez vous (Man Bites Dog)
Written by André Bonzel, Benoît Poelvoorde, Rémy Belvaux and Vincent Tavier
Directed by André Bonzel and Benoît Poelvoorde
France, 1992
Rémy Belvaux, André Bonzel, and Benoît Poelvoorde set out to make their first feature film with little resources and little money. In the tradition of filmmakers who can’t afford much film stock, the trio settled for a faux-documentary-style approach – the result is a high-concept satire of media violence that would spoof documentaries by following around a fictitious sociopath named Ben as he exercises his lethal craft. While the cinematic tradition of presenting villains as suave, charming, attractive, and intelligent individuals is nothing new, Man Bites Dog was still ahead of its time. Much like the great Hitchcockian villains such as Joseph Cotten in Shadow of a Doubt, Ben is a man of action and ideas. He expounds on art,...
Written by André Bonzel, Benoît Poelvoorde, Rémy Belvaux and Vincent Tavier
Directed by André Bonzel and Benoît Poelvoorde
France, 1992
Rémy Belvaux, André Bonzel, and Benoît Poelvoorde set out to make their first feature film with little resources and little money. In the tradition of filmmakers who can’t afford much film stock, the trio settled for a faux-documentary-style approach – the result is a high-concept satire of media violence that would spoof documentaries by following around a fictitious sociopath named Ben as he exercises his lethal craft. While the cinematic tradition of presenting villains as suave, charming, attractive, and intelligent individuals is nothing new, Man Bites Dog was still ahead of its time. Much like the great Hitchcockian villains such as Joseph Cotten in Shadow of a Doubt, Ben is a man of action and ideas. He expounds on art,...
- 10/26/2015
- by Ricky Fernandes
- SoundOnSight
The Art Directors Guild today announced nominations in 11 categories of Production Design for theatrical motion pictures, television, commercials and music videos competing in the Art Directors Guild’s 19th Annual Excellence in Production Design Awards. The nominations were announced by Adg Council Chair Marcia Hinds and Awards co-producers Dave Blass and James Pearse Connelly.
The black-tie ceremony revealing winners will take place on Saturday, January 31, 2015, from the International Ballroom of the Beverly Hilton Hotel in Beverly Hills with comedian Owen Benjamin serving as host.
As previously announced, the recipient of the Guild’s prestigious Cinematic Imagery Award will be Academy Award winner Christopher Nolan, whose film Interstellar is in current release.
Production Designer Jim Bissell, Senior Illustrator Camille Abbott, Senior Set Designer John P. Bruce and Scenic Artist Will Ferrell will be awarded the Guild’s Lifetime Achievement Awards. Hall of Fame inductees are John Gabriel Beckman, Charles Lisanby and Walter Tyler.
The black-tie ceremony revealing winners will take place on Saturday, January 31, 2015, from the International Ballroom of the Beverly Hilton Hotel in Beverly Hills with comedian Owen Benjamin serving as host.
As previously announced, the recipient of the Guild’s prestigious Cinematic Imagery Award will be Academy Award winner Christopher Nolan, whose film Interstellar is in current release.
Production Designer Jim Bissell, Senior Illustrator Camille Abbott, Senior Set Designer John P. Bruce and Scenic Artist Will Ferrell will be awarded the Guild’s Lifetime Achievement Awards. Hall of Fame inductees are John Gabriel Beckman, Charles Lisanby and Walter Tyler.
- 1/5/2015
- by Michelle McCue
- WeAreMovieGeeks.com
The Art Directors Guild (Adg, Iatse Local 800) today announced nominations in 11 categories of Production Design for theatrical motion pictures, television, commercials and music videos competing in the Art Directors Guild’s 19th Annual Excellence in Production Design Awards. The nominations were announced by Adg Council Chair Marcia Hinds and Awards co-producers Dave Blass and James Pearse Connelly. The black-tie ceremony revealing winners will take place on Saturday, January 31, 2015, from the International Ballroom of the Beverly Hilton Hotel in Beverly Hills with comedian Owen Benjamin serving as host. As previously announced, the recipient of the Guild’s prestigious Cinematic Imagery Award will be Academy Award® winner Christopher Nolan, whose film Interstellar is in current release. Production Designer Jim Bissell, Senior Illustrator Camille Abbott, Senior Set Designer John P. Bruce and Scenic Artist Will Ferrell will be awarded the Guild’s Lifetime Achievement Awards. Hall of Fame inductees are John Gabriel Beckman,...
- 1/5/2015
- by HollywoodNews.com
- Hollywoodnews.com
The lavish, ornate designs of “The Grand Budapest Hotel,” the druggy 70s’ SoCal beach-city look of “Inherent Vice” and the fairy-tale landscape of “Into the Woods” are among the work nominated by the members of the Art Directors Guild for the Adg’s 19th annual Excellence in Production Design Awards.
In nominations announced on Monday, the Adg singled out 15 feature films and a number of television programs for its awards, which will be handed out on Jan. 31 at the Beverly Hilton Hotel.
Because the Adg separates its feature-film nominations into separate categories for period films, fantasy films and contemporary films,...
In nominations announced on Monday, the Adg singled out 15 feature films and a number of television programs for its awards, which will be handed out on Jan. 31 at the Beverly Hilton Hotel.
Because the Adg separates its feature-film nominations into separate categories for period films, fantasy films and contemporary films,...
- 1/5/2015
- by Steve Pond
- The Wrap
Another woman is adding her face and name to the list of those who allege they suffered sexual assault at the hands of Bill Cosby. Therese Serignese, now 57, was 19 (and known by her maiden name, Therese Picking) and standing with her younger brother and sister outside of a gift shop of the Las Vegas Hilton in 1976 when, she says, a man approached her from behind, slowly slipped his left arm around her shoulder, and said in a teasingly playful voice, "Will you marry me?" She says she turned to face Cosby, the hotel's headline act. He offered her - and...
- 11/20/2014
- by Jeff Truesdell
- PEOPLE.com
Et's exclusive interview with Janice Dickinson about her sexual abuse accusations against Bill Cosby prompted a denial from the comedian's lawyer -- but Dickinson maintains that she will not be silenced.
"It is not a lie," she told Nancy O'Dell and Kevin Frazier on Wednesday.
News: Assault Allegations Accumulate Against Bill Cosby
She continued, "It is my right as a woman. I have to speak up and you have to be able to go in and just be brave and do it for all the women that can't come forward."
Dickinson was emotional during the interview, breaking down in tears immediately after, but maintained that she is glad she has spoken up. "The loss of innocence that I suffered and that these women suffered is why I'm sitting here today. And I don't care about what Cosby or networks or anybody says, you will hear me."
On Tuesday, Dickinson gave detailed allegations of how in 1982 she claims...
"It is not a lie," she told Nancy O'Dell and Kevin Frazier on Wednesday.
News: Assault Allegations Accumulate Against Bill Cosby
She continued, "It is my right as a woman. I have to speak up and you have to be able to go in and just be brave and do it for all the women that can't come forward."
Dickinson was emotional during the interview, breaking down in tears immediately after, but maintained that she is glad she has spoken up. "The loss of innocence that I suffered and that these women suffered is why I'm sitting here today. And I don't care about what Cosby or networks or anybody says, you will hear me."
On Tuesday, Dickinson gave detailed allegations of how in 1982 she claims...
- 11/19/2014
- Entertainment Tonight
As new accusations of rape and sexual impropriety are levied against Bill Cosby, the comedy legend's broadcast partners are, predictably, pulling back. One day after Netflix announced that it was postponing the premiere date for the comedy special "Bill Cosby 77" (and one day after former supermodel Janice Dickinson told Entertainment Tonight that Cosby raped her in 1982), NBC confirms that it will not be moving forward with plans to bring Cosby back to TV with a new pilot. Back in July at the Television Critics Association press tour, NBC Entertainment President Jennifer Salke described the Cosby show as "an important show for us." At the time, the project was described as a multi-cam set at Sony with Mike Sikowitz and Mike O'Malley writing. "It’s a multigenerational family show, so it’s very ensemble," Salke said. "Bill Cosby plays the patriarch of the family dispelling his classic wisdom on relationships, parenthood,...
- 11/19/2014
- by Daniel Fienberg
- Hitfix
Bill Cosby won't be telling jokes on Netflix anytime soon. In light of the groundswell of accusations from women who have accused the 77-year-old comedian of sexual assault, the pay service opted against giving Cosby a platform on Nov. 27. "At this time we are postponing the launch of the new stand-up comedy special Bill Cosby 77," Netflix said Tuesday evening in a statement. Cosby's publicist has reportedly said the decision was mutual. The special was billed as a birthday celebration for Cosby, who was expected to share "intimate and wildly entertaining stories from his childhood, first loves, and the endless adventure of parenthood.
- 11/19/2014
- by Lynette Rice, @lynetterice
- PEOPLE.com
With rape allegations against Bill Cosby mounting, supermodel Janice Dickinson tells Et in a new interview that the comedian sexually assaulted her in 1982.
Dickinson, now 59, recalls first meeting Cosby, now 77, when her agent set up a meeting with him to hire her for a role on The Cosby Show. After they had dinner, she says their next conversation was when he called her out of the blue while she was in rehab for drugs and alcohol. Following her stay in rehab, Dickinson says Cosby reached out to her during a trip to Bali and had her travel to Lake Tahoe, because he was performing there and wanted to offer her the job they had discussed as well as help her with a singing career.
Dickinson says they had dinner in Lake Tahoe, and claims that he gave her a glass of red wine and a pill, which she asked for because she was menstruating and had stomach...
Dickinson, now 59, recalls first meeting Cosby, now 77, when her agent set up a meeting with him to hire her for a role on The Cosby Show. After they had dinner, she says their next conversation was when he called her out of the blue while she was in rehab for drugs and alcohol. Following her stay in rehab, Dickinson says Cosby reached out to her during a trip to Bali and had her travel to Lake Tahoe, because he was performing there and wanted to offer her the job they had discussed as well as help her with a singing career.
Dickinson says they had dinner in Lake Tahoe, and claims that he gave her a glass of red wine and a pill, which she asked for because she was menstruating and had stomach...
- 11/19/2014
- Entertainment Tonight
Bill Cosby, once the personification of family values as affable-yet-stern dad Dr. Heathcliff Huxtable on The Cosby Show, is once again facing allegations that he sexually assaulted multiple women.
Et spoke with one of his accusers, as well as the NPR host who asked the comedian point blank about the allegations last weekend.
News: Bill Cosby Alleged Rape Victim Speaks Out
Former publicist Joan Tarshis is the latest woman to come forward with allegations against Cosby, claiming that he assaulted her on two occasions in 1969. She explained to Et's Kevin Frazier why she stayed silent for so long.
"I want to talk about this now and I want to really support the other women who have gone through this," she told Kevin, explaining, "Now with people coming out..., it's being handled differently."
Another of Cosby's accusers, Barbara Bowman, wrote an op-ed piece in the Washington Post earlier this month detailing the alleged assault she says she...
Et spoke with one of his accusers, as well as the NPR host who asked the comedian point blank about the allegations last weekend.
News: Bill Cosby Alleged Rape Victim Speaks Out
Former publicist Joan Tarshis is the latest woman to come forward with allegations against Cosby, claiming that he assaulted her on two occasions in 1969. She explained to Et's Kevin Frazier why she stayed silent for so long.
"I want to talk about this now and I want to really support the other women who have gone through this," she told Kevin, explaining, "Now with people coming out..., it's being handled differently."
Another of Cosby's accusers, Barbara Bowman, wrote an op-ed piece in the Washington Post earlier this month detailing the alleged assault she says she...
- 11/18/2014
- Entertainment Tonight
Bill Cosby is staying mum on the rape allegations against him. After the comedian refused to engage with NPR host Scott Simon on the topic this past Saturday, Nov. 15, his lawyer issued a statement explaining Cosby's silence. "Over the last several weeks, decade-old, discredited allegations against Mr. Cosby have resurfaced," John P. Schmitt said in the statement, which was posted to the Cosby Show star's website on Nov. 16. "The fact that they are being repeated does not make them true. Mr. Cosby does not intend [...]...
- 11/17/2014
- Us Weekly
Bill Cosby will not dignify "decade-old, discredited" claims of sexual abuse with a response, his attorney said Sunday, the first comment from the famed comedian on an increasing uproar over allegations that he assaulted several women in the past.In a statement released to The Associated Press and posted online, lawyer John P. Schmitt said the fact the allegations are being repeated "does not make them true." "He would like to thank all his fans for the outpouring of support and assure them that, at age 77, he is doing his best work," Schmitt said.The renewed attention to a dark chapter for Cosby began last month when a comedian, Hannibal Buress, assailed him during a stand-up performance in Philadelphia, Cosby's hometown, calling him a "rapist." His remarks were captured on video and posted online, gaining wide exposure.It was harsh criticism of the veteran entertainer known equally for his charming standup comedy,...
- 11/17/2014
- PalZoo
Bill Cosby's lawyer, John P. Schmitt, issued a statement today about Cosby's sexual assault allegations.
On the actor and comedian's website, Schmitt writes:
Over the last several weeks, decade-old, discredited allegations against Mr. Cosby have resurfaced. The fact they are being repeated does not make them true. Mr. Cosby does not intend to dignify these allegations with any comment. He would like to thank all his fans for the outpouring of support and assure them that, at age 77, he is doing his best work. There will be no further statement from Mr. Cosby or any of his representatives.
News: Bill Cosby Alleged Rape Victim Speaks Out
The statement comes after Barbra Bowman alleged that she was sexually assaulted by Cosby, and in a recent Washington Post piece, she questions why she wasn't believed. She claims she was drugged and raped by him upon meeting him at the age of 17 in 1985.
Before this, Broad City comedian...
On the actor and comedian's website, Schmitt writes:
Over the last several weeks, decade-old, discredited allegations against Mr. Cosby have resurfaced. The fact they are being repeated does not make them true. Mr. Cosby does not intend to dignify these allegations with any comment. He would like to thank all his fans for the outpouring of support and assure them that, at age 77, he is doing his best work. There will be no further statement from Mr. Cosby or any of his representatives.
News: Bill Cosby Alleged Rape Victim Speaks Out
The statement comes after Barbra Bowman alleged that she was sexually assaulted by Cosby, and in a recent Washington Post piece, she questions why she wasn't believed. She claims she was drugged and raped by him upon meeting him at the age of 17 in 1985.
Before this, Broad City comedian...
- 11/16/2014
- Entertainment Tonight
Bill Cosby “does not does not intend to dignify these allegations with any comment,” his attorney says Bill Cosby’s lawyer, John P. Schmitt, released a statement on Cosby’s website, saying: “Over the last several weeks, decade-old, discredited allegations against Mr. Cosby have resurfaced." “SNL” ratings continue rebounding with host Woody Harrelson After a dismal start followed by a season high with Chris Rock, “SNL’s” ratings slipped last night, but were still solid as viewers are starting to warm to the new cast. Plus: “SNL” shows why the Internet shouldn’t write TV shows, “SNL” pokes fun at NYC’s new pot policy in epic filmed short, and “SNL” had a “True Detective” “reunion,” and happy 21st birthday, Pete Davidson! It’s a “Dawson’s Creek” reunion! James Van Der Beek and Joshua Jackson posed for a photo together on Saturday. Kim Kardashian to visit India’s “Big Brother...
- 11/16/2014
- by Norman Weiss
- Hitfix
Bill Cosby will not dignify "decade-old, discredited" claims of sexual abuse with a response, his attorney said Sunday, the first reaction from the famed comedian to an increasing uproar over allegations that he assaulted several women in the past. In a statement released to The Associated Press and posted online, lawyer John P. Schmitt said the fact that the allegations are being repeated "does not make them true." "He would like to thank all his fans for the outpouring of support and assure them that, at age 77, he is doing his best work," Schmitt said. The renewed attention to a...
- 11/16/2014
- by Associated Press
- PEOPLE.com
Bill Cosby will not dignify "decade-old, discredited" claims of sexual abuse with a response, his attorney said Sunday, the first reaction from the famed comedian to an increasing uproar over allegations that he assaulted several women in the past. In a statement released to The Associated Press and posted online, lawyer John P. Schmitt said the fact that the allegations are being repeated "does not make them true." "He would like to thank all his fans for the outpouring of support and assure them that, at age 77, he is doing his best work," Schmitt said. The renewed attention to a...
- 11/16/2014
- by Associated Press
- PEOPLE.com
Bill Cosby has finally released a statement addressing the renewed interest in the dozen or so rape allegations against him, but it doesn't say much. Up until now, Cosby has steadfastly refused to address the accusations, stonewalling on NPR's "Weekend Edition" yesterday and cancelling appearances on David Letterman's and Queen Latifah's shows. The statement, posted to his website via lawyer John P. Schmitt, says only that he won't "dignify these allegations with any comment," which is a longer way of saying "no comment":Over the last several weeks, decade-old, discredited allegations against Mr. Cosby have resurfaced. The fact that they are being repeated does not make them true. Mr. Cosby does not intend to dignify these allegations with any comment. He would like to thank all his fans for the outpouring of support and assure them that, at age 77, he is doing his best work. There will be...
- 11/16/2014
- by E. Alex Jung
- Vulture
In an interview with NPR aired on Saturday, Bill Cosby continued to remain quiet about sexual assault allegations against him that have resurfaced. A day later, his attorney released a statement denying the allegations. "Over the last several weeks, decade-old, discredited allegations against Mr. Cosby have resurfaced," said John P. Schmitt, a lawyer for Cosby, in a statement that was published on the comedian's website. "The fact that they are being repeated does not make them true." "Mr. Cosby does not intend to dignify these allegations with any comment. He would like to thank all his fans for
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- 11/15/2014
- by Ryan Gajewski
- The Hollywood Reporter - Movie News
This past weekend, everyone was all about seeing Mike Wazowski and John P. Sullivan reunite in Pixar's animated prequel Monsters University. But the road to getting the film together had a bit of a rough beginning. Since the film takes place before the events of Monsters Inc., the characters voiced by Billy Crystal and John Goodman were made to look a little younger, and the two actors were able to catch a glimpse of their redesigned characters before signing on. However, the new look for Crystal's little green guy didn't really meet his standards despite scaring the daylights out of kids and Goodman himself. Watch it! Here's the Monsters University inspired sketch from College Humor: Pixar's Monsters University is being directed by Dan Scanlon, who went from animator to storyboard artist to writer to co-director on Mater and the Ghostlight, making his feature directorial debut. This is a prequel...
- 6/24/2013
- by Ethan Anderton
- firstshowing.net
A Hollywood management firm has sued one of its ex-employees for allegedly instructing clients to stop paying commissions when they followed him to a new company. In a lawsuit filed Wednesday in Los Angeles Superior Court, Luber Roklin Entertainment claims that manager Stephen Crawford was employed by the company from 2007 through 2012, when he left to join rival Industry Entertainment. During his time at Luber Rokliln, Crawford represented clients including Jon Herman, Tiffany Paulsen, Adam Minarovich, David Digilio, Adam Kane and John P. Lavin, according to the lawsuit. Read the Complaint Here When Crawford switched firms, he
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- 2/7/2013
- by Matthew Belloni
- The Hollywood Reporter - Movie News
Nordic Games have announced that their PC hit Painkiller Hell & Damnation will be available for PlayStation 3 and the Xbox 360 on April 5th 2013. Developed by Polish studio The Farm 51 and powered by Epic’s world-renowned and highly-respected Unreal Engine 3, in stunning and painstakingly redrawn high definition, this is a console update of the original released for Windows PC in October 2012, Painkiller Hell & Damnation is the goriest addition to the Painkiller franchise can be played in single player mode or co-operatively across four chapters and several multiplayer modes. A crusade of hellish action will be encountered along the way featuring a variety of devastating creatures born of pure evil.
Says Reinhard Pollice, Production and Business Development Manager, Nordic Games:
We have been working around the clock to bring the Xbox 360 and PS3 versions of the game in line with the quality and standard of the PC game. There has been a slight...
Says Reinhard Pollice, Production and Business Development Manager, Nordic Games:
We have been working around the clock to bring the Xbox 360 and PS3 versions of the game in line with the quality and standard of the PC game. There has been a slight...
- 1/29/2013
- by Phil
- Nerdly
CBS Films has picked up the film rights of the classic video game franchise Deus Ex, according to Shock Till You Drop.
Deus Ex is set in the future with massive technological advancements that have allowed for human augmentation, and follows Adam Jensen, who uses such technology to unravel a global conspiracy. Roy Lee (The Ring, The Departed, How To Train Your Dragon) and Adrian Askarieh (Hitman) will produce the film, with John P. Middleton (the upcoming It remake) on board as an executive producer.
The Co-President of CBS Films, Terry Press had the following to say about the news: “As is clear from the wild success of the game, Square Enix and Eidos-Montréal know how to exceed their audience’s expectations by engineering incredible worlds…No one knows Human Revolution like the team that created it and we look forward to working with them from day one to make...
Deus Ex is set in the future with massive technological advancements that have allowed for human augmentation, and follows Adam Jensen, who uses such technology to unravel a global conspiracy. Roy Lee (The Ring, The Departed, How To Train Your Dragon) and Adrian Askarieh (Hitman) will produce the film, with John P. Middleton (the upcoming It remake) on board as an executive producer.
The Co-President of CBS Films, Terry Press had the following to say about the news: “As is clear from the wild success of the game, Square Enix and Eidos-Montréal know how to exceed their audience’s expectations by engineering incredible worlds…No one knows Human Revolution like the team that created it and we look forward to working with them from day one to make...
- 7/10/2012
- by Andy Greene
- FamousMonsters of Filmland
CBS Films has secured the screen rights to the iconic Deus Ex video game franchise from Square Enix. Roy Lee and Adrian Askarieh are attached to produce, and John P. Middleton will serve as executive producer.
From the Press Release:
The Deus Ex franchise was originally introduced in June, 2000. Its latest entry, Deus Ex: Human Revolution, launched to universal acclaim in 2011, ranking #1 across global sales charts and earning over 100 industry awards. Developed by Eidos-Montréal and published by Square Enix, Deus Ex: Human Revolution will serve as the primary template for the film.
Set in the near future, when dramatic advances in science, specifically human augmentation, have triggered a technological renaissance, Deus Ex: Human Revolution follows Adam Jensen, an ex-swat security specialist who must embrace mechanical augments in order to unravel a global conspiracy.
"As is clear from the wild success of the game, Square Enix and Eidos-Montréal know how to...
From the Press Release:
The Deus Ex franchise was originally introduced in June, 2000. Its latest entry, Deus Ex: Human Revolution, launched to universal acclaim in 2011, ranking #1 across global sales charts and earning over 100 industry awards. Developed by Eidos-Montréal and published by Square Enix, Deus Ex: Human Revolution will serve as the primary template for the film.
Set in the near future, when dramatic advances in science, specifically human augmentation, have triggered a technological renaissance, Deus Ex: Human Revolution follows Adam Jensen, an ex-swat security specialist who must embrace mechanical augments in order to unravel a global conspiracy.
"As is clear from the wild success of the game, Square Enix and Eidos-Montréal know how to...
- 7/10/2012
- by The Woman In Black
- DreadCentral.com
Deus Ex is the latest video game series making the jump to the big screen. CBS Films has announced that they acquired film rights from Square Enix with plans to make a movie based on Deus Ex: Human Revolution:
“Los Angeles – July 10, 2012 – CBS Films announced today that they have secured the screen rights to the iconic Deus Ex videogame franchise from Square Enix. Roy Lee and Adrian Askarieh areattached to produce and John P. Middleton will serve as Executive Producer.
The Deus Ex franchise was originally introduced in June 2000. Its latest entry, Deus Ex: Human Revolution, launched to universal acclaim in 2011, ranking #1 across global sales charts and earning over 100 industry awards. Developed by Eidos-Montréal and published by Square Enix, Deus Ex: Human Revolution will serve as the primary template for the film.
Set in the near future, when dramatic advances in science, specifically human augmentation, have triggered a technological renaissance,...
“Los Angeles – July 10, 2012 – CBS Films announced today that they have secured the screen rights to the iconic Deus Ex videogame franchise from Square Enix. Roy Lee and Adrian Askarieh areattached to produce and John P. Middleton will serve as Executive Producer.
The Deus Ex franchise was originally introduced in June 2000. Its latest entry, Deus Ex: Human Revolution, launched to universal acclaim in 2011, ranking #1 across global sales charts and earning over 100 industry awards. Developed by Eidos-Montréal and published by Square Enix, Deus Ex: Human Revolution will serve as the primary template for the film.
Set in the near future, when dramatic advances in science, specifically human augmentation, have triggered a technological renaissance,...
- 7/10/2012
- by Jonathan James
- DailyDead
CBS Films has optioned screen rights to Deus Ex, the video game franchise from Square Enix. While vidgame film transfers don’t usually translate to big box office success, the Deus Ex franchise certainly has a following. Launched in 2000, its latest entry, Deus Ex: Human Revolution, topped global sales charts when it was released last year. Developed by Eidos-Montréal and published by Square Enix, Deus Ex: Human Revolution will serve as the primary template for the film. Roy Lee and Adrian Askarieh are attached to produce and John P. Middleton will executive produce. Set in the near future, when dramatic advances in science, specifically human augmentation, have triggered a technological renaissance, Deus Ex: Human Revolution follows Adam Jensen, an ex-swat security specialist who must embrace mechanical augments in order to unravel a global conspiracy. “As is clear from the wild success of the game, Square Enix and Eidos-Montréal know how...
- 7/10/2012
- by MIKE FLEMING
- Deadline
CBS Films announced today that they have secured the screen rights to the Deus Ex videogame franchise from Square Enix. Roy Lee and Adrian Askarieh are attached to produce and John P. Middleton will serve as Executive Producer. The Deus Ex franchise was originally introduced in June 2000. Its latest entry, Deus Ex: Human Revolution, launched to universal acclaim in 2011, ranking #1 across global sales charts and earning over 100 industry awards. Developed by Eidos-Montréal and published by Square Enix, Deus Ex: Human Revolution will serve as the primary template for the film. Set in the near future, when dramatic advances in science, specifically human augmentation, have triggered a technological renaissance, Deus Ex: Human Revolution follows Adam Jensen, an ex-swat...
- 7/10/2012
- Comingsoon.net
CBS Films jumped into the arena of video game adaptations by acquiring the rights to the Square Enix game franchise Deus Ex, an action role-playing game set in the year 2027 with Detroit Police Swat commander Adam Jensen using cybernetic devices to grant him the superhuman powers necessary to battle terrorists in various locales like Singapore and Montreal. According to Deadline, John P. Middleton joined as executive producer with Roy Lee and Adrian Askarieh boarding as producers on an adaptation based on the Deus Ex: Human Revolution game in the Deus Ex series.
- 7/10/2012
- Upcoming-Movies.com
Despite a rather slow start, Person of Interest eventually found its footing and has been a fun show to just sit down and watch, but with the next new episode “Matsya Nyaya,” things might take a turn for the best. Starting with that April 26th episode, Person of Interest will be entering a series of episodes that will inevitably lead to the Season 1 finale. The freshman show has shown itself capable of handling serialization, but for the most part this season has been filled with standalone episodes. It will be interesting to see how it handles a series of related episodes in such quick succession.
Down below are the photos for “Matsya Nyaya,” which will see Reese undercover in an armored truck crew. The mission will bring up a similar mission from his past, specifically his final mission for the CIA. We’ll be taken back to that time via flashback,...
Down below are the photos for “Matsya Nyaya,” which will see Reese undercover in an armored truck crew. The mission will bring up a similar mission from his past, specifically his final mission for the CIA. We’ll be taken back to that time via flashback,...
- 4/16/2012
- by Brody Gibson
- Boomtron
We all know Ira Deutchman, but for the record, Ira has been making, marketing and distributing films since 1975, having worked on over 150 films including some of the most successful independent films of all time. He was one of the founders of Cinecom and later created Fine Line Features—two companies that were created from scratch and in their respective times, helped define the independent film business. Currently Deutchman is Managing Partner of Emerging Pictures, a New York-based digital exhibition company. He is also a Professor of Professional Practice in the Graduate Film Division of the School of the Arts at Columbia University, where he is the head of the Producing Program. He is also active in Art House Convergence and wrote this inspirational blog for them. It inspired my own reminiscence which was quite fun to do. It will go up tomorrow. I hope my readers enjoy this. If it inspires you, I will publish yours here as well.
Posted on October 3, 2011 by Ira Deutchman
I grew up in movie theaters. At a very young age, my mother started bringing me to matinees and later we would pile the family into the car and head to the local drive-in for double features. In my adolescent and teenage years, the fact that my family moved around so much meant that I had few friends. I spent all my spare time in movie theaters. By the time I went to college, movies were my life. I used to pride myself on the fact that I could name the theater where I saw every film I’d ever seen.
On a recent trip to Chicago, I walked around the Loop–the site of many of my most formative movie moments–and was astonished to see how little was left of what was one of the most beautiful movie theater districts anywhere. It made me very sad, but motivated me to write this piece about the movie theaters for which I have the fondest memories. They are in chronological order according to where they fit in my life.
The Park Plaza Theater in the Bronx was most likely my first movie theater experience. It was only a few blocks from where we lived, and this is where my mother first exposed me to movies. I remember the matrons in their white suits and flashlights trying to keep the kids–who were required to sit in a separate section unless they were accompanied by parents–quiet. The first movie I actually remember was a film that terrified me at the time. It had images that stuck with me throughout my life, even though I couldn’t remember what film it was. It was only as an adult that I realized that the movie I had seen was “20,000 Leagues Under the Sea.”
Loews Paradise, also in the Bronx, was a magnificent place. Even as a kid, going there to see a movie was a special occasion. I remember being on a shopping expedition with my mother to Alexander’s (right across the street from the Paradise) and seeing banners and posters for ”Tom Thumb” with Russ Tamblyn as the little guy. I became obsessed with seeing that film, until my parents finally gave in and brought me to see it–even though it would have been cheaper to wait for it to play in a closer neighborhood theater.
Another memory that sticks with me is when I went to see a Jerry Lewis film at the Paradise–I think it may have been “The Bellboy”–with a neighbor who used to babysit for me. She was a huge Jerry Lewis fan and, throughout the film, she was laughing so hard, she kept hitting me.
In the early ’60s, my family moved to the south side of Chicago. My neighborhood movie theaters were only a short walk from where we lived. Almost every weekend, I went to see whatever was playing at those theaters. There was theHamilton and the Jeffery,both on 71st Street, and theChelton on 79th. Since this was before the ratings system, there were many films coming out that I wanted to see that had been designated as “adults only,” so I was prevented from seeing them without my parents. Fortunately, every Sunday the Chelton had a special kiddie matinee for 25 cents admission. As the kiddie film was ending, if you hid out in the men’s room, you could wait until after they cleared the theater and stay to see the adult film that came afterward. So every Sunday, I dragged my brother Larry to the Chelton and for a quarter (he got in free), we saw such “adult” films as “The Spy Who Came in From the Cold,” “Fate is the Hunter,” and “Goldfinger” (which my parents were furious about my having seen once they saw the provocative poster). They had no idea that I was in the process of reading all the James Bond books, which were far racier than the films.
Another neighborhood theater was the Avalon, which was a huge movie palace and as magnificent as the Paradise. When something played at the Avalon, it was well worth walking the slightly extra distance to see it there. The Avalon mostly played big event movies after they completed their downtown roadshow runs, like “Lawrence of Arabia” and “West Side Story.”
One day, I heard that the Avalon was one of a dozen or so theaters in the Chicago area that was going to have a special screening of “Having A Wild Weekend,” and that the Dave Clark Five were going to appear in person at the theater. Apparently, the promoters had timed things so that the group could appear at each of the theaters where the film would be playing that day. The big show at the Avalon was a Saturday morning matinee. I got in line early, and was shaking with excitement when I realized that I would indeed get in. There were more than 2,500 seats and the place was packed. A man came out on stage and announced that the group would be making its appearance before the film, and would be there momentarily. The crowd started to scream. Moments later, the Dave Clark Five marched out on stage, and the place went wild. There was a scuffle near the stage and the next thing we knew, the five of them had left the stage. The lights went off and the movie started. The next morning, it was in the newspaper that one of the group had suffered a broken wrist in the “near-riot” that ensued at the Avalon.
After awhile, I began to get impatient waiting for new movies to make it to the neighborhood theaters. I was also old enough to go to the Loop by myself, either by taking the Illinois Central train or, in good weather, riding my bicycle along Lake Michigan.
The theaters in the Loop started running shows at 9am, sometimes with no one in the audience. Many years later, when I was already in the film business, I was told that the Chicago projectionists union was one of the strongest in the country, and that the projectionists had to be paid for the full day whether there were shows or not. So most of the theaters simply opted to go ahead with the shows. This was great for me, since I could get there early and see films that would have been difficult to get into later in the day.
There were many gorgeous theaters in the Loop, but I had two favorites, The United Artists and the Woods. They were both grand movie palaces and had long histories that were completely lost on me at the time. All I cared about was that they were showing the latest, greatest movies. And they knew how to market them. The theaters tried to outdo each other in terms of the special displays they created for the films that were playing. The entire fronts of the theaters were covered by photos and posters for the films. The marquees screamed out whatever sensational lines they could think of to entice people into the theaters.
Of the many films that I saw at the Woods, one of my fondest memories was seeing “A Hard Days Night” the week it opened. The place was packed with screaming kids. I was way up in the balcony. When the Beatles began singing a song, the entire audience clapped along.
My recollection is that a lot of the films that played at the Woods were horror films or thrillers. I recall seeing a few William Castle films, some of the Edgar Allen Poe adaptations by Roger Corman and, in 1967, “Wait Until Dark,” for which they advertised that all the lights in the theater would be turned off for the last few minutes of the film. I can never remember being so scared in a film.
At the United Artists, I recall stumbling into an early morning showing of ”A Funny Thing Happened on the Way to the Forum,” not knowing anything about the film other than the strange title. I laughed so hard that I went back several more times to see it.
Right down the block from those theaters were the Cinestage and the Michael Todd. These were the more prestigious theaters, where you could see the latest blockbuster roadshow releases–in many cases a completely different (longer) version of the film than would be released in the neighborhoods. At these theaters I saw “2001: A Space Odyssey” (several times) and ”The Sound of Music” (several times), among many more “event” films.
In 1967, we moved again, this time to Highland Park, in Chicago’s north suburbs. My theater of choice was the Edens Theater, which was visible from the Edens Expressway. Unlike all the previous theaters, the Edens was not an old theater. It was a modernist masterpiece and a state-of-the-art facility that frequently had exclusive runs of films for the entire North Shore. Since it was a single-screen theater, hit films would settle in and play for long periods of time. One day I went to see “Bonnie and Clyde” at the Edens; I believe that was the moment I decided I wanted to make movies some day. I’m sure the massive screen and the incredible sound at the Edens added to the experience. I went back and saw “Bonnie and Clyde” at least five times, and since I didn’t have my drivers license yet, each time I saw the film one of my parents had to drive me. One day, as I was settling into my seat in the nearly empty theater, my Dad suddenly sat down next to me. I must have looked shocked as he said to me,” You keep coming to see this film so much, I decided to see what it is you like so much.” Throughout the film, he kept looking at me, wondering what kind of pervert he was bringing up.
A year or so later, my uncle was visiting from out of town, and took me to the Esquire on the north side of Chicago to see a film that he had read was all the rage. The Esquire was a beautiful deco palace, and one of the nicest places to see a film in Chicago. I would go there many times over the years, the last time being for the premiere of “Hoop Dreams” decades later. The film was “Easy Rider,” and it was on a double bill with a foreign language film that I can’t remember. They also showed a short called “De Duva (The Dove),” a great parody of early Bergman (It’s available on YouTube). My education continued.
A couple of years later, we moved again, this time to Paramus, NJ. The most spectacular local theater was the Stanley Warner Route 4. It started as a single-screen 2,000 seat theater, added a second screen in the the mid-70′s and eventually was carved up into little pieces. I practically lived at the theater all through high school. One memorable experience was trying to get in to see “Woodstock” and being turned away because I was too young. It looked to me like they were turning away the entire interested audience.
I also spent a lot of time at the Bergen Mall Cinema, which was the local art house. Here I saw such films as “Women in Love,” Fellini’s “Satyricon,” “Zabriskie Point,” and numerous films that were distributed by Cinema 5, a company that I would end up working for a number of years later. It was eye opening, and contributed to my radicalization in my teenage years. This theater may have been a shoebox in the middle of a suburban mall, but it was responsible for expanding the horizons of the youth of Bergen County. [Interestingly, I can't find any decent pictures of either of these two theaters.]
Then it was off to Chicago again, where I went to college. In Evanston, where the Northwestern campus was located, there were two downtown theaters, the Varsity and theValencia. They were both smaller movie palaces, but by the early ’70s they were in bad shape, mostly showing grindhouse films. That didn’t mean that I didn’t check them out. Given the recreational bent of the times, hanging at those two theaters could be a lot of fun.
However, the real action was in Chicago, and there were theaters showing films for every taste. The Carnegiewas the fancy art house, playing the latest foreign language films that were being written about in the New York Times. It was architecturally undistinguished and shared the same building with Mr. Kelly’s night club and a large parking structure. But the presentation was first class.
Repertory cinema was all over town, most notably at theBiograph and at thePlayboy at Clark and Division, which my college roommate referred to as the “center of the world.” The Biograph, of course, is world famous for being the place where Dillinger was killed after seeing a movie. The seat where Dillinger sat that night was painted gold so that patrons could find it easily. There was something special about seeing a film from the ’20s or ’30s in a setting that was so authentic to that time.
The Playboy was nowhere near as atmospheric, but it’s programming was something else. By day, the theater was an art house, playing the second tier art films that couldn’t get bookings at the Carnegie. But by night the Playboy became Chicago’s best repertory house. They called it the “Playboy All-Night Show,” and it was a different double feature every night, starting at midnight. One night it would be two Marx Brothers films, the next night two Ken Russell films, the next night, two by Antonioni. It was like someone was programming my Netflix queue, only in a movie theater. You can imagine my many bleary-eyed mornings, trying to stay awake through classes after having sat through two amazing films that ended at 4:00 am or later. (Yes, that’s Roger Ebert posing in front of the Playboy.)
After college, I ended up moving to New York City. I got a job with Cinema 5, which owned and operated most of the classiest theaters in Manhattan. It was a dream come true. Every Friday, the office manager would come by everyone’s desk and hand them 4 passes to any of the theaters, with an expiration date of the following week–use it or lose it. No chance of that for me. If anything, 4 passes were hardly enough, and I took to asking around for passes that others weren’t using.
The theaters were well-kept to the point of obsessiveness. I would be asked to run over to a theater to make sure the bathrooms were clean. The presentation was classy and always top-notch.
My absolute favorite of the theaters was the Plaza, which was the most atmospheric. I experienced some of the earliest examples of the coming American Independent movement at the Plaza, including “Hester Street,” “Pumping Iron,” “Harlan County USA” and others. Since the Plaza was right around the corner from the Cinema 5 office, we had our acquisition screenings there, so I spent many a morning drinking my coffee and eating my bagel in the first row of the loge section of the theater, screening some movie that we might be interested in acquiring. After awhile, the theater manager permitted me to park my bicycle in the theater when I rode it to work.
I always loved Cinema 1 and 2 on Third Avenue. It was before they had carved it into a third theater, and before it was allowed to get run down. It was a glittering example of a thoroughly modern movie theater, eschewing curtains for a black fabric strip that would come down from the ceiling before each show to mask the proper screen ratio. I used up a lot of those Cinema 5 passes at these theaters. When I started working there, Robert Altman’s “Nashville” was just beginning a record-setting run at Cinema 2. I had already seen the film once at the Esquire before leaving Chicago, but now I had the chance to see it over and over again, and I did. I probably saw the film 20 times in my first six months working at the company.
Another favorite was the Beekman. It was an art deco jewel, and probably the most beautiful movie theater that I’d ever seen that was built to be a movie theater. Woody Allen also loved the Beekman, and typically insisted that his films open there. I recall seeing “Love and Death” many times at the Beekman.
But I didn’t spend all of my time at the Cinema 5 theaters. I still had a taste for older films and frequented Dan Talbot’s New Yorker, and the Thalia, both of which were in the neighborhood where I lived. This was the golden age of double features, and the New York rep houses were trying to outdo each other in the cleverness of their programming.
In the years since, as my career led me to do business with many of the theaters I grew up with, I never lost my fondness for them. But one-by-one, just about all the theaters I have mentioned disappeared. The Thalia still exists, but the original parabolic floor has been straightened out and there is no longer any fixed seating. Cinema 1 & 2 have spawned a 3rd screen that has wrecked the perfect symmetry of the other two. The Biograph has been renovated and is being used by a theater company. The Esquire was cut up into smaller theaters many years ago, and now sits empty. The Avalon also sits abandoned. The Paradise is still there and has recently been partially restored, but it’s mainly used for events. All the rest are gone.
If you enjoy this subject, you owe it to yourself to check out the Cinema Treasures web site. I found many of the photos used in this piece on that site under a Creative Commons license. Full photo credits below:
Photo Credits:
Park Plaza: NYCago.com
Loews Paradise: Brad Smith, Cinema Treasures
Hamilton: Nick Coston, Cinema Treasures
Jeffery: Senorsock, Cinema Treasure
Avalon: Ira Deutchman
Woods: John P. Keating Jr, Cinema Treasures
United Artists: John P. Keating Jr, Cinema Treasures
Michael Todd: John P Keating Jr, Cinema Treasures
Edens: Didi, Dim Beauty of Chicago
Esquire: Ira Deutchman
Varsity: Ira Deutchman
Carnegie: David Zornig, Cinema Treasures
Biograph: Norman Plant, Cinema Treasures
Playboy: Tim O’Neill, Cinema Treasures
Plaza: William, Cinema Treasures
Cinema 1&2: Dave-Bronx, Cinema Treasures
Beekman: Patrick Crowley, Cinema Treasures
New Yorker: MovieswithDad, Cinema Treasures This entry was posted in Film and tagged Bronx, Chicago, Highland Park, Movie Theaters, New York City, Paramus. Bookmark the permalink. ← Master Class: Independent Film Financing Let River Rest in Peace → 5 Responses to Movie Theaters I’ve Known and Loved Sydney Levine says: October 3, 2011 at 8:57 pm
I love this! I’ll try to do it…just the photos. you write better than I
Jordi Wijnalda says: October 3, 2011 at 10:48 pm
Wow, Ira – this really hit home for me. No, I have not experienced any of this first-hand myself, but it once again reaffirmed for me that a different decade might have been better for me… In some ways, at least. Thanks a lot for sharing this!
Juliet Goodfriend says: October 5, 2011 at 10:10 am
Ira, your memory is as awesome as your love of, and history in, films and theaters. Thanks, for the memories..da dah da dah da daah, etc (I can’t even remember the lyrics!).
Juliet
DanZee says: October 5, 2011 at 4:12 pm
Unfortunately theaters bear the scars of the ups and downs of the movie industry. During the Golden Age of Hollywood, you had huge theaters showing films continuously to large masses of coming-and-going people. The television age shifted that to films you couldn’t (yet) see on TV, such as long-running “event” pictures or a constantly changing schedule of foreign and repertory films. During the 1980s, the film studios revved up production again using independent producers (and their money) that shifted theaters to a multiplex design of more screens but smaller “box” theaters. The older theaters were abandoned or cut up, and even today theater owners skimp on building maintenance. Just as the old movie palaces have met the wrecking ball, throughout the 2000′s multiplexes have been plowed over for newer restaurant-themed superplexes. And at some point, even they will be replaced with something different. It’s all a cycle.
Carl Spence says: October 11, 2011 at 3:30 am
The timing of this article is fortuitous as we are re-opening a 85 year old movie palace – the uptown cinemas from October 20th in Seattle. It has the original single screen with the addition of two smaller stadium auditoriums that were added next door in the mid-80s. We are currently restoring the 50s marquee and getting the place ready to open in a short amount of time. Very exciting times in Seattle for movie going!
Posted on October 3, 2011 by Ira Deutchman
I grew up in movie theaters. At a very young age, my mother started bringing me to matinees and later we would pile the family into the car and head to the local drive-in for double features. In my adolescent and teenage years, the fact that my family moved around so much meant that I had few friends. I spent all my spare time in movie theaters. By the time I went to college, movies were my life. I used to pride myself on the fact that I could name the theater where I saw every film I’d ever seen.
On a recent trip to Chicago, I walked around the Loop–the site of many of my most formative movie moments–and was astonished to see how little was left of what was one of the most beautiful movie theater districts anywhere. It made me very sad, but motivated me to write this piece about the movie theaters for which I have the fondest memories. They are in chronological order according to where they fit in my life.
The Park Plaza Theater in the Bronx was most likely my first movie theater experience. It was only a few blocks from where we lived, and this is where my mother first exposed me to movies. I remember the matrons in their white suits and flashlights trying to keep the kids–who were required to sit in a separate section unless they were accompanied by parents–quiet. The first movie I actually remember was a film that terrified me at the time. It had images that stuck with me throughout my life, even though I couldn’t remember what film it was. It was only as an adult that I realized that the movie I had seen was “20,000 Leagues Under the Sea.”
Loews Paradise, also in the Bronx, was a magnificent place. Even as a kid, going there to see a movie was a special occasion. I remember being on a shopping expedition with my mother to Alexander’s (right across the street from the Paradise) and seeing banners and posters for ”Tom Thumb” with Russ Tamblyn as the little guy. I became obsessed with seeing that film, until my parents finally gave in and brought me to see it–even though it would have been cheaper to wait for it to play in a closer neighborhood theater.
Another memory that sticks with me is when I went to see a Jerry Lewis film at the Paradise–I think it may have been “The Bellboy”–with a neighbor who used to babysit for me. She was a huge Jerry Lewis fan and, throughout the film, she was laughing so hard, she kept hitting me.
In the early ’60s, my family moved to the south side of Chicago. My neighborhood movie theaters were only a short walk from where we lived. Almost every weekend, I went to see whatever was playing at those theaters. There was theHamilton and the Jeffery,both on 71st Street, and theChelton on 79th. Since this was before the ratings system, there were many films coming out that I wanted to see that had been designated as “adults only,” so I was prevented from seeing them without my parents. Fortunately, every Sunday the Chelton had a special kiddie matinee for 25 cents admission. As the kiddie film was ending, if you hid out in the men’s room, you could wait until after they cleared the theater and stay to see the adult film that came afterward. So every Sunday, I dragged my brother Larry to the Chelton and for a quarter (he got in free), we saw such “adult” films as “The Spy Who Came in From the Cold,” “Fate is the Hunter,” and “Goldfinger” (which my parents were furious about my having seen once they saw the provocative poster). They had no idea that I was in the process of reading all the James Bond books, which were far racier than the films.
Another neighborhood theater was the Avalon, which was a huge movie palace and as magnificent as the Paradise. When something played at the Avalon, it was well worth walking the slightly extra distance to see it there. The Avalon mostly played big event movies after they completed their downtown roadshow runs, like “Lawrence of Arabia” and “West Side Story.”
One day, I heard that the Avalon was one of a dozen or so theaters in the Chicago area that was going to have a special screening of “Having A Wild Weekend,” and that the Dave Clark Five were going to appear in person at the theater. Apparently, the promoters had timed things so that the group could appear at each of the theaters where the film would be playing that day. The big show at the Avalon was a Saturday morning matinee. I got in line early, and was shaking with excitement when I realized that I would indeed get in. There were more than 2,500 seats and the place was packed. A man came out on stage and announced that the group would be making its appearance before the film, and would be there momentarily. The crowd started to scream. Moments later, the Dave Clark Five marched out on stage, and the place went wild. There was a scuffle near the stage and the next thing we knew, the five of them had left the stage. The lights went off and the movie started. The next morning, it was in the newspaper that one of the group had suffered a broken wrist in the “near-riot” that ensued at the Avalon.
After awhile, I began to get impatient waiting for new movies to make it to the neighborhood theaters. I was also old enough to go to the Loop by myself, either by taking the Illinois Central train or, in good weather, riding my bicycle along Lake Michigan.
The theaters in the Loop started running shows at 9am, sometimes with no one in the audience. Many years later, when I was already in the film business, I was told that the Chicago projectionists union was one of the strongest in the country, and that the projectionists had to be paid for the full day whether there were shows or not. So most of the theaters simply opted to go ahead with the shows. This was great for me, since I could get there early and see films that would have been difficult to get into later in the day.
There were many gorgeous theaters in the Loop, but I had two favorites, The United Artists and the Woods. They were both grand movie palaces and had long histories that were completely lost on me at the time. All I cared about was that they were showing the latest, greatest movies. And they knew how to market them. The theaters tried to outdo each other in terms of the special displays they created for the films that were playing. The entire fronts of the theaters were covered by photos and posters for the films. The marquees screamed out whatever sensational lines they could think of to entice people into the theaters.
Of the many films that I saw at the Woods, one of my fondest memories was seeing “A Hard Days Night” the week it opened. The place was packed with screaming kids. I was way up in the balcony. When the Beatles began singing a song, the entire audience clapped along.
My recollection is that a lot of the films that played at the Woods were horror films or thrillers. I recall seeing a few William Castle films, some of the Edgar Allen Poe adaptations by Roger Corman and, in 1967, “Wait Until Dark,” for which they advertised that all the lights in the theater would be turned off for the last few minutes of the film. I can never remember being so scared in a film.
At the United Artists, I recall stumbling into an early morning showing of ”A Funny Thing Happened on the Way to the Forum,” not knowing anything about the film other than the strange title. I laughed so hard that I went back several more times to see it.
Right down the block from those theaters were the Cinestage and the Michael Todd. These were the more prestigious theaters, where you could see the latest blockbuster roadshow releases–in many cases a completely different (longer) version of the film than would be released in the neighborhoods. At these theaters I saw “2001: A Space Odyssey” (several times) and ”The Sound of Music” (several times), among many more “event” films.
In 1967, we moved again, this time to Highland Park, in Chicago’s north suburbs. My theater of choice was the Edens Theater, which was visible from the Edens Expressway. Unlike all the previous theaters, the Edens was not an old theater. It was a modernist masterpiece and a state-of-the-art facility that frequently had exclusive runs of films for the entire North Shore. Since it was a single-screen theater, hit films would settle in and play for long periods of time. One day I went to see “Bonnie and Clyde” at the Edens; I believe that was the moment I decided I wanted to make movies some day. I’m sure the massive screen and the incredible sound at the Edens added to the experience. I went back and saw “Bonnie and Clyde” at least five times, and since I didn’t have my drivers license yet, each time I saw the film one of my parents had to drive me. One day, as I was settling into my seat in the nearly empty theater, my Dad suddenly sat down next to me. I must have looked shocked as he said to me,” You keep coming to see this film so much, I decided to see what it is you like so much.” Throughout the film, he kept looking at me, wondering what kind of pervert he was bringing up.
A year or so later, my uncle was visiting from out of town, and took me to the Esquire on the north side of Chicago to see a film that he had read was all the rage. The Esquire was a beautiful deco palace, and one of the nicest places to see a film in Chicago. I would go there many times over the years, the last time being for the premiere of “Hoop Dreams” decades later. The film was “Easy Rider,” and it was on a double bill with a foreign language film that I can’t remember. They also showed a short called “De Duva (The Dove),” a great parody of early Bergman (It’s available on YouTube). My education continued.
A couple of years later, we moved again, this time to Paramus, NJ. The most spectacular local theater was the Stanley Warner Route 4. It started as a single-screen 2,000 seat theater, added a second screen in the the mid-70′s and eventually was carved up into little pieces. I practically lived at the theater all through high school. One memorable experience was trying to get in to see “Woodstock” and being turned away because I was too young. It looked to me like they were turning away the entire interested audience.
I also spent a lot of time at the Bergen Mall Cinema, which was the local art house. Here I saw such films as “Women in Love,” Fellini’s “Satyricon,” “Zabriskie Point,” and numerous films that were distributed by Cinema 5, a company that I would end up working for a number of years later. It was eye opening, and contributed to my radicalization in my teenage years. This theater may have been a shoebox in the middle of a suburban mall, but it was responsible for expanding the horizons of the youth of Bergen County. [Interestingly, I can't find any decent pictures of either of these two theaters.]
Then it was off to Chicago again, where I went to college. In Evanston, where the Northwestern campus was located, there were two downtown theaters, the Varsity and theValencia. They were both smaller movie palaces, but by the early ’70s they were in bad shape, mostly showing grindhouse films. That didn’t mean that I didn’t check them out. Given the recreational bent of the times, hanging at those two theaters could be a lot of fun.
However, the real action was in Chicago, and there were theaters showing films for every taste. The Carnegiewas the fancy art house, playing the latest foreign language films that were being written about in the New York Times. It was architecturally undistinguished and shared the same building with Mr. Kelly’s night club and a large parking structure. But the presentation was first class.
Repertory cinema was all over town, most notably at theBiograph and at thePlayboy at Clark and Division, which my college roommate referred to as the “center of the world.” The Biograph, of course, is world famous for being the place where Dillinger was killed after seeing a movie. The seat where Dillinger sat that night was painted gold so that patrons could find it easily. There was something special about seeing a film from the ’20s or ’30s in a setting that was so authentic to that time.
The Playboy was nowhere near as atmospheric, but it’s programming was something else. By day, the theater was an art house, playing the second tier art films that couldn’t get bookings at the Carnegie. But by night the Playboy became Chicago’s best repertory house. They called it the “Playboy All-Night Show,” and it was a different double feature every night, starting at midnight. One night it would be two Marx Brothers films, the next night two Ken Russell films, the next night, two by Antonioni. It was like someone was programming my Netflix queue, only in a movie theater. You can imagine my many bleary-eyed mornings, trying to stay awake through classes after having sat through two amazing films that ended at 4:00 am or later. (Yes, that’s Roger Ebert posing in front of the Playboy.)
After college, I ended up moving to New York City. I got a job with Cinema 5, which owned and operated most of the classiest theaters in Manhattan. It was a dream come true. Every Friday, the office manager would come by everyone’s desk and hand them 4 passes to any of the theaters, with an expiration date of the following week–use it or lose it. No chance of that for me. If anything, 4 passes were hardly enough, and I took to asking around for passes that others weren’t using.
The theaters were well-kept to the point of obsessiveness. I would be asked to run over to a theater to make sure the bathrooms were clean. The presentation was classy and always top-notch.
My absolute favorite of the theaters was the Plaza, which was the most atmospheric. I experienced some of the earliest examples of the coming American Independent movement at the Plaza, including “Hester Street,” “Pumping Iron,” “Harlan County USA” and others. Since the Plaza was right around the corner from the Cinema 5 office, we had our acquisition screenings there, so I spent many a morning drinking my coffee and eating my bagel in the first row of the loge section of the theater, screening some movie that we might be interested in acquiring. After awhile, the theater manager permitted me to park my bicycle in the theater when I rode it to work.
I always loved Cinema 1 and 2 on Third Avenue. It was before they had carved it into a third theater, and before it was allowed to get run down. It was a glittering example of a thoroughly modern movie theater, eschewing curtains for a black fabric strip that would come down from the ceiling before each show to mask the proper screen ratio. I used up a lot of those Cinema 5 passes at these theaters. When I started working there, Robert Altman’s “Nashville” was just beginning a record-setting run at Cinema 2. I had already seen the film once at the Esquire before leaving Chicago, but now I had the chance to see it over and over again, and I did. I probably saw the film 20 times in my first six months working at the company.
Another favorite was the Beekman. It was an art deco jewel, and probably the most beautiful movie theater that I’d ever seen that was built to be a movie theater. Woody Allen also loved the Beekman, and typically insisted that his films open there. I recall seeing “Love and Death” many times at the Beekman.
But I didn’t spend all of my time at the Cinema 5 theaters. I still had a taste for older films and frequented Dan Talbot’s New Yorker, and the Thalia, both of which were in the neighborhood where I lived. This was the golden age of double features, and the New York rep houses were trying to outdo each other in the cleverness of their programming.
In the years since, as my career led me to do business with many of the theaters I grew up with, I never lost my fondness for them. But one-by-one, just about all the theaters I have mentioned disappeared. The Thalia still exists, but the original parabolic floor has been straightened out and there is no longer any fixed seating. Cinema 1 & 2 have spawned a 3rd screen that has wrecked the perfect symmetry of the other two. The Biograph has been renovated and is being used by a theater company. The Esquire was cut up into smaller theaters many years ago, and now sits empty. The Avalon also sits abandoned. The Paradise is still there and has recently been partially restored, but it’s mainly used for events. All the rest are gone.
If you enjoy this subject, you owe it to yourself to check out the Cinema Treasures web site. I found many of the photos used in this piece on that site under a Creative Commons license. Full photo credits below:
Photo Credits:
Park Plaza: NYCago.com
Loews Paradise: Brad Smith, Cinema Treasures
Hamilton: Nick Coston, Cinema Treasures
Jeffery: Senorsock, Cinema Treasure
Avalon: Ira Deutchman
Woods: John P. Keating Jr, Cinema Treasures
United Artists: John P. Keating Jr, Cinema Treasures
Michael Todd: John P Keating Jr, Cinema Treasures
Edens: Didi, Dim Beauty of Chicago
Esquire: Ira Deutchman
Varsity: Ira Deutchman
Carnegie: David Zornig, Cinema Treasures
Biograph: Norman Plant, Cinema Treasures
Playboy: Tim O’Neill, Cinema Treasures
Plaza: William, Cinema Treasures
Cinema 1&2: Dave-Bronx, Cinema Treasures
Beekman: Patrick Crowley, Cinema Treasures
New Yorker: MovieswithDad, Cinema Treasures This entry was posted in Film and tagged Bronx, Chicago, Highland Park, Movie Theaters, New York City, Paramus. Bookmark the permalink. ← Master Class: Independent Film Financing Let River Rest in Peace → 5 Responses to Movie Theaters I’ve Known and Loved Sydney Levine says: October 3, 2011 at 8:57 pm
I love this! I’ll try to do it…just the photos. you write better than I
Jordi Wijnalda says: October 3, 2011 at 10:48 pm
Wow, Ira – this really hit home for me. No, I have not experienced any of this first-hand myself, but it once again reaffirmed for me that a different decade might have been better for me… In some ways, at least. Thanks a lot for sharing this!
Juliet Goodfriend says: October 5, 2011 at 10:10 am
Ira, your memory is as awesome as your love of, and history in, films and theaters. Thanks, for the memories..da dah da dah da daah, etc (I can’t even remember the lyrics!).
Juliet
DanZee says: October 5, 2011 at 4:12 pm
Unfortunately theaters bear the scars of the ups and downs of the movie industry. During the Golden Age of Hollywood, you had huge theaters showing films continuously to large masses of coming-and-going people. The television age shifted that to films you couldn’t (yet) see on TV, such as long-running “event” pictures or a constantly changing schedule of foreign and repertory films. During the 1980s, the film studios revved up production again using independent producers (and their money) that shifted theaters to a multiplex design of more screens but smaller “box” theaters. The older theaters were abandoned or cut up, and even today theater owners skimp on building maintenance. Just as the old movie palaces have met the wrecking ball, throughout the 2000′s multiplexes have been plowed over for newer restaurant-themed superplexes. And at some point, even they will be replaced with something different. It’s all a cycle.
Carl Spence says: October 11, 2011 at 3:30 am
The timing of this article is fortuitous as we are re-opening a 85 year old movie palace – the uptown cinemas from October 20th in Seattle. It has the original single screen with the addition of two smaller stadium auditoriums that were added next door in the mid-80s. We are currently restoring the 50s marquee and getting the place ready to open in a short amount of time. Very exciting times in Seattle for movie going!
- 3/26/2012
- by Sydney Levine
- Sydney's Buzz
"We are not armed creeps or terrorists," they tell a roomful of Lehigh University students and professors.
Here's something you don't hear every day: Libyan rebels hopped on Skype on Friday, to chat remotely with a roomful of Lehigh University students and faculty.
The video conference lasted about an hour, reports the Chronicle for Higher Education, and covered such topics as why the rebels did what they did, and what sort of democratic government they'd like to create in the event of Colonel Qaddafi's deposition. "We are not armed creeps or terrorists," said one of the rebels, Issa Hakim. "Necessity requires that we fight."
Why Lehigh, of all places? Hakim was a graduate student in engineering there. When the rebellion began, he decided to return to his country to volunteer in the rebel army. Hakim's professors and fellow students have been watching the news carefully with a personal concern since...
Here's something you don't hear every day: Libyan rebels hopped on Skype on Friday, to chat remotely with a roomful of Lehigh University students and faculty.
The video conference lasted about an hour, reports the Chronicle for Higher Education, and covered such topics as why the rebels did what they did, and what sort of democratic government they'd like to create in the event of Colonel Qaddafi's deposition. "We are not armed creeps or terrorists," said one of the rebels, Issa Hakim. "Necessity requires that we fight."
Why Lehigh, of all places? Hakim was a graduate student in engineering there. When the rebellion began, he decided to return to his country to volunteer in the rebel army. Hakim's professors and fellow students have been watching the news carefully with a personal concern since...
- 4/18/2011
- by David Zax
- Fast Company
Gisele Bundchen and Tom Brady's bodyguards are to appear in a Costa Rican court after allegedly firing shots at their wedding two years ago.
Alexander Rivas, Miguel Solis and Manuel Valverde - who worked as a private hire security team - will attend an "oral hearing" in Puntarenas on April 29 after photographers Yuri Cortez and Carlos Aviles pressed charges, accusing them of opening fire with guns.
Although no one was injured during the alleged incident on April 4, 2009, which took place while the couple reaffirmed their vows at the Brazilian supermodel's home, a rear window of a Sports Utility Vehicle (SUV) was shattered.
The two snappers' lawyer John P. Gleason said he was "glad" the group were facing charges because they were "stupid goons".
He stated: "The photographers were just doing their job, and it's terrible what they did to them. They were taking photos from a long distance away,...
Alexander Rivas, Miguel Solis and Manuel Valverde - who worked as a private hire security team - will attend an "oral hearing" in Puntarenas on April 29 after photographers Yuri Cortez and Carlos Aviles pressed charges, accusing them of opening fire with guns.
Although no one was injured during the alleged incident on April 4, 2009, which took place while the couple reaffirmed their vows at the Brazilian supermodel's home, a rear window of a Sports Utility Vehicle (SUV) was shattered.
The two snappers' lawyer John P. Gleason said he was "glad" the group were facing charges because they were "stupid goons".
He stated: "The photographers were just doing their job, and it's terrible what they did to them. They were taking photos from a long distance away,...
- 4/5/2011
- by celebrity-mania.com
- Celebrity Mania
I haven’t seen Hall Pass yet -- it won’t open in the U.K. till March 11 -- but that doesn’t mean I can’t be pissed off about it already. From a review by John P. Meyer at the Dallas-Fort Worth site Pegasus News: Of course, anyone indulging in criticism of the narrative approach employed by the guys who made Dumb and Dumber and Something About Mary is well and truly barking up the wrong tree. This is the kind of movie that targets the funny bone, not the intellect. First thing to hate here: the idea that because filmmakers have gone out of their way to be asinine all through their careers, they are now immune from being criticized for their stupidity. Second thing to hate here: the idea that the intellect is not connected to the funny bone. Third thing to hate here: the fact...
- 2/25/2011
- by MaryAnn Johanson
- www.flickfilosopher.com
hollywoodnews.com: Directors Guild of America President Taylor Hackford today announced the DGA’s nominees for Outstanding Directorial Achievement in Television and Commercials for the year 2010.
‘Whether it’s a 30-second commercial or a multi-part miniseries, television directors are crucial to the success of any television project.’ said Hackford. ‘As the DGA celebrates its 75th anniversary this year, we salute the critical role of the director in TV and are proud to honor the tremendous range of excellence found in the projects nominated today. Congratulations to all of the nominees.’
The winners will be announced at the 63rd Annual DGA Awards Dinner on Saturday, January 29, 2011 at the Grand Ballroom at Hollywood & Highland in Los Angeles.
***
Movies For Television And Mini-series
The nominees for the Directors Guild of America Award for Outstanding Directorial Achievement in Movies for Television and Mini-Series for 2010 are (in alphabetical order):
Mick Jackson
Temple Grandin
(HBO...
‘Whether it’s a 30-second commercial or a multi-part miniseries, television directors are crucial to the success of any television project.’ said Hackford. ‘As the DGA celebrates its 75th anniversary this year, we salute the critical role of the director in TV and are proud to honor the tremendous range of excellence found in the projects nominated today. Congratulations to all of the nominees.’
The winners will be announced at the 63rd Annual DGA Awards Dinner on Saturday, January 29, 2011 at the Grand Ballroom at Hollywood & Highland in Los Angeles.
***
Movies For Television And Mini-series
The nominees for the Directors Guild of America Award for Outstanding Directorial Achievement in Movies for Television and Mini-Series for 2010 are (in alphabetical order):
Mick Jackson
Temple Grandin
(HBO...
- 1/11/2011
- by HollywoodNews.com
- Hollywoodnews.com
The ex-Pentagon official found dead on New Year's Eve was seen disoriented the day before his body was found. Friends tell Pat Wingert and Christine Pelisek what made them suspect something terrible had happened.
The murder of former Pentagon official John P. Wheeler III, whose body was found on New Year's Eve in a Delaware landfill, has been baffling since it was first discovered. But the more facts that emerge about his mysterious death, the more perplexing it seems to become.
Related story on The Daily Beast: Obama's Vick Prison Gambit
Newark police say images of a visibly disoriented Wheeler, a 66-year-old Beltway insider who had worked in four presidential administrations, were captured on surveillance videotape in downtown Wilmington as late as 8:30 p.m. on December 30, the night before his body was spotted at a local landfill.
The night before that, Wheeler, a West Point, Yale, and Harvard grad...
The murder of former Pentagon official John P. Wheeler III, whose body was found on New Year's Eve in a Delaware landfill, has been baffling since it was first discovered. But the more facts that emerge about his mysterious death, the more perplexing it seems to become.
Related story on The Daily Beast: Obama's Vick Prison Gambit
Newark police say images of a visibly disoriented Wheeler, a 66-year-old Beltway insider who had worked in four presidential administrations, were captured on surveillance videotape in downtown Wilmington as late as 8:30 p.m. on December 30, the night before his body was spotted at a local landfill.
The night before that, Wheeler, a West Point, Yale, and Harvard grad...
- 1/6/2011
- by Pat Wingert & Christine Pelisek
- The Daily Beast
Some strange and disturbing details have arisen in the death of John P. Wheeler III, former aide to the past three Republican Presidents. Wheeler's body was discovered in a Delaware landfill on New Years Eve and his death was ruled a homicide. Now, surveillance camera footage has surfaced showing a disheveled Wheeler acting erratically in the days before his death.
- 1/5/2011
- by Jon Bershad
- Mediaite - TV
• The thousands of birds that fell from the sky onto Arkansas soil over the weekend showed signs of trauma and internal bleeding. These injuries might have been sustained “from the force of hitting the ground,” as one official from the Game and Fish Commission speculated. [CNN] • Salman Taseer, the governor of Pakistan’s Punjab province, was shot to death in a shopping center by a member of his security force. [BBC News] • The body of John P. Wheeler III, the 66-year-old former advisor to Ronald Reagan and Bushes George H.W. and W., was found in a Delaware landfill. His death has been ruled a homicide. [Talking Points Memo] • The best friend-request ever: According to DealBook, Goldman Sachs has invited certain clients to invest a minimum of $2 million in Facebook. [The New York Times] • CNN’s John Roberts, not to be confused with the Supreme Court justice of the same name, has taken a position at Fox News. [Politico] • James Franco’s new extracurricular?...
- 1/4/2011
- Vanity Fair
Chicago – There is absolutely nothing amazing about “The Amazing Race.” There’s also nothing that’s exciting, innovative, insightful or original about this long-running reality contest, despite the fact that it’s garnered twelve Primetime Emmys. A more accurate title would’ve been “The Diverting Race,” since the show merely consists of cardboard thrills and cartoonish characters that appeal only to one’s inner fast food junkie.
The premise is a simple one: eleven teams race around the world in a network-designed obstacle course that culminates in a grand prize of one million dollars. If “It’s a Mad, Mad, Mad, Mad World” were remade as a Reality TV show, it would’ve looked exactly like this. The premiere episode is always the weakest because none of the contestants acquire enough screen time to emerge as anything other than oversimplified caricatures. It doesn’t matter who wins, because it’s...
The premise is a simple one: eleven teams race around the world in a network-designed obstacle course that culminates in a grand prize of one million dollars. If “It’s a Mad, Mad, Mad, Mad World” were remade as a Reality TV show, it would’ve looked exactly like this. The premiere episode is always the weakest because none of the contestants acquire enough screen time to emerge as anything other than oversimplified caricatures. It doesn’t matter who wins, because it’s...
- 9/25/2010
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
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