In Sofia Coppola’s eighth feature, Priscilla, she shoots tail-finned Cadillacs as lovingly as she does her latest extraordinary lead actress (Cailee Spaeny as Priscilla Presley), capturing the beauty and hidden darkness inside Graceland — and in America writ large. Along the way, Coppola tells her most haunting coming-of-age tale since her exquisite directorial debut, 1999’s The Virgin Suicides. This time, it’s the true story of a teenager drawn into the all-consuming world of Elvis Presley (Euphoria’s Jacob Elordi, taller and scarier than Austin Butler) at the height of his fame,...
- 10/24/2023
- by Brian Hiatt
- Rollingstone.com
Dominic West Tells Us There Are “Tumultuous” Times Ahead For ‘The Crown’ During London Poetry Soiree
Exclusive: Dominic West, who portrays British monarch in-waiting Prince Charles in the upcoming fifth season of The Crown, has told us that season six, which shoots from August, “will be as tumultuous as it gets”, because it will explore the tragic death of Princess Diana.
Season five is already in the can and will stream on Netflix later this year.
West, star of TV hits The Wire and The Affair, and recent movie Downton Abbey: A New Era, spoke to Deadline on Sunday night during a poetry reading at London’s Delaunay restaurant.
The soiree, which included the recital of three T.S. Eliot poems, was held for The Josephine Hart Poetry Hour, an event established thirty years ago by Hart, the novelist, poet and a leading light of London’s literary and theater set until her death in 2011. Hart’s 1991 novel Damage was adapted for the screen by David Hare...
Season five is already in the can and will stream on Netflix later this year.
West, star of TV hits The Wire and The Affair, and recent movie Downton Abbey: A New Era, spoke to Deadline on Sunday night during a poetry reading at London’s Delaunay restaurant.
The soiree, which included the recital of three T.S. Eliot poems, was held for The Josephine Hart Poetry Hour, an event established thirty years ago by Hart, the novelist, poet and a leading light of London’s literary and theater set until her death in 2011. Hart’s 1991 novel Damage was adapted for the screen by David Hare...
- 6/27/2022
- by Baz Bamigboye
- Deadline Film + TV
Cannes Closer
Oss 117: From Africa With Love, the latest entry in the spy series starring Jean Dujardin, will bring the curtain down at this year’s Cannes Film Festival. The film will be shown in the ‘Final Screening’ slot on July 17th in the Grand Théâtre Lumière at the Awards Ceremony. Nicolas Bedos directed the franchise’s most recent edition, which again follows the adventures of Hubert Bonisseur de la Bath. This time, the famed secret agent is dispatched to Kenya, where he teams up with a young agent (Pierre Niney).
Caroline Norton Biography Optioned
Sharon Stirling has optioned the screen rights to author Antonia Fraser’s latest biography The Case of the Married Woman. The book charts the life of Caroline Norton, the celebrated author who found herself at the centre of one of the most scandalous court cases of the 19th century. “Caroline Norton was a family relation of mine,...
Oss 117: From Africa With Love, the latest entry in the spy series starring Jean Dujardin, will bring the curtain down at this year’s Cannes Film Festival. The film will be shown in the ‘Final Screening’ slot on July 17th in the Grand Théâtre Lumière at the Awards Ceremony. Nicolas Bedos directed the franchise’s most recent edition, which again follows the adventures of Hubert Bonisseur de la Bath. This time, the famed secret agent is dispatched to Kenya, where he teams up with a young agent (Pierre Niney).
Caroline Norton Biography Optioned
Sharon Stirling has optioned the screen rights to author Antonia Fraser’s latest biography The Case of the Married Woman. The book charts the life of Caroline Norton, the celebrated author who found herself at the centre of one of the most scandalous court cases of the 19th century. “Caroline Norton was a family relation of mine,...
- 6/25/2021
- by Tom Grater
- Deadline Film + TV
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By Fred Blosser
Kino Lorber Studio Classics has released “Mary, Queen of Scots” (1971) in a new Blu-ray edition. A Hal B. Wallis production starring Vanessa Redgrave in the title role and Glenda Jackson as Queen Elizabeth I, the picture opened on a limited basis in Los Angeles on December 22, 1971, in order to qualify for the 1972 Academy Awards. General release in the U.S. followed on February 2, 1972. The filmmakers’ hopes were high, since a previous Wallis production about the 16th Century British monarchy, “Anne of the Thousand Days,” had been a critical and commercial success two years earlier, with the same screenwriter (John Hale) and director (Charles Jarrott). As if more cred were needed, a weighty biography by Antonia Fraser, “Mary Queen of Scots” (no comma), had been a best-seller in 1969. Since Mary was a historical figure in the public domain, the filmmakers...
By Fred Blosser
Kino Lorber Studio Classics has released “Mary, Queen of Scots” (1971) in a new Blu-ray edition. A Hal B. Wallis production starring Vanessa Redgrave in the title role and Glenda Jackson as Queen Elizabeth I, the picture opened on a limited basis in Los Angeles on December 22, 1971, in order to qualify for the 1972 Academy Awards. General release in the U.S. followed on February 2, 1972. The filmmakers’ hopes were high, since a previous Wallis production about the 16th Century British monarchy, “Anne of the Thousand Days,” had been a critical and commercial success two years earlier, with the same screenwriter (John Hale) and director (Charles Jarrott). As if more cred were needed, a weighty biography by Antonia Fraser, “Mary Queen of Scots” (no comma), had been a best-seller in 1969. Since Mary was a historical figure in the public domain, the filmmakers...
- 7/30/2020
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Nan A. Talese, President, Publisher and Editorial Director of her eponymous Doubleday imprint, will retire at the end of the year, bringing an end to one of publishing’s most celebrated careers that also included stints at Random House, Simon & Schuster and Houghton Mifflin.
Since starting her Nan A. Talese imprint at Doubleday in 1990, Talese, who is married to author Gay Talese, has published a list of prominent authors including Margaret Atwood, Ian McEwan, Adam Haslett, Alex Kotlowitz, Pat Conroy, Thomas Keneally, Mia Farrow, Jim Crace, Valerie Martin, Peter Ackroyd, Mary Morris, Louis Begley, Jennifer Egan, Mark Richard, Judy Collins, Barry Unsworth, Antonia Fraser, Thomas Cahill, Janet Wallach, and George Plimpton.
Talese’s successor was not announced.
After beginning her career at Vogue, Talese joined Random House in 1959 as a copy editor, then became the first woman to hold the position of literary editor. In that role, she worked with such writers as A.
Since starting her Nan A. Talese imprint at Doubleday in 1990, Talese, who is married to author Gay Talese, has published a list of prominent authors including Margaret Atwood, Ian McEwan, Adam Haslett, Alex Kotlowitz, Pat Conroy, Thomas Keneally, Mia Farrow, Jim Crace, Valerie Martin, Peter Ackroyd, Mary Morris, Louis Begley, Jennifer Egan, Mark Richard, Judy Collins, Barry Unsworth, Antonia Fraser, Thomas Cahill, Janet Wallach, and George Plimpton.
Talese’s successor was not announced.
After beginning her career at Vogue, Talese joined Random House in 1959 as a copy editor, then became the first woman to hold the position of literary editor. In that role, she worked with such writers as A.
- 7/8/2020
- by Greg Evans
- Deadline Film + TV
Hilary Mantel, Jonathan Franzen, Mohsin Hamid, Ruth Rendell, Tom Stoppard, Malcolm Gladwell, Eleanor Catton and many more recommend the books that impressed them this year
Chimamanda Ngozi Adichie
Five Star Billionaire by Tash Aw (Fourth Estate) is a brilliant, sprawling, layered and unsentimental portrayal of contemporary China. It made me think and laugh. I also love Dave Eggers' The Circle (Hamish Hamilton), which is a sharp-eyed and funny satire about the obsession with "sharing" our lives through technology. It's convincing and a little creepy.
William Boyd
By strange coincidence two of the most intriguing art books I read this year had the word "Breakfast" in their titles. They were Breakfast with Lucian by Geordie Greig (Jonathan Cape) and Breakfast at Sotheby's by Philip Hook (Particular). Greig's fascinating, intimate biography of Lucian Freud was a revelation. Every question I had about Freud – from the aesthetic to the intrusively gossipy – was...
Chimamanda Ngozi Adichie
Five Star Billionaire by Tash Aw (Fourth Estate) is a brilliant, sprawling, layered and unsentimental portrayal of contemporary China. It made me think and laugh. I also love Dave Eggers' The Circle (Hamish Hamilton), which is a sharp-eyed and funny satire about the obsession with "sharing" our lives through technology. It's convincing and a little creepy.
William Boyd
By strange coincidence two of the most intriguing art books I read this year had the word "Breakfast" in their titles. They were Breakfast with Lucian by Geordie Greig (Jonathan Cape) and Breakfast at Sotheby's by Philip Hook (Particular). Greig's fascinating, intimate biography of Lucian Freud was a revelation. Every question I had about Freud – from the aesthetic to the intrusively gossipy – was...
- 11/23/2013
- by Hilary Mantel, Jonathan Franzen, Mohsin Hamid, Tom Stoppard, Chimamanda Ngozi Adichie, William Boyd, Bill Bryson, Shami Chakrabarti, Sarah Churchwell, Antonia Fraser, Mark Haddon, Robert Harris, Max Hastings, Philip Hensher, Simon Hoggart, AM Homes, John Lanchester, Mark Lawson, Robert Macfarlane, Andrew Motion, Ian Rankin, Lionel Shriver, Helen Simpson, Colm Tóibín, Richard Ford, John Gray, David Kynaston, Penelope Lively, Pankaj Mishra, Blake Morrison, Susie Orbach
- The Guardian - Film News
Life and work of Iain Banks to be honoured at 30th festival, with Salman Rushdie, Margaret Atwood and Neil Gaiman also featuring in two-week event partnered by the Guardian
The life and works of the late Iain Banks will be celebrated by close friends including Ian Rankin and Val McDermid in a special event at this August's Edinburgh international book festival, for which the Guardian is media partner.
"Scotland and the world were rocked by his death last weekend," said Nick Barley, the festival director. "We'd been planning a celebration anyway as we're marking our 30th birthday, and his first novel, The Wasp Factory, was out in 1984. I spoke to him many times about what he'd like to do. He wanted to be there – sadly he can't be."
Instead, the event on the festival's closing Sunday will see Scottish authors including Rankin, McDermid and Ken MacLeod looking back over Banks's 29-year career.
The life and works of the late Iain Banks will be celebrated by close friends including Ian Rankin and Val McDermid in a special event at this August's Edinburgh international book festival, for which the Guardian is media partner.
"Scotland and the world were rocked by his death last weekend," said Nick Barley, the festival director. "We'd been planning a celebration anyway as we're marking our 30th birthday, and his first novel, The Wasp Factory, was out in 1984. I spoke to him many times about what he'd like to do. He wanted to be there – sadly he can't be."
Instead, the event on the festival's closing Sunday will see Scottish authors including Rankin, McDermid and Ken MacLeod looking back over Banks's 29-year career.
- 6/20/2013
- by Alison Flood
- The Guardian - Film News
To be fair, not everyone hated Sofia Coppola's Marie Antoinette. New York's David Edelstein called it "one of the most immediate, personal costume dramas ever made"; 55 percent of the critics on Rotten Tomatoes sided with him, to varying degrees. But seven years later, Marie Antoinette, loosely based on the best-selling Antonia Fraser biography, is probably Coppola's least-loved film. It's the one that got booed at Cannes (though of course it did, Cannes is in France); it is the one that didn't live up to Lost in Translation. And if you are anti-Sofia, then it is probably the most obvious example of her worst tendencies: style over substance, minimal plot, overprivileged young women who refuse to speak in full sentences or really at all. I happen to love Marie Antoinette; it’s probably my second favorite of Coppola’s films, right behind Lost in Translation. And while I understand...
- 6/18/2013
- by Amanda Dobbins
- Vulture
Rufus Sewell will also star in the first of Pinter's plays to be staged at the West End theatre that was renamed in the playwright's honour last year
Harold Pinter's Old Times will be the first of his plays to be produced at the West End theatre that was renamed in his honour last year, when a stellar revival opens in January.
Ian Rickson's production will star Kristin Scott Thomas, who appeared in the final show at what was then called the Comedy theatre, a revival of another Pinter three-hander, Betrayal), also directed by Rickson.
Old Times premiered at the Aldwych theatre in 1971 and shows married couple Kate and Deeley reminiscing about the start of their relationship with Kate's cryptic old friend Anna. Old wounds resurface over the course of an evening underpinned by sexual tension.
Scott Thomas will alternate the roles of Kate and Anna with Lia Williams,...
Harold Pinter's Old Times will be the first of his plays to be produced at the West End theatre that was renamed in his honour last year, when a stellar revival opens in January.
Ian Rickson's production will star Kristin Scott Thomas, who appeared in the final show at what was then called the Comedy theatre, a revival of another Pinter three-hander, Betrayal), also directed by Rickson.
Old Times premiered at the Aldwych theatre in 1971 and shows married couple Kate and Deeley reminiscing about the start of their relationship with Kate's cryptic old friend Anna. Old wounds resurface over the course of an evening underpinned by sexual tension.
Scott Thomas will alternate the roles of Kate and Anna with Lia Williams,...
- 10/10/2012
- by Matt Trueman
- The Guardian - Film News
His Jerusalem is a Broadway hit – now director Ian Rickson is back with a star-studded Betrayal. He talks to Andrew Dickson about his debt to Pinter, coaching Pj Harvey – and why he's finally ready for Shakespeare
Never let it be said that Ian Rickson lacks range. This week, the director opens a new production of Harold Pinter's Betrayal, starring Kristin Scott Thomas; it turns out that he has also found time to direct Pj Harvey's current tour. "We talked about staging and lighting, should she talk between songs, things like that," he explains, before adding, not wanting to take too much credit: "Director in inverted commas."
I'm not sure he needs the rider. In the four years since Rickson stepped down as artistic director of the Royal Court, there seems to be little he hasn't turned his hand to. His farewell production there, The Seagull, was the first...
Never let it be said that Ian Rickson lacks range. This week, the director opens a new production of Harold Pinter's Betrayal, starring Kristin Scott Thomas; it turns out that he has also found time to direct Pj Harvey's current tour. "We talked about staging and lighting, should she talk between songs, things like that," he explains, before adding, not wanting to take too much credit: "Director in inverted commas."
I'm not sure he needs the rider. In the four years since Rickson stepped down as artistic director of the Royal Court, there seems to be little he hasn't turned his hand to. His farewell production there, The Seagull, was the first...
- 6/15/2011
- by Andrew Dickson
- The Guardian - Film News
Kristin Scott Thomas is back on the London stage in Harold Pinter's Betrayal. Here she talks about the appeal of theatre and this remarkable new flowering of her acting career
Harold Pinter's play Betrayal, in which Kristin Scott Thomas is about to star at the Comedy theatre in London, explores a love affair lived backwards. The play begins with the characters locked in open recrimination and bitterness, and ends, seven years earlier, with them in thrall to furtive passion. When I meet Scott Thomas for lunch in a break from rehearsals she is full of the complications that this back-to-front narrative presents, and also characteristically anxious to work her way toward a resolution. "Normally you go in to a scene charged with the emotion of the scene before," she says, "but here you have to sort of uncharge things all the time. You lose that progression with which we make sense of things,...
Harold Pinter's play Betrayal, in which Kristin Scott Thomas is about to star at the Comedy theatre in London, explores a love affair lived backwards. The play begins with the characters locked in open recrimination and bitterness, and ends, seven years earlier, with them in thrall to furtive passion. When I meet Scott Thomas for lunch in a break from rehearsals she is full of the complications that this back-to-front narrative presents, and also characteristically anxious to work her way toward a resolution. "Normally you go in to a scene charged with the emotion of the scene before," she says, "but here you have to sort of uncharge things all the time. You lose that progression with which we make sense of things,...
- 5/28/2011
- by Tim Adams
- The Guardian - Film News
HollywoodNews.com: Our selected celebrity to be included in our “Hot Hollywood Celebrity Photo Gallery of the Day” is Kirsten Dunst.
Kirsten Dunst ◄ Back Next ►Picture 1 of 11
Kirsten Dunst - 64th Annual Cannes Film Festival - "Melancholia" Photocall - Palais des Festivals - Cannes
◄ Back Next ►Picture 1 of 11
Kirsten Dunst - 64th Annual Cannes Film Festival - "Melancholia" Photocall - Palais des Festivals - Cannes
Kirsten Caroline Dunst (born April 30, 1982) is an American actress, singer and model. She made her film debut in Oedipus Wrecks, a short film directed by Woody Allen for the anthology New York Stories (1989). At the age of 12, Dunst gained widespread recognition playing the role of vampire Claudia in Interview with the Vampire (1994), a performance for which she was nominated for a Golden Globe Award for Best Supporting Actress. The same year she appeared in Little Women, to further acclaim.
Dunst achieved international fame as a...
Kirsten Dunst ◄ Back Next ►Picture 1 of 11
Kirsten Dunst - 64th Annual Cannes Film Festival - "Melancholia" Photocall - Palais des Festivals - Cannes
◄ Back Next ►Picture 1 of 11
Kirsten Dunst - 64th Annual Cannes Film Festival - "Melancholia" Photocall - Palais des Festivals - Cannes
Kirsten Caroline Dunst (born April 30, 1982) is an American actress, singer and model. She made her film debut in Oedipus Wrecks, a short film directed by Woody Allen for the anthology New York Stories (1989). At the age of 12, Dunst gained widespread recognition playing the role of vampire Claudia in Interview with the Vampire (1994), a performance for which she was nominated for a Golden Globe Award for Best Supporting Actress. The same year she appeared in Little Women, to further acclaim.
Dunst achieved international fame as a...
- 5/20/2011
- by Josh Abraham
- Hollywoodnews.com
There were, however, many arts practitioners on the list. Is the Diary the only one surprised (and pleased) to see Steve McQueen get a Cbe, given the artist's marathon battle with the establishment to get the Iraq war dead printed on stamps? Among the other recipients of a Cbe – and the Diary apologises to the names omitted here – are producer Trevor Horn, sculptor Richard Wentworth, theatre director Howard Davies, choreographer Wayne McGregor, trumpeter John Wallace, actors Sheila Hancock and David Suchet, and composer Howard Goodall. OBEs went to Annie Lennox, folkie Richard Thompson, director Andrea Arnold, actor Burt Kwouk, costume designer Sandy Powell and composer Colin Matthews. And there are damehoods for actor Harriet Walter, mezzo-soprano turned professor Felicity Palmer and writer Antonia Fraser.
Disappointingly, despite the Diary's call for a triple whammy of knighthoods for Ken Dodd, Ronnie Corbett and Brucie Forsyth, they got nothing.
New Year honours listSteve...
Disappointingly, despite the Diary's call for a triple whammy of knighthoods for Ken Dodd, Ronnie Corbett and Brucie Forsyth, they got nothing.
New Year honours listSteve...
- 1/4/2011
- by Mark Brown
- The Guardian - Film News
From Donald Rumsfeld's memoir to David Foster Wallace's posthumous novel, here are the 21 books that you won't want to miss in 2011.
The mistletoe has been put away, the presents unwrapped, the New Year's Champagne uncorked, and you still haven't quite finished Franzen's Freedom. But new books on how to run the world, turn around Starbucks, deal with a famous father, and even join a club are all coming out in the next few months. So get ready for the new literary season.
Related story on The Daily Beast: This Week's Hot Reads
Here is The Daily Beast's picks of the most controversial, intriguing, and just best reads for the first few months of 2011.
January
How to Run the World: Charting a Course to the Next RenaissanceBy Parag Khanna
From the author of Second World comes a guide to the future of international relations in an increasingly chaotic and fractured world.
The mistletoe has been put away, the presents unwrapped, the New Year's Champagne uncorked, and you still haven't quite finished Franzen's Freedom. But new books on how to run the world, turn around Starbucks, deal with a famous father, and even join a club are all coming out in the next few months. So get ready for the new literary season.
Related story on The Daily Beast: This Week's Hot Reads
Here is The Daily Beast's picks of the most controversial, intriguing, and just best reads for the first few months of 2011.
January
How to Run the World: Charting a Course to the Next RenaissanceBy Parag Khanna
From the author of Second World comes a guide to the future of international relations in an increasingly chaotic and fractured world.
- 1/3/2011
- by The Daily Beast
- The Daily Beast
Tina Brown, Peter Beinart, John Avlon, Michelle Goldberg, and other Daily Beast writers and contributors pick their favorite books of 2010.
Tina Brown
Related story on The Daily Beast: This Week's Hot Reads
It takes a daring biographer to turn her sharp eye on her own life as Antonia Fraser does so movingly and beautifully in her memoir Must You Go? My Life with Harold Pinter. It's a compelling diary of a passionate love affair, marriage, and 40-year conversation of two soul mates in the milieu of London's chattering classes.
Harvard superstar professor Niall Ferguson wrote a superb book, High Financier, that I hope every Wall Street banker is receiving along with their fat bonus checks because Siegmund Warburg was a banker with style, integrity, and a serious intellect-rare qualities these days.
Daily Beast columnist Peter Beinart's The Icarus Syndrome is one of the most important books of the last...
Tina Brown
Related story on The Daily Beast: This Week's Hot Reads
It takes a daring biographer to turn her sharp eye on her own life as Antonia Fraser does so movingly and beautifully in her memoir Must You Go? My Life with Harold Pinter. It's a compelling diary of a passionate love affair, marriage, and 40-year conversation of two soul mates in the milieu of London's chattering classes.
Harvard superstar professor Niall Ferguson wrote a superb book, High Financier, that I hope every Wall Street banker is receiving along with their fat bonus checks because Siegmund Warburg was a banker with style, integrity, and a serious intellect-rare qualities these days.
Daily Beast columnist Peter Beinart's The Icarus Syndrome is one of the most important books of the last...
- 12/18/2010
- by The Daily Beast
- The Daily Beast
Jonathan Franzen's family epic, a new collection from Seamus Heaney, Philip Larkin's love letters, a memoir centred on tiny Japanese sculptures ... which books most excited our writers this year?
Chimamanda Ngozi Adichie
In Red Dust Road (Picador) Jackie Kay writes lucidly and honestly about being the adopted black daughter of white parents, about searching for her white birth mother and Nigerian birth father, and about the many layers of identity. She has a rare ability to portray sentiment with absolutely no sentimentality. Isabel Wilkerson's The Warmth of Other Suns (Random House) is a fresh and wonderful history of African-American migration. Chang-rae Lee's The Surrendered (Little, Brown) is a grave, beautiful novel about people who experienced the Korean war and the war's legacy. And David Remnick's The Bridge (Picador) is a thorough and well-written biography of Barack Obama. The many Americans who believe invented biographical details about Obama would do well to read it.
Chimamanda Ngozi Adichie
In Red Dust Road (Picador) Jackie Kay writes lucidly and honestly about being the adopted black daughter of white parents, about searching for her white birth mother and Nigerian birth father, and about the many layers of identity. She has a rare ability to portray sentiment with absolutely no sentimentality. Isabel Wilkerson's The Warmth of Other Suns (Random House) is a fresh and wonderful history of African-American migration. Chang-rae Lee's The Surrendered (Little, Brown) is a grave, beautiful novel about people who experienced the Korean war and the war's legacy. And David Remnick's The Bridge (Picador) is a thorough and well-written biography of Barack Obama. The many Americans who believe invented biographical details about Obama would do well to read it.
- 11/27/2010
- The Guardian - Film News
In a frank interview, the famed writer talks about motherhood, Catholicism, her parents and soulmate Harold Pinter Lady Antonia Fraser adjusts her pearls, gazes out of the french windows opening out to the garden, and tells me to f*** awf. This, five minutes into our interview, comes straight after her waving a two-fingered salute at Private Eye. I had inadvertently mentioned the satirical magazine, so thought I might as well ask her whether she had forgiven the chaps yet for nicknaming her Lady Magnesia Freelove - ooooh, about four decades ago, when London was swinging in every sense of the word. Her first response was as measured and dignified as her demeanour: "I'll tell you what, Ginny, I decided that as I was campaigning for a free press, I couldn't object. But I, too, was free and I never read Private...
- 1/24/2010
- by Ginny Dougary
- Huffington Post
✒ With the radio industry keen to persuade listeners to invest in a digital audio broadcasting (Dab) radio, the technology was given a boost by BBC Radio 2's new breakfast host, Chris Evans. "We've got a digital radio in our kitchen. It's rubbish," Evans told his 8 million listeners. "It breaks up all the time. Is it the radio or where we are? Are shows driving under bridges as we listen to them?" It was unfortunate timing, with MPs about to debate the radio proposals in the digital economy bill going through parliament. But Evans wasn't quite finished. "They are supposed to be all the rage. It's a very good make," he added. "It looks like an old one but it's a new one. But the old ones which were the old ones seem to work better than the new ones that look like old ones. I think perhaps we need to move the kitchen.
- 1/18/2010
- by Monkey
- The Guardian - Film News
Late playwright Harold Pinter left a huge chunk of his fortune to his estranged son, even though the pair had not spoken for 15 years before his death.
The legendary writer passed away on 24 December 2008 following a battle with cancer.
Now the star's will has revealed he set aside a country cottage in Cambridgeshire, England and a lump sum of $480,000 (£300,000) for his 51-year-old son Daniel.
Pinter fell out with Daniel, his only child, after divorcing Vivien Merchant in 1977 following an affair with Lady Antonia Fraser, who later become Pinter's second wife.
The pair never reconciled and had not spoken in 15 years prior to his death, according to Britain's Mail on Sunday newspaper.
Pinter left the bulk of his fortune to Fraser, making provisions for her six children as well as marking out a substantial donation to his local cricket team.
The legendary writer passed away on 24 December 2008 following a battle with cancer.
Now the star's will has revealed he set aside a country cottage in Cambridgeshire, England and a lump sum of $480,000 (£300,000) for his 51-year-old son Daniel.
Pinter fell out with Daniel, his only child, after divorcing Vivien Merchant in 1977 following an affair with Lady Antonia Fraser, who later become Pinter's second wife.
The pair never reconciled and had not spoken in 15 years prior to his death, according to Britain's Mail on Sunday newspaper.
Pinter left the bulk of his fortune to Fraser, making provisions for her six children as well as marking out a substantial donation to his local cricket team.
- 1/3/2010
- WENN
Tributes are pouring in for legendary British playwright Harold Pinter, who died on Wednesday aged 78.
The writer, who penned classic plays including The Birthday Party and The Dumb Waiter and was awarded the Nobel Prize in Literature in 2005 for his contribution to the arts, passed away following a long battle with cancer.
And friends and former colleagues have lined up to pay tribute to Pinter following his death.
Actor Sir Michael Gambon said: "I had the privilege to know Harold well and was in many of his plays. I created a couple of parts for him in first productions. He was our God, Harold Pinter, for actors. He was the man who wrote the plays you wanted to be in."
Pinter's second wife, Lady Antonia Fraser, said: "He was a great, and it was a privilege to live with him for over 33 years. He will never be forgotten."
Former British MP Tony Benn said: "His death will leave a huge gap that will be felt by the whole political spectrum."
And English actor David Bradley, currently starring in Pinter's No Man's Land in London's West End, added: "I'm very honoured to have known him personally and professionally over the past 10 years. It's a huge loss. People from Germany, Israel and China would come backstage saying Harold Pinter was so important to them. He wrote about oppression and people taking terrible advantage and oppressing each other on a personal level. Although he did not write the plays in an overtly political way they stood the test of time because they have universal themes. They meant so much to people in different ways."...
The writer, who penned classic plays including The Birthday Party and The Dumb Waiter and was awarded the Nobel Prize in Literature in 2005 for his contribution to the arts, passed away following a long battle with cancer.
And friends and former colleagues have lined up to pay tribute to Pinter following his death.
Actor Sir Michael Gambon said: "I had the privilege to know Harold well and was in many of his plays. I created a couple of parts for him in first productions. He was our God, Harold Pinter, for actors. He was the man who wrote the plays you wanted to be in."
Pinter's second wife, Lady Antonia Fraser, said: "He was a great, and it was a privilege to live with him for over 33 years. He will never be forgotten."
Former British MP Tony Benn said: "His death will leave a huge gap that will be felt by the whole political spectrum."
And English actor David Bradley, currently starring in Pinter's No Man's Land in London's West End, added: "I'm very honoured to have known him personally and professionally over the past 10 years. It's a huge loss. People from Germany, Israel and China would come backstage saying Harold Pinter was so important to them. He wrote about oppression and people taking terrible advantage and oppressing each other on a personal level. Although he did not write the plays in an overtly political way they stood the test of time because they have universal themes. They meant so much to people in different ways."...
- 12/26/2008
- WENN
Notable British playwright Harold Pinter has died. He was 76.
The star passed away on Wednesday following a long battle with cancer.
Pinter - whose most famous plays included The Birthday Party and The Dumb Waiter - was awarded the Nobel Prize for Literature in 2005 for his contribution to the arts.
During his long and successful career Pinter wrote 32 plays; one novel, The Dwarfs, in 1990; and put his hand to 22 screenplays including 1965's The Quiller Memorandum and The French Lieutenant's Woman in 1980.
Pinter stopped writing plays in 2005 to focus on poetry, alongside forays into acting and political activism.
Following treatment for cancer of the oesophagus, which was diagnosed in 2002, Pinter returned to the stage, winning rave reviews for his performance of Beckett's monologue, Krapp's Last Tape, in London in 2006.
Pinter's wife, Lady Antonia Fraser, has paid tribute to her late husband, saying in a statement, "He was a great, and it was a privilege to live with him for over 33 years. He will never be forgotten."
A small private funeral and memorial service will be held at a date to be announced.
The star passed away on Wednesday following a long battle with cancer.
Pinter - whose most famous plays included The Birthday Party and The Dumb Waiter - was awarded the Nobel Prize for Literature in 2005 for his contribution to the arts.
During his long and successful career Pinter wrote 32 plays; one novel, The Dwarfs, in 1990; and put his hand to 22 screenplays including 1965's The Quiller Memorandum and The French Lieutenant's Woman in 1980.
Pinter stopped writing plays in 2005 to focus on poetry, alongside forays into acting and political activism.
Following treatment for cancer of the oesophagus, which was diagnosed in 2002, Pinter returned to the stage, winning rave reviews for his performance of Beckett's monologue, Krapp's Last Tape, in London in 2006.
Pinter's wife, Lady Antonia Fraser, has paid tribute to her late husband, saying in a statement, "He was a great, and it was a privilege to live with him for over 33 years. He will never be forgotten."
A small private funeral and memorial service will be held at a date to be announced.
- 12/25/2008
- WENN
In the revisionist Marie Antoinette, writer-director Sofia Coppola and actress Kirsten Dunst take a remote and no doubt misunderstood historical figure, the controversial and often despised Queen of France at the time of the French Revolution, and brings her into sharp focus as a living, breathing human being with flaws, foibles, passions, intelligence and warm affections. The movie slices through the cobwebs of history to seek the heart of the young Austrian princess whom 18th century political diplomacy thrust into a maelstrom of court intrigue and poisoned personal relationships without even asking if she minded.
This is not a portrait, even though it is based on Antonia Fraser's biography Marie Antoinette: The Journey, that will play well in France. Here she is a favorite villainess. Nor will the film be an easy sell in other territories, where Coppola's contemporary sensibilities and dialogue may feel anachronistic. The film certainly is far afield from her popular Lost in Translation even though both films concern characters that suffer anxiety and ennui from cultural dislocation.
The film opens here this week, where it can expect mixed to hostile reactions from critics, but may possibly intrigue moviegoers keen to see a different version of well-known events. When it opens domestically Oct. 13, Sony will have to shrewdly market the film to pull in a young crowd for whom Marie Antoinette is a figure in a wax museum.
One more comparison to Lost in Translation: Marie Antoinette's protracted arrival in her new home in France and especially the Palace of Versailles indelibly expresses the young woman's discomfort and loss of bearings just as Bill Murray's arrival in Tokyo. Each is a stranger in a strange land of unfamiliar and even upsetting customs.
The problem Coppola confronts is that Marie Antoinette is a protagonist to whom things happen. She has little if any control over her destiny other than to indulge, famously, in a decadent lifestyle and cavort with her ladies in waiting in Le Petit Trianon. News, tragic or otherwise, arrives by messenger, and those around her are either wily or unwise.
Coppola's solution to this dramatic handicap is to conspire with her star to achieve an empathetic portrait of a life spent in a gilded, vast prison. Most of the movie is shot in and around Versailles. Sometimes scenes occur on the very spot of the actual events. It's hard to imagine this picture even happening without the cooperation of the French government; mere sets were never going to get the job done.
What the history books tell us about Marie Antoinette's lavish lifestyle, with her rising each morning to a retinue of women who dress her, the movie correctly sees as an indignity: Who wants to get dressed in front of virtual strangers?
The marriage at 14 to her husband, Louis (Jason Schwartzman), the Dauphin and heir to the throne, creates the central relationship of the movie. The young man's unwillingness or inability to consummate the marriage for an astonishing and awkward seven years inspired gossip and derision, mostly directed at the undeserving Dauphine. An undercurrent of malicious chitchat becomes a kind of white noise in many palace scenes.
Dunst radiates innocence even as she is losing that innocence. She transfers her love to pets and, when children finally do arrive, to the babies. She refuses to relinquish her willfulness or determination even though these traits do not stand her in good stead at Versailles.
Schwartzman gives a wry and funny performance as a man even more ill suited to his historical role than his wife. The movie never gets to the bottom of his difficulties and indifference, wisely resisting the temptation to impose a modern interpretation on this relationship. Instead, Coppola hews to her heroine's point of view. In the final reel, the couple does achieve a maturity, only to be cut short by angry mobs and revolution.
Terrific performances litter the film: Rip Torn's Louis XV, a shrewd man with hearty appetites of flesh and stomach; Asia Argento as his sultry and crude mistress, Madame Du Barry, despised by all but her lover; Steve Coogan as the courtly Austrian ambassador, who tries to steer Marie Antoinette through the tricky shoals of court politics; Danny Huston as her favorite older brother, the only male with whom she has any real rapport; and Marianne Faithful as her politically astute mother, Maria Teresa. Unfortunately, the movie never quite does justice to a Swedish count, played wanly by James Dornan, whom the Queen takes as a lover.
The costumes, dazzling shoes and jewels are pure pleasure to behold, and Lance Acord's cinematography keeps things simple no matter how lavish the settings. The bursts of rock music on the soundtrack often takes you out of the picture, but this is an indulgence one easily grants to Coppola, who otherwise achieves a harmonious blend of history and contemporary perceptions.
MARIE ANTOINETTE
Columbia Pictures
Columbia Pictures presents in association with Pricel and Tohokushinsha an American Zoetrope production
Credits: Writer-director: Sofia Coppola; Based on the book Marie Antoinette: The Journey by: Antonia Fraser; Producers: Ross Katz, Sofia Coppola; Executive producers: Fred Roos, Francis Ford Coppola; Director of photography: Lance Acord; Production designer: KK Barrett; Music producer: Brian Reitzell; Costumes: Milena Canonero; Editor: Sarah Flack. Cast: Marie Antoinette: Kirsten Dunst; King Louis XVI: Jason Schwartzman; King Louis XV: Rip Torn; Comtessse de Noailles: Judy Davis; Madame Du Barry: Asia Argento; Empress Maria Teresa: Marianne Faithful; Joseph: Danny Huston; Aunt Victoire: Molly Shannon.
No MPAA rating, running time 123 minutes.
This is not a portrait, even though it is based on Antonia Fraser's biography Marie Antoinette: The Journey, that will play well in France. Here she is a favorite villainess. Nor will the film be an easy sell in other territories, where Coppola's contemporary sensibilities and dialogue may feel anachronistic. The film certainly is far afield from her popular Lost in Translation even though both films concern characters that suffer anxiety and ennui from cultural dislocation.
The film opens here this week, where it can expect mixed to hostile reactions from critics, but may possibly intrigue moviegoers keen to see a different version of well-known events. When it opens domestically Oct. 13, Sony will have to shrewdly market the film to pull in a young crowd for whom Marie Antoinette is a figure in a wax museum.
One more comparison to Lost in Translation: Marie Antoinette's protracted arrival in her new home in France and especially the Palace of Versailles indelibly expresses the young woman's discomfort and loss of bearings just as Bill Murray's arrival in Tokyo. Each is a stranger in a strange land of unfamiliar and even upsetting customs.
The problem Coppola confronts is that Marie Antoinette is a protagonist to whom things happen. She has little if any control over her destiny other than to indulge, famously, in a decadent lifestyle and cavort with her ladies in waiting in Le Petit Trianon. News, tragic or otherwise, arrives by messenger, and those around her are either wily or unwise.
Coppola's solution to this dramatic handicap is to conspire with her star to achieve an empathetic portrait of a life spent in a gilded, vast prison. Most of the movie is shot in and around Versailles. Sometimes scenes occur on the very spot of the actual events. It's hard to imagine this picture even happening without the cooperation of the French government; mere sets were never going to get the job done.
What the history books tell us about Marie Antoinette's lavish lifestyle, with her rising each morning to a retinue of women who dress her, the movie correctly sees as an indignity: Who wants to get dressed in front of virtual strangers?
The marriage at 14 to her husband, Louis (Jason Schwartzman), the Dauphin and heir to the throne, creates the central relationship of the movie. The young man's unwillingness or inability to consummate the marriage for an astonishing and awkward seven years inspired gossip and derision, mostly directed at the undeserving Dauphine. An undercurrent of malicious chitchat becomes a kind of white noise in many palace scenes.
Dunst radiates innocence even as she is losing that innocence. She transfers her love to pets and, when children finally do arrive, to the babies. She refuses to relinquish her willfulness or determination even though these traits do not stand her in good stead at Versailles.
Schwartzman gives a wry and funny performance as a man even more ill suited to his historical role than his wife. The movie never gets to the bottom of his difficulties and indifference, wisely resisting the temptation to impose a modern interpretation on this relationship. Instead, Coppola hews to her heroine's point of view. In the final reel, the couple does achieve a maturity, only to be cut short by angry mobs and revolution.
Terrific performances litter the film: Rip Torn's Louis XV, a shrewd man with hearty appetites of flesh and stomach; Asia Argento as his sultry and crude mistress, Madame Du Barry, despised by all but her lover; Steve Coogan as the courtly Austrian ambassador, who tries to steer Marie Antoinette through the tricky shoals of court politics; Danny Huston as her favorite older brother, the only male with whom she has any real rapport; and Marianne Faithful as her politically astute mother, Maria Teresa. Unfortunately, the movie never quite does justice to a Swedish count, played wanly by James Dornan, whom the Queen takes as a lover.
The costumes, dazzling shoes and jewels are pure pleasure to behold, and Lance Acord's cinematography keeps things simple no matter how lavish the settings. The bursts of rock music on the soundtrack often takes you out of the picture, but this is an indulgence one easily grants to Coppola, who otherwise achieves a harmonious blend of history and contemporary perceptions.
MARIE ANTOINETTE
Columbia Pictures
Columbia Pictures presents in association with Pricel and Tohokushinsha an American Zoetrope production
Credits: Writer-director: Sofia Coppola; Based on the book Marie Antoinette: The Journey by: Antonia Fraser; Producers: Ross Katz, Sofia Coppola; Executive producers: Fred Roos, Francis Ford Coppola; Director of photography: Lance Acord; Production designer: KK Barrett; Music producer: Brian Reitzell; Costumes: Milena Canonero; Editor: Sarah Flack. Cast: Marie Antoinette: Kirsten Dunst; King Louis XVI: Jason Schwartzman; King Louis XV: Rip Torn; Comtessse de Noailles: Judy Davis; Madame Du Barry: Asia Argento; Empress Maria Teresa: Marianne Faithful; Joseph: Danny Huston; Aunt Victoire: Molly Shannon.
No MPAA rating, running time 123 minutes.
- 5/25/2006
- The Hollywood Reporter - Movie News
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