The Disappearance of Eleanor Rigby: Them
"The Disappearance of Eleanor Rigby: Them" is an affecting but disjointed film about trauma's impact on one couple and their families.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Wes Anderson talks about the sources behind "The Grand Budapest Hotel", dining with his cast every night on location, and the comic gifts of Ralph Fiennes.
Sheila writes: Todd Sanders is a self-taught neon sign artist. Roadhouse Relics, the gallery of his work in Austin, Texas, is filled with his beautiful vintage-inspired signs. His designs are all hand-drawn. He collects old magazines from the 1920s, 1930s, etc., to get inspiration for his neon signs. He does custom signs as well. You can check out Sanders' work, bio, and press kit at Roadhouse Relics. Neon brings up all kinds of automatic images and associations: seedy hotels, burlesque joints, cocktail bars. His signs evoke those images, but much more. For instance, look at his beautiful "Fireflies In a Mason Jar".
Asymmetrical journalism and the Rob Ford crack tape; Sofia Coppola's The Bling Ring presents life as "an endless selfie"; James Lipton was once a pimp, apparently; Egypt solves the problem of how to censor "salacious" content by airing a sitcom with no women in it; Seattle's Egyptian movie theater to close; dumbest beauty pageant contestant answer ever?
Marie writes: Remember Brian Dettmer and his amazing book sculptures? Behold a similar approach courtesy of my pal Siri who told me about Alexander Korzer-Robinson and his sculptural collages made from Antiquarian Books. Artist's statement:"By using pre-existing media as a starting point, certain boundaries are set by the material, which I aim to transform through my process. Thus, an encyclopedia can become a window into an alternate world, much like lived reality becomes its alternate in remembered experience. These books, having been stripped of their utilitarian value by the passage of time, regain new purpose. They are no longer tools to learn about the world, but rather a means to gain insight about oneself."
Marie writes: "let's see what happens if I tickle him with my stick..."(Photo by Daniel Botelho. Click image to enlarge.)
Marie writes: I may have been born in Canada, but I grew-up watching Sesame Street and Big Bird, too. Together, they encouraged me to learn new things; and why now I can partly explain string theory.That being the case, I was extremely displeased to hear that were it up Romney, as President he wouldn't continue to support PBS. And because I'm not American and can't vote in their elections, I did the only thing I could: I immediately reached for Photoshop....
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Marie writes: According to the calendar, summer is now officially over (GASP!) and with its demise comes the first day of school. Not all embrace the occasion, however. Some wrap themselves proudly in capes of defiance and make a break for it - rightly believing that summer isn't over until the last Himalayan Blackberry has been picked and turned into freezer jam!
Marie writes: This week's Newsletter arrives a day early and lighter than usual, as come Tuesday morning, I'll be on a Ferry heading to Pender Island off the West Coast, where I've arranged to visit old friends for a few days and enjoy my first vacation in two years; albeit a brief one. No rest for the wicked. :-)
Marie writes: It was my birthday June 25th. Unlike Roger however, I'm a Crab not a Gemini. So to celebrate and with my brother's help (he has a car), I took my inner sea crustacean to Barnet Marine Park on the other side of Burnaby Mountain... and where our adventure begins....
Marie writes: Next door, across a long narrow drive and beyond the row of cedar hedges which run parallel to it, there resides an elementary school dating back to 1965, along with an assortment of newer playground equipment rendered in bright, solid primary colors...I'm sure you know the sort I mean...
Marie writes: my friend Cheryl sent me the photo below, taken by an ex-coworker (Cheryl used to work for a Veterinarian.) The wolf's name is Alpha; one guess why. He's from the Grouse Mountain Wildlife Refuge in North Vancouver; not a zoo. The veterinary clinic is also located in North Vancouver and Alpha is having his regular dental check up and cleaning. (Click to enlarge.)
The Grand Poobah writes: Unless we find an angel, our television program will go off the air at the end of its current season. There. I've said it. Usually in television, people use evasive language. Not me. We'll be gone. I want to be honest about why this is. We can't afford to finance it any longer.
To read the full story, visit "The Chimes at midnight" on the Blog.
Lesson for the day: How to have fun while wasting time... Marie writes: welcome to DRAW A STICK MAN, a delightful Flash-based site prompting viewers to draw a simple stick figure which then comes to life! Ie: the program animates it. You're given instructions about what to draw and when, which your dude uses to interact with objects onscreen. Thanks go to club member Sandy Kahn who heard about it from her pal Lauren, in Portland Oregon.Note: here's a screen-cap of what I drew; I've named him Pumpkin Head.
Marie writes: I love illustrators best in all the world. There's something so alive about the scratch and flow of pen & ink, the original medium of cheeky and subversive wit. And so when club member Sandy Kahn submitted links for famed British illustrator Ronald Searle and in the hopes others might find him interesting too, needless to say, I was quick to pounce; for before Ralph Steadman there was Ronald Searle... "The two people who have probably had the greatest influence onmy life are Lewis Carroll and Ronald Searle."-- John LennonVisit Kingly Books' Ronald Searle Gallery to view a sordid collection of wicked covers and view sample pages therein. (click to enlarge image.) And for yet more covers, visit Ronald Searle: From Prisoner of War to Prolific Illustrator at Abe Books.
"I believe that if, at the end, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this, and am happy I lived long enough to find it out." - from LIFE ITSELF
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Arriving in Cannes by bus from the Nice airport provides a thumbnail tour of the town, from the more seedy homes on the outskirts to the swanky hotels on the waterfront. The palms lining the Croisette, the festival's de facto main drag, may be the ubiquitous symbol of city, but a few blocks away the plane trees, cypresses, and the prolific climbing roses of Provence are a more common sight. Walk a short distance from the Festival Palais and there are conspicuously un-chic restaurants where local cops congregate for dinner in the back room and retired couples hang out for a smoke and an evening beer, more often than not, with a fluffy mutt under the table.
In a way, my first reminders yesterday of everyday life in everyday France were a bracing counterpoint to this morning's press screening of Woody Allen's romantic fantasy "Midnight in Paris." The festival's opening night film is a colorful valentine to Paris, indulging and gorgeously illustrating the director's every memory and cherished illusion of the city. I've never been a big Woody Allen fan, but "Midnight in Paris" is loads of fun.
The film opens with a morning-to-night sequence of views of the city's most iconic sights: Montmartre and the Moulin Rouge, the Seine, the Arc de Triomphe and the Champs-Elysees, the narrow streets of the Left Bank, and the Eiffel Tower. That opening alone is a tourist board's dream. At the press conference later, a journalist asked Allen, who mentioned that he thought of the title long before he had a story, whether these postcard-worthy views were his own impressions of Paris, or were meant to represent the point of view of his characters. Perhaps the French questioner was hoping for the latter, but Allen replied, "I learned about Paris the way all Americans do--from the movies. I wanted to show the city emotionally, not realistically, but through my eyes.
The Grand Poobah is still working away on his memoirs from his quiet retreat in Harbour Country, Lake Michigan and where last week, we caught glimpse of Roger's assistant Carol Iwata, visiting the soda fountain at Schlipp's Pharmacy in Sawyer for a chocolate milkshake. Leading me to wonder "exactly where is that milkshake?" See map. Smile.
From the Grand Poobah: Club members Gerardo and Monica Valero from Mexico City went to see the David Letterman Show a few years ago and informed him of something that is discussed on the air...
As the quaintly anachronistic title suggests, "The Imaginarium of Dr. Parnassus" is as whimsical and rickety as any Terry Gilliam contraption -- an apparent labor of love, and not just for its star Heath Ledger, who died during production, but for the smoke-and-mirrors tomfoolery that goes into the construction of illusions. Another of Gilliam's charmingly antiquated, hand-crafted thingamadoodles, this one gets off to a bit of a slow start -- trying to set up too many stories... but spinning too many stories, and keeping track of them all, is also a good part of its subject.
Ledger's untimely death unavoidably became another element, since he hadn't finished filming his central role at the time of his demise. Gilliam, as you probably know, figured out a way to complete the film with three other actors -- Johnny Depp, Jude Law and Colin Farrell -- stepping in to complete the part. Once you're watching the movie, that no longer seems like such a strange or desperate move, but I'm not going to tell you how or why it works. (Remember that Natalie Wood died during the filming of "Brainstorm" and Brandon Lee in a production accident on the set of "The Crow," but those two pictures were completed, for better or worse. David Lynch's "Mulholland Dr." was a failed TV series pilot that wasn't released theatrically until Lynch said he dreamed an ending for it.) A title card at the end announces it as a presentation of "Heath Ledger and Friends."
TORONTO, Ont. – A wealthy novelist named Andrew Wyke is alone in his isolated mansion when he receives a caller. This is Milo Tindle, the man who boldly boasts of being the lover of Wyke’s wife. The two engage in a savage verbal duel during the long evening ahead.
TORONTO, Ont. -- Everyone, including me, was under the impression that Kenneth Branagh’s new film “Sleuth” was a remake of the 1972 film. Same situation: Rich thriller writer is visited in his country house by man who is having affair with his wife. Same outcome: They argue, man is killed. Same visit: Police detective. Same so forth and so on.
Is this guy is incredibly depressing, or what?
So, what was the deal with Jerry Seinfeld at the Oscars, smoothly delivering a chunk of some old act before presenting the documentary feature award? Who does this guy think he is, and why was he invited? What does he have to do with films or documentaries, besides having once starred in a feature-length advertisement for himself (and American Express commercials before Ellen DeGeneres)? Was he auditioning to be Oscar host next year, hoping to follow in the footsteps of Johnny Carson or something? What is up with that? Doesn't he have enough money and get enough attention? Next year will they ask Michael Richards to comically complain about how the subtitles, and the amount of dermal melanin in the actors, make him uninterested in seeing some or all of the Best Foreign Language Film nominees? Ho-ho!
John Sinno, the Seattle-based Oscar-nominated director of "Iraq in Fragments," has written an open letter to the Academy about Seinfeld's snide, extended putdown of docs at this year's Oscars: I had the great fortune of attending the 79th Academy Awards following my nomination as producer for a film in the Best Documentary Feature category. At the Awards ceremony, most categories featured an introduction that glorified the filmmakers’ craft and the role it plays for the film audience and industry. But when comedian Jerry Seinfeld introduced the award for Best Documentary Feature, he began by referring to a documentary that features himself as a subject, then proceeded to poke fun at it by saying it won no awards and made no money. He then revealed his love of documentaries, as they have a very "real" quality, while making a comically sour face. This less-than-flattering beginning was followed by a lengthy digression that had nothing whatsoever to do with documentary films. The clincher, however, came when he wrapped up his introduction by calling all five nominated films "incredibly depressing!"
While I appreciate the role of humor in our lives, Jerry Seinfeld’s remarks were made at the expense of thousands of documentary filmmakers and the entire documentary genre. Obviously we make films not for awards or money, although we are glad if we are fortunate enough to receive them. The important thing is to tell stories, whether of people who have been damaged by war, of humankind’s reckless attitude toward nature and the environment, or even of the lives and habits of penguins. With his lengthy, dismissive and digressive introduction, Jerry Seinfeld had no time left for any individual description of the five nominated films. And by labeling the documentaries “incredibly depressing,” he indirectly told millions of viewers not to bother seeing them because they’re nothing but downers. He wasted a wonderful opportunity to excite viewers about the nominated films and about the documentary genre in general. To have a presenter introduce a category with such disrespect for the nominees and their work is counter to the principles the Academy was founded upon. To be nominated for an Academy Award is one of the highest honors our peers can give us, and to have the films dismissed in such an offhand fashion was deeply insulting. The Academy owes all documentary filmmakers an apology.... I have to agree with Sinno. This wasn't like Chris Rock taking a gratuitous swipe at Jude Law (only to be "corrected" by the utterly humorless and pompous Sean Penn). Sure, Seinfeld was doing his obnoxious putz routine, playing the Philistine. His schtick was slick, and his jokes (though hackneyed and predictable) pandered to the prejudices of the crowd in the room and the general audience watching on TV. But his bit was, no question, lengthy and dismissive -- in a year when the documentary nominees were, for the most part, better movies than those in the Best Picture category. The docs deserved so much better.
Sinno's letter continues after the jump...
View image So, Jude Law says to Robin Wright Penn: "Maybe that's why I like metaphors."
My review of Anthony Minghella's "Breaking and Entering" is in the Chicago Sun-Times and on RogerEbert.com: The title of Anthony Minghella's dour "Breaking and Entering" is a metaphor. How do we know this? Well, for one thing, there's a burglary right at the start.
And the central character himself, Will Francis (Jude Law), demonstrates a fondness for metaphors in his dialogue. He's so fond of them that he even tells us he is fond of them in a climactic speech: "I don't even know how to be honest anymore. Maybe that's why I like metaphors." Then he goes on to describe a metaphor, where a circle represents his family, but it's also an enclosure or a cage, and he wants to feel comfortable in it but sometimes he feels trapped in it and sometimes he feels excluded from it. [...]
In the press notes, Jude Law spells it out: "The argument is: Is it worse to steal somebody's computer or is it worse to steal somebody's heart?" That's not even a decent metaphor (although, to be fair, the film is not about organ theft). It's simply an algebraic formulation: a > b or b > a, where "a" is "computer," "b" is "heart" and the nature of the relationship is "worse"?
Expressed in those terms, "Breaking and Entering" Full review at RogerEbert.com
Q: Martin Scorsese, arguably the greatest living American director, lost the Oscar for best director to Clint Eastwood's "Million Dollar Baby." It was the third time Mr. Scorsese has lost to an actor-turned-director (Robert Redford and Kevin Costner were debut directors in 1980 and 1990, respectively). A disappointed Scorsese was quoted as saying, "I got the message," upon losing to Eastwood, joining the ranks of other five-time losers like Robert Altman and Alfred Hitchcock.
HOLLYWOOD - "Million Dollar Baby" scored a late-round rally Sunday night at the 77th annual Academy Awards as Clint Eastwood's movie about a determined female boxer won for best picture and took Oscars for actress (Hilary Swank), supporting actor (Morgan Freeman) and director (Eastwood).