My friend Clare Douglas, who has died aged 73, was a Bafta award-winning film editor of memorable television programmes.
She worked on the adaptation of John le Carré’s Tinker, Tailor, Soldier, Spy (1979), Dennis Potter’s films Blackeyes (1989), Secret Friends (1991), Lipstick on Your Collar (1993), Karaoke (1996) and the four-parter Cold Lazarus (1996), directed by Renny Rye and starring Albert Finney as the writer Daniel Feeld.
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She worked on the adaptation of John le Carré’s Tinker, Tailor, Soldier, Spy (1979), Dennis Potter’s films Blackeyes (1989), Secret Friends (1991), Lipstick on Your Collar (1993), Karaoke (1996) and the four-parter Cold Lazarus (1996), directed by Renny Rye and starring Albert Finney as the writer Daniel Feeld.
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- 7/30/2017
- by David Boardman
- The Guardian - Film News
Chicago – When Paul Greengrass’s “United 93” opened in American cinemas on April 28, 2006, the vast majority of buzz surrounding the film centered on the controversial question of whether it was in fact “too soon” for a film based on the 9/11 terrorist attacks to hit the big screen. It apparently wasn’t too soon for the small screen, since Peter Markle’s TV dramatization “Flight 93” played to little fanfare in January of that year.
Watching Greengrass’s “United 93” a mere five years after the historic tragedy was one of the great out-of-body experiences I’ve ever had in a theater. Though various films have attempted to function as memorials, this one actually succeeds in honoring the lives that were lost while resisting every opportunity to exploit the material for cheap theatrics. The film takes an intimate god’s eye view of the people on the ground and in the air,...
Watching Greengrass’s “United 93” a mere five years after the historic tragedy was one of the great out-of-body experiences I’ve ever had in a theater. Though various films have attempted to function as memorials, this one actually succeeds in honoring the lives that were lost while resisting every opportunity to exploit the material for cheap theatrics. The film takes an intimate god’s eye view of the people on the ground and in the air,...
- 9/8/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Members of the American Cinema Editors have cut together an assembly of 10 nominees in two film categories for next month's 2007 Eddie Awards recognizing outstanding editing.
Making the dramatic feature film cut are Stephen Mirrione and Douglas Crise for Babel, Stuart Baird for Casino Royale, Thelma Schoonmaker for The Departed, Lucia Zucchetti for The Queen and the triumvirate of Clare Douglas, Christopher Rouse and Richard Pearson for United 93.
In the comedy feature heat, the nominees are Mark Livolsi for The Devil Wears Prada, Virginia Katz for Dreamgirls, Pamela Martin for Little Miss Sunshine, Craig Wood and Stephen Rivkin for "Pirates of the Caribbean: Dead Man's Chest," and Dana Glauberman for Thank You for Smoking.
In the documentary competition, the nominees are Jay Cassidy and Dan Swietlik for An Inconvenient Truth, Patrick McMahon and Carrie Goldman for Baghdad ER and Samuel D. Pollard for Part 1 of Spike Lee's "When the Levees Broke: A Requiem in Four Acts."
The nominees for miniseries or motion picture for noncommercial television are Beverley Mills for HBO's Elizabeth I, Part 1, Curtiss Clayton and Lee Percy for HBO's Mrs. Harris, and Trevor Waite for A&E's "Prime Suspect 7: The Final Act, Part 1."
Best-edited miniseries or motion picture for commercial television earned nominations for Sue Blainey, Sarah Boyd and Stephen Semel for ABC's Lost: Live Together, Die Alone, Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman and Mitchell Danton for ABC's "The Path to 9/11, Part Two," and Heather Persons for TNT's The Ron Clark Story.
In the half-hour series for television race, the contenders are Jon Corn for HBO's Entourage: Sorry Ari, Lance Luckey for NBC's My Name Is Earl: Number One, and Dean Holland and David Rogers for NBC's The Office: Casino Nights.
The one-hour series nominees for commercial television are Leon Ortiz-Gil for Fox's 24: 7:00 PM to 8:00 PM, Conrad Gonzalez, Keith Henderson and Steve Michael for NBC's Friday Night Lights: Pilot, and Edward Ornelas for ABC's "Grey's Anatomy: It's the End of the World."
All eight film, television and documentary category winners will be disclosed during the editors' 57th annual awards ceremony Feb.
Making the dramatic feature film cut are Stephen Mirrione and Douglas Crise for Babel, Stuart Baird for Casino Royale, Thelma Schoonmaker for The Departed, Lucia Zucchetti for The Queen and the triumvirate of Clare Douglas, Christopher Rouse and Richard Pearson for United 93.
In the comedy feature heat, the nominees are Mark Livolsi for The Devil Wears Prada, Virginia Katz for Dreamgirls, Pamela Martin for Little Miss Sunshine, Craig Wood and Stephen Rivkin for "Pirates of the Caribbean: Dead Man's Chest," and Dana Glauberman for Thank You for Smoking.
In the documentary competition, the nominees are Jay Cassidy and Dan Swietlik for An Inconvenient Truth, Patrick McMahon and Carrie Goldman for Baghdad ER and Samuel D. Pollard for Part 1 of Spike Lee's "When the Levees Broke: A Requiem in Four Acts."
The nominees for miniseries or motion picture for noncommercial television are Beverley Mills for HBO's Elizabeth I, Part 1, Curtiss Clayton and Lee Percy for HBO's Mrs. Harris, and Trevor Waite for A&E's "Prime Suspect 7: The Final Act, Part 1."
Best-edited miniseries or motion picture for commercial television earned nominations for Sue Blainey, Sarah Boyd and Stephen Semel for ABC's Lost: Live Together, Die Alone, Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman and Mitchell Danton for ABC's "The Path to 9/11, Part Two," and Heather Persons for TNT's The Ron Clark Story.
In the half-hour series for television race, the contenders are Jon Corn for HBO's Entourage: Sorry Ari, Lance Luckey for NBC's My Name Is Earl: Number One, and Dean Holland and David Rogers for NBC's The Office: Casino Nights.
The one-hour series nominees for commercial television are Leon Ortiz-Gil for Fox's 24: 7:00 PM to 8:00 PM, Conrad Gonzalez, Keith Henderson and Steve Michael for NBC's Friday Night Lights: Pilot, and Edward Ornelas for ABC's "Grey's Anatomy: It's the End of the World."
All eight film, television and documentary category winners will be disclosed during the editors' 57th annual awards ceremony Feb.
- 1/16/2007
- The Hollywood Reporter - Movie News
Members of the American Cinema Editors have cut together an assembly of 10 nominees in two film categories for next month's 2007 Eddie Awards recognizing outstanding editing.
Making the dramatic feature film cut are Stephen Mirrione and Douglas Crise for Babel, Stuart Baird for Casino Royale, Thelma Schoonmaker for The Departed, Lucia Zucchetti for The Queen and the triumvirate of Clare Douglas, Christopher Rouse and Richard Pearson for United 93.
In the comedy feature heat, the nominees are Mark Livolsi for The Devil Wears Prada, Virginia Katz for Dreamgirls, Pamela Martin for Little Miss Sunshine, Craig Wood and Stephen Rivkin for "Pirates of the Caribbean: Dead Man's Chest," and Dana Glauberman for Thank You for Smoking.
In the documentary competition, the nominees are Jay Cassidy and Dan Swietlik for An Inconvenient Truth, Patrick McMahon and Carrie Goldman for Baghdad ER and Samuel D. Pollard for Part 1 of Spike Lee's "When the Levees Broke: A Requiem in Four Acts."
The nominees for miniseries or motion picture for noncommercial television are Beverley Mills for HBO's Elizabeth I, Part 1, Curtiss Clayton and Lee Percy for HBO's Mrs. Harris, and Trevor Waite for A&E's "Prime Suspect 7: The Final Act, Part 1."
Best-edited miniseries or motion picture for commercial television earned nominations for Sue Blainey, Sarah Boyd and Stephen Semel for ABC's Lost: Live Together, Die Alone, Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman and Mitchell Danton for ABC's "The Path to 9/11, Part Two," and Heather Persons for TNT's The Ron Clark Story.
In the half-hour series for television race, the contenders are Jon Corn for HBO's Entourage: Sorry Ari, Lance Luckey for NBC's My Name Is Earl: Number One, and Dean Holland and David Rogers for NBC's The Office: Casino Nights.
The one-hour series nominees for commercial television are Leon Ortiz-Gil for Fox's 24: 7:00 PM to 8:00 PM, Conrad Gonzalez, Keith Henderson and Steve Michael for NBC's Friday Night Lights: Pilot, and Edward Ornelas for ABC's "Grey's Anatomy: It's the End of the World."
All eight film, television and documentary category winners will be disclosed during the editors' 57th annual awards ceremony Feb.
Making the dramatic feature film cut are Stephen Mirrione and Douglas Crise for Babel, Stuart Baird for Casino Royale, Thelma Schoonmaker for The Departed, Lucia Zucchetti for The Queen and the triumvirate of Clare Douglas, Christopher Rouse and Richard Pearson for United 93.
In the comedy feature heat, the nominees are Mark Livolsi for The Devil Wears Prada, Virginia Katz for Dreamgirls, Pamela Martin for Little Miss Sunshine, Craig Wood and Stephen Rivkin for "Pirates of the Caribbean: Dead Man's Chest," and Dana Glauberman for Thank You for Smoking.
In the documentary competition, the nominees are Jay Cassidy and Dan Swietlik for An Inconvenient Truth, Patrick McMahon and Carrie Goldman for Baghdad ER and Samuel D. Pollard for Part 1 of Spike Lee's "When the Levees Broke: A Requiem in Four Acts."
The nominees for miniseries or motion picture for noncommercial television are Beverley Mills for HBO's Elizabeth I, Part 1, Curtiss Clayton and Lee Percy for HBO's Mrs. Harris, and Trevor Waite for A&E's "Prime Suspect 7: The Final Act, Part 1."
Best-edited miniseries or motion picture for commercial television earned nominations for Sue Blainey, Sarah Boyd and Stephen Semel for ABC's Lost: Live Together, Die Alone, Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman and Mitchell Danton for ABC's "The Path to 9/11, Part Two," and Heather Persons for TNT's The Ron Clark Story.
In the half-hour series for television race, the contenders are Jon Corn for HBO's Entourage: Sorry Ari, Lance Luckey for NBC's My Name Is Earl: Number One, and Dean Holland and David Rogers for NBC's The Office: Casino Nights.
The one-hour series nominees for commercial television are Leon Ortiz-Gil for Fox's 24: 7:00 PM to 8:00 PM, Conrad Gonzalez, Keith Henderson and Steve Michael for NBC's Friday Night Lights: Pilot, and Edward Ornelas for ABC's "Grey's Anatomy: It's the End of the World."
All eight film, television and documentary category winners will be disclosed during the editors' 57th annual awards ceremony Feb.
- 1/12/2007
- The Hollywood Reporter - Movie News
- The San Diego critics might have picked a familiar pic for their best film of the year, but they’ve indeed bucked the trend with at least 3 of their 4 choices for acting awards – finally The Proposition is remembered and Dick Pope gets a worthy kudos for Best Cinematography for The Illusionist. Here are San Diego Film Critics Society top choices of the year. Best Film: Letters From Iwo Jima Best Director: Clint Eastwood Best Actor: Ken Takakura - Riding Alone for Thousands of Miles Best Actress: Helen Mirren - The Queen Best Supporting Actor: Ray Winstone - The Proposition Best Supporting Actress: Lili Taylor - Factotum Best Ensemble Performance: Babel Best Original Screenplay: Karen Moncrieff - The Dead Girl Best Adapted Screenplay: Jason Reitman Thank You for Smoking Best Non-Fiction Film: Shut Up & Sing Best Animated Film: Cars Best Cinematography: Dick Pope The Illusionist Best Editing: Christopher Rouse,
- 12/21/2006
- IONCINEMA.com
Press notes for motion pictures are usually filled with dispensable, self-congratulatory puffery, but the one for the soul-searing film "United 93" contains this trenchant comment from its English writer-director, Paul Greengrass: Speaking of the 40 individuals aboard United Airlines Flight 93, the fourth hijacked plane on that day of infamy, Sept. 11, 2001, he notes that these were the only passengers and crew members on any of those ill-fated flights who knew about the other planes having been used as weapons and realized what was happening to them. "They were the first people to inhabit the post-9/11 world," Greengrass says. These were the first to react to the worldwide conflict we find ourselves in today. Within the microcosm of that reaction, Greengrass has made an emphatic political document, a movie about defiance against tyranny and terrorism.
How many moviegoers will be willing to endure "United 93"? I suspect many will, but what that adds up to in terms of boxoffice is anybody's guess. Understandably, controversy engulfs this film. Is now the right time for such a film? Why make the film at all? These are legitimate questions. No one possesses a "right" answer. But Greengrass has made not only a thoroughly fact-checked film but a film that incontrovertibly comes from the heart.
Greengrass wants the 91 minutes United 93 was in the air to speak to our tenuous situation in a scary, riven world. A previous film by him anticipates this work. The invaluable "Bloody Sunday" (2002), shot as if it were made by a camera crew at the time, dramatized a 1972 incident in Londonderry, Northern Ireland, where 13 unarmed civil rights demonstrators were shot and killed by British soldiers. Here again he takes a hard look at a cataclysmic event to provoke dialogue.
To keep things as accurate as possible, Greengrass reportedly interviewed more than 100 family members and friends of those who perished. He hired flight attendants and commercial airline pilots to play those roles; hired several civilian and military controllers on duty on Sept. 11, including the FAA's Ben Sliney, to play themselves; culled facts from the 9/11 Commission Report; and rehearsed and shot his actors in an old Boeing 757 at England's Pinewood Studios.
Even Barry Ackroyd's hand-held cinematography, John Powell's muted, anxious score and the plane set fixed to computer-controlled motion gimbals to simulate the pitch and roll of the aircraft urge the viewer to think of this as a you-are-there experience. Yet no one really knows what happened on United 93. We have evidence from phone calls made from the plane and those interviews, but that's where it ends. And that is where an artist can pick up the story.
This is what it probably was like, and the experience overwhelms. Time passes in weird ways. The four nervous terrorists wait seemingly forever to make their move. The panicked passengers wait seemingly forever to make theirs. Helplessness engulfs us, then determination takes hold.
During these breathless moments, Greengrass cuts away to the desperation and confusion in airport control towers, the FAA's overwhelmed operations command center in Herndon, Va., and the military's unprepared operations center at the Northeast Air Defense Sector in upstate New York. For all their monitors and electronic equipment, there is a horrific, low-tech moment when controllers at Newark Airport get a perfect view across the Hudson of the second plane hitting a World Trade Center tower. No one can even speak.
In years to come, United 93 may enter our mythology in ways unimaginable. But for now, we have a starting point. "United 93" is a sincere attempt to pull together the known facts and guesses at the emotional truths as best anyone can. Then, in the movie's final moments, the impact of the heroism aboard United 93 becomes startlingly clear.
UNITED 93
Universal Pictures
Universal Pictures and StudioCannal present in association with Sidney Kimmel Entertainment a Working Title production
Credits:
Screenwriter-director: Paul Greengrass
Producers: Tim Bevan, Eric Fellner, Lloyd Levin, Paul Greengrass
Executive producers: Debra Hayward, Liza Chasin
Director of photography: Barry Ackroyd
Production designer: Dominic Watkins
Composer: John Powell
Costume designer: Dinah Collin
Editors: Clare Douglas, Christopher Rouse, Richard Pearson
Cast:
Donald Freeman Greene: David Rasche
Himself: Ben Sliney
Capt. Jason M. Dahl: JJ Johnson
Todd Beamer: David Alan Basche
Sandra Bradshaw: Trish Gates
Wanda Anita Green: Starla Benford
Maj. Kevin Nasypany: Patrick St. Esprit
Jeremy Glick: Peter Hermann
MPAA rating R
Running time -- 111 minutes...
How many moviegoers will be willing to endure "United 93"? I suspect many will, but what that adds up to in terms of boxoffice is anybody's guess. Understandably, controversy engulfs this film. Is now the right time for such a film? Why make the film at all? These are legitimate questions. No one possesses a "right" answer. But Greengrass has made not only a thoroughly fact-checked film but a film that incontrovertibly comes from the heart.
Greengrass wants the 91 minutes United 93 was in the air to speak to our tenuous situation in a scary, riven world. A previous film by him anticipates this work. The invaluable "Bloody Sunday" (2002), shot as if it were made by a camera crew at the time, dramatized a 1972 incident in Londonderry, Northern Ireland, where 13 unarmed civil rights demonstrators were shot and killed by British soldiers. Here again he takes a hard look at a cataclysmic event to provoke dialogue.
To keep things as accurate as possible, Greengrass reportedly interviewed more than 100 family members and friends of those who perished. He hired flight attendants and commercial airline pilots to play those roles; hired several civilian and military controllers on duty on Sept. 11, including the FAA's Ben Sliney, to play themselves; culled facts from the 9/11 Commission Report; and rehearsed and shot his actors in an old Boeing 757 at England's Pinewood Studios.
Even Barry Ackroyd's hand-held cinematography, John Powell's muted, anxious score and the plane set fixed to computer-controlled motion gimbals to simulate the pitch and roll of the aircraft urge the viewer to think of this as a you-are-there experience. Yet no one really knows what happened on United 93. We have evidence from phone calls made from the plane and those interviews, but that's where it ends. And that is where an artist can pick up the story.
This is what it probably was like, and the experience overwhelms. Time passes in weird ways. The four nervous terrorists wait seemingly forever to make their move. The panicked passengers wait seemingly forever to make theirs. Helplessness engulfs us, then determination takes hold.
During these breathless moments, Greengrass cuts away to the desperation and confusion in airport control towers, the FAA's overwhelmed operations command center in Herndon, Va., and the military's unprepared operations center at the Northeast Air Defense Sector in upstate New York. For all their monitors and electronic equipment, there is a horrific, low-tech moment when controllers at Newark Airport get a perfect view across the Hudson of the second plane hitting a World Trade Center tower. No one can even speak.
In years to come, United 93 may enter our mythology in ways unimaginable. But for now, we have a starting point. "United 93" is a sincere attempt to pull together the known facts and guesses at the emotional truths as best anyone can. Then, in the movie's final moments, the impact of the heroism aboard United 93 becomes startlingly clear.
UNITED 93
Universal Pictures
Universal Pictures and StudioCannal present in association with Sidney Kimmel Entertainment a Working Title production
Credits:
Screenwriter-director: Paul Greengrass
Producers: Tim Bevan, Eric Fellner, Lloyd Levin, Paul Greengrass
Executive producers: Debra Hayward, Liza Chasin
Director of photography: Barry Ackroyd
Production designer: Dominic Watkins
Composer: John Powell
Costume designer: Dinah Collin
Editors: Clare Douglas, Christopher Rouse, Richard Pearson
Cast:
Donald Freeman Greene: David Rasche
Himself: Ben Sliney
Capt. Jason M. Dahl: JJ Johnson
Todd Beamer: David Alan Basche
Sandra Bradshaw: Trish Gates
Wanda Anita Green: Starla Benford
Maj. Kevin Nasypany: Patrick St. Esprit
Jeremy Glick: Peter Hermann
MPAA rating R
Running time -- 111 minutes...
- 4/20/2006
- The Hollywood Reporter - Movie News
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