UK director Mike Leigh will receive a lifetime achievement award at Malta’s second annual Mediterrane Film Festival (June 22-30).
The seven-time Oscar nominee will also host a masterclass and participate in an in conversation with Adrian Wootton, CEO at the British Film Commission, with whom the festival has a partnership.
Leigh began his career in theatre and TV with work including Abigail’s Party in 1977. He focused on features throughout the 1990s, winning acclaim for films such as High Hopes, Life Is Sweet, Naked and Secrets And Lies. The latter won the Palme d’Or in 1996.
His following films included Topsy-Turvy,...
The seven-time Oscar nominee will also host a masterclass and participate in an in conversation with Adrian Wootton, CEO at the British Film Commission, with whom the festival has a partnership.
Leigh began his career in theatre and TV with work including Abigail’s Party in 1977. He focused on features throughout the 1990s, winning acclaim for films such as High Hopes, Life Is Sweet, Naked and Secrets And Lies. The latter won the Palme d’Or in 1996.
His following films included Topsy-Turvy,...
- 4/29/2024
- ScreenDaily
Mike Leigh, the veteran director of “Vera Drake,” “Another Year” and “Happy-Go-Lucky,” will be honored at Malta’s Mediterrane Film Festival with its Career Achievement Golden Bee Award.
Leigh will also host a masterclass at the festival, the second edition of which is taking place June 22 to 30 in Malta’s capital city of Valletta. The director, who has earned seven Oscar nominations and won the Cannes Film Festival Palme d’Or for 1993’s “Naked,” will be in conversation with Adrian Wootton, chief executive of Film London and the British Film Commission.
The Mediterrane Film Festival has also revealed its first jury members, who will judge the festival’s competition section, consisting of 12 films from the region. At the festival’s Golden Bee Awards closing ceremony on June 30, prizes will be handed out for best feature film, acting performance, screenwriting, production design, creative technical performance and the special jury award.
Jury...
Leigh will also host a masterclass at the festival, the second edition of which is taking place June 22 to 30 in Malta’s capital city of Valletta. The director, who has earned seven Oscar nominations and won the Cannes Film Festival Palme d’Or for 1993’s “Naked,” will be in conversation with Adrian Wootton, chief executive of Film London and the British Film Commission.
The Mediterrane Film Festival has also revealed its first jury members, who will judge the festival’s competition section, consisting of 12 films from the region. At the festival’s Golden Bee Awards closing ceremony on June 30, prizes will be handed out for best feature film, acting performance, screenwriting, production design, creative technical performance and the special jury award.
Jury...
- 4/29/2024
- by Ellise Shafer
- Variety Film + TV
The Sands International Film Festival has set third edition lineup and will feature Joe Russo, Avengers composer Alan Silvestri and casting director Debra Zane.
The third year of the Scottish festival that aims to showcase “creative and innovative” people working in the entertainment industries will run from April 19 to 21.
Renowned Hollywood director Russo will return to St Andrews and, as the festival founder, is expected to participate in a special conversation and host a mentoring session with local filmmakers.
Silvestri, an iconic composer whose back catalog includes the Avengers movies, Back to the Future and Forrest Gump, will give a talk about his career along with a performance, while Zane, whose credits include The Hunger Games franchise, Ocean’s Eleven and Catch Me if You Can, is special guest and will speak about the effort to establish the newly created Oscar for Best Achievement in Casting.
The third year of the Scottish festival that aims to showcase “creative and innovative” people working in the entertainment industries will run from April 19 to 21.
Renowned Hollywood director Russo will return to St Andrews and, as the festival founder, is expected to participate in a special conversation and host a mentoring session with local filmmakers.
Silvestri, an iconic composer whose back catalog includes the Avengers movies, Back to the Future and Forrest Gump, will give a talk about his career along with a performance, while Zane, whose credits include The Hunger Games franchise, Ocean’s Eleven and Catch Me if You Can, is special guest and will speak about the effort to establish the newly created Oscar for Best Achievement in Casting.
- 2/29/2024
- by Max Goldbart
- Deadline Film + TV
Exclusive: The Sands International Film Festival of St Andrews will return for a third edition set to run from April 19 – 21, 2024.
Next year’s dates see the festival take a slight shift in the calendar, with the start date just under a week later than 2023’s edition, which ran April 14 – 16.
Last year saw the fest unravel over three days, with a series of official screenings and industry talks from filmmakers and artists such as director Joe Russo, who opened the fest with a world premiere screening of his Prime Video series Citadel. Other highlights included Q&As with Stanley Tucci, who screened his 1996 culinary comedy Big Night; Reinaldo Marcus Green, who brought his 2018 thriller Monsters and Men and veteran casting director Margery Simkin. The festival also hosted a packed keynote industry-focused panel chaired by Deadline’s Mike Fleming featuring Joe Russo,...
Next year’s dates see the festival take a slight shift in the calendar, with the start date just under a week later than 2023’s edition, which ran April 14 – 16.
Last year saw the fest unravel over three days, with a series of official screenings and industry talks from filmmakers and artists such as director Joe Russo, who opened the fest with a world premiere screening of his Prime Video series Citadel. Other highlights included Q&As with Stanley Tucci, who screened his 1996 culinary comedy Big Night; Reinaldo Marcus Green, who brought his 2018 thriller Monsters and Men and veteran casting director Margery Simkin. The festival also hosted a packed keynote industry-focused panel chaired by Deadline’s Mike Fleming featuring Joe Russo,...
- 8/15/2023
- by Zac Ntim
- Deadline Film + TV
Scotland’s Sands film festival, styled officially as the International Film Festival of St Andrews, wrapped its second edition this past weekend with a curated line-up of screenings, industry panels, and director Q&As.
Proceedings opened with a world premiere screening of Prime Video’s forthcoming mega-budget series Citadel, which features Priyanka Chopra Jonas and Richard Madden as members of a secret global spy. The screening was introduced by Joe Russo, who Executive Produced and is a primary sponsor of Sands with his brother Anthony through their Agbo production label.
Other highlights included Q&As with Stanley Tucci, who screened his 1996 culinary comedy Big Night; Reinaldo Marcus Green, who brought his 2018 thriller Monsters and Men and veteran casting director Margery Simkin.
Sands unravels over a tight three days out of the Byre Theatre in central St Andrews, an ancient city in northern...
Proceedings opened with a world premiere screening of Prime Video’s forthcoming mega-budget series Citadel, which features Priyanka Chopra Jonas and Richard Madden as members of a secret global spy. The screening was introduced by Joe Russo, who Executive Produced and is a primary sponsor of Sands with his brother Anthony through their Agbo production label.
Other highlights included Q&As with Stanley Tucci, who screened his 1996 culinary comedy Big Night; Reinaldo Marcus Green, who brought his 2018 thriller Monsters and Men and veteran casting director Margery Simkin.
Sands unravels over a tight three days out of the Byre Theatre in central St Andrews, an ancient city in northern...
- 4/19/2023
- by Zac Ntim
- Deadline Film + TV
Klondike Photo: Courtesy of Sundance Institute This year's Sands: International Film Festival of St Andrews will run over the weekend of April 14 to 16.
On the 15th Academy-Award nominated actor Stanley Tucci will present his much-loved 1996 film Big Night followed by a Q&a alongside Joe Russo.
Among the other films screening is Sundance Grand Jury prize-winner Klondike, directed by Maryna Er Gorbach and rom-com charmer Rye Lane.
Events include casting director Margery Simkin who will talk about her craft, while Ita O'Brien, Gemma Bodinetz and Kally Lloyd-Jones will discuss intimacy co-ordination in theatre and film.
Ania Trzebiatowska, Festival Director said: “The idea behind Sands is to create a sense of community and a dialogue between a diverse group of artists and film lovers. We think it’s important to pause and think about not just where we are, but also how we got here, and how to...
On the 15th Academy-Award nominated actor Stanley Tucci will present his much-loved 1996 film Big Night followed by a Q&a alongside Joe Russo.
Among the other films screening is Sundance Grand Jury prize-winner Klondike, directed by Maryna Er Gorbach and rom-com charmer Rye Lane.
Events include casting director Margery Simkin who will talk about her craft, while Ita O'Brien, Gemma Bodinetz and Kally Lloyd-Jones will discuss intimacy co-ordination in theatre and film.
Ania Trzebiatowska, Festival Director said: “The idea behind Sands is to create a sense of community and a dialogue between a diverse group of artists and film lovers. We think it’s important to pause and think about not just where we are, but also how we got here, and how to...
- 4/7/2023
- by Amber Wilkinson
- eyeforfilm.co.uk
Exclusive: The Sands: International Film Festival of St Andrews, held in northern Scotland, has set the lineup for its second edition, running April 14 – 16.
Over the course of three days, the festival will host a series of official screenings and industry talks from filmmakers and artists such as director Joe Russo, who returns to St Andrews after supporting the inaugural edition in 2022.
Russo will be bringing with him what the festival has described as an “early sneak peek of a hotly anticipated project” that he has executive produced under his Agbo production outfit. The title of the pic will not be unveiled until the screening begins.
The festival has also set Russo as the host of a public discussion on gaming and contemporary storytelling with Epic Games Chief Creative Officer Donald Mustard, who has worked as a creator and director on titles such as Fortnite.
Russo...
Over the course of three days, the festival will host a series of official screenings and industry talks from filmmakers and artists such as director Joe Russo, who returns to St Andrews after supporting the inaugural edition in 2022.
Russo will be bringing with him what the festival has described as an “early sneak peek of a hotly anticipated project” that he has executive produced under his Agbo production outfit. The title of the pic will not be unveiled until the screening begins.
The festival has also set Russo as the host of a public discussion on gaming and contemporary storytelling with Epic Games Chief Creative Officer Donald Mustard, who has worked as a creator and director on titles such as Fortnite.
Russo...
- 3/17/2023
- by Zac Ntim
- Deadline Film + TV
The casting branch of the academy is a year shy of a decade old and still doesn’t have an Oscar category of its own. However, the Casting Society has been handing out the Artios Awards for 37 years (“Artios” is from the ancient Greek meaning “perfectly fitted.”).
Nominees for feature films were announced on January 10 (two days before Oscar nominations voting begins). Many of the leading Academy Awards contenders reaped bids across the various categories according to production cost. Winners will be revealed at a ceremony on March 9 (two days after the close of final Oscar voting).
Last year’s big budget winners were the comedy “Borat Subsequent Moviefilm” and the drama “The Trial of the Chicago 7 ” while “The Forty-Year-Old Version” and “One Night in Miami” took the equivalent prizes in the independent division. “Minari” won the low budget and “The Surrogate” the micro budget prizes while “Soul” claimed the animation award.
Nominees for feature films were announced on January 10 (two days before Oscar nominations voting begins). Many of the leading Academy Awards contenders reaped bids across the various categories according to production cost. Winners will be revealed at a ceremony on March 9 (two days after the close of final Oscar voting).
Last year’s big budget winners were the comedy “Borat Subsequent Moviefilm” and the drama “The Trial of the Chicago 7 ” while “The Forty-Year-Old Version” and “One Night in Miami” took the equivalent prizes in the independent division. “Minari” won the low budget and “The Surrogate” the micro budget prizes while “Soul” claimed the animation award.
- 1/10/2023
- by Paul Sheehan
- Gold Derby
You’d seen that square jaw before, whether as fast-talking tabloid journalist Freddy Lounds in Manhunter, Col. Nathan Jessup of Broadway’s A Few Good Men, cowardly Ike in the Western Tombstone, or one of the FBI agents who gunned down Dillinger in Public Enemies. But it wasn’t until decades into Stephen Lang’s career, in 2009’s Avatar, that the character actor par excellence transformed into an international name.
As Colonel Miles Quaritch, head of the Rda corporation’s murderous security force, Lang—all hulking biceps and snarl—exuded unbridled machismo.
As Colonel Miles Quaritch, head of the Rda corporation’s murderous security force, Lang—all hulking biceps and snarl—exuded unbridled machismo.
- 12/17/2022
- by Marlow Stern
- Rollingstone.com
Click here to read the full article.
When Jack Champion found out five years ago that he was auditioning for James Cameron’s long-awaited Avatar sequel, the actor — then 12 — watched the original 2009 film every day for a month. “Three hours, every day,” says Champion, now 18. “It was one of my favorite movies growing up.”
Coming off appearances in the 2018 comedy-horror film The Night Sitter and a small role in Avengers: Endgame, Champion plays Miles “Spider” Socorro in Avatar: The Way of Water. He underwent a lengthy audition process to score the role. “It was four months, starting with self-tapes,” he recalls, “and then I met with the casting director [Margery Simkin] over Skype. It was a lot of auditioning. I never was like, ‘Oh, I’m definitely gonna get the role.’ Because I think as an actor, you don’t want to set yourself up for being sad. You’re always just thankful,...
When Jack Champion found out five years ago that he was auditioning for James Cameron’s long-awaited Avatar sequel, the actor — then 12 — watched the original 2009 film every day for a month. “Three hours, every day,” says Champion, now 18. “It was one of my favorite movies growing up.”
Coming off appearances in the 2018 comedy-horror film The Night Sitter and a small role in Avengers: Endgame, Champion plays Miles “Spider” Socorro in Avatar: The Way of Water. He underwent a lengthy audition process to score the role. “It was four months, starting with self-tapes,” he recalls, “and then I met with the casting director [Margery Simkin] over Skype. It was a lot of auditioning. I never was like, ‘Oh, I’m definitely gonna get the role.’ Because I think as an actor, you don’t want to set yourself up for being sad. You’re always just thankful,...
- 12/16/2022
- by Sydney Odman
- The Hollywood Reporter - Movie News
Did you know that being in medicine is a good prerequisite for becoming a casting director? Well, you do now, because not only was that what “As We See It” casting director Cami Patton was initially studying, but her first boss was also once in the medical field. “Oddly, I was pre-med, but my sister was an actress and I followed her around on interviews and I always knew everybody that was there and she was like, ‘Oh, you should think about casting,’ and my first boss was a registered nurse, Eileen Knight,” Patton tells Gold Derby during our Meet the Experts: Casting Directors group panel (watch the exclusive group roundtable video above). “It was very interesting. We both really loved the study of medicine, but didn’t really wanna practice. And it just ended up being a natural fit.”
Casting was not a profession that any of our other...
Casting was not a profession that any of our other...
- 5/19/2022
- by Joyce Eng
- Gold Derby
When Anson Mount, Ethan Peck and Rebecca Romijn were cast on “Star Trek: Discovery” as Pike, Spock and Number One, respectively, little did casting director Margery Simkin know that it would lead to a spin-off, “Star Trek: Strange New Worlds,” that she obviously had to be part of. “They liked those cast members enough to decide to build a show around them so it would’ve been a real bummer if we didn’t get to do it,” Simkin quips to Gold Derby at our Meet the Experts: Casting Directors panel (watch the exclusive video interview above).
Simkin and her partner Orly Sitowitz first saw Mount for the role of Lorca on “Discovery” after the “Hell on Wheels” alum sent in a self-tape from his New York City kitchen apartment. While he ultimately wasn’t right for that role, which went to Jason Isaacs, he was top of mind when...
Simkin and her partner Orly Sitowitz first saw Mount for the role of Lorca on “Discovery” after the “Hell on Wheels” alum sent in a self-tape from his New York City kitchen apartment. While he ultimately wasn’t right for that role, which went to Jason Isaacs, he was top of mind when...
- 5/19/2022
- by Joyce Eng
- Gold Derby
Six top TV casting directors will reveal secrets behind their projects when they join Gold Derby’s special “Meet the Experts” Q&a event with 2022 Emmy Awards contenders. They will participate in two video discussions to premiere on Tuesday, May 17, at 4:00 p.m. Pt; 7:00 p.m. Et. We’ll have a one-on-one with our senior editor Joyce Eng and a roundtable chat with all of the group together.
RSVP today to our entire ongoing Emmy contenders panel series by clicking here to book your free reservation. We’ll send you a reminder a few minutes before the start of the show.
This “Meet the Experts” panel welcomes the following 2022 contenders:
As We See It (Amazon Prime)
Synopsis: Three autistic roommates find a way to live together and strive for similar things in life.
Bio: Cami Patton is an Emmy winner for “Band of Brothers” and “The Pacific.” Other...
RSVP today to our entire ongoing Emmy contenders panel series by clicking here to book your free reservation. We’ll send you a reminder a few minutes before the start of the show.
This “Meet the Experts” panel welcomes the following 2022 contenders:
As We See It (Amazon Prime)
Synopsis: Three autistic roommates find a way to live together and strive for similar things in life.
Bio: Cami Patton is an Emmy winner for “Band of Brothers” and “The Pacific.” Other...
- 5/11/2022
- by Chris Beachum and Joyce Eng
- Gold Derby
Leading casting directors for ‘Avatar’ and ‘Normal People’ discussed how their roles have forever changed.
Leading international casting directors are now “traversing the planet” in a day and expanding their search to hundreds of international performers as a result of methods employed during the virus crisis.
Ireland’s Louise Kiely, whose casting credits include UK-Ireland drama Normal People and upcoming Ireland-Canada-us feature The Green Knight (produced for for Bron and A24 and shot in Ireland), discussed the ‘new normal’ on a virtual panel at the Dublin International Film Festival.
“We had a day where [casting director Karen Scully] and I started in...
Leading international casting directors are now “traversing the planet” in a day and expanding their search to hundreds of international performers as a result of methods employed during the virus crisis.
Ireland’s Louise Kiely, whose casting credits include UK-Ireland drama Normal People and upcoming Ireland-Canada-us feature The Green Knight (produced for for Bron and A24 and shot in Ireland), discussed the ‘new normal’ on a virtual panel at the Dublin International Film Festival.
“We had a day where [casting director Karen Scully] and I started in...
- 3/15/2021
- by Esther McCarthy
- ScreenDaily
In today’s Global Bulletin, the U.K. selects James Newman for Eurovision 2021, Ringside and Newen close scripted deals in the U.K., BBC commissions a young men’s mental health doc with Roman Kemp, and the New Voice Awards announces its 2021 short lists.
Eurovision
BBC, BBC Studios and BMG have confirmed that Brit Award-winning and Grammy-nominated singer-songwriter James Newman will represent the U.K. at 2021’s Eurovision Song Contest after the 2020 edition was postponed in the wake of the Covid-19 pandemic. The 65th Eurovision is scheduled for May and will take place in Rotterdam.
Newman’s original entry will be revealed at a later date, and the BBC and BMG will collaborate on the track’s release with BMG handling publishing. BBC Studios will produce the U.K.’s coverage of Eurovision 2021.
Among Newman’s catalog of original songs are “Waiting All Night,” performed by Rudimental and Ella Eyre; “Lay it All on Me,...
Eurovision
BBC, BBC Studios and BMG have confirmed that Brit Award-winning and Grammy-nominated singer-songwriter James Newman will represent the U.K. at 2021’s Eurovision Song Contest after the 2020 edition was postponed in the wake of the Covid-19 pandemic. The 65th Eurovision is scheduled for May and will take place in Rotterdam.
Newman’s original entry will be revealed at a later date, and the BBC and BMG will collaborate on the track’s release with BMG handling publishing. BBC Studios will produce the U.K.’s coverage of Eurovision 2021.
Among Newman’s catalog of original songs are “Waiting All Night,” performed by Rudimental and Ella Eyre; “Lay it All on Me,...
- 2/19/2021
- by Jamie Lang
- Variety Film + TV
Terry Gilliam’s “12 Monkeys” is currently celebrating its 25th anniversary since it was released nationwide January 5, 1996. Inverse marked the occasion with an oral history that features Gilliam, screenwriters David Peoples and Janet Peoples, producer Charles Roven, and casting director Margery Simkin. It comes as no surprise that Gilliam makes a few hilarious off-the-cuff remarks while reflecting on his time travel movie, which was inspired by Chris Marker’s 1962 short film “La Jetée.”
“12 Monkeys” stars Bruce Willis as James Cole, a prisoner selected to take part in a time travel experiment in which he travels back and forth through history in an attempt to find a cure to a virus that wiped out mankind. Madeleine Stowe and Brad Pitt also star in “12 Monkeys,” but it was the casting of James Cole that proved most important for Gilliam.
“The pressure was to get a movie star in,” Gilliam said.
“12 Monkeys” stars Bruce Willis as James Cole, a prisoner selected to take part in a time travel experiment in which he travels back and forth through history in an attempt to find a cure to a virus that wiped out mankind. Madeleine Stowe and Brad Pitt also star in “12 Monkeys,” but it was the casting of James Cole that proved most important for Gilliam.
“The pressure was to get a movie star in,” Gilliam said.
- 1/5/2021
- by Zack Sharf
- Indiewire
From the instant familiarity of the kids on “Stranger Things,” to the African-American women marginalized by the 1970s Women’s Movement in “Mrs. America”; from the East Los Angeles queer and Latina communities of “Vida” to the vibrant tapestry of the Southside in “The Chi”; from the director-turned-showrunner crafted shows that push boundaries like “Sense8” and “The Knick” to comedian Nick Offerman as a Steve Jobs-like tech guru-meets-cult leader in “Devs.” So many shows that represent the fresh faces and boundless potential of television inclusivity have a common connection: They were cast by Carmen Cuba. Talk to Cuba herself and she’ll tell you these are simply the projects she’s drawn to exploring. But talk to her showrunners and they paint a picture of a hands-on casting director with a deep philosophical connection to the material which she not only brings to life — but manages to expand upon...
- 6/22/2020
- by Kristen Lopez
- Indiewire
The list of candidates for the 2020 Academy of Motion Pictures Arts and Sciences’ Board of Governors election is now out, with the winner in each branch being chosen directly from these entries rather than whittling it down to four finalists in each, as has been done previously. The list of candidates is made up of qualified AMPAS members who actually submit themselves.
Also new this year in the streamlined timetable, as Deadline exclusively reported May 16. The winners for the 17 open slots on the 54-member board will be chosen by preferential balloting, just like Best Picture race at the Oscars. Voting begins Monday and ballots are due back June 5.
The actors branch is the largest in the Academy and it also has drawn the biggest field of contenders for the one spot that is up. Incumbent governor Whoopi Goldberg is running for re-election against past governor Ed Begley Jr. vying to return to the board.
Also new this year in the streamlined timetable, as Deadline exclusively reported May 16. The winners for the 17 open slots on the 54-member board will be chosen by preferential balloting, just like Best Picture race at the Oscars. Voting begins Monday and ballots are due back June 5.
The actors branch is the largest in the Academy and it also has drawn the biggest field of contenders for the one spot that is up. Incumbent governor Whoopi Goldberg is running for re-election against past governor Ed Begley Jr. vying to return to the board.
- 5/29/2020
- by Pete Hammond
- Deadline Film + TV
Whoopi Goldberg will be facing 18 other actors who want her seat on the Academy of Motion Picture Arts and Sciences’ Board of Governors, the Academy revealed to its members on Friday.
The Academy posted the list of candidates for the board from all 17 of its branches, with incumbent Actors Branch governor Goldberg going up against a slate of challengers that includes past governor Ed Begley Jr., as well as Richard Dreyfuss, James and Stacy Keach, Tim Matheson, Joe Pantoliano, Lou Diamond Phillips and Rita Wilson, whose husband, Tom Hanks, served on the board for many years.
Other branches whose contenders hit double digits included Cinematographers (12), Directors (13), Executives (12), Producers (16), Sound (10) and Visual Effects (10).
But the Makeup Artists and Hairstylists Branch, in which incumbent Kathryn Blondell was ineligible to run again, has only a single candidate, Linda Flowers.
Also Read: Oscars Board Election Has New Rules - But Expect the Same Old Results
Blondell,...
The Academy posted the list of candidates for the board from all 17 of its branches, with incumbent Actors Branch governor Goldberg going up against a slate of challengers that includes past governor Ed Begley Jr., as well as Richard Dreyfuss, James and Stacy Keach, Tim Matheson, Joe Pantoliano, Lou Diamond Phillips and Rita Wilson, whose husband, Tom Hanks, served on the board for many years.
Other branches whose contenders hit double digits included Cinematographers (12), Directors (13), Executives (12), Producers (16), Sound (10) and Visual Effects (10).
But the Makeup Artists and Hairstylists Branch, in which incumbent Kathryn Blondell was ineligible to run again, has only a single candidate, Linda Flowers.
Also Read: Oscars Board Election Has New Rules - But Expect the Same Old Results
Blondell,...
- 5/29/2020
- by Steve Pond
- The Wrap
The list of candidates for the Academy of Motion Picture Arts and Sciences’ 2020-2021 Board of Governors has been unveiled to members.
Voting begins on June 1 and ends on June 5.
Candidates run for three-year terms with a maximum of three terms. Each branch has three seats on the board. Only one of those seats is open each year because terms are staggered.
The candidates were posted on the Academy members’ portal on Friday afternoon. Below is the complete list (divided by branch) of those running for spots on the board.
Actors
Michael Lee Aday
Ed Begley, Jr.
Robert Carradine
Nicolas Coster
Colman Domingo
Richard Dreyfuss
Spencer Garrett
Bruce Glover
Whoopi Goldberg (incumbent)
James Keach
Stacy Keach
Peter Wong
Jodi Long
Tim Matheson
Joe Pantoliano
Lou Diamond Phillips
Andrea Riseborough
Andrew Stevens
Rita Wilson
Casting Directors
Kerry Barden
Richard Hicks
Margery Simkin
Debra Zane
Cinematographers
Andrzej Bartkowiak
Richard P. Crudo
Svetlana Cvetko...
Voting begins on June 1 and ends on June 5.
Candidates run for three-year terms with a maximum of three terms. Each branch has three seats on the board. Only one of those seats is open each year because terms are staggered.
The candidates were posted on the Academy members’ portal on Friday afternoon. Below is the complete list (divided by branch) of those running for spots on the board.
Actors
Michael Lee Aday
Ed Begley, Jr.
Robert Carradine
Nicolas Coster
Colman Domingo
Richard Dreyfuss
Spencer Garrett
Bruce Glover
Whoopi Goldberg (incumbent)
James Keach
Stacy Keach
Peter Wong
Jodi Long
Tim Matheson
Joe Pantoliano
Lou Diamond Phillips
Andrea Riseborough
Andrew Stevens
Rita Wilson
Casting Directors
Kerry Barden
Richard Hicks
Margery Simkin
Debra Zane
Cinematographers
Andrzej Bartkowiak
Richard P. Crudo
Svetlana Cvetko...
- 5/29/2020
- by Marc Malkin
- Variety Film + TV
Filmmaker James Cameron had the idea for 2009’s “Avatar” brewing even before “Titanic” hit theaters in 1997. Born in Ontario, Canada’s tiny town of Kapuskasing, Cameron was inspired by the vast wilderness around him. Later, he took up scuba diving as a way of exploring the ocean. Those experiences in nature sparked his imagination and ultimately led to the creation of Pandora, the bucolic planet at the center of “Avatar.”
“Avatar,” the big-screen culmination of that childhood interest in the natural world, hit U.S. theaters on Dec. 18, 2009, becoming a box office phenomenon. For a decade, “Avatar” ruled the charts as the highest-grossing film of all time, raking in over $2.7 billion worldwide on around a $200 million budget and kicking off a boom in 3D filmmaking. The movie wasn’t just an entertaining ride (though it had its fair share of thrills), it also allowed Cameron to explore issues such as climate change,...
“Avatar,” the big-screen culmination of that childhood interest in the natural world, hit U.S. theaters on Dec. 18, 2009, becoming a box office phenomenon. For a decade, “Avatar” ruled the charts as the highest-grossing film of all time, raking in over $2.7 billion worldwide on around a $200 million budget and kicking off a boom in 3D filmmaking. The movie wasn’t just an entertaining ride (though it had its fair share of thrills), it also allowed Cameron to explore issues such as climate change,...
- 12/18/2019
- by Mackenzie Nichols
- Variety Film + TV
Coming off one of its most contentious years in history, the Academy of Motion Pictures Arts & Sciences has sent out its list of candidates for its Board of Governors elections late this month.
The Board of Governors directs the Academy’s strategic vision, preserves the organization’s financial health, and assures the fulfillment of its mission.
Governors attend 6-8 board meetings annually (in person or by video conference when out of town). Each Governor also serves on one board oversight committee and their branch’s executive committee, and they are expected to represent their branch at numerous Academy events through the year.
Governors have fiduciary responsibilities imposed by state law to serve the Academy’s best interests, by acting with responsibility and care when approving annual goals presented by management, as well as major policies concerning governance.
CEO Dawn Hudson oversees a staff of more than 300 who conduct the Academy’s day-to-day business.
The Board of Governors directs the Academy’s strategic vision, preserves the organization’s financial health, and assures the fulfillment of its mission.
Governors attend 6-8 board meetings annually (in person or by video conference when out of town). Each Governor also serves on one board oversight committee and their branch’s executive committee, and they are expected to represent their branch at numerous Academy events through the year.
Governors have fiduciary responsibilities imposed by state law to serve the Academy’s best interests, by acting with responsibility and care when approving annual goals presented by management, as well as major policies concerning governance.
CEO Dawn Hudson oversees a staff of more than 300 who conduct the Academy’s day-to-day business.
- 5/10/2019
- by Michael Cieply and Bruce Haring
- Deadline Film + TV
“I was in inappropriate rooms, and I was placed in hotel rooms. It is because of the casting director that I was a protected child in this industry. And even to the point of risking their own career, I have a couple of memories of the casting director saying, ‘No, I’m staying,'” Laura Dern said in her speech while accepting the Lynn Stalmaster Award for Career Achievement at the Casting Society of America’s 34th annual Artios Awards held on Thursday at the Beverly Hilton in Los Angeles.
Two ceremonies took place on opposite coasts. At Stage 48 in New York, Tina Fey and Jeff Richmond received the Marion Dougherty New York Apple Award. In L.A., festivities were hosted by June Diane Raphael of “Grace and Frankie” and “Black Monday” star Paul Scheer.
“I’ve literally grown up with this community of amazing artists. They really have championed my career,...
Two ceremonies took place on opposite coasts. At Stage 48 in New York, Tina Fey and Jeff Richmond received the Marion Dougherty New York Apple Award. In L.A., festivities were hosted by June Diane Raphael of “Grace and Frankie” and “Black Monday” star Paul Scheer.
“I’ve literally grown up with this community of amazing artists. They really have championed my career,...
- 2/1/2019
- by Margeaux Sippell
- Variety Film + TV
“Vice,” “Green Book,” “Crazy Rich Asians” and “BlackKklansman” all emerged as winners at the 34th annual Artios Awards on Thursday, chosen by members of the Casting Society of America.
“Black Panther” also picked up a special Zeitgeist Award, while “Isle of Dogs” won for casting of an animated film. “The Kindergarten Teacher” and “Madeline’s Madeline” were honored in the low-budget and micro-budget film categories.
TV winners included the first season of “Ozark” and “The Marvelous Mrs. Maisel,” as well as the ongoing series “Atlanta” and “The Crown.”
Also Read: Artios Awards Give Top Casting Honors to 'La La Land,' 'Hidden Figures'
The Los Angeles event was hosted by actress and comedian June Diane Raphael and SAG Award-winning actor Paul Scheer, and the New York event was hosted by comic performer Bridget Everett.
This year’s honorees included Laura Dern, who received the Lynn Stalmaster Award for Career Achievement.
“Black Panther” also picked up a special Zeitgeist Award, while “Isle of Dogs” won for casting of an animated film. “The Kindergarten Teacher” and “Madeline’s Madeline” were honored in the low-budget and micro-budget film categories.
TV winners included the first season of “Ozark” and “The Marvelous Mrs. Maisel,” as well as the ongoing series “Atlanta” and “The Crown.”
Also Read: Artios Awards Give Top Casting Honors to 'La La Land,' 'Hidden Figures'
The Los Angeles event was hosted by actress and comedian June Diane Raphael and SAG Award-winning actor Paul Scheer, and the New York event was hosted by comic performer Bridget Everett.
This year’s honorees included Laura Dern, who received the Lynn Stalmaster Award for Career Achievement.
- 2/1/2019
- by Thom Geier
- The Wrap
The Casting Society of America held its annual Artios Awards tonight and gave its top film prizes to awards-season regulars Green Book (Big Budget – Comedy), Vice (Big Budget – Drama), Crazy Rich Asians (Studio or Independent Comedy) and BlackKklansman (Studio or Indie Drama).
Other film winners included Black Panther (the Zeitgeist Award) and Isle of Dogs (Feature Animation). Trophies were handed out in 30 categories spanning film, TV and theater during dual ceremonies in Los Angeles and New York. Check out the full list of winners below.
Top winners on the TV side included The Marvelous Mrs. Maisel, Ozark, Atlanta, The Crown, Godless and Rick and Morty.
This year’s honorees were Laura Dern, who received the Lynn Stalmaster Award for Career Achievement; Tina Fey and Jeff Richmond, the Marion Dougherty New York Apple Award for outstanding commitment to the New York entertainment industry through their collaboration with casting directors; and Robert J. Ulrich,...
Other film winners included Black Panther (the Zeitgeist Award) and Isle of Dogs (Feature Animation). Trophies were handed out in 30 categories spanning film, TV and theater during dual ceremonies in Los Angeles and New York. Check out the full list of winners below.
Top winners on the TV side included The Marvelous Mrs. Maisel, Ozark, Atlanta, The Crown, Godless and Rick and Morty.
This year’s honorees were Laura Dern, who received the Lynn Stalmaster Award for Career Achievement; Tina Fey and Jeff Richmond, the Marion Dougherty New York Apple Award for outstanding commitment to the New York entertainment industry through their collaboration with casting directors; and Robert J. Ulrich,...
- 2/1/2019
- by Erik Pedersen
- Deadline Film + TV
The Palm Springs International Film Festival has announced its juried award-winners, with the Fipresci prizes going to “Shoplifters,” “Italy,” and “Cold War.” The three films — all of which premiered at Cannes and won major prizes there — have proven a mainstay of awards season, especially Hirokazu Kore-eda’s Palme d’Or winner. It and “Cold War” both made the Academy Awards shortlist for Best Foreign Language Film, while “Dogman” was left out.
The full list of winners:
Fipresci Prize for Best Foreign Language Film of the Year
“Shoplifters” (Japan)
Fipresci Prize for the Best Actor in a Foreign Language Film
Marcello Fonte, “Dogman” (Italy)
Fipresci Prize for Best Actress in a Foreign Language Film
Joanna Kulig, “Cold War” (Poland)
The Fipresci jury members were Thomas Abeltshauser, Elaine Guerini, and Marietta Steinhart.
New Voices New Visions Award
“Sofia” (France/Qatar), directed by Meryem Benm’Barek
Honorable Mention
“Saf” (Turkey), directed by Ali Vatansever.
The full list of winners:
Fipresci Prize for Best Foreign Language Film of the Year
“Shoplifters” (Japan)
Fipresci Prize for the Best Actor in a Foreign Language Film
Marcello Fonte, “Dogman” (Italy)
Fipresci Prize for Best Actress in a Foreign Language Film
Joanna Kulig, “Cold War” (Poland)
The Fipresci jury members were Thomas Abeltshauser, Elaine Guerini, and Marietta Steinhart.
New Voices New Visions Award
“Sofia” (France/Qatar), directed by Meryem Benm’Barek
Honorable Mention
“Saf” (Turkey), directed by Ali Vatansever.
- 1/12/2019
- by Michael Nordine
- Indiewire
Ron Hogan Jun 5, 2017
The casting continues to be top notch on American Gods, which straddles the line of dark comedy brilliantly...
This review contains spoilers.
See related Fargo season 3 episode 1 review: The Law Of Vacant Places Fargo: how to make great TV from a great film
1.6 A Murder Of Gods
There's something of an art to splitting the main cast of a television show into two groups. I've seen it done very poorly, and I've seen it done very well. Some shows, like Game Of Thrones, seem to deliberately break their episodes up into little segments and chunks, so viewers get to spend five minutes here, five minutes there, and only occasionally get a full-on episode in one location with one or two major characters. American Gods, being a travelogue at its core, has two groups of characters on the road, and they're two groups that function very well separately from one another.
The casting continues to be top notch on American Gods, which straddles the line of dark comedy brilliantly...
This review contains spoilers.
See related Fargo season 3 episode 1 review: The Law Of Vacant Places Fargo: how to make great TV from a great film
1.6 A Murder Of Gods
There's something of an art to splitting the main cast of a television show into two groups. I've seen it done very poorly, and I've seen it done very well. Some shows, like Game Of Thrones, seem to deliberately break their episodes up into little segments and chunks, so viewers get to spend five minutes here, five minutes there, and only occasionally get a full-on episode in one location with one or two major characters. American Gods, being a travelogue at its core, has two groups of characters on the road, and they're two groups that function very well separately from one another.
- 6/5/2017
- Den of Geek
While the Oscars have yet to make room for casting directors — a pivotal part of the Best Picture equation — the oversight isn't stopping the Casting Society of America from readying its third decade of picking up the Academy's slack. Csa announced Monday morning that the 30th Annual Artios Awards will honor Academy Award-nominated and Emmy Award-winning director Rob Marshall and Emmy Award-winning casting director Ellen Lewis for their individual work in the world of casting. The news arrives with nominations in categories of television, theater, new media and short film, and on the heels of the ceremony's move from November to Jan. 22, the thick of the awards season. Feature film nominations will be announced closer to the show date. Marshall, whose adaptation of Stephen Sondheim's "Into the Woods" bows Dec. 25, will receive the New York Apple Award, "recognizing individuals who have made special contributions to the New York entertainment...
- 9/22/2014
- by Matt Patches
- Hitfix
Inhospitable locations are prompt to be the source of legends and enigmatic theories. For most people the Galapagos Islands, off the coast of Ecuador, are only relevant due to their biodiversity made universally famous by none other than Darwin. His findings are studied by millions of children around the world as feasible proof of evolution. What they don't teach in school is the human history of this exuberant archipelago. One chapter in particular within this short, but surely captivating account of people settling there, is rather intriguing. As if pulled from the pages of a crime novel, what filmmakers Daniel Geller and Dayna Goldfine found is a story that involves deceit, deviant romances, and possibly even murder.
In 1929, Freidrich Ritter, a German doctor and a fan of Nietzsche's ideology, decides to leave his wife and head for the islands, his only companion was Dore Strauch, a woman who was enticed by the idea of leaving civilized society for the emptiness of an untouched paradise. Soon after their arrival to the uninhabited Floreana island, the pair discovers life in the wilderness is a serious endeavor. With Ww II lurking on the horizon, it wasn't long before other Germans decided to follow on their footsteps, thus when the Wittmer family arrived, Ritter's ideal solitude was disturbed. Still, it appears as if the two groups would manage to share the space, but when a third party settles in, an Austrian woman claiming to be a Baroness and her two lovers, conflict unravels leaving behind a trail of mysterious events - unsolved to this date. Such is the premise of Geller and Goldfine's documentary The Galapagos Affair: Satan Came to Eden, which compiles archive footage, interviews, and narrations by the likes of Cate Blanchett , Sebastian Koch , and Diane Kruger This highly entertaining, darkly comedic, and well-crafted real-life melodrama tells a story almost impossible to believe. The directors shared with us the challenges and the huge undertaking that this project required, as well as their individual perceptions on such an incredible and, until now, hidden anecdote that adds to the allure the islands evoke.
Aguilar: How did you get involved with this fascinating and insane project?
Dayna: We were asked by a friend way back in 1998 to do camera and sound work on a sort of Darwin-type science project down in the Galapagos. We went not knowing anything about the islands except that Darwin had used them for his experiments and they had lots of really cool animals on them. Certainly not knowing that anyone lived there, because there is actually no indigenous people on the islands. Anyone that’s there now has emigrated, or their parents have emigrated, from some other place. While we were down there on our little boat traveling from island to island, one night we picked a book off the tiny little library shelf in the boat, and it was about the human history of the islands. We were like “Wow there is enough human history to fill a book?”. Then, even more cool was chapter 3 or 4, which was called “Murder in Paradise.”
Aguilar: What a title
Dan: [Laughs] Dayna loves her true crime books, so from that moment on, the fixation began for the rest of our trip around the islands that time
Dayna: Basically at that moment I sort of grabbed this little chapter and I said “Dan you’ve got to read this, it’s just so wacky” Then our naturalist guide, who had lived in the islands forever and knows everyone, he said to us “Well guess what you guys, the old lady [Margret] is still alive” This was back in 1998, she didn’t die until 2000. At that moment I became obsessed, I was like “We are in the islands for two weeks, there is no way we can’t go to Floreana and meet this woman,” but what we didn’t know at that point was that the way it works in the Galapagos, you got this very specific itinerary that’s attached to each boat and our boat was not supposed to go to Floreana.
Dan: The project we were working on, the science foundation project that we were shooting, had very specific animals and variations of species that our friend Doug needed, and none of them were the ones particular to Floreana. That’s why it wasn’t on the itinerary, and you can’t bend the itinerary once you get going, unless your boat breaks down in front of the island, which is what happened [Laughs]
Dayna: Literally every morning we’d wake up and I’d say, “So today Doug we are going to Floreana right? We are gonna go meet Margret Wittmer”, and it got to be kind of a joke but I know we were pissing off our friend Doug who hired us. He would roll his eyes [Laughs]. Finally almost towards the very end of our two weeks, the boat literally broke down in front of Floreana. We had to get off, we even got to take showers on the island, and we got to have tea with Margret.
Aguilar: What did she say? Was she open to speak about what happened to the Baroness?
Dan: She was mostly talking about how president Roosevelt came to visit because there was an airbase built in Galapagos during World War II to protect the Panama Canal. She was proud of that and kept talking about it, and then would wander into some different topics. In a moment where there was just a little bit of quiet in the conversation we all looked around for a beat, that’s when she blurted out apropos of nothing “En la boca cerrada no entran moscas”.We saw Miguel Mosquera, who was our naturalist on that trip, and who became our location manager for all the subsequent trips for our film, and his eyes popped out wide. I said, “What did she say?” because at the time neither Dayna nor I spoke Spanish, we’ve subsequently started to learn. After we left, Dayna and I said “ Miguel what did she just say?” and he translated for us: “A closed mouth admits no flies.” We thought, “Oh my God, she is toying with the reputation and the legacy, and teasing people about it”. Whether she did that because it was just her way to antagonize people because she was sick of being asked or because she has a devilish sense of humor. I think it's the latter because certainly her son and daughter, Rolf and Floreanita, have very sly senses of humor, so I think they inherited it from her.
Dayna: I think she was sort of playing with the visitors that came to the island. By that point and time she was in her 90s and so many years had gone by. There is no way she would’ve talked about it explicitly, but I think she really did get a kick out of it. She knew that when a visitor came to the island, front and foremost in their mind was “Ok what happened to the Baroness?” [Laughs]. Although no one would ask her about it at that point, I think it was her way of sort of joking around with us,
Aguilar: The search behind the film must have been extensive, how difficult was to find the footage and making a film out of a story hidden away for so long?
Dan: What happened is that, even though we were at that point fascinated with the story, there was no way to tell it without any kind of visual material. We were starting another movie called Ballets Russes, so we just thought “All right we’ll let it be for now” Then when the same friend Doug was starting a different science education project, he was working with a USC professor who also had brought his students down to Galapagos over the years. Of course because he was at USC, he happened to know of the archive in Doheny Library of all that footage. So our friend Doug, who we definitely owe a cocktail or two for this [Laughs], said “You guys have got to get down to USC and talked to this professor, Bill McComas, and see if you can get access because the archive is falling apart. There may be gold in there” We did, we started talking to the archivist, and then the university gave thumps up for us to take the footage with us and try to save it because they didn’t have the means to do it. We took that big risk, financially at least, and once we started seeing what was on those reels we thought “Ok, now we’ve got something going, we got a way to tell the story” I think that’s one reason why the story hadn’t been told for all those years, because you need to see those people in that situation to believe it! This story is so crazy you’d say “No, no that could’ve never happened.”
Aguilar: It is very ironic that people that wanted to be left alone and be isolated had so much footage of themselves and pictures. It feels as if they wanted to be noticed.
Dayna: It was one of those weird unfathomable ironies. First of all, we did use a little bit of an “artistic light,” basically all the footage or 99% of it was actually shot by Captain Allan Hancock and his cameraman. What he did is, once he and his crew of scientists landed on the island in 1931 and discovered Friedrich and Dore, he started asking them to reenact their lives for the camera. We always sort of say “Who knows, maybe he was inspired by Nanook of the North", because Robert J. Flaherty went in and actually had his protagonist go through his life again. Hancock asked them to reenact what they were doing, and he took photos and filmed, it was actually shot originally on 35 mm nitrate, which doesn’t exist any longer. Luckily he made a bunch of 16mm safety prints which were what we found in the archive. Once they got to the island, Friedrich, Dore, the Wittmers, certainly the baroness and her lovers, they were all pretty proud of the fact that they had managed to create these lives in this very unfriendly terrain, and they were willing to show it off. The other irony is that not only did they pose for the cameras, but they all brought typewriters. In Friedrich Ritter’s case it made sense because he really did want to go into seclusion so he could write the great philosophical manifesto.
Dan: Part of it is, I think, that in those days everyone wrote letters, and I suppose the odds of a typewritten letter getting there across all the moisture in the oceans might have been better than one written with a pen.Margret ultimately wrote a memoir, Dore Strauch wrote a memoir, they also wrote letters, Ritter wrote articles for magazine and newspapers around the world, John Garth, the scientist on the Velero, kept his journal. We wound up with a wealth of first person expressions that could be used to form this script where the characters come to life through their own words in writing. In our case we put them in opposition to each other and it didn’t take much work because they all had their own point of view, and sometimes insinuated that the other one was responsible for what was going on down there. That became more or less a screenwriter adaptation job, not adapting one book, but adapting 2 books, 2 sets of journals, and who knows how many articles, and letters. Dayna and I, and our fellow writer Celeste Schaefer Snyder, bit by bit went through the murder mystery story and tried to give everyone voice, and also keep it kind of fun and suspenseful.
Aguilar: With all the sexual tension and intrigue, this could have easily been a narrative drama. As a documentary, how did you balance the interviews with current islanders, the first person narratives, the footage, and all the other different sources to create something cohesive?
Dayna: It’s funny, Hollywood had been trying to make it as a fiction forever. The reason why it hasn't happened yet, although scripts have been flying around for over 20 years, is that it is such a complicated story, and there are so many characters. Each one is worthy of their own script, certainly they are all larger than life. That was really what took us the longest, I would say we worked with Bill Weber, our editor, for about two years. We went down so many dead ends, I can’t even tell you, we had so many work-in-progress screenings, scratch our heads, rewrote, re-cut, tried different balances of one character vs. another, or vs. the islanders perspective.
Dan: I think one thing that was important in setting each character onto the island was that we wanted to give them at least some moments where they could state clearly, and with real seriousness, why they were going and what their first impressions were like. Then that way, when things begin to verge toward the melodramatic or darkly humorous, there was already a foundation where you understood these people weren’t just cartoon characters. They had thought this through as much as they could and were trying to do something with a good spirit behind them. Even the Baroness, though her notions of the hotel or certainly her ability to fulfill the notion of the hotel was suspect from the beginning.
Aguilar: Even though you focus on this set of characters, the islands themselves have a mystifying personality and they appear to affect the people in them. Was this idea part of your creative process?
Dayna: Thank you so much, that’s exactly how we felt!. You are right when that woman tries to get away from the island it kind of sucks her back, in much the same way that Lorenz was sucked back and landed on Marchenta Isaland. In many ways the fact that the island had a drought, a really severe drought one of the worst in decades, we deeply believe it led to whatever happened to the Baroness and Phillipson. It’s funy, when were just starting to do the project, the series Lost was playing. Lost really did have the island as a character, and as we were watching the early episodes were chuckling and saying “It’s not so far from reality”
Dan: I wouldn’t have been surprised if we got into a backroom in a hotel and found the Dharma machine and someone was punching in the numbers every 90 minutes [Laughs]. Talking about the island reaching out, it turned out that Margery Simkin, who was our casting director on the movie, was in the Galapagos in 1986, her boat broke down, and she met Margret Wittmer in an unscheduled stop on Flroreana also. Maybe there is something about those islands, the fact that they’ve been uninhabited for so long, or that they are sitting over a volcanic hotspot. I don’t know what kind of lore you want to assign to it, but I agree with you, there is something weirdly mystical and prehistoric about the whole place.
Aguilar: Through their writing and the footage, both of you essentially met these characters, what are your thoughts on these characters who wanted to get away and begin again some place new?
Dayan: They each had different reasons. One of the things that sort of drew me to the project on a philosophical and emotional level was that I’m not sure there is anyone who hasn’t had that, momentary at least, dream of forsaking everything and going off to live on some deserted island somewhere. Everyone has his or her own reasons for wanting to do that at any specific moment. What was so interesting is that each of those people or collective groups in the film, had their own very specific reasons for going. In a way, each had its own very specific notions of what paradise might look like. One of the things that we talked about between us since the beginning of the project is that the film is about what could happen if you do take that leap? You leave society and you go in pursuit of your own little deserted island, in search of paradise. But when you get there, someone else is already situated on that same island and their notion of paradise clashes explicitly with your notion of paradise. What do you do?...
In 1929, Freidrich Ritter, a German doctor and a fan of Nietzsche's ideology, decides to leave his wife and head for the islands, his only companion was Dore Strauch, a woman who was enticed by the idea of leaving civilized society for the emptiness of an untouched paradise. Soon after their arrival to the uninhabited Floreana island, the pair discovers life in the wilderness is a serious endeavor. With Ww II lurking on the horizon, it wasn't long before other Germans decided to follow on their footsteps, thus when the Wittmer family arrived, Ritter's ideal solitude was disturbed. Still, it appears as if the two groups would manage to share the space, but when a third party settles in, an Austrian woman claiming to be a Baroness and her two lovers, conflict unravels leaving behind a trail of mysterious events - unsolved to this date. Such is the premise of Geller and Goldfine's documentary The Galapagos Affair: Satan Came to Eden, which compiles archive footage, interviews, and narrations by the likes of Cate Blanchett , Sebastian Koch , and Diane Kruger This highly entertaining, darkly comedic, and well-crafted real-life melodrama tells a story almost impossible to believe. The directors shared with us the challenges and the huge undertaking that this project required, as well as their individual perceptions on such an incredible and, until now, hidden anecdote that adds to the allure the islands evoke.
Aguilar: How did you get involved with this fascinating and insane project?
Dayna: We were asked by a friend way back in 1998 to do camera and sound work on a sort of Darwin-type science project down in the Galapagos. We went not knowing anything about the islands except that Darwin had used them for his experiments and they had lots of really cool animals on them. Certainly not knowing that anyone lived there, because there is actually no indigenous people on the islands. Anyone that’s there now has emigrated, or their parents have emigrated, from some other place. While we were down there on our little boat traveling from island to island, one night we picked a book off the tiny little library shelf in the boat, and it was about the human history of the islands. We were like “Wow there is enough human history to fill a book?”. Then, even more cool was chapter 3 or 4, which was called “Murder in Paradise.”
Aguilar: What a title
Dan: [Laughs] Dayna loves her true crime books, so from that moment on, the fixation began for the rest of our trip around the islands that time
Dayna: Basically at that moment I sort of grabbed this little chapter and I said “Dan you’ve got to read this, it’s just so wacky” Then our naturalist guide, who had lived in the islands forever and knows everyone, he said to us “Well guess what you guys, the old lady [Margret] is still alive” This was back in 1998, she didn’t die until 2000. At that moment I became obsessed, I was like “We are in the islands for two weeks, there is no way we can’t go to Floreana and meet this woman,” but what we didn’t know at that point was that the way it works in the Galapagos, you got this very specific itinerary that’s attached to each boat and our boat was not supposed to go to Floreana.
Dan: The project we were working on, the science foundation project that we were shooting, had very specific animals and variations of species that our friend Doug needed, and none of them were the ones particular to Floreana. That’s why it wasn’t on the itinerary, and you can’t bend the itinerary once you get going, unless your boat breaks down in front of the island, which is what happened [Laughs]
Dayna: Literally every morning we’d wake up and I’d say, “So today Doug we are going to Floreana right? We are gonna go meet Margret Wittmer”, and it got to be kind of a joke but I know we were pissing off our friend Doug who hired us. He would roll his eyes [Laughs]. Finally almost towards the very end of our two weeks, the boat literally broke down in front of Floreana. We had to get off, we even got to take showers on the island, and we got to have tea with Margret.
Aguilar: What did she say? Was she open to speak about what happened to the Baroness?
Dan: She was mostly talking about how president Roosevelt came to visit because there was an airbase built in Galapagos during World War II to protect the Panama Canal. She was proud of that and kept talking about it, and then would wander into some different topics. In a moment where there was just a little bit of quiet in the conversation we all looked around for a beat, that’s when she blurted out apropos of nothing “En la boca cerrada no entran moscas”.We saw Miguel Mosquera, who was our naturalist on that trip, and who became our location manager for all the subsequent trips for our film, and his eyes popped out wide. I said, “What did she say?” because at the time neither Dayna nor I spoke Spanish, we’ve subsequently started to learn. After we left, Dayna and I said “ Miguel what did she just say?” and he translated for us: “A closed mouth admits no flies.” We thought, “Oh my God, she is toying with the reputation and the legacy, and teasing people about it”. Whether she did that because it was just her way to antagonize people because she was sick of being asked or because she has a devilish sense of humor. I think it's the latter because certainly her son and daughter, Rolf and Floreanita, have very sly senses of humor, so I think they inherited it from her.
Dayna: I think she was sort of playing with the visitors that came to the island. By that point and time she was in her 90s and so many years had gone by. There is no way she would’ve talked about it explicitly, but I think she really did get a kick out of it. She knew that when a visitor came to the island, front and foremost in their mind was “Ok what happened to the Baroness?” [Laughs]. Although no one would ask her about it at that point, I think it was her way of sort of joking around with us,
Aguilar: The search behind the film must have been extensive, how difficult was to find the footage and making a film out of a story hidden away for so long?
Dan: What happened is that, even though we were at that point fascinated with the story, there was no way to tell it without any kind of visual material. We were starting another movie called Ballets Russes, so we just thought “All right we’ll let it be for now” Then when the same friend Doug was starting a different science education project, he was working with a USC professor who also had brought his students down to Galapagos over the years. Of course because he was at USC, he happened to know of the archive in Doheny Library of all that footage. So our friend Doug, who we definitely owe a cocktail or two for this [Laughs], said “You guys have got to get down to USC and talked to this professor, Bill McComas, and see if you can get access because the archive is falling apart. There may be gold in there” We did, we started talking to the archivist, and then the university gave thumps up for us to take the footage with us and try to save it because they didn’t have the means to do it. We took that big risk, financially at least, and once we started seeing what was on those reels we thought “Ok, now we’ve got something going, we got a way to tell the story” I think that’s one reason why the story hadn’t been told for all those years, because you need to see those people in that situation to believe it! This story is so crazy you’d say “No, no that could’ve never happened.”
Aguilar: It is very ironic that people that wanted to be left alone and be isolated had so much footage of themselves and pictures. It feels as if they wanted to be noticed.
Dayna: It was one of those weird unfathomable ironies. First of all, we did use a little bit of an “artistic light,” basically all the footage or 99% of it was actually shot by Captain Allan Hancock and his cameraman. What he did is, once he and his crew of scientists landed on the island in 1931 and discovered Friedrich and Dore, he started asking them to reenact their lives for the camera. We always sort of say “Who knows, maybe he was inspired by Nanook of the North", because Robert J. Flaherty went in and actually had his protagonist go through his life again. Hancock asked them to reenact what they were doing, and he took photos and filmed, it was actually shot originally on 35 mm nitrate, which doesn’t exist any longer. Luckily he made a bunch of 16mm safety prints which were what we found in the archive. Once they got to the island, Friedrich, Dore, the Wittmers, certainly the baroness and her lovers, they were all pretty proud of the fact that they had managed to create these lives in this very unfriendly terrain, and they were willing to show it off. The other irony is that not only did they pose for the cameras, but they all brought typewriters. In Friedrich Ritter’s case it made sense because he really did want to go into seclusion so he could write the great philosophical manifesto.
Dan: Part of it is, I think, that in those days everyone wrote letters, and I suppose the odds of a typewritten letter getting there across all the moisture in the oceans might have been better than one written with a pen.Margret ultimately wrote a memoir, Dore Strauch wrote a memoir, they also wrote letters, Ritter wrote articles for magazine and newspapers around the world, John Garth, the scientist on the Velero, kept his journal. We wound up with a wealth of first person expressions that could be used to form this script where the characters come to life through their own words in writing. In our case we put them in opposition to each other and it didn’t take much work because they all had their own point of view, and sometimes insinuated that the other one was responsible for what was going on down there. That became more or less a screenwriter adaptation job, not adapting one book, but adapting 2 books, 2 sets of journals, and who knows how many articles, and letters. Dayna and I, and our fellow writer Celeste Schaefer Snyder, bit by bit went through the murder mystery story and tried to give everyone voice, and also keep it kind of fun and suspenseful.
Aguilar: With all the sexual tension and intrigue, this could have easily been a narrative drama. As a documentary, how did you balance the interviews with current islanders, the first person narratives, the footage, and all the other different sources to create something cohesive?
Dayna: It’s funny, Hollywood had been trying to make it as a fiction forever. The reason why it hasn't happened yet, although scripts have been flying around for over 20 years, is that it is such a complicated story, and there are so many characters. Each one is worthy of their own script, certainly they are all larger than life. That was really what took us the longest, I would say we worked with Bill Weber, our editor, for about two years. We went down so many dead ends, I can’t even tell you, we had so many work-in-progress screenings, scratch our heads, rewrote, re-cut, tried different balances of one character vs. another, or vs. the islanders perspective.
Dan: I think one thing that was important in setting each character onto the island was that we wanted to give them at least some moments where they could state clearly, and with real seriousness, why they were going and what their first impressions were like. Then that way, when things begin to verge toward the melodramatic or darkly humorous, there was already a foundation where you understood these people weren’t just cartoon characters. They had thought this through as much as they could and were trying to do something with a good spirit behind them. Even the Baroness, though her notions of the hotel or certainly her ability to fulfill the notion of the hotel was suspect from the beginning.
Aguilar: Even though you focus on this set of characters, the islands themselves have a mystifying personality and they appear to affect the people in them. Was this idea part of your creative process?
Dayna: Thank you so much, that’s exactly how we felt!. You are right when that woman tries to get away from the island it kind of sucks her back, in much the same way that Lorenz was sucked back and landed on Marchenta Isaland. In many ways the fact that the island had a drought, a really severe drought one of the worst in decades, we deeply believe it led to whatever happened to the Baroness and Phillipson. It’s funy, when were just starting to do the project, the series Lost was playing. Lost really did have the island as a character, and as we were watching the early episodes were chuckling and saying “It’s not so far from reality”
Dan: I wouldn’t have been surprised if we got into a backroom in a hotel and found the Dharma machine and someone was punching in the numbers every 90 minutes [Laughs]. Talking about the island reaching out, it turned out that Margery Simkin, who was our casting director on the movie, was in the Galapagos in 1986, her boat broke down, and she met Margret Wittmer in an unscheduled stop on Flroreana also. Maybe there is something about those islands, the fact that they’ve been uninhabited for so long, or that they are sitting over a volcanic hotspot. I don’t know what kind of lore you want to assign to it, but I agree with you, there is something weirdly mystical and prehistoric about the whole place.
Aguilar: Through their writing and the footage, both of you essentially met these characters, what are your thoughts on these characters who wanted to get away and begin again some place new?
Dayan: They each had different reasons. One of the things that sort of drew me to the project on a philosophical and emotional level was that I’m not sure there is anyone who hasn’t had that, momentary at least, dream of forsaking everything and going off to live on some deserted island somewhere. Everyone has his or her own reasons for wanting to do that at any specific moment. What was so interesting is that each of those people or collective groups in the film, had their own very specific reasons for going. In a way, each had its own very specific notions of what paradise might look like. One of the things that we talked about between us since the beginning of the project is that the film is about what could happen if you do take that leap? You leave society and you go in pursuit of your own little deserted island, in search of paradise. But when you get there, someone else is already situated on that same island and their notion of paradise clashes explicitly with your notion of paradise. What do you do?...
- 4/17/2014
- by Carlos Aguilar
- Sydney's Buzz
Another Lincoln-centric film, The Green Blade Rises, the directorial debut of Aj Edwards is already in the works.
Brit Marling (Another Earth) and Wes Bentley (The Hunger Games) have joined the cast of upcoming feature film about Honest Abe’s formative years – Bentley will play the President’s first teacher, while Marling will play Lincoln’s biological mother Nancy who passed away when he was nine.
They join Diane Kruger (Inglourious Basterds) and Jason Clarke (Public Enemies), who are already on-board as Lincoln’s step-mother and father.
Edwards worked with Terrence Malick as an editor on The New World, The Tree of Life, and To the Wonder, so it’s no wonder why Malick agreed to produce Edwards directorial debut with the original script he also wrote.
The role of a baby boy Abraham Lincoln has not yet been cast, but with filming to take place this fall, we’ll soon find out.
Brit Marling (Another Earth) and Wes Bentley (The Hunger Games) have joined the cast of upcoming feature film about Honest Abe’s formative years – Bentley will play the President’s first teacher, while Marling will play Lincoln’s biological mother Nancy who passed away when he was nine.
They join Diane Kruger (Inglourious Basterds) and Jason Clarke (Public Enemies), who are already on-board as Lincoln’s step-mother and father.
Edwards worked with Terrence Malick as an editor on The New World, The Tree of Life, and To the Wonder, so it’s no wonder why Malick agreed to produce Edwards directorial debut with the original script he also wrote.
The role of a baby boy Abraham Lincoln has not yet been cast, but with filming to take place this fall, we’ll soon find out.
- 9/29/2012
- by Nick Martin
- Filmofilia
Susan Paley Abramson and Justine Hempe have partnered on a new casting venture, Back Stage has learned.Paley Abramson was the casting director for HBO comedy "Entourage," which ended its eighth and final season in September. She started on the show as an assistant in its first season, working for casting directors Sheila Jaffe and Georgianne Walken. She was promoted to associate for the second season, and to director when Walken left in 2008. She also continued to rack up associate credits on Jaffe's film projects, including "Secretariat" and "Rambo."After Entourage wrapped it's final season, she stayed with Jaffe to cast "40," an HBO pilot project from "Entourage" writer/executive producer Doug Ellin.Hempe was a longtime associate in the office of Margery Simkin. Most recently, she worked with Simkin on Warner Bros.' sci-fi epic "Pacific Rim," which is currently in-production. In recent years she's also worked on bird-watching comedy "The Big Year,...
- 2/10/2012
- by help@backstage.com (Pete Keeley)
- backstage.com
Film Independent, the non-profit arts organization that produces the Spirit Awards and the Los Angeles Film Festival, announced nominations for the 2012 Film Independent Spirit Awards this morning. Anthony Mackie and Kate Beckinsale served as presenters. Nominees for Best Feature include 50/50, Beginners, Drive, Take Shelter, The Artist and The Descendants.
Margin Call was selected to receive the annual Robert Altman Award, which is bestowed upon one film’s director, casting director and ensemble cast.
“The Film Independent Spirit Awards recognize the finest artistic achievements across the broad spectrum of independent filmmaking.from emerging talent working on a shoestring budget to established auteurs,” said Film Independent Senior Director Sean Mc Manus. “The 2012 nominees tell their stories in such an authentic way and reflect the inclusive nature of the independent filmmaking community. We are delighted to support them and expand the audience for their work.”
2012 Film Independent Spirit Award Nominations
Best Feature (Award given to the Producer,...
Margin Call was selected to receive the annual Robert Altman Award, which is bestowed upon one film’s director, casting director and ensemble cast.
“The Film Independent Spirit Awards recognize the finest artistic achievements across the broad spectrum of independent filmmaking.from emerging talent working on a shoestring budget to established auteurs,” said Film Independent Senior Director Sean Mc Manus. “The 2012 nominees tell their stories in such an authentic way and reflect the inclusive nature of the independent filmmaking community. We are delighted to support them and expand the audience for their work.”
2012 Film Independent Spirit Award Nominations
Best Feature (Award given to the Producer,...
- 11/29/2011
- by Michelle McCue
- WeAreMovieGeeks.com
Presented By Los Angeles Times
Stéphane Lafleur.s Familiar Ground and Beverly Kopf & Bobbie Birleffi.s Wish Me Away Win Jury Awards Joe Cornish.s Attack the Block, Michael Rapaport.s Beats, Rhymes & Life: The Travels of a Tribe Called Quest and Asif Kapadia.s Senna Win Audience Awards
Best Performance, Short Film and Music Video Award Winners Also Announced
Los Angeles (June 26, 2011) . Today the Los Angeles Film Festival, presented by the Los Angeles Times and supported by L.A. Live, announced the jury and audience award winners for the 2011 Festival at the Awards Brunch, sponsored and hosted by Chaya Downtown for the second year, and sponsored by Dove® Hair Care. Allison Janney and John C. Reilly were on hand to present the awards. The Los Angeles Film Festival ran from Thursday, June 16 to Sunday, June 26 in downtown Los Angeles. (See list Here).
.David, Doug and the team continue to...
Stéphane Lafleur.s Familiar Ground and Beverly Kopf & Bobbie Birleffi.s Wish Me Away Win Jury Awards Joe Cornish.s Attack the Block, Michael Rapaport.s Beats, Rhymes & Life: The Travels of a Tribe Called Quest and Asif Kapadia.s Senna Win Audience Awards
Best Performance, Short Film and Music Video Award Winners Also Announced
Los Angeles (June 26, 2011) . Today the Los Angeles Film Festival, presented by the Los Angeles Times and supported by L.A. Live, announced the jury and audience award winners for the 2011 Festival at the Awards Brunch, sponsored and hosted by Chaya Downtown for the second year, and sponsored by Dove® Hair Care. Allison Janney and John C. Reilly were on hand to present the awards. The Los Angeles Film Festival ran from Thursday, June 16 to Sunday, June 26 in downtown Los Angeles. (See list Here).
.David, Doug and the team continue to...
- 6/26/2011
- by Michelle McCue
- WeAreMovieGeeks.com
The Los Angeles Film Festival's 2011 narrative competition jurors include director Lynn Shelton (Humpday, My Effortless Brilliance; pictured), Eric Nakamura (Head/Founder of Giant Robot), and screenwriter Daniel Waters (Heathers, Batman Returns). The documentary jury boasts director Jeff Malmberg (Marwencol; pictured), Michael Lumpkin (exec director of the International Documentary Association) and Slate Magazine co-editor Laurie Ochoa. The shorts jury is comprised of casting director Margery Simkin, fllm critic Alonso Duralde and actress Lisa Gay Hamilton. "What unites them," says fest artistic director David Ansen, "is their singular passion for movies.” The jurors will hand out cash rewards, as listed below. The competition and audience awards will be announced ad the awards brunch on June 26, hosted by actors Alisson Janney and John C. Reilly. Unrestricted cash ...
- 6/15/2011
- Thompson on Hollywood
Playwright Tony Kushner, producer Marcy Carsey, and casting director Ellen Chenoweth will be honored by the Casting Society of America at this year's Artios Awards. The nominees for this year's awards—to be presented Nov. 1 in dual ceremonies at the Hyatt Regency Century Plaza Hotel in Los Angeles and the American Airlines Theatre in New York—were announced today. Kushner, Carsey, and Chenoweth will be presented with special awards. The complete list of nominees follows.Big budget feature, drama"Avatar," Margery Simkin and Mali Finn (initial casting)"Inglourious Basterds," Johanna Ray and Jenny Jue"Nine," Francine Maisler"Sherlock Holmes," Reg Poerscout-Edgerton"Shutter Island," Ellen Lewis and Carolyn Pickman (location casting)Big budget feature, comedy"Couples Retreat," Sarah Halley Finn and Randi Hiller"Date Night," Donna Isaacson"Julie and Julia," Francine Maisler"The Proposal," Amanda Mackey Johnson, Cathy Sandrich Gelfond, and Angela Peri (location casting)"Valentine's Day," Deborah Aquila and Tricia WoodFeature,...
- 9/15/2010
- backstage.com
Ellen Lewis on Michael ShannonWhen I was asked to write about an actor I love, Michael Shannon immediately jumped into my mind. It probably stems from the fact that I'm from Chicago, where Michael lived and worked for many years.In 1998 Paula Muzik, an agent in Chicago, called to tell me about Michael, who was coming to New York in the play "Killer Joe." There was an intensity and disturbing quality to Michael's performance in "Killer Joe." Combined with his physical presence and dark humor, he slightly frightened you. He was unlike any actor I had seen before, and it was exciting to think about the roles one could try him for.Years later I was casting "Before the Devil Knows You're Dead" for Sidney Lumet. Sid's office at the time was at Sound One. Casting for Sidney, as other casting directors can attest, is an amazing experience—and unusual,...
- 7/7/2010
- backstage.com
For veteran casting director Margery Simkin ("Marley & Me," "Top Gun"), working on "Avatar"—James Cameron's "14 years in the dreaming, four years in the making" follow-up to his megahit "Titanic"—presented brand-new challenges, in particular the fact that the film comprised 60 percent motion-capture sequences and 40 percent live-action sequences. Simkin had to find people who could convincingly express emotion through a yet-to-be-created language, and she had to do so under a massive veil of secrecy.Not one actor was attached when she took over the film's casting in 2007, when the late, great Mali Finn stepped down due to illness. Simkin's greatest discovery on this film was a complete unknown, Sam Worthington, recommended by her Australian casting colleague Christine King."Forever people will think that we cast him because of 'Terminator: Salvation,' but it had nothing to do with it," says Simkin. "This was way before. When I saw his tape,...
- 12/30/2009
- backstage.com
While it may appear to be another high-octane, high-concept Eddie Murphy comedy, "Life" has something more to offer.
Forgoing the broad strokes for some welcome substance, the century-spanning picture is an unexpectedly moving surprise -- a bittersweet excursion that isn't afraid to mix a little poignant reflection in with all the laughs.
That blend may not exactly be what those paying for a Murphy-Martin Lawrence match-up have in mind. As a result, "Life" will unlikely hit the lofty heights of a "Nutty Professor" or "Dr. Dolittle". Nevertheless, backed by a terrific supporting cast and featuring a strong Wyclef Jean score, the Universal release should do some serious time at the boxoffice.
Murphy's in fine form as two-bit hustler Ray Gibson, whom we first see scoping out potential victims at Club Spanky's, a swank Harlem nightclub circa 1932.
Despite a lingering sensation of "Harlem Nights" Deja Vu, things kick into gear when Gibson and down-on-his-luck Claude Banks (Lawrence) -- an aspiring bank teller with a big gambling debt -- find themselves at the mercy of Spanky (a smartly cast Rick James).
Paying him back by doing a little bootlegging job down in Mississippi, Ray and Claude find themselves framed for murder by a corrupt Southern cop (Nick Cassavetes) and handed a life sentence at a state work camp.
The days turn into months, the months turn into years, the years turn into decades and, over half-century and countless escape attempts later, Banks and Lawrence, bickering like an old married couple, persevere.
Based on an idea by Murphy and nicely fleshed out by screenwriters Robert Ramsey and Matthew Stone ("Destiny Turns on the Radio"), the film has been given something of a "Forrest Gump"-style historic sweep by director Ted Demme.
While the ploy may be derivative, it's oddly affecting. Credit Demme's willingness to take a little time with the material, allowing the audience to get to know and appreciate all the colorful characters. He's not afraid to throw heavier dramatic elements in with the high jinks.
The results aren't always smooth and there are a few awkward moments when the viewer is unsure whether to laugh. And, like Ray and Claude, the picture has a little trouble making a clean getaway.
But there is a lot of enjoyment to be found. In addition to the rich comic chemistry between Murray and Lawrence (reuniting the pair for the first time since 1992's "Boomerang"), there's a wealth of character performances among the inmates, including Bernie Mac as the predatory Jangle Leg, Miguel A. Nunez Jr. as the prim Biscuit, Michael "Bear" Taliferro as the imposing Goldmouth and Bokeem Woodbine as the mute, baseball-slugging Can't Get Right.
Also good are Clarence Williams III as a conniving card shark, Ned Beatty as a sympathetic prison superintendent and Poppy Montgomery as the warden's flirtatious daughter.
Playing a significant role are Rick Baker's special makeup effects, which startlingly age Murphy and Lawrence 60-plus years, though the effect works more convincingly when not held up to the harsh scrutiny of extreme close-ups.
Among the other standout technical contributions, cinematographer Geoffrey Simpson ("Oscar and Lucinda", "Shine") evocatively keeps pace with the time periods, especially during a couple of nicely textured montage sequences; while Wyclef Jean, making his feature film composing debut, has come up with an ambient soundscape that unobtrusively surveys the various eras' defining musical signatures.
LIFE
Universal Universal Pictures and Imagine Entertainment present
A Brian Grazer production
A Ted Demme film
Director: Ted Demme
Screenwriters: Robert Ramsey & Matthew Stone
Producers: Brian Grazer, Eddie Murphy
Executive producers: Karen Kehela, James D. Brubaker
Director of photography: Geoffrey Simpson
Production designer: Dan Bishop
Editor: Jeffrey Wolf
Costume designer: Lucy Corrigan
Special makeup effects: Rick Baker
Music: Wyclef Jean
Music supervisor: Amanda Scheer-Demme
Casting: Margery Simkin
Color/stereo
Cast:
Ray Gibson: Eddie Murphy
Claude Banks: Martin Lawrence
Willie Long: Obba Babatunde
Dexter Wilkins: Ned Beatty
Jangle Leg: Bernie Mac
Biscuit: Miguel A. Nunez Jr.
Winston Hancock: Clarence Williams III
Sgt. Dillard: Nick Cassavetes
Can't Get Right: Bokeem Woodbine
Older Mae Rose: Poppy Montgomery
Spanky Johnson: Rick James
Running time -- 108 minutes
MPAA rating: R...
Forgoing the broad strokes for some welcome substance, the century-spanning picture is an unexpectedly moving surprise -- a bittersweet excursion that isn't afraid to mix a little poignant reflection in with all the laughs.
That blend may not exactly be what those paying for a Murphy-Martin Lawrence match-up have in mind. As a result, "Life" will unlikely hit the lofty heights of a "Nutty Professor" or "Dr. Dolittle". Nevertheless, backed by a terrific supporting cast and featuring a strong Wyclef Jean score, the Universal release should do some serious time at the boxoffice.
Murphy's in fine form as two-bit hustler Ray Gibson, whom we first see scoping out potential victims at Club Spanky's, a swank Harlem nightclub circa 1932.
Despite a lingering sensation of "Harlem Nights" Deja Vu, things kick into gear when Gibson and down-on-his-luck Claude Banks (Lawrence) -- an aspiring bank teller with a big gambling debt -- find themselves at the mercy of Spanky (a smartly cast Rick James).
Paying him back by doing a little bootlegging job down in Mississippi, Ray and Claude find themselves framed for murder by a corrupt Southern cop (Nick Cassavetes) and handed a life sentence at a state work camp.
The days turn into months, the months turn into years, the years turn into decades and, over half-century and countless escape attempts later, Banks and Lawrence, bickering like an old married couple, persevere.
Based on an idea by Murphy and nicely fleshed out by screenwriters Robert Ramsey and Matthew Stone ("Destiny Turns on the Radio"), the film has been given something of a "Forrest Gump"-style historic sweep by director Ted Demme.
While the ploy may be derivative, it's oddly affecting. Credit Demme's willingness to take a little time with the material, allowing the audience to get to know and appreciate all the colorful characters. He's not afraid to throw heavier dramatic elements in with the high jinks.
The results aren't always smooth and there are a few awkward moments when the viewer is unsure whether to laugh. And, like Ray and Claude, the picture has a little trouble making a clean getaway.
But there is a lot of enjoyment to be found. In addition to the rich comic chemistry between Murray and Lawrence (reuniting the pair for the first time since 1992's "Boomerang"), there's a wealth of character performances among the inmates, including Bernie Mac as the predatory Jangle Leg, Miguel A. Nunez Jr. as the prim Biscuit, Michael "Bear" Taliferro as the imposing Goldmouth and Bokeem Woodbine as the mute, baseball-slugging Can't Get Right.
Also good are Clarence Williams III as a conniving card shark, Ned Beatty as a sympathetic prison superintendent and Poppy Montgomery as the warden's flirtatious daughter.
Playing a significant role are Rick Baker's special makeup effects, which startlingly age Murphy and Lawrence 60-plus years, though the effect works more convincingly when not held up to the harsh scrutiny of extreme close-ups.
Among the other standout technical contributions, cinematographer Geoffrey Simpson ("Oscar and Lucinda", "Shine") evocatively keeps pace with the time periods, especially during a couple of nicely textured montage sequences; while Wyclef Jean, making his feature film composing debut, has come up with an ambient soundscape that unobtrusively surveys the various eras' defining musical signatures.
LIFE
Universal Universal Pictures and Imagine Entertainment present
A Brian Grazer production
A Ted Demme film
Director: Ted Demme
Screenwriters: Robert Ramsey & Matthew Stone
Producers: Brian Grazer, Eddie Murphy
Executive producers: Karen Kehela, James D. Brubaker
Director of photography: Geoffrey Simpson
Production designer: Dan Bishop
Editor: Jeffrey Wolf
Costume designer: Lucy Corrigan
Special makeup effects: Rick Baker
Music: Wyclef Jean
Music supervisor: Amanda Scheer-Demme
Casting: Margery Simkin
Color/stereo
Cast:
Ray Gibson: Eddie Murphy
Claude Banks: Martin Lawrence
Willie Long: Obba Babatunde
Dexter Wilkins: Ned Beatty
Jangle Leg: Bernie Mac
Biscuit: Miguel A. Nunez Jr.
Winston Hancock: Clarence Williams III
Sgt. Dillard: Nick Cassavetes
Can't Get Right: Bokeem Woodbine
Older Mae Rose: Poppy Montgomery
Spanky Johnson: Rick James
Running time -- 108 minutes
MPAA rating: R...
- 4/12/1999
- The Hollywood Reporter - Movie News
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