Terry Gilliam, the Monty Python alum and director of films like Brazil, Time Bandits, and 12 Monkeys, was all set to direct a film that was based on a lost Stanley Kubrick film treatment. But Gilliam just can’t seem to catch a break. He finally completed his Don Quixote movie after spending decades encountering an almost […]
The post Terry Gilliam Was Ready to Make a Movie Based on a Lost Stanley Kubrick Idea, But the Pandemic Ruined It appeared first on /Film.
The post Terry Gilliam Was Ready to Make a Movie Based on a Lost Stanley Kubrick Idea, But the Pandemic Ruined It appeared first on /Film.
- 7/28/2020
- by Ben Pearson
- Slash Film
Stanley Kubrick would’ve turned 92 this past week, and upon his passing over two decades ago, the singular filmmaker developed a handful of projects that never got off the ground. For some, like the epic Napoleon, he poured an enormous amount of time into research and preparation before abandoning for one reason or another. Others were in fairly early stages before he moved on, and one in this category has now been picked up by another director to take the reins.
In the 1950s, novelist Jim Thompson worked with Stanley Kubrick (who greatly admired his book The Killer Inside Me) for the script of their noir drama The Killing. Around that time, Kubrick’s longtime producer James B. Harris also commissioned the author for another project titled Lunatic at Large. While it never got off the ground, Kubrick’s son-in-law Philip Hobbs discovered a 70-page manuscript for the film upon...
In the 1950s, novelist Jim Thompson worked with Stanley Kubrick (who greatly admired his book The Killer Inside Me) for the script of their noir drama The Killing. Around that time, Kubrick’s longtime producer James B. Harris also commissioned the author for another project titled Lunatic at Large. While it never got off the ground, Kubrick’s son-in-law Philip Hobbs discovered a 70-page manuscript for the film upon...
- 7/27/2020
- by Jordan Raup
- The Film Stage
You’d think Terry Gilliam would like to take a break after finally getting his Don Quixote movie “The Man Who Killed Don Quixote” out to the public after nearly 30 years, or after giving one problematic comment after another. Apparently, the filmmaker has no intention of taking a break, and he was even going to start shooting a film based on an idea by Stanley Kubrick this September before the lockdown put a stop to it.
Continue reading Terry Gilliam Was Going To Shoot Stanley Kubrick’s Unmade ‘Lunatic At Large’ Film, But Then Lockdown Happened at The Playlist.
Continue reading Terry Gilliam Was Going To Shoot Stanley Kubrick’s Unmade ‘Lunatic At Large’ Film, But Then Lockdown Happened at The Playlist.
- 7/26/2020
- by Rafael Motamayor
- The Playlist
Over the weekend, an interview with Terry Gilliam was released by the Independent and it has some pretty incendiary quotes in it, which knowing the filmmaker, isn’t terribly surprising. After 2018 was filled with adoration for Gilliam for finally getting to finish his long-awaited ‘Don Quixote’ film, 2019 was a year that found the filmmaker becoming…well, grumpy, to put it mildly. It seems with every interview he just gets more and more upset with the state of the world.
Continue reading Terry Gilliam Is Tired Of “Being Blamed For Everything” Because He’s White & Says He’s “Into Diversity More Than Anybody” at The Playlist.
Continue reading Terry Gilliam Is Tired Of “Being Blamed For Everything” Because He’s White & Says He’s “Into Diversity More Than Anybody” at The Playlist.
- 1/6/2020
- by Charles Barfield
- The Playlist
Over the past few years, when he wasn’t working on getting “The Man Who Killed Don Quixote” made, director Terry Gilliam was making sure the world knew his opinion on just about everything and heard his voice. Because, according to Gilliam, the white male voice is simply being silenced these days.
In an interview with The Independent’s Alexandra Pollard that was supposed to center on “The Man Who Killed Don Quixote,” Gilliam decided that he was “so booored of talking about the film” — which took him 30 years to make — and instead pivoted to calling #MeToo “a witch hunt,” self-identifying as a “melanin-light male” (a callback to his earlier comments about identifying as “a black lesbian”), and stating that he’s tired of white males “being blamed for everything that is wrong with the world.”
If all of this sounds familiar, that’s because Gilliam made the same statements...
In an interview with The Independent’s Alexandra Pollard that was supposed to center on “The Man Who Killed Don Quixote,” Gilliam decided that he was “so booored of talking about the film” — which took him 30 years to make — and instead pivoted to calling #MeToo “a witch hunt,” self-identifying as a “melanin-light male” (a callback to his earlier comments about identifying as “a black lesbian”), and stating that he’s tired of white males “being blamed for everything that is wrong with the world.”
If all of this sounds familiar, that’s because Gilliam made the same statements...
- 1/4/2020
- by LaToya Ferguson
- Indiewire
Terry Gilliam’s mind is on the #MeToo movement, his self-identification as a “melanin-light male”… and says he has had enough of white males “being blamed for everything that is wrong with the world.”
“We’re living in a time where there’s always somebody responsible for your failures, and I don’t like this,” Gilliam said of the #MeToo movement in a Saturday interview with The Independent. “I want people to take responsibility and not just constantly point a finger at somebody else, saying, ‘You’ve ruined my life.'”
The director went on to suggest that Harvey Weinstein’s accusers were to blame for the “choices” they made.
Also Read: Terry Gilliam Lets Loose on 'Don Quixote,' Trump, Harvey Weinstein, Marvel and More
“There are many victims in Harvey’s life,” Gilliam said, “and I feel sympathy for them, but then, Hollywood is full of very...
“We’re living in a time where there’s always somebody responsible for your failures, and I don’t like this,” Gilliam said of the #MeToo movement in a Saturday interview with The Independent. “I want people to take responsibility and not just constantly point a finger at somebody else, saying, ‘You’ve ruined my life.'”
The director went on to suggest that Harvey Weinstein’s accusers were to blame for the “choices” they made.
Also Read: Terry Gilliam Lets Loose on 'Don Quixote,' Trump, Harvey Weinstein, Marvel and More
“There are many victims in Harvey’s life,” Gilliam said, “and I feel sympathy for them, but then, Hollywood is full of very...
- 1/4/2020
- by J. Clara Chan
- The Wrap
At long last something great has emerged from the never-ending debate between Martin Scorsese and fans of the Marvel Cinematic Universe. The majority of the fall movie season was dominated by Scorsese’s critical thoughts of comic book cinema. The director first went viral in October after he was quoted in an interview with Empire magazine comparing Marvel movies to theme parks. “It isn’t the cinema of human beings trying to convey emotional, psychological experiences to another human being,” Scorsese added.
Flash forward over two months and Scorsese is getting his Christmas gifts wrapped in Marvel wrapper paper, a hilariously joyous full circle moment courtesy of Scorsese’s daughter, Francesca. Photos of Scorsese’s Marvel-wrapped Christmas gifts were uploaded to Francesca’s Instagram page and quickly gained popularity across social media. Considering how heated the debate between Scorsese and Marvel fans got at points this fall, it’s nice...
Flash forward over two months and Scorsese is getting his Christmas gifts wrapped in Marvel wrapper paper, a hilariously joyous full circle moment courtesy of Scorsese’s daughter, Francesca. Photos of Scorsese’s Marvel-wrapped Christmas gifts were uploaded to Francesca’s Instagram page and quickly gained popularity across social media. Considering how heated the debate between Scorsese and Marvel fans got at points this fall, it’s nice...
- 12/25/2019
- by Zack Sharf
- Indiewire
“Welcome to my velvet prison,” Terry Gilliam said as he walked into the restaurant at the Four Seasons hotel in Beverly Hills. Casual in what appeared to be a robe of some sort, the filmmaker, animator and Monty Python member was in Los Angeles for a few days, ostensibly to whip up some awards attention for “The Man Who Killed Don Quixote,” the freewheeling riff on Cervantes that had been almost three decades in the making before he finally made it with Adam Driver and Jonathan Pryce.
But at the age of 79, Gilliam isn’t the kind of guy to stick to one subject – not when it’s the 50th anniversary of Python, not when he has a history of misadventures on screen and off with the likes of “Brazil,” “The Adventures of Baron Munchausen,” “The Fisher King,” “The Imaginariuym of Doctor Parnassus” and others, and not when there’s Brexit,...
But at the age of 79, Gilliam isn’t the kind of guy to stick to one subject – not when it’s the 50th anniversary of Python, not when he has a history of misadventures on screen and off with the likes of “Brazil,” “The Adventures of Baron Munchausen,” “The Fisher King,” “The Imaginariuym of Doctor Parnassus” and others, and not when there’s Brexit,...
- 12/24/2019
- by Steve Pond
- The Wrap
Terry Gilliam spent 30 years — nearly half the 79-year-old director’s life — pushing “The Man Who Killed Don Quixote” up a mountain. Production stalls, casting qualms, budget blow-ups, even a stroke. It would seem the fates were against the legendary filmmaker. Was it all worth it? “Sure,” the director told IndieWire in a recent interview. “We did something everybody said ‘Don’t do.’ I didn’t take advice. I feel good when I don’t take advice.”
Gilliam’s Miguel de Cervantes adaptation has been notoriously thwarted all the way back to 1989. Yet the finished product, which finally shot in 2017 once Adam Driver signed on, stands as an impressive achievement on its own terms that doesn’t reflect any behind-the-scenes drama. “That’s the whole point. Our problems are not supposed to be your problem,” Gilliam said. “I don’t think of the film as taking 30 years to make. The film we made,...
Gilliam’s Miguel de Cervantes adaptation has been notoriously thwarted all the way back to 1989. Yet the finished product, which finally shot in 2017 once Adam Driver signed on, stands as an impressive achievement on its own terms that doesn’t reflect any behind-the-scenes drama. “That’s the whole point. Our problems are not supposed to be your problem,” Gilliam said. “I don’t think of the film as taking 30 years to make. The film we made,...
- 12/20/2019
- by Ryan Lattanzio
- Indiewire
While Armando Iannucci‘s “Veep” failed to turn any of its nominations in to wins at this year’s Emmys, the writer/director is all but certain to get some love from the BAFTAs and Oscars for his new film “The Personal History of David Copperfield.” Iannucci’s lovingly crafted adaptation of his favorite of Charles Dickens‘ novels opened the BFI London Film Festival and was very well-received.
The cast is refreshingly diverse for a period piece. This color blind casting makes the film feel very modern. Today’s audiences will recognise and relate to these Victorian era characters. In the titular role, Dev Patel stands out even among a collection of more colorful characters. Hugh Laurie, Gwendoline Christie, Daisy May Cooper, Tilda Swinton, Ben Whishaw, Benedict Wong, Paul Whitehouse and the (ex) Doctor himself Peter Capaldi all have standout moments in the film with Christie being my personal favorite...
The cast is refreshingly diverse for a period piece. This color blind casting makes the film feel very modern. Today’s audiences will recognise and relate to these Victorian era characters. In the titular role, Dev Patel stands out even among a collection of more colorful characters. Hugh Laurie, Gwendoline Christie, Daisy May Cooper, Tilda Swinton, Ben Whishaw, Benedict Wong, Paul Whitehouse and the (ex) Doctor himself Peter Capaldi all have standout moments in the film with Christie being my personal favorite...
- 10/4/2019
- by Jacob Sarkisian
- Gold Derby
Terry Gilliam has tried to make his film “The Man Who Killed Don Quixote” for over two decades and barring some final unforeseen tragedy, his film will open in theaters on April 10 for one night only as part of a release with Screen Media and Fathom Events.
It’s the classic production from hell, complete with on-set injuries, lost funding, natural disasters and outsized ambitions worthy of the hero of Miguel de Cervantes’ classic novel. Even after it wrapped, a lawsuit threatened to derail the film from screening at Cannes, and Amazon Studios pulled out of a deal to distribute the film in the U.S.
So the irony isn’t lost on anyone that Gilliam’s quest to make a movie about Don Quixote has been nothing if not quixotic. Here’s a not-so-brief timeline of every step on the road to Gilliam getting his film made.
Also Read:...
It’s the classic production from hell, complete with on-set injuries, lost funding, natural disasters and outsized ambitions worthy of the hero of Miguel de Cervantes’ classic novel. Even after it wrapped, a lawsuit threatened to derail the film from screening at Cannes, and Amazon Studios pulled out of a deal to distribute the film in the U.S.
So the irony isn’t lost on anyone that Gilliam’s quest to make a movie about Don Quixote has been nothing if not quixotic. Here’s a not-so-brief timeline of every step on the road to Gilliam getting his film made.
Also Read:...
- 4/10/2019
- by Brian Welk
- The Wrap
This story about Penélope Cruz, Javier Bardem and “Everybody Knows” first appeared in TheWrap’s magazine’s 2018 Cannes issue.
On the day that Penélope Cruz ended up in an ambulance on the set of “Everybody Knows,” she found out just what kind of director Asghar Farhadi is.
In the film, the opening-night attraction at this year’s Cannes Film Festival, Cruz plays a woman whose teenage daughter abruptly disappears under mysterious circumstances during a wedding celebration. She spends most of the film in a state of panic and desperation, enlisting the help of an old flame played by her real-life husband, Javier Bardem.
“All of my scenes were very intense,” Cruz told TheWrap. “In one scene I have a panic attack in the car, and I ended up in an ambulance myself. It was just from hyperventilation and from my blood sugar going very high from the stress of the scene.
On the day that Penélope Cruz ended up in an ambulance on the set of “Everybody Knows,” she found out just what kind of director Asghar Farhadi is.
In the film, the opening-night attraction at this year’s Cannes Film Festival, Cruz plays a woman whose teenage daughter abruptly disappears under mysterious circumstances during a wedding celebration. She spends most of the film in a state of panic and desperation, enlisting the help of an old flame played by her real-life husband, Javier Bardem.
“All of my scenes were very intense,” Cruz told TheWrap. “In one scene I have a panic attack in the car, and I ended up in an ambulance myself. It was just from hyperventilation and from my blood sugar going very high from the stress of the scene.
- 2/6/2019
- by Steve Pond
- The Wrap
It’s a dream come true for Terry Gilliam fans: after 25 years of false starts, budget shortfalls, major casting changes, and flooded sets, “The Man Who Killed Don Quixote” is finally here. But when it screened for the first time at the Cannes Film Festival in May, many critics thought it was less a grand slam and more of a bunt.
IndieWire’s Chief Critic Eric Kohn was more generous in his B- review, calling it “sloppy” but “far from a total disappointment” and ultimately concluding that it may be “Gilliam’s most personal film.” Unfortunately, “The Man Who Killed Don Quixote” also ended up with a score of 56 on Metacritic and 61% on Rotten Tomatoes.
Gilliam knows his films divide people. Talking to Variety while promoting “Don Quixote” in Los Cabos, Mexico, the director of “Brazil” said that even with that classic movie “half the audience would walk out.”
“It doesn’t surprise me,...
IndieWire’s Chief Critic Eric Kohn was more generous in his B- review, calling it “sloppy” but “far from a total disappointment” and ultimately concluding that it may be “Gilliam’s most personal film.” Unfortunately, “The Man Who Killed Don Quixote” also ended up with a score of 56 on Metacritic and 61% on Rotten Tomatoes.
Gilliam knows his films divide people. Talking to Variety while promoting “Don Quixote” in Los Cabos, Mexico, the director of “Brazil” said that even with that classic movie “half the audience would walk out.”
“It doesn’t surprise me,...
- 11/9/2018
- by Christian Blauvelt
- Indiewire
The following essay was produced as part of the 2018 Nyff Critics Academy, a workshop for aspiring film critics that took place during the 56th edition of the New York Film Festival.
Orson Welles’ long-incomplete film “The Other Side of the Wind” has been a topic of fascination and intrigue for decades, billed as Welles’ final feature, and one that, like other projects before it (including “Moby Dick” and “Don Quixote”), had consistently been deemed unfinished. But after years of work from trusted collaborators following Welles’ death in 1985, “The Other Side of the Wind” is now complete, soon to be distributed on the streaming service platform Netflix, and has already made the festival rounds from Venice to Telluride to the recent New York Film Festival.
Beyond Welles acolytes, the film is also of interest because of its interwoven content and form, and a conceit that sees various cameramen following an older,...
Orson Welles’ long-incomplete film “The Other Side of the Wind” has been a topic of fascination and intrigue for decades, billed as Welles’ final feature, and one that, like other projects before it (including “Moby Dick” and “Don Quixote”), had consistently been deemed unfinished. But after years of work from trusted collaborators following Welles’ death in 1985, “The Other Side of the Wind” is now complete, soon to be distributed on the streaming service platform Netflix, and has already made the festival rounds from Venice to Telluride to the recent New York Film Festival.
Beyond Welles acolytes, the film is also of interest because of its interwoven content and form, and a conceit that sees various cameramen following an older,...
- 10/28/2018
- by Caden Mark Gardner
- Indiewire
Now that the mosaic has finally been put together, what does it look like?
“The Other Side of the Wind” tells the story of a legendary Hollywood director, Jake Hannaford (John Huston), who is struggling to complete his latest picture. Considering that it took more than 40 years to assemble Orson Welles’ final film into something that resembles finished form, the first question to ask about it is: Does it play like a fully realized movie? The answer (more or less) is yes. The diligent team of archivists and technicians who labored to complete “The Other Side of the Wind,” led by the Oscar-winning editor Bob Murawski (“The Hurt Locker”), have tackled the 100 hours of footage Welles left behind (along with his extensive notes) as if this were a hallowed cinematic archaeological dig. What their work lays bare is an eccentric, rather choppy, but highly watchable movie, and Orson Welles is quite alive in it.
“The Other Side of the Wind” tells the story of a legendary Hollywood director, Jake Hannaford (John Huston), who is struggling to complete his latest picture. Considering that it took more than 40 years to assemble Orson Welles’ final film into something that resembles finished form, the first question to ask about it is: Does it play like a fully realized movie? The answer (more or less) is yes. The diligent team of archivists and technicians who labored to complete “The Other Side of the Wind,” led by the Oscar-winning editor Bob Murawski (“The Hurt Locker”), have tackled the 100 hours of footage Welles left behind (along with his extensive notes) as if this were a hallowed cinematic archaeological dig. What their work lays bare is an eccentric, rather choppy, but highly watchable movie, and Orson Welles is quite alive in it.
- 8/31/2018
- by Owen Gleiberman
- Variety Film + TV
Netflix has released the first trailer for Orson Welles’ “The Other Side of the Wind,” a film that was 40 years in the making and will finally premiere at Venice Film Festival this weekend.
Welles began filming the project in 1970 with cast members John Huston, Peter Bogdanovich, Susan Strasberg and Oja Kodar. Financial issues arose, and the production stretched for years and was ultimately never completed or released.
More than a thousand reels of film negatives were stored in a Paris vault until March 2017, when producers Frank Marshall (who served as Welles’s production manager during his initial shooting) and Filip Jan Rymsza pushed forward to complete the film.
Also Read: Will Netflix Finally Finish Orson Welles' Last Film?
“The Other Side of the Wind” tells the story of director J.J. “Jake” Hannaford (Huston), who heads back to Los Angeles after years of self-exile in Europe to complete his comeback movie.
Welles began filming the project in 1970 with cast members John Huston, Peter Bogdanovich, Susan Strasberg and Oja Kodar. Financial issues arose, and the production stretched for years and was ultimately never completed or released.
More than a thousand reels of film negatives were stored in a Paris vault until March 2017, when producers Frank Marshall (who served as Welles’s production manager during his initial shooting) and Filip Jan Rymsza pushed forward to complete the film.
Also Read: Will Netflix Finally Finish Orson Welles' Last Film?
“The Other Side of the Wind” tells the story of director J.J. “Jake” Hannaford (Huston), who heads back to Los Angeles after years of self-exile in Europe to complete his comeback movie.
- 8/29/2018
- by Beatrice Verhoeven
- The Wrap
Terry Gilliam’s “The Man Who Killed Don Quixote” is still in need of a U.S. distributor, but in the meantime the movie is opening in markets around the world, most recently in Belgium and the Netherlands. To celebrate the film’s international roll out, Gilliam has started a poster contest on his official Facebook page.
Since July 27, Gilliam has been debuting gorgeous one-sheets for “The Man Who Killed Don Quixote” on social media and asking his nearly 500,000 followers to weigh in with their reactions to the artwork in the comments section. The filmmaker announced he plans to put together a ballot once all the posters are revealed and have fans pick the winning poster.
“Don Quixote” stars Jonathan Pryce as a delusional older man who is convinced he is the title character. After he mistakes a young advertising executive (Adam Driver) to be his loyal squire Sancho Pancho,...
Since July 27, Gilliam has been debuting gorgeous one-sheets for “The Man Who Killed Don Quixote” on social media and asking his nearly 500,000 followers to weigh in with their reactions to the artwork in the comments section. The filmmaker announced he plans to put together a ballot once all the posters are revealed and have fans pick the winning poster.
“Don Quixote” stars Jonathan Pryce as a delusional older man who is convinced he is the title character. After he mistakes a young advertising executive (Adam Driver) to be his loyal squire Sancho Pancho,...
- 7/31/2018
- by Zack Sharf
- Indiewire
“Black Panther” and “Avengers: Infinity War” are the two biggest movies of the year so far, but don’t ask Terry Gilliam about them. The filmmaker slammed the superhero genre during an interview with CineNando (via The Playlist), killing any hopes fan might have about Gilliam making his own superhero film one day.
“I hate superheroes. It’s bullshit. Come on, grow up!” Gilliam said when asked how his new film, “The Man Who Killed Don Quixote,” fits into a Hollywood system dominated by superhero films. “We’re not going to be teenagers for the rest of our lives.”
“It’s great to dream of great powers. Superheroes are all about power. That’s what I don’t like about superheroes,” the director continued. “They’ve gotta beat the other powerful superheroes. Come on, a bit of peace, love, and understanding is what we need.”
Gilliam debuted his long-in-the-works “Don...
“I hate superheroes. It’s bullshit. Come on, grow up!” Gilliam said when asked how his new film, “The Man Who Killed Don Quixote,” fits into a Hollywood system dominated by superhero films. “We’re not going to be teenagers for the rest of our lives.”
“It’s great to dream of great powers. Superheroes are all about power. That’s what I don’t like about superheroes,” the director continued. “They’ve gotta beat the other powerful superheroes. Come on, a bit of peace, love, and understanding is what we need.”
Gilliam debuted his long-in-the-works “Don...
- 6/6/2018
- by Zack Sharf
- Indiewire
Terry Gilliam is closing the 2018 Cannes Film Festival with the world premiere of “The Man Who Killed Don Quixote,” which is a major miracle considering it has taken the director two decades of development issues and legal battles to get the film made and ready for release. The long-delayed “Don Quixote” production is one of the most famous in film history, and Gilliam is happy to finally be putting it behind him.
“That this film is out in the world is all I really care about,” Gilliam told Deadline about the long road to the film’s Cannes premiere. “I don’t give a shit anymore. My opinion doesn’t count. I just want people to see the thing. And what I’d like, more than anything, is for it to become a commercial success. It would make life easier on the next one. The last couple of films I...
“That this film is out in the world is all I really care about,” Gilliam told Deadline about the long road to the film’s Cannes premiere. “I don’t give a shit anymore. My opinion doesn’t count. I just want people to see the thing. And what I’d like, more than anything, is for it to become a commercial success. It would make life easier on the next one. The last couple of films I...
- 5/18/2018
- by Zack Sharf
- Indiewire
Before we get to your Amazon Prime June updates, the streaming service has a special surprise for its members: every season of “Dawson’s Creek” is available now, and you don’t even have to wait until next month.
Starting June 1, stream “All or Nothing” which follows the New Zealand rugby team the All Blacks throughout their 2017 season. On June 3, you can stream the Oscar-nominated “Lady Bird,” followed by Amazon Original series “Goliath” Season 2 on June 15.
See below for the complete list of titles hitting Amazon next month.
Also Read: Amazon Sets Awards Release for Luca Guadagnino's 'Suspiria'
Available June 1
1492: Conquest of Paradise (1992)
2 Days in the Valley (1996)
Allan Quatermain and the Lost City of Gold (1987)
As Good As Dead (2010)
August Rush (2007)
Bad Lieutenant: Port of Call New Orleans (2009)
Beer for My Horses (2008)
Beowulf (2007)
Black Widow (Aka: Before It Had a Name) (2005)
Blitz (2011)
Blood and Glory (2016)
Blue Like Jazz...
Starting June 1, stream “All or Nothing” which follows the New Zealand rugby team the All Blacks throughout their 2017 season. On June 3, you can stream the Oscar-nominated “Lady Bird,” followed by Amazon Original series “Goliath” Season 2 on June 15.
See below for the complete list of titles hitting Amazon next month.
Also Read: Amazon Sets Awards Release for Luca Guadagnino's 'Suspiria'
Available June 1
1492: Conquest of Paradise (1992)
2 Days in the Valley (1996)
Allan Quatermain and the Lost City of Gold (1987)
As Good As Dead (2010)
August Rush (2007)
Bad Lieutenant: Port of Call New Orleans (2009)
Beer for My Horses (2008)
Beowulf (2007)
Black Widow (Aka: Before It Had a Name) (2005)
Blitz (2011)
Blood and Glory (2016)
Blue Like Jazz...
- 5/16/2018
- by Ashley Boucher
- The Wrap
Terry Gilliam has a message for fans following the reports that he suffered a stroke: “I’m not dead yet.” The filmmaker posted a photo to his official Twitter page in which those words were written on his shirt. News broke May 8 that Gilliam had suffered a stroke ahead of the verdict announcing whether or not he would be allowed to debut his passion project, “The Man Who Killed Don Quixote,” at Cannes. The film’s producer Jeremy Thomas confirmed to Deadline that Gilliam did not suffer a stroke but was hospitalized due to an unspecified illness and stress.
“After days of rest and prayers to the gods I am restored and well again,” Gilliam said. “So is ‘The Man Who Killed Don Quixote.’ We are legally victorious! We will go to the ball, dressed as the closing film at Festival de Cannes! May 19. Thanks for all your support.”
The...
“After days of rest and prayers to the gods I am restored and well again,” Gilliam said. “So is ‘The Man Who Killed Don Quixote.’ We are legally victorious! We will go to the ball, dressed as the closing film at Festival de Cannes! May 19. Thanks for all your support.”
The...
- 5/10/2018
- by Zack Sharf
- Indiewire
Cannes Confirms ‘Don Quixote’ for Closing Night, Praises Court Win: ‘Cinema Has Regained Its Rights’
Organizers for the 2018 Cannes Film Festival have confirmed that Terry Gilliam’s film, “The Man Who Killed Don Quixote,” will screen during the festival’s closing night on May 19 — and praised the Paris court decision allowing it to happen.
“Since Tuesday, cinema has regained its rights,” organizers said in a statement. “The Festival is a unique forum for freedom of expression. It will remain so.”
Hours after Amazon Studios dropped “The Man Who Killed Don Quixote,” a French court decided on Wednesday to dismiss a producer’s bid to stop the film from screening at Cannes.
“The Festival de Cannes, which throughout the case has repeatedly expressed its loyalty and support for the creators, is pleased to see that justice will allow the presentation of this work, whose director surely deserves to see it finally presented to the public,” the statement said.
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
Gilliam has been trying to make the film for decades with several failed attempts. Producer Paulo Branco, who was attached to “Don Quixote” but left after preproduction disputes, sought to block the Cannes closing-night screening. His lawyer issued a statement claiming that Gilliam needs Branco’s permission to screen the film.
“We are very pleased that this unique — and in some ways agonizing — work in the career of the great director Terry Gilliam will be unveiled for the first time to journalists, festival-goers and professionals from around the world, gathered together in the Grand Ampitheatre Lumiere,” added the statement.
The Festival has stood by the film in the past, saying, “The trouble were caused on this last occasion by the actions of a producer who has shown his true colours once and for all during this episode and who has threatened us, via his lawyer, with a ‘humiliating defeat.'”
Also Read: Cannes Report, Day 2: 'Rafiki' Makes History, 'Don Quixote' Scores Legal Victory
Amazon Studios on Wednesday pulled out of its deal to distribute Gilliam’s film in North America because of producers’ failure to deliver it, an individual with knowledge of the situation told TheWrap. The distributor had been an eyeing a fall release.
The film stars Driver as a 21st-century marketing executive named Toby who toggles between modern times and 17th-century Spain, where Don Quixote (Pryce) mistakes him for his trusted squire, Sancho Panza.
Like Quixote, Toby becomes consumed by the illusory world and unable to distinguish his dreams from reality. The tale culminates in a phantasmagorical finale where Toby takes on the mantle of Don Quixote de la Mancha.
Read original story Cannes Confirms ‘Don Quixote’ for Closing Night, Praises Court Win: ‘Cinema Has Regained Its Rights’ At TheWrap...
“Since Tuesday, cinema has regained its rights,” organizers said in a statement. “The Festival is a unique forum for freedom of expression. It will remain so.”
Hours after Amazon Studios dropped “The Man Who Killed Don Quixote,” a French court decided on Wednesday to dismiss a producer’s bid to stop the film from screening at Cannes.
“The Festival de Cannes, which throughout the case has repeatedly expressed its loyalty and support for the creators, is pleased to see that justice will allow the presentation of this work, whose director surely deserves to see it finally presented to the public,” the statement said.
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
Gilliam has been trying to make the film for decades with several failed attempts. Producer Paulo Branco, who was attached to “Don Quixote” but left after preproduction disputes, sought to block the Cannes closing-night screening. His lawyer issued a statement claiming that Gilliam needs Branco’s permission to screen the film.
“We are very pleased that this unique — and in some ways agonizing — work in the career of the great director Terry Gilliam will be unveiled for the first time to journalists, festival-goers and professionals from around the world, gathered together in the Grand Ampitheatre Lumiere,” added the statement.
The Festival has stood by the film in the past, saying, “The trouble were caused on this last occasion by the actions of a producer who has shown his true colours once and for all during this episode and who has threatened us, via his lawyer, with a ‘humiliating defeat.'”
Also Read: Cannes Report, Day 2: 'Rafiki' Makes History, 'Don Quixote' Scores Legal Victory
Amazon Studios on Wednesday pulled out of its deal to distribute Gilliam’s film in North America because of producers’ failure to deliver it, an individual with knowledge of the situation told TheWrap. The distributor had been an eyeing a fall release.
The film stars Driver as a 21st-century marketing executive named Toby who toggles between modern times and 17th-century Spain, where Don Quixote (Pryce) mistakes him for his trusted squire, Sancho Panza.
Like Quixote, Toby becomes consumed by the illusory world and unable to distinguish his dreams from reality. The tale culminates in a phantasmagorical finale where Toby takes on the mantle of Don Quixote de la Mancha.
Read original story Cannes Confirms ‘Don Quixote’ for Closing Night, Praises Court Win: ‘Cinema Has Regained Its Rights’ At TheWrap...
- 5/10/2018
- by Beatrice Verhoeven
- The Wrap
If you don’t count Wednesday night’s screening of “Black Panther” on the beach, the most fun to be had watching movies at this year’s Cannes Film Festival might well have come early in Russian director Kirill Serebrennikov’s “Leto,” when a train full of disaffected young musicians terrorize their more sedate passengers with a full-throated version of the Talking Heads’ “Psycho Killer.”
Or 40 minutes or so later, when a busload of commuters breaks into Iggy Pop’s “The Passenger.”
Like the film itself, those sequences are energetic, messy, a little surreal and wholly enjoyable, a tribute to the power of rock ‘n’ roll to shake things up while also providing good fun.
Also Read: 16 Cannes Winners That Went on to Take Oscar Gold (Photos)
“Leto,” which premiered on Wednesday night and screened for the press on Thursday morning, is the wildest and most bracing film to screen in the main competition so far this year. Part fond remembrance of an early-’80s Leningrad rock scene and part glam-rock fever dream, “Leto” asks an audience to surrender to excess and at times to silliness, and it richly rewards them for doing so.
Serebrennikov is one of two main-competition directors who is not allowed by authorities in his home country to come to the festival, the other being Iran’s Jafar Panahi. He has been under house arrest for almost a year on fraud accusations, though his supporters say it’s a trumped-up charge by a Russian government that wants to punish him for his art.
There’s a current of anti-government sentiment running through “Leto” in the way its musicians can’t play the government-supported Leningrad Music Club until their lyrics have been approved by a stern censor who tells them, “Soviet rock musicians must find all that’s good in humanity.” When they do play, stern guards watch over the audience to make sure they don’t stand up, move or do anything but applaud politely.
Also Read: 'Donbass' Review: Jarring War Film Reminds Us That No One Is Safe
But that’s not the focus of the film, which is based on the life of Soviet rock musician Viktor Tsoi, who was a legendary figure in his home country but is largely unknown outside Russia. To those who aren’t familiar with Tsoi’s music, “Leto” works as a more universal story of striving and of rock ‘n’ roll dreams.
Tsoi, played by Tee Yoo, is introduced as he makes a pilgrimage to see established local musician Mike (Roman Bilyk), the leader of a band and a community of misfits whose idols are David Bowie, Lou Reed and T-Rex’s Marc Bolan. They pay lip service to punk music, but they’re really glam-rockers at heart.
Serebrennikov doesn’t go full glam with the film, though. For the most part, “Leto” is shot in lustrous black and white that can seem gritty at times but more often turns the film into a rock ‘n’ roll reverie, a fever dream born of “Aladdin Sane” and “The Velvet Underground and Nico” (and occasionally accompanied by onscreen animation in a number of terrific fantasy sequences).
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
Tee Yoo, a Korean actor who learned Russian phonetically for the film, is suitably enigmatic as the gifted man at the center of a dizzying movement, while Bilyk is touching as the young rebel trying to adjust to the fact that he’s become an elder statesman of sorts.
At heart, this is a story of musicians who are dealing with several layers of frustration — cultural, artistic, personal — but manage to break through, one way or another. There’s a love triangle of sorts, as Viktor flirts with and falls for Mike’s wife, Natasha (a quietly compelling Irina Stashenbaum), but the heart of the film is in the songs, both Tsoi’s own music and Western tunes like “Psycho Killer,” Iggy Pop’s “The Passenger” (used in a priceless bus sequence) and a ghostly, hallucinatory version of the hit Bowie gave to Mott the Hoople, “All the Young Dudes.”
A mocking line from that last song essentially serves as the theme of this film: “Oh man, I need TV when I got T-Rex?” These people didn’t need Soviet TV, they did have T-Rex, and for a while it was glorious — though as the end of the film points out the ones among them who died young, the glory is tinged with deep melancholy.
Like rock ‘n’ roll itself, “Leto” aims to be great and doesn’t worry about being messy. Unlike anything else at Cannes so far this year, it cranks the dial to 11 and is all the better for it.
Read original story ‘Leto’ Film Review: Musical Biopic Is a Rock ‘n’ Roll Fever Dream At TheWrap...
Or 40 minutes or so later, when a busload of commuters breaks into Iggy Pop’s “The Passenger.”
Like the film itself, those sequences are energetic, messy, a little surreal and wholly enjoyable, a tribute to the power of rock ‘n’ roll to shake things up while also providing good fun.
Also Read: 16 Cannes Winners That Went on to Take Oscar Gold (Photos)
“Leto,” which premiered on Wednesday night and screened for the press on Thursday morning, is the wildest and most bracing film to screen in the main competition so far this year. Part fond remembrance of an early-’80s Leningrad rock scene and part glam-rock fever dream, “Leto” asks an audience to surrender to excess and at times to silliness, and it richly rewards them for doing so.
Serebrennikov is one of two main-competition directors who is not allowed by authorities in his home country to come to the festival, the other being Iran’s Jafar Panahi. He has been under house arrest for almost a year on fraud accusations, though his supporters say it’s a trumped-up charge by a Russian government that wants to punish him for his art.
There’s a current of anti-government sentiment running through “Leto” in the way its musicians can’t play the government-supported Leningrad Music Club until their lyrics have been approved by a stern censor who tells them, “Soviet rock musicians must find all that’s good in humanity.” When they do play, stern guards watch over the audience to make sure they don’t stand up, move or do anything but applaud politely.
Also Read: 'Donbass' Review: Jarring War Film Reminds Us That No One Is Safe
But that’s not the focus of the film, which is based on the life of Soviet rock musician Viktor Tsoi, who was a legendary figure in his home country but is largely unknown outside Russia. To those who aren’t familiar with Tsoi’s music, “Leto” works as a more universal story of striving and of rock ‘n’ roll dreams.
Tsoi, played by Tee Yoo, is introduced as he makes a pilgrimage to see established local musician Mike (Roman Bilyk), the leader of a band and a community of misfits whose idols are David Bowie, Lou Reed and T-Rex’s Marc Bolan. They pay lip service to punk music, but they’re really glam-rockers at heart.
Serebrennikov doesn’t go full glam with the film, though. For the most part, “Leto” is shot in lustrous black and white that can seem gritty at times but more often turns the film into a rock ‘n’ roll reverie, a fever dream born of “Aladdin Sane” and “The Velvet Underground and Nico” (and occasionally accompanied by onscreen animation in a number of terrific fantasy sequences).
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
Tee Yoo, a Korean actor who learned Russian phonetically for the film, is suitably enigmatic as the gifted man at the center of a dizzying movement, while Bilyk is touching as the young rebel trying to adjust to the fact that he’s become an elder statesman of sorts.
At heart, this is a story of musicians who are dealing with several layers of frustration — cultural, artistic, personal — but manage to break through, one way or another. There’s a love triangle of sorts, as Viktor flirts with and falls for Mike’s wife, Natasha (a quietly compelling Irina Stashenbaum), but the heart of the film is in the songs, both Tsoi’s own music and Western tunes like “Psycho Killer,” Iggy Pop’s “The Passenger” (used in a priceless bus sequence) and a ghostly, hallucinatory version of the hit Bowie gave to Mott the Hoople, “All the Young Dudes.”
A mocking line from that last song essentially serves as the theme of this film: “Oh man, I need TV when I got T-Rex?” These people didn’t need Soviet TV, they did have T-Rex, and for a while it was glorious — though as the end of the film points out the ones among them who died young, the glory is tinged with deep melancholy.
Like rock ‘n’ roll itself, “Leto” aims to be great and doesn’t worry about being messy. Unlike anything else at Cannes so far this year, it cranks the dial to 11 and is all the better for it.
Read original story ‘Leto’ Film Review: Musical Biopic Is a Rock ‘n’ Roll Fever Dream At TheWrap...
- 5/10/2018
- by Steve Pond
- The Wrap
It has been a typically fast-moving day at the world’s biggest film festival. In the space of just a few hours we have had a string of updates on already epic Cannes closer The Man Who Killed Don Quixote. We’ve had confirmation that director Terry Gilliam was taken unwell in London, that Amazon has backed out of U.S. distribution for the movie and that the film can screen at the festival following a heated legal battle. Here’s the latest on the complicated story:
First things first, health. Nothing should be more important than that, though as we know, that often doesn’t seem the case at a tension-filled market. I’ve just spoken to the film’s Oscar-winning exec producer Jeremy Thomas and director Terry Gilliam did not have a stroke, contrary to some reports this morning. He was taken ill over the weekend, in part...
First things first, health. Nothing should be more important than that, though as we know, that often doesn’t seem the case at a tension-filled market. I’ve just spoken to the film’s Oscar-winning exec producer Jeremy Thomas and director Terry Gilliam did not have a stroke, contrary to some reports this morning. He was taken ill over the weekend, in part...
- 5/9/2018
- by Andreas Wiseman
- Deadline Film + TV
No one is spared in “Donbass,” director Sergei Loznitsa’s scathing look at the (still ongoing) war in eastern Ukraine. The film is just as harsh on us the viewers as it is any of its venal characters — who get saddled with names like “Fat Woman” and “Ugly Man” in the end credits.
No is one is spared — and no one is safe. And as if to make that point crystal clear, the director sometimes repeats whole sequences and introduces jarring bouts of violence that hadn’t happened the first time through, as if to remind us that no gets out of this bloody conflict alive.
Now don’t go harping about spoilers – there is, simply put, no real way to spoil what is essentially a narrative-free travelogue through a bruised and bloodied corner of the world. The only recurring character is the war; the script’s conflict is the real-world conflict itself, and the so the movie functions as a series of interlocking vignettes inspired by real-life amateur videos from the warzone.
Also Read: 'Everybody Knows' Film Review: Penélope Cruz, Javier Bardem in Strongest Cannes Opener in Years
Here’s a bunch of soldiers raiding a poor granny’s bag for sausages; there’s a well-off government employee trying to convince her mother to leave a refugee shelter; watch out for the German journalist trying to report while under heavy fire.
Loznitsa and his band of both amateur and professional actors find different tones and registers for the various sequences, with some playing as dark comedy and other as battlefield horror shows. One memorable interlude plays like the director’s 2017 Cannes entry “A Gentle Creature” in miniature, following a poor sap as he goes to reclaim his stolen car and falls deeper and deeper into a bureaucratic black hole. With that one, the film wants to prime us for outrage.
Though this film and its predecessor share certain thematic similarities, what’s most striking is how utterly different they look and feel from one another. While “A Gentle Creature” had a dreamy, almost hallucinatory visual style, “Donbass” is bathed in the harsh light of inexpensive digital cameras. Such an aesthetic U-turn is par the course for Loznitsa, who seems to have a film ready for every major festival and often toggles between genres and styles, working just as much in documentary as he does in narrative fiction.
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
While much ink has been spilled about what director was and wasn’t chosen for Cannes this year and who would or wouldn’t show up, Loznitsa makes for an interesting case. The director played in the main competition last year but opens Un Certain Regard this year, a move that to some would seem like a step down.
But it doesn’t come across as a demotion or any kind of slight. “Donbass” is a more challenging, perhaps less fully rounded work, but it remains the uncompromised vision of a high-level international auteur. There’s always room that in Cannes.
Read original story ‘Donbass’ Review: Jarring War Film Reminds Us That No One Is Safe At TheWrap...
No is one is spared — and no one is safe. And as if to make that point crystal clear, the director sometimes repeats whole sequences and introduces jarring bouts of violence that hadn’t happened the first time through, as if to remind us that no gets out of this bloody conflict alive.
Now don’t go harping about spoilers – there is, simply put, no real way to spoil what is essentially a narrative-free travelogue through a bruised and bloodied corner of the world. The only recurring character is the war; the script’s conflict is the real-world conflict itself, and the so the movie functions as a series of interlocking vignettes inspired by real-life amateur videos from the warzone.
Also Read: 'Everybody Knows' Film Review: Penélope Cruz, Javier Bardem in Strongest Cannes Opener in Years
Here’s a bunch of soldiers raiding a poor granny’s bag for sausages; there’s a well-off government employee trying to convince her mother to leave a refugee shelter; watch out for the German journalist trying to report while under heavy fire.
Loznitsa and his band of both amateur and professional actors find different tones and registers for the various sequences, with some playing as dark comedy and other as battlefield horror shows. One memorable interlude plays like the director’s 2017 Cannes entry “A Gentle Creature” in miniature, following a poor sap as he goes to reclaim his stolen car and falls deeper and deeper into a bureaucratic black hole. With that one, the film wants to prime us for outrage.
Though this film and its predecessor share certain thematic similarities, what’s most striking is how utterly different they look and feel from one another. While “A Gentle Creature” had a dreamy, almost hallucinatory visual style, “Donbass” is bathed in the harsh light of inexpensive digital cameras. Such an aesthetic U-turn is par the course for Loznitsa, who seems to have a film ready for every major festival and often toggles between genres and styles, working just as much in documentary as he does in narrative fiction.
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
While much ink has been spilled about what director was and wasn’t chosen for Cannes this year and who would or wouldn’t show up, Loznitsa makes for an interesting case. The director played in the main competition last year but opens Un Certain Regard this year, a move that to some would seem like a step down.
But it doesn’t come across as a demotion or any kind of slight. “Donbass” is a more challenging, perhaps less fully rounded work, but it remains the uncompromised vision of a high-level international auteur. There’s always room that in Cannes.
Read original story ‘Donbass’ Review: Jarring War Film Reminds Us That No One Is Safe At TheWrap...
- 5/9/2018
- by Ben Croll
- The Wrap
Hours after Amazon Studios dropped Terry Gilliam’s “The Man Who Killed Don Quixote,” a French court decided to dismiss a producer’s bid to stop the film from screening at the Cannes Film Festival.
The long-delayed film, starring Adam Driver and Jonathan Pryce, is now free to screen during the festival’s closing night. Gilliam has been trying to make the film for decades with several failed attempts.
Recently, it’s been involved in legal disputes over its rights. Producer Paulo Branco, who was attached to “Don Quixote” but left after preproduction disputes, sought to block the Cannes closing-night screening. His lawyer issued a statement claiming that Gilliam needs Branco’s permission to screen the film.
But a court in Paris ruled Wednesday that the Cannes screening could proceed on May 19 as planned, Variety reported, so long as it’s preceded by a statement affirming Branco’s claims to the film rights. Branco will also be reimbursed for legal expenses.
Also Read: Cannes Stands by Terry Gilliam's 'Don Quixote' Despite Producer's Lawsuit to Block Screening
Cannes organizers have stood by the film, saying in a statement, “The trouble were caused on this last occasion by the actions of a producer who has shown his true colours once and for all during this episode and who has threatened us, via his lawyer, with a ‘humiliating defeat.'”
Amazon Studios on Wednesday pulled out of its deal to distribute Gilliam’s film in North America because of producers’ failure to deliver it, an individual with knowledge of the situation told TheWrap. The distributor had been an eyeing a fall release.
Also Read: Cannes Adds Terry Gilliam's 'Don Quixote,' Lars von Trier's 'The House That Jack Built'
The film stars Driver as a 21st-century marketing executive named Toby who toggles between modern times and 17th-century Spain, where Don Quixote (Pryce) mistakes him for his trusted squire, Sancho Panza.
Like Quixote, Toby becomes consumed by the illusory world and unable to distinguish his dreams from reality. The tale culminates in a phantasmagorical finale where Toby takes on the mantle of Don Quixote de la Mancha.
Read original story Terry Gilliam’s ‘Don Quixote’ Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer At TheWrap...
The long-delayed film, starring Adam Driver and Jonathan Pryce, is now free to screen during the festival’s closing night. Gilliam has been trying to make the film for decades with several failed attempts.
Recently, it’s been involved in legal disputes over its rights. Producer Paulo Branco, who was attached to “Don Quixote” but left after preproduction disputes, sought to block the Cannes closing-night screening. His lawyer issued a statement claiming that Gilliam needs Branco’s permission to screen the film.
But a court in Paris ruled Wednesday that the Cannes screening could proceed on May 19 as planned, Variety reported, so long as it’s preceded by a statement affirming Branco’s claims to the film rights. Branco will also be reimbursed for legal expenses.
Also Read: Cannes Stands by Terry Gilliam's 'Don Quixote' Despite Producer's Lawsuit to Block Screening
Cannes organizers have stood by the film, saying in a statement, “The trouble were caused on this last occasion by the actions of a producer who has shown his true colours once and for all during this episode and who has threatened us, via his lawyer, with a ‘humiliating defeat.'”
Amazon Studios on Wednesday pulled out of its deal to distribute Gilliam’s film in North America because of producers’ failure to deliver it, an individual with knowledge of the situation told TheWrap. The distributor had been an eyeing a fall release.
Also Read: Cannes Adds Terry Gilliam's 'Don Quixote,' Lars von Trier's 'The House That Jack Built'
The film stars Driver as a 21st-century marketing executive named Toby who toggles between modern times and 17th-century Spain, where Don Quixote (Pryce) mistakes him for his trusted squire, Sancho Panza.
Like Quixote, Toby becomes consumed by the illusory world and unable to distinguish his dreams from reality. The tale culminates in a phantasmagorical finale where Toby takes on the mantle of Don Quixote de la Mancha.
Read original story Terry Gilliam’s ‘Don Quixote’ Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer At TheWrap...
- 5/9/2018
- by Beatrice Verhoeven
- The Wrap
The actor’s Elysium Bandini Studios produced the projects in association with Los Angeles film schools.
Cinedigm Corp. has acquired all North American rights to The Heyday Of The Insensitive Bastards and Don Quixote: The Ingenious Gentleman Of La Mancha, produced by James Franco, Jennifer Howell and Vince Jolivette’s Elysium Bandini Studios.
The Heyday Of The Insensitive Bastards was produced in conjunction with UCLA’s School of Theater, Film and Television and stars Franco, Tyler Labine, Kate Mara, Jim Parrack, Natalie Portman, Rico Rodriguez, Abigail Spencer, Amber Tamblyn, Thomas Mann and Kristen Wiig.
The film has a unique structure comprised of a series of vignettes that run the whole gamut of emotions as the film delves into universal themes of memory, longing and loss.
Don Quixote: The Ingenious Gentleman Of La Mancha was produced in conjunction with USC’s School of Cinematic Arts and was written and directed by students in Franco’s USC graduate...
Cinedigm Corp. has acquired all North American rights to The Heyday Of The Insensitive Bastards and Don Quixote: The Ingenious Gentleman Of La Mancha, produced by James Franco, Jennifer Howell and Vince Jolivette’s Elysium Bandini Studios.
The Heyday Of The Insensitive Bastards was produced in conjunction with UCLA’s School of Theater, Film and Television and stars Franco, Tyler Labine, Kate Mara, Jim Parrack, Natalie Portman, Rico Rodriguez, Abigail Spencer, Amber Tamblyn, Thomas Mann and Kristen Wiig.
The film has a unique structure comprised of a series of vignettes that run the whole gamut of emotions as the film delves into universal themes of memory, longing and loss.
Don Quixote: The Ingenious Gentleman Of La Mancha was produced in conjunction with USC’s School of Cinematic Arts and was written and directed by students in Franco’s USC graduate...
- 3/3/2017
- ScreenDaily
The 26th annual Palm Springs International Film Festival (Psiff) has announced its complete line-up including Premieres, New Voices/New Visions and Modern Masters.
All in all 192 films from 65 countries, including 65 premieres (seven world, five international, 20 North American and 33 Us) will screen from January 2-12.
Premieres including Some Kind Of Love (Canada), Don Quixote: The Ingenious Gentleman Of La Mancha (USA) starring James Franco and Twenty-Five Palms from Luxembourg, a documentary about the festival’s quarter-century anniversary.
Among the international premieres are: Accused (Netherlands), The Grandad (Iceland) and Arteholic (Germany), a documentary featuring Udo Kier and Lars von Trier, among others.
The Secret Screening will take place on January 6.
The New Voices/New Visions Award focuses on directors whose feature debuts are currently without Us distribution.
The selections are: Afterlife (Hungary), Director Virág Zomborácz; Chubby (Belgium), Bruno Deville; Fidelio, Alice’s Journey (France), Lucie Borleteau; Grand Street (USA), Lex Sidon; Henri Henri (Canada), Martin Talbot; Manpower (Israel), [link...
All in all 192 films from 65 countries, including 65 premieres (seven world, five international, 20 North American and 33 Us) will screen from January 2-12.
Premieres including Some Kind Of Love (Canada), Don Quixote: The Ingenious Gentleman Of La Mancha (USA) starring James Franco and Twenty-Five Palms from Luxembourg, a documentary about the festival’s quarter-century anniversary.
Among the international premieres are: Accused (Netherlands), The Grandad (Iceland) and Arteholic (Germany), a documentary featuring Udo Kier and Lars von Trier, among others.
The Secret Screening will take place on January 6.
The New Voices/New Visions Award focuses on directors whose feature debuts are currently without Us distribution.
The selections are: Afterlife (Hungary), Director Virág Zomborácz; Chubby (Belgium), Bruno Deville; Fidelio, Alice’s Journey (France), Lucie Borleteau; Grand Street (USA), Lex Sidon; Henri Henri (Canada), Martin Talbot; Manpower (Israel), [link...
- 12/18/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The 26th annual Palm Springs International Film Festival (Psiff) has announced its complete line-up including Premieres, New Voices/New Visions and Modern Masters.
All in all 192 films from 65 countries, including 65 premieres (seven world, five international, 20 North American and 33 Us) will screen from January 2-12.
Premieres including Some Kind Of Love (Canada), Don Quixote: The Ingenious Gentleman Of La Mancha (USA) starring James Franco and Twenty-Five Palms from Luxembourg, a documentary about the festival’s quarter-century anniversary.
Among the international premieres are: Accused (Netherlands), The Grandad (Iceland) and Arteholic (Germany), a documentary featuring Udo Kier and Lars von Trier, among others.
The Secret Screening will take place on January 6.
The New Voices/New Visions Award focuses on directors whose feature debuts are currently without Us distribution.
The selections are: Afterlife (Hungary), Director Virág Zomborácz; Chubby (Belgium), Bruno Deville; Fidelio, Alice’s Journey (France), Lucie Borleteau; Grand Street (USA), Lex Sidon; Henri Henri (Canada), Martin Talbot; Manpower (Israel), [link...
All in all 192 films from 65 countries, including 65 premieres (seven world, five international, 20 North American and 33 Us) will screen from January 2-12.
Premieres including Some Kind Of Love (Canada), Don Quixote: The Ingenious Gentleman Of La Mancha (USA) starring James Franco and Twenty-Five Palms from Luxembourg, a documentary about the festival’s quarter-century anniversary.
Among the international premieres are: Accused (Netherlands), The Grandad (Iceland) and Arteholic (Germany), a documentary featuring Udo Kier and Lars von Trier, among others.
The Secret Screening will take place on January 6.
The New Voices/New Visions Award focuses on directors whose feature debuts are currently without Us distribution.
The selections are: Afterlife (Hungary), Director Virág Zomborácz; Chubby (Belgium), Bruno Deville; Fidelio, Alice’s Journey (France), Lucie Borleteau; Grand Street (USA), Lex Sidon; Henri Henri (Canada), Martin Talbot; Manpower (Israel), [link...
- 12/18/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.