Casting is one of the hidden arts of Hollywood, and starting June 15, the second season of The Academy Museum Podcast, “Close Up on Casting,” hosted by the Museum’s Director and President Jacqueline Stewart, delves into often misunderstood art and influence of Hollywood casting.
The audio series draws inspiration from the museum’s galleries, Stewart said during a recent small press gathering and podcast preview for the episode centered on the Hitchcock film “Rebecca.” She saw that her curators had more research and intel to share than was possible to display in the audience-favorite Performance Gallery, packed with early Polaroids of actors, audition tapes, and casting directors’ notes, which deserves to be expanded. The typewritten list of actresses considered for producer David O. Selznick’s production of “Rebecca” (1940), for example, is priceless, with often snarky and misogynist descriptions by each name.
“It was really interesting to watch visitors imagine different...
The audio series draws inspiration from the museum’s galleries, Stewart said during a recent small press gathering and podcast preview for the episode centered on the Hitchcock film “Rebecca.” She saw that her curators had more research and intel to share than was possible to display in the audience-favorite Performance Gallery, packed with early Polaroids of actors, audition tapes, and casting directors’ notes, which deserves to be expanded. The typewritten list of actresses considered for producer David O. Selznick’s production of “Rebecca” (1940), for example, is priceless, with often snarky and misogynist descriptions by each name.
“It was really interesting to watch visitors imagine different...
- 6/8/2023
- by Anne Thompson
- Indiewire
Kcet picked up a leading six wins tonight at the Los Angeles Area Emmy Awards, including awards for local color and culture/history. Kmex, Ktla and Kvea followed with five wins each.
Ktla’s wins included the best daily morning newscast and best daily daytime newscast categories. Kvea won the best evening newscast honor. The awards were handed out at the Television Academy’s Saban Media Center in North Hollywood.
Below is the complete list of winners at the 71st Los Angeles Area Emmys, including a breakdown of wins by each outlet.
L.A. Local Color
Louis & Jazz (The Migrant Kitchen) Kcet
Matthew Crotty, Producer
Juan Devis, Executive Producer
Antonio Diaz, Producer
Stef Ferrari, Producer
Ben Hunter, Director, Editor
Jacqueline Reyno, Producer
Austin Straub, Camera
Environment News Story
Plastic And Our Oceans NBC4
(NBC4 News At 7Am And 5Pm)
Shanna Mendiola, Reporter
Andres Fernando Pruna, Camera, Editor, Producer
Sports Special
Dodgermentary:...
Ktla’s wins included the best daily morning newscast and best daily daytime newscast categories. Kvea won the best evening newscast honor. The awards were handed out at the Television Academy’s Saban Media Center in North Hollywood.
Below is the complete list of winners at the 71st Los Angeles Area Emmys, including a breakdown of wins by each outlet.
L.A. Local Color
Louis & Jazz (The Migrant Kitchen) Kcet
Matthew Crotty, Producer
Juan Devis, Executive Producer
Antonio Diaz, Producer
Stef Ferrari, Producer
Ben Hunter, Director, Editor
Jacqueline Reyno, Producer
Austin Straub, Camera
Environment News Story
Plastic And Our Oceans NBC4
(NBC4 News At 7Am And 5Pm)
Shanna Mendiola, Reporter
Andres Fernando Pruna, Camera, Editor, Producer
Sports Special
Dodgermentary:...
- 7/28/2019
- by Anita Bennett
- Deadline Film + TV
Spanish-language outlet Kmex leads with the field with 22 nominations for the 71st annual Los Angeles Area Emmy Awards, topping Kcet’s 19. Read the full list below, and check out the nominations by network here.
It’s the first time since 2015 that Kmex has led the noms list outright. Last year it tied with Kcet for the most noms from the Television Academy, with the former PBS outlet, ultimately scoring the most trophies six months later.
Kvea is running third with 12 nominations, with NBC4 next with nine.
The hardware will be handed out during a July 27 ceremony at the Academy’s Saban Media Center in North Hollywood.
Here is the full list of nominees:
Programming & News Categories
L.A. Local Color
30 Years with Val Zavala (SoCal Connected) • Kcet
Linda Burns, Senior Producer Karen Foshay, Executive Producer
Kathy Kasaba, Supervising Producer Robert McDonnell, Supervising Producer
Louis & Jazz (The Migrant Kitchen) • Kcet
Matthew Crotty,...
It’s the first time since 2015 that Kmex has led the noms list outright. Last year it tied with Kcet for the most noms from the Television Academy, with the former PBS outlet, ultimately scoring the most trophies six months later.
Kvea is running third with 12 nominations, with NBC4 next with nine.
The hardware will be handed out during a July 27 ceremony at the Academy’s Saban Media Center in North Hollywood.
Here is the full list of nominees:
Programming & News Categories
L.A. Local Color
30 Years with Val Zavala (SoCal Connected) • Kcet
Linda Burns, Senior Producer Karen Foshay, Executive Producer
Kathy Kasaba, Supervising Producer Robert McDonnell, Supervising Producer
Louis & Jazz (The Migrant Kitchen) • Kcet
Matthew Crotty,...
- 6/10/2019
- by Erik Pedersen
- Deadline Film + TV
Patching together portraits of his beloved Portland streets, bits of Shakespeare’s Henry IV via Welles’ tumultuous Chimes at Midnight, and vignettes of a narcoleptic vagabond hustler whose motherless anxieties send him travelling through time and space in shimmeringly nostalgic deep sleep, Gus Van Sant‘s My Own Private Idaho is a wildly original amalgam of cultural references and personal investments that transcend a mere tip of the hat. Riding high in the wake of Drugstore Cowboy‘s Hollywood success, Van Sant convinced River Phoenix and Keanu Reeves, two rising Tinseltown heart-throbs, to take a serious risk, committing themselves, against the loudly voiced opinions of their agents, to a pair of overtly homosexual roles in a film that opens with an off-screen blowjob. After River was awarded the prizes for Best Actor from the Venice International Film Festival, the Independent Spirit Awards and the National Society of Film Critics Awards...
- 10/20/2015
- by Jordan M. Smith
- IONCINEMA.com
The winners Bret Michaels and Taya will be seen in Rock of Love Bus' reunion episode. The show will be also referred as Rock of Love 3 and will be aired on Vh-1 from April 19th. It was revealed on Lalate that Bret Michaels and Taya Laurie Parker will be featured in the upcoming show of Rock of Love Bus.
The Final season of Rock Of Love was won by Bret Michaels and Penthouse Pet Taya Parker. Taya gave a tough competition to Mindy Hall in the final episode. The ladies were asked to pick and chose their engagement rings. Bret has been quoted saying that he will not be marrying Taya now but will surely present her the ....
The Final season of Rock Of Love was won by Bret Michaels and Penthouse Pet Taya Parker. Taya gave a tough competition to Mindy Hall in the final episode. The ladies were asked to pick and chose their engagement rings. Bret has been quoted saying that he will not be marrying Taya now but will surely present her the ....
- 4/13/2009
- by anamus
- Celeb9.com
Screened
Toronto International Film Festival
Jane Campion has applied her considerable filmmaking talents to the complex psychological thriller genre with some erotically charged but ultimately disappointing results.
Taking Susanna Moore's 1995 noir best seller as her blueprint, Campion has crafted a female-driven vehicle that doesn't shy away from the darker, not-always-pretty corners of human impulses.
But though she has drawn a couple of admirably courageous performances from leads Meg Ryan and Mark Ruffalo, In the Cut fails to hit those all-important marks intrinsic to the success of every screen crime thriller.
Serious character credibility issues aside, the tension in the film keeps going slack when it should be winding ever so tightly, while the obligatory twist ending (with a coda that differs significantly from the novel) comes as a major, dramatically limp, letdown.
Those steamy encounters, combined with Campion's own deserved following, should help the Screen Gems picture generate some initial business, but critical word-of-mouth isn't going to be encouraging.
Stripped of nonessential cosmetics as well as her bag of perky acting tricks, Ryan delivers a fearless, emotionally raw performance as Frannie Avery, a single New York writing professor who seems to use her lank, mousy brown hair to shield herself from the city's colder elements.
One such element surfaces in the form of the grisly murder of a young woman that took place near Frannie's apartment, and NYPD Detective Michael Malloy (Ruffalo) turns up to question her in the hope that she might have seen the potential perp.
Frannie has reason to believe that she recognizes Malloy as the man with the odd tattoo on his wrist whom she spied having a quickie encounter with a woman in the murky basement of a local bar.
Although she tries to keep her distance, Frannie finds herself being increasingly attracted to Malloy, and with the approval of her half sister, Pauline Jennifer Jason Leigh), she enters into a sordid relationship with him.
Meanwhile, as the killer continues to go about his business, the whodunit possibilities also mount, and Frannie begins to suspect Malloy. Or could it be her stalker of an ex-boyfriend (Kevin Bacon)? Or one of her more intense students (Sharrieff Pugh), who's writing a paper contending the innocence of serial killer John Wayne Gacy?
Campion, in tandem with cinematographer Dion Beebe (Chicago) and production designer David Brisbin (City of Ghosts), does an effective job of creating the dread-soaked atmosphere. There's a palpable menace lurking around every neon-flickering corner.
She also gets those sweaty liaisons down cold, or rather hot, with a matter-of-fact frankness that might have felt less convincing in the hands of a male director.
But it's the scripting, handled by Campion and Moore, that proves the picture's ultimate undoing. There's nothing wrong with grafting a psychological study of the boundaries of contemporary intimacy onto the thriller framework, provided that all the analysis doesn't interfere with the genre's constantly spinning wheels.
In the end, by not respecting those fundamental rules, In the Cut emerges as a frustrating cop-out.
In the Cut
Screen Gems
Credits:
Director: Jane Campion
Executive producers: Effie T. Brown, Francois Ivernel
Producers: Laurie Parker, Nicole Kidman
Screenplay: Jane Campion and Susanna Moore
Director of photography: Dion Beebe
Production designer: David Brisbin
Editor: Alexandre de Franceschi
Costume designer: Beatrix Aruna Pasztor
Music: Hilmar Orn Hilmarsson
Cast:
Frannie Avery: Meg Ryan
Detective Malloy: Mark Ruffalo
Pauline: Jennifer Jason Leigh
John Graham: Kevin Bacon
Detective Rodriguez: Nick Damici
Cornelius: Sharrieff Pugh
Running time -- 113 minutes
MPAA rating: R...
Toronto International Film Festival
Jane Campion has applied her considerable filmmaking talents to the complex psychological thriller genre with some erotically charged but ultimately disappointing results.
Taking Susanna Moore's 1995 noir best seller as her blueprint, Campion has crafted a female-driven vehicle that doesn't shy away from the darker, not-always-pretty corners of human impulses.
But though she has drawn a couple of admirably courageous performances from leads Meg Ryan and Mark Ruffalo, In the Cut fails to hit those all-important marks intrinsic to the success of every screen crime thriller.
Serious character credibility issues aside, the tension in the film keeps going slack when it should be winding ever so tightly, while the obligatory twist ending (with a coda that differs significantly from the novel) comes as a major, dramatically limp, letdown.
Those steamy encounters, combined with Campion's own deserved following, should help the Screen Gems picture generate some initial business, but critical word-of-mouth isn't going to be encouraging.
Stripped of nonessential cosmetics as well as her bag of perky acting tricks, Ryan delivers a fearless, emotionally raw performance as Frannie Avery, a single New York writing professor who seems to use her lank, mousy brown hair to shield herself from the city's colder elements.
One such element surfaces in the form of the grisly murder of a young woman that took place near Frannie's apartment, and NYPD Detective Michael Malloy (Ruffalo) turns up to question her in the hope that she might have seen the potential perp.
Frannie has reason to believe that she recognizes Malloy as the man with the odd tattoo on his wrist whom she spied having a quickie encounter with a woman in the murky basement of a local bar.
Although she tries to keep her distance, Frannie finds herself being increasingly attracted to Malloy, and with the approval of her half sister, Pauline Jennifer Jason Leigh), she enters into a sordid relationship with him.
Meanwhile, as the killer continues to go about his business, the whodunit possibilities also mount, and Frannie begins to suspect Malloy. Or could it be her stalker of an ex-boyfriend (Kevin Bacon)? Or one of her more intense students (Sharrieff Pugh), who's writing a paper contending the innocence of serial killer John Wayne Gacy?
Campion, in tandem with cinematographer Dion Beebe (Chicago) and production designer David Brisbin (City of Ghosts), does an effective job of creating the dread-soaked atmosphere. There's a palpable menace lurking around every neon-flickering corner.
She also gets those sweaty liaisons down cold, or rather hot, with a matter-of-fact frankness that might have felt less convincing in the hands of a male director.
But it's the scripting, handled by Campion and Moore, that proves the picture's ultimate undoing. There's nothing wrong with grafting a psychological study of the boundaries of contemporary intimacy onto the thriller framework, provided that all the analysis doesn't interfere with the genre's constantly spinning wheels.
In the end, by not respecting those fundamental rules, In the Cut emerges as a frustrating cop-out.
In the Cut
Screen Gems
Credits:
Director: Jane Campion
Executive producers: Effie T. Brown, Francois Ivernel
Producers: Laurie Parker, Nicole Kidman
Screenplay: Jane Campion and Susanna Moore
Director of photography: Dion Beebe
Production designer: David Brisbin
Editor: Alexandre de Franceschi
Costume designer: Beatrix Aruna Pasztor
Music: Hilmar Orn Hilmarsson
Cast:
Frannie Avery: Meg Ryan
Detective Malloy: Mark Ruffalo
Pauline: Jennifer Jason Leigh
John Graham: Kevin Bacon
Detective Rodriguez: Nick Damici
Cornelius: Sharrieff Pugh
Running time -- 113 minutes
MPAA rating: R...
- 11/18/2003
- The Hollywood Reporter - Movie News
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