This article is part of IndieWire’s 2000s Week celebration. Click here for a whole lot more.
When the 2000s began, Todd Field was a journeyman actor best known for his work in “Ruby in Paradise,” “Eyes Wide Shut,” and a pair of Jan de Bont spectacles.. A year into the decade, he would be recognized as one of the most promising filmmakers of his generation after writing and directing “In the Bedroom” (2001), a low-budget indie that became a surprising commercial success on its way to five Oscar nominations. Looking back now, Field recognizes that it was a unique time not just for him, but for film history in general.
“There are so many advantages now, technically, for young filmmakers starting out,” Field told IndieWire. “But in terms of actually having people see the work, it seems much harder. The idea that this film got made, that it got into Sundance,...
When the 2000s began, Todd Field was a journeyman actor best known for his work in “Ruby in Paradise,” “Eyes Wide Shut,” and a pair of Jan de Bont spectacles.. A year into the decade, he would be recognized as one of the most promising filmmakers of his generation after writing and directing “In the Bedroom” (2001), a low-budget indie that became a surprising commercial success on its way to five Oscar nominations. Looking back now, Field recognizes that it was a unique time not just for him, but for film history in general.
“There are so many advantages now, technically, for young filmmakers starting out,” Field told IndieWire. “But in terms of actually having people see the work, it seems much harder. The idea that this film got made, that it got into Sundance,...
- 8/12/2024
- by Jim Hemphill
- Indiewire
Playing the title character, Lizzie McGuire, on the American comedy television series that premiered on Disney Channel on January 12, 2001, Hilary Erhard Duff became a rich woman. As of 2024, she has an estimated net worth of $25 million.
The final episode, after 65 episodes, aired on February 14, 2004. Buena Vista Pictures released The Lizzie McGuire Movie, a theatrical movie based on the series, on May 2, 2003.
Hilary Duff received $15,000 per episode and $1 million for her role in The Lizzie McGuire Movie (Credit: Disney Channel)
Earnings from the Series and Movie
Starring in one of the most popular Disney Channel shows of the early 2000s, according to EW, she earned $15,000 per episode and $1 million for the movie.
After the success of the original “Lizzie McGuire” series and its subsequent movie, plans were made to expand the franchise further, including a second movie and a prime-time comedy series on ABC that would follow Lizzie McGuire during her high school years.
The final episode, after 65 episodes, aired on February 14, 2004. Buena Vista Pictures released The Lizzie McGuire Movie, a theatrical movie based on the series, on May 2, 2003.
Hilary Duff received $15,000 per episode and $1 million for her role in The Lizzie McGuire Movie (Credit: Disney Channel)
Earnings from the Series and Movie
Starring in one of the most popular Disney Channel shows of the early 2000s, according to EW, she earned $15,000 per episode and $1 million for the movie.
After the success of the original “Lizzie McGuire” series and its subsequent movie, plans were made to expand the franchise further, including a second movie and a prime-time comedy series on ABC that would follow Lizzie McGuire during her high school years.
- 4/20/2024
- by Jan Stromsodd
- Your Next Shoes
If Criterion24/7 hasn’t completely colonized your attention every time you open the Channel––this is to say: if you’re stronger than me––their May lineup may be of interest. First and foremost I’m happy to see a Michael Roemer triple-feature: his superlative Nothing But a Man, arriving in a Criterion Edition, and the recently rediscovered The Plot Against Harry and Vengeance is Mine, three distinct features that suggest a long-lost voice of American movies. Meanwhile, Nobuhiko Obayashi’s Antiwar Trilogy four by Sara Driver, and a wide collection from Ayoka Chenzira fill out the auteurist sets.
Series-wise, a highlight of 1999 goes beyond the well-established canon with films like Trick and Bye Bye Africa, while of course including Sofia Coppola, Michael Mann, Scorsese, and Claire Denis. Films starring Shirley Maclaine, a study of 1960s paranoia, and Columbia’s “golden era” (read: 1950-1961) are curated; meanwhile, The Breaking Ice,...
Series-wise, a highlight of 1999 goes beyond the well-established canon with films like Trick and Bye Bye Africa, while of course including Sofia Coppola, Michael Mann, Scorsese, and Claire Denis. Films starring Shirley Maclaine, a study of 1960s paranoia, and Columbia’s “golden era” (read: 1950-1961) are curated; meanwhile, The Breaking Ice,...
- 4/17/2024
- by Nick Newman
- The Film Stage
Twenty years ago, tween-girl cinema thrived. Hilary Duff, Lindsay Lohan, and Amanda Bynes kicked off the junior rom-com eras -- bringing their Disney and Nickelodeon fans along for the ride. Big-screen coming-of-age stories, family sagas, and whimsical made-for-television movies defined youth culture in 2003. Pop music became more accessible to children. Bright colors and Y2K fashion arrived in full force. Kids were paying attention to the media and products advertised to them.
As a person who turned nine in '03, I vividly remember this era of family films. They were hopeful, playful, and rife with young characters seeking adventures. I'll never forget when my sister and I saw our first movies on DVD instead of VHS: "The Lizzie McGuire Movie" and "What a Girl Wants." For millennial fans, Hilary Duff's Italian excursion has been on repeat as a literal soundtrack of our lives. Amanda Bynes' British battle of the debutantes sharpened our rebellious side.
As a person who turned nine in '03, I vividly remember this era of family films. They were hopeful, playful, and rife with young characters seeking adventures. I'll never forget when my sister and I saw our first movies on DVD instead of VHS: "The Lizzie McGuire Movie" and "What a Girl Wants." For millennial fans, Hilary Duff's Italian excursion has been on repeat as a literal soundtrack of our lives. Amanda Bynes' British battle of the debutantes sharpened our rebellious side.
- 1/27/2023
- by Allison McClain Merrill
- Slash Film
J.P. Pitoc and Christian Campbell in Trick
Boy meets go-go boy and they try to find a place to hook-up…
That’s the basic premise of Trick, but if you’ve seen the beloved 1999 film, you know it’s actually a sweet and charming romantic comedy that has endured and is celebrating its fifteenth anniversary this year.
In the New York-based film, directed by Jim Fall and written by Jason Schafer, Gabriel (Christian Campbell) first sees go-go boy Mark (J.P. Pitoc) shaking it at a local gay bar, but a chance meeting on the subway later takes them on an all-night adventure that goes from a piano bar, Tori Spelling (who played Gabriel’s Bff, Katherine), a dance club and Gabriel’s memorable bathroom interaction with none other than Miss Coco Peru.
To commemorate the film, UCLA is hosting an Outfest Legacy screening this Saturday in Los Angeles along with a Q&A with Fall,...
Boy meets go-go boy and they try to find a place to hook-up…
That’s the basic premise of Trick, but if you’ve seen the beloved 1999 film, you know it’s actually a sweet and charming romantic comedy that has endured and is celebrating its fifteenth anniversary this year.
In the New York-based film, directed by Jim Fall and written by Jason Schafer, Gabriel (Christian Campbell) first sees go-go boy Mark (J.P. Pitoc) shaking it at a local gay bar, but a chance meeting on the subway later takes them on an all-night adventure that goes from a piano bar, Tori Spelling (who played Gabriel’s Bff, Katherine), a dance club and Gabriel’s memorable bathroom interaction with none other than Miss Coco Peru.
To commemorate the film, UCLA is hosting an Outfest Legacy screening this Saturday in Los Angeles along with a Q&A with Fall,...
- 2/20/2014
- by Jim Halterman
- The Backlot
With the series finale of "The Office" approaching, Zap2it is looking back at some of the best, most important and most uncomfortable episodes in the show's nine-year history. Look for a list of five each week leading up to the May 16 finale.
Michael Scott (Steve Carell) could be incredibly sweet and even good at his job, on those rare occasions when he got out of his own way. It was those occasions (and Carell's natural nice-guy charm) that helped fans of the show get through the many, many more times that Michael was some combination of clueless, needy, boorish and selfish. As Phyllis puts it in the Season 7 episode "Counseling," "Michael has a lot of issues -- plus he's stupid."
Michael had a lot of cringe-worthy moments over the course of Carell's seven seasons on the show, but these five take the cake. In reverse order, from least to...
Michael Scott (Steve Carell) could be incredibly sweet and even good at his job, on those rare occasions when he got out of his own way. It was those occasions (and Carell's natural nice-guy charm) that helped fans of the show get through the many, many more times that Michael was some combination of clueless, needy, boorish and selfish. As Phyllis puts it in the Season 7 episode "Counseling," "Michael has a lot of issues -- plus he's stupid."
Michael had a lot of cringe-worthy moments over the course of Carell's seven seasons on the show, but these five take the cake. In reverse order, from least to...
- 4/25/2013
- by editorial@zap2it.com
- Zap2It - From Inside the Box
(l-r) Jeff Ward, director Jim Fall and Claire Coffee during production of Holly's Holiday
(photo by Sherry Gunderman)
It’s December, so if it means anything it’s that there are a slew of holiday-themed movies on our TVs this time of year. One of them, Lifetime’s Holly’s Holiday, comes to us from out director Jim Fall, who has brought us such fabulous films as Trick and Wedding Wars as well as Tori Spelling’s So NoTORIous series.
AfterElton sat down with the director to talk about how you put the gay in a Lifetime movie, his thoughts on the state of gay films and (gasp!) he spilled the beans to us about picking up with Christian Campbell and Jp Pitoc in a sequel to Trick.
AfterElton: Holiday films are so specific in a lot of ways but as a director do you approach them differently than you would another project?...
(photo by Sherry Gunderman)
It’s December, so if it means anything it’s that there are a slew of holiday-themed movies on our TVs this time of year. One of them, Lifetime’s Holly’s Holiday, comes to us from out director Jim Fall, who has brought us such fabulous films as Trick and Wedding Wars as well as Tori Spelling’s So NoTORIous series.
AfterElton sat down with the director to talk about how you put the gay in a Lifetime movie, his thoughts on the state of gay films and (gasp!) he spilled the beans to us about picking up with Christian Campbell and Jp Pitoc in a sequel to Trick.
AfterElton: Holiday films are so specific in a lot of ways but as a director do you approach them differently than you would another project?...
- 12/7/2012
- by nyjimmy67
- The Backlot
When John Schultz was in elementary school, his favorite classroom activity was when the teacher would hand out a vocabulary list of 20 words and he would have to write a story that employed all of them. "I loved that challenge of here's what you have to work with. Make it work," Schultz said.
It shouldn't be all that surprising then that the director is making his third indie feature, but it is refreshing that with this week's "Judy Moody and the Not Bummer Summer," he's aiming to entertain today's elementary school kids by working in the indie world's least prolific genre, the family film. Oddly, in the considerably more ungoverned area of the medium that's wide open to personal coming-of-age stories and cinematic anarchy, few are made with the intention of appealing to all audiences.
Less unusual has been Schultz's career path, though it still might strike some as peculiar.
It shouldn't be all that surprising then that the director is making his third indie feature, but it is refreshing that with this week's "Judy Moody and the Not Bummer Summer," he's aiming to entertain today's elementary school kids by working in the indie world's least prolific genre, the family film. Oddly, in the considerably more ungoverned area of the medium that's wide open to personal coming-of-age stories and cinematic anarchy, few are made with the intention of appealing to all audiences.
Less unusual has been Schultz's career path, though it still might strike some as peculiar.
- 6/10/2011
- by Stephen Saito
- ifc.com
Why aren’t there more good gay movies? We hear this complaint at AfterElton.com a lot, and we’ve even made it a few times ourselves (although we think the results of this poll prove that there are more good movies than many of us think!).
There are surely many reasons why more “mainstream” movies don’t include gay or bisexual themes, but no doubt one of them is heterosexual discomfort – not just discomfort on the part of audiences and network executives, but also discomfort on the part of critics and others to champion these films.
This is where our poll of AfterElton.com readers on the 50 Greatest Gay Movies comes in. We can think of no better way to encourage the creation of more good gay movies than to praise and support the existence of past good gay movies!
How does this list compare to our previous poll?...
There are surely many reasons why more “mainstream” movies don’t include gay or bisexual themes, but no doubt one of them is heterosexual discomfort – not just discomfort on the part of audiences and network executives, but also discomfort on the part of critics and others to champion these films.
This is where our poll of AfterElton.com readers on the 50 Greatest Gay Movies comes in. We can think of no better way to encourage the creation of more good gay movies than to praise and support the existence of past good gay movies!
How does this list compare to our previous poll?...
- 9/14/2009
- by Brent Hartinger
- The Backlot
There was a reason to feel queasy after watching the trailer for "The Hannah Montana Movie," and it wasn't just the sight of Miley Cyrus fighting off Tyra Banks for a pair of garish high heels. No, it was seeing the end credits that read "Directed by Peter Chelsom." That name may not mean much to most, but for those who discovered Chelsom during the mid-'90s by way of his trilogy of Blackpool-set showbiz dramedies -- the short "Treacle," 1992's "Hear My Song" and his best, the 1995 Jerry Lewis-Oliver Platt father-son vaudeville comedy "Funny Bones" -- an adaptation of a Disney Channel show is nothing short of a crushing disappointment.
Now, times are tough and filmmakers have to eat. And perhaps such disappointment comes as a result of investing too much in the auteur theory, but there is a class of filmmakers whose careers haven't gone the...
Now, times are tough and filmmakers have to eat. And perhaps such disappointment comes as a result of investing too much in the auteur theory, but there is a class of filmmakers whose careers haven't gone the...
- 4/9/2009
- by Stephen Saito
- ifc.com
Film review: 'Trick'
PARK CITY, Utah -- Jim Fall's "Trick" marks a striking shift from the searing and angry works that made up the New Queer Cinema ("Poison", "The Living End", "The Hours and Times") that dramatically shook up American movies at the start of the decade. Significantly, it also lacks the formal ambition of those films.
Exuberant but slight, this Fine Line Features acquisition is a work of limited ambition and modest pleasures that never quite attains the level of a fully thought-out work of art. The film should strike a chord with gay audiences eager to deconstruct the negative presuppositions about their lives. But upon deeper reflection, the movie seems unusually conservative and restrained, as if it were afraid to fully explore the distinct separation of gay and straight sensibilities.
To a large extent, the highly personal "Trick" functions as a gay "After Hours", its narrative detailing the epic, absurd experiences of its two radically different men trying to consummate an unlikely, albeit deeply felt attraction. Ambitious musical theater writer and composer Gabriel (Christian Campbell) crosses paths with the dreamy object of his desire, Mark John Paul Pitoc), a handsome, well-built "go-go boy" he fantasized about at a local strip club.
The conflict arises out of the increasingly absurd and sometimes funny succession of events that preclude them from carrying out their impulses. In their pursuit of carnal bliss, they pass through a gay Greenwich Village milieu of drag queens, muscle boys, piano singers and loners searching for their ideal mate. Neither stereotyped nor pathologized, the cultural definition is etched in painterly strokes with verve and insight.
Fall and screenwriter Jason Schafer incorporate deft reversals into the narrative, in particular their ability to suggest unforeseen nuances and depth in their characters (especially Pitoc, who appears at the start as vacant, though he turns out to be surprisingly complex). It's a film of excellent moments (such as a fantastic sequence in a bathroom bar involving Gabriel and a forbidding drag queen) that unfortunately never coalesces into the work the movie occasionally promises.
The film is conventionally put together. Fall can't break out of the script's circular, repetitive structure in which the pattern of attraction, estrangement and reconciliation is excessively deployed. Worst of all, Tori Spelling has a featured part as a desperately narcissistic actress rather unconvincingly put forth as Gabriel's muse and best friend.
Spelling has been used to ironic effect before ("The House of Yes"), but her shrill, hyper, one-note performance here becomes the stuff of nightmares. She needs to calm down. The other key performers -- Lorri Bagley as an aggressively straight and uninhibited woman, Steve Hayes as a bar singer and Clinton Leupp in drag -- are moving and exact.
TRICK
Fine Line Features
A Roadside Attractions and Good Machine production
Producers: Eric d'Arbeloff, Jim Fall, Ross Katz
Director: Jim Fall
Executive producers: Anthony Bregman, Mary Jane Skalski
Co-producer: Robert Hawk
Screenwriter: Jason Schafer
Director of photography: Terry Stacey
Production designer: Jody Asnes
Editor: Brian A. Kates
Composer: David Friedman
Costume designer: Tracy McKnight
Choreographer: Robin Carrigan
Casting director: Susan Shopmaker
Color/stereo
Cast:
Gabriel: Christian Campbell
Mark: John Paul Pitoc
Katherine: Tori Spelling
Judy: Lorri Bagley
Perry: Steve Hayes
Rich: Brad Beyer
Miss Coco Peru: Clinton Leupp
Running time -- 90 minutes
No MPAA rating...
Exuberant but slight, this Fine Line Features acquisition is a work of limited ambition and modest pleasures that never quite attains the level of a fully thought-out work of art. The film should strike a chord with gay audiences eager to deconstruct the negative presuppositions about their lives. But upon deeper reflection, the movie seems unusually conservative and restrained, as if it were afraid to fully explore the distinct separation of gay and straight sensibilities.
To a large extent, the highly personal "Trick" functions as a gay "After Hours", its narrative detailing the epic, absurd experiences of its two radically different men trying to consummate an unlikely, albeit deeply felt attraction. Ambitious musical theater writer and composer Gabriel (Christian Campbell) crosses paths with the dreamy object of his desire, Mark John Paul Pitoc), a handsome, well-built "go-go boy" he fantasized about at a local strip club.
The conflict arises out of the increasingly absurd and sometimes funny succession of events that preclude them from carrying out their impulses. In their pursuit of carnal bliss, they pass through a gay Greenwich Village milieu of drag queens, muscle boys, piano singers and loners searching for their ideal mate. Neither stereotyped nor pathologized, the cultural definition is etched in painterly strokes with verve and insight.
Fall and screenwriter Jason Schafer incorporate deft reversals into the narrative, in particular their ability to suggest unforeseen nuances and depth in their characters (especially Pitoc, who appears at the start as vacant, though he turns out to be surprisingly complex). It's a film of excellent moments (such as a fantastic sequence in a bathroom bar involving Gabriel and a forbidding drag queen) that unfortunately never coalesces into the work the movie occasionally promises.
The film is conventionally put together. Fall can't break out of the script's circular, repetitive structure in which the pattern of attraction, estrangement and reconciliation is excessively deployed. Worst of all, Tori Spelling has a featured part as a desperately narcissistic actress rather unconvincingly put forth as Gabriel's muse and best friend.
Spelling has been used to ironic effect before ("The House of Yes"), but her shrill, hyper, one-note performance here becomes the stuff of nightmares. She needs to calm down. The other key performers -- Lorri Bagley as an aggressively straight and uninhibited woman, Steve Hayes as a bar singer and Clinton Leupp in drag -- are moving and exact.
TRICK
Fine Line Features
A Roadside Attractions and Good Machine production
Producers: Eric d'Arbeloff, Jim Fall, Ross Katz
Director: Jim Fall
Executive producers: Anthony Bregman, Mary Jane Skalski
Co-producer: Robert Hawk
Screenwriter: Jason Schafer
Director of photography: Terry Stacey
Production designer: Jody Asnes
Editor: Brian A. Kates
Composer: David Friedman
Costume designer: Tracy McKnight
Choreographer: Robin Carrigan
Casting director: Susan Shopmaker
Color/stereo
Cast:
Gabriel: Christian Campbell
Mark: John Paul Pitoc
Katherine: Tori Spelling
Judy: Lorri Bagley
Perry: Steve Hayes
Rich: Brad Beyer
Miss Coco Peru: Clinton Leupp
Running time -- 90 minutes
No MPAA rating...
- 2/4/1999
- The Hollywood Reporter - Movie News
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