Jean Allison, the familiar character actress who appeared on dozens of TV shows, from Have Gun — Will Travel, Bonanza, Hawaiian Eye and The Rifleman to McCloud, Adam-12, The Waltons and Highway to Heaven, has died. She was 94.
Allison, a resident of Rancho Palos Verdes, died Feb. 28, her family announced.
Allison made her big-screen debut as a woman menaced by a psychopath (Michael Higgins) in the United Artists drama Edge of Fury (1958), and her film résumé also included The Devil’s Partner (1960), Paul Sylbert’s The Steagle (1971), Robert Benton’s Bad Company (1972) and Paul Schrader’s Hardcore (1979).
Born in New York on Oct. 24, 1929, Allison attended Marymount High School in Tarrytown, New York, and Adelphi College, also in New York.
While appearing on stage in the Patricia Joudry drama Teach Me How to Cry, she was spotted and signed by agent Doovid Barskin. Her first TV gig came in 1957 on CBS’ General Electric Theater.
Allison, a resident of Rancho Palos Verdes, died Feb. 28, her family announced.
Allison made her big-screen debut as a woman menaced by a psychopath (Michael Higgins) in the United Artists drama Edge of Fury (1958), and her film résumé also included The Devil’s Partner (1960), Paul Sylbert’s The Steagle (1971), Robert Benton’s Bad Company (1972) and Paul Schrader’s Hardcore (1979).
Born in New York on Oct. 24, 1929, Allison attended Marymount High School in Tarrytown, New York, and Adelphi College, also in New York.
While appearing on stage in the Patricia Joudry drama Teach Me How to Cry, she was spotted and signed by agent Doovid Barskin. Her first TV gig came in 1957 on CBS’ General Electric Theater.
- 3/8/2024
- by Mike Barnes
- The Hollywood Reporter - Movie News
Blow Out
4K Ultra HD + Blu-ray + Digital HD
Criterion
1981 / 2.39 : 1 / 108 Min.
Starring John Travolta, Nancy Allen
Written by Brian De Palma
Directed by Brian De Palma
In 1978’s The Films in My Life, Francois Truffaut wrote that all movies should express “the joy of making cinema.” The typical Brian De Palma film delivers that pleasure in spades, but any joy experienced by his characters is usually short-lived, undercut by De Palma’s macabre and merciless humor. The paradigm for that unsparing world view is 1981’s Blow Out, a feature-length sick joke with a devastating punchline.
Blow Out is set in Philadelphia when the leaves are turning and the mood is jubilant—the city is celebrating its founding with a procession of parades, fireworks, and endless speeches, all leading to a self-congratulatory finale called “Liberty Day.” So the town is more raucous than usual—a bad break for Jack Terry whose...
4K Ultra HD + Blu-ray + Digital HD
Criterion
1981 / 2.39 : 1 / 108 Min.
Starring John Travolta, Nancy Allen
Written by Brian De Palma
Directed by Brian De Palma
In 1978’s The Films in My Life, Francois Truffaut wrote that all movies should express “the joy of making cinema.” The typical Brian De Palma film delivers that pleasure in spades, but any joy experienced by his characters is usually short-lived, undercut by De Palma’s macabre and merciless humor. The paradigm for that unsparing world view is 1981’s Blow Out, a feature-length sick joke with a devastating punchline.
Blow Out is set in Philadelphia when the leaves are turning and the mood is jubilant—the city is celebrating its founding with a procession of parades, fireworks, and endless speeches, all leading to a self-congratulatory finale called “Liberty Day.” So the town is more raucous than usual—a bad break for Jack Terry whose...
- 10/4/2022
- by Charlie Largent
- Trailers from Hell
Two years ago, siblings Billie Eilish and Finneas O’Connell shared in four Grammy wins for the album “When We Fall Asleep, Where Do We Go?” (Album of the Year; Best Pop Vocal Album) and its single “Bad Guy” (Record of the Year; Song of the Year). Now, they have concurrently earned their first Oscar nominations for co-writing the song “No Time to Die” for the James Bond film of the same name. If they prevail later this month, they will become the fourth brother-sister pair to both be honored by the academy and the first to win for the same film.
The first brother-sister Oscar champs and first sibling winners overall were Douglas Shearer and Norma Shearer. In 1930, he triumphed in the Best Sound category for “The Big House” while she took the Best Actress prize for “The Divorcee.” They were followed by Lionel Barrymore and Ethel Barrymore, who respectively...
The first brother-sister Oscar champs and first sibling winners overall were Douglas Shearer and Norma Shearer. In 1930, he triumphed in the Best Sound category for “The Big House” while she took the Best Actress prize for “The Divorcee.” They were followed by Lionel Barrymore and Ethel Barrymore, who respectively...
- 3/16/2022
- by Matthew Stewart
- Gold Derby
In a decade of oddities, Paul Sylbert’s 1971 satire is high on the list of unconventional entertainments. Set in the fall of 1962, Richard Benjamin plays a professor so unnerved by the Cuban missile crisis he sets out on a cross-country tour of America, changing his identity in each new city. Chill Wills and Cloris Leachman lead the appropriately eccentric supporting cast.
The post The Steagle appeared first on Trailers From Hell.
The post The Steagle appeared first on Trailers From Hell.
- 1/3/2022
- by Charlie Largent
- Trailers from Hell
The writer/director of Spontaneous discusses some of his favorite off the beaten path films. Plus grooming tips!
Show Notes: Movies Referenced In This Episode
Underwater (2020)
The Babysitter (2017)
Jane Got A Gun (2015)
Spontaneous (2020)
Citizen Kane (1941)
Seven Samurai (1954)
Mandy (2018)
Bad Hair (2020)
Little Murders (1971)
Heaven Can Wait (1978)
My Boyfriend’s Back (1993)
Parents (1989)
Close Encounters of the Third Kind (1977)
Kuroneko (1968)
Onibaba (1964)
Birth (2004)
Heathers (1988)
Sexy Beast (2000)
Under The Skin (2013)
Swiss Army Man (2016)
Paddington 2 (2017)
The Brood (1979)
Kramer vs. Kramer (1979)
The Fly (1986)
A History of Violence (2005)
Brick (2005)
Knives Out (2019)
Star Wars: Episode V – The Empire Strikes Back (1980)
Star Wars: Episode I – The Phantom Menace (1999)
Star Wars: Episode VII – The Force Awakens (2015)
Star Wars: Episode VIII – The Last Jedi (2017)
Gremlins (1984)
Heavenly Creatures (1994)
Dead Alive (1993)
Meet The Feebles (1989)
The Addams Family (1991)
Addams Family Values (1993)
Other Notable Items
Bruce Springsteen
Justin Simien
Hulu
Tales From The Crypt TV series (1989-1996)
Alan Arkin
Temple University
Warren Beatty
Jules Feiffer
Paul Sylbert...
Show Notes: Movies Referenced In This Episode
Underwater (2020)
The Babysitter (2017)
Jane Got A Gun (2015)
Spontaneous (2020)
Citizen Kane (1941)
Seven Samurai (1954)
Mandy (2018)
Bad Hair (2020)
Little Murders (1971)
Heaven Can Wait (1978)
My Boyfriend’s Back (1993)
Parents (1989)
Close Encounters of the Third Kind (1977)
Kuroneko (1968)
Onibaba (1964)
Birth (2004)
Heathers (1988)
Sexy Beast (2000)
Under The Skin (2013)
Swiss Army Man (2016)
Paddington 2 (2017)
The Brood (1979)
Kramer vs. Kramer (1979)
The Fly (1986)
A History of Violence (2005)
Brick (2005)
Knives Out (2019)
Star Wars: Episode V – The Empire Strikes Back (1980)
Star Wars: Episode I – The Phantom Menace (1999)
Star Wars: Episode VII – The Force Awakens (2015)
Star Wars: Episode VIII – The Last Jedi (2017)
Gremlins (1984)
Heavenly Creatures (1994)
Dead Alive (1993)
Meet The Feebles (1989)
The Addams Family (1991)
Addams Family Values (1993)
Other Notable Items
Bruce Springsteen
Justin Simien
Hulu
Tales From The Crypt TV series (1989-1996)
Alan Arkin
Temple University
Warren Beatty
Jules Feiffer
Paul Sylbert...
- 12/1/2020
- by Kris Millsap
- Trailers from Hell
Going off of director Daniel Kremer’s other pieces of work, it comes as no surprise that his latest film is so aspiring.
Starting off with a dedication to Paul Sylbert, the late great oscar winning production designer of films like Heaven Can Wait, One Flew Over The Cuckoo’s Nest and Kramer vs. Kramer, Overwhelm the Sky is clearly a piece of work influenced by a different era of cinema. Inspired by Charles Brockden Brown’s 1799 novel “Edgar Huntly, or Memoirs of a Sleepwalker”, Kremer does his mentor Sylbert proud. This is a psychologically sprawling, existential, noir that evokes the days of European cinema movements, narrative experimentation and cinema as an epic form of expression and an artistic experience.
Reminding me at points of Chinatown, Eyes Wide Shut and Citizen Kane in some of its shots, as well as the movies of Paul Thomas Anderson (particularly The Master), with a...
Starting off with a dedication to Paul Sylbert, the late great oscar winning production designer of films like Heaven Can Wait, One Flew Over The Cuckoo’s Nest and Kramer vs. Kramer, Overwhelm the Sky is clearly a piece of work influenced by a different era of cinema. Inspired by Charles Brockden Brown’s 1799 novel “Edgar Huntly, or Memoirs of a Sleepwalker”, Kremer does his mentor Sylbert proud. This is a psychologically sprawling, existential, noir that evokes the days of European cinema movements, narrative experimentation and cinema as an epic form of expression and an artistic experience.
Reminding me at points of Chinatown, Eyes Wide Shut and Citizen Kane in some of its shots, as well as the movies of Paul Thomas Anderson (particularly The Master), with a...
- 11/28/2019
- by Jack Bottomley
- The Cultural Post
Elia Kazan never stopped making great pictures, but much of his output after 1952 was politically defensive in nature. This powerful indictment of American media madness is a genuine classic, but it also points up the need for ‘good folk’ to sometimes betray their associates. The target this time around is the most kill-worthy monster in the history of sardonic satire: Lonesome Rhodes, a faux-populist master manipulator of the pushover public. Kazan and Budd Schulberg’s premise has come to pass in real life, but their silver bullet of truth has lost its power: even when unmasked publicly, some media monsters thrive.
A Face in the Crowd
Blu-ray
The Criterion Collection 970
1957 / B&W / 1:85 widescreen / 125 min. / available through The Criterion Collection / Street Date April 23, 2019 / 39.95
Starring: Andy Griffith, Patricia Neal, Anthony Franciosa, Walter Matthau, Lee Remick.
Cinematography: Gayne Rescher, Harry Stradling
Art Direction: Paul Sylbert, Richard Sylbert
Film Editor: Gene Milford
Original...
A Face in the Crowd
Blu-ray
The Criterion Collection 970
1957 / B&W / 1:85 widescreen / 125 min. / available through The Criterion Collection / Street Date April 23, 2019 / 39.95
Starring: Andy Griffith, Patricia Neal, Anthony Franciosa, Walter Matthau, Lee Remick.
Cinematography: Gayne Rescher, Harry Stradling
Art Direction: Paul Sylbert, Richard Sylbert
Film Editor: Gene Milford
Original...
- 4/16/2019
- by Glenn Erickson
- Trailers from Hell
Heaven only knows whether Jared Goff will lead the Los Angeles Rams to a historic victory in Super Bowl Liii this Sunday, but kickoff can’t get here quick enough for Hollywood legend Warren Beatty. “The phone keeps ringing,” Beatty said. “What’s been going on, well, it’s kind of ridiculous.”
The reason the phone keeps ringing? Heaven Can Wait, the 1978 celestial comedy hit that Beatty memorably produced, co-directed, co-wrote and starred in. Beatty portrays Rams quarterback Joe Pendleton, who dies before his destined time but, with some angelic assistance, returns to win the Super Bowl inhabiting the body of the team’s unflappable back-up, Tom Jarrett, who wears No. 16.
Goff is also known for playing without panic, he wears No. 16 and his first name sounds a lot like Jarrett — which may sound like skimpy stuff when it comes to cosmic coincidences, but it’s good enough to merit...
The reason the phone keeps ringing? Heaven Can Wait, the 1978 celestial comedy hit that Beatty memorably produced, co-directed, co-wrote and starred in. Beatty portrays Rams quarterback Joe Pendleton, who dies before his destined time but, with some angelic assistance, returns to win the Super Bowl inhabiting the body of the team’s unflappable back-up, Tom Jarrett, who wears No. 16.
Goff is also known for playing without panic, he wears No. 16 and his first name sounds a lot like Jarrett — which may sound like skimpy stuff when it comes to cosmic coincidences, but it’s good enough to merit...
- 2/2/2019
- by Geoff Boucher
- Deadline Film + TV
‘Harper Days Are Here Again,’ reads the advertising tag line for this worthy follow-up to Paul Newman’s first outing as Ross Macdonald’s jaded private eye. The movie is certainly worthy, but how did the producers let the terrific song Killing Me Softly with His Song get away?
The Drowning Pool
Blu-ray
Warner Archive Collection
1976 / Color / 2:35 widescreen / 108 min. / Street Date February 27, 2018 / available through the WBshop / 21.99
Starring: Paul Newman, Joanne Woodward, Anthony Franciosa, Murray Hamilton, Gail Strickland, Melanie Griffith, Linda Haynes, Richard Jaeckel.
Cinematography: Gordon Willis
Film Editor: John C. Howard
Production Design: Paul Sylbert
Original Music: Michael Small
Written by Tracy Keenan Wynn, Lorenzo Semple Jr., Walter Hill from the novel by Ross Macdonald
Produced by David Foster, Lawrence Turman
Directed by Stuart Rosenberg
Looking to make lightning strike twice, Paul Newman returned to his Lew Harper character in another adaptation of a Ross Macdonald tale. The star handles it very well,...
The Drowning Pool
Blu-ray
Warner Archive Collection
1976 / Color / 2:35 widescreen / 108 min. / Street Date February 27, 2018 / available through the WBshop / 21.99
Starring: Paul Newman, Joanne Woodward, Anthony Franciosa, Murray Hamilton, Gail Strickland, Melanie Griffith, Linda Haynes, Richard Jaeckel.
Cinematography: Gordon Willis
Film Editor: John C. Howard
Production Design: Paul Sylbert
Original Music: Michael Small
Written by Tracy Keenan Wynn, Lorenzo Semple Jr., Walter Hill from the novel by Ross Macdonald
Produced by David Foster, Lawrence Turman
Directed by Stuart Rosenberg
Looking to make lightning strike twice, Paul Newman returned to his Lew Harper character in another adaptation of a Ross Macdonald tale. The star handles it very well,...
- 3/13/2018
- by Glenn Erickson
- Trailers from Hell
Here's a brief look – to be expanded – at Turner Classic Movies' June 2017 European Vacation Movie Series this evening, June 23. Tonight's destination of choice is Italy. Starring Suzanne Pleshette and Troy Donahue as the opposite of Ugly Americans who find romance and heartbreak in the Italian capital, Delmer Daves' Rome Adventure (1962) was one of the key romantic movies of the 1960s. Angie Dickinson and Rossano Brazzi co-star. In all, Rome Adventure is the sort of movie that should please fans of Daves' Technicolor melodramas like A Summer Place, Parrish, and Susan Slade. Fans of his poetic Westerns – e.g., 3:10 to Yuma, The Hanging Tree – may (or may not) be disappointed with this particular Daves effort. As an aside, Rome Adventure was, for whatever reason, a sizable hit in … Brazil. Who knows, maybe that's why Rome Adventure co-star Brazzi would find himself playing a Brazilian – a macho, traditionalist coffee plantation owner,...
- 6/24/2017
- by Andre Soares
- Alt Film Guide
Production designer and art director Paul Sylbert, who won an Academy Award for “Heaven Can Wait,” has died. He was 88. Sylbert died Saturday in a hospital near his home in Jenkintown, Pennsylvania, producer Hawk Koch announced. Also Read: 'Star Wars' Actor Peter Sumner Dies at 74 In addition to “Heaven Can Wait” (1978), Sylbert also received an Oscar nomination for designing Barbra Streisand’s “The Prince of Tides” (1991). Sylbert had recently served on the faculty of the Film & Media Arts Department at Temple University in Philadelphia. He and his twin brother, the late Richard Sylbert who won Oscars for “Who’s Afraid of Virginia Woolf?...
- 11/24/2016
- by Umberto Gonzalez
- The Wrap
Paul Sylbert, an Oscar-winning set decorator and production designer who worked with such top directors as Alfred Hitchcock, Elia Kazan, Mike Nichols, Robert Benton and Milos Forman during his half-century career, has died. He was 88. Producer and former Movie Academy president Hawk Koch told Deadline that Sylbert, won an Academy Award for Heaven Can Wait and scored a nom for The Prince of Tides, died Saturday. Koch said Sylbert and his twin brother Richard were among the…...
- 11/24/2016
- Deadline
Paul Sylbert, the famed production designer and art director who worked on the best picture Oscar winners One Flew Over the Cuckoo's Nest and Kramer vs. Kramer and won an Academy Award for Heaven Can Wait, has died. He was 88.
Sylbert died Saturday in a hospital near his home in Jenkintown, Pa., producer Hawk Koch announced. Recently, Sylbert had served on the faculty of the Film & Media Arts Department at Temple University in Philadelphia.
He and his twin brother, the late Richard Sylbert (he won Oscars for Who's Afraid of Virginia Woolf? and Dick Tracy), were two of the...
Sylbert died Saturday in a hospital near his home in Jenkintown, Pa., producer Hawk Koch announced. Recently, Sylbert had served on the faculty of the Film & Media Arts Department at Temple University in Philadelphia.
He and his twin brother, the late Richard Sylbert (he won Oscars for Who's Afraid of Virginia Woolf? and Dick Tracy), were two of the...
- 11/24/2016
- by Mike Barnes
- The Hollywood Reporter - Movie News
The conflicted Paul Schrader works out some hellacious personal issues, in a feverish tale of a Michigan Calvinist searching for his daughter in the porn jungle of L.A.. A disturbingly dark modern-day cross between The Searchers and Masque of the Red Death, it was meant to be even darker. Hardcore Blu-ray Twilight Time 1979 / Color / 1:85 widescreen / 108 min. / Street Date August, 2016 / Available from the Twilight Time Movies Store / 29.95 Starring George C. Scott, Peter Boyle, Season Hubley, Dick Sargent, Leonard Gaines, David Nichols. Cinematography Michael Chapman Production Designer Paul Sylbert Art Direction Edwin O'Donovan Film Editor Tom Rolf Original Music Jack Nitzsche Produced by Buzz Feitshans, John Milius Written and Directed by Paul Schrader
Reviewed by Glenn Erickson
I'm not sure that the word 'controversial' has the same meaning it once had. There has to be a consensus on what is 'normal' in society for some topics to become edgy. These...
Reviewed by Glenn Erickson
I'm not sure that the word 'controversial' has the same meaning it once had. There has to be a consensus on what is 'normal' in society for some topics to become edgy. These...
- 9/2/2016
- by Glenn Erickson
- Trailers from Hell
Alfred Hitchcock's true-life saga of a man wrongly accused may be Hitchcock's most troublesome movie -- all the parts work, but does it even begin to come together? Henry Fonda is the 'ordinary victim of fate' and an excellent Vera Miles is haunting as the wife who responds to the guilt and stress by withdrawing from reality. The Wrong Man Blu-ray Warner Archive Collection 1956 / B&W / 1:85 widescreen / 105 min. / Street Date January 26, 2016 / available through the WBshop / 21.99 Starring Henry Fonda, Vera Miles, Anthony Quayle, Harold J. Stone, John Heldabrand, Doreen Lang, Norma Connolly, Lola D'Annunzio, Robert Essen, Dayton Lummis, Charles Cooper, Esther Minciotti, Laurinda Barrett, Nehemiah Persoff. Cinematography Robert Burks Art Direction Paul Sylbert Film Editor George Tomasini Original Music Bernard Herrmann Written by Maxwell Anderson and Angus MacPhail Produced and Directed by Alfred Hitchcock
Reviewed by Glenn Erickson
The Wrong Man sees Alfred Hitchcock at the end of...
Reviewed by Glenn Erickson
The Wrong Man sees Alfred Hitchcock at the end of...
- 1/30/2016
- by Glenn Erickson
- Trailers from Hell
"If all of the people who hate 'Ishtar' had seen it, I would be a rich woman today." So said Elaine May in 2006, two decades after the Warren Beatty-Dustin Hoffman comedy she wrote and directed had become synonymous with "extravagant flop." (The film grossed $14.4 million on a $55 million budget.) Up until May 22, 1987 (the day it opened in theaters, 25 years ago), advance buzz on "Ishtar" was contentious; it was either a brilliant comic masterpiece or a textbook case of overreach on the part of two giant Hollywood egos to whom no one could say, "No." After the film's release... same thing. To this day, the movie is roundly mocked for its alleged awfulness (often by people who've never seen it), while a passionate cult of fans insists it's a lost work of misunderstood genius that never got its proper due from critics or moviegoers. The truth lies somewhere in the middle.
- 5/21/2012
- by Gary Susman
- Moviefone
On the eve of his movie comeback, can Mel Gibson finally tame his demons?
It was a balmy spring evening in Cannes. Arriving for the premiere of his latest film, The Beaver, Mel Gibson seemed anxious as he walked the red carpet last month, a little uncomfortable posing for the massed ranks of photographers who were shouting his name. When the movie's director, Jodie Foster, leaned across to adjust his bow-tie, Gibson smiled, right on cue. But while the two of them chatted and laughed for the cameras, the actor's brow remained furrowed. The next day's photographs would all show the three deep wrinkles cut horizontally across his tanned forehead, giving him the air of someone who expects disappointment and – more often than not – is rewarded with it.
He was understandably worried, perhaps, about how the film would be received. The Beaver, in which the 55-year-old Gibson plays a depressed...
It was a balmy spring evening in Cannes. Arriving for the premiere of his latest film, The Beaver, Mel Gibson seemed anxious as he walked the red carpet last month, a little uncomfortable posing for the massed ranks of photographers who were shouting his name. When the movie's director, Jodie Foster, leaned across to adjust his bow-tie, Gibson smiled, right on cue. But while the two of them chatted and laughed for the cameras, the actor's brow remained furrowed. The next day's photographs would all show the three deep wrinkles cut horizontally across his tanned forehead, giving him the air of someone who expects disappointment and – more often than not – is rewarded with it.
He was understandably worried, perhaps, about how the film would be received. The Beaver, in which the 55-year-old Gibson plays a depressed...
- 6/6/2011
- by Elizabeth Day
- The Guardian - Film News
One of the bonuses of award season is the guild award shows that honor the greats of the past along with the present. The Art Directors Guild, for example, will give its lifetime achievement award on February 11 at the Beverly Hilton to Oscar-winning nominated production and costume designer Patricia Norris, who designed costumes for Blake Edwards' Victor, Victoria (pictured) and Terrence Malick's Days of Heaven as well as many David Lynch films, including Elephant Man. She's the second woman to win the honor; other winners include production designers Ken Adam, Robert Boyle, Henry Bumstead, Stuart Craig, Terence Marsh, Harold Michelson, Paul Sylbert and Dean Tavoularis. Norris began her career in the film industry as a stock girl in the wardrobe department at MGM ...
- 11/22/2010
- Thompson on Hollywood
Production Designer and Costume Designer Patricia Norris, a frequent David Lynch collaborator, will receive the Art Directors Guild’s Lifetime Achievement Award at the Adg's 15th Annual Excellence in Production Design Awards on February 5, 2011, at the Beverly Hilton Hotel. Norris, only the second woman to be awarded the Adg's Lifetime Achievement Award (Jan Scott was the first in 2001), has been nominated for five Academy Awards in the Best Costume Design category: Days of Heaven (1978), The Elephant Man (1980), Victor Victoria (1982), 2010 (1984), and Sunset (1989). Previous recipients of Adg Lifetime Achievement Awards are Production Designers Ken Adam, Robert Boyle, Albert Brenner, Henry Bumstead, Roy Christopher, Stuart Craig, Bill Creber, John Mansbridge, Terence Marsh, Harold Michelson, Jan Scott, Paul Sylbert and Dean Tavoularis. The information below is the Adg's press release: Norris began her career in the film industry as a stock girl in the wardrobe department at MGM [...]...
- 11/22/2010
- by Andre Soares
- Alt Film Guide
HollywoodNews.com: Academy Award-winning Production Designer and Costume Designer Patricia Norris will be presented with a Lifetime Achievement Award at the Art Directors Guild’s 15th Annual Excellence in Production Design Awards on February 5, 2011, it was announced today by Thomas A. Walsh, Adg Council President, and Awards co-producers Dawn Snyder and Tom Wilkins. The award will be presented at a black-tie industry gathering at the Beverly Hilton Hotel.
Norris began her career in the film industry as a stock girl in the wardrobe department at MGM Studios and worked her way up to become one of the industry’s most respected craft persons. In announcing this honor, Adg President Walsh said, “Patricia is one of only a very few American designers who have been able to successfully combine the dual practices of production and costume design for film and television.” She holds dual production and costume design credits for works...
Norris began her career in the film industry as a stock girl in the wardrobe department at MGM Studios and worked her way up to become one of the industry’s most respected craft persons. In announcing this honor, Adg President Walsh said, “Patricia is one of only a very few American designers who have been able to successfully combine the dual practices of production and costume design for film and television.” She holds dual production and costume design credits for works...
- 11/22/2010
- by Linny Lum
- Hollywoodnews.com
The Art Directors Guild (Adg) gathered for the 14th Annual 'Excellence in 2009 Production Design Awards' February 13, @ the International Ballroom of the Beverly Hilton Hotel, Beverly Hills.
Established in 1937, The Art Directors Guild (Iatse Local 800) represents 2,000 members from the Us, Canada and internationally, as Production Designers, Art Directors, Assistant Art Directors, Scenic, Title and Graphic Artists, Illustrators, Matte Artists, Set Designers and Model Makers.
Over 700 attended the event, presided by Adg Chairman Thomas A. Walsh, with comedian Paula Poundstone hosting, starting off with a short film by director Cindy Peters.
Honorary awards were presented to Production Designer Terence Marsh for 'Lifetime Achievement', to Warren Beatty for 'Outstanding Contribution to Cinematic Imagery' and to Production Designer Michael Baugh for 'Creative Leadership'.
Presenters included Kevin Alejandro ("Southland"); director Kathryn Bigelow ("The Hurt Locker"); Jim Bissell (Governor, Academy of Motion Picture Arts & Sciences); Albert Brenner (Production Designer); Rick Carter (Production Designer); Richard Chamberlain ("Shogun...
Established in 1937, The Art Directors Guild (Iatse Local 800) represents 2,000 members from the Us, Canada and internationally, as Production Designers, Art Directors, Assistant Art Directors, Scenic, Title and Graphic Artists, Illustrators, Matte Artists, Set Designers and Model Makers.
Over 700 attended the event, presided by Adg Chairman Thomas A. Walsh, with comedian Paula Poundstone hosting, starting off with a short film by director Cindy Peters.
Honorary awards were presented to Production Designer Terence Marsh for 'Lifetime Achievement', to Warren Beatty for 'Outstanding Contribution to Cinematic Imagery' and to Production Designer Michael Baugh for 'Creative Leadership'.
Presenters included Kevin Alejandro ("Southland"); director Kathryn Bigelow ("The Hurt Locker"); Jim Bissell (Governor, Academy of Motion Picture Arts & Sciences); Albert Brenner (Production Designer); Rick Carter (Production Designer); Richard Chamberlain ("Shogun...
- 2/14/2010
- by Michael Stevens
- SneakPeek
Slumdog Millionaire, The Curious Case Of Benjamin Button and cult movie The Dark Knight were the big winners at the Art Directors Guild Awards on Saturday.
Button claimed the Excellence in Production Design for a Period Film, The Dark Knight picked up the Fantasy Film prize and Slumdog Millionaire was named the Best Contemporary Film at the black-tie ceremony held at the International Ballroom of the Beverly Hilton Hotel in Beverly Hills.
Honorary awards were presented to Production Designer Paul Sylbert for Lifetime Achievement, and to iconic filmmaker George Lucas for Outstanding Contribution to Cinematic Imagery.
And five production designers were inducted into the ADG Hall of Fame - Ted Haworth, Joseph McMillan Johnson, Romain Johnston, John Meehan and Harold Michelson.
Meanwhile, Mad Men, Little Britain U.S.A., John Adams and Weeds picked up awards for design excellence in television.
The 80th Annual Academy Awards telecast was named the Best Awards Show, Variety, Music, or Non-Fiction Program.
Button claimed the Excellence in Production Design for a Period Film, The Dark Knight picked up the Fantasy Film prize and Slumdog Millionaire was named the Best Contemporary Film at the black-tie ceremony held at the International Ballroom of the Beverly Hilton Hotel in Beverly Hills.
Honorary awards were presented to Production Designer Paul Sylbert for Lifetime Achievement, and to iconic filmmaker George Lucas for Outstanding Contribution to Cinematic Imagery.
And five production designers were inducted into the ADG Hall of Fame - Ted Haworth, Joseph McMillan Johnson, Romain Johnston, John Meehan and Harold Michelson.
Meanwhile, Mad Men, Little Britain U.S.A., John Adams and Weeds picked up awards for design excellence in television.
The 80th Annual Academy Awards telecast was named the Best Awards Show, Variety, Music, or Non-Fiction Program.
- 2/16/2009
- WENN
Frankfurt, Germany -- Fifty-year production design veteran Paul Sylbert, who won an Academy Award for his work on 1978's "Heaven Can Wait," will receive the Art Directors Guild Lifetime Achievement Award.
Sylbert received an additional Oscar nomination for "The Prince of Tides" (1991). Other credits include "One Flew Over the Cuckoo's Nest" (1975), "Kramer Vs. Kramer" (1979) and "Conspiracy Theory" (1997). He wrote and directed the 1971 feature "The Steagle" and TV episodes of "The Defenders" and "The Nurses." In addition, the screenplay for "Nighthawks" (1981) was based on Sylbert's writings.
Sylbert is the identical twin brother of the late Richard Sylbert, an Oscar winner and Adg Lifetime Achievement Award recipient whose credits include "Who's Afraid of Virginia Woolf?" (1966) and "Dick Tracy" (1990).
The award will be presented at the 13th annual Adg Awards on Feb. 14 at the Beverly Hilton.
Sylbert received an additional Oscar nomination for "The Prince of Tides" (1991). Other credits include "One Flew Over the Cuckoo's Nest" (1975), "Kramer Vs. Kramer" (1979) and "Conspiracy Theory" (1997). He wrote and directed the 1971 feature "The Steagle" and TV episodes of "The Defenders" and "The Nurses." In addition, the screenplay for "Nighthawks" (1981) was based on Sylbert's writings.
Sylbert is the identical twin brother of the late Richard Sylbert, an Oscar winner and Adg Lifetime Achievement Award recipient whose credits include "Who's Afraid of Virginia Woolf?" (1966) and "Dick Tracy" (1990).
The award will be presented at the 13th annual Adg Awards on Feb. 14 at the Beverly Hilton.
- 9/30/2008
- by By Carolyn Giardina
- The Hollywood Reporter - Movie News
Primarily an intense, crowd-pleasing thriller but also a quirky romance that offers Mel Gibson and Julia Roberts many prime opportunities to enrich their offbeat characterizations, "Conspiracy Theory" should pull off a boxoffice coup in its opening weekend and enjoy a spectacular run on its way to international blockbuster business.
The fifth teaming of Gibson and director Richard Donner, "Conspiracy Theory" is more intelligent but as equally exciting as their three "Lethal Weapon" films. Although the actor is playing yet another unhinged character, Gibson outdoes himself as a New York cabdriver with a checkered past and a scary obsession with loony theories, one of which posits that NASA plans to kill the president by triggering an earthquake.
Conspiracy theories of the best kind are unprovable, explains Jerry Gibson) to Alice (Roberts), who works in the Justice Department and feels some sympathy for the nervous, paranoid man. Likewise hard to pin down with total certainty is Brian Helgeland's screenplay, but overall, his edgy, psychological approach has a Hitchcockian appeal.
Playing his character as timid but menacing, in some ways innocent but clearly "damaged," Gibson is disarmingly immersed in the lightly comic aspects of Jerry until the malevolent Dr. Jonas (Patrick Stewart) enters the scenario. Donner and cinematographer John Schwartzman have kept the mood murky up to this point, and they uncork a riveting torture scene that finds Jerry drugged and roughly interrogated.
The cabbie who cried wolf, Jerry rushes to Alice for help after he employs a Mike Tyson tactic on Jonas. She's hard to convince, though, and a hospital escapade and an assault on his apartment are required. But in an adroit move on the filmmakers' part, she freaks out when she learns about Jerry's spying on her and his unwanted, unconditional love.
By the conclusion, when all the secrets of Jerry's past life are revealed, there are so many conditions piled on that Alice has to make a hard decision. Roberts on the comeback trail is unvivacious but prettily distracted and believable as skeptical, lonely heart Alice, roused to action in defense of Jerry.
Gibson has a truly daunting task and triumphs in one of his best roles. The actor's technique has evolved to a high level -- reminding one of Robin Williams' performance in "The Fisher King".
From Jerry's self-published newsletter about his latest nutty ideas to companies that disappear overnight, "Conspiracy Theory" is a guessing game with several close calls and daring escapes. One roots enthusiastically for the leads and fears Stewart's cultured villain.
With a small but solid supporting cast, the film's other standout is Cylk Cozart as an enigmatic ally.
"Conspiracy Theory" is an excellent production in all aspects, particularly Paul Sylbert's plot-thickening production design, Frank J. Urioste's spellbinding editing and Carter Burwell's magnificent score.
CONSPIRACY THEORY
Warner Bros.
A Silver Pictures production
in association with Shuler Donner/Donner Prods.
A Richard Donner film
Director Richard Donner
Producers Joel Silver, Richard Donner
Screenwriter Brian Helgeland
Executive producer Jim Van Wyck
Director of photography John Schwartzman
Production designer Paul Sylbert
Editor Frank J. Urioste
Music Carter Burwell
Costume designer Ha Nguyen
Casting Marion Dougherty
Color/stereo
Cast:
Jerry Fletcher Mel Gibson
Alice Sutton Julia Roberts
Dr. Jonas Patrick Stewart
Agent Lowry Cylk Cozart
Running time -- 134 minutes
MPAA rating: R...
The fifth teaming of Gibson and director Richard Donner, "Conspiracy Theory" is more intelligent but as equally exciting as their three "Lethal Weapon" films. Although the actor is playing yet another unhinged character, Gibson outdoes himself as a New York cabdriver with a checkered past and a scary obsession with loony theories, one of which posits that NASA plans to kill the president by triggering an earthquake.
Conspiracy theories of the best kind are unprovable, explains Jerry Gibson) to Alice (Roberts), who works in the Justice Department and feels some sympathy for the nervous, paranoid man. Likewise hard to pin down with total certainty is Brian Helgeland's screenplay, but overall, his edgy, psychological approach has a Hitchcockian appeal.
Playing his character as timid but menacing, in some ways innocent but clearly "damaged," Gibson is disarmingly immersed in the lightly comic aspects of Jerry until the malevolent Dr. Jonas (Patrick Stewart) enters the scenario. Donner and cinematographer John Schwartzman have kept the mood murky up to this point, and they uncork a riveting torture scene that finds Jerry drugged and roughly interrogated.
The cabbie who cried wolf, Jerry rushes to Alice for help after he employs a Mike Tyson tactic on Jonas. She's hard to convince, though, and a hospital escapade and an assault on his apartment are required. But in an adroit move on the filmmakers' part, she freaks out when she learns about Jerry's spying on her and his unwanted, unconditional love.
By the conclusion, when all the secrets of Jerry's past life are revealed, there are so many conditions piled on that Alice has to make a hard decision. Roberts on the comeback trail is unvivacious but prettily distracted and believable as skeptical, lonely heart Alice, roused to action in defense of Jerry.
Gibson has a truly daunting task and triumphs in one of his best roles. The actor's technique has evolved to a high level -- reminding one of Robin Williams' performance in "The Fisher King".
From Jerry's self-published newsletter about his latest nutty ideas to companies that disappear overnight, "Conspiracy Theory" is a guessing game with several close calls and daring escapes. One roots enthusiastically for the leads and fears Stewart's cultured villain.
With a small but solid supporting cast, the film's other standout is Cylk Cozart as an enigmatic ally.
"Conspiracy Theory" is an excellent production in all aspects, particularly Paul Sylbert's plot-thickening production design, Frank J. Urioste's spellbinding editing and Carter Burwell's magnificent score.
CONSPIRACY THEORY
Warner Bros.
A Silver Pictures production
in association with Shuler Donner/Donner Prods.
A Richard Donner film
Director Richard Donner
Producers Joel Silver, Richard Donner
Screenwriter Brian Helgeland
Executive producer Jim Van Wyck
Director of photography John Schwartzman
Production designer Paul Sylbert
Editor Frank J. Urioste
Music Carter Burwell
Costume designer Ha Nguyen
Casting Marion Dougherty
Color/stereo
Cast:
Jerry Fletcher Mel Gibson
Alice Sutton Julia Roberts
Dr. Jonas Patrick Stewart
Agent Lowry Cylk Cozart
Running time -- 134 minutes
MPAA rating: R...
One of the least-considered aspects of massacres is that you might not hear about them, if for only the obvious fact that the victims aren't around to tell their story.
So it is with the Rosewood massacre of 1923, the murderous burning of a prosperous black community in rural Florida by rampaging whites under the impression that one of their women had been raped by a black.
Not recounted until a reporter brought it to the attention of CBS' "60 Minutes" in 1982, "Rosewood" is a powerful and heartbreaking dramatization of that awful saga. Eloquently directed by John Singleton, this Warner Bros. release is a stirring and sobering human tale, one that will surely touch hearts of all demographics.
Commercially, it seems a win-win for Warner Bros.: Singleton will entice the young, action-oriented black audience, while the film's subject matter and sophisticated rendering will win mature viewers in all demographics through positive word-of-mouth.
Head-and-shoulders above the usual, well-meaning, self-congratulatory folderol that makes it to the screen about racial injustice, "Rosewood" is a graceful evocation of a dignified community and a sobering insight into the madness of mob psychology. Gregory Poirier's insightful screenplay is a sobering reminder of what such learned social historians as Gustave LeBon have written about mob psychology, that the mob is an "idiot," galvanized by the lowest common denominator. In this scary scenario, we're led into an easy acquaintanceship with the film's chief character, namely the homey burg of Rosewood, a quiet black town of farmers and craftsmen -- churchgoing folk. Contiguous with Rosewood is Sumner, a less cohesive aggregation of whites and, as a group, decidedly less prosperous than their Rosewood brethren.
In style and personality, Poirier's story has the welcoming grace of a friendly host as we're initially led into an easy acquaintanceship with Rosewood, getting to know its people, its rhythms, its personality. At that same time, we catch snatches of things to come: In essence, we're clued to the pervasive racism of the day, not only from the trashier types but, most hauntingly, from the more enlightened whites of the area. Despite the surface calm, we see the festering combustible nature of the situation and, quite rightly, fear that it will take only one spark to set things off.
It's the deliberate, unforced patience of Singleton that gives "Rosewood" its heartbreaking power. His restraint in letting the story unfold, without overpunctuating or belaboring its narrative, allows the film to reach its full organic power. That carefulness and confidence, indeed, is what gives "Rosewood" its searing grace, and that's seen in the work of the film's superb technical team. Johnny E. Jensen's incandescent cinematography, John Williams' tender music and Bruce Cannon's supple edits kindle "Rosewood" to both its most warm and most incendiary moments.
The players bring textures and shadings to their roles that are, well, more than skin deep. Jon Voight's performance as a storekeeper who struggles to do the right thing, despite his own racist underpinnings, is perhaps his best work since "Midnight Cowboy". As a mysterious soldier who rides into town, Ving Rhames is mesmeric as a man of dignity and honor, while Don Cheadle also stands out as a man who refuses to, shuffle. It's Sarah Carrier though, as Rosewood's elderly matriarch, who absolutely melts your heart with her staunch decency.
ROSEWOOD
Warner Bros.
A Peters Entertainment production
in association with New Deal Prods.
A John Singleton Film
Producer Jon Peters
Director John Singleton
Screenwriter Gregory Poirier
Executive producer Tracy Barone
Co-producer Penelope L. Foster
Director of photography Johnny E. Jensen
Production designer Paul Sylbert
Editor Bruce Cannon
Costume designer Ruth Carter
Music John Williams
Color/stereo
Cast:
John Wright Jon Voight
Mann :Ving Rhames
Sylvester Carrier Don Cheadle
Duke Bruce McGill
James Taylor Loren Dean
Sarah Carrier Esther Rolle
Scrappie Elise Neal
Fannie Taylor Catherine Kellner
Sheriff Walker Michael Rooker
Running time -- 140 minutes
MPAA rating: R...
So it is with the Rosewood massacre of 1923, the murderous burning of a prosperous black community in rural Florida by rampaging whites under the impression that one of their women had been raped by a black.
Not recounted until a reporter brought it to the attention of CBS' "60 Minutes" in 1982, "Rosewood" is a powerful and heartbreaking dramatization of that awful saga. Eloquently directed by John Singleton, this Warner Bros. release is a stirring and sobering human tale, one that will surely touch hearts of all demographics.
Commercially, it seems a win-win for Warner Bros.: Singleton will entice the young, action-oriented black audience, while the film's subject matter and sophisticated rendering will win mature viewers in all demographics through positive word-of-mouth.
Head-and-shoulders above the usual, well-meaning, self-congratulatory folderol that makes it to the screen about racial injustice, "Rosewood" is a graceful evocation of a dignified community and a sobering insight into the madness of mob psychology. Gregory Poirier's insightful screenplay is a sobering reminder of what such learned social historians as Gustave LeBon have written about mob psychology, that the mob is an "idiot," galvanized by the lowest common denominator. In this scary scenario, we're led into an easy acquaintanceship with the film's chief character, namely the homey burg of Rosewood, a quiet black town of farmers and craftsmen -- churchgoing folk. Contiguous with Rosewood is Sumner, a less cohesive aggregation of whites and, as a group, decidedly less prosperous than their Rosewood brethren.
In style and personality, Poirier's story has the welcoming grace of a friendly host as we're initially led into an easy acquaintanceship with Rosewood, getting to know its people, its rhythms, its personality. At that same time, we catch snatches of things to come: In essence, we're clued to the pervasive racism of the day, not only from the trashier types but, most hauntingly, from the more enlightened whites of the area. Despite the surface calm, we see the festering combustible nature of the situation and, quite rightly, fear that it will take only one spark to set things off.
It's the deliberate, unforced patience of Singleton that gives "Rosewood" its heartbreaking power. His restraint in letting the story unfold, without overpunctuating or belaboring its narrative, allows the film to reach its full organic power. That carefulness and confidence, indeed, is what gives "Rosewood" its searing grace, and that's seen in the work of the film's superb technical team. Johnny E. Jensen's incandescent cinematography, John Williams' tender music and Bruce Cannon's supple edits kindle "Rosewood" to both its most warm and most incendiary moments.
The players bring textures and shadings to their roles that are, well, more than skin deep. Jon Voight's performance as a storekeeper who struggles to do the right thing, despite his own racist underpinnings, is perhaps his best work since "Midnight Cowboy". As a mysterious soldier who rides into town, Ving Rhames is mesmeric as a man of dignity and honor, while Don Cheadle also stands out as a man who refuses to, shuffle. It's Sarah Carrier though, as Rosewood's elderly matriarch, who absolutely melts your heart with her staunch decency.
ROSEWOOD
Warner Bros.
A Peters Entertainment production
in association with New Deal Prods.
A John Singleton Film
Producer Jon Peters
Director John Singleton
Screenwriter Gregory Poirier
Executive producer Tracy Barone
Co-producer Penelope L. Foster
Director of photography Johnny E. Jensen
Production designer Paul Sylbert
Editor Bruce Cannon
Costume designer Ruth Carter
Music John Williams
Color/stereo
Cast:
John Wright Jon Voight
Mann :Ving Rhames
Sylvester Carrier Don Cheadle
Duke Bruce McGill
James Taylor Loren Dean
Sarah Carrier Esther Rolle
Scrappie Elise Neal
Fannie Taylor Catherine Kellner
Sheriff Walker Michael Rooker
Running time -- 140 minutes
MPAA rating: R...
- 2/10/1997
- The Hollywood Reporter - Movie News
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