Posted 11 November 2006 - 03:50
Posted 21 November 2006 - 17:54
Robert Altman, the caustic and irreverent satirist behind "M-A-S-H," "Nashville" and "The Player" who made a career out of bucking Hollywood management and story conventions, died at a Los Angeles Hospital, his Sandcastle 5 Productions Company said Tuesday. He was 81.
The director died Monday night, Joshua Astrachan, a producer at Altman's Sandcastle 5 Productions in New York City, told The Associated Press.
The cause of death wasn't disclosed. A news release was expected later in the day, Astrachan said.
A five-time Academy Award nominee for best director, most recently for 2001's "Gosford Park," he finally won a lifetime achievement Oscar in 2006.
"No other filmmaker has gotten a better shake than I have," Altman said while accepting the award. "I'm very fortunate in my career. I've never had to direct a film I didn't choose or develop. My love for filmmaking has given me an entree to the world and to the human condition."
Altman had one of the most distinctive styles among modern filmmakers. He often employed huge ensemble casts, encouraged improvisation and overlapping dialogue and filmed scenes in long tracking shots that would flit from character to character.
Perpetually in and out of favor with audiences and critics, Altman worked ceaselessly since his anti-war black comedy "M-A-S-H" established his reputation in 1970, but he would go for years at a time directing obscure movies before roaring back with a hit.
After a string of commercial duds including "The Gingerbread Man" in 1998, "Cookie's Fortune" in 1999 and "Dr. T & the Women" in 2000, Altman took his all-American cynicism to Britain for 2001's "Gosford Park."
A combination murder-mystery and class-war satire set among snobbish socialites and their servants on an English estate in the 1930s, "Gosford Park" was Altman's biggest box-office success since "M-A-S-H."
Besides best-director, "Gosford Park" earned six other Oscar nominations, including best picture and best supporting actress for both
Helen Mirren and
Maggie Smith. It won the original-screenplay Oscar, and Altman took the best-director prize at the Golden Globes for "Gosford Park."
Altman's other best-director Oscar nominations came for "M-A-S-H," the country-music saga "Nashville" from 1975, the movie-business satire "The Player" from 1992 and the ensemble character study "Short Cuts" from 1993. He also earned a best-picture nomination as producer of "Nashville."
No director ever got more best-director nominations without winning a regular Oscar, though four other men — Alfred Hitchcock,
Martin Scorsese, Clarence Brown and King Vidor — tied with Altman at five.
In May, Altman brought out "A Prairie Home Companion," with Garrison Keillor starring as the announcer of a folksy musical show — with the same name as Keillor's own long-running show — about to be shut down by new owners. Among those in the cast were
Woody Harrelson and
Tommy Lee Jones.
"This film is about death," Altman said at a May 3 news conference in St. Paul, Minn., also attended by Keillor and many of the movie's stars.
He often took on Hollywood genres with a revisionist's eye, de-romanticizing the Western hero in 1971's "McCabe and Mrs. Miller" and 1976's "Buffalo Bill and the Indians, or Sitting Bull's History Lesson," the film-noir gumshoe in 1973's "The Long Goodbye" and outlaw gangsters in "Thieves Like Us."
"M-A-S-H" was Altman's first big success after years of directing television, commercials, industrial films and generally unremarkable feature films. The film starring
Donald Sutherland and
Elliott Gould was set during the Korean War but was Altman's thinly veiled attack on U.S. involvement in Vietnam.
"That was my intention entirely. If you look at that film, there's no mention of what war it is," Altman said in an Associated Press interview in 2001, adding that the studio made him put a disclaimer at the beginning to identify the setting as Korea.
"Our mandate was bad taste. If anybody had a joke in the worst taste, it had a better chance of getting into the film, because nothing was in worse taste than that war itself," Altman said.
The film spawned the long-running TV sitcom starring
Alan Alda, a show Altman would refer to with distaste as "that series." Unlike the social message of the film, the series was prompted by greed, Altman said.
"They made millions and millions of dollars by bringing an Asian war into Americans' homes every Sunday night," Altman said in 2001. "I thought that was the worst taste."
Altman never minced words about reproaching Hollywood. After the Sept. 11 attacks, he said Hollywood served as a source of inspiration for the terrorists by making violent action movies that amounted to training films for such attacks.
"Nobody would have thought to commit an atrocity like that unless they'd seen it in a movie," Altman said.
Altman was written off repeatedly by the Hollywood establishment, and his reputation for arrogance and hard drinking — a habit he eventually gave up — hindered his efforts to raise money for his idiosyncratic films.
While critical of studio executives, Altman held actors in the highest esteem. He joked that on "Gosford Park," he was there mainly to turn the lights on and off for the performers.
The respect was mutual. Top-name actors would clamor for even bit parts in his films. Altman generally worked on shoestring budgets, yet he continually landed marquee performers who signed on for a fraction of their normal salaries.
After the mid-1970s, the quality of Altman's films became increasingly erratic. His 1980 musical "Popeye," with
Robin Williams, was trashed by critics, and Altman took some time off from film.
He directed the Broadway production of "Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean," following it with a movie adaptation in 1982. Altman went back and forth from TV to theatrical films over the next decade, but even when his films earned critical praise, such as 1990's "Vincent & Theo," they remained largely unseen.
"The Player" and "Short Cuts" re-established Altman's reputation and commercial viability. But other 1990s films — including his fashion-industry farce "Ready to Wear" and "Kansas City," his reverie on the 1930s jazz and gangster scene of his hometown — fell flat.
Born Feb. 20, 1925, Altman hung out in his teen years at the jazz clubs of Kansas City, Mo., where his father was an insurance salesman.
Altman was a bomber pilot in World War II and studied engineering at the University of Missouri in Columbia before taking a job making industrial films in Kansas City. He moved into feature films with "The Delinquents" in 1957, then worked largely in television through the mid 1960s, directing episodes of such series as "Bonanza" and "Alfred Hitchcock Presents."
Altman and his wife, Kathryn, had two sons, Robert and Matthew, and he had a daughter, Christine, and two other sons, Michael and Stephen, from two previous marriages.
When he received his honorary Oscar in 2006, Altman revealed he had a heart transplant a decade earlier.
"I didn't make a big secret out of it, but I thought nobody would hire me again," he said after the ceremony. "You know, there's such a stigma about heart transplants, and there's a lot of us out there."
Posted 14 December 2006 - 05:51
A, beskrajno simpatični šef policije iz "Crvenog usijanja", kome je doktor preporučio da gleda u akvarijum da bi smanjio stres - to je onaj pravi namćorasti a širokogrudi veteran osamdesetih.
Ali, jedan gest Peter Boyle-a ostao mi je među najdražima koje sam video na filmu. Na kraju "Taksiste", kada nemo konstatuje povratak Travis Bickle-a na esnafski ćošak. Wizardov izraz lica, tela i njegov pogled toliko su višeznačni i prirodni da su sami po sebi prava estetska vrednost. Za mene su oni pravo finale čuvenog filma.
Posted 12 January 2007 - 00:16
Ponti began producing films in 1941 and had over 140 production credits during his lifetime, among them films by Federico Fellini (La Strada, 1954), Vittorio de Sica (Boccaccio '70, 1962), David Lean (Doctor Zhivago, 1965), and Michelangelo Antonioni (Blowup, 1966; The Passenger, 1974).
Ponti's second wife was Sophia Loren. He died in Geneva, Switzerland and was survived by his son Carlo Ponti, Jr., a former child actor who is now a music conductor. Currently, Carlo Ponti, Jr. is the music director of the San Bernardino Symphony. He is also survived by his other sons Alessandro Ponti, a film producer, and Edoardo Ponti, a film director.
Professione: reporter (1975)
Zabriskie Point (1970)
Horí, má panenko (1967)
Doctor Zhivago (1965)
Strada, La (1954)
Edited by Maltese, 12 January 2007 - 00:17.
Posted 09 February 2007 - 00:39
sta ce ona ovde?
Posted 30 July 2007 - 10:39
Legendary film-maker Ingmar Bergman has died aged 89, according to a Swedish news agency.
One of the key figures in modern cinema, his 60-year career has spanned intense classics like Cries & Whispers, The Seventh Seal and Wild Strawberries.
He was nominated for nine Oscars himself, while his films won the best foreign film Oscar three times.
Bergman died at his home in Faro, Sweden, the Swedish news agency TT said, citing his daughter Eva Bergman.
The director was married five times, most recently to Ingrid von Rosen.
He fathered eight children, including one who only found out she was his daughter at the age of 22.
Unsurprisingly, his work often explored the tensions between married couples.
Bergman was born in 1918. His father was a Lutheran chaplain to the Swedish royal family and a strict disciplinarian.
As a child, Bergman used to help a local projectionist with film screenings and trained as an actor and director at the University of Stockholm.
He eventually became director of the Helsingborg City Theatre in 1944, the same year that saw his first film script, Frenzy, brought to the big screen by Alf Sjoberg.
Bergman made his own directorial debut with Crisis in 1946, the first of more than 40 films he directed in his career.
But it was not until the appearance of two tales of all-consuming love affairs - Summer Interlude in 1951 and Summer with Monika in 1953 - that his cinematic work was celebrated.
His reputation was sealed by the international art-house hit The Seventh Seal in 1957.
The movie, currently back in cinemas to celebrate its 50th anniversary, is famous for the often-parodied scene in which one of the characters plays chess with death.