DAVID WEBB PEOPLES - MY STRANGE CAREER. David who? Well, if I tell you it's the guy who wrote the screenplay for Blade Runner then you'll probably nod your head and say, oh him. Add to his credits the screenplay for 12 Monkeys and you'll realise that he has been involved in two of the greatest sci-fi movies of recent years. Intelligently written, both these films have even gained the respect of those people who usually look down on the sci-fi genre.
Add to People's CV the screenplay for the revisionist Clint Eastwood western Unforgiven, and then you know what one movie critic meant when he said that Peoples was "overqualified. " However, Mr Peoples' output seems to be schizophrenic when one consults his biography in Baseline: The guy who wrote Blade Runner also wrote Leviathan, The Blood Of Heroes and Project: Alien? Then again, are Peoples' previous successes because of good directors? Complete filmography: 1973 STEEL ARENA editor 1976 THE JOY OF LETTING GO editor 1977 WHO ARE THE DEBOLTS? O falecido mattia pascal. Magine-se levando uma vida absolutamente aborrecida. Com uma mulher chata e uma sogra insuportável. Com um emprego inútil. Numa minúscula e inexpressiva cidade. Então morre sua mãe, pobre velhinha, seu último vínculo afetivo sobre a face da terra. Você pensaria em suicídio? Talvez não tenha coragem de se atirar nas águas baruIhentas que banham sua cidade.
Talvez prefira uma morte rápida sobre os trilhos ferroviários. Mas imagine-se agora chegando de volta. Pois esta história imaginosa foi escrita por Luigi Pirandello em 1904, sob o título de O Falecido Mattia Pascal e pode ser assistida, no cinema ou no vídeo, numa versão atualizada dirigida pelo italiano Mario Monicelli chamada As Duas Vidas de Mattia Pascal (Le Due Vite di Mattia Pascal), de 1984. A história, porém, não termina por aí. Mario Monicelli, autor de filmes marcantes como Os Companheiros e O Incrível Exército Brancaleone, com sua narrativa simples e sóbria, chega por vezes a decepcionar. Mas agora imagine se... Kubrick 2001: The space odyssey explained.
CALLAS AS MEDEA. THE MAKING OF MEDEA"Medea and Callas" - excerpts from Pasolini Requiem by Barth David Schwartz.Excerpts from Maria Callas Remembered by Nadia Stancioff.Excerpts from Maria Callas: The Woman Behind the Legend by Arianna Huffington. Nobody should be surprised that Callas can act and magnificently so, but that Pasolini should evoke such a performance from her in a film debut is a credit to him. Little more than a presence for the first half of the film (though your eyes never leave her), when she emerges from the landscape to express every emotion of great tragedy, she is incredible. Bernard Law Gannett News Services October 1971. "Pasolini ravishes the eye" (Derek Elley) in Medea, a free adaptation of Euripides featuring the first-ever film performance of opera diva Maria Callas. Cinémathèque Pacifique. Tony Rayns, Time Out. Not only an engagingly original synthesis of the director's personal views on the human condition, but also a highly successful cinematic spectacle.
Peter Bondanella. G.P. Images: A Journal of Film and Popular Culture. Three Reviews of '2001' Excerpted from SF: The Other Side of Realism, Thomas D. Clareson, Editor (Bowling Green University/Popular Press), pp. 263-271 Copyright ©1971, All Rights Reserved 2001: Odyssey to Byzantium by Morris Beja From the journal Extrapolation 10 (December 1968), pp. 67-68 Most of the commentary on Stanley Kubrick and Arthur C. Clarke's film, 2001: A Space Odyssey, has concentrated on the second half of the title, and consequently on the way in which astronaut Dave Bowman's journey takes him to the infinite -- from here to there.
But the film presents us, as its full title indicates, with a journey which is temporal as well as spatial. Indeed, the choice of date strikes me as one of the most intriguing things about the movie. I need hardly mention that my point is not that Kubrick, say, necessarily knows Yeats' poem, or that Yeats composed it after a vision-preview of the movie in 1926. He has been gathered into eternity, and that is no country for old men. 1001 Interpretations of 2001 Notes: Early Cinema CINEMA AS AN INSTITUTION. The significant changes occurring to film form during this period operated in concert with other forces of transformation so that by 1915, numerous developments pointed toward the institutionalization of cinema. By 1915, the MPPC had been dissolved by court order. The move toward increased consolidation inaugurated by the struggle between the Independents and the MPPC (the latter dissolved by court order in 1915) continued apace: corporate entities that would become pivotal in the studio era, such as Universal and Paramount, were founded during this period.
The move of the American film industry to Hollywood was already underway, as was the establishment of a star system, with figures such as Mary Pickford (1892–1979) and Charlie Chaplin (1889–1977) acquiring the substantial fame and the power that came with it. Abel, Richard. ——, ed. Bordwell, David, Janet Staiger, and Kristin Thompson. Bowser, Eileen. Burch, Noël. Elsaesser, Thomas, ed. Fell, John L., ed. Gaudreault, André. Internet Archive: Details: David Copperfield. Sparks of Genius: The Scientists and Engineers. Trilogia dos Dólares (1964/1965/1966) Daily Script - Movie Scripts and Movie Screenplays. Classic Images. The Film Tribune - The Cabinet of Dr. Caligari (1919)