A City directory of business and service providers for the theater, movie and television industries. Get the latest entertainment news, celebrity interviews and pop culture pulse on movies, TV and music and more at ABCNews.com. On April 5, 1927, NBC expanded to the West Coast with the launch of the NBC Orange Network, also known as the Pacific Coast Network. This was followed by the debut of. Flea’s (John Ratzenburger. Because suddenly there was that face? Everyone else in the London club that December night was flittering around Colin Firth, set aglow by the Oscar buzz for his performance in The King. That knowing smirk may have derailed him as a leading man, but it has allowed for a career of darker, richer roles. Furk.net is your personal secure storage that fetches media files and lets you stream them immediately You can use it to stream video or listen to your music from PC. Big Hollywood covers – and uncovers -- the glitz and glamour of the Hollywood left with reviews, interviews, and inside scoops about your favorite entertainment. Get the latest Rolling Stone new music news, song and album reviews, free music downloads, artist videos & pictures, playlists and more. Gene Wilder, who regularly stole the show in such comedic gems as “The Producers,” “Blazing Saddles,” “Young Frankenstein,” “Willy Wonka and. Blade Runner (1982) Trivia on IMDb: Cameos, Mistakes, Spoilers and more.This belated celebration of Firth. After all, between best- selling books such as About a Boy and a 2. Academy Award nod earlier in the year for his screenplay for An Education, he had been cornered plenty himself. Yet when he saw Bacon, Hornby couldn. It was like that scene from Diner when Bacon. In 1. 98. 3 a girlfriend had brought home a tape of director Barry Levinson. Hornby was 2. 6, a soccer fanatic, a writer searching for a subject. Diner dissected the male animal. Diner had one man give his fianc. Hornby declared it, then and there, . They see a beautiful woman riding a horse. Boogie waves the woman down. Critics did love it; indeed, a gang of New York writers, led by Pauline Kael, saved the movie from oblivion. But Diner has suffered the fate of the small- bore sleeper, its relevance these days hinging more on eyebrow- raising news like Barry Levinson. The film itself, though, is rarely accorded its actual due. Yet no movie from the 1. Diner has had far more impact on pop culture than the stylistic masterpiece Bladerunner, the indie darling Sex, Lies, and Videotape, or the academic favorites Raging Bull and Blue Velvet. Leave aside the fact that Diner served as the launching pad for the astonishingly durable careers of Barkin, Paul Reiser, Steve Guttenberg, Daniel Stern, and Timothy Daly, plus Rourke and Bacon. In 2. 00. 9, The New Yorker. They have to talk too. What Franklin really meant is that, more than any other production, Diner invented . Or, to put it in quotes: Levinson invented the concept of . In Diner (as well as in Tin Men, his 1. Levinson took the stuff that usually fills time between the car chase, the fiery kiss, the dramatic reveal. And in 1. 98. 1, Louis Malle. But producers and editors mostly found the imperatives of plot and pacing best served by verbal ping- pong matches where nobody is at a loss for words. When making the 1. Robert Redford- Barbra Streisand hit, The Way We Were, director Sydney Pollack had to argue furiously with producers to keep a scene where Redford and his friend Bradford Dillman lounge on a boat, trying to top each other by ranking the best city, day, and year. But it ended up saying far more about time and regret than did Streisand crooning about memories. During postproduction on Diner, MGM/UA executive David Chasman complained to Levinson about one of its most famous set pieces, when Guttenberg. Chasman wanted it cut because it didn. The roast beef is the story. Without gimmicks: nothing. Mesmerized by Levinson. He still makes a point of watching Diner once a year. And it was particularly influential with actors. It had a complexity that not a lot of movies at the time had. Because, while movie audiences lived in an outside world cluttered with names and faces from newspapers, TV, politics, and the products of the Hollywood machine, movies themselves didn. There was, beyond plot, a practical reason: TV was still viewed by movie executives as the enemy, and to acknowledge its omnipresence must have seemed like free. So even movies set in the here and now played out in a hermetically sealed universe: the bank robbery, the romance, or the bankrupt farm was the only story to tell. There were occasional references here and there, and, at the time, Steven Spielberg was spelling out TV. But Diner threw open the windows to a constant flow of brand- name appliances and soda, TV shows from soap operas to Bonanza to GE College Bowl, Bergman films, President Eisenhower, newscasts, real N. F. L. Levinson even playfully mixed his own dialogue with that of a background TV. But, while Seinfeld mass- marketed Levinson. In 1. 99. 4, Quentin Tarantino. But what made the movie click were the jazzy back- and- forths between hit men John Travolta and Samuel L. Jackson about Big Macs, foot massages, and the virtues of eating pork like . Diner talk. Pulp Fiction became, arguably, the most influential movie of the 1. Levinson. Between the release of writer- actor Jon Favreau. Eavesdropping on the people who drink in your local bar can be just as interesting. With The 4. 0- Year- Old. Virgin and Knocked Up, Apatow was credited with creating the . When Apatow was asked in the spring of 2. U. S. C. The part in Knocked Up when Seth Rogen and his pals are talking about the vengeance- seeking Eric Bana in Munich? Come on, then, what did Raging Bull influence? What did Blue Velvet influence? Can you see it anywhere else? It seems to me those movies were so sui generis. People just mean that they were really good movies. Whereas Diner did start a way of thinking about writing about popular culture. It did create a mind- set where people like me and Jerry Seinfeld and all sorts of others thought, Oh, I can see how to do this stuff now. Forget high- concept; this script was nearly no- concept: A half- dozen young guys talk over a table; one fears getting married; one. There was oldies music and a plot geared to culminate in the stands at the . Levinson had been an Emmy- winning comedy writer for Carol Burnett and Mel Brooks, and, with co- writer and then wife Valerie Curtin, had received an Academy Award nomination for the screenplay for 1. Halfway through her own first reading, Barkin hurled the script across her New York apartment and into the garbage. Even after immersing himself in the character of Fenwick for months and working intimately with Levinson for 4. Bacon walked out of his first viewing of the movie puzzled. I kept thinking, Can people really tell us apart? Ovitz came around, and enough people who mattered. Weintraub got a green light from Chasman and then MGM/UA chairman David Begelman. The $5 million budget. This story was about guys who. Led by casting genius Ellen Chenoweth, Levinson and Johnson planted themselves in New York, scouted countless comedy clubs, and auditioned some 5. John Doe, the lead singer of the punk band X, read for Fenwick and made the 2. Bacon, whose bedroom then was a kitchen- floor piece of foam in an 8. Street S. R. O., very nervous. He needn. Bacon was known for his work Off Broadway and for his role as . Stern had been memorable in Breaking Away, Rourke. Levinson took a chance on the 2. Daly, whose show- business experience consisted mostly of watching his actor dad, James, and older sister, Tyne, and, just months before, tiling Lorne Michaels. Pushed by her agent, David Guc, Barkin had fished the script out of the trash and, after reading through the coruscating . But after two years of soaps and Off Broadway stage work, she had just gotten her big break: a part in a Broadway production about the Warsaw Ghetto, the perfect platform for a Jewish girl determined to be . The studio and Weintraub didn. Without the director knowing, MGM had other actresses tested, but Czech cinematographer Peter Sova. Ellen was way above the other girls. When told, last spring, about Sova. On paper it was a minor part, just 1. And Barry let it run, and that elevated the energy, the comedy, and when you finish and look back, you go, . Reiser needed socks for a show in Florida; he figured he. While Hampton- Cain auditioned, Chenoweth stepped out, heard Reiser riffing, and asked for a headshot. Reiser had just started acting classes, and for Levinson he tried investing his scene with all the . While they were checking in, a corpse was being rolled out a side door. After a pause, someone said, . Three Men and a Baby, the highest- grossing movie of . It was when Mickey walked in and all of us started reading. I looked around and thought, These guys are like me. Egos were huge, but held in check because no one had been warped yet by fame and money. The production felt like college. Barkin, mistaking him for a bellhop, told him to take her bags to her room. The first scene was set in a pool hall. Actors took their places, cameras hummed, everyone waited . The second day began with Claudia Cron, the actress playing Jane Chisholm, losing control of her mount. Levinson had been assured that Cron knew how to ride, but as he lined up the first shot, . We lost half that day, too. Daly, so green that he didn. Rourke, 2. 8 and just married, trafficked in a world- weary patter, much like his character, the gambling hairdresser Boogie. Earnest Eddie was played by the wide- eyed Guttenberg, who found himself startled by Barkin. Once, Guttenberg and Rourke began a mirror exercise, face- to- face, their palms pressed together. Rourke would leave the makeup trailer, shampoo, wash his face, and do it all over again himself; that. He went so heavy on eyeliner and eye shadow that he himself laughs when he sees the movie today. Sova finally took him aside. Midway through, Guttenberg and Rourke went to Levinson and asked him to write them a scene together; 1. Boogie figures out Eddie. The idea of taking a mouthful of sugar before washing it down with Coke, though, was Rourke. Off the set, Barkin and Stern barely got along, to the point where they spent an entire night filming in a car without speaking. But he seemed to have a problem with everything I did. The tension served Levinson. Of her three dozen films, she says, no character has felt closer to her own experience than the insecure Beth. Stern became even more confused, he says, during the filming of the classic popcorn- box scene (where, for at least one take, Rourke planted a dildo in the box to surprise actress Colette Blonigan), when Barkin hopped into Stern. Before he could react, she jumped off and was gone, never to say another word about it. It was important for me to establish a connection with the actor. Would I go to those lengths to do it? Another greasy spoon fell through when the owners demanded too much money. Johnson and Levinson found a diner graveyard in New Jersey and their mythical .
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