October 23, 1987 |
After years of ruinous co-productions with foreign TV networks, PBS' "Dance in America" series reclaims its sense of mission tonight with an episode titled (significantly) "Made in U.S.A" (8 p.m. on Channel 24; 9 p.m. on Channels 28 and 15; Saturday at 9 p.m. on Channel 50). Although the three sections of the hourlong program were all choreographed by David Gordon--and all feature Mikhail Baryshnikov--each has a different origin and style.
May 4, 1989 |
The rigid boundaries between local and imported art will blur this weekend when David Gordon--a pioneer in no-holds-barred, post-modern dance--unveils his epic evening-long work, "United States." Gordon has been constructing this ever-changing ode to America since the fall of 1987, with sponsorship from a consortium of 27 presenters from 17 states. The project was designed to capture the qualities of all the regions represented. Since the San Diego Foundation for the Performing Arts is one of the commissioning institutions, musical and verbal references to our city flow through the piece.
May 19, 1991 |
David Gordon cites "the asking of questions" as a primary force guiding his work, which has charmed and provoked the dance world since his emergence amid the experimental heyday of the Judson Dance Theater in the 1960s. Those who seek specific answers may not be attuned to his method of constructing works (the term he prefers to choreographing ) out of the questions and conflicts--from the mundane to the profound--that he observes people confronting and wrestling with.
May 28, 1995 |
Dave Gordon, an education administrator with a limited athletic background, has been hired as the new executive director of the California Interscholastic Federation, The Times has learned. Gordon, 48, will be introduced at a news conference next Saturday in conjunction with the state track and field finals at Cerritos College.
January 22, 2013 |
PARK CITY, Utah - “It's been awhile,” director David Gordon Green said as we shook hands on Sunday. Indeed it had. It was, in fact, 10 years almost to the day since I'd interviewed Green at the Sundance Film Festival, and the trajectory of his career had been little short of unprecedented. In 2003, Green was in Park City with “All the Real Girls,” one of a series of small, contemplative films that had some people thinking of him as the next Terrence Malick. Instead, he became celebrated as the director of the big-budget stoner action comedy “Pineapple Express.” SUNDANCE: Full coverage Back then, Green expected he would direct an independent version of John Kennedy Toole's “A Confederacy of Dunces”; instead, he ended up with the Jonah Hill comedy “The Sitter,” the James Franco-starring “Your Highness” and a thriving business directing commercials.
February 26, 2008 |
After years of cutting his teeth in independent film, David Gordon Green is one of the big boys now. The youthful 32-year-old writer and director, who still happens to wear braces, says he no longer gets carded at bars. But his newfound maturity pales in comparison to the thrill of being invited to host his own three-night film retrospective this week at American Cinematheque's Egyptian Theatre in HollywoodEgyptian Theatre in Hollywood. "My reaction?
November 24, 2000 |
The adolescent characters in the poignant independent film "George Washington" are quite unlike the figures who populate most dramatic films about young people. Growing up in an economically depressed, multiracial town in rural North Carolina, the mostly black kids in David Gordon Green's low-budget film are a remarkably self-aware group. They dream, wonder, love and despair with a rare and genuine depth of expression and feeling.
October 22, 2004 |
With "Undertow," David Gordon Green remains the compelling filmmaker of his distinctive first feature, "George Washington." However, in his third feature -- his second, "All the Real Girls," afforded Zooey Deschanel a breakthrough role -- his gift for texture and atmosphere and for expressing the world through the eyes of youthful, marginalized antagonists is wedded somewhat uneasily to a conventional plot.