February 10, 1985 |
There's nothing better for the theater's intellectual health than a scandal--of the proper sort. Not the sleazy kind where Miss Z is arrested for using controlled substances, or where Mr. Y has to explain what he did with the grant money. I mean an old-fashioned artistic cause celebre , where the onlooker is forced to do some hard thinking about the principles at issue.
March 28, 1987
Fred Kahan, retired Los Angeles-area director of the Jewish National Fund of America, the support organization that has turned millions of desert acres into the nation of Israel, died Tuesday. He was 77 and died in his Studio City home of an apparent aneurysm, a spokesman for the fund said. Born in Jerusalem as the descendant of 11 generations of rabbis, Kahan came to the United States after World War I and attended a seminary in New Jersey.
August 18, 1987
Clarence Brown, one of Hollywood's most prolific directors, who enhanced the careers of such diverse stars as Greta Garbo, Clark Gable, Norma Shearer and Elizabeth Taylor, has died at age 97, it was learned today. Brown died late Monday night at St. John's Medical Center of kidney failure. He had been retired since the early 1950s.
October 7, 2007 |
AS I write this, I'm well into the third week of rehearsals for my new play at the Geffen Playhouse, "The Quality of Life. " As the playwright, I would have ducked out by now to let the director and the actors work out the nuts and bolts of interpreting the play. Maybe I'd get the occasional phone call from the director wondering if they could possibly add or cut a line. But mostly I would rightfully be asked to disappear so everyone could mess around with the text in peace without having me hunched in the back of the rehearsal room wringing my hands.
February 19, 2012 |
In "Look Back in Anger," playwright John Osborne's brutal 1956 drama, the working-class antihero Jimmy Porter attacks his wife Alison, by accusing her of being "pusillanimous. " In their garbage-strewn Midlands flat, the disaffected young man cruelly barks out its meaning: "Wanting of firmness of mind, of small courage … cowardly. " "Pusillanimous" is a word one would hardly associate with Sam Gold, the ambitious 33-year-old director of the Roundabout Theater's revival of the British classic, which stars Matthew Rhys, most recently of the TV drama "Brothers & Sisters.
CALIFORNIA | LOCAL
September 19, 2000 |
A Costa Mesa preschool where two students were killed and five others injured after a man intentionally drove his Cadillac into a crowded playground in 1999 has quietly closed its doors. The Southcoast Early Childhood Learning Center, which survived that tragedy as well as a bruising battle with neighbors opposed to a security fence installed in the wake of the killings, closed Sept. 1.
May 30, 2013 |
I have so many questions after seeing "After Earth," the new sci-fi action-adventure starring Will Smith and his 14-year-old son, Jaden. First, just how much blinding power is in that famous smile of his? On the day Will Smith floated the idea - "sci-fi flick, father-son friction, me and the kid will star" - did its sheer warmth and radiance make everyone in the room believe that anything, including "After Earth" as an actual, viable movie, was possible? Someone wrote the checks.
June 26, 2005 |
When screenwriter Don Roos ("Boys on the Side," "Single White Female") cast "Friends" star Lisa Kudrow in a key role for his 1998 filmmaking debut, "The Opposite of Sex," an exciting new director-actress collaboration emerged. Roos' bitingly funny take on love, sex and responsibility took flight when Kudrow's Lucia -- a tart-tongued, opinionated, spinsterish teacher with unexpected reserves of pained optimism -- was on screen.
February 3, 2012 |
In the long, photo-decorated hallway that leads to the terrace garden dining area at Soho House, producer Michael Barnathan paused to point out a black-and-white snapshot of him and his wife grinning broadly as they celebrated their three Critics' Choice Awards for "The Help. " Barnathan and co-producer Chris Columbus are unabashedly, pinch-me-to-be-sure-this-is-real giddy about the gathering awards momentum behind the film, which focuses on the lives of black maids in Mississippi at the start of the civil rights movement.
May 9, 2013 |
Every filmmaker in Hollywood worth his final cut has a signature visual flourish that functions something like a filmic fingerprint. For Martin Scorsese, it's the long, uninterrupted tracking shot. For John Woo, the balletic deployment of two-handed gun violence. Wes Anderson never met a painterly tableau he didn't like. And Steven Spielberg favors the slow zoom in just about every one of his movies. J.J. Abrams , meanwhile, tends toward a cinematographic trope that looks, at first glance, like a screw-up -- lens flare -- i.e. intentionally flooding the camera frame with light to deliberately wash out or obscure the imagery on-screen.