September 29, 1988 |
What makes a person funny? What drives someone to stand in front of a dark and smoke-filled hall, trying to pry laughter out of a sea of strange faces--which together have the power to send a comic home drunk on adrenaline, or leave an ego in shards on a lonely stage? Tom Hanks still doesn't know the answer to the second question. But he does know something about the first.
November 7, 1999 |
Steve Martin cornered Tom Hanks at a party a few months ago and asked the two-time Oscar winner the question that has occurred at least once to any perceptive moviegoer. "You've become this great actor," Martin, a fellow funny-man turned actor-director-writer, said to Hanks. "I'm curious what took you there. What did you do?"
March 22, 1994 |
After two decades of creating some of Hollywood's biggest commercial successes, director Steven Spielberg finally had his artistic triumph Monday night at the 66th annual Academy Awards. Spielberg's risky labor of love, "Schindler's List," the gripping black-and-white epic about the Holocaust that industry cynics wrongly predicted would never draw audiences, won the best picture award for 1993 and delivered the 46-year-old filmmaker his first Oscar for directing.
July 5, 1992 |
It was not the way Tom Hanks was accustomed to seeing himself on screen. He'd put on nearly 20 pounds to play washed-up big league ballplayer Jimmy Dugan in "A League of Their Own," the story of an all-female professional baseball league formed during World War II.
April 5, 1998 |
Tom Hanks comes bounding into a posh suite at the Lowell Hotel, instantly jokey and down-to-earth. It doesn't matter that he's nursing a cold or that he's facing an all-night shoot on the set of his latest movie, the romantic comedy "You've Got Mail."
February 26, 1995 |
'Open the door. Let my people go!" bellows director Ron Howard. As the heavy metal door to Stage 34 at Universal Studios is pried open, the cast and crew of Howard's latest production, "Apollo 13," unleash the kind of applause and unrestrained cheering one would more expect from prisoners sprung free after years of captivity. "Here comes the sun!" "Off with the jackets." "Turn the heat on!" "Yeah! We're going back to movie-making!"
July 14, 1994 |
Teen-agers who like to see the underdog come out on top like this movie, some crying and sniffing along with the adults in this poignant role for Tom Hanks. "I thought it was cool to see a guy who supposedly is sub-ordinary become extraordinary," said Peter Goff, 13. "Everybody thought lesser of him, but he became better than them."
February 17, 2013 |
On networks with historical bents, there is always a fair amount of Lincoln-mania this time of year - PBS' "American Experience" just repeated its excellent miniseries "Abraham and Mary Lincoln: A House Divided," - and what with Steven Spielberg's big screen "Lincoln" steadily amassing statuary, it's safe to say, things have reached a fever pitch, putting us well into the counterintuitive stage, i.e., let's have a look at the other guy. "Killing Lincoln,"...
March 29, 2013 |
- George C. Wolfe is flummoxed. He's describing the gestation of "Lucky Guy," the Nora Ephron play he is directing with Tom Hanks playing an ambitious and cocky New York newspaper reporter. It began, he says, with Ephron asking him: "What's more fun than hanging out with the boys in the bar?" It ended, nine months later, with a phone call from her agent saying she had died. "I didn't even know that Nora was sick until the actual day she died," he says, sitting in a Midtown Manhattan coffee shop on a rainy spring afternoon.
December 23, 2011 |
"Extremely Loud & Incredibly Close" is a handsomely polished, thoughtfully wrapped Hollywood production about the national tragedy of 9/11 that seems to have forever redefined words like unthinkable, unforgivable, catastrophic. It has also redefined our expectations of filmmakers who try to examine the still aching wound — and perhaps explains why most films about 9/11 haven't resonated with audiences. Mindful of that, director Stephen Daldry has taken great care in looking at it through the eyes of a precocious New York City boy in a film filled with both sentiment and substance.