Placeholder Content Image

“We’ve been expecting you”: Daniel Craig receives royal honour

<p dir="ltr">Daniel Craig has been awarded one of the highest royal honours - the same one held by the character he is most well-known for playing: James Bond.</p> <p dir="ltr">Craig was appointed a Companion of the Order of St Michael and St George (CMG) during an investiture ceremony at Windsor Castle on Tuesday.</p> <p dir="ltr">In Ian Fleming’s Bond novel, <em>From Russia With Love</em>, a Soviet spy chief notes that 007 received the honour in 1953, and that it’s “an award usually given only on retirement from the Secret Service”.</p> <p dir="ltr">Outside of fiction, spies aren’t the only recipients of the honour, with diplomats and Brits working overseas also receiving it in recognition of their services to the UK “internationally”.</p> <p><span id="docs-internal-guid-478ce96c-7fff-9a7f-a77e-852543e43824"></span></p> <p dir="ltr">Craig, who holds citizenship in the US and is listed on the Investiture roll as being from New York, received the CMG in recognition of his service to film and theatre in the 2022 New Year Honours.</p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">We’ve been expecting you…</p> <p>🎖️The Princess Royal presents Daniel Craig with The Order of St Michael and St George - the same honour held by his character James Bond - in recognition of his outstanding contribution to film and theatre. <a href="https://t.co/X20TP6BogL">pic.twitter.com/X20TP6BogL</a></p> <p>— The Royal Family (@RoyalFamily) <a href="https://twitter.com/RoyalFamily/status/1582319162307018752?ref_src=twsrc%5Etfw">October 18, 2022</a></p></blockquote> <p dir="ltr">He was presented with the medal during Tuesday’s ceremony by Princess Anne, with the royal family sharing a photo of the pair on social media with the playful caption, “We’ve been expecting you”.</p> <p dir="ltr">After 15 years, Craig ended his time as the martini-slinging spy in 2021, starring in the film <em>No Time To Die</em>.</p> <p dir="ltr">As for who will take the reins after Craig, Bond producers Barbara Broccoli and Michael G. Wilson told <em><a href="https://www.empireonline.com/movies/news/bond-producers-barbara-broccoli-and-michael-g-wilson-on-the-fate-and-future-of-007/" target="_blank" rel="noopener">Empire</a></em> that <em>No Time To Die</em> wasn’t the end of the story for 007 - but it could take some time to find the actor’s replacement.</p> <p dir="ltr">"When you change the actor you have to reimagine the direction the film's gonna go in. When you hire an actor, you're hoping you're going to spend a decade at least with them and make four or five or six films with them,” Broccoli said.</p> <p dir="ltr">“It's not just flicking through <em>Spotlight</em> and saying, 'Oh, there's a guy who's 6'1"' We're going to take our time. We want to get a sense of where we want to go with the series and we want to do that before we bring anybody else on.”</p> <p dir="ltr"><span id="docs-internal-guid-d8cb95c6-7fff-c6e0-95a1-43d9141b8e48"></span></p> <p dir="ltr"><em>Image: @RoyalFamily (Twitter)</em></p>

Entertainment

Placeholder Content Image

Sean Connery: his five best Bond movies rated

<p>Obituaries for <a href="https://theconversation.com/sean-connery-bond-james-bond-but-so-much-more-149238">Sean Connery</a> all over the world remind us of what a versatile actor he was, starring in films as diverse as Alfred Hitchcock’s 1964 <a href="https://www.imdb.com/title/tt0058329/?ref_=fn_al_tt_1">Marnie</a> and Brian de Palma’s 1987 <a href="https://www.imdb.com/title/tt0094226/">The Untouchables</a>. But it is the character of James Bond, <a href="https://www.independent.co.uk/arts-entertainment/films/news/sean-connery-death-cause-james-bond-007-michael-caine-hated-b1478316.html">which he allegedly came to hate</a>, that film fans will inevitably associate with the rugged features of the Scottish actor who first played the role in Dr. No in 1962.</p> <p>Connery’s Bond embodied the postwar ideal of masculinity, a complex mix of old-fashioned charm and tough virility, loyalty to “Queen and Country”, and relaxed sexual mores. <a href="http://jamesbondmemes.blogspot.com/2012/04/women-want-to-be-with-him-men-want-to.html">Raymond Mortimer</a> wrote at the time, in his review of Fleming’s On Her Majesty’s Secret Service (1963): “James Bond is what every man would like to be, and what every woman would like between her sheets.”</p> <p>Like his literary incarnation, the cinematic Bond launched by Connery caused disdain and thrilled audiences of both sexes in equal measures. Reviewing Goldfinger, film critic <a href="https://books.google.co.uk/books?id=oXxZAAAAMAAJ&amp;q=%E2%80%98The+constantly+lurking+viciousness,+and+the+glamorisation+of+violence+%E2%80%A6+the+carefully+timed+peaks+of+titillation+and+the+skilfully+contrived+sensationalism%E2%80%99&amp;dq=%E2%80%98The+constantly+lurking+viciousness,+and+the+glamorisation+of+violence+%E2%80%A6+the+carefully+timed+peaks+of+titillation+and+the+skilfully+contrived+sensationalism%E2%80%99&amp;hl=en&amp;sa=X&amp;ved=2ahUKEwieiu6wjOHsAhUlQUEAHey1C34Q6AEwAHoECAAQAg">Nina Hibbin</a> remained unimpressed by the Bond formula of “constantly lurking viciousness, and the glamorisation of violence … the carefully timed peaks of titillation and the skilfully contrived sensationalism”. Meantime, the late <a href="https://www.theguardian.com/film/2020/apr/06/honor-blackman-obituary">Honor Blackman</a>, who played alongside him in <a href="https://www.imdb.com/title/tt0058150/">Goldfinger</a>, described working with Connery as “<a href="https://books.google.co.uk/books?id=dbijDwAAQBAJ&amp;pg=PT13&amp;dq=romping+about+on+international+locations+with+the+sexiest+man+ever+seen+on+screen&amp;hl=en&amp;sa=X&amp;ved=2ahUKEwiBn_zsiuHsAhVVilwKHe6NAYQQ6AEwAHoECAYQAg#v=onepage&amp;q=romping%20about%20on%20international%20locations%20with%20the%20sexiest%20man%20ever%20seen%20on%20screen&amp;f=false">romping about on international locations with the sexiest man ever seen on screen</a>”.</p> <p>Connery’s Bond may get his Savile Row suit dirty, but he never loses his cool. Ruthless with his enemies, he’s not afraid of hurting many a female villain who threatens the success of his missions. He’s also, of course, an irresistible lover, able to seduce even those, like Pussy Galore, who claim “immunity” to his charms.</p> <p>But is there more to Connery’s Bond than backward machismo and dubious race politics? Here are my top five Connery Bond films, and why you may want to watch them again:</p> <p><strong>1. Goldfinger (Guy Hamilton, 1964)</strong></p> <p>A beautiful woman whose spectacular death, and gold-painted lifeless body – remains, for better or worse, one of the most iconic images in the history of the franchise. A squad of female pilots is led by the talented Pussy Galore, whose name is an ironic reference to her sexuality. <em>Goldfinger</em> is a criminal genius, whose plan to make the US gold reserves radioactive in order to increase the value of his own is nothing short of brilliant, and whose laser beam poses a literal threat to <a href="https://books.google.co.uk/books/about/The_James_Bond_Phenomenon.html?id=x9-1QY5boUsC&amp;printsec=frontcover&amp;source=kp_read_button&amp;redir_esc=y#v=onepage&amp;q=laser&amp;f=false">Bond’s virility</a>.</p> <p>A Korean henchman in a lethal bowler hat is a parody of the quintessential Englishness, which trilby-wearing Connery – a proud Scotsman – also “performs”. These manifestations of ambivalent gender and race politics, more recently picked up in Anthony Horowitz’s sequel Bond novel, <a href="https://www.theguardian.com/books/2015/may/28/new-james-bond-novel-trigger-mortis-pussy-galore-anthony-horowitz">Trigger Mortis</a>, make it, if anything, even more relevant to watch today.</p> <p><strong>2. Dr No (Terence Young, 1962)</strong></p> <p>Set in Ian Fleming’s beloved Jamaica, hints of Sinophobia lurk in the figure of Dr. No, whose Chinese ethnicity is conveyed through the Asian style of the clothes he wears. The first cinematic “Bond Girl” makes a memorable entrance wearing an equally memorable <a href="https://www.tatler.com/article/ursula-andress-dr-no-honey-ryder-bikini-auction-los-angeles">white bikini</a>. But the fact that Honey Ryder also wears a knife around her waist suggests that she’s more than eye-candy.</p> <p>We’re also told she has used a black widow spider to kill an abusive landlord in the past. Just like Dr. No threatens the authority of white British Bond, so Honey represents a challenge to the patriarchal order he represents. She is a new kind of woman, as <a href="https://www.youtube.com/watch?v=H2hC8Frhicg&amp;list=PLGiXHXUUO-jMHt4O8nAslNZ5UBHd_cZZ7&amp;index=10">Andress claims</a>, physically strong and ready to take part in the action.</p> <p><strong>3. From Russia with Love (Terence Young, 1963)</strong></p> <p>The romantic settings – Istanbul, the Orient Express train journey – and the beautiful co-star, Daniela Bianchi, who plays defecting Soviet spy Tania Romanova, may fool us into thinking that this may be a Cold War “Romeo and Juliet” love story. Tania is, however, less interested in Bond and more attracted to the other tempting luxuries of the West that he may help her achieve.</p> <p>The poisoned blade concealed in the toe of villain Rosa Klebb’s shoe, provides another unforgettable moment in the film franchise, and one that insinuates further doubts about Bond’s invulnerable masculinity. And while at the end of Fleming’s novel, Bond is left for dead, in the film, it is Tania’s quick thinking and good aim that saves his life.</p> <p><strong>4. Thunderball (Terence Young, 1965)</strong></p> <p>Still, according to <a href="https://www.forbes.com/sites/travisbean/2020/04/18/all-26-james-bond-films-ranked-at-the-box-office/">Forbes</a>, the highest grossing film of the franchise, <em>Thunderball</em> sees Bond in action in the Bahamas, a place which would remain close to Connery’s heart until his death in Nassau on October 31 2020.</p> <p>As the action unfolds around the beautiful island setting, and its treacherous coastline, Bond’s life is threatened by SPECTRE operative Emilio Largo (Adolfo Celi), and especially Fiona Volpe (Luciana Paluzzi), one of the many phenomenal female drivers in the film franchise – and a woman who is confident enough to ridicule his alleged sexual prowess. But it is the leading Bond Girl, Domino Derval (Claudine Auger), who, again, saves Bond’s life by shooting a harpoon at Largo.</p> <p><strong>5. You Only Live Twice (Lewis Gilbert, 1967)</strong></p> <p>We may raise an eyebrow at Bond’s dubious transformation into a Japanese man, the patriarchal attitudes towards women presented as traditional of Japan, not helped by the lukewarm performance by Mie Hama, who plays what has been described as “<a href="https://books.google.co.uk/books?id=auaECgAAQBAJ&amp;printsec=frontcover&amp;dq=lisa+funnel+lotus+blossom&amp;hl=en&amp;sa=X&amp;ved=2ahUKEwjHgOmKkOHsAhUJZcAKHf8ZAowQ6AEwAXoECAYQAg#v=onepage&amp;q=lotus&amp;f=false">servile Lotus Blossom</a>” Kissy Suzuki, but there is enough charisma between the other female roles in the film, Aki (Akiko Wakabayashi) and Helga Brandt (Karin Dor), to make up for Kissy’s submissiveness.</p> <p>Both die, the latter in a spectacularly sadistic execution in a piranha pool. But Helga also very nearly mutilates Bond with a surgical scalpel and chucks a lipstick bomb at him before parachuting herself out of the plane she has been flying. A “bombshell” she may be, but not on the terms set by the men who try to control her.</p> <p>Most of us will cringe, today, at the bottom-slapping, the “man-talk” and the colonial attitudes that we see in the early Bond movies. But Connery’s Bond is more nuanced than we think and his white British masculinity is rarely left unchallenged. He was a Bond for his time.</p> <p><em>Written by <a href="https://theconversation.com/profiles/monica-germana-415866">Monica Germanà</a>, University of Westminster. Republished with permission of <a href="https://theconversation.com/sean-connery-his-five-best-bond-movies-rated-149240">The Conversation.</a></em></p>

Entertainment

Placeholder Content Image

Russell Crowe remembers hilarious prank Nicole Kidman pulled on Jay Leno

<p><span>Nicole Kidman may have pulled off the greatest television prank of all time – and it’s taken years for anyone to realise.</span></p> <p><span>The Australian Oscar-winning actress known for her class and poise once tricked late night talk show host Jay Leno into using a very crude Aussie slang term countless times on his show, as he had no idea what the word meant.</span></p> <p><span>Many were surprised the term was in Kidman’s vocabulary.</span></p> <p><span>Kidman was left giggling after she had convinced the host that “crack a fat” meant something far more innocent that its true meaning (relating to male arousal).</span></p> <p><span>Leno then casually dropped the phrase every chance he got according to the star’s close friend, Russell Crowe.</span></p> <p><span>Speaking to </span><em>Vanity Fair,</em><span> Crowe recalled the hilarious incident which happened a few years ago.</span></p> <p><span>“She said it (‘crack a fat’) and Jay kept repeating it over and over again, and Nicole realised the hole she’d dug herself into,” Crowe explained.</span></p> <p><span>“Jay kept saying things like, ‘We’ll be right back after this break to crack a fat with Nicole Kidman!’ And that sent Nicole into giggles.”</span></p> <p><span>Crowe and Kidman have been close friends for years, after they met in Sydney many years ago. </span></p> <p><span>Crowe apparently did a “shoey” (the act of drinking an alcoholic beverage out of someone's shoe) at a party that Kidman had thrown.</span></p> <p><span>“It was at a house party that I threw in Darlinghurst with my then-boyfriend,” Kidman, 53, told </span><em>News Corp</em><span> in 2018 of meeting Crowe.</span></p> <p><span>She went on to say their friendship blossomed when they both began working in the US.</span></p> <p><span>“I have an enormous amount of love and affection for him because we have been friends literally our whole life. It’s an admirable thing when you forge your way through, decade after decade.”</span></p>

Travel

Placeholder Content Image

Psycho turns 60 – Hitchcock’s famous fright film broke all the rules

<p>November 1959. Film director <a href="https://www.imdb.com/name/nm0000033/?ref_=nv_sr_srsg_0">Alfred Hitchcock</a> is at his commercial and critical peak after the successes of <a href="https://www.imdb.com/title/tt0052357/?ref_=nm_knf_i2">Vertigo</a> (1958) and <a href="https://www.imdb.com/title/tt0053125/?ref_=nm_knf_i3">North by Northwest</a> (1959). So what does he do next? A black-and-white made-for-TV movie hastily shot, with no big-name actors and a leading actress who takes a shower, and … well, we’ll come to that.</p> <p><a href="https://www.imdb.com/title/tt0054215/?ref_=nm_knf_i1">Psycho</a> (1960) remains Hitchcock’s most celebrated film. But it is really two films, glued together by the most iconic scene in cinema history.</p> <p>Part one is a run-of-the-mill morality tale. Marion Crane (Janet Leigh) steals $40,000 from her Phoenix employee, and goes on the run. Guilt-stricken, she pulls into a deserted motel and chats with the owner, Norman Bates (Anthony Perkins).</p> <p>He seems friendly enough – he makes her sandwiches and talks fondly about his mother – and Marion resolves to return the money.</p> <p>Part two is a whodunnit. Marion’s sister (Vera Miles) and her lover (John Gavin) investigate her disappearance, and trace her steps back to the motel. Soon, they begin to have suspicions about Norman.</p> <p>‘She just goes … a little mad sometimes.’</p> <p><strong>Thriller with a twist</strong></p> <p>A few years earlier, Hitchcock had watched Henri-Georges Clouzot’s 1955 psychological masterpiece <a href="https://www.imdb.com/title/tt0046911/?ref_=nv_sr_srsg_0">Les Diaboliques</a> and sought out a similar project – a horrific thriller with a twist ending. He read <a href="https://www.goodreads.com/book/show/156427.Psycho">Robert Bloch’s novel Psycho</a> – itself inspired by the real-life <a href="https://www.biography.com/crime-figure/ed-gein">Wisconsin killer Ed Gein</a> – and optioned the film rights.</p> <p>Audiences saw things in Psycho that had never been shown before on screen. A toilet flushing. A murderer who goes unpunished. A post-coital Leigh, lying on a bed, dressed only in white underwear, while Gavin stands topless over her.</p> <p>All of Hitchcock’s trademark obsessions are on show: voyeurism, the dominant matriarchal figure, the blonde heroine, the untrustworthy cop.</p> <p>Over his career, Hitchcock had always flouted Hollywood’s <a href="https://www.npr.org/templates/story/story.php?storyId=93301189">Production Code</a>, those rigid rules that had been in place since the 1930s that prohibited onscreen nudity, sex and violence. Nowhere is Hitchcock’s brazen censor-defying clearer than in Psycho’s “shower scene”.</p> <p>Marion steps into the shower, a shadowy figure rips back the curtain, and cinema’s most visceral scene unspools, brutally, before our very eyes.</p> <p>Hitchcock, the master of suspense, never actually shows knife slicing flesh. Everything is implied, through liberal doses of chocolate sauce, hacked watermelons, Bernard Herrmann’s screeching violins, and Leigh’s blood-curdling screams.</p> <p>In one 60-second scene, Hitchcock shatters all the rules. It’s the most famous of all bait and switches: you expect one thing, but get another. Up to that point, no film had killed off its lead character so early in the story (nowadays, such an audacious twist shows up everywhere, from The Lion King to Games of Thrones). As Leigh slides down the blinding white tiles, arm outstretched, a new kind of cinema is born: twisted, shocking, primal.</p> <p><strong>Inventing the cinema event</strong></p> <p>Hitchcock famously ordered cinemas to not let any latecomers into screenings of Psycho, to keep the element of surprise.</p> <p>Previously, cinema-goers could wander into a film midway through, watch the last half, and then stick around for the restart to catch up on what they had missed. When your leading lady is butchered 45 minutes in, the film makes little sense if you arrive late – hence Hitchcock’s decree.</p> <p>While the reviews at the time of its cinema release were lukewarm, cinema as an “event”, as a communal experience shared by hundreds of people in the dark, began. There were queues around the blocks in cities across America as word of mouth grew. Grossing US$32 million (equivalent to A$468 million today) off a budget of US$800,000 (A$12 million today), Psycho made Hitchcock a very wealthy man.</p> <p>Other elements contributed to Psycho’s enduring influence. Saul Bass’s opening credits, all intersecting lines and sans-serif titles, anticipate the film’s fixation with duality and overlap.</p> <p>Budget constraints meant that Bernard Herrmann could only rely on his orchestra’s string section. Even people who have never seen the film instantly recognise his score.</p> <p>And Anthony Perkins, typecast forever after as the nervous mother’s boy with a dark secret, crafts a performance that is both sweetly disarming and deeply unsettling.</p> <p><strong>Psycho sequels</strong></p> <p>Its reputation has only grown since 1960. Critics and audiences remain transfixed by Psycho’s storytelling verve and its queasy tonal shifts (murder mystery to black comedy to horror).</p> <p><a href="https://www.tate.org.uk/whats-on/tate-britain/exhibition/turner-prize-1996/turner-prize-1996-artists-douglas-gordon">Douglas Gordon’s 1993 art installation 24 Psycho</a> slowed the film down to last a full day.</p> <p>Douglas Gordon’s 24 Psycho (1993) video installation pays homage to every frame of the film.</p> <p>Academics have had a field day too, from <a href="https://books.google.com.au/books?id=qx9dDwAAQBAJ&amp;lpg=PA4&amp;ots=3sAjXQ_r40&amp;dq=Raymond%20Durgnat%20micro-analysis%20psycho&amp;pg=PP1#v=onepage&amp;q=Raymond%20Durgnat%20micro-analysis%20psycho&amp;f=false">Raymond Durgnat’s lengthy micro-analysis</a> to <a href="https://egs.edu/biography/slavoj-zizek/">Slavoj Žižek</a>’s reading of Bates’s house as an illustration of Freud’s concept of the id, ego and superego.</p> <p>Three progressively sillier sequels were made, as well as a colour <a href="https://www.imdb.com/title/tt0155975/?ref_=vp_back">shot-for-shot remake </a>by Gus van Sant in 1998. Brian De Palma’s entire back catalogue pays homage to Hitchcock, with whole sections of <a href="https://www.imdb.com/title/tt0070698/?ref_=nm_flmg_dr_30">Sisters</a> (1972) to <a href="https://www.imdb.com/title/tt0080661/?ref_=nm_flmg_dr_24">Dressed to Kill</a> (1980) reworking Psycho’s delirious excesses.</p> <p>Psycho’s box office success undoubtedly contributed to Hollywood’s abiding fascination with true-crime stories, serial killers, and slasher films.</p> <p>More recently, the TV prequel series <a href="https://www.imdb.com/title/tt2188671/?ref_=nv_sr_srsg_0">Bates Motel</a> ran for four seasons, deepening Norman’s relationship with his mother and tracking his developing mental illness.</p> <p>That series provides a set up for the events at the Bates Motel. Sixty years on, the setting for Psycho continues to exert such a pulsating thrill, even as we watch from behind the sofa.</p> <p><em>Written by Ben McCann. Republished with permission of <a href="https://theconversation.com/psycho-turns-60-hitchcocks-famous-fright-film-broke-all-the-rules-140175">The Conversation.</a> </em></p>

Entertainment

Placeholder Content Image

5 classic isolation movies recommended by a film scholar

<p>As a film scholar, I am constantly being asked if I am enjoying the lockdown because it has given me more time to watch films. My answer is not simple. Yes, it is good to catch up on some films I missed at the cinema, or finally get around to rewatching <a href="https://www.youtube.com/watch?v=Q9nZFUgyclE">Berlin Alexanderplatz</a>.</p> <p>But, for someone like me, who finds social isolation very difficult, watching movies alone can be a painful reminder of what a communal activity cinema-going usually is, as this <a href="https://www.iser.essex.ac.uk/files/iser_working_papers/2005-14.pdf">research from Essex University</a> has found.</p> <p>So I have started to watch films that reassure me that I am not the only one feeling lonely and going stir crazy. Here, then, are five great films about being stuck indoors or in forced isolation. Some of these may not be for the faint-hearted, but they are all well worth watching.</p> <p><strong><em>Rear Window</em> (Alfred Hitchcock, 1954)</strong></p> <p><a href="https://variety.com/1954/film/reviews/rear-window-1200417736/"><em>Rear Window</em></a> may be the definitive lockdown movie. The story is simple: Jimmy Stewart’s adventure-seeking photographer finds himself trapped in his apartment with a broken leg. He begins to semi-innocently spy on his neighbours until he becomes convinced that one of them may have murdered their wife.</p> <p style="text-align: center;"><iframe width="440" height="260" src="https://www.youtube.com/embed/6kCcZCMYw38?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>The film is both a mischievous examination of the voyeur in us all, and a cautionary tale about the devil making work for idle hands. It is also a testament to the power of imagination. We might not be able to have meals, complete with champagne, delivered to us by Grace Kelly, but we can make up stories about what that strange man across the street is up to. It will help pass the time. And you know he’s doing the same about you.</p> <p><strong><em>The Exterminating Angel</em> (Luis Buñuel, 1962)</strong></p> <p>Buñuel’s <a href="https://www.rogerebert.com/reviews/the-exterminating-angel-1968">surrealist masterpiece</a> remains cinema’s definitive portrait of societal breakdown, and 90% of it takes place in one room. Following a lavish dinner party at one of their houses, a large group of aristocrats find themselves inexplicably unable to leave the drawing room. The longer they remain there together the more the thin veneer of civilisation cracks.</p> <p style="text-align: center;"><iframe width="440" height="260" src="https://www.youtube.com/embed/ERHL5nzEMmM?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>First the servants leave and the guests are reduced to using antique vases as toilets. Soon the food and water run out and precious medication is stolen. The elderly and frail start to die. Some respond by indulging their hedonistic desires, some resort to prayer and calls for sacrifice, others kill themselves in despair. This might sound unbearably bleak, but Buñuel plays it all for the most mordant kind of comedy. Six decades have not blunted the fangs on this one.</p> <p><strong><em>This is Not a Film</em> (Jafar Panahi, 2011)</strong></p> <p>In late 2010, Jafar Panahi, one of Iran’s greatest filmmakers, was sentenced by his government to six years in prison and a 20-year ban on making films for allegedly conspiring to produce “propaganda against the Islamic Republic”. Awaiting the final verdict under house arrest, Panahi did what any good dissident would do: he made a film.</p> <p style="text-align: center;"><iframe width="440" height="260" src="https://www.youtube.com/embed/AgZy00svH08?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>Shot on an iPhone and a digital camcorder, <em><a href="https://www.nytimes.com/2012/02/29/movies/hes-jafar-panahi-but-this-is-not-a-film.html">This is Not a Film</a></em> shows Panahi going about his daily routine, speaking to his lawyers, acting out scenes from a film he expects to never make, talking about his previous work, and interacting with a few neighbours and workmen.</p> <p>The result is a powerful riposte to state censorship and a sly work of meta-cinema typical of its maker. But the film also has an incredible urgency about it. It is as if Panahi had to make the film simply to stay sane. A timely reminder that you don’t need expensive equipment or money to make great art, and that sometimes the best work comes out of crisis and restraint.</p> <p><strong>Housebound (Gerard Johnstone, 2014)</strong></p> <p>It is easy to see why Peter Jackson went <a href="https://www.hollywoodreporter.com/heat-vision/new-line-remake-new-zealand-772536">out of his way to champion</a> this low-budget effort by first-time writer-director Gerard Johnstone (the famed New Zealand director called it “bloody brilliant”). Like Jackson’s own early films, <em>Housebound</em> shoots for a difficult balance of irreverent comedy, suspense, and splatter, and somehow pulls it off.</p> <p style="text-align: center;"><iframe width="440" height="260" src="https://www.youtube.com/embed/ji8Tsuj3u0c?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>The story revolves around a 20-something tearaway named Kylie who placed under house arrest in her childhood home, which her mother casually insists is haunted. At first Kylie thinks her mother is just dotty, but when she is also confronted by mysteriously opening doors, disappearing objects and noises in the night, she begins to wonder.</p> <p>Essential viewing for people with old, noisy houses. Extra points for the probation officer who reveals himself to be an amateur ghost hunter, and the very plucky female protagonist whose response to encountering a creepy doll is to smash its face in.</p> <p><strong><em>Crowhurst</em> (Simon Rumley, 2017)</strong></p> <p>Independent British filmmaker <a href="https://www.thetimes.co.uk/article/film-review-crowhurst-b9lrx9rbp">Simon Rumley’s retelling</a> of Donald Crowhurst’s <a href="https://www.independent.co.uk/news/uk/this-britain/drama-on-the-waves-the-life-and-death-of-donald-crowhurst-421934.html">disastrous attempt</a> to sail solo and non-stop around the world in 1968, which ended in his disappearance and probable suicide, offers a masterclass in low-budget filmmaking. A good deal of the movie consists of Crowhurst (played by the excellent Justin Salinger) alone on a very small trimaran. Rumley, however, puts the viewer squarely inside Crowhurst’s head as his loneliness, isolation and fear of failure slowly cause him to crack.</p> <p style="text-align: center;"><iframe width="440" height="260" src="https://www.youtube.com/embed/qgWC8bJTld4?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>This is not a movie for everyone. It is intense to say the least, and the more unhinged <em>Crowhurst</em> gets, the more self-consciously raw the filmmaking becomes. The fact that it was championed by Nicolas Roeg, the late, great maestro of mind-bending British cinema, will be the ultimate recommendation for those looking for something more adventurous.</p> <p>This list is hardly exhaustive. There are many more films about isolation to watch while in isolation: from <em><a href="https://www.theguardian.com/film/2017/dec/29/persona-review-ingmar-bergman-rerelease">Persona</a> </em>to <a href="https://www.americamagazine.org/arts-culture/2020/04/11/1995-film-safe-has-new-meaning-during-our-coronavirus-isolation"><em>Safe</em></a>, from <a href="https://www.chicagotribune.com/news/ct-xpm-1997-10-03-9710030449-story.html"><em>Repulsion</em></a> to <em><a href="https://variety.com/2006/film/markets-festivals/right-at-your-door-1200519062/">Right at Your Door</a></em>. I just wanted to guide people to a few lesser-known films alongside a pair of classics that worth revisiting now more than ever.</p> <p>Stay safe and happy viewing.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/135705/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><span><a href="https://theconversation.com/profiles/brian-hoyle-475856"><em>Brian Hoyle</em></a><em>, Senior Lecturer in Film Studies, <a href="https://theconversation.com/institutions/university-of-dundee-955">University of Dundee</a></em></span></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/five-classic-isolation-movies-recommended-by-a-film-scholar-135705">original article</a>.</em></p>

Entertainment

Placeholder Content Image

Parasite: The global rise of South Korean film

<p>The international success of <em>Parasite</em>, the black comedy thriller by Bong Joon-ho, has been rather spectacular. It started with a slew of early season awards, including the prestigious <a href="https://www.theguardian.com/film/2019/may/25/bong-joon-hos-parasite-wins-palme-dor-at-cannes-film-festival">Palme d'Or</a> (by unanimous vote) at Cannes. It has now won <a href="https://variety.com/2020/film/asia/korea-celebrates-parasite-golden-globes-win-1203457949/">Best Motion Picture – Foreign Language at the Golden Globes</a>, multiple <a href="http://www.bafta.org/film/awards/ee-british-academy-film-awards-nominees-winners-2020">nominations at the Baftas</a>, and <a href="https://oscar.go.com/news/nominations/oscar-nominations-2020-list-nominees-by-category">six Oscar nominations</a>, including in some of the most distinguished categories (film, director and screen play).</p> <p>If it wins an Oscar, it would be the first Korean film to do so and a testament to the rising popularity and success of the Korean film industry internationally.</p> <p><a href="https://www.statista.com/statistics/859817/south-korea-movie-export-value/">The estimated export value</a> of the Korean film industry in 2018 was US$41.6 million (£32 million). South Korea is the <a href="http://www.koreaherald.com/view.php?ud=20190530000661">fifth leading film market</a> by gross box office revenue after the US, China, Japan and the UK.</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/isOGD_7hNIY?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p><strong>Rooted in the 90s</strong></p> <p>South Korea has come a long way since the damaging effects of <a href="https://www.history.com/news/japan-colonization-korea">Japanese occupation</a> (1910 to 1945) and the <a href="https://www.britannica.com/event/Korean-War">Korean War</a>, which ended with a ceasefire agreement in 1953. Experiencing monumental growth between 1960 and 1990, the country became one of the <a href="https://www.economist.com/special-report/2019/12/05/after-half-a-century-of-success-the-asian-tigers-must-reinvent-themselves">Four Asian Tigers</a> and is now the continent’s fourth largest economy.</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/1HRTy26s4hw?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>In the late 80s, as Korea emerged from a period of censorship, <a href="https://www.jstor.org/stable/1225545?seq=1#metadata_info_tab_contents">restrictions</a> that had previously limited the influx of foreign films were lifted. This led to an increased appetite for Hollywood blockbusters and a decline in Korean cinema. To protect the country’s arts industries and counter the effects of the <a href="https://www.britannica.com/event/Asian-financial-crisis">Asian economic crisis of the late 90s</a>, the government mounted several policies with a strong focus on promoting Korean culture abroad.</p> <p>Central to this was the <a href="https://wipolex.wipo.int/en/text/441192">Framework Act on the Promotion of Cultural Industries in 1999</a>, which said:</p> <blockquote> <p>The purpose of this Act is to lay the groundwork for the development of cultural industries and enhance the competitiveness thereof, thereby contributing to the improvement of the quality of national cultural life and development of the national economy, by providing for matters necessary for supporting and fostering cultural industries.</p> </blockquote> <p>As a result, <a href="https://martinroll.com/resources/articles/asia/korean-wave-hallyu-the-rise-of-koreas-cultural-economy-pop-culture/">South Korean culture has grown globally</a> in recent years. <a href="https://www.vox.com/culture/2018/2/16/16915672/what-is-kpop-history-explained">K-pop</a>, K-drama, K-beauty, and K-cuisine have all found new international audiences, initially in China and later in wider Asia and the west.</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/xwWgp1bqVwE?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>The “<a href="https://www.inverse.com/article/13916-the-korean-new-wave-and-the-anxieties-of-south-korean-cinema">Korean New Wave”</a>, the international fascination with Korean entertainment and film industry, began in the <a href="http://kultscene.com/introduction-to-the-korean-new-wave-of-cinema/">1990s</a>. This phenomenon, known as <a href="http://www.korea.net/AboutKorea/Culture-and-the-Arts/Hallyu">Hallyu</a>, centres around the work of directors <a href="https://www.imdb.com/name/nm0661791/">Park Chan-wook</a> (Oldboy, Lady Vengeance, The Handmaiden), <a href="https://www.imdb.com/name/nm0094435/">Bong Joon-ho</a> (Memories of Murder, Host, Okja and Parasite) and <a href="https://www.imdb.com/name/nm0453518/">Kim Jee-woon</a> (A Tale of Two Sisters and I saw the Devil).</p> <p><strong>Distinctly Korean</strong></p> <p>Korean cinema is <a href="https://books.google.co.uk/books?hl=en&amp;lr=&amp;id=vYSgpD1yWQ4C&amp;oi=fnd&amp;pg=PR7&amp;dq=korean+cinema&amp;ots=Jr0EGwPX4V&amp;sig=GkUhIuE6ALUYbsGgi6qWKghSZgw&amp;redir_esc=y#v=onepage&amp;q=korean%20cinema&amp;f=false">deeply embedded in the Korean experience</a>, eschewing Hollywoodisation and producing an oeuvre that makes a Korean film distinctive to international audiences. Korean society has a reverence for tradition and at once extraordinarily modern, and its cinema embodies these qualities proudly.</p> <p>Korean cinema has become known for often exploring the dark side of human experience. The films can be unsettling, often mixing dark humour with elements of extreme violence, sumptuous cinematography and high production values. Many of them feature passionate revenge stories (<em>Oldboy</em>, 2003, or <em>I Saw The Devil</em>, 2010), captivating crime investigations (<em>Memories of Murder</em>, 2004), or unusual friendships (<em>Joint Security Area</em>, 2000, or <em>The Handmaiden</em>, 2016).</p> <p>Not shying away from controversial topics or challenging its audience, Korean films dare to tread in places western films are sometimes scared of. It is not surprising, then, that they have attracted the attention of a wider public and the admiration of filmmakers such as Quentin Tarantino – who has compared Joon-ho to <a href="https://www.hollywoodreporter.com/news/quentin-tarantino-koreas-bong-joon-647767">Steven Spielberg in his prime</a>.</p> <p style="text-align: center;"><iframe width="440" height="260" src="https://www.youtube.com/embed/w4UUGIIZxFU?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p style="text-align: center;"><span class="caption">The <em>Oldboy</em> official trailer.</span></p> <p>Parasite has amassed a <a href="https://www.koreanfilm.or.kr/eng/news/news.jsp?pageIndex=1&amp;blbdComCd=601006&amp;seq=5300&amp;mode=VIEW&amp;returnUrl=&amp;searchKeyword=">box office revenue</a> of US$137 million (£105 million) globally, and <a href="https://www.forbes.com/sites/travisbean/2020/01/07/box-office-bong-joon-hosparasite-positioned-for-big-pre-oscars-run/#44b52aa4c182">is set to rake in more with this slew of awards and nominations</a>. Exceeding everybody’s <a href="https://variety.com/2019/film/news/parasite-bong-joon-ho-success-next-movies-marvel-netflix-1203408123/">expectations</a>, this subversive anti-capitalist film is winning over both critics and <a href="https://www.nytimes.com/2019/11/27/business/media/parasite-movie-studio-neon.html">audiences</a>. So much so, there is already a rumoured <a href="https://www.vulture.com/2020/01/bong-joon-hos-parasite-tv-show-expanded-film-not-remake.html">HBO series spin-off</a> in the works.</p> <p>Parasite’s accomplishments come off the back of Joon-ho’s previous <a href="https://www.nytimes.com/2017/06/27/movies/review-okja-bong-joon-ho.html">critical success with the 2017 ecological fantasy Okja</a>, <a href="https://twitter.com/bafta/status/965374939061735425?lang=en">Park Chan-wook’s 2018 film <em>Handmaiden</em></a> (the first Korean film to be nominated for and win a Bafta) and <a href="https://www.gq.com/story/burning-oscar-snub">Lee Chang-dong’s 2018 film <em>Burning</em></a> (the first Korean film to make it to shortlist for best foreign film at the Oscars). If this momentum is anything to go by, the “Korean Wave” is only set to get bigger.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/128595/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><em><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: http://theconversation.com/republishing-guidelines --></em></p> <p><em><a href="https://theconversation.com/profiles/agata-lulkowska-439983">Agata Lulkowska</a>, Lecturer in Film Production, Staffordshire University, <a href="http://theconversation.com/institutions/staffordshire-university-1381">Staffordshire University</a></em></p> <p><em>This article is republished from <a href="http://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/an-oscar-for-parasite-the-global-rise-of-south-korean-film-128595">original article</a>.</em></p>

Entertainment

Placeholder Content Image

Frozen 2 becomes the highest-grossing animated film of all time

<p><em>Frozen 2 </em>has officially been crowned as the highest-grossing animated film in history, topping its predecessor <em>Frozen</em>.</p> <p>The sequel has amassed US$1.325 billion at the global box office in the first full week of January 2020, less than two months after its release. Nearly $450 million of that sum came from the US, while the biggest bounties made <span><a href="https://variety.com/2020/film/box-office/frozen-2-biggest-animated-movie-ever-disney-box-office-1203456758/">overseas</a></span> came from China ($118 million), Japan ($103.8 million), South Korea ($96.2 million) and the UK ($65 million). The earnings surpassed the records set by the original <em>Frozen </em>($1.28 billion) in 2013 and <em>The Incredibles 2 </em>($1.243 billion) in 2018. All three films are from Disney Animation/Pixar.</p> <p>In 2019, Disney became the first studio in the world to gross more than $10 billion at the global box office, thanks to high-performing titles such as <em>Avengers: Endgame</em> ($2.798 billion), <em>The Lion King</em> ($1.656 billion), <em>Captain Marvel</em> ($1.13 billion), <em>Toy Story 4</em> ($1.074 billion) and <em>Aladdin</em> ($1.051 billion). With <em>Frozen 2 </em>crossing the billion dollar mark, the studio is likely to see seven of its movies – including <em>Star Wars: The Rise Of Skywalker </em>– gross <span><a href="https://deadline.com/2019/12/disney-crosses-10-billion-worldwide-box-office-new-all-time-record-1202803824/">over $1 billion in a single calendar year</a></span>.</p>

Entertainment

Placeholder Content Image

Martin Scorsese speaks up on embracing death

<p><span>Martin Scorsese has shared that embracing his mortality motivates him to continue making films. </span></p> <p><span>“You just have to let go, especially at this vantage point of age,” the 77-year-old director said in a new interview with <em><a href="https://www.nytimes.com/2020/01/02/movies/martin-scorsese-irishman.html">The New York Times</a></em>.</span></p> <p><span>Scorsese said his acceptance of death encourages him to keep working, even after more than half a century in the film industry.</span></p> <p><span>“Often, death is sudden … If you’re given the grace to continue working, then you’d better figure out something that needs telling,” he said.</span></p> <p><span>“As they say in my movie, ‘It’s what it is’ … You’ve got to embrace it.”</span></p> <p><span>The <em>Taxi Driver </em>director said there are other things he wants to carry out apart from producing movies. </span></p> <p><span>“I would love to just take a year and read,” he said. “Listen to music when it’s needed. Be with some friends. Because we’re all going. Friends are dying. Family’s going.</span></p> <p><span>“The problem is, time is limited and energy is so limited – the mind, also, of course ... Thankfully, the curiosity doesn’t end.”</span></p> <p><span>The director also shared that he has not seen the 2019 thriller <em>Joker</em>, which paid homages to his own work. “I saw clips of it,” Scorsese said of <em>Joker</em>. “I know it. So it’s like, why do I need to? I get it. It’s fine.”</span></p>

Lifestyle

Placeholder Content Image

What is there to love about black and white films? Everything!

<p>Any photography app worth its hashtags features a black and white mode. It’s as much a part of the tech shebang as filters. In this hypersaturated mega mega-pixeled era, it seems we just can’t get away from the eternal beauty that is black, white and the grayscale between. It is simultaneously austere and flattering. Totes arty as the millennials might say.</p> <p>Many of us, of course, can remember when black and white wasn’t a choice. Like national service, short back and sides and the poetry of John Laws, it was pretty much mandatory. Especially if you wanted to catch the latest goings on at <em>Number 96</em>.</p> <p>But where the format really shone was film. Every few years, some hip director who is inordinately fond of the word “zeitgeist” rediscovers the sheer monochromatic magnificence of the medium. And we get titles such as <em>The Artist</em> and <em>Nebraska</em> as a result.</p> <p>But you know what? The rest of them can keep their CGI and digital cameras that can pick up every pore on Angelina Jolie’s nose.</p> <p>Black and white gave generations of screen goddesses the ethereal allure necessary for the title. It flattered and cajoled like a teenage boy working up to ask the prettiest girl in school to the prom.</p> <p>Twelve-feet tall and in a flickering beam, Ava, Marilyn, Joan and Bette didn’t look like people you saw on the streets of Adelaide or Melbourne. And that was precisely the point. Call me a misty-eyed nostalgic but I prefer my Katharine as a Hepburn not a Heigl and Bacall over Beyonce.</p> <p>Lest you write this reminiscence off as a priapic stroll down mammary lane, let’s get to the likes of Cary and Cagney. Black and white was ideal for portraying men who saw the world in precisely these terms. Enigmas in dinner jackets with flinty faces, and hearts that would never be broken again. Even if it meant a lifetime of last drinks and loneliness.</p> <p>If this all sounds rather romantic, no apologies are made. That was the point. Because when you stepped out into the Technicolour sunshine of Australian daylight, you blinked to not only accustomise your eyes to the light but the fact that you were no longer beside Charles Foster Kane’s bed as he breathed his enigmatic last.</p> <p>Of course, the technology exists to colourise pretty much any film you care to mention but this Pantone migration has not taken place. Want to know why? No one wants to see the hues of Rick’s Café Americain, let alone its proprietor. It’s better than fine as is.</p> <p>From a craft perspective, the filmmakers simply did not have the luxury of a rainbow to create a sense of foreboding or fantasy. What they had at their disposal was light and shadow, perspective and dimension. Not to mention the European expressionist grounding that gave rise to an American artform as idiosyncratic as jazz: film noir.</p> <p>Aesthetics aside, black and white films also throw down a visual challenge to the viewer; they make you recalibrate the image and subliminally add the colour yourself.</p> <p>Or not. You have the option.</p> <p>It is as much a cinema of inference as exposition. Take the shower scene in <em>Psycho</em> as an example. Do you think the infamous shot of Janet Leigh’s blood gurgling into the shower drain would be any more chilling if it was red instead of grey? We say no.</p> <p>What director Alfred Hitchcock asks viewers to bring to party is the finishing touches, the custom viridian spoutings of their nightmares. The original plasma screen if you will.</p> <p>So roll on black and white, roll on. Down in front and pass the Jaffas.</p> <p><em>Written by David Smiedt. Republished with permission of <a href="https://www.wyza.com.au/articles/lifestyle/in-praise-of/in-praise-of-black-and-white-films.aspx">Wyza.com.au.</a></em></p>

Entertainment

Placeholder Content Image

How Scorsese cinema boycott will shape the future of movies

<p>Cinema has always been a medium in crisis. After the so-called golden age of Hollywood came television: why go to the movies when you can sit in the comfort of your home, watching recycled movies in letterbox format? Yet cinemas adapted and survived.</p> <p>This week, <a href="https://www.theguardian.com/film/2019/nov/07/why-martin-scorseses-the-irishman-wont-be-coming-to-a-cinema-near-you">major cinema chains</a> said they would not run Martin Scorsese’s upcoming film <a href="https://www.imdb.com/title/tt1302006/">The Irishman</a> because Netflix - who partially funded production and own distribution rights - were restricting its theatre run to four weeks before it hit small screens.</p> <p>The news signals a looming threat to cinema as we know it.</p> <h2>Big screen blues</h2> <p>Television made movies a commodity audiences could consume on their own terms. Yet cinema survived. In fact, it became a global mass cultural medium in the late 1970s and in the <a href="https://blog.scienceandmediamuseum.org.uk/very-short-history-of-cinema/">multiplexes</a> of the 1980s.</p> <p>Even the turbulent digital turn that brought cinema to a second crisis point in the early 2000s was navigated by the major Hollywood studios with the rebirth of the blockbuster in pristine form: <a href="https://www.imdb.com/title/tt0499549/?ref_=nv_sr_2?ref_=nv_sr_2">Avatar</a> (2009) in stereoscopic 3-D, the high-tech Marvel <a href="https://hbr.org/2019/07/marvels-blockbuster-machine">cinematic universe</a>.</p> <p>This is all to say that cinema, for the time being, is alive and well.</p> <p>But shrinking diversity in cinema offerings - Scorsese is <a href="https://www.theguardian.com/film/2019/nov/05/martin-scorsese-superhero-marvel-movies-debate-sadness">no Marvel fan</a> - has forced even big name directors to seek funding from alternative sources. This is especially necessary when their movie <a href="https://www.nytimes.com/2019/08/21/business/media/netflix-scorsese-the-irishman.html">costs US$159 million</a> (A$230 million) to make. Enter television streaming giant Netflix.</p> <h2>Are you talking to me?</h2> <p>The Irishman, Scorsese’s eagerly anticipated gangster epic, opened this week in a number of independent <a href="https://www.businessinsider.com.au/the-irishman-australian-cinemas-2019-11">Australian cinemas</a>.</p> <p style="text-align: center;"><iframe width="440" height="260" src="https://www.youtube.com/embed/WHXxVmeGQUc?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p style="text-align: center;"><span class="caption">The Irishman tells the story of war veteran Frank Sheeran (Robert De Niro) who worked as a hitman alongside Jimmy Hoffa (Al Pacino).</span></p> <p>Scorsese is perhaps America’s greatest living auteur, the director of films including <a href="https://www.imdb.com/title/tt0075314/?ref_=nv_sr_1?ref_=nv_sr_1">Taxi Driver</a> (1976), <a href="https://www.imdb.com/title/tt0081398/?ref_=fn_al_tt_1">Raging Bull</a> (1980), <a href="https://www.imdb.com/title/tt0099685/?ref_=fn_al_tt_1">Goodfellas</a> (1990), and <a href="https://www.imdb.com/title/tt0112641/?ref_=fn_al_tt_1">Casino</a> (1995).</p> <p>But what makes The Irishman unlike any other Scorsese film is that it is being distributed by Netflix. After its short theatre run it will be distributed to our homes, where it will do its major business.</p> <p>In February, the tension between Netflix and theatrical distributors escalated with the nomination of Alfonso Cuarón’s Netflix-distributed <a href="https://www.imdb.com/title/tt6155172/?ref_=fn_al_tt_2">Roma</a> for a Best Picture Oscar. Director Steven Spielberg subsequently <a href="https://www.theatlantic.com/entertainment/archive/2018/03/steven-spielbergs-netflix-fears/556550/">declared</a> a Netflix film might “deserve an Emmy, but not an Oscar”.</p> <p>A Netflix production – whether David Fincher’s monumental longform series, <a href="https://www.imdb.com/title/tt5290382/?ref_=fn_al_tt_1">Mindhunter</a>, or Scorsese’s The Irishman – was television and therefore not cinema.</p> <h2>Goodfellas or bad guys?</h2> <p>Netflix represents a very real threat to theatrically screened cinema and its distribution apparatus, which is why several large cinema chains in the US (and, indeed, Australia) are boycotting The Irishman.</p> <p>While Netflix has consistently produced high quality content either through internal production or by acquiring and distributing titles, its assimilation of an auteur picture – a Scorsese gangster epic, no less - signals an aggressive move into the once sacrosanct domain of cinema entertainment.</p> <p>One wonders: if Scorsese capitulates to the economic strictures of the contemporary studio system, what will independent filmmakers do? How will low budget features be funded in an era in which Netflix colonises the large and small-scale productions alike?</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/SshqfhmmtSE?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe> <span class="caption">Scorsese has directed many of the greatest characters of modern cinema.</span></p> <p>Netflix is not cinema, but neither is it television. Directors such as Spielberg struggle to understand that the new media entertainment regime is far removed from the projection (theatre) or broadcast (television) media environment of a predigital era.</p> <p>Instead of declaring a Netflix production unworthy of an Oscar, we could invert this measure: perhaps it is the Oscar that is increasingly outmoded as an artistic and cultural mark of value.</p> <h2>‘The End’, roll credits</h2> <p>The digital economic currents that carry Netflix intuitively seek expansion into proximate markets, and cinema is a natural fit. Netflix’s move into cinema distribution – with Scorsese at the helm – is therefore a smart negotiation. Even if Scorsese is an unwilling participant, it sets a clear precedent.</p> <p>It seems unlikely that cinema will end in any formal sense, at least within the next few decades.</p> <p>But a Netflix-distributed Scorsese film gives us cause to lament the ailing cinema experience. Christopher Nolan’s <a href="https://www.imdb.com/title/tt5013056/?ref_=nv_sr_1?ref_=nv_sr_1">Dunkirk</a> (2017) exemplified cinema’s ability to assault us with big screen images and jolt our bodies with a powerful soundscape. Only a grand technological scale can provide this kind of visceral experience.</p> <p>And yet, like Scorsese, I’m tired of Marvel. I’m tired of the rigidity of formulaic narrative and image structures intrinsic to the contemporary studio system. I’m disappointed at Hollywood’s capitulation to an instrumental economic model. Could a studio have produced The Irishman? They had a chance, and they <a href="https://variety.com/2019/film/news/theater-chief-blasts-netflix-over-handling-of-martin-scorseses-irishman-its-a-disgrace-1203390726/">turned it down</a>.</p> <p>Hollywood - and media entertainment structures more generally - will need to find a way for the big and small screen distributors to get along in order to keep the dynasty alive.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/126598/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: http://theconversation.com/republishing-guidelines --></p> <p><em>Written by <span>Bruce Isaacs, Senior Lecturer in Film Studies, University of Sydney</span>. Republished with permission of </em><a rel="noopener" href="https://theconversation.com/pass-the-popcorn-scorsese-cinema-boycott-will-shape-the-future-of-movies-126598" target="_blank"><em>The Conversation</em></a><em>. </em></p>

Entertainment

Placeholder Content Image

James Dean to star in new movie 64 years after his death

<p><span>James Dean is set to star in an upcoming Vietnam War film, 64 years after his death.</span></p> <p><span>Last week, Magic City Films announced that they will be casting the late Hollywood icon for their upcoming movie <em>Finding Jack </em>through computer-generated imagery (CGI).</span></p> <p><span>Directors Anton Ernst and Tati Golykh told <em><a href="https://www.hollywoodreporter.com/news/afm-james-dean-reborn-cgi-vietnam-war-action-drama-1252703">The Hollywood Reporter</a></em> they obtained the rights to use Dean’s image from the actor’s family. Dean will play a secondary lead character named Rogan.</span></p> <p><span>The announcement sparked backlash from fans and industry figures.</span></p> <p><span>Actor Chris Evans called the decision “awful”, saying, “Maybe we can get a computer to paint us a new Picasso. Or write a couple new John Lennon tunes. The complete lack of understanding here is shameful.”</span></p> <p><span>Actress Zelda Williams, whose late Robin Williams restricted exploitation of his image for 25 years following his death, expressed her concern on Twitter. “I have talked to friends about this for YEARS and no one ever believed me that the industry would stoop this low once tech got better,” she wrote.</span></p> <blockquote class="twitter-tweet" data-lang="en"> <p dir="ltr">I have talked to friends about this for YEARS and no one ever believed me that the industry would stoop this low once tech got better. Publicity stunt or not, this is puppeteering the dead for their ‘clout’ alone and it sets such an awful precedent for the future of performance. <a href="https://t.co/elS1BrbDGv">https://t.co/elS1BrbDGv</a></p> — Zelda Williams (@zeldawilliams) <a href="https://twitter.com/zeldawilliams/status/1192141551171854338?ref_src=twsrc%5Etfw">November 6, 2019</a></blockquote> <p><span>“Publicity stunt or not, this is puppeteering the dead for their ‘clout’ alone and it sets such an awful precedent for the future of performance.”</span></p> <p><span>Ernst said Dean’s estate has been “supportive” of the film. “I think they would have wanted their family member’s legacy to live on,” Ernst told <em><a href="https://www.hollywoodreporter.com/news/director-new-james-dean-movie-speaks-backlash-stars-casting-1253232">The Hollywood Reporter</a></em>. “That’s what we’ve done here as well. We’ve brought a whole new generation of filmgoers to be aware of James Dean.”</span></p> <p><span>Ernst said he was “saddened” and “confused” by the negative reaction to the news. “We never intended for this to be a marketing gimmick.”</span></p> <p><span>Visual effects companies Imagine Engine and MOI Worldwide will be working on a full-body CGI of Dean based on archival footage and photographs, while another actor will voice Dean’s character.</span></p> <p><span>The movie is expected to be released in November 2020.</span></p>

Entertainment

Placeholder Content Image

Richard Gere expecting second baby with wife Alejandra Silva at the age of 70

<p>Richard Gere is expecting his second child with wife Alejandra Silva.</p> <p>The 70-year-old actor and the 36-year-old publicist recently welcomed their first firstborn Alexander in February.</p> <p>According to <a rel="noopener" href="https://www.hellomagazine.com/healthandbeauty/mother-and-baby/2019110480098/richard-gere-wife-alejandra-second-baby/" target="_blank"><em>HOLA!</em></a>, Silva is currently three months into her pregnancy, with the baby expected to arrive next spring.</p> <p>The couple has yet to comment on the report.</p> <p>The actor is also a father to Homer James Jigme, whom he shares with former wife Carey Lowell, while Silva is a mother to Albert Friedland, whom she shares with ex-husband Govind Friedland.</p> <p>Gere and Silva tied the knot at the actor’s ranch outside New York City in April 2018.</p> <p>Silva confirmed her first pregnancy in September last year with an Instagram photo showing the Dalai Lama blessing her bump a month after reports emerged she was expecting.</p> <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-permalink="https://www.instagram.com/p/BnzfqiCl-0D/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="12"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" rel="noopener" href="https://www.instagram.com/p/BnzfqiCl-0D/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank">A post shared by Despierta America (@despiertamerica)</a> on Sep 16, 2018 at 3:58pm PDT</p> </div> </blockquote> <p>“Getting blessings for our precious to come… We couldn’t announce it before telling HH Dalai Lama,” she wrote on the caption.</p>

Entertainment

Placeholder Content Image

5 of the most romantic movies ever made

<p>Keep a box of tissues handy and reunite with old friends from 15 of the greatest romantic movies ever made.</p> <p><strong><em>1. An Affair to Remember, 1957</em></strong></p> <p>Deborah Kerr and Cary Grant are the lovers we couldn’ t take our eyes off in the 1957 remake of Love Affair(1939). Director Leo McCarey is responsible for both films, but An Affair to Remember is more widely cited as a romantic classic. Though both Nickie (Grant) and Terry (Kerr) are betrothed to others at the beginning of the film, a chance meeting between the pair leads to a promise to rendezvous at the top of the Empire State Building in six months time. You’ ll be asking ... will they? Won’t they? Where are the tissues? </p> <p><strong><em>2. The Notebook, 2004</em></strong></p> <p>The Notebook is undoubtedly the most popular romantic film of the 21st century. The film was responsible for creating an instant heartthrob out of Ryan Gosling (Noah) and a highly sought-after actress in Rachel McAdams (Allie). The film adaptation of Nicolas Sparks’ novel has it all: star-crossed lovers, jealousy, kissing in the rain, rowboat rides and steamy passion. The story is told from the protagonist’ s point of view as he regales his wife – who is suffering Alzheimer's disease – with their epic romance that blossomed in the 1940s and endured through decades of marriage and raising children. Keep the tissues handy!</p> <p><strong><em>3. Dirty Dancing, 1988</em></strong></p> <p>Following the ugly-ducking-turned-beautiful-swan plotline, Dirty Dancing is a musical romantic comedy that bought us stellar lines such as, “I carried a watermelon” and “Nobody puts Baby in a corner.” Taking place at the exclusive Kellerman’ s Resort in the Catskill Mountains (Lake Lure) during the summer of 1963, the music and choreography is superb. Patrick Swayze is the main man Johnny, who works as a very popular dance instructor at the resort. Baby is vacationing with her wealthy family and is instantly taken with the dreamy dancer. In between practicing lifts in the lake, Baby and Johnny dance their way to love, and the rest is history.</p> <p><strong><em>4. Harold and Maude, 1971</em></strong></p> <p>This film is poignant and surprising. The black comedy is absurd and focuses on a well-to-do 20 year old who drives a hearse for kicks and harbours a deep fascination with death. Meanwhile Maude is a vivacious 80-year-old Holocaust survivor who attends funerals with alarming frequency. The two strike up a very unlikely friendship that will mark a turning point in each of their lives. Unconventional but profound and romantic in its own unique way.</p> <p><strong><em>5. Pretty Woman, 1990</em></strong></p> <p>More than twenty-five years after Julia Robert played Vivian, the most loveable prostitute in the profession’s long history, Pretty Woman is still a trusted go-to movie night option. Her chemistry with leading man and business tycoon Edward (Richard Gere) was Cinderella-esque and so electric the movie holds the title as one of the highest grossing films in the romance genre.</p> <p><em>Written by Louise Smithers. Republished with permission of <a href="https://www.wyza.com.au/articles/entertainment/top-15-countdown-to-the-most-romantic-movie-ever-made/page/1">Wyza.com.au.</a></em></p>

Entertainment

Placeholder Content Image

The children who've lived before

<p><strong> “When I was your age, I changed your diaper,”</strong> said the dark-haired boy to his father. Ron* (* names of boys and their family members were changed to protect privacy) looked down at his smiling son, who had not yet turned two. He thought it was a very strange thing to say, but he figured he had misheard him.</p> <p>But as baby Sam made similar remarks over the next few months, Ron and his wife Cathy gradually pieced together an odd story: Sam believed that he was his deceased grandfather, Ron’s late father, who had returned to his family. More intrigued than alarmed, Ron and Cathy asked Sam, “How did you come back?”</p> <p>“I just went whoosh and came out the portal,” he responded.</p> <p>Although Sam was a precocious child – he’d been speaking in full sentences from the age of 18 months – his parents were stunned to hear him use a word like portal, and they encouraged him to say more. They asked Sam if he’d had any siblings, and he replied that he’d had a sister who “turned into a fish”.</p> <p>“Who turned her into a fish?”</p> <p>“Some bad guys. She died.”</p> <p>Eerily enough, Sam’s grandfather had a sister who had been murdered 60 years earlier; her body was found floating in San Francisco Bay. Ron and Cathy then gently asked Sam, “Do you know how you died?”</p> <p>Sam jerked back and slapped the top of his head as if in pain. One year before Sam was born, his grandfather had died of a cerebral haemorrhage.</p> <p><strong>Is Reincarnation Real?</strong></p> <p>Today more than 75 million people in America – across all religions – believe in reincarnation, according to a Pew Forum on Religion &amp; Public Life poll; a separate survey reports that roughly one in ten people can recall his or her own past life. In October last year, the <em>Dr Oz Show</em> in the US covered the “reality of reincarnation”. There are other reality-TV series and documentaries on the topic such as <em>Ghost Inside My Child</em>, about children with past-life memories, and <em>Reincarnated: Past Lives</em>, in which people go under hypnosis to discover their earlier existences.</p> <p>Why this fascination? Part of reincarnation’s appeal has to do with its hopeful underlying promise: that we can do better in our next lives. “With reincarnation, there is always another opportunity,” explains Stafford Betty, a professor of religious studies at California State University, Bakersfield, and the author of <em>The Afterlife Unveiled</em>. “The universe takes on a merciful hue. It’s a great improvement over the doctrine of eternal hell.”</p> <p>Yet despite the popular interest, few scientists give reincarnation much credence. They regard it as a field filled with charlatans, scams and tall tales of having once been royalty.</p> <p>Reincarnation is “an intriguing psychological phenomenon,” says Christopher C. French, a professor of psychology at Goldsmiths, University of London, who heads a unit that studies claims of paranormal experiences. “But I think it is far more likely that such apparent memories are, in fact, false memories rather than accurate memories of events that were experienced in a past life.”</p> <p>For more than 45 years, a team at the Division of Perceptual Studies at the University of Virginia (UVA) has been collecting stories of people who can recall their past lives. And if the professors determine that there is some merit to these memories, their findings will call into question the idea that our humanity ends with our death.</p> <p><strong>“Mommy, I’m So Homesick”</strong></p> <p>Among the UVA case studies is the story of an Oklahoma boy named Ryan. A few years ago, the four-year-old woke up screaming at two in the morning. Over the preceding months, he’d been pleading with his bewildered mother, Cyndi, to take him to the house where he’d “lived before.” In tears, he’d beg her to return him to his glittering life in Hollywood – complete with a big house, a pool, and fast cars – that was so fabulous, he once said, “I can’t live in these conditions. My last home was much better.”</p> <p>When Cyndi went into her son’s room that night, Ryan kept repeating the same words – “Mommy, I’m so homesick” – as she tried to comfort him and rock him to sleep.</p> <p>“He was like a little old man who couldn’t remember all the details of his life. He was so frustrated and sad,” Cyndi says.</p> <p>The next morning, she went to the library, borrowed a pile of books about old Hollywood, and brought them home. With Ryan in her lap, Cyndi went through the volumes; she was hoping the pictures might soothe him. Instead, he became more and more excited as they looked at one particular book. When they came to a still of a scene from a 1932 movie called <em>Night After Night</em>, he stopped her.</p> <p>“Mama,” he shouted, pointing to one of the actors, who wasn’t identified. “That guy’s me! The old me!”</p> <p>“I was shocked,” Cyndi admits. “I never thought that we’d find the person he thought he was.” But she was equally relieved. “Ryan had talked about his other life and been so unhappy, and now we had something to go on.”</p> <p>Although neither Cyndi nor her husband believed in reincarnation, she went back to the library the next day and checked out a book about children who possessed memories of their past lives. At the end of it was a note from the author, Professor Jim Tucker, saying that he wanted to hear from the parents of kids with similar stories. Cyndi sat down to write him a letter.</p> <p><strong>The Ghost Hunters</strong></p> <p>Tucker was a child psychiatrist in private practice when he heard about the reincarnation research being conducted by Dr Ian Stevenson, founder and director of the Division of Perceptual Studies at UVA. He was intrigued and began working with the division in 1996; six years later, when Stevenson retired, Tucker took over as the leader of the division’s past-life research. The UVA team has gathered more than 2500 documented cases of children from all over the world who have detailed memories of former lives, including that of a California toddler with a surprisingly good golf swing who said he had once been legendary athlete Bobby Jones; a Midwestern five-year-old who shared some of the same memories and physical traits – blindness in his left eye, a mark on his neck, a limp – as a long-deceased brother; and a girl in India who woke up one day and began speaking fluently in a dialect she’d never heard before. (Tucker describes these cases in his book <em>Return to Life: Extraordinary Cases of Children Who Remember Their Past Lives</em>.)</p> <p>The children in the UVA collection typically began talking about their previous lives when they were two or three years old and stopped by the age of six or seven. “That is around the same time that we all lose our memories of early childhood,” Tucker says. When he first learns about a subject, he checks for fraud, deliberate or unconscious, by asking two questions: “Do the parents seem credible?” and “Could the child have picked up the memories through TV, overheard conversations, or other ordinary means?” If he can rule out fraud, he and his team interview the child and his or her family to get a detailed account about the previous life. Then the researchers try to find a deceased person whose life matches the memories. This last part is essential because otherwise the child’s story would be just a fantasy.</p> <p>Close to three-quarters of the cases investigated by the team are “solved”, meaning that a person from the past matching the child’s memories is identified. In addition, nearly 20% of the kids in the UVA cases have naturally occurring marks or impairments that match scars and injuries on the past person. One boy who recalled being shot possessed two birthmarks – a large, ragged one over his left eye and a small, round one on the back of his head – which lined up like a bullet’s entrance and exit wounds.</p> <p>In the case of Ryan, the boy longing for a Hollywood past, an archivist pored over books in a film library until she found a person who appeared to be the man he’d singled out: Hollywood agent Marty Martyn, who made an unbilled cameo in <em>Night After Night</em>. After Cyndi spoke with Tucker, he interviewed Ryan, and then the family contacted Martyn’s daughter. She met with Tucker, Ryan and Cyndi, and along with public records, she confirmed more than 50 details that Ryan had reported about her father’s life, from his work history to the location and contents of his home. Cyndi felt tremendous relief when she was told that her son’s story matched Martyn’s. She says, “He wasn’t crazy! There really was another family.”</p> <p><strong>Plane on Fire!</strong></p> <p>Tucker learned about the best-known recent reincarnation case study from TV producers. In 2002, he was contacted to work for and appear on a show about reincarnation (the programme never aired) and was told about James Leininger, a four-year-old Louisiana boy who believed that he was once a World War II pilot who had been shot down over Iwo Jima.</p> <p>Bruce and Andrea Leininger first realised that James had these memories when he was two and woke up from a nightmare, yelling, “Airplane crash! Plane on fire! Little man can’t get out!” He also knew details about WWII aircraft that would seem impossible for a toddler to know. For instance, when Andrea referred to an object on the bottom of a toy plane as a bomb, James corrected her by saying it was a drop tank. Another time, he and his parents were watching a History Channel documentary, and the narrator called a Japanese plane a Zero. James insisted that it was a Tony. In both cases, he was right.</p> <p>The boy said that he had also been named James in his previous life and that he’d flown off a ship named the <em>Natoma</em>. The Leiningers discovered a WWII aircraft carrier called the <em>USS Natoma Bay</em>. In its squadron was a pilot named James Huston, who had been killed in action over the Pacific.</p> <p>James talked incessantly about his plane crashing, and he was disturbed by nightmares a few times a week. His desperate mother contacted past-life therapist Carol Bowman for help. Bowman told Andrea not to dismiss what James was saying and to assure him that whatever happened had occurred in another life and body and he was safe now. Andrea followed her advice, and James’s dreams diminished. (His parents coauthored <em>Soul Survivor</em>, a 2009 book about their family’s story.)</p> <p>Professor French, who is familiar with Tucker’s work, says “the main problem with [his] investigating is that the research typically begins long after the child has been accepted as a genuine reincarnation by his or her family and friends.” About James Leininger, French says, “Although his parents insisted they never watched World War II documentaries or talked about military history, we do know that at 18 months of age, James was taken to a flight museum, where he was fascinated by the World War II planes. In all probability, the additional details were unintentionally implanted by his parents and by a counsellor who was a firm believer in reincarnation.”</p> <p>Tucker says that he has additional documentation for many of James Leininger’s statements, and they were made before anyone in the family had heard of James Huston or the <em>USS Natoma Bay</em>. French responds that “children’s utterances are often ambiguous and open to interpretation. For example, perhaps James said something that just sounded a bit like <em>Natoma</em>?”</p> <p>Bruce Leininger, James’s father, understands French’s disbelief. “I was the original sceptic,” he says. “But the information James gave us was so striking and unusual. If someone wants to look at the facts and challenge them, they’re welcome to examine everything we have.” Bruce laughs at the idea that he and his wife planted the memories, saying, “You try telling a two-year-old what to believe; you’re not going to be able to give them a script.”</p> <p><strong>Long Live Hope</strong></p> <p>Tucker, too, knows that for most scientists, reincarnation will always seem like a fantastical notion regardless of how much evidence is presented. For him, success doesn’t mean persuading the naysayers to accept the existence of reincarnation but rather encouraging people to consider the meaning of consciousness and how it might survive our deaths.</p> <p>“I believe in the possibility of reincarnation, which is different from saying that I believe in reincarnation,” he explains. “I do think these cases require an explanation that is out of the ordinary, although that certainly doesn’t mean we all reincarnate.”<br />Does Tucker believe that in the future, there will be a child who is able to recall his own memories? “Memories of past lives are not very common, so I don’t expect that,” he says. “But I do hope there’s some continuation after death for me and for all of us.”</p> <p><em>Written by Stacy Horn. This article first appeared in </em><a href="https://www.readersdigest.com.au/true-stories-lifestyle/thought-provoking/the-children-who-have-lived-before"><em>Reader’s Digest</em></a><em>. For more of what you love from the world’s best-loved magazine, </em><a href="http://readersdigest.innovations.com.au/c/readersdigestemailsubscribe?utm_source=over60&amp;utm_medium=articles&amp;utm_campaign=RDSUB&amp;keycode=WRA87V"><em>here’s our best subscription offer.</em></a></p> <p><img style="width: 100px !important; height: 100px !important;" src="https://oversixtydev.blob.core.windows.net/media/7820640/1.png" alt="" data-udi="umb://media/f30947086c8e47b89cb076eb5bb9b3e2" /></p>

Entertainment

Placeholder Content Image

Royal twins? Meet Grace Kelly’s lookalike granddaughter Jazmin

<p>Grace Kelly is one of the most iconic  and prolific faces from the Old Hollywood era. </p> <p>She was not just admired for her charming onscreen appearance, stunning facial features and effortless style, she was beloved by the people of Monaco after she went on to marry the Rainier III, Prince of Monaco in 1956. </p> <p>The royal’s very own granddaughter doesn’t fall too far from the tree and is an actress herself. </p> <p>27-year-old daughter of Prince Albert II of Monaco, Jazmin Grace Grimaldi was raised in California by her mum who met the dashing royal while on holidays at Côte d'Azur, on the French Riviera, in 1991.</p> <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/B2ZodPjHaDi/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="12"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="margin: 8px 0 0 0; padding: 0 4px;"><a style="color: #000; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" rel="noopener" href="https://www.instagram.com/p/B2ZodPjHaDi/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank">“ I would like to be remembered as a person who did her job well. An understanding, kind and decent human being.” #GraceKelly Truly the epitome of Elegance , Grace and Beauty. I’m proud to be her granddaughter!</a></p> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">A post shared by <a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" rel="noopener" href="https://www.instagram.com/jazmingrimaldi/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank"> JazminGraceGrimaldi</a> (@jazmingrimaldi) on Sep 14, 2019 at 10:46am PDT</p> </div> </blockquote> <p>Prince Albert finally confirmed his daughter’s paternity in 2006, when Jazmin was barely a teenager. </p> <p>"I was 14, getting ready to go to high school, when it hit the media that my father had a daughter, and it was me," Jazmin told<span> </span><a href="https://www.harpersbazaar.com/culture/features/a11468/jazmin-grace-grimaldi-grace-kelly-granddaughter-0815/"><em>Harper's Bazaar in 2015</em></a>, in her first ever interview.</p> <p>"It's a difficult time for any young adult, and it was an adjustment to have that attention. But I knew it was going to come someday."</p> <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/B2ZoGZvnHZD/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="12"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="margin: 8px 0 0 0; padding: 0 4px;"><a style="color: #000; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" rel="noopener" href="https://www.instagram.com/p/B2ZoGZvnHZD/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank">Remembering my Beautiful, Smart and Talented Grandmother #Gracekelly on this day. It has been 37 years since the day she was taken from us way too soon. I was born exactly ten years later and wish I could’ve met her. Although, we were never able to have a physical relationship and she never knew of her many wonderful grandchildren I feel the warmth of her spirit and guidance around me often. I hope she is smiling down today. #gracekelly #icon #life #memory #remember #actress #grace #beauty #harpersbazaar #michaelavedon @harpersbazaarus shoot with @mavedon212 📸🙏🏻</a></p> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">A post shared by <a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" rel="noopener" href="https://www.instagram.com/jazmingrimaldi/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank"> JazminGraceGrimaldi</a> (@jazmingrimaldi) on Sep 14, 2019 at 10:42am PDT</p> </div> </blockquote> <p>Jazmin said connecting with her family members for the first time at 11 was “great”. </p> <p>"Not having had that figure around, I missed that. It's wonderful that it happened when it did, and we've been enjoying a great relationship ever since."</p> <p>Interestingly enough, she bears a striking resemblance to her famous grandmother, who gave up her illustrious career to marry Prince Rainier III. </p> <p>While she never got the opportunity to meet Grace - as she died tragically from a stroke ten years before Jazmin was born - she found that they bonded through her films. </p> <p>"One of my first and fondest memories involving my grandmother was watching High Society," Jazmin said. </p> <p>"It was the first time I realised we had a connection. I'm passionate about acting, singing, and dancing. I saw that in her in this movie. It was a real goose-bumps moment for me."</p> <p>The 27-year-old regularly pays tribute to her “beautiful, smart and talented grandmother,” on social media. </p> <p>"I was born exactly ten years later and wish I could've met her. Although, we were never able to have a physical relationship and she never knew of her many wonderful grandchildren I feel the warmth of her spirit and guidance around me often. I hope she is smiling down today."</p> <p>In another post Jazmin wrote, "Her life, light and legacy lives on.</p> <p>"Truly the epitome of Elegance, Grace and Beauty.</p> <p>"I'm proud to be her granddaughter!"</p> <p>Scroll through the gallery above to see Grace Kelly’s look-alike granddaughter Jazmin.</p>

Entertainment

Placeholder Content Image

21 movies that have hilarious titles in other countries

<p>When movies travel abroad, their titles can get a little lost in translation. Check out what your favourite films are called overseas!</p> <p><strong><em>The War of the Stars</em></strong></p> <p>That’s the French title for Star Wars; in Spanish, it was The War of the Galaxies. Makes sense! The title isn’t the only thing that got a major switch in translation. In Germany, the Millennium Falcon became the Speeding Falcon. In France, Han Solo was instead Yan Solo and his Wookie sidekick got the name “Chico.” And their ship? The “Millennium Condor.” The Force definitely wasn’t with those translators.</p> <p><strong><em>Knight of the Night</em></strong></p> <p>It kind of makes sense…? In Spain, that was the title of <em>The Dark Knight</em>. You may have thought that the Batman movie got its title from its brooding protagonist and gloomy cityscapes, but in Spain, they were much more literal – it’s because so many scenes take place at night!</p> <p><strong><em>Super Power Dare Die Team</em></strong></p> <p>You’re not going to be able to guess this one: <em>Super Power Dare Die Team</em> would have been the Chinese title for the <em>Ghostbusters</em> reboot starring Melissa McCarthy, Kristen Wiig and Leslie Jones – had it ever been released. Guidelines in China forbid movies that “promote cults or superstition,” though the country’s censors said the official reason was that it wouldn’t appeal to the Chinese audience.</p> <p><strong><em>A Very Powerful Whale Runs to Heaven</em></strong></p> <p>The beloved tearjerker <em>Free Willy</em> is known for its happy ending. The Chinese saw things differently, giving the movie the above title instead. Then again, Willy did jump (not run) to the metaphorical heaven of the open ocean.</p> <p><strong><em>He’s a Ghost!</em></strong></p> <p><em>The Sixth Sense</em> has one of the greatest twist endings of all time – unless you happen to live in China. Although most audiences were stunned by the movie’s revelation in the final minutes, Chinese viewers were already clued in by the title.</p> <p><strong><em>The Boy Drowned in the Chocolate Sauce</em></strong></p> <p>Denmark gave <em>Willy Wonka and the Chocolate Factory</em> quite the dark (but also kind of hilarious) spin! While greedy Augustus Gloop does take a harrowing swim in a chocolate river, his fate is not quite that grim. While many countries kept the original title of the Gene Wilder classic, and others tweaked it to <em>Charlie and the Chocolate Factory</em> (the title of the Roald Dahl novel it’s based on), Portugal changed it to <em>Charlie’s Wonderful Story</em> and Spain picked <em>A Fantasy World</em>. But Denmark’s interpretation definitely takes the (chocolate) cake.</p> <p><strong><em>Die Hard: Mega Hard</em></strong></p> <p>Let’s face it: It’s only a matter of time before Hollywood co-opts this Danish title for <em>Die Hard with a Vengeance</em>. In Denmark, mega means huge, but it also signifies a million. Those Danes are intense. “Die Hard: A million times hard.”</p> <p><strong><em>I’m Drunk and You’re a Prostitute</em></strong></p> <p>The Japanese get points for brutal honesty with this title for <em>Leaving Las Vegas</em>. Nicolas Cage won the Best Actor Oscar for his devastating performance, and his co-star Elisabeth Shue was riveting in her role in the acclaimed drama. Nonetheless, he was portraying a drunk, and she did play a prostitute. (The title also happens to be a paraphrase of one of Cage’s lines from the movie.)</p> <p><strong><em>It’s Raining Falafel</em></strong></p> <p>Israel, where meatballs are not a popular dish, clearly wanted to make <em>Cloudy with a Chance of Meatballs</em> more appealing to its audience. So the Hebrew title swapped out the meatballs for falafel, a more recognisable food. In the film itself, though, the animated meatballs were not altered.</p> <p><strong><em>Sexy Dance</em></strong></p> <p>In the first <em>Step Up</em> film, Channing Tatum and Jenna Dewan come from opposite sides of the tracks. But they’re able to bond through dance and it’s beautiful. Whoever titled the French version of the film simply cut to the chase and called it <em>Sexy Dance</em>. That pretty much nails it!</p> <p><strong><em>Vaseline</em></strong></p> <p>Yep: <em>Grease</em>. Everyone loves Olivia Newton-John as Sandy during her epic transformation in this iconic musical from 1978. John Travolta as Danny is the one that she wants, even though he’s a tough guy greaser. In 1950s slang, that means he slicks his hair back and has a bad reputation. But for the movie release in Argentina, the title was simply <em>Vaseline</em>. Talk about lost in translation…</p> <p><strong><em>A Twin Seldom Comes Alone</em></strong></p> <p>This German designation for the reboot of <em>The Parent Trap</em> is quite… literal. It was Lindsay Lohan’s first starring turn – the 1961 original starred Hayley Mills. The story is about twin sisters, raised apart by feuding parents, who decide to reunite the family; the twins are played by a single actress in both film versions. Maybe that’s why the German title-writer decided to get philosophical with this title.</p> <p><strong><em>My Boyfriend is a Psycho</em></strong></p> <p>The point of <em>Silver Linings Playbook</em> is that they’re both a little crazy, Russia! However, we can’t blame translators for changing this title. Since the English phrase “every cloud has a silver lining” doesn’t really have foreign equivalents, other countries had to seek an alternative name for the film. France called the comedy <em>Happiness Therapy</em>, and Lithuania went with <em>The Story of the Optimists</em>. And finally, since a “playbook” is an American football term, the United Kingdom dropped that part and just went with <em>Silver Linings</em>. Seems reasonable.</p> <p><strong><em>The Teeth of the Sea</em></strong></p> <p>The marketing of the blockbuster <em>Jaws</em> was brilliant for its minimalist simplicity. With one word, audiences got a taste of the horror to come. The visual of the iconic movie poster – a woman swimming above a massive open-mouthed shark – gave the single word “Jaws” its power and impact. In France, the effect was a bit muted: <em>The Teeth of the Sea</em> sounds much less scary and a lot more confusing.</p> <p><strong><em>Mum, I Missed the Plane</em></strong></p> <p>The French must have decided that every parent’s worst nightmare – leaving a child behind – is actually the child’s fault. That can be the only explanation for altering John Hughes’ <em>Home Alone</em> to the above title. That’s right: Kevin missed the plane, and he brought all this home alone burglar mayhem stuff on himself!</p> <p><strong><em>Dimwit Surges Forth</em></strong></p> <p>Adam Sandler comedies are not usually known for their inspirational, overcoming-the-odds tales of high stakes struggle and survival. So it’s not clear why <em>The Waterboy</em> was titled <em>Dimwit Surges Forth</em> in Thailand. However, the dimwit’s rinky-dink team does, ahem, surge forth in the end.</p> <p><strong><em>The Incredible Journey in a Crazy Plane</em></strong></p> <p>This was Germany’s interpretation of the madcap-comedy-slash-disaster-movie-spoof <em>Airplane!</em> Italy also went literal, calling it <em>The Craziest Plane in the World</em>. Several other countries, including Croatia, France and Peru, also lengthened the one-word title, calling it some variation of <em>Is There a Pilot on This Plane?</em> But the funniest title of all might be the working title used for the film during production: <em>Kentucky Fried Airplane</em>.</p> <p><strong><em>Big Liar</em></strong></p> <p>Anthony Hopkins gave an acclaimed performance as the disgraced president in the biopic <em>Nixon</em>, a drama that humanised the flawed American leader. Oliver Stone’s three-hour epic intended to depict the complexity of Nixon’s impact on history. In China, the film was released with the title <em>Big Liar</em>. Why mince words?</p> <p><strong><em>Fantastic Emotional Turmoil</em></strong></p> <p>The beloved Pixar film <em>Inside Out</em> told a complicated emotional tale to child and adult audiences alike. However, multiple countries struggled with a quick, clear title for this movie: In China, the movie was called <em>The Great Team Inside the Head</em>. Russia went with <em>Jigsaw</em>. Vietnam chose <em>The Puzzle Emotions</em>. But Thailand may have taken the day by dubbing it <em>Fantastic Emotional Turmoil</em>. That works!</p> <p><strong><em>Honey, Wait, I’m On My Way</em></strong></p> <p>To be fair to the Slovenian translators, that is an accurate summation of the road trip buddy comedy <em>Due Date</em>. Robert Downey Jr. must take a cross-country trip, with Zach Galifianakis as his wacky travel companion, to arrive home in time for the birth of his baby. Unlike Slovenia, some other countries took the original route, working the pregnancy into the title. In Portugal, the film was called <em>A Childbirth Trip</em>. Perhaps most hilarious of all, the movie’s Polish title translates to <em>Before the Water Goes</em>.</p> <p><strong><em>Grandpa Carl’s Flying House</em></strong></p> <p>Most countries kept the simplicity of the title of Pixar’s <em>Up</em>. Argentina chose <em>Up: An Adventure Up High</em> and the Czech Republic chose <em>To the Skies</em>. Japan, however? Not so much. They chose <em>Grandpa Carl’s Flying House</em>. While that might sound like a comically literal summation of the film, it’s actually somewhat inaccurate – a pivotal detail of <em>Up </em>is the fact that Carl is childless, and therefore not a grandpa. Though we suppose this is a more tactful title than <em>Grumpy Old Guy Carl’s Flying House</em>.</p> <p><em>Written by <span>Molly Pennington, PhD</span>. This article first appeared in </em><a rel="noopener" href="https://www.readersdigest.com.au/true-stories-lifestyle/entertainment/21-movies-that-have-hilarious-titles-in-other-countries" target="_blank"><em>Reader’s Digest</em></a><em>. </em></p> <p><img style="width: 100px !important; height: 100px !important;" src="https://oversixtydev.blob.core.windows.net/media/7820640/1.png" alt="" data-udi="umb://media/f30947086c8e47b89cb076eb5bb9b3e2" /></p>

Entertainment

Placeholder Content Image

15 facts you didn’t know about the Wizard of Oz

<p><strong>For fans of <em>The Wizard of Oz</em> </strong>the mere mention of MGM’s movie masterpiece conjures instant memories: Judy Garland’s tender rendition of “Over the Rainbow”. The Wicked Witch of the West cackling, “I’ll get you, my pretty, and your little dog, too!” Dorothy and her friends dancing down the winding Yellow Brick Road. And how many kids were terrified of those sinister Winged Monkeys?</p> <p>Since its Hollywood debut on August 15, 1939, more than one billion people have seen Dorothy’s whirlwind journey from Kansas to the Land of Oz. No matter how many times we’ve watched, it’s hard not to be awed when the farmhouse door opens on a Technicolor world. Decades later, there’s still no place like home…</p> <p><strong><em>1. The Wonderful Wizard of Oz </em></strong>wasn’t Dorothy’s only journey to Oz. L. Frank Baum wrote 14 novels and six short stories about her adventures. Recent movies such as <em>Oz, The Great and Powerful </em>and <em>Dorothy of Oz </em>were based on these books. Bradford Press has ­­­recreated these elaborately illustrated first editions. Learn more about these replica books at OriginalOz.com.</p> <p><strong>2. Ray Bolger wore an asbestos version </strong>of his Scarecrow costume for the scene in which the Wicked Witch lights him on fire. Men with fire extinguishers stood out of camera range.</p> <p><strong>3. The 1939 movie is a remake. </strong>Two silent film versions preceded it, in 1910 and 1925. The latter starred Oliver Hardy as the character then called the Woodsman.</p> <p><strong>4. No shade of expensive yellow paint </strong>seemed to photograph properly on the Yellow Brick Road – until someone tried an ordinary house paint.</p> <p><strong>5. The jacket Frank Morgan wore </strong>as Professor Marvel came from a thrift shop. MGM spread the story that, by coincidence, the jacket was later found to have belonged to L. Frank Baum.</p> <p><strong>6. Judy Garland wore a corset </strong>throughout filming to give her a younger physique.</p> <p><strong>7. Judy Garland was 16 years old </strong>when filming began. As a minor, she was only permitted by Californian law to work four hours a day.</p> <p><strong>8. Oscar winner Gale Sondergaard </strong>was originally signed to portray a glamorous Wicked Witch of the West. When MGM realised it would affect the whole plot, actress Margaret Hamilton was cast as a more cantankerous witch.</p> <p><strong>9. The film cost $2,777,000 </strong>to produce but earned only $3 million when it was first released.</p> <p><strong>10. The actors who played the Munchkins </strong>were reportedly each paid $50 per week, while Toto earned $125 per week.</p> <p><strong>11. The Emerald City horses </strong>had jelly crystals sprinkled over them to give them their colour.</p> <p><strong>12. Toto, a terrier, was sensitive to noise, </strong>and had to be concealed during the filming of the explosion caused by the Wicked Witch’s arrival in Munchkin Land.</p> <p><strong>13. MGM Studios boss Louis B. Mayer </strong>bought the rights hoping it would follow the success of Walt Disney’s <em>Snow White and the Seven Dwarfs</em>(1937).</p> <p><strong>14. The caps that the inhabitants </strong>of the Emerald City wore caused some extras’ hair to fall out.</p> <p><strong>15. The Wicked Witch’s crystal ball </strong>has a large zodiac on the floor encircling it. This is considered by many as a homage to the Evil Queen in <em>Snow White and the Seven Dwarfs</em>, who has pictures of the zodiac surrounding her magic mirror.</p> <p><em>Written by Jay Scarfone &amp; William Stillman. This article first appeared in </em><a href="https://www.readersdigest.com.au/true-stories-lifestyle/entertainment/Off-To-See-The-Wizard"><em>Reader’s Digest</em></a><em>. For more of what you love from the world’s best-loved magazine, </em><a href="http://readersdigest.innovations.com.au/c/readersdigestemailsubscribe?utm_source=over60&amp;utm_medium=articles&amp;utm_campaign=RDSUB&amp;keycode=WRA87V"><em>here’s our best subscription offer.</em></a><em><u> </u></em></p> <p><img style="width: 100px !important; height: 100px !important;" src="https://oversixtydev.blob.core.windows.net/media/7820640/1.png" alt="" data-udi="umb://media/f30947086c8e47b89cb076eb5bb9b3e2" /></p>

Entertainment

Placeholder Content Image

Steven Spielberg: “Artistic freedom is everything”

<p>In box-office terms, Spielberg is the most successful movie director in the world.<span> </span><em>Jaws, E.T. the Extra-Terrestrial, Indiana Jones</em><span> </span>… his movies are cinema classics. But alongside these popcorn-sagas he has also turned his hand to sterner stuff. Moviegoers all over the world found his black-and-white Holocaust drama<em><span> </span>Schindler’s List</em><span> </span>deeply moving. 2016 saw the release of<span> </span><em>The BFG</em><span> </span>(short for Big Friendly Giant), a movie version of the children’s book by Roald Dahl in which a benevolent giant ‘kidnaps’ a little orphan girl.</p> <p><strong><em>Reader’s Digest</em>: The little heroine of your latest movie is scared of giants. What were you afraid of when you were a child?</strong><br /><strong>Spielberg:</strong><span> </span>I was my own monster. My imagination was incredible, so I was afraid of everything. A chair could very quickly change into a spider. I remember staring up at the sky when I was five. One of the clouds up there looked like a beautiful swan, then suddenly it was a dinosaur. I ran home screaming</p> <p><strong><em>Reader’s Digest</em>: What did your parents feel about that?</strong><br /><strong>Spielberg:<span> </span></strong>For my parents my imagination was a real problem, so much so that they seriously considered having me examined by a doctor. After all I was constantly seeing things that didn’t exist except in my head. My mother and father thought I had some major mental problems. I probably did – but they were the gateway to a great career!</p> <p><strong><em>Reader’s Digest</em>:<span> </span>How important is it for you to preserve the child within?</strong><br /><strong>Spielberg:<span> </span></strong>The fascinating thing about children is that they’re just there. When they’re small, they don’t know right from wrong­ – it’s not important to them. Those are years of complete freedom, which come to an end when at some point the brain takes over and tells you how to behave. I remember that time very clearly.</p> <p><strong><em>Reader’s Digest</em>:<span> </span>You turned 70 this past December 2016. What do you consider your greatest career achievement so far?</strong><br /><strong>Spielberg:<span> </span></strong>The right to decide my own projects. That was ­always my only goal, telling my stories without anyone else interfering. It was also why I established my own studios. Artistic freedom means everything to me.</p> <p><strong><em>Reader’s Digest</em>:<span> </span>Which movie did you enjoy making most?</strong><br /><strong>Spielberg:<span> </span></strong>That was<span> </span><em>E.T. the Extra-Terrestrial</em>, because it was the first time I realised I wanted to be a father. Three years later I finally made the grade with the birth of my first son.</p> <p><strong><em>Reader’s Digest</em>: Do you make home movies?</strong><br /><strong>Spielberg:<span> </span></strong>Yes, I always have a video camera with me. At Christmas it’s traditional for there to be a joint movie about the family that lasts one hour. I edit the footage I’ve collected in the course of the year and combine it with our children’s videos. And of course there’s a soundtrack and special effects. We all watch the film together and everyone gets a DVD of it.</p> <p><em>Written by <span>Dieter Osswald</span>. This article first appeared in </em><span><a rel="noopener" href="https://www.readersdigest.com.au/true-stories-lifestyle/thought-provoking/artistic-freedom-everything" target="_blank"><em>Reader’s Digest</em></a><em>. </em></span></p> <p><img style="width: 100px !important; height: 100px !important;" src="https://oversixtydev.blob.core.windows.net/media/7820640/1.png" alt="" data-udi="umb://media/f30947086c8e47b89cb076eb5bb9b3e2" /></p>

Entertainment

Placeholder Content Image

How Martin Scorsese is going to change your home movie experience

<p><span>Hollywood’s biggest filmmakers have teamed up to launch a technology that will make the experience of watching movies at home more like what they intended.</span></p> <p><span>In partnership with the UHD Alliance, leading directors including Martin Scorsese, Christopher Nolan, Patty Jenkins, Ryan Coogler, Rian Johnson and Paul Thomas Anderson revealed the new “Filmmaker Mode” for upcoming TVs from LG, Panasonic and Vizio that removes technical features that have frustrated the industry.</span></p> <p><span>There has been a growing concern among the creators’ community over features such as motion smoothing, a setting used to adapt movies to smaller screens and reduce blur in fast-moving scenes. It is often referred to as the “soap opera effect” due to the way it makes the actors and backgrounds appear fake or set-like. </span></p> <p><span>“Modern televisions have extraordinary technical capabilities, and it is important that we harness these new technologies to ensure that the home viewer sees our work presented as closely as possible to our original creative intentions,” said Nolan.</span></p> <p><span>“Through collaboration with TV manufacturers, Filmmaker Mode consolidates input from filmmakers into simple principles for respecting frame rate, aspect ratio, color and contrast and encoding in the actual media so that televisions can read it and can display it appropriately.”</span></p> <p><span>Michael Zink, chairman of the UHD Alliance said the initiative highlighted the importance of home viewing. </span></p> <p><span>Johnson, director of <em>Star Wars: The Last Jedi</em>, said the Filmmaker Mode provides “a single button that lines up the settings so it works for the benefit of the movie and not against it”. He said, “If you love movies, Filmmaker Mode will make your movies not look like poo-poo.”</span></p> <p><span>Scorsese said more people view classic flicks in the comfort of their home rather than in theatres. “I started The Film Foundation in 1990 with the goal to preserve film and protect the filmmaker’s original vision so that the audience can experience these films as they were intended to be seen,” he said.</span></p> <p><span>“Most people today are watching these classic films at home rather than in movie theaters, making Filmmaker Mode of particular importance when presenting these films which have specifications unique to being shot on film.”</span></p>

Entertainment