The Berlin film festival will present a special screening of An Englishman in New York by Richard Laxton to commemorate John Hurt, who recently died.
"Since the 1990s, he had attended the Berlinale with regularity and starred in 12 films presented at the festival," organizers said. "The British actor is considered one of the most brilliant performers of the stage and screen in the last 50 years."
German moviegoers can currently see Hurt in Jackie, starring Natalie Portman. Berlinale entries featuring Hurt have included the likes of The Commissioner, V for Vendetta and Resident Alien.
In 2009, Hurt received the Teddy Award n Berlin for...
"Since the 1990s, he had attended the Berlinale with regularity and starred in 12 films presented at the festival," organizers said. "The British actor is considered one of the most brilliant performers of the stage and screen in the last 50 years."
German moviegoers can currently see Hurt in Jackie, starring Natalie Portman. Berlinale entries featuring Hurt have included the likes of The Commissioner, V for Vendetta and Resident Alien.
In 2009, Hurt received the Teddy Award n Berlin for...
- 2/7/2017
- by Georg Szalai
- The Hollywood Reporter - Movie News
From Charlie Kaufman’s highly recommended 2011 BAFTA lecture: ‘People all over the world spend countless hours of their lives every week being fed entertainment in the form of movies, TV shows, newspapers, YouTube videos and the internet. And it’s ludicrous to believe that this stuff doesn’t alter our brains. It’s also equally ludicrous to believe that – at the very least – this mass distraction and manipulation is not convenient for the people who are in charge. People are starving. They may not know it because they’re being fed mass produced garbage. The packaging is colorful and loud, but it’s produced in the same factories that make Pop Tarts and iPads, by people sitting around thinking, ‘What can we do to get people to buy more of these?’ They’re selling you something. And the world is built on this now. Politics and government are built on this,...
- 12/31/2014
- by Christina Kallas
- Hope for Film
A few weeks ago HBO and then CBS announced that they would launch stand-alone online services in U.S. in 2015. Before that, Netflix had made known that it would start producing features, crushing theatrical release windows once and for all, after it had contributed to the change of the patterns of attention and the way TV series are made by releasing its House of Cards episodes all at once, as a 13-hour movie. ‘Now the real shakeout begins’, wrote Ted Hope in Hollywood Reporter. ‘We are witnessing the march from once lucrative legacy practices built around titles to a new focus on community.’ Michael Wolff, writing also in the Hollywood Reporter, disagrees: ‘Streaming services from the two networks don’t signal television’s capitulation to Netflix and the web; it’s actually the opposite, as the medium expands yet again to gobble up more revenue.’ And in that sense, he says,...
- 11/5/2014
- by Christina Kallas
- Hope for Film
Television’s impressive artistic and commercial success is not a solely American phenomenon – it is not even an English language phenomenon. The case of the Danish series Borgen (2010-2013) is exemplary. Borgen brought together on average a 50% share in its home market and was shown all over the world to great acclaim. Much like The West Wing, it worked as a reminder that sincere idealism can still be part of politics, while at the same time giving a pretty nuanced idea of how politics work. Danish TV drama (shows like The Killing/Forbrydelsen of 2007-2012, The Bridge/Bron from 2010-2013, and most recently The Legacy/Arvingerne and soon-to-be-released 1864) began its revival about fifteen years ago – at the same time as its domestic film industry, and with the fiction department of the public channel Dr as its driving force.
By now Denmark, together with its Scandinavian neighbors, is considered Europe’s...
By now Denmark, together with its Scandinavian neighbors, is considered Europe’s...
- 10/22/2014
- by Christina Kallas
- Hope for Film
The Dutch filmmaker best known stateside for The Vanishing and the River Phoenix Western Dark Blood died Saturday in Amsterdam. George Sluizer was 82. He won a Silver Bear at Berlin for his 1961 debut, the documentary short Hold Back The Sea, and returned to the festival four more times in the ensuing decades. Three of Sluizer’s films were nominated for the Golden Bear: The Commissioner (1998), John, The Knife And The River (1972) — both of which he also scripted — and Utz (1992). The latter won three awards at the Berlinale, including Best Actor for star Armin Mueller-Stahl. “We mourn the loss of a great filmmaker, who has been equally active in fiction and documentary film,” Berlin fest Director Dieter Kosslick said. “With his passion for filmmaking and exceptional versatility, George Sluizer will live on in our memories forever.”
Sluizer’s best known film remains The Vanishing (1988), about a man whose girlfriend goes missing...
Sluizer’s best known film remains The Vanishing (1988), about a man whose girlfriend goes missing...
- 9/22/2014
- by The Deadline Team
- Deadline
Dutch director was best known for The Vanishing and River Phoenix’s last film, Dark Blood.
George Sluizer, the Dutch director best known for The Vanishing and Dark Blood, River Phoenix’s last film, died in Amsterdam on Saturday (Sept 20) following a long illness, according to Dutch media. He was 82.
“Sluizer had been ill for a long time. In 2007 he barely survived a ruptured artery and after that his health remained fragile,” according to Dutch public broadcaster Nos, quoting relatives.
The director, producer and screenwriter was born in Paris, where he attended the Idhec film academy.
He made his first film in 1961, Hold Back the Sea, a documentary that won the Silver Bear at the Berlin Film Festival.
Up until the early 1980s, Sluizer produced and directed many documentaries and TV specials. He also worked as a producer on numerous films, including Werner Herzog’s Fitzcarraldo and Cancer Rising with Rutger Hauer.
As a writer...
George Sluizer, the Dutch director best known for The Vanishing and Dark Blood, River Phoenix’s last film, died in Amsterdam on Saturday (Sept 20) following a long illness, according to Dutch media. He was 82.
“Sluizer had been ill for a long time. In 2007 he barely survived a ruptured artery and after that his health remained fragile,” according to Dutch public broadcaster Nos, quoting relatives.
The director, producer and screenwriter was born in Paris, where he attended the Idhec film academy.
He made his first film in 1961, Hold Back the Sea, a documentary that won the Silver Bear at the Berlin Film Festival.
Up until the early 1980s, Sluizer produced and directed many documentaries and TV specials. He also worked as a producer on numerous films, including Werner Herzog’s Fitzcarraldo and Cancer Rising with Rutger Hauer.
As a writer...
- 9/22/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
When River Phoenix died in 1993, George Sluizer abandoned the film they were working on. But after his own near-death experience, the director decided it was finally time to complete Dark Blood
On Christmas day five years ago, George Sluizer had an aneurysm. The director was in France at the time. He was taken to hospital in a coma. One doctor hesitated before giving up on him. "Everything said zero. But he thought he saw a light in my eye," says Sluizer.
He was taken to a specialist hospital in Lyon. There was no helicopter: "I went by ambulance as a dead person for five hours, without blood and without oxygen in my heart or my brain." When Sluizer finally flickered back into consciousness, he instructed the doctors to get a move on as he had to fly back to La. He had decided that he needed to finish a film.
On Christmas day five years ago, George Sluizer had an aneurysm. The director was in France at the time. He was taken to hospital in a coma. One doctor hesitated before giving up on him. "Everything said zero. But he thought he saw a light in my eye," says Sluizer.
He was taken to a specialist hospital in Lyon. There was no helicopter: "I went by ambulance as a dead person for five hours, without blood and without oxygen in my heart or my brain." When Sluizer finally flickered back into consciousness, he instructed the doctors to get a move on as he had to fly back to La. He had decided that he needed to finish a film.
- 9/27/2012
- by Geoffrey Macnab
- The Guardian - Film News
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