The previous still for L’avventura was better, more identifiable:
Profile picture for Katy Jurado
+ + +
Also, http://mubi.com/films/nosotros-los-pobres is a double of http://mubi.com/films/we-the-poor.
And http://mubi.com/films/la-oveja-negra is an double of http://mubi.com/films/the-black-sheep
Perceval la Gollois should have the English title of Perceval
The running time of Dark Shadows is 113 minutes according to imdb
“My husband [Hollywood talent agent Victor Orsatti] was preoccupied with his work 24 hours a day. He was nervous and high strung.”
Dolores Donlon (born September 19, 1926 in Philadelphia, Pennsylvania), who is an American model and actress. She was Playboy magazine’s Playmate of the Month for the August 1957 issue. Her centerfold was photographed by Peter Gowland.
She had a number of film and television roles in the 1950s and early 1960s.
She was the third Hollywood wife of talent agent Victor Orsatti, whom she married in 1949 (all three of Orsatti’s marriages ended in divorce).—Wikipedia
“Jazz is a very democratic musical form. It comes out of a communal experience. We take our respective instruments and collectively create a thing of beauty.”
Jazz drummer Max Roach grew up in Brooklyn, where he played the bugle and piano as a young boy, and took up the drums in his early teens. His mother was a gospel singer, and Roach first performed as a drummer in local gospel bands. By the time he was 18, he had already played with two jazz greats, Duke Ellington and Charlie Parker.
In the 1940s, the seeds of bebop had been planted in the New York jazz scene. Influenced by drummer Kenny Clarke, Roach began an unconventional approach to the drum set. Instead of keeping time with the bass drum, as swing drummers did, he kept time on the ride cymbal. This resulted in a lighter, more propulsive feel, and also allowed Roach space to create elaborate rhythmic accompaniment.
Roach became renowned for his impressive technique, and for playing with subtlety and power even at rapid tempos. Kenny Clarke is said to have broken the trend of swing-style drumming, but Roach is considered the first great bebop drummer.
Roach performed extensively with virtually all of the great bebop musicians around, including Dizzy Gillespie, Thelonious Monk, Bud Powell, and Charlie Parker. He also played on some of the most important recordings of the late 1940s and 1950s, including Birth of the Cool (1950) led by Miles Davis, and Jazz at Massey Hall (1952) featuring Parker, Gillespie, Bud Powell, and Charles Mingus. During this period, he studied composition at the Manhattan School of Music.
In 1954 Roach, along with trumpeter Clifford Brown, formed a quintet that quickly rose to fame as the one of the most daring and talented hard bop groups. Tragically, Brown was killed in a car crash in 1956, along with Richie Powell, the pianist in the group. Roach faced severe depression after the loss of his friends, but his career’s trajectory was unhindered. He continued to perform with jazz greats such as Kenny Dorham, George Coleman, Booker Little, Stanley Turrentine, and Dinah Washington.
In the 1960s, with tension building in the civil rights movement, Roach’s music took on a new focus. In 1960, Roach composed and recorded We Insist! Freedom Now Suite, an extended jazz composition that called attention to the struggles of blacks for equal rights. After the album’s release, he told Down Beat Magazine, “I will never again play anything that does not have social significance.”
In the following decades, Roach was drawn to the avant-garde, and he avidly explored new avenues of musical expression. In the 1970s he formed M’Boom, a percussion orchestra consisting of eight drummers. The following decade, he made a series of duet recordings with avant-garde musicians including Anthony Braxton, Cecil Taylor, and Archie Shepp. He displayed his prowess as a composer, writing music for plays by Sam Shepard, and for dance pieces by Alvin Ailey. He received critical acclaim for his Double Quartet, for which his compositions combined a jazz quartet with a string quartet.
Max Roach’s first great achievement was in the development of bebop, but by the time he died at age 83 on August 16th, 2007, he had invested his talents in much more. He continually evolved as a performer, a composer, a professor, and an activist.—jazz.about.com
Better picture for Souvenirs intimes:
Here’s the new still from Over My Dead Body
Still from Whale Hunting
A better pic for Madonna:
Meeting People Is Easy & Knives Out are not included in Radiohead’s page. First one should be in the Cast and Music section and the other one in the Music section only.
Possible stills for It! The Terror from Beyond Space:
[Following her role in Brute Force (1947)]: “I don’t want to act. I want to get into the executive end of the [film] business.”
Anita Colby (August 5, 1914 – March 27, 1992) was an actress and model. Colby was born Anita Counihan, the daughter of the cartoonist, Bud Counihan, a legendary figure among New York artists and newsmen. Early in her career, at $50 an hour, she was the highest paid model at the time. She was nicknamed “The Face” and appeared on numerous billboards and ads, many of them for cigarette advertisers.
She moved to Hollywood from New York in 1935 and changed her name to Colby. She had a bit part in Mary of Scotland (1936) and other B movies but her acting career never took off. After two years, she returned to New York and became an ad salesperson for Harper’s Bazaar. She made her name in Hollywood almost ten years after leaving films when she worked on a nationwide advertising campaign for the film Cover Girl (1944), which she also appeared in. She began acting in films again in the 1940s, including Brute Force (1947).
The model was hired by David O. Selznick in the 1940s to teach contract actresses, such as Jennifer Jones, about beauty, poise, and publicity. Her job title was Feminine Director of the Selznick Studios. She worked closely with Selznick’s top actresses, such as Jennifer Jones, Ingrid Bergman, Shirley Temple, Dorothy McGuire, and Joan Fontaine. Colby later hosted the television program The Pepsi-Cola Playhouse in 1954. Colby also invented a chair convertible to inclined bed (U.S. patent 2690209), which was filed in 1952 and issued in 1954. She was a devout Roman Catholic. She died of lung disease, aged 77.—Wikipedia
Stills for Skin Game:
The original and correct english title for this film is just “Kid Vengeance”. IMDb has all of its missing info. I really don’t know where the hell the “Bad Azz Muthaz” title you have right now came from, but you should really remove it.
“Art requires that I surrender and find that inner stillness for something to reveal itself. Some days it is easier than others but it is always an amazing journey.”
Ingrid Boulting was born in Transvaal in 1947 – daughter of English film-maker Roy Boulting and niece of John Boulting and Sydney Boulting a.k.a. Peter Cotes. She was a ballerina and model, before embarking on an acting career.
She was the iconic face of Biba Cosmetics on the 1968 poster designed by Steve Thomas and photographed by Sarah Moon for Barbara Hulanicki’s store Biba in London – elfin face behind black lace net veil looming out of darkness.
She is an artist and yoga instructor in Ojai, California. Her studio is “Sacred Space Studio.”
APOLLONIA VAN RAVENSTEIN
“My brother Theo always looked at the magazines, back home, which was in the south of Holland. I think it was probably 1968, and we saw pictures of Twiggy and Jean Shrimpton. I was almost fifteen, and we were trying to find a way to get out of Holland and go into the world, so he said, ‘Plo’—which is my nickname; Plonja is my middle name—’you can do it,” and I said, ‘Well, all right.’ He made an appointment with the agent in Amsterdam, and the following week I was in Spain for a Dutch pattern magazine."
Apollonia van Ravenstein (Geldrop, 12 August 1954) is a Dutch actress and model. In 1986 she played the role of Yolanda Kruisman in the first film Flodder. Because of her accent, her voice however Brabant dubbed.
She is better known as a model in the 70s and 80s. She has modeled for Norman Parkinson Richard Avedon and Irving Penn. Her pictures were in magazines such as Vogue Magazine and Atmosphere (1978). In 1972 she went to the United States and received an exclusive contract with American Vogue. In addition to the modeling world, she was also active in the art and pop scene. They met as Andy Warhol, who has signed her, was one of Mick Jaggers friends and modeled for Playboy Magazine, June 1978. She played a small role in the music video for Golden Earring Quiet Eyes by Anton Corbijn in 1986.
Since the late 90 sails Apollonia Ravenstein of the world’s oceans, as hostess and interpreter on board luxury cruise ships of Holland America Line. She married Captain Edward Zaane.—Wikipedia
“I lost consciousness once when I thought I was burning to death—and almost did. Several friends have come down in flames.”
Dick Grace was born in Morris, MN, January 10, 1898. His father was a judge, and he intended following in his footsteps attending the University of Minnesota. When the war broke out, he joined the Naval Air Service receiving his training in Pensacola, FL. He served in France and Germany, but, upon returning to the United States, gave up seeking a law career for the more exciting vocation of barnstorming.
A chance meeting with Ormer Locklear at the Minnesota State Fair in 1919 gave him his first introduction to a Hollywood movie star (this was following Locklear’s success with “The Great Air Robbery”), and by the summer of 1920, Grace was in Hollywood working for Fox. But Grace didn’t initially start out as a stunt pilot, he was performing almost any stunt that came his way in the beginning.
His first motion picture aviation stunt was in Tom Mix’s “Sky High” (1920), and almost proved to be Grace’s last. He was to climb from the cockpit of a plane down an 18-foot rope and back up again, but he had to do it twice so filming could be done once from the ground and again from the air. When the cameraman decided he wasn’t satisfied with the shot, Grace had to perform the stunt a third time. He was so fatigued by this time that he hardly made it back up the rope to the cockpit, but was hindered from actually getting into the plane when a gun belt he was wearing caught on the fuselage. While still controlling the plane, pilot Bud Creeth leaned over the side and helped pull Grace into the plane.
In his book, Wynne refers to another Tom Mix feature on which Grace worked called “Forest Ranger.” (No reference can be found to this film. It is most likely the 1923 Fox feature “Eyes of the Forest” which stars Mix as a pilot). In this film, Grace performs a plane crash into a barn perfectly. However, when he and cameraman Norman Devoe go up for some stock aerial shots, the engine dies, and they are forced to make a crash landing. Fortunately, neither man was injured.
Like Wilson, Grace’s stunting led him into acting, and his first leading role was in “The Flying Fool” (1925) for Sunset Productions. In this, Gaston Glass plays the bad guy who frames Grace for a burglary hoping to steal his fiancée. He only had one more chance for a starring role, and that came in 1927 in “Wide Open,” again for Sunset Productions.
Throughout the twenties, stunt pilots like Grace and Wilson were much in demand, but there were few films that revolved around aviation. Most had aviation scenes that were woven into the stories. However, the greatest aviation picture of the silent era was about to be made, and Grace played a significant role in its success.
“Wings” was conceived and written by former Army training command flyer John Monk Saunders and was directed by William Wellman who was a combat pilot during World War I. Another stunt pilot, Frank Tomick, was actually hired as the chief pilot for the picture, and Grace was hired for the two main crashes in the film, one in a Spad and one in a Fokker. Both World War I planes were in poor condition, and Grace oversaw somewhat of a “renovation” before he would fly them.
The first crash, in the Spad, would take place in a trench-lined, barbed wire covered battlefield. First, the ground was dug up and the dirt replaced to make it as soft as possible. Then, the wooden posts were replaced with ones made from balsa, and the barbed wire replaced with twine. Although the nose dive crash came off with Grace unscathed, he missed the fake posts and barbed wire by 17 feet and hit the real thing. Upon surveying the crash, he realized there was the jagged edge of an airframe member jutting through the fabric just 17 inches from his head.
The second crash was to take place in a steel-framed Fokker, a more substantial plane, making it more difficult. In each crash, Grace had to saw the frame at strategic points so the plane would crumple as necessary. Although the wing crumpled as planned, the half-sawn landing gear did not causing the greatest impact on the fuselage. Because of this, Grace’s straps broke, and his head went through the instrument panel. When pulled from the wreckage, it appeared he was OK except for some cuts. He was even photographed beside the plane following the crash. A short time later, it was discovered he had broken his neck and crushed four vertebrae. Although Grace was told by doctors he would be incapacitated for a year with a neck brace, he left he hospital six weeks later shedding the cast on his neck. The next year, he was coordinating the airplane stunts for Colleen Moore’s “Lilac Time” (1928). Grace performed two crashes perfectly in which the plane hit the ground in a preplanned sequence that included the wheels, wing, and nose. One scene in the film has Moore fooling around in the cockpit of a plane and accidentally hitting the throttle. After scattering every military man at the airfield, the taxiing airplane eventually runs between two trees shearing off both its wings. Grace, however, did not perform this stunt. He was out of town, and it was handled by Charles Stoffer who came so close that the fuselage was within inches of one of the trees.
Although the age of the silent film was quickly coming to a close, Grace’s career as a stunt man continued for many years to come. During World War II he joined the Army Air Corps and flew several missions with the 8th Air Force as a B-17 co-pilot. It is said that during his movie career, he performed 45-50 crashes and broke over 80 bones in his body. Unlike many of his contemporaries, it was not a stunt that brought an end to his life. Instead, he died in his sleep from emphysema in 1965 at age 67.—silentsaregolden.com
The running time of Prometheus is 124 minutes according to IMDB
The running time of Snow White and the Huntsman is 127 minutes according to IMDB
The running time for Rock of Ages is 123 minutes according to IMDB
The Golden Mouth
Boca de Ouro (original title)
Nelson Pereira dos Santos
Nelson Pereira dos Santos
Jece Valadão, Odete Lara, Daniel Filho, Maria Lúcia Monteiro, Ivan Cândido
Original Music by
Film Editing by
Rafael Justo Valverde
For his first in a long series of wildly imaginative literary adaptations, dos Santos reinvented Nelson Rodrigues’ novel about a pathological gangster with solid gold teeth and a voracious appetite for women and power. Embracing radically modernist narrative techniques, Golden Mouth offers a splintered, refractive portrait of brutal masculinity that returns repeatedly to the same moment from different vantages, each time revealing unexpected perspectives on the brutal yet strangely charming criminal. Lurid and disturbing, Golden Mouth delivers a savage satire of marriage and class pretensions, revealing a similar venality at the corroded heart of the sanctimonious bourgeoisie, the moneyed elite and the working class as they all mercilessly claw their way up and down the rickety and ruthlessly hierarchical Brazilian social ladder.
Quote for Kathleen Byron:
“When I was offered Black Narcissus, Michael Powell sent me a telegram saying, ’We’re offering you the part of Sister Ruth; the trouble is, you’ll never get such a good part again!’ He was more or less right.”
Quote for Lee Miller:
“I keep saying to everyone, “I didn’t waste a minute, all my life – I had a wonderful time,” but I know, myself, now that if I had it over again I’d be even more free with my ideas, with my body, and my affections."
Quote for Lucia Bose:
“Pablo Picasso was a dear friend to me and my family and this collection represents many happy times spent together. Pablo was a remarkable man with an endless ability to charm and entertain his friends both young and old.”
Quote for Ornette Coleman:
“I decided, if I’m going to be poor and black and all, the least thing I’m going to do is to try and find out who I am. I created everything about me.”
New quote for Eleanor Parker:
“Things have a way of working out right for me. For instance, I’ve had no real hard knocks career-wise. I never did any starving in an attic. I happen to come from a non-professional, middle-class background of school teachers, farmers – around Cleveland – without any money.”
Quote for Francoise Dorleac:
“I hate what they call ‘nice’, ‘charming’. I want to be fantastic! A girl must have mystery.”
Quote for Stephane Audran:
“I have not made a career; I have not given that much thought. When I first started, I just wanted to be a good actress. My voice was wrong; I could not move around, I tried to improve with lessons. Then I was lucky enough to meet Chabrol…”
This is the same as this
Still for The Strangers Gundown: http://mubi.com/films/the-strangers-gundown
This is a duplicate of this
legong: dance of the virgins
This and this are the same person, and when that’s sorted out here’s an image for her:
“I guess there’s different ways of looking at animation. The purist approach would be a locked-off camera on a static painted background with characters moving around in the frame. Great for some material but not what I wanted for Tekkon: immediate, frenetic, and off-the-cuff.”
Michael Arias (born 1968) is an American-born filmmaker active primarily in Japan. Though Arias has worked variously as visual effects artist, animation software developer, and producer, he is best known for his directorial debut, the anime feature Tekkonkinkreet, which established him as the first non-Japanese director of a major anime film.
Michael Arias’ early filmmaking career is marked by stints in both the U.S. and Japan, working in VFX, CG production and software development, and as a producer of animated films. In 1995, after establishing himself definitively in Tokyo, Arias was introduced by a friend to Taiyō Matsumoto’s manga Tekkonkinkreet (鉄コン筋クリート Tekkon Kinkurīto), a work that profoundly affected him. Tekkonkinkreet (Tekkon) is a metaphysical coming-of-age story concerning two orphans, Black (クロ Kuro) and White (シロ Shiro) and their struggle to survive in a pan-Asian metropolis, Treasure Town (宝町 Takara-machi), beset by evil. Of first discovering Tekkon, Arias recalls that a friend loaned him Tekkon to read, “And that was it. Hooked. …I cried many times reading it, also a new experience for me to be moved to tears by a manga.”
In November 1997, a conversation with animation auteur Koji Morimoto, who had shown interest in Arias’ software projects, led to Arias’ introduction to manga artist Taiyō Matsumoto. From there, what had begun as a simple software demo for Morimoto rapidly escalated to a full-fledged all-CG feature-film project, helmed by Morimoto, with computer graphics efforts directed by Arias himself. Though the completed 4-minute Tekkonkinkreet Pilot Film (「鉄コン筋クリート」パイロット版 Tekkonkinkurīto Pairottoban) went on to take an Outstanding Performance award for Non-Interactive Digital Art at the Japan Media Arts Festival and be featured in the SIGGRAPH 2000 Animation Theater’, the project was abandoned shortly thereafter for lack of funding and director Morimoto’s flagging interest in Tekkonkinkreet.
Then, in 2000, while still under contract to Softimage, Michael accepted an invitation from Joel Silver and Andy and Larry Wachowski (the Wachowski Brothers) to produce Warner Bros’ Matrix-inspired animation anthology The Animatrix, a project that consumed him for over three years. On being pegged to produce The Animatrix, despite his lack of experience producing, Arias recounts, “I really had to draw on a great deal of experience that had sat unused in the background while I’d been pursuing software development. Everything I’d learned until this point: a brief career in recording studios, composing music and doing sound effects for short films in college, having my own company, working in special effects. It was a great chance to exercise some dormant (or damaged) brain cells.”
Arias worked closely with the Wachowskis to refine the project’s unique specifications: though initially conceived of as a television series, The Animatrix evolved into a collection of nine non-episodic animated shorts, each six to ten minutes long. With co-producers Hiroaki Takeuchi and Eiko Tanaka (president of maverick animation boutique Studio 4°C, where much of The Animatrix was animated), Arias ultimately developed and produced eight of the nine Animatrix segments (the lone exception being a CG-animated short created by Square Pictures). To helm the films, Arias and his partners assembled a “dream team” of anime luminaries that included Yoshiaki Kawajiri, Koji Morimoto, Shinichiro Watanabe, and Mahiro Maeda. The Animatrix was a commercial success and went on garner the 2004 ASIFA Annie Award for Outstanding Achievement in an Animated Home Entertainment Production.
In 2003, while working on The Animatrix, Arias picked up Tekkonkinkreet again. Armed with an English-language screenplay penned by screenwriter Anthony Weintraub, and encouraged by mentor Morimoto, Arias moved forward with plans to revive Tekkon at Studio 4°C, with Animatrix collaborator and 4 °C president Eiko Tanaka producing and Arias directing. The film was completed in August 2006 and premiered at the Tokyo International Film Festival soon thereafter. Museum of Modern Art (MoMA) curator Barbara London named Tekkonkinkreet “Best Film of 2006” in her Art Forum roundup, and subsequently arranged for the film’s North American premiere to be held at MoMA. Tekkonkinkreet remains a milestone in Japanese animation. It was awarded Japan’s prestigious Noburō Ōfuji award at home, and continued on to compete for two awards at the 57th Berlin International Film Festival and later win the 2008 Japan Academy Prize for Animation of the Year. The Guardian listed Tekkonkinkreet third in its roundup of the ten most underrated movies of the decade. —Wikipedia