I can’t find a quote. And I don’t know how to hyperlink, sorry.
All apologies for the watermark.
Nelson Pereira dos Santos
Pages 67 and 68 are up to date. (so far as it is possible).
I took another picture (of this Documentary), i hope this is ok.
Profile images for Cast members should be 400 × 475 in jpg, (if possible) or larger.
Film Stills should be 448 × 252 in jpg
CAST additions for
A Shot In The Dark
Tracy ReedGraham StarkAndré MaranneBurt KwoukBryan Forbes
Better stills for:
The Koumiko Mystery
—Brazil: Contradictions of A New City should be “Brasília: Contradictions of A New City”.
—MInoru Murata has a capital “I”. It should be Minoru Murata.
The masters deserves more.
Peter Hutton (b. 1944, Detroit) is one of cinema’s most ardent and poetic portraitists of city and landscape. A former merchant seaman, he has spent nearly forty years voyaging around the world, often by cargo ship, to create sublimely meditative, luminously photographed, and intimately diaristic studies of place, from the Yangtze River to the Polish industrial city of Lodz, and from northern Iceland to a ship graveyard on the Bangladeshi shore. This comprehensive retrospective of eighteen films reveals an artist dedicated to reawakening a more contemplative and spontaneous way of observing and envisioning the world.
Whether seeking remembrance of a city’s fading past or reflecting on nature’s fugitive atmospheric effects, Hutton sculpts with time; each film unfolds in silent reverie, with a series of extended single shots taken from a fixed position, harking back to cinema’s origins and to traditions of painting and still photography. “Like the haiku of Bashô,” the scholar Tom Gunning observes, "these seemingly simple films offer lessons in the art of seeing and fashioning images that make you wonder how anyone could produce something simultaneously so humble and so astounding.” —MoMA
Quote: “I have a political vision of reality, from a cultural point of view.”
Ruy Alexandre Guerra Coelho Pereira (born August 22, 1931) is a film director, screenwriter, film editor, and actor in Brazil. Guerra was born a Portuguese citizen in Lourenço Marques (today Maputo) in Moçambique, when it was still a colony of Portugal.
Guerra studied at IDHEC film school in Paris from 1952. In 1958 he started his career as an assistant director in several French films. Later on he immigrated to Brazil, where he directed his first feature film, Os Cafajestes (1962). It was entered into the 12th Berlin International Film Festival.
In 1964, Guerra directed Os Fuzis, which placed him in the forefront of the emerging Cinema Novo movement. The film was entered into the 14th Berlin International Film Festival where it won the Silver Bear Extraordinary Jury Prize.
After that he directed the international production Tendres Chasseurs (1969) starring Sterling Hayden, and Os Deuses e os Mortos (1970). The tumultuous political landscape in 1970’s Brazil forced Guerra to stop filming until 1976, when he directed A Queda. The film was entered into the 28th Berlin International Film Festival, where it won the Silver Bear – Special Jury Prize.
In 1980 he returned to Mozambique where he shot Mueda, Memória e Massacre, that country’s first feature film. While in Mozambique, Guerra shot many short films and helped the creation of the National Institute for Cinema.
In 1982 Guerra shot Eréndira in Mexico, based on the work by Gabriel García Márquez. He also directed the musical comedy A Ópera do Malandro (1985), based on Chico Buarque’s free theatrical adaptation of Bertold Brecht’s Threepenny Opera; the TV film Me alquilo para soñar, another adaptation of García Márquez; and Kuarup (1989). In 2000 Guerra’s Estorvo was nominated for the Golden Palm at the 2000 Cannes Film Festival. It was Guerra’s third nomination in the festival, after Erêndira and Kuarup.
Guerra has appeared in many films as an actor; he is perhaps best known to international audiences for his performance as the doomed Pedro de Ursúa in Werner Herzog’s Aguirre, the Wrath of God (1972). —wikipedia
Note: There is a mistake in the original article, the TV movie based on Márquez’s novel Guerra directed is Me alquilo para sonãr, not Os Amores Difíceis.
“By definition cinema is rhythm and movement, gesture and continuity. In everything we see we have to consider three aspects: the position of the eye that is watching, the position of the object being watched and the light that illuminates reality. This way, cinema does not have the sole function of opening a hole in a wall to see, because its mission is greater: to be a window to the world.”
Rogério Sganzerla was born in 1946 in the town of Joaçaba, in the southern Brazilian state of Santa Catarina. Between 1964 and 1965 he wrote film critiques for the cultural supplement of the newspaper “O Estado de São Paulo” and for other newspapers. In 1967, he collaborated with Andréa Tonacci on his first film, the short film Documentário. He directed his first full-length film in São Paulo in 1968, O Bandido da Luz Vermelha, which caused a scandal and led to his clamorous break with Cinema Novo. He defined the outlines of Cinema Marginal, or “udigrudi” (according to a denigrating definition by Glauber Rocha), which weren’t recognized by its exponents, including the various “Paulist” filmmakers. Nor was it recognized by Julio Bressane, who had become a friend of Sganzerla’s in those years. During those years he was also exchanging ideas with Augusto De Campos, the famous exponent of Brazilian poesia concreta, and with the exponents of Tropicalism. In 1969 he directed A Mulher de Todos, starring the actress Helena Ignez, the “muse of the new cinema,” who became his wife and often starred in his films. In 1970 he and Julio Bressane, along with Helena Ignez, founded the production house BelAir, which produced six films in a few short months (three by Bressane and three by Sganzerla). Gilberto Gil wrote the music for Copacaban a Mon Amour. Caetano Veloso, after seeing Sem Essa Aranha, wrote the song Qualquer Coisa. Like Bressane, Sganzerla was forced to leave Brazil by the military dictatorship: he and his wife moved to Paris, then to London. After returning to Brazil, in 1977 he directed O Abismu, starring Norma Bengell (who is also the producer), Wilson Grey and José Mojica Marins. He next directed the so-called trilogy about Orson Welles’ experiences in Brazil: Nem Tudo é Verdade (1986), Tudo é Brasil, and O Signo do Caos (2003). This last film, which took many years to complete, was presented at the Festival of Brasilia at the end of 2003. Rogério Sganzerla died on January 9, 2004. Helena Ignez plans on making a film based on the screenplay which her husband had been working on during his final years. This film, Luz na Travas – A Revolta de Luz Vermelha, returns to the “red light bandit,” thirty years later. In 2001 the book “Por um Cinema Sem Limite” (azougue editorial, Rio de Janeiro), was published; it is an anthology of various writings by Sganzerla about cinema.—Turin Film Festival
Quality stills to choose from for the film The Perfumed Nightmare
(Well, a bit better at least than the current one)
Born Katherine Gibbs, Kay Francis was a sophisticated brunette star with a lisp, deep voice, and stylish wardrobe. The daughter of actress Katherine Clinton, she began acting onstage in 1925 after schooling and a couple of jobs; she went on to summer stock and Broadway then in 1929 signed a Hollywood contract. Francis began accepting virtually every role offered her, going for quantity rather than quality in her screen work. Soon she became one of Hollywood’s most glamorous and highly-paid stars of the ’30s, usually playing stylish, serious-faced heroines in romantic melodramas and occasional comedies. Near the end of the ’30s, her position at Warners was gradually taken over by Bette Davis, and in the ’40s she appeared mostly in “B”-movies. After co-producing and starring in three films in 1945-46, she spent four years touring with stock companies and then retired from show business. One of her four husbands was actor Kenneth MacKenna. – AllMovie Guide
CAST additions to The Producers:
Yes, we’re definitely open to change both Sherlock Jr and Dr Strangelove, I’d just like to hear some feedback before we make that switch.
Well, considering I put up the original stills I guess I’ll give my take on it. The Sherlock still proposed here is a cleaner looking one, so that works in its favor, but the one currently up I think speaks a little mote to some of the films most inventive qualities and is a little less used. The one here, however, is more amusing and speaks to the tone of the film better so I really don’t have a problem with it being switched in, although I think there would be better choices than either of the two to use if someone had a copy of the film to cap from.
As to the Strangelove films, the bottom one of the two here is to my mind not interesting at all and is over used. It only works in the context of having seen the film and I wouldn’t suggest it at all. The one currently up is a little more unusual, and I think both amusing in context of having watched the film as well as a sort of shortcut to understanding the theme and tone of the movie as it relates to the title. However, I love the other still M. Hulot has here, the upper one, as it has a dynamic feel that is hard to get from a still and it also gives a good idea of the tone of the film in the way Hayden brandishes the gun cigar firmly between his teeth and the sign behind him saying peace is our profession. I like the one I picked as it relates to the title, but I think this one is better for most other reasons so switching to it wouldn’t be a bad thing at all if that’s what people want.
And since I’ve been out of the loop for a while, I have to say that there’s been a lot of great stills added in the past few months, far and away most of them have been improvements, but a few suggestions here that were added have, to my mind, been less successful than the ones they replaced either in terms in capturing the feel of the film, being less unique, or just working as a composition on their own so I would encourage people to weigh some of the substitution requests more carefully for the films that have been near the top of the “most popular” lists since many of those were chosen with care. I would hate to see us going back to the more traditional close ups of stars stills and the like. It makes the site feel more generic. Again though, as I said, most of the stills added and suggested have been solid additions and my point here is just to be aware of there being something more being thought about than simply a clear image of the actors involved or familiarity.
My thanks to everyone who has been submitting corrections, information and improvements as well as my thanks to the editors who are updating the site. You’re all doing great work and make browsing the site a lot more pleasurable.
Edit: To be clear, I’m not objecting to the pictures with close ups of stars necessarily, I just wanted to emphasize the importance of having the still mean something beyond that. I also should clarify that the difference between the Strangelove stills is that of high drama and dynamic movement, and thus the question becomes which is better for a single still reflecting the film as a whole on the page.
The english title of DE YDMYGEDE is spelt wrong: http://mubi.com/films/28345
Issa Serge Coelo, Director
Cannot find a larger picture on the web anywhere!
Issa Serge Coelo (born 1967) is a Chadian film director. Born in Biltine, Chad, he studied history in Paris and film at the Ecole Supérieure de Réalisation Audiovisuelle (ESRA). He then worked as a cameraman at Métropole Télévision, France 3, TV5MONDE and CFI before creating the 1994 short film Un taxi pour Aouzou. The film was well-received, being nominated for a 1997 César Award in the category Best Short Film – Fiction. This was followed by the feature films Daresalam (2000) and Tartina City (2006). He also portrayed himself in the 1999 film Bye Bye Africa, which was directed by Chad’s other prominent director Mahamat Saleh Haroun. – Wikipedia
New profile pictures for
better stills for Interiors
Same stills, but quality-wise improved:
The Tortoise and the Hare
Jason and the Argonauts
Some alternative stills:
L’école des facteurs
On Dangerous Ground
La dernière femme
Vicco von Bülow
Bernhard Victor Christoph Carl von Bülow (short: Vicco von Bülow, born November 12, 1923 in Brandenburg an der Havel), more commonly known under the pseudonym Loriot, is a German humorist, graphic artist and director, actor and writer.
He is most famous for his cartoons, the sketches from his 1976 television series Loriot, alongside Evelyn Hamann, and his two movies, Ödipussi (1988) and Pappa ante portas (1991).
Peter Ustinov and Eugene Ionesko were NOT film directors. No one remembers Ustinov as a film director and definitely no one remembers Ionesco’s cinematic skills since he was also primarily a PLAYWRIGHT!
Peter Ustinov CastEugene Ionesco
Information about Ionesco and photo:
Quote: Every work of art (unless it is a pseudo-intellectualist work, a work already comprised in some ideology that it merely illustrates, as with Brecht) is outside ideology, is not reducible to ideology. Ideology circumscribes without penetrating it. The absence of ideology in a work does not mean an absence of ideas; on the contrary it fertilizes them.
Born in Slatina, Romania on November 13, 1909, Eugène Ionesco grew up in France, but returned to Romania with his father after his parents divorced in 1925. He studied French Literature at the University of Bucharest from 1928 to 1933. In 1936, he married Rodica Burileanu. He and Rodica had one daughter for whom he wrote several unconventional children’s stories. Ionesco and his family lived in Marseilles during World War II, then settled in Paris after its liberation in 1944.
Ionesco did not write his first play until 1950. Having decided at the age of 40 that he ought to learn English, Ionesco acquired an English text and set to work, conscientiously copying whole sentences from his primer for the purpose of memorizing them. Rereading them attentively, he learned not English but some astonishing truths—that, for example, there are seven days in the week, something he already knew; that the floor is down, the ceiling up, things he already knew as well, perhaps, but that he had never seriously thought about or had forgotten, and that seemed to him, suddenly, as stupefying as they were indisputably true.
As the lessons became more complex, two characters were introduced, Mr. and Mrs. Smith. To Ionesco’s astonishment, Mrs. Smith informed her husband that they had several children, that they lived in the vicinity of London, that their name was Smith, that Mr. Smith was a clerk, that they had a servant, Mary, English, like themselves. What was remarkable about Mrs. Smith, was her eminently methodical procedure in her quest for truth. But then, as Ionesco would later write, “A strange phenomenon took place. I don’t know how—the text began imperceptibly to change before my eyes. The very simple, luminously clear statements I had copied so diligently into my notebook, left to themselves, fermented after a while, lost their original identity, expanded and overflowed. The clichés and truisms of the conversation primer, which had once made sense … gave way to pseudo-clichés and pseudo-truisms; these disintigrated into wild caricature and parody, and in the end language disintigrated into disjointed fragments of words.”
Ionesco set about translating his experience into a play, The Bald Soprano, which was staged by Nicolas Bataille on May 11, 1950, at the Noctambules. The Bald Soprano went unnoticed, however, until a few established writers and critics (Jean Anouilh, Raymond Queneau, and Jacques Lemarchand) saw the play and supported it publicly. Their campaign to attract an audience for the play succeeded and the middle-aged Ionesco soon found himself in a position of international renown. He went on to write more than twenty plays including Rhinoceros, The Chairs, Jack or The Submission, The Lesson, The Killer, Exit the King, Macbett, and Journeys Among the Dead.
Ionesco rejected the logical plot, character development, and thought of traditional drama, instead creating his own anarchic form of comedy to convey the meaninglessness of modern man’s existence in a universe ruled by chance. His awards include the Tours Festival Prize for film, 1959; Prix Italia, 1963; Society of Authors theatre prize, 1966; Grand Prix National for theatre, 1969; Monaco Grand Prix, 1969; Austrian State Prize for European Literature, 1970; Jerusalem Prize, 1973; and honorary doctorates from New York University and the universities of Louvain (France), Warwick (England), and Tel Aviv (Israel). He was elected into the Académie Française in 1970.
Colour stills for the film below:
Bumming in Beijing
Stills updated for: Eréndira, Le mystère Koumiko, Bumming in Beijing, Interiors, French Cancan, La dernière femme, On Dangerous Ground, The Furies, L’école des facteurs, Jason and the Argonauts, Brink of Life and The Tortoise and the Hare.
Michael HerbigMichael Bully Herbig
Photo, quote, and bio for Garrett Hedlund:
“I just knew I wanted to do film because I knew that film affected me. I want to be the healer if I can. Be a piece of this puzzle that helps somebody through whatever they’re going through, or helps them get away from whatever they’re going through for two-and-a-half hours.”
Garrett Hedlund was born in Roseau, Minnesota, the son of Kristi and Robert Hedlund. He has an older brother, Nathaniel, and an older sister, Amanda. Hedlund was raised on a beef cattle farm near the small town of Wannaska, Minnesota. At 14, he moved with his mother to Scottsdale, Arizona. Once he arrived in Arizona, he paid to attend a talent convention with a scouting company called Pro Scout. This is where he was signed by a talent agency. After graduating from high school, he immediately moved in 2003 to Los Angeles to pursue an acting career.
Garrett made his acting debut in 2004 as Patroclus in Troy. The film, which starred Brad Pitt, was released May 14, 2004, to mixed reviews, but debuted #1 at the U.S. box office and went on to gross over US$487 million worldwide. He also starred as Don Billingsley in the 2004 drama Friday Night Lights.
He starred as Jack Mercer alongside Mark Wahlberg in the action/crime film Four Brothers. The film, which received mixed reviews, was a box office success earning $92 million worldwide. He next appeared in the film Eragon in a supporting role as Murtagh. The film, which was released December 13, 2006, and was a box office success, earned $249 million worldwide. The film received mostly mixed reviews with an approval rating of 52%. In 2007, he starred in the Garry Marshall-directed comedy-drama Georgia Rule, alongside Lindsay Lohan and Jane Fonda. The film, which was released May 11, 2007 was negatively received by critics and failed to surpass box office expectations, only making a lifetime gross of $41 million. He also starred in another film called Death Sentence in the role of Billy Darley.
In 2010, he played the leading role in the highly anticipated film Tron: Legacy, a sequel to the 1982 film Tron. The film was released on December 17, 2010.
Hedlund also co-starred with Gwyneth Paltrow and country singer / musician Tim McGraw in the country music drama Country Strong, Which was released on January 7, 2011.
He is playing the role of Dean Moriarty in the movie of the Jack Kerouac novel On the Road filmed in 2010 in Montreal and various other locations in Canada. ––Wikipedia
CAST additions to Don’t Come Knocking:
Cast additions to
Smokey And The Bandit
Pat McCormickJackie Gleason
PROFILEJean Odoutan, Director
Paris-based producer, scriptwriter, director, composer and actor Jean Odoutan is Benin’s flagship. He has made four films in five years; his first film, Barbaque Pejo (1999), was set in Benin. He followed up with Djib in 2000 and Mama Aloko in 2001. His 2003 production, La Valse des Gros Derieres (The Waltz of the fat bottoms) is a comedy dealing with attempts of a hairdresser struggling to become a top model. He owns Tabou-Tabac, the only production company in Benin.- Southworld