Chris Gethard doesn’t want you to worry about him, but that doesn’t mean he isn’t nervous.
“Permanence is not my usual M.O. and it’s pretty terrifying,” Gethard said, sitting in the Hollywood offices of Funny or Die last month. He smiled, but even he’ll admit that behind that grin, there’s the reserved bit of trepidation that comes before releasing a bit of yourself out into the world.
On Saturday, his comedy special “Chris Gethard: Career Suicide” will debut on HBO. In it, over the course of an hour and a half, Gethard details his decades-long relationship with depression, recounting his first experiences with a sinking sensation he couldn’t quite identify, all the way through impulsive suicide attempts, pieced-together blackout spells and the process of finding healthier, constructive ways to deal with all of those conflicting feelings and ideas.
Read More: ‘Chris Gethard: Career Suicide...
“Permanence is not my usual M.O. and it’s pretty terrifying,” Gethard said, sitting in the Hollywood offices of Funny or Die last month. He smiled, but even he’ll admit that behind that grin, there’s the reserved bit of trepidation that comes before releasing a bit of yourself out into the world.
On Saturday, his comedy special “Chris Gethard: Career Suicide” will debut on HBO. In it, over the course of an hour and a half, Gethard details his decades-long relationship with depression, recounting his first experiences with a sinking sensation he couldn’t quite identify, all the way through impulsive suicide attempts, pieced-together blackout spells and the process of finding healthier, constructive ways to deal with all of those conflicting feelings and ideas.
Read More: ‘Chris Gethard: Career Suicide...
- 5/3/2017
- by Steve Greene
- Indiewire
HBO has finally answered the question that has been on the minds of “Veep” fans since the very beginning: What if Tony Hale and Julia-Louis Dreyfus swapped roles? Okay, it’s probably never come up, but it is still fun to imagine, what if?
Of course, it’d be difficult to imagine anybody in the role of Selina Meyer other than Louis-Dreyfus. After all, she’s received critical acclaim, a number of awards as the focal point of a successful six-season run on “Veep.”
The same could be said for Tony Hale whose portrayal as Selina’s incredibly loyal personal aide, Gary Walsh, has led to two Emmys. But as the video below shows, the two show a surprising ability to inhabit each others’ roles as they reenact a classic scene from Season 4 of the show.
Read More: ‘Veep’ Review: A Big List of the Ways Women in Politics Get F***ed,...
Of course, it’d be difficult to imagine anybody in the role of Selina Meyer other than Louis-Dreyfus. After all, she’s received critical acclaim, a number of awards as the focal point of a successful six-season run on “Veep.”
The same could be said for Tony Hale whose portrayal as Selina’s incredibly loyal personal aide, Gary Walsh, has led to two Emmys. But as the video below shows, the two show a surprising ability to inhabit each others’ roles as they reenact a classic scene from Season 4 of the show.
Read More: ‘Veep’ Review: A Big List of the Ways Women in Politics Get F***ed,...
- 4/28/2017
- by Juan Diaz
- Indiewire
Elisabeth Moss in ‘The Handmaid’s Tale’
Two exciting new limited series are making rather unconventional debuts this week, with The Handmaid’s Tale premiering on Hulu, which hasn’t had such a big event program like this before, and Genius giving National Geographic its first scripted show. We’re also saying goodbye to Bates Motel, welcome back to Silicon Valley, and hello in a new form to Dear White People. Plus there are a couple new places to have a laugh at the president.
To help you keep track of the most important programs over the next seven days, here’s our guide to everything worth watching, whether it’s on broadcast, cable, or streaming for April 23–29:
SUNDAYSilicon Valley (HBO, 10pm)
The boys of Pied Piper return, but they’re no longer a united force. The fourth season promises internal strife, as Richard (Thomas Middleditch) appears to quit his own company, as...
Two exciting new limited series are making rather unconventional debuts this week, with The Handmaid’s Tale premiering on Hulu, which hasn’t had such a big event program like this before, and Genius giving National Geographic its first scripted show. We’re also saying goodbye to Bates Motel, welcome back to Silicon Valley, and hello in a new form to Dear White People. Plus there are a couple new places to have a laugh at the president.
To help you keep track of the most important programs over the next seven days, here’s our guide to everything worth watching, whether it’s on broadcast, cable, or streaming for April 23–29:
SUNDAYSilicon Valley (HBO, 10pm)
The boys of Pied Piper return, but they’re no longer a united force. The fourth season promises internal strife, as Richard (Thomas Middleditch) appears to quit his own company, as...
- 4/23/2017
- by Christopher Campbell
- FilmSchoolRejects.com
Forty years after its initial release, a newly restored version of Marcel Ophüls’ seminal wartime documentary “The Memory of Justice” is set screen on HBO 2 on Monday, April 24, Holocaust Remembrance Day. The documentary was restored by The Academy Film Archive and Martin Scorsese’s The Film Foundation.
Read More: Nyff: A Conversation with Academy Award-Winning Director Marcel Ophüls
In the film, Ophüls he explores the devastation and the destruction of war, specifically World War II and the Vietnam War. The film is a 4.5 hour epic that truly exposes the impact war has on the collective and on the individual.
Ophüls was inspired by “Nuremberg and Vietnam: An American Tragedy,” written by Telford Taylor during the Vietnam War and reflecting on issues raised during his work as Chief Counsel for the Prosecution at the Nuremberg Trials.
Read More: Milestone Celebrates Trio of Prizes and Deal for Ophuls’ “Troubles”
The film consists...
Read More: Nyff: A Conversation with Academy Award-Winning Director Marcel Ophüls
In the film, Ophüls he explores the devastation and the destruction of war, specifically World War II and the Vietnam War. The film is a 4.5 hour epic that truly exposes the impact war has on the collective and on the individual.
Ophüls was inspired by “Nuremberg and Vietnam: An American Tragedy,” written by Telford Taylor during the Vietnam War and reflecting on issues raised during his work as Chief Counsel for the Prosecution at the Nuremberg Trials.
Read More: Milestone Celebrates Trio of Prizes and Deal for Ophuls’ “Troubles”
The film consists...
- 4/21/2017
- by Kerry Levielle
- Indiewire
The Australian International Documentary Conference (Aidc) has announced its 2016 screening program..
Cult documentary Catfish will be screened with a live audio commentary by Zac Stuart-Pontier, the film's editor, and Marc Smerling, its producer.
The duo most recently worked together on HBO's The Jinx..
Also screening is The Hunting Ground, Kirby Dick's indictment of rape culture on American campuses, and The Memory of Justice, Marcel Ophüls' exploration of justice in the twentieth century, from the Nuremberg Trials to Algeria and Vietnam..
Aidc will also showcase Op-Docs, The New York Times' short documentary department, screening the banner's best docs, introduced by Op-Docs Commissioning Editor Lindsay Crouse..
The conference will also host an exclusive screening of Sherpa, followed by a Q&A with the film's director, writer and co-producer Jennifer Peedom and producers Bridget Ikin and John Smithson..
Also screening exclusively for delegates will be Black As, a new series following...
Cult documentary Catfish will be screened with a live audio commentary by Zac Stuart-Pontier, the film's editor, and Marc Smerling, its producer.
The duo most recently worked together on HBO's The Jinx..
Also screening is The Hunting Ground, Kirby Dick's indictment of rape culture on American campuses, and The Memory of Justice, Marcel Ophüls' exploration of justice in the twentieth century, from the Nuremberg Trials to Algeria and Vietnam..
Aidc will also showcase Op-Docs, The New York Times' short documentary department, screening the banner's best docs, introduced by Op-Docs Commissioning Editor Lindsay Crouse..
The conference will also host an exclusive screening of Sherpa, followed by a Q&A with the film's director, writer and co-producer Jennifer Peedom and producers Bridget Ikin and John Smithson..
Also screening exclusively for delegates will be Black As, a new series following...
- 1/13/2016
- by Staff Writer
- IF.com.au
While we thought it could sneak into the end of the 2015 calendar, it looks like Paramount is holding off a release of Martin Scorsese‘s priest drama Silence until after its rumored Cannes premiere. As we wait for the first trailer, today brings a few updates on the adaptation of Shûsaku Endô‘s novel, which follows Andrew Garfield as Father Rodrigues, a 17th-century Portuguese Jesuit who travels to Japan with a fellow priest amid rumors that Rodrigues’ mentor has abandoned the Church.
Ahead of the film’s release, earlier this year Approaching Silence was published (pick it up here), a novel which features a collection of essays looking back at the real-life background of Endô’s work. Perhaps most intriguing to our audience, it also features an afterword from Scorsese in which he describes bringing to life what “can’t be seen or described or named.” He references the “astonishing...
Ahead of the film’s release, earlier this year Approaching Silence was published (pick it up here), a novel which features a collection of essays looking back at the real-life background of Endô’s work. Perhaps most intriguing to our audience, it also features an afterword from Scorsese in which he describes bringing to life what “can’t be seen or described or named.” He references the “astonishing...
- 9/30/2015
- by Jordan Raup
- The Film Stage
Several days prior to the "The Memory of Justice" (1976) screening of the newly restored film at the New York Film Festival, on September 27, Professor Regina Longo, Cinema Studies faculty at Purchase College, Suny, moderated a discussion with Oscar-winning director Marcel Ophüls.
From the New York Film Festival: "The third of Marcel Ophüls’ monumental inquiries into the questions of individual and collective guilt following the calamities of war and genocide, 'The Memory of Justice' examines three of the defining tragedies of the Western world in the second half of the 20th century, from the Nuremberg trials through the French-Algerian war to the disaster of Vietnam, building from a vast range of interviews, from Telford Taylor (Counsel for the Prosecution at Nuremberg, later a harsh critic of our escalating involvement in Vietnam) to Nazi architect Albert Speer to Daniel Ellsberg and Joan Baez."
Conversation Highlights
On "The Memory of Justice"
Making the film -- it was not sense of mission. I didn’t think I had to teach other people what the Holocaust was about or what other aspects of World War II were about. It was my job to make an audio visual form of storytelling of contemporary events. I don’t want to change the world. I think that’s much too big a job.
On Interviewing
I don’t script in advance at all. I don’t know what people will tell me in advance and they usually know in advance why you want to see them. it’s often the things that surprise me, that tend to surprise the public. I think the films I’ve tried to do, only come to life when the interviews become conversations.
React to what the person has told you as quickly as possible and get away from the prepared questions. If you don’t respond to their thoughts, what he or she has just told you, you never get a conversation, you get only an interview.
I try to get away from the idea of talking to a person (the subject) before the interview otherwise you have to explain too much. Well, you talk to the person on the phone beforehand when you set up an interview, but I don’t talk about the subject matter. You need to communicate minimal information. It’s the details of the answers, even if they go into a tangent. To me, it’s the spontaneity. Anything that interferes with spontaneity is bad.
I’m rather a passive interviewer. I don’t interfere very much.
Role of Editing
The role of editing is really doing all the work that is necessary like when you do a narrative film. The structuring work is done in the editing room on the basis of the rushes. There are some ideas beforehand.
All films should be narratives whether fiction or not. Storytelling is awfully important. A story with a beginning, middle and end.
On Objectivity
I’ve become more and more convinced that objectivity (in documentaries) doesn’t exist. This includes journalists, even in local news, reporters who report about a fire, some of them go to the fire chief for their information, others will tend to try to get a story with the victims. The choices you make, as an observer of events, are based on your own life and your own interests.
The question is, who narrates and from what point of view.
“Why must there be exceptions?” Marcel Ophüls asks one of his subjects in "The Memory of Justice."
The many ways in which Ophüls’ subjects justify their actions in this film allow viewers to draw their own conclusions. The film examines the collective versus individual responsibility, a theme further underscored when Ophüls, an exile from Nazi Germany interviews his wife, a German woman, who recounts her membership in the Hitler Youth.
The New York Film Festival runs from September 25 – October 11. http://www.filmlinc.org/nyff2015/
Award-winning screenwriter and filmmaker, Susan Kouguell teaches screenwriting at Purchase College Suny, and presents international seminars on screenwriting and film. Author of Savvy Characters Sell Screenplays! and The Savvy Screenwriter, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1990 where she works with writers, filmmakers, and executives worldwide. www.su-city-pictures.com, http://su-city-pictures.com/wpblog...
From the New York Film Festival: "The third of Marcel Ophüls’ monumental inquiries into the questions of individual and collective guilt following the calamities of war and genocide, 'The Memory of Justice' examines three of the defining tragedies of the Western world in the second half of the 20th century, from the Nuremberg trials through the French-Algerian war to the disaster of Vietnam, building from a vast range of interviews, from Telford Taylor (Counsel for the Prosecution at Nuremberg, later a harsh critic of our escalating involvement in Vietnam) to Nazi architect Albert Speer to Daniel Ellsberg and Joan Baez."
Conversation Highlights
On "The Memory of Justice"
Making the film -- it was not sense of mission. I didn’t think I had to teach other people what the Holocaust was about or what other aspects of World War II were about. It was my job to make an audio visual form of storytelling of contemporary events. I don’t want to change the world. I think that’s much too big a job.
On Interviewing
I don’t script in advance at all. I don’t know what people will tell me in advance and they usually know in advance why you want to see them. it’s often the things that surprise me, that tend to surprise the public. I think the films I’ve tried to do, only come to life when the interviews become conversations.
React to what the person has told you as quickly as possible and get away from the prepared questions. If you don’t respond to their thoughts, what he or she has just told you, you never get a conversation, you get only an interview.
I try to get away from the idea of talking to a person (the subject) before the interview otherwise you have to explain too much. Well, you talk to the person on the phone beforehand when you set up an interview, but I don’t talk about the subject matter. You need to communicate minimal information. It’s the details of the answers, even if they go into a tangent. To me, it’s the spontaneity. Anything that interferes with spontaneity is bad.
I’m rather a passive interviewer. I don’t interfere very much.
Role of Editing
The role of editing is really doing all the work that is necessary like when you do a narrative film. The structuring work is done in the editing room on the basis of the rushes. There are some ideas beforehand.
All films should be narratives whether fiction or not. Storytelling is awfully important. A story with a beginning, middle and end.
On Objectivity
I’ve become more and more convinced that objectivity (in documentaries) doesn’t exist. This includes journalists, even in local news, reporters who report about a fire, some of them go to the fire chief for their information, others will tend to try to get a story with the victims. The choices you make, as an observer of events, are based on your own life and your own interests.
The question is, who narrates and from what point of view.
“Why must there be exceptions?” Marcel Ophüls asks one of his subjects in "The Memory of Justice."
The many ways in which Ophüls’ subjects justify their actions in this film allow viewers to draw their own conclusions. The film examines the collective versus individual responsibility, a theme further underscored when Ophüls, an exile from Nazi Germany interviews his wife, a German woman, who recounts her membership in the Hitler Youth.
The New York Film Festival runs from September 25 – October 11. http://www.filmlinc.org/nyff2015/
Award-winning screenwriter and filmmaker, Susan Kouguell teaches screenwriting at Purchase College Suny, and presents international seminars on screenwriting and film. Author of Savvy Characters Sell Screenplays! and The Savvy Screenwriter, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1990 where she works with writers, filmmakers, and executives worldwide. www.su-city-pictures.com, http://su-city-pictures.com/wpblog...
- 9/27/2015
- by Susan Kouguell
- Sydney's Buzz
Toronto International Film Festival (Sept 10-20) has completed its line-up with the Discovery, New Wave Tiff Kids and In Conversation With… strands and has confirmed the return of Festival Street.
Oscar-winner Julianne Moore, Salma Hayek, Sarah Silverman and Matthew Weiner will take place in separate on-stage conversations as part of the In Conversation With… series, which replaces the Mavericks programme.
For the second year, the Festival Street initiative will see the closure of King Street West between Peter and University Streets, from Sept 10-13.
Events will include Questival, a walking interactive quiz designed by Frontier Design & Innovation; the NewCanadianMusic.ca music stage featuring the world premiere of Titicut Follies – The Ballet inspired by Frederick Wiseman’s 1967 documentary; cinema-inspired installations; magicians; the Slaight Family Zone; and food trucks.
In total, the festival will screen 399 films, of which 289 are features and 110 shorts. Last year’s festival screened 392 in total comprising 284 features and 108 shorts.
Programmers sifted...
Oscar-winner Julianne Moore, Salma Hayek, Sarah Silverman and Matthew Weiner will take place in separate on-stage conversations as part of the In Conversation With… series, which replaces the Mavericks programme.
For the second year, the Festival Street initiative will see the closure of King Street West between Peter and University Streets, from Sept 10-13.
Events will include Questival, a walking interactive quiz designed by Frontier Design & Innovation; the NewCanadianMusic.ca music stage featuring the world premiere of Titicut Follies – The Ballet inspired by Frederick Wiseman’s 1967 documentary; cinema-inspired installations; magicians; the Slaight Family Zone; and food trucks.
In total, the festival will screen 399 films, of which 289 are features and 110 shorts. Last year’s festival screened 392 in total comprising 284 features and 108 shorts.
Programmers sifted...
- 8/25/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Since its beginning in 1963, the New York Film Festival has grown into one of the more anticipated stops for film fans on the festival circuit, with the 2014 incarnation of the festival alone seeing Paul Thomas Anderson’s Inherent Vice and David Fincher’s Gone Girl make their world premiere at the event. As the festival’s importance has grown, the lineup presented has also piqued the interest of film fans. With the 2015 event set to run from September 25th to October 11th, a second wave of the lineup has now been announced to go with the previous Main Slate announcement.
The festival had previously announced that Robert Zemeckis’ The Walk would be the opening night film, making its World Premiere at the event, and the Don Cheadle film Miles Ahead would be the closing night feature, also making its World Premiere. The following films, with their official synopses, will also be playing at the event.
The festival had previously announced that Robert Zemeckis’ The Walk would be the opening night film, making its World Premiere at the event, and the Don Cheadle film Miles Ahead would be the closing night feature, also making its World Premiere. The following films, with their official synopses, will also be playing at the event.
- 8/21/2015
- by Deepayan Sengupta
- SoundOnSight
Organisers unleashed their latest volley of programming, an embarrassment of riches featuring new non-fiction work about education activist Malala Yousafzai, Russia’s Bolshoi Theatre, the immediate aftermath of the Charlie Hebdo attacks and the iconic tango pairing of María Nieves and Juan Carlos Copes.
Midnight Madness brings a Turkish glimpse of hell, new work from the directors of Almost Human and The Loved Ones, a cyborg Pov story and Jeremy Saulnier’s Green Room, which premiered in Cannes and backer Broad Green Pictures recently made available for Us distribution after electing not to self-release.
Vanguard entries include Gaspar Noé’s Love, Alex de la Iglesia’s My Big Night and Ryoo Seung-wan’s South Korean cop thriller Veteran.
The Masters Of Cinema programme features Jafar Panahi’s Taxi, Alexander Sokurov’s Francofonia and Hirokazu Kore-eda’s Our Little Sister, while the Tiff Cinematheque selection of restored classics includes Luchino Viconti’s Rocco And His Brothers and Marcel Ophüls...
Midnight Madness brings a Turkish glimpse of hell, new work from the directors of Almost Human and The Loved Ones, a cyborg Pov story and Jeremy Saulnier’s Green Room, which premiered in Cannes and backer Broad Green Pictures recently made available for Us distribution after electing not to self-release.
Vanguard entries include Gaspar Noé’s Love, Alex de la Iglesia’s My Big Night and Ryoo Seung-wan’s South Korean cop thriller Veteran.
The Masters Of Cinema programme features Jafar Panahi’s Taxi, Alexander Sokurov’s Francofonia and Hirokazu Kore-eda’s Our Little Sister, while the Tiff Cinematheque selection of restored classics includes Luchino Viconti’s Rocco And His Brothers and Marcel Ophüls...
- 8/11/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
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