Williams (2017) - News Poster

(2017)

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Oscars 2020 Winners: The Complete List

  • MovieWeb
Oscars 2020 Winners: The Complete List
It was a big night in Hollywood as the 92nd Annual Academy Awards were announced from the heart of Los Angeles at the Dolby Theatre. There were plenty of surprises in store leading up to the big reveal for Best Picture of 2020. Joker and 1917 were the front runners, with Parasite a long shot favorite, but in the end Bong Joon Ho's Parasite swept up at this year's Oscars with Academy Awards for Best Picture, Best Director, Best Original Screenplay and Best Foreign Language Film.

This year's Oscars offered plenty of unexpected twists and turns, though most of the awards played out just as many suspected and predicted they would.

The Academy Awards went without a host for the second time, following last year's first hostless Oscars in over thirty years. There were some big presenters on hand to handle the show, and present the night's coveted award to each of the winners.
See full article at MovieWeb »

Alan Ball Found His ‘Inner Tennessee Williams’ to Write ‘Uncle Frank’ (Video)

  • The Wrap
Alan Ball Found His ‘Inner Tennessee Williams’ to Write ‘Uncle Frank’ (Video)
Though Alan Ball’s latest film “Uncle Frank” is not autobiographical, it is very personal, and it led him back to directing and back to film for the first time in over a decade. And in order to write this story, he had to get in touch with his roots.

“I’m a playwright, and I’m from the South, so I have an inner Tennessee Williams, and over the years it took off and became ultimately what it is now, ‘Uncle Frank,'” Ball said at TheWrap Studio in Sundance.

Uncle Frank” is set in the South in the ’70s and follows a gay professor named Frank (Paul Bettany) returning home for his father’s funeral as he grapples with the decision to come out as gay to his family. The film blends a coming-of-age story for Frank’s niece (Sophia Lillis) with some road trip comedy and drama between Frank and his nurturing,
See full article at The Wrap »

The Request of A Teenage Girl: It is Time Hollywood Changed the Way it Depicted Sex and Sexual Assault in Cinema/TV to Stop Harming Teenagers

More than half a century after its theatrical release to cinemas across the country, I sat in a stuffy English Literature classroom, the room dark and eerily silent, as we drowsy students watched the movie Sweet Bird of Youth - tragedy of St. Clouds’ many eclectic citizens and stars unfold on the projector. A literary work that has been aptly described by my teacher, Mr. Shannon, as a “Tennessee Williams play written to sound like a Tennesse Williams play,” it is infamous for its sardonically brusque depiction of Hollywood stardom and the sex-driven, drug-ravaged failure to attain it.
See full article at Hollywood Insider »

Before Today’s Sundance Premiere, ‘American Beauty’ Scribe Alan Ball Talks About His Film ‘Uncle Frank’

  • Deadline
Before Today’s Sundance Premiere, ‘American Beauty’ Scribe Alan Ball Talks About His Film ‘Uncle Frank’
Alan Ball is in Sundance today to premiere Uncle Frank, a drama set in 1973. An 18-year old and her NYU professor uncle take a road trip to their South Carolina home to bury the prof’s father, who rejected his son when he learned he was gay. The trip will rear up past trauma that Frank has done his best to suppress. The road trippers are joined unexpectedly by the prof’s lover Walid in a drama about family, tragedy and forgiveness. While Ball won an Oscar for his very first movie script, Best Picture winner American Beauty and followed with an Emmy TV career including Six Feet Under and True Blood, this film is so personal to him that he’s especially nervous about his first Sundance premiere. Paul Bettany, Sophia Lillis, Margo Martindale, Judy Greer, Steve Zahn, Peter Macdissi and Stephen Root. Here, Ball talks about this love
See full article at Deadline »

‘The Crown,’ ‘Feud,’ and ‘Victoria’ Battle for Best Score Emmys — Listen

‘The Crown,’ ‘Feud,’ and ‘Victoria’ Battle for Best Score Emmys — Listen
Ascending queens Elizabeth (“The Crown”) and Victoria (“Victoria”) face off in the Emmy race for Series Original Dramatic Score, while old Hollywood (“Feud: Bette and Joan”) counters Russian classicism (“Fargo”) for Limited Series, Movie, or Special Dramatic Score.

Meanwhile, political (“House of Cards,” Taboo”) and survival overtones (“Planet Earth II” and “A Series of Unfortunate Events”) clash in the Series category, as well as war (“Five Came Back,” “The White Helmets,” “Suite Française”) and culture (“O.J.: Made in America”) in the other category.

Not surprisingly, the odds are with Rupert Gregson-Williams (“The Crown”) and last year’s “Mr. Robot” winner, Mac Quayle (“Feud”), for their respective retro scores. While Williams reached for orchestral nobility, Quayle went for more orchestral glam.

The Crown” — “Hyde Park Corner” (Rupert Gregson-Williams)

The score for showrunner Peter Morgan’s drama about the rise of Elizabeth II (nominated Claire Foy) was all about restraint, given her sense of calm.
See full article at Indiewire »

Williams review – F1 boss profile a cut above the usual petrolhead documentary

The story of the remarkable rise and horrific disasters that befell motor racing supremo Sir Frank Williams is told with unusual senstivity and openness

Here is a documentary profile of celebrated Formula One team owner Frank Williams that, while covering all the bases that its petrolhead/motorsport fanbase would expect, also manages to excavate some unexpectedly intense emotional baggage lurking under the surface.

Williams, of course, is one of the greats of British Formula One, a link to the 60s and early 70s era of high-risk, often-fatal daredevil circuit racing; Williams himself lost his first driver Piers Courage in 1970 at the Dutch Grand Prix. This film does a nice job of trying to explain some of the rarefied mechanics of Formula One, and how Williams toiled for years to improve his cars’ performance to top-level standard. As director Morgan Matthews tells it, Williams’ decision to appoint Patrick Head as his
See full article at The Guardian - Film News »

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