Local Hero (musical)
Local Hero is a musical with music and lyrics by Mark Knopfler, a book by Bill Forsyth and David Greig. The musical is based on the 1983 film of the same name, written by Bill Forsyth, it tells the story of an American oil company representative, sent to the fictional village of Ferness on the west coast of Scotland to purchase the town and surrounding property for his company. The musical is based on the 1983 indie film Local Hero and directed by Bill Forsyth; the film was produced on a budget of just £3 million and won several awards including the 1984 BAFTA Award for Best Direction and the New York Film Critics Circle Award for Best Screenplay. It tells the story of an American oil company representative, sent to the fictional village of Ferness on the west coast of Scotland to purchase the town and surrounding property to build a new refinery. On 3 February 2018, it was announced the play would receive its world premiere in spring 2019, thirty five years after the original film, it is expected to make its world premiere at the Royal Lyceum Theatre, before transferring to The Old Vic with whom it is a coproduction.
The show has a book by original screenwriter Bill Forsyth, adapted by Lyceum artistic director David Greig, direction by John Crowley, movement direction by Lucy Hind and costume design by Scott Pask, lighting design by Paule Constable and video by Luke Halls. The musical features an original score and lyrics by Mark Knopfler, with sound design by Paul Arditti, musical supervision by Dave Milligan and music direction by Phil Bateman. Local Hero is scheduled to begin previews at the Royal Lyceum Theatre, Edinburgh on 14 March 2019, with an official opening night on 23 March, booking for a limited period until 20 April. Due to demand the run was extended until 4 May. Notable casting included Damian Humbley as Mac, Katrina Bryan as Stella, Matthew Pidgeon as Gordon, Simon Rouse as Happer
Breaking In (1989 film)
Breaking In is a 1989 American crime comedy film directed by Bill Forsyth, written by John Sayles, stars Burt Reynolds, Casey Siemaszko and Lorraine Toussaint. The film is about how professional small-time criminals practice their trades. Ernie Mullins is New York's old-pro safecracker, operating now in Portland, Oregon. Mike, is the "amiable kid" that Ernie takes on as his lookout and apprentice. Ernie is content to live in a tract home on the fringe of the city but the kid cannot resist flashing his new wealth. Ernie maintains a steady, paying relationship with a prostitute, who fixes Mike up with her apprentice, Carrie; the film features a pair of retired crooks, Ernie's card-playing pals and Shoes, a pair of adversarial lawyers. Burt Reynolds as Ernie Mullins Casey Siemaszko as Mike Lafeve Lorraine Toussaint as Delphine the Hooker Sheila Kelley as Carrie aka Fontaine Albert Salmi as Johnny Scot, Poker Player Harry Carey as Shoes, Poker Player Maury Chaykin as Vincent Tucci, Attorney Stephen Tobolowsky as District Attorney Eddie Driscoll as Paul the Apostle It was Reynolds' first character role " "I've spent an entire career... making the characters me," he said."
This is the first time I've done it the other way around." Reynolds worked for SAG scale. John Sayles directed his own scripts but did not do this one because he did not feel he had the sense of humor to bring it off. Forsyth worked from scripts by other people: I can't get away with making $6- or $7-million movies with the kind of audience that my past movies have reached. I've just got to find an audience-or retreat, and I'm quite happy to retreat, I'm happy to go back to Scotland and make smaller movies"-e.g. "Gregory's Girl." "But at the same time, `Breaking In' seemed a comfortable experiment for me. Because although I say I'm trying to reach that audience or see how far that audience is from me, I don't think I'm going that far to get them.... You could read innocently as a kind of nice caper with nice characters, but underneath that there is so much compromise and so much duplicity and so much blackmail going on that it seemed to have lots of levels I could work on. The film was not a commercial success.
It opened in 400 theaters at #12 in its opening weekend with $679,200, but returned less than $2 million in total box office receipts. Critically, the feedback is positive. On Rotten Tomatoes, the film has a rating of 89% basedon reviews from 9 critics. Roger Ebert called the film "a well-directed picture. Reynolds has a comfortable screen presence and can act…he shows the warmth and quirkiness that made him fun to watch in the first place." Breaking In on IMDb Breaking In at Box Office Mojo Breaking In at Rotten Tomatoes
British Academy Film Awards
The British Academy of Film and Television Arts or BAFTA Film Awards are presented in an annual award show hosted by the British Academy of Film and Television Arts to honour the best British and international contributions to film. The ceremonies were held at the flagship Odeon cinema in Leicester Square in London, before being held at the Royal Opera House from 2008 to 2016. Since 2017, the ceremony has been held at the Royal Albert Hall in London; the British Academy of Film and Television Arts was founded in 1947 as The British Film Academy, by David Lean, Alexander Korda, Carol Reed, Charles Laughton, Roger Manvell and others. In 1958, the Academy merged with The Guild of Television Producers and Directors to form The Society of Film and Television, which became The British Academy of Film and Television Arts in 1976; the stated charitable purpose of BAFTA is to "support and promote the art forms of the moving image, by identifying and rewarding excellence, inspiring practitioners, benefiting the public".
In addition to high-profile awards ceremonies, BAFTA runs a year-round programme of educational events, including film screenings and tribute evenings. BAFTA is supported by a membership of about 6,000 people from the film and video game industries; the Academy's awards are in the form of a theatrical mask designed by American sculptor Mitzi Cunliffe, in response to a commission from the Guild of Television Producers in 1955. The ceremony took place in April or May, but since 2001 it has been held in February in order to precede the Academy Awards. Most of the awards are open to all nationalities, though there are awards for Outstanding British Film and Outstanding Debut by a British Writer, Producer or Director. Only UK films are eligible for the categories of The British Short Film and British Short Animation awards; the Awards ceremony is delayed broadcast on British television the same evening, across the world. In the United States it is shown on BBC America, it has been broadcast in colour since 1970.
During each annual ceremony, BAFTA pauses in memoriam to pay tribute to those in the industry who have died over the past 12 months, showcasing a montage of images accompanied by music. The award ceremony is held in London. From 2000 to 2007, the ceremonies took place at the flagship Odeon cinema in Leicester Square. Between 2008 and 2016, the ceremonies took place at the Royal Opera House; the 70th Awards in 2017, subsequent ceremonies, were held at the Royal Albert Hall. Until 2012, the mobile telephone network Orange sponsored the awards. Orange's parent company, EE, took over the sponsorship of the event from 2013. BAFTA Award for Most Promising Newcomer to Leading Film Roles BAFTA Award for Best Screenplay BAFTA Award for Best British Screenplay BAFTA Award for Best British Actor BAFTA Award for Best Foreign Actor BAFTA Award for Best British Actress BAFTA Award for Best Foreign Actress BAFTA United Nations Award. BAFTA Fellowship The Outstanding British Contribution to Cinema Award British Academy of Film and Television Arts British Academy Television Awards Official website BAFTA Awards database Museum of Broadcast Communications: BAFTA IMDB: BAFTA
British Film Institute
The British Film Institute is a film and charitable organisation which promotes and preserves filmmaking and television in the United Kingdom. It was established by Royal Charter to: Encourage the development of the arts of film and the moving image throughout the United Kingdom, to promote their use as a record of contemporary life and manners, to promote education about film and the moving image and their impact on society, to promote access to and appreciation of the widest possible range of British and world cinema and to establish, care for and develop collections reflecting the moving image history and heritage of the United Kingdom; the BFI maintains the world's largest film archive, the BFI National Archive called National Film Library, National Film Archive, National Film and Television Archive. The archive contains more than 50,000 fiction films, over 100,000 non-fiction titles, around 625,000 television programmes; the majority of the collection is British material but it features internationally significant holdings from around the world.
The Archive collects films which feature key British actors and the work of British directors. The BFI runs the BFI Southbank and London IMAX cinema, both located on the south bank of the River Thames in London; the IMAX has the largest cinema screen in the UK and shows popular recent releases and short films showcasing its technology, which includes 3D screenings and 11,600 watts of digital surround sound. BFI Southbank shows films from all over the world critically acclaimed historical & specialised films that may not otherwise get a cinema showing; the BFI distributes archival and cultural cinema to other venues – each year to more than 800 venues all across the UK, as well as to a substantial number of overseas venues. The BFI offers a range of education initiatives, in particular to support the teaching of film and media studies in schools. In late 2012, the BFI received money from the Department For Education to create the BFI Film Academy Network; the BFI runs the annual London Film Festival along with BFI Flare: London LGBT Film Festival and the youth-orientated Future Film Festival.
The BFI publishes the monthly Sound magazine as well as films on Blu-ray, DVD and books. It runs the BFI National Library, maintains the BFI Film & TV Database and Summary of Information on Film and Television, which are databases of credits and other information about film and television productions. SIFT has a collection of about 7 million still frames from television; the BFI has co-produced a number of television series featuring footage from the BFI National Archive, in partnership with the BBC, including The Lost World of Mitchell & Kenyon, The Lost World of Friese-Greene, The Lost World of Tibet. The institute was founded in 1933. Despite its foundation resulting from a recommendation in a report on Film in National Life, at that time the institute was a private company, though it has received public money throughout its history—from the Privy Council and Treasury until 1965 and the various culture departments since then; the institute was restructured following the Radcliffe Report of 1948 which recommended that it should concentrate on developing the appreciation of filmic art, rather than creating film itself.
Thus control of educational film production passed to the National Committee for Visual Aids in Education and the British Film Academy assumed control for promoting production. From 1952–2000, the BFI provided funding for new and experimental filmmakers via the BFI Production Board; the institute received a Royal Charter in 1983. This was updated in 2000, in the same year the newly established UK Film Council took responsibility for providing the BFI's annual grant-in-aid; as an independent registered charity, the BFI is regulated by the Charity Commission and the Privy Council. In 1988, the BFI opened the London Museum of the Moving Image on the South Bank. MOMI was acclaimed internationally and set new standards for education through entertainment, but subsequently it did not receive the high levels of continuing investment that might have enabled it to keep pace with technological developments and ever-rising audience expectations; the Museum was "temporarily" closed in 1999. This did not happen, MOMI's closure became permanent in 2002 when it was decided to redevelop the South Bank site.
This redevelopment was itself further delayed. The BFI is managed on a day-to-day basis by its chief executive, Amanda Nevill. Supreme decision-making authority rests with a board of up to 14 governors; the current chair is Josh Berger, who took up the post in February 2016. He succeeded Greg Dyke, who took office on 1 March 2008. Dyke succeeded the late Anthony Minghella, chair from 2003 until 31 December 2007; the chair of the board is appointed by the BFI's own Board of Governors but requires the consent of the Secretary of State for Culture and Sport. Other Governors are co-opted by existing board members; the BFI operates with three sources of income. The largest is public money allocated by the Department for Culture and Sport. In 2011–12, this funding amounted to £20m; the second largest source is commercial activity such as receipts from ticket sales at BFI Southbank or the BFI London IMAX theatre, sales of DVDs, etc. Thirdly and sponsorship of around £5m
Being Human (1994 film)
Being Human is a 1994 British-Japanese comedy-drama film written and directed by Bill Forsyth and starring Robin Williams, John Turturro, Bill Nighy, Vincent D'Onofrio, Robert Carlyle and Theresa Russell. The film portrays the experience of a single human soul, portrayed by Williams, through various incarnations. Williams is the only common actor throughout the stories. An attempt on director-screenwriter Bill Forsyth's part to depict by visual means the ordinariness of life throughout the ages, Being Human is deliberately slow in its pace in order to emphasize how slow life is; the structure is one of vignette-like character studies of one man who keeps making the same relationships and mistakes throughout his lifetimes. In the first incarnation, which appears to be a caveman, a man's family is taken from him by raiders due to his cowardice and hesitation. Before his wife is taken away, she says, "Don't lose the children!" The next incarnation is in Ancient Rome in which he, Hector, is a slave to a "foolish master" who loses his fortune and is compelled to kill himself by his creditors and orders Hector to join him.
Hector longs to be free to find the children and wife he had before he became a slave, but he has fallen in love with another slave and forgets his waiting family. Third incarnation: He is a Scottish crusader on his way home to his children; the master from his life in Rome as a slave is now a crusader trying to decide whether to become a priest. They travel together, she is a widow and wishes Hector to join her family, but his duties to the children in Scotland pull at him. Fourth incarnation: Hector is forced to confront his capacity for cowardly indecision, he is a Portuguese man in The Renaissance shipwrecked on the coast of Africa. He is the master in this life, his wife from the first incarnation shipwrecked with him as his spurned lover, the raider who spirited her away is her steadfast friend. Fifth incarnation: He is a modern man in New York, paying the consequences of cowardly indecision and gaining the strength to address the children he lost lifetimes ago, he is joined in this life by his master/slave/friend/soul mate, former wife Janet and her husband/raider from lifetimes past.
They support. Robin Williams as Hector John Turturro as Lucinnius Bill Nighy as Julian Vincent D'Onofrio as The Priest Robert Carlyle as The Pre-Historic Shaman Theresa Russell as The Storyteller Simon McBurney as Hermes Hector Elizondo as Dom Paulo William H. Macy as Boris Lorraine Bracco as Anna Anna Galiena as Beatrice Jonathan Hyde as Francisco Ewan McGregor as Alvarez Lindsay Crouse as Janet Kelly Hunter as Deidre The film had a problematic production down to monetary issues and the ambition of Forsyth's screenplay. After poor test screenings, Warner Bros. instructed Bill Forsyth to trim 40 minutes from the film, as well as add narration and a happy ending. Forsyth subsequently disowned the film. Despite the changes, the film was still not well-received on release; the film holds a 50% rating on review aggregate Rotten Tomatoes. Owen Gleiberman of Entertainment Weekly gave the film an'F' and said that the film "demonstrates what can happen when a director with a gossamer comic touch tries to become commercial—the movie is so flat and banal it's like a Mel Brooks parody in which someone forgot to put in the jokes."
Janet Maslin of The New York Times was more positive, declaring "Aiming high and falling short of his own mark, Mr. Forsyth remains a film maker of vivid, unpredictable imagination." Being Human on IMDb Being Human at Rotten Tomatoes Being Human at Box Office Mojo
A film director is a person who directs the making of a film. A film director controls a film's artistic and dramatic aspects and visualizes the screenplay while guiding the technical crew and actors in the fulfilment of that vision; the director has a key role in choosing the cast members, production design, the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film; the film director gives direction to the cast and crew and creates an overall vision through which a film becomes realized, or noticed. Directors need to be able to mediate differences in creative visions and stay within the boundaries of the film's budget. There are many pathways to becoming a film director; some film directors started as screenwriters, producers, film editors or actors. Other film directors have attended a film school. Directors use different approaches; some outline a general plotline and let the actors improvise dialogue, while others control every aspect, demand that the actors and crew follow instructions precisely.
Some directors write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors appear in their films, or compose the music score for their films. A film director's task is to envisage a way to translate a screenplay into a formed film, to realize this vision. To do this, they oversee the technical elements of film production; this entails organizing the film crew in such a way to achieve their vision of the film. This requires skills of group leadership, as well as the ability to maintain a singular focus in the stressful, fast-paced environment of a film set. Moreover, it is necessary to have an artistic eye to frame shots and to give precise feedback to cast and crew, excellent communication skills are a must. Since the film director depends on the successful cooperation of many different creative individuals with strongly contradicting artistic ideals and visions, he or she needs to possess conflict resolution skills in order to mediate whenever necessary.
Thus the director ensures that all individuals involved in the film production are working towards an identical vision for the completed film. The set of varying challenges he or she has to tackle has been described as "a multi-dimensional jigsaw puzzle with egos and weather thrown in for good measure", it adds to the pressure that the success of a film can influence when and how they will work again, if at all. The sole superiors of the director are the producer and the studio, financing the film, although sometimes the director can be a producer of the same film; the role of a director differs from producers in that producers manage the logistics and business operations of the production, whereas the director is tasked with making creative decisions. The director must work within the restrictions of the film's budget and the demands of the producer and studio. Directors play an important role in post-production. While the film is still in production, the director sends "dailies" to the film editor and explains his or her overall vision for the film, allowing the editor to assemble an editor's cut.
In post-production, the director works with the editor to edit the material into the director's cut. Well-established directors have the "final cut privilege", meaning that they have the final say on which edit of the film is released. For other directors, the studio can order further edits without the director's permission; the director is one of the few positions that requires intimate involvement during every stage of film production. Thus, the position of film director is considered to be a stressful and demanding one, it has been said that "20-hour days are not unusual". Some directors take on additional roles, such as producing, writing or editing. Under European Union law, the film director is considered the "author" or one of the authors of a film as a result of the influence of auteur theory. Auteur theory is a film criticism concept that holds that a film director's film reflects the director's personal creative vision, as if they were the primary "auteur". In spite of—and sometimes because of—the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through studio interference and the collective process.
Some film directors started as screenwriters, film producers or actors. Several American cinematographers have become directors, including Barry Sonnenfeld the Coen brothers' DP. Other film directors have attended a film school to get a bachelors degree studying cinema. Film students study the basic skills used in making a film; this includes, for example, shot lists and storyboards, protocols of dealing with professional actors, reading scripts. Some film schools are equipped with post-production facilities. Besides basic technical and logistical skills, students receive education on the nature of professional relationships that occur during film production. A full degree course can be designed for up to five years of studying. Future directors complete short films during their enrollment; the National Film School of Denmark has the student's final projects presented on national TV. Some film schools retain the rights for their students' works. Many directors prepared for making feature films by working in television.
The German Film and Television Academy Berlin cooperate
Marilynne Summers Robinson is an American novelist and essayist. Across her writing career, Robinson has received numerous awards, including the Pulitzer Prize for Fiction in 2005, National Humanities Medal in 2012, the 2016 Library of Congress Prize for American Fiction. In 2016, Robinson was named in Time magazine's list of 100 most influential people. Robinson began teaching at the Iowa Writers' Workshop in 1991 and retired in the spring of 2016. Robinson is best known for Gilead, her novels are noted for their thematic depiction of both rural faith. The subjects of her essays have spanned numerous topics, including the relationship between religion and science, US history, nuclear pollution, John Calvin, contemporary American politics. Born on November 26, 1943, Robinson grew up in Idaho, her brother is the art historian David Summers, who dedicated his book Vision and Desire in Western Painting to her. She did her undergraduate work at Pembroke College, the former women's college at Brown University, receiving her Bachelor of Arts degree magna cum laude in 1966, where she was elected to Phi Beta Kappa.
At Brown, one of her teachers was the celebrated postmodern novelist John Hawkes. She received her Doctor of Philosophy degree in English from the University of Washington in 1977. Robinson has written four acclaimed novels: Housekeeping, Gilead and Lila. Housekeeping was a finalist for the 1982 Pulitzer Prize for Fiction, Gilead was awarded the 2005 Pulitzer, Home received the 2009 Orange Prize for Fiction. Home and Lila are companions to Gilead and focus on the Boughton and Ames families during the same time period. Robinson is the author of many non-fiction works, including Mother Country: Britain, the Welfare State, Nuclear Pollution, The Death of Adam: Essays on Modern Thought, Absence of Mind: The Dispelling of Inwardness from the Modern Myth of the Self, When I Was a Child I Read Books: Essays, The Givenness of Things: Essays, What Are We Doing Here?. She has written numerous articles and reviews for Harper's, The Paris Review, The New York Review of Books, she has been writer-in-residence or visiting professor at many universities, including the University of Kent and the University of Massachusetts Amherst's MFA Program for Poets and Writers.
In 2009, she held a Dwight H. Terry Lectureship at Yale University, where she delivered a series of talks titled Absence of Mind: The Dispelling of Inwardness from the Modern Myth of the Self. On April 19, 2010, she was elected a fellow of the American Academy of Sciences. In May 2011, Robinson delivered the University of Oxford's annual Esmond Harmsworth Lecture in American Arts and Letters at the university's Rothermere American Institute. In the Spring of 2016, she retired as the F. Wendell Miller Professor of English and Creative Writing at the Iowa Writers' Workshop. Robinson still lives in Iowa City, spends the summers with family in upstate New York, she was the keynote speaker for the Workshop's 75th anniversary celebration in June 2011. She gave the 2012 Annual Buechner Lecture at The Buechner Institute at King University. In 2012, Brown University awarded Robinson the degree of Doctor of Literature honoris causa. On February 18, 2013, she was the speaker at the Easter Convocation of the University of the South, Sewanee and was awarded the degree of Doctor of Literature honoris causa.
The College of the Holy Cross, Notre Dame, Amherst College, Skidmore College, the University of Oxford, Yale University have awarded Robinson honorary degrees. She has been elected a fellow of Oxford. Robinson was raised as a Presbyterian and became a Congregationalist and sometimes preaching at the Congregational United Church of Christ in Iowa City, her Congregationalism and her interest in the ideas of John Calvin have been important in many of her novels, including Gilead, which centers on the life and theological concerns of a fictional Congregationalist minister. In an interview with the Church Times in 2012, Robinson said: "I think, if people read Calvin, rather than read Max Weber, he would be rebranded, he is a respectable thinker."The former Archbishop of Canterbury, Rowan Williams, has described Robinson as "one of the world's most compelling English-speaking novelists", adding that "Robinson's is a voice we urgently need to attend to in both Church and society here." On January 24, 2013, Robinson was announced to be among the finalists for the 2013 Man Booker International Prize.
On June 26, 2015, President Barack Obama quoted Robinson in his eulogy for Clementa C. Pinckney of Emanuel African Methodist Episcopal Church in Charleston, South Carolina. In speaking about "an open heart", Obama said: "hat a friend of mine, the writer Marilynne Robinson, calls'that reservoir of goodness, of another kind, that we are able to do each other in the ordinary cause of things.'" In November 2015, The New York Review of Books published a two-part conversation between Obama and Robinson, covering topics in American history and the role of faith in society. In 1967 she married Fred Miller Robinson, a writer and professor at the University of Massachusetts Amherst; the couple divorced in 1989. The couple had two sons and Joseph. In the late 1970s, she wrote Housekeeping in the evenings. Robinson said they influenced her writing in many ways, since " changes your sense of life, your sense of yourself." Housekeeping ISBN 9780374525187, OCLC 930404329 Gilead ISBN 9780312424404