Clive Owen is an English actor. He first gained recognition in the United Kingdom for playing the lead role in the ITV series Chancer from 1990 to 1991, he received critical acclaim for his work in the film Close My Eyes before earning international attention for his performance as a struggling writer in Croupier. In 2005, he won a Golden Globe and a BAFTA Award and was nominated for an Academy Award for Best Supporting Actor for his performance in the drama Closer. Owen has played leading roles in films such as Sin City, Inside Man, Children of Men, The International. In 2012, he earned his first Primetime Emmy Award nomination for Outstanding Lead Actor in a Miniseries or a Movie for his role in Hemingway & Gellhorn, he played Dr. John W. Thackery on the Cinemax medical drama series The Knick, for which he received a Golden Globe Award nomination. Clive Owen was born on 3 October 1964 in Keresley, the fourth of five sons born to Pamela and Jess Owen, his father, a country and western singer, left the family when Owen was three years old, despite a brief reconciliation when Owen was 19, the two have remained estranged.
Raised by his mother and stepfather, a railway ticket clerk, he has described his childhood as "rough". While opposed to drama school, he changed his mind in 1984, after a long and fruitless period of searching for work. Owen graduated from the Royal Academy of Dramatic Art. After graduation, he worked at the Young Vic. Owen's career was in television. In 1988, he starred as Gideon Sarn in a BBC production of Precious Bane and the Channel 4 film Vroom before the 1990s saw him become a regular on stage and television in the UK, notably his lead role in the ITV series Chancer, followed by an appearance in the Thames Television production of Lorna Doone, he won critical acclaim for his performances in the Stephen Poliakoff film Close My Eyes about a brother and sister who embark on an incestuous love affair. He subsequently appeared in The Magician, Class of'61, Nobody's Children, An Evening with Gary Lineker, Doomsday Gun, Return of the Native and a Carlton production called Sharman, about a private detective.
In 1996, he appeared in his first major Hollywood film The Rich Man's Wife alongside Halle Berry before finding international acclaim in a Channel 4 film directed by Mike Hodges called Croupier. In Croupier, he played the title role of a struggling writer who takes a job in a London casino as inspiration for his work, only to get caught up in a robbery scheme. In 1999, he appeared as an accident-prone driver in Split Second, his first BBC production in about a decade. Owen starred in The Echo, a BBC1 drama, before starring in the film Greenfingers, about a criminal who goes to work in a garden, he appeared in the BBC1 mystery series Second Sight. In 2001, he provided the voice-over for Walk On By, a BBC2 documentary about popular music, as well as starring in a acclaimed theatre production called A Day in the Death of Joe Egg, about a couple with a handicapped daughter. Owen became known to North American audiences in the summer of 2001 after starring as "The Driver" in The Hire, a series of short films sponsored by BMW and made by prominent directors.
He appeared in Robert Altman's Gosford Park. He appeared in the 2002 film The Bourne Identity. In 2003, he reteamed with director Mike Hodges, he starred in Beyond Borders as well as King Arthur in King Arthur, for which he learned to ride a horse. He appeared in the Royal National Theatre debut of the hit play Closer, by Patrick Marber, produced as a film in 2004, he played Dan in the play, played Larry in the film version. His portrayal of Larry in the film received rave reviews, as well as the Golden Globe and BAFTA awards, an Academy Award nomination for Best Supporting Actor, he noted that the expectations of him since the Oscar nomination have not changed the way he approaches film-making, stating "I try, every film I do, to be as good as I can and that's all I can do." After Closer, he appeared in Derailed alongside Jennifer Aniston, the comic book thriller Sin City as the noir antihero Dwight McCarthy and as a mysterious bank robber in Inside Man. Despite public denials, Owen had been rumoured to be a possible successor to Pierce Brosnan in the role of James Bond.
A public opinion poll in the United Kingdom in October 2005 by SkyNews found that he was the public's number one choice to star in the next installment of the series. In that same month, however, it was announced that fellow British actor Daniel Craig would become the next James Bond. In an interview in the September 2007 issue of Details, he claimed that he was not offered or approached concerning the role. In 2006, Owen spoofed the Bond connection by making an appearance in the remake of The Pink Panther in which he plays a character named "Nigel Boswell, Agent 006". In 2006, Owen starred in Children of Men; the film was nominated including an Academy Award for Best Adapted Screenplay. The next year he starred alongside Paul Giamatti in the film Shoot'Em Up and appeared as Sir Walter Raleigh opposite Cate Blanchett's Elizabeth I of England in the film Elizabeth: The Golden Age, he appeared in the Christmas special of the Ricky Gervais and Stephen Merchant show Extras. Owen starred in The International, a film which he described as a "paranoid political thriller".
He played the lead in The Boys Are Back, an Australian adaptation of the book The Boys Are Back in Town
Entertainment Weekly is an American magazine, published by Meredith Corporation, that covers film, music, Broadway theatre and popular culture. Different from celebrity-focused publications like Us Weekly, In Touch Weekly, EW concentrates on entertainment media news and critical reviews. However, unlike Variety and The Hollywood Reporter, which are aimed at industry insiders, EW targets a more general audience; the first issue was published on February 16, 1990. Created by Jeff Jarvis and founded by Michael Klingensmith, who served as publisher until October 1996, the magazine's original television advertising soliciting pre-publication subscribers portrayed it as a consumer guide to popular culture, including movies and book reviews, sometimes with video game and stage reviews, too.. In 1996, the magazine won the coveted National Magazine Award for General Excellence from the American Society of Magazine Editors. EW won the same award again in 2002. In September 2016, in collaboration with People, Entertainment Weekly launched the People/Entertainment Weekly Network.
The network is "a free, ad-supported online-video network carries short- and long-form programming covering celebrities, pop culture and human-interest stories". It was rebranded as PeopleTV in September 2017; the magazine features celebrities on the cover and addresses topics such as television ratings, movie grosses, production costs, concert ticket sales, ad budgets, in-depth articles about scheduling, showrunners, etc. It publishes several "double issues" each year; the magazine numbers its issues sequentially, it counts each double issue as "two" issues so that it can fulfil its marketing claim of 52 issues per year for subscribers. Entertainment Weekly follows a typical magazine format by featuring a letters to the editor and table of contents in the first few pages, while featuring advertisements. While many advertisements are unrelated to the entertainment industry, the majority of ads are related to up-and-coming television, film or music events; these beginning articles open the magazine and as a rule focus on current events in pop culture.
The whole section runs eight to ten pages long, features short news articles, as well as several specific recurring sections: "Sound Bites" opens the magazine. It’s a collage of media personalities. "The Must List" is a two-page spread highlighting ten things. "First Look", subtitled "An early peek at some of Hollywood's coolest projects", is a two-page spread with behind-the-scenes or publicity stills of upcoming movies, television episodes or music events. "The Hit List", written each week by critic Scott Brown, highlights ten major events, with short comedic commentaries by Brown. There will be some continuity to the commentaries; this column was written by Jim Mullen and featured twenty events each week, Dalton Ross wrote an abbreviated version. "The Hollywood Insider" is a one-page section. It gives details, in the separate columns, on the most-current news in television and music. "The Style Report" is a one-page section devoted to celebrity style. Because its focus is on celebrity fashion or lifestyle, it is graphically rich in nature, featuring many photographs or other images.
The page converted to a new format: five pictures of celebrity fashions for the week, graded on the magazine's review "A"-to-"F" scale. A spin-off section, "Style Hunter", which finds reader-requested articles of clothing or accessories that have appeared in pop culture appears frequently. "The Monitor" is a two-page spread devoted to major events in celebrity lives with small paragraphs highlighting events such as weddings, arrests, court appearances, deaths. Deaths of major celebrities are detailed in a one-half- or full-page obituary titled "Legacy"; this feature is nearly identical to sister publication People's "Passages" feature. The "celebrity" column, the final section of "News and Notes", is devoted to a different column each week, written by two of the magazine's more-prominent writers: "The Final Cut" is written by former executive editor and author Mark Harris. Harris' column focuses on analyzing current popular-culture events, is the most serious of the columns. Harris has written among other topics.
"Binge Thinking" was written by screenwriter Diablo Cody. After several profiles of Cody in the months leading up to and following the release of her debut film, she was hired to write a column detailing her unique view of the entertainment business. If You Ask Me..." Libby Gelman-Waxer was brought in to write his former Premiere column for Entertainment Weekly in 2011. There are four to six major articles within the middle pages of the magazine; these articles are most interviews, but there are narrative articles as well as lists. Feature articles tend to focus on movies and television and less on books and the theatre. In the magazine's history, there have only been a few cover stories devoted to authors. There are seven sections of reviews in the back pages of each issue (together enc
The New School
The New School is a private non-profit research university centered in Manhattan, New York City, located in Greenwich Village. It was founded in 1919 as The New School for Social Research with an original mission dedicated to academic freedom and intellectual inquiry and a home for progressive thinkers. Since the school has grown to house five divisions within the university; these include the Parsons School of Design, the Eugene Lang College of Liberal Arts, The New School for Social Research, the Schools of Public Engagement, the College of Performing Arts which consists of the Mannes School of Music, the School of Drama, the School of Jazz and Contemporary Music. In addition, the university maintains the Parsons Paris campus and has launched or housed a range of institutions, such as the international research institute World Policy Institute, the Philip Glass Institute, the Vera List Center for Art and Politics, the India China Institute, the Observatory on Latin America, the Center for New York City Affairs.
Its faculty and alumni include numerous notable designers, musicians and political activists. 10,000 students are enrolled in undergraduate and postgraduate programs and disciplines including social sciences, liberal arts, architecture, fine arts, music, finance and public policy. From its founding in 1919 by progressive New York educators, for most of its history, the university was known as The New School for Social Research. Between 1997 and 2005 it was known as New School University; the university and each of its colleges were renamed in 2005. The New School established the University in Exile and the École libre des hautes études in 1933 as a graduate division to serve as an academic haven for scholars escaping from Nazi Germany among other adversarial regimes in Europe. In 1934, the University in Exile was chartered by New York State and its name was changed to the Graduate Faculty of Political and Social Science. In 2005, it adopted what had been the name of the whole institution, the New School for Social Research, while the larger institution was renamed The New School.
The New School for Social Research was founded by a group of university professors and intellectuals in 1919 as a modern, free school where adult students could "seek an unbiased understanding of the existing order, its genesis and present working". Founders included economist and literary scholar Alvin Johnson, historian Charles A. Beard, economists Thorstein Veblen and James Harvey Robinson, philosophers Horace M. Kallen and John Dewey. Several founders were former professors at Columbia University. In October 1917, after Columbia University imposed a loyalty oath to the United States upon the entire faculty and student body, it fired several professors. Charles A. Beard, Professor of Political Science, resigned his professorship at Columbia in protest, his colleague James Harvey Robinson resigned in 1919 to join the faculty at the New School. The New School plan was to offer the rigorousness of postgraduate education without degree matriculation or degree prerequisites, it was theoretically open to anyone, as the adult division today called Schools of Public Engagement remains.
The first classes at the New School took the form of lectures followed by discussions, for larger groups, or as smaller conferences, for "those equipped for specific research". In the first semester, 100 courses in economics and politics, were offered by an ad hoc faculty that included Thomas Sewall Adams, Charles A. Beard, Horace M. Kallen, Harold Laski, Wesley Clair Mitchell, Thorstein Veblen, James Harvey Robinson, Graham Wallas, Charles B. Davenport, Elsie Clews Parsons, Roscoe Pound. John Cage pioneered the subject of Experimental Composition at the school; the New School uses "To the Living Spirit" as its motto. In 1937, Thomas Mann remarked that a plaque bearing the inscription "be the Living Spirit" had been torn down by the Nazis from a building at the University of Heidelberg, he suggested that the University in Exile adopt that inscription as its motto, to indicate that the'living spirit,' mortally threatened in Europe, would have a home in this country. Alvin Johnson adopted that idea, the motto continues to guide the division in its present-day endeavors The Graduate Faculty of Political and Social Science was founded in 1933 as the University in Exile for scholars, dismissed from teaching positions by the Italian fascists or had to flee Nazi Germany.
The University in Exile was founded by the director of the New School, Alvin Johnson, through the financial contributions of Hiram Halle and the Rockefeller Foundation. The University in Exile and its subsequent incarnations have been the intellectual heart of the New School. Notable scholars associated with the University in Exile include psychologists Erich Fromm, Max Wertheimer and Aron Gurwitsch, political theorists Hannah Arendt and Leo Strauss, philosopher Hans Jonas. In 1934, the University in Exile was chartered by New York State and its name was changed to the Graduate Faculty of Political and Social Science. In 2005 the Graduate Faculty was again renamed, this time taking the original name of the university, The New School for Social Research; the New School played a similar role with the founding of the École Libre des Hautes Études after the Nazi invasion of France. Receiving a charter from de Gaulle's Free French government in exile, the École attracted refugee scholars who taught in French, including philosopher Jacques Maritain, anthropologist Claude Lévi-Strauss, linguist Roman Jakobson.
The École Libre evolved into one of the leading institutions of research in Paris, the École des Hautes Études en Sciences Sociales, with which the New School maintains
British Board of Film Classification
The British Board of Film Classification the British Board of Film Censors, is a non-governmental organisation, founded by the film industry in 1912 and responsible for the national classification and censorship of films exhibited at cinemas and video works released on physical media within the United Kingdom. It has a statutory requirement to classify all video works released on VHS, DVD, Blu-ray, to a lesser extent, some video games under the Video Recordings Act 1984; the BBFC was established in 1912 as the British Board of Film Censors by members of the film industry, who would rather manage their own censorship than have national or local government do it for them. The immediate impetus for the Board's formation stemmed from the furore surrounding the release in the UK in October 1912 of the film From the Manger to the Cross, about the life of Jesus; the film, shown at the Queen's Hall, gained considerable publicity from a great outcry in the Daily Mail, which demanded: "Is nothing sacred to the film maker?", waxed indignant about the profits for its American film producers.
Although the clergy were invited to see it and found little to be affronted by, the controversy resulted in the voluntary creation of the BBFC, which began operating on 1 January 1913. The Board's legal basis was the Cinematograph Act 1909, which required cinemas to have licences from local authorities; the Act was introduced for safety reasons after a number of nitrate film fires in unsuitable venues but the following year a court ruling determined that the criteria for granting or refusing a licence did not have to be restricted to issues of health and safety. Given that the law now allowed councils to grant or refuse licences to cinemas according to the content of the films they showed, the 1909 Act therefore enabled the introduction of censorship; the film industry, fearing the economic consequences of a unregulated censorship infrastructure, therefore formed the BBFC to take the process'in house' and establish its own system of self-regulation. By paying a fee of £2 for every reel of film viewed, by appointing a panel of viewers under a censor, none of whom had any film trade interests, the growing cinema industry neatly created a censorship body, both self-supporting and impartial, therefore was not swayed by any sectional interests inside the film trade or outside it.
The Board's offices were at 133-135 Oxford Street, London. Some decisions from the early years are now subjected to derision. In 1928, the Board's examiners report famously claimed that Germaine Dulac's surrealist film The Seashell and the Clergyman was "Apparently meaningless" but "If there is a meaning, it is doubtless objectionable". Informal links, to varying degrees of closeness, have been maintained between the BBFC and the Government throughout the Board's existence. In the period before the Second World War, an extensive but unofficial system of political censorship was implemented by the BBFC for the Home Office; as the cinema became a powerful mass-medium, governments feared the effect of its use by others for propaganda and as happened in the Soviet Union and Nazi Germany discouraged any expression of controversial political views in British films. This trend reached its climax during the 1930s. Following protests from the German Embassy after the release of a film depicting the execution of Edith Cavell, intense political pressure was brought to bear on the BBFC by the Home Office.
A system of script vetting was introduced, whereby British studios were invited to submit screenplays to the BBFC before shooting started. Imported Hollywood films were not treated as as British films, as the BBFC believed that audiences would recognise American cinema as representing a foreign culture and therefore would not apply any political messages therein to their own lives. So while the Warners gangster films and other 1930s Hollywood films that dealt explicitly with crime and the effects of the Great Depression were released in the UK uncut, these subjects were off-limits for British film-makers. During the Second World War, the BBFC's political censorship function passed to the Films Division of the Ministry of Information, the BBFC never regained this to the same extent as before the war; the increasing climate of post-war liberalism ensured that from the 1950s onwards, controversies involving the BBFC centred more on depictions of sex and violence than on political expression. There were some notable exceptions: Yield to the Night.
In autumn 1972, Lord Longford and Raymond Blackburn decided to pursue a matter of pornography classification for the film Language of Love into the Court of Appeal of Lord Denning, MR, lost the writ of mandamus against the Police Commissioner, who had refused to intrude upon the BBFC remit. In 1984 the organisation changed its name to "reflect the fact that classification plays a far larger part in the Board's work than censorship". At that time it was given responsibility for classifying videos for hire or purchase to view in the home as well as films shown in cinemas. Home video and cinema versions of a film receive the same certi
Sony Pictures Classics
Sony Pictures Classics is an American film production and distribution company, a division of Sony Pictures. It was founded in 1992 by former Orion Classics heads Michael Barker, Tom Bernard, Marcie Bloom, it distributes and acquires specialty films such as documentaries and art films in the United States and internationally. As of 2015, Barker and Bernard are co-presidents of the division. Sony Pictures Classics was founded in 1992, by Michael Barker, Tom Bernard, Marcie Bloom, set up as an autonomous division of Sony Pictures; the model of the company is to produce, acquire and/or distribute independent films from the United States and internationally. Sony Pictures Classics has a history of making reasonable investments for small films, getting a decent return, it has a history of not overspending. Its largest commercial success of the 2010s is Woody Allen's Midnight in Paris, which grossed over $56 million in the U. S. becoming Allen's highest-grossing film in the United States. Sony Pictures Classics agrees to release films for all other film studio divisions of Sony.
The following films have been announced by Sony Pictures Classics, but have "to be determined" release dates. Where's My Roy Cohn? John Prine: Hello in There Mongrel Media, the exclusive theatrical Canadian distributor for Sony Pictures Classics films Official website Sony Pictures Classics on IMDb
Rebecca Augusta Miller, Lady Day-Lewis is an American independent filmmaker and novelist, known for her films Angela, Personal Velocity: Three Portraits, The Ballad of Jack and Rose, The Private Lives of Pippa Lee, Maggie's Plan, all of which she wrote and directed. Miller is the daughter of Arthur Miller, a Pulitzer Prize-winning playwright, his third wife Inge Morath, Magnum photographer. Miller was born in Roxbury, Connecticut, to Arthur Miller, a notable playwright, Austrian-born Inge Morath, a photographer, her younger brother, was born in 1966. Her father was Jewish, her mother was Protestant. For a time during childhood, Miller practiced Catholicism on her own accord, she has said that she stopped thinking of herself as a Christian "somewhere at the end of college". Miller remembered her childhood in Roxbury as being surrounded by artists. Sculptor Alexander Calder was a neighbor. Immersed in drawing, Miller was tutored by sculptor Philip Grausman. Miller was educated at Choate Rosemary Hall.
In 1980, she entered Yale University to study literature. Naomi Wolf was her roommate and became a noted author. Miller created wooden panel triptychs she described as hybrids of pictographic forms inspired, for example, by Paul Klee and a 15th-century altarpiece. Upon graduation in 1985, Miller went abroad to Munich, Germany. In 1987, Miller took up residence in New York City, she showed painting and sculpture at Leo Castelli Gallery, Victoria Munroe Gallery, in Connecticut. Miller studied film at The New School. Mentored by 92-year-old professor Arnold S. Eagle, a photographer and cinematographer, Miller began making non-verbal films, which she exhibited along with her artwork. In 1988, Miller was cast in the role of Anya in the Peter Brook's adaptation of Chekhov's The Cherry Orchard, her first stage role, she originated the part of Lili in The American Plan. Throughout, Miller gravitated toward her role as an independent filmmaker/director. Miller began her acting career with directors Alan Pakula, Paul Mazursky, Mike Nichols.
She played the female lead in NBC's television movie The Murder of Mary Phagan, supporting roles in feature films, including Regarding Henry and Consenting Adults. In 1991, Miller wrote and directed a short film Florence, starring actress Marcia Gay Harden, about a precociously empathetic woman who acquires the symptoms from others. Florence caught the attention of Ensemble Theatre Cincinnati, Miller was invited to direct a revival of Arthur Miller’s After the Fall, she directed Nicole Burdette's play The Bluebird Special Came Through Here. Miller is a novelist, independent filmmaker, advocate of women in the film industry, she was featured in the 2003 IFC Films documentary In The Company of Women, directed by Lesli Klainberg and Gini Reticker. In 2009, Miller was honored with the Maureen O'Hara Award in recognition of achievements in film. Miller wrote and directed her first film, Angela, in 1995, it is the story of 10-year-old Angela's attempt to purge her soul of sin in order to cure her mentally ill mother.
The film premiered at Philadelphia Festival of World Cinema, screened at Sundance Film Festival. For Angela, Miller received the Independent Feature Project Gotham Awards, the Independent Film Project's Open Palm Award, the Sundance Film Festival Filmmaker Trophy from her peers; the film cinematographer Ellen Kuras was honored at Sundance and the Brussels International Festival of Fantasy Film. Miller's collection of prose portraits of women, Personal Velocity, was awarded The Washington Post Best Book of 2001. Personal Velocity was adapted by Miller for her 2002 award-winning feature film by the same name, she adapted three short stories into a screenplay of three different, although thematically unified short films, which Miller directed. Each film explores personal transformation in response to life-changing circumstances. Miller credits the poet Honor Moore for help to "bridge the gap between being a writer of scripts and fiction." Personal Velocity: Three Portraits screened at Tribeca Film Festival, the High Falls Film Festival, the film was released through United Artists.
The film earned critical praise from The New York Times as "the work of a talented and visual writer." For Personal Velocity, Miller received the Sundance Film Festival Grand Jury Prize and the Independent Spirit John Cassavetes Award in 2002, the National Board of Review of Motion Pictures Special Recognition for Excellence in Filmmaking in 2003. Cinematographer Ellen Kuras received the Excellence in Cinematography Award at Sundance. Personal Velocity: Three Portraits is part of the permanent collection of the Museum of Modern Art in New York City. In 2003, Miller illustrated A Woman Who; the book is a collection of images of women, in a variety of scenes, each drawn by Miller with her eyes closed. Miller wrote the screenplay for the 2005 film adaptation of David Auburn's Pulitzer Prize-winning play Proof; the film was directed by John Madden, stars Gwyneth Paltrow and Anthony Hopkins. In 2005, Miller directed her film, The Ballad of Jack and Rose, which stars Daniel Day-Lewis, Camilla Belle and Catherine Keener.
Shot on location in Nova Scotia and on Prince Edward Island, the film is a textured, coming of age story about a 16-year-old named Rose who has grown up in isolation with her father. The Ballad of Jack and Rose screened at the Woodstock Film IFC Center in New York. For The Ballad of Jack and Rose, Miller received Honorable Mention from MTV's 2010 The Best Fe