Monday Photography Inspiration - Bill Burke
William M. Burke is an American photographer and educator known for his 20 years of documentary photography in Vietnam and neighbouring countries, detailing the effects of war.
Bill Burke was born in Milford, Connecticut in 1943. In 1966, he received a B.A. in Art History from Middlebury College and a B.F.A. and M.F.A. in Photography from Rhode Island School Of Design.
For over twenty years,…
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“Kiss.” Young Lady in Amusement Arcade, Williamson, West Virginia, Bill Burke, 1979
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#NoirCity21 opens this Friday, Jan 19, 7:30 PM at Oakland's Grand Lake Theatre with our newest restoration project NEVER OPEN THAT DOOR. Eddie Muller will be signing his books up in the mezzanine, 6pm-7pm. Tix: http://NoirCity.com
Restoration performed by UCLA Film & Television Archive.
Program notes follow.
FRIDAY, JANUARY 19:
7:30
World Premiere FNF Restoration!
NEVER OPEN THAT DOOR | NO ABRAS NUNCA ESA PUERTA
Argentina, 1952. Estudios San Miguel. 85 minutes
Screenplay by Alejandro Casona, from two short stories by Cornell Woolrich (William Irish)
Produced and directed by Carlos Hugo Christensen
More noir films have been based on the stories of Cornell Woolrich than any other writer, and NOIR CITY is proud to present this brand-new restoration of one of the best of those adaptations. In “Someone’s on the Phone,” Ángel Magaña plays a man bent on avenging the death of his sister, driven to suicide by gambling debts. In “The Hummingbird Comes Home,” Roberto Escalada portrays a racketeer who brings the gang to his boyhood home to lay low after a robbery. His blind madre doesn’t approve. Originally a three-part anthology of Woolrich tales, Never Open That Door was released separately from the 73-minute If I Should Die Before I Wake, also adapted by Casona and Christensen. Benefitting from the incredible cinematography of Pablo Tabernero, this is one of the most evocative realizations of Woolrich ever produced, featuring masterful sequences of sustained suspense. Said Buenos Aires film critic Horacio Bernades, “Rarely has an Argentine film been more purely cinematic than this.”
CAST: Someone on the Phone: Ángel Magaña (Raúl), Renée Dumas (Luisa), Diana de Córdoba (Nelly), Nicolás Fregues (money lender), Pedro Fiorito, Orestes Soriani, Percival Murray, Rosa Martín , Arnoldo Chamot. The Hummingbird Comes Home: Roberto Escalada (Daniel), Ilde Pirovano (the mother), Norma Giménez (María), Luis Otero (Juan)
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STREET OF CHANCE
United States, 1942. Paramount [Universal]. 74 minutes
Screenplay by Garrett Fort, based on the novel The Black Curtain by Cornell Woolrich
Produced by Burt Kelly. Directed by Jack Hively
The first case of amnesia in the film noir era comes with a typically intriguing Woolrichian twist. Frank Thompson survives a near fatal accident only to have the shock partially restore his memory! He realizes he’s lived the past several years as someone other than his true self. With the help of his incredulous girlfriend Ruth, Frank embarks on a nocturnal quest to determine his true identity. This modest offering from the B-unit at Paramount benefits from some A-list contributors, principally stars Burgess Meredith and Claire Trevor, and director of photography Theodor Sparkuhl, whose contributions to the look of early ’40s noir have gone largely unheralded. A wonderful gallery of supporting characters skitter and sneak through Frank’s waking nightmare, well rendered by journeyman director Jack Hively who had previously helmed many entries in RKO’s mystery series The Saint.
CAST: Burgess Meredith (Frank Thompson), Claire Trevor (Ruth Dillon), Louise Platt (Virginia Thompson), Sheldon Leonard (Joe Marucci), Frieda Inescort (Alma Diedrich), Jerome Cowan (Bill Diedrich), Adeline deWalt Reynolds (Grandma Diedrich), Arthur Loft (Sheriff Stebbins), Clancy Cooper (Burke), Ann Doran (Miss Peabody), Paul Phillips
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With a serial strangler on the loose, a bookkeeper wanders around town searching for the vigilante group intent on catching the killer.
Credits: TheMovieDb.
Film Cast:
Kleinman: Woody Allen
Prostitute: Kathy Bates
Student Jack: John Cusack
Irmy: Mia Farrow
Prostitute: Jodie Foster
Hacker’s Follower: Fred Gwynne
Clown: John Malkovich
Alma: Julie Kavner
Marie: Madonna
Magician: Kenneth Mars
Eve: Kate Nelligan
Doctor: Donald Pleasence
Prostitute: Lily Tomlin
Mr. Paulsen: Philip Bosco
Spiro’s Assistant: Robert Joy
Simon Carr: Wallace Shawn
Vogel’s Follower: Kurtwood Smith
Priest: Josef Sommer
Hacker: David Ogden Stiers
Cop at Police Station: John C. Reilly
Woman with Baby: Eszter Balint
Vigilante: James Rebhorn
Roustabout: Richard Riehle
Cop: William H. Macy
Undesirables Onlooker: Fred Melamed
Killer: Michael Kirby
Vigilante: Victor Argo
Vigilante: Daniel von Bargen
Landlady: Camille Saviola
Dwarf: Tim Loomis
Fat Lady: Katy Dierlam
Strongman: Dennis Vestunis
Prostitute: Anne Lange
Student: Andy Berman
Student: Paul Anthony Stewart
Student: Thomas L. Bolster
Police Chief: Greg Stebner
Cop at Police Station: Peter Appel
Cop at Police Station: Brian Smiar
Cop at Police Station: Michael P. Troy
Cop at Police Station: Remak Ramsay
Cop at Police Station: Ron Turek
Bartender: Peter McRobbie
Cop with Priest: Ira Wheeler
Baby: Rebecca Gibson
Hacker’s Follower: Robert Silver
Spiro: Charles Cragin
Vigilante with Spiro: Tom Riis Farrell
Vigilante with Spiro: Ron Weyand
Roustabout: Max Robinson
Film Crew:
Additional Casting: Todd M. Thaler
Casting: Juliet Taylor
Writer: Woody Allen
Producer: Robert Greenhut
Assistant Editor: Mark Livolsi
Costume Design: Jeffrey Kurland
Production Coordinator: Helen Robin
Executive Producer: Charles H. Joffe
Executive Producer: Jack Rollins
Editor: Susan E. Morse
Hairstylist: Romaine Greene
Assistant Art Director: W. Steven Graham
Casting Associate: Laura Rosenthal
Supervising Sound Editor: Robert Hein
Director of Photography: Carlo Di Palma
Gaffer: Ray Quinlan
Sound Designer: Dan Sable
Foley Artist: Brian Vancho
Set Decoration: George DeTitta Jr.
Assistant Costume Designer: Donna Zakowska
Production Sound Mixer: James Sabat
Production Design: Santo Loquasto
Assistant Sound Editor: Stuart Levy
Co-Producer: Joseph Hartwick
Sound Re-Recording Mixer: Lee Dichter
Construction Coordinator: Ron Petagna
Key Scenic Artist: James Sorice
Production Assistant: Robert C. Albertell
Makeup Artist: Bernadette Mazur
First Assistant Director: Thomas A. Reilly
Art Direction: Speed Hopkins
Property Master: James Mazzola
Assistant Production Coordinator: Ilyse A. Reutlinger
Still Photographer: Brian Hamill
Standby Carpenter: Joseph A. Alfieri Jr.
Scenic Artist: Cosmo Sorice
Set Dresser: Dave Weinman
Assistant Camera: Michael Green
Sound Recordist: Frank Graziadei
Camera Operator: Dick Mingalone
Script Supervisor: Kay Chapin
Set Decoration: Amy Marshall
Boom Operator: Louis Sabat
Dolly Grip: Ronald Burke
Key Grip: Robert Ward
Wardrobe Supervisor: Patricia Eiben
Second Assistant Camera: Michael Caracciolo
Camera Trainee: David E. Baron
Art Department Coordinator: Glenn Lloyd
Second Assistant Director: Richard Patrick
Assistant Editor: William Kruzykowski
Transportation Captain: Peter Tavis
Transportation Captain: Harold ‘Whitey’ McEvoy
Production Assistant: Justin Moritt
Wardrobe Supervisor: Bill Christians
Foley Artist: Elisha Birnbaum
Additional Casting: Judie Fixler
Key Construction Grip: Vincent Guarriello
Production Assistant: Danielle Rigby
Projection: Carl Turnquest
Best Boy Electric: Jim Manzione
Costume Assistant: Lauren Gibson
Assistant Art Director: Robert Perdziola
Foley Editor: Lori Kornspun
Assistant Art Director: Peter Eastman
Location Scout: Megan Monaghan
Assistant Art Director: Richard Michael Miller
Apprentice Sound Editor: Yasmine Amitai
Location Manager: James A. Davis
Movie Reviews:
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WORLD WRESTLING ENTERTAINMENT/FEDERATION MAGAZINE: May 2008
ECW INTERVIEW
O.M.G.!
ECW’s resident mouthpiece, Joey Styles, weighs in on “new” versus “original.” the making of Stone Cold Steve Austin and gross-out classic matches he just can’t bring himself to rewatch.
BY MATT CHRISTENSEN PHOTOGRAPHY BY BOB CROSLIN
“I'M NOT GOOD WITH GORE. I DIDN’T EVEN WATCH SEE NOT EVIL!”
[“The room service here is dreadful.”]
“New ECW.” “Original ECW.” When are people just gonna say “ECW” and leave it at that?
Absolutely never. Diehard “Original” ECW fans still exist all over. Whenever I'm noticed in the Northeast, it’s rarely due to my involvement with the new ECW.
Would the ECW stars of today be able to thrive, or even survive in the original ECW?
There are plenty of Superstars now who would’ve fit in perfectly in the old ECW. Guys like CM Punk, Chavo Guerrero, Shelton Benjamin and Elijah Burke would have thrived. They would’ve just been doing more hardcore things, maybe two times a week, instead of having spectacular athletic matches five times a week.
Is the revamped ECW the reason we don’t get as many “OH MY GOD!?!”’s?
No, I save it for special moments. At WrestleMania 23, when the ECW Originals defeated The New Breed, that was special. It was career validation for those four guys. Only RVD had competed at WrestleMania before, and his teammates, Sabu, Sandman and Tommy Dreamer, probably never, ever expected to do so. It was a very special night, so I leaned into Tazz and said, “There’s only one thing left to say…’OH MY GOD!’
What ECW matches made even you gag?
There are two classic matches that I never, ever need to watch again–one at Born To Be Wired, which featured Sabu vs. Terry Funk in a ring with barbwire instead of ring ropes. And Beulah McGillicutty vs. Bill Alphonso in 1997; I’ve never seen that much blood in my life. Fonzie actually had to be rushed to the hospital to get more blood put in him. And with Sabu and Funk, Terry almost lost an eye. I’m not good with gore. I didn’t even watch See No Evil!
Which Superstar are you most proud to say that ECW “discovered”?
Guys like Rey Mysterio, Tazz and Chris Jericho really broke out and made an impact on the wrestling world in ECW. But I'm specifically proud that ECW is where “Stunning” Steve Austin became “Stone Cold” Steve Austin. It’s where he began picking up the microphone and being himself. Mick Foley was also held back in WCW because he didn’t fit its image of a champion, but he could spellbind an entire viewing audience. ECW let him do just that.
Are there any underutilized Superstars in ECW today?
Up until very recently, people had given up on Tommy Dreamer and Stevie Richards. Maybe because they were perceived as being too old, or maybe because people were trying to forget about the old ECW. But those two have so much to offer, and they’re finally getting the credit they deserve.
As a commentator, who are your role models? And please don’t say Mongo McMichael…
I’ve learned a lot from Michael Cole since joining WWE, actually. But I grew up listening to two people–Vince McMahon doing WWE commentary and Jim Ross working with NWA. I always aspired to be a combination of the two by fusing Vince McMahon's enthusiasm with Jim Ross’s credibility and knowledge.
Best piece of advice from Good Ol’ J.R.?
When I first started, JR sat down with me for five straight hours [HOLDS UP ALL FIVE FINGERS ON HIS HAND] and helped me understand what being a WWE announcer was about. Initially, I couldn’t grasp the style, and he didn’t hesitate to help educate me. Without Jim Ross’ help, I wouldn't have lasted more than a few weeks in WWE.
How does two-man annoying compare to the one-man show you rain in the original ECW?
It’s been my life-long dream to be a professional wrestling announcer. I’m most proud of ECW’s first pay-per-view–Barely Legal. That was the first time I ever did live television. We had some Japanese wrestlers on the card, and I actually asked them to put me in some of their signature holds, albeit lightly, so that I'd know what to look for during the match. After the show, I was in years. I knew that night was going to make or break my career.
Is the passion still there after 15 years in the business?
When your dream becomes your job, sometimes you become numb to it. But, without question, the road to WrestleMania always makes me feel like a 13-year-old kid again. For the entire WrestleMania weekend, though I'm privileged to be calling the action, I’m there as a fan.
SPEED ROUND
Styles rates famous sports catchphrases
“BOO-YAH!” - STUART SCOTT
It definitely distinguished him on ESPN. When it’s forced, it’s obvious, but when it’s genuine, I think it’s great.
“HE COULD…GO…ALL...THE…WAY!” - CHRIS BERMAN
I love it. Chris Berman is the voice of ESPN.
“IT’S AWESOME, BABY!” - DICK VITALE
This one is probably a bit overused. And “Awesome, with a capital ‘A’” is definitely too much. But hey, it’s Dick Vitale, so who am I to critique him?
“DO YOU BELIEVE IN MIRACLES?” - AL MICHAELS
This is one of those lines that will live forever. I actually stole it when Mikey Whipwreck won the ECW World Heavyweight Championship in 1995.
“BUSINESS IS ABOUT TO PICK UP!” - JIM ROSS
It’s such a distinct sentence; it lets you know that something’s about to happen. In fact, every time I say, “Things are getting more interesting by the moment,” It’s my homage to JR’s signature phrase.
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Week 10 - Photobook Concept Idea
What and who will you portray?
With my photography I will be photographing individuals/my friends, portraying the feeling of losing yourself as you grow up and enter your twenties.
What might you communicate visually through the concept of portrayal?
Their emotions and body language on growing up.
What is your position on your subject matter?
As a individual myself entering my twenties, I want to be able to highlight and portray what my friends and I struggle with.
What is your voice? What is unique about your subject or your approach to it?
My voice for this project is the importance and reality for some individuals such as myself and my friends who are about to enter their twenties. What is unique about my subject is that my friends and I always talk about how we mentally stopped growing up when covid hit and are still 15
What do you have unique access to? A group of people, a place, a situation…?
A group of people – my closest group of friends/individuals photographing them at their homes.
Consider the important role the title takes in communicating your intention and how audiences might ‘read’ the book. What is your working title?
I’m not set on a working title as of this moment but some titles I am thinking of are ‘Mentally 15’ and ‘You’re 20?’.
What would you like readers to think and feel?
I would like the readers to connect with the images I’m portraying and understand the views of some people growing up.
What is the role of the text within the book? How does the text relate to the story the images tell? How do they work together?
The role of the text in my photobook will be little captions explaining the images captured, giving the reader an understanding of my images.
How many shoots do you require to gain adequate coverage and successfully tell the story?
I want to do atleast 5 or 6 shoots to collate a good set of images.
Do you need gear and support with your shoots? What is your plan?
With my shoots, I will be photographing my friends in a set location. I will only need a camera.
What software and workflow will you use to edit, process, collate and design your photobook PDF?
When needing to edit my photos, I will use camera raw and photoshop. As for creating the photobook, I will be using InDesign, considering I am more comfortable using that software.
What is your research plan?
I will be looking at photographers that focus on themes such as age, entering twenties, dark locations etc.
What other photobooks have you looked at?
I have looked at a range of photobooks online, one that really interested me was ‘Alessandra Sanguinetti- The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams’. It was very simple and portrayed their 5 years of growing. Another photobook that interested me was ‘I want to take a picture – Bill Burke’ as the images and text contrasted well with each other and as the images portrayed him travelling around South Asia and the text were passport stamps.
Are there decisions that have yet to be made? How will you resolve these?
I will need to decide on the layout of my photobook, deciding on which images should be portrayed first – deciding on a good book cover and what captions are good to use.
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Bill Burke, Woman and Elephant
Gelatin Silver Print
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Artists’ Book Display for the week of September 3rd, 2019
Artifact : notebooks from Hell, 1974-80 by Richard Hell- Madras: New York: Hanuman Books, 1990
Souvenirs of the self by Jin-Me Yoon- Banff, AB: Walter Phillips Gallery, 1991
Sand catalogue by Long Beach, BC 1971
They shall cast out demons by Bill Burke- Atlanta: Nexus Press, 1983
Notations by John M. Cage- New York: Something Else Press, 1968
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Pay it forward.
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Hey my friend is doing a survey on separating the art form the artist following the #metoo movement for a school thing. It would be really helpful if you could take the time to quickly fill it out. Thank you so much!
https://docs.google.com/forms/d/e/1FAIpQLSf_yUaNgr-7LLmHrtWojt0Jq3OXaTZneoVsES3CDqmyjS5iUA/viewform
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Lewis, Vote, Kool, Valley View, Kentucky, Bill Burke, 1976
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Strange things begin to occurs as a tiny California coastal town prepares to commemorate its centenary. Inanimate objects spring eerily to life; Rev. Malone stumbles upon a dark secret about the town’s founding; radio announcer Stevie witnesses a mystical fire; and hitchhiker Elizabeth discovers the mutilated corpse of a fisherman. Then a mysterious iridescent fog descends upon the village, and more people start to die.
Credits: TheMovieDb.
Film Cast:
Stevie Wayne: Adrienne Barbeau
Father Malone: Hal Holbrook
Kathy Williams: Janet Leigh
Nick Castle: Tom Atkins
Elizabeth Solley: Jamie Lee Curtis
Sandy Fadel: Nancy Kyes
Andy: Ty Mitchell
Mr. Machen: John Houseman
Dick Baxter: James Canning
Dan O’Bannon: Charles Cyphers
Al Williams: John F. Goff
Tommy Wallace: George Buck Flower
Mrs. Kobritz: Regina Waldon
Dockmaster: Jim Haynie
Mel: Darrow Igus
Bennett: John Carpenter
Dr. Phibes: Darwin Joston
Ashcroft: Fred Franklyn
Grocery Clerk: John Strobel
Ghost: Tommy Lee Wallace
Ghost: Lee Socks
Ghost: Ric Moreno
Blake: Rob Bottin
Blake (voice): Charles Nicklin
Blonde Girl on Bleachers (uncredited): Debra Hill
Film Crew:
First Assistant Director: Larry J. Franco
Director of Photography: Dean Cundey
Producer: Debra Hill
Original Music Composer: John Carpenter
Producer: Barry Bernardi
Executive Producer: Charles B. Bloch
Producer: Pegi Brotman
Editor: Charles Bornstein
Production Design: Tommy Lee Wallace
Art Direction: Craig Stearns
Costume Design: Stephen Loomis
Costume Design: Bill Whitten
Sound Designer: William L. Stevenson
Stunt Driver: James Winburn
Production Accountant: Donald P. Borchers
Assistant Art Director: Randy Moore
Second Assistant Director: Jim Van Wyck
Camera Operator: Raymond Stella
Script Supervisor: Jeanne Rosenberg
Sound Re-Recording Mixer: Richard Tyler
Assistant Editor: Joe Woo Jr.
Boom Operator: Joseph F. Brennan
Makeup Effects: Rob Bottin
Supervising Sound Editor: Gregg Barbanell
Sound Effects Editor: Frank Serafine
Makeup Artist: Erica Ueland
Hairstylist: Tina Cassady
Makeup Artist: Dante Palmiere
Makeup Artist: Edward Ternes
Sound Re-Recording Mixer: Bob Minkler
Sound Re-Recording Mixer: Ray West
Supervising Sound Editor: Ron Horwitz
Special Effects: Richard Albain Jr.
Gaffer: Mark Walthour
Unit Publicist: Ed Pine
Unit Publicist: Katy Sweet
Sound Mixer: Craig Felburg
Grip: David Michels
Title Designer: Burke Mattsson
Key Grip: Ben Haller
Stunts: Mags Kavanaugh
Movie Reviews:
John Chard: 00:00: 21st April, 1980.
The Fog is directed by John Carpenter who also co-writes the screenplay with Debra Hill. It stars Adrienne Barbeau, Tom Atkins, Janet Leigh, Hal Holbrook, Jamie Lee Curtis and Nancy Loomis. Carpenter also scores the music and cinematography is by Dean Cundey.
The Californian fishing town of Antonio Bay is preparing to celebrate its 100 year anniversary. As the clock ticks past midnight strange events start to occur around the town, it seems that the town has a secret and that secret is back to make a point…
Not as praised as Halloween and The Thing from John Carpenter’s early horror output, The Fog sees the director tackle the ghost story premise. For many who lapped it up back when the 80s began, it still enthrals and holds in its eerie vice like grip, for others in this desensitised age of gore and cgi overkill, it proves to be a film unable to justify the love poured on it by the fans. Which is a shame.
Being able to appreciate the craft of John Carpenter back in 1980 certainly helps to avert some harsh criticisms thrown its way, because Carpenter has achieved, pound for pound, a better ghost story on a fraction of the budget afforded big Hollywood genre productions that have been made since. That’s not to say it’s perfect, for it’s not, Carpenter himself has never been wholly satisfied with the final film, this even after re-shooting a third of the film after originally making a picture reliant on suggestion over presence, but with some smoke machines, a synthesiser, a game cast and a spooky revenge story on the page, he’s made a sub-genre classic.
Carpenter has so...
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how many?
© Bill Burke
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Mank (2020)
Like Citizen Kane, I was not immediately taken by Mank. Then, something clicked. Before, I wondered where things were headed. Now I couldn’t wait to see what was coming next. It’s enough to make me want to go back and watch it again to take mental note of all the little details that added up to that moment of epiphany.
In 1940, Orson Welles (Tom Burke) is given complete control for his next film project. He chooses to hire Herman J. “Mank” Mankiewicz (Gary Oldman) as the screenplay writer. As Mank struggles to complete his deadline, his secretary, Rita Alexander (Lily Collins) notices similarities between the characters in his story and William Randolph Hearst (Charles Dance).
I’m unsure how the film would play to someone who's never seen, Citizen Kane. This is a love letter to Orson Welles’ film but not in the usual way. While images, shots, black-and-white photography, and sounds evoke the 1941 classic, it isn’t trying to BE Citizen Kane by inserting stand-ins for “Rosebud”. Mank isn’t about the shooting, it’s about the writing, and the writing is based n Mank’s experiences, which would've existed whether he wrote this screenplay or not. It resembles Citizen Kane in the way it’s told non-linearly, and you can draw lines between the characters but the story stands on its own.
Ultimately, Mank is about the characters, specifically, the titular character. We don’t see his entire life but get a “complete” picture of who he is. It’s subtle. Mank always speaks in the same sharp dialogue all the way through, in a nonchalant tone that makes the brilliance of his words fly over your head. Between the scenes in the past and the present, you notice little variations that show you how much he’s changed. Most of the time, character growth is shown through drastic transformations. A failure becomes a success, an addict recovers, a boy grows up to be a man. In reality, most people change through nearly imperceptible tweaks that add up to a lot. That’s what Mank is all about.
Gary Oldman deserves much attention for his performance. Though the script is excellent and the direction by Favid Fincher stylish, it might’ve all fallen apart without him. Think about it. When was the last time a story about someone writing compelled your hands to paw through your hair out of nervousness?
I also want to direct you towards Amanda Seyfried, playing Marion Davies. They could make a spinoff just about her. It might be the hairdo or the costumes but she’s hardly recognizable.
There should be a sub-category of movies for the ones that need to be watched in pairs. Troll 2 and Best Worst Movie, The Room and The Disaster Artist, Apocalypse Now and Hearts of Darkness; movies that are fascinating on their own, elevated even higher when paired together. Mank and Citizen Kane is another in this "genre" and what a double-bill it would be! (April 28, 2021)
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