#Ivan Goff

[randomrichards]

WHITE HEAT:

Mama’s boy gangster

Brings law a hail of bullets

On Top of the world

[kurithedweeb]

He also voices Lucinda’s ex boyfriend. And other characters. It’s wild.

Just went through the VA page

Malachi, Ivan the ex-boyfriend, some background characters, filling in for a couple MyStreet guys . . . Xavier?? Xavier the dude who created the Jury of Nine??? LEVIN????

I was watching S2 last night and I did not connect Levin & Malachi’s voices at all. I thought Malachi was voiced by Andy Cowley (Garroth & Jeffory's main VA) because to me it sounded like Garroth and Malachi speak with the same cadence, but Kellen Goff's always voiced Malachi. Andy Cowley used to voice LEVIN though - he voiced him at the start of S2 and Kellen later took over as Levin's VA is both MCD & MyS.

We're learning things today, y'all.

[o-link]

Drôles de dames (Charlie's Angels) est une série télévisée américaine créée par Ivan Goff et Ben Roberts composée d'un pilote de 70 minutes diffusé le 21 mars 1976, et de 115 épisodes de 48-50 minutes diffusés entre le 22 septembre 1976 et le 24 juin 1981 sur le réseau ABC.

[lggy]

Fun fact: Ivan is voiced by kellen goff, who has also voiced in media such as Five Nights at Freddy's, My Hero Academia, and JoJo's Bizarre Adventure.

They got the voice actor of fredrick e. fazbear to do this silly little demon man who doesn’t appear in more than, and I’m being very generous, 4 episodes.

IUH35489HHAER89GHIUARE HES DIAVOLO???????????

idrc for fnaf so feddy frazbear didnt do it for me but as a former huge jojo fan seeing hes DIAVOLO.... IS WHAAAAAAAAA AAAAHAHA that's so cool

[byneddiedingo]

James Cagney and Margaret Wycherly in White Heat (Raoul Walsh, 1949)

Cast: James Cagney, Virginia Mayo, Edmond O'Brien, Margaret Wycherly, Steve Cochran, John Archer, Wally Cassell, Fred Clark. Screenplay: Ivan Goff, Ben Roberts, based on a story by Virginia Kellogg. Cinematography: Sidney Hickox. Film Editing: Owen Marks. Music: Max Steiner

It still baffles me that Raoul Walsh's terrific crime thriller White Heat received only one Oscar nomination, and that one for the scenario devised by Virginia Kellogg, which was notoriously revised not only by Kellogg but also by the credited screenwriters Ivan Goff and Ben Roberts with much uncredited help from James Cagney and his friends Humphrey Bogart and Frank McHugh. Where were the nominations for Walsh's no-nonsense direction, Cagney's superbly over-the-top performance (especially the scene in which Cody Jarrett goes berserk on learning of his dear old mother's death), Margaret Wycherly's tiger mom, or even Virginia Mayo's tough broad? Mayo was one of the more underrated blond bombshells of the era. She could have been a rival to Dorothy Malone and Gloria Grahame for tough-girl roles, but under contract to Samuel Goldwyn, she got stuck in forgettable musicals and comedies in which she played the foil to fellow Goldwyn contract player Danny Kaye. The good reviews she got for playing Dana Andrews's cheating wife in William Wyler's 1946 The Best Years of Our Lives showed that she had more acting talent than Goldwyn had revealed, but with a few exceptions -- White Heat being the most notable -- she got stuck in movies that played off her beauty more than her acting ability. Edmond O'Brien also shines in the part of the undercover detective who buddies up to Cody, and a good deal of the suspense of the film hinges on his hair-breadth avoidance of having his cover blown. It's to the credit of Walsh, the supporting players, and the fleet of screenwriters that although Cagney's performance fires the film, it never completely burns it up -- there's always someone or something else to watch.

[comicbookclub]

'Hyde Street' #1 Blackest Night Variant Cover Teases The Dark New Ghost Machine Book

Ivan Reis has penciled a new Hyde Street Blackest Night variant cover for Ghost Machine, paying tribute to the classic DC Comics event.

Artist Ivan Reis and writer Goff Johns are old hands at working together. The creative team famously collaborated on DC Comics’s now classic event Blackest Night, a mix of horror and DC superhero shenanigans. So it only makes sense now that Johns and Reis are reunited on Ghost Machine‘s upcoming horror series Hyde Street, that Reis would pencil a variant cover for Hyde Street #1 paying tribute to…

[comicbookclublive]

'Hyde Street' #1 Blackest Night Variant Cover Teases The Dark New Ghost Machine Book

Ivan Reis has penciled a new Hyde Street Blackest Night variant cover for Ghost Machine, paying tribute to the classic DC Comics event.

Artist Ivan Reis and writer Goff Johns are old hands at working together. The creative team famously collaborated on DC Comics’s now classic event Blackest Night, a mix of horror and DC superhero shenanigans. So it only makes sense now that Johns and Reis are reunited on Ghost Machine‘s upcoming horror series Hyde Street, that Reis would pencil a variant cover for Hyde Street #1 paying tribute to…

[nasfera2]

Ivan Goff ft. Chuck Brown - Misty

[thebookofthefilm]

The 1960 film Midnight Lace, starring Rex Harrison and Doris Day, was written by Ivan Goff and Ben Roberts, and based on the play Matilda Shouted Fire by Janet Green. This script was in turn novelised by William Drummond for Pan, released the same year as the film.

[theoscarsproject]

Midnight Lace (1960). In London, a newly-wed American woman's sanity comes into question when she claims to be the victim of a stalker.

This isn’t a bad movie exactly - in fact, it’s a pretty fun little mystery thriller, but it leans heavily on tropes and cliches, and the twist of the end is, as a result, pretty obvious from the outset. Doris Day is, as always, a commanding screen presence, and there’s some terrific art department throughout, but otherwise it’s a fairly basic thriller. 6/10.

[radiogornjigrad]

Ivan Molek: Opisna i vrijednosna značenja – Oswald Spengler i štafeta jednoumlja Strašno, govori jedan od protagonista tv serije Teorija velikog praska nakon što, nerazumljen od najbližih prijatelja i kolega, odluči vratiti se u svoj teksaški zavičaj, provest ću ostatak života predajući fiziku kreacionistima.

[zurich-snows]

Jean Painlevéc, Tête De Crevette, 1930, Vintage gelatin silver print 

Jean Painlevé’s work, just like his personality, is almost paradoxical. This French biologist, became one of the founding fathers of scientific cinema in France by combining scientific rigour and ethic with artistic creativity. Before becoming a professional film director, it was first photography which allowed him to explore his lifelong passion: the sea and the underwater fauna which inhabits it.

It was during vacations in a sea resort in Brittany that young Painlevé, only 8 years old, captured this mysterious world for the first time thanks to a photographic process of his own making. His father, a renowned scientific and politician named Paul Painlevé, offered him his first camera when he was twelve years old. This fortuitous gift only strengthened his passion for photography.

Throughout his life, Jean Painlevé made more than 200 films on a wide range of subjects, from bats to octopuses, with a notable predilection for marine life. While his career as a filmmaker was consuming, it did not prevent him from pursuing his passion for photography, as attested by the creation of the “Club des sous l’eau”, a diving and underwater photography club which he founded in 1935 with Yves Le Prieur. Meanwhile, his participation the following year in the International Exhibition of Contemporary Photography, organized by the Musée des Arts Décoratifs in Paris, attests to the success he met on the artistic scene at the time.

In both his movies and photographs, Painlevé gave rise to a proper dialectic between art and science. As we look at this singular photograph which he took circa 1930, we might wonder: what is the status of this impressive shrimp which seems to be moving toward us? This animal, between the object of science and the artistic subject, is given a new importance and majesty.

As a true scientist, Painlevé wanted to discover “things no one had seen before”, make the invisiblevisible, that is to say the infinitely small. But his work is more than just a simple report on the abyssal fauna. It bears witness to a unique aesthetics which leaves no doubt about its artistic dimension. This shrimp becomes a hybrid being and its close-up image, which is both informative and aesthetic, offers different levels of reading. As Painlevé explained, it was “the profound beauty of nature, the colours and shapes” which drove him to document this impenetrable universe. Ultimately, it may be this interest he had in the beauty of the underwater world, and the consequent subjectivity of his look, which raised his work to the rank of visual poetry.

His photographs, and their fascinating strangeness, are ultimately symptomatic of the ambiguity proper to Painlevé himself. He personifies the encounter between the scientific world and the rebellious spirit of the avant-garde which he actually socialized with in the cafes and bars of Montparnasse since he was twenty years old. He was particularly close to the surrealist group, especially Ivan Goff, and André Breton admired the evocative aesthetics of his films.

Painlevé’s passion for the animal world began in his childhood when he would skip school to go to the zoological garden and take care of the animals, and did not stop until his death in 1989. Today, his photographs, which constitute an indisputable manifest of this fascination, are exhibited in renowned museums such as the Centre Pompidou, the Metropolitan Museum and the Museum of Modern Art of New York.

[momocon]

We are excited to announce the MomoConline schedule! https://www.momocon.com/momoconline-schedule/ Thanks to the help of many great partners and panelists we have gathered over 75 hours of NEW live and pre-recorded panels and content, multiple daily online board game sessions, and 7 different online video game tournaments May 21st - 24th. More details about other activities are available on momocon.com/online We have celebrity guest panels like Anniversary of Overwatch, An Hour with Kellen Goff, Chillin' at MomoCon, Tea with Uncle Iroh: An Hour with Greg Baldwin, and Voice Actors Round Table. We also have industry panels from Adult Swim, Crunchyroll, Rightstuf, and Frederator Networks. Frederator's Founder and CEO, Fred Seibert, is even presenting a live keynote! If you don't know who Fred Seibert is, you definitely know shows he helped produce like Dexter's Laboratory, Cow and Chicken and I Am Weasel, Johnny Bravo, Courage the Cowardly Dog, and The Powerpuff Girls. And their more recently produced works like Bravest Warriors, PuppyCat, and Castlevania. On Thursday we have a special Japanese guest speaker; we'll be sitting down with the President and CEO of CyberConnect2, Hiroshi Matsuyama, to talk Naruto Ninja Storm and Dragon Ball Z: Kakarot. Along with Frederator Network's own panels featuring creative talent like Ivan Animated, Jake Neutron, and CircleToonsHD, we will also have special panels from Saberspark, Pizza Party Podcast, Creepy Pasta, and Digital Era Entertainment. We also have a special live piano performance with Emi Lo, voice actor, cosplayer, and musician, featuring music from NieR, Animal Crossing, Final Fantasy, Ghibli films, and others! While we know the world is crazy outside, we hope that MomoConline will be one way we can all connect for 2020.

[if-you-fan-a-fire]

White Heat. Directed by Raoul Walsh. Starring James Cagney.  Written by Ivan Goff and Ben Roberts based on a story by Virginia Kellogg. Cinematography by Sidney Hickox. Edited by Owen Marks. Warner Bros., 1949. “He finally got to the top of the world. And it blew right up in his face.”

[byneddiedingo]

Edmond O'Brien, Gordon MacRae, and Virginia Mayo in Backfire (Vincent Sherman, 1950)

Cast: Gordon MacRae, Virginia Mayo, Edmond O'Brien, Viveca Lindfors, Dane Clark, Ed Begley, Sheila MacRae, Mack Williams, Leonard Strong, Frances Robinson, Richard Rober, David Hoffman, Ida Moore. Screenplay: Lawrence B. Marcus, Ivan Goff, Ben Roberts. Cinematography: Carl E. Guthrie. Art direction: Anton Grot. Film editing: Thomas Reilly. Music: Daniele Amfitheatrof. 

Backfire is a hyperplotted whodunit that aspires to some of the narrative complexity of Raymond Chandler but doesn't quite have what it takes. Gordon MacRae plays Bob Corey, recovering from war wounds in an Army hospital, who receives a visit one night from a mysterious woman (Viveca Lindfors) who tells him that his friend Steve Connolly (Edmond O'Brien) has been in a serious accident and is threatening to commit suicide; she asks for his help, but Corey has just been given a shot to help him sleep and passes out as the woman is talking. The next morning, he's not certain whether the woman was really there or if he dreamed about her visit. When he gets out of the hospital, the police contact him: Connolly is wanted for the murder of a notorious gambler and has disappeared. While in the hospital, Corey has fallen in love with a nurse, Julie Benson (Virginia Mayo), and with her help he begins the search for his friend. The rest of the story is told mostly in a series of flashbacks, some of them provided by people who get killed for telling Corey their stories, which all point to a high-roller with a mistress who is none other than the mysterious woman who visited Corey in the hospital. Some suspenseful moments and some entertaining performances keep the movie going, but the outcome is just a little too predictable. It's like one of those TV detective shows where the bad guy turns out to be that character actor you've seen before but can't quite place. This time, it's the actor whose name recognition is a little larger than their role in the movie seems to justify. 

[claudia1829things]

"BAND OF ANGELS" (1957) Review

"BAND OF ANGELS" (1957) Review I have been a fan of period dramas for a long time. A very long time. This is only natural, considering that I am also a history buff. One of the topics that I love to explore is the U.S. Civil War. When you combined that topic in a period drama, naturally I am bound to get excited over that particular movie or television production.

I have seen a good number of television and movie productions about the United States' Antebellum period and the Civil War. One of those productions is "BAND OF ANGEL", an adaptation of Robert Warren Penn's 1955 novel set during the last year of the Antebellum period and the first two years of the Civil War. The story begins around 1850. Amantha Starr, the privileged daughter of a Kentucky plantation owner, overhears one house slave make insinuations about her background to another slave. Before Amantha (or "Manthy") could learn more details, she discovers that Mr. Starr had the offending slave sold from the family plantation, Starwood. He also enrolls Amantha in a school for privileged girls in Cinncinati. A decade later in 1860, Amantha's father dies. When she returns to Starwood, Amantha discovers that Mr. Starr had been in debt. Worse, she discovers that her mother had been one of his slaves, making herself a slave of mixed blood. Amantha and many other Starwood slaves are collected by a slave trader and conveyed by steamboat to New Orleans for the city's slave mart. Upon her arrival in New Orleans, Amantha comes dangerously close to be purchased by a coarse and lecherous buyer. However, she is rescued by a Northern-born planter and slave owner named Hamish Bond, and becomes part of his household as his personal mistress. She also becomes acquainted with Bond's other house slaves - his right-hand-man named Rau-Ru, his housekeeper and former mistress Michele and Dollie, who serves as her personal maid. Although Amantha initially resents her role as a slave and Bond's role as her owner, she eventually falls in love with him and he with her. But the outbreak of the Civil War and a long buried secret of Bond's threaten their future together. Many critics and film fans have compared "BAND OF ANGELS" to the 1939 Oscar winner, "GONE WITH THE WIND". Frankly, I never understood the comparison. Aside from the setting - late Antebellum period and the Civil War - and Clark Gable as the leading man, the two films really have nothing in common. "GONE WITH THE WIND" is a near four-hour epic that romanticized a period in time. Although "BAND OF ANGELS" have its moments of romanticism, its portrayal of the Old South and the Civil War is a bit more complicated . . . ambiguous. Also, I would never compare Scarlett O'Hara with Amantha Starr. Both are daughters of Southern plantation owners. But one is obviously a member of the Southern privileged class, while the other is the illegitimate and mixed race daughter of a planter and his slave mistress. Also, Gable's character in "BAND OF ANGELS" is a Northern-born sea captain, who became a planter; not a semi-disgraced scion of an old Southern family. Considering the political ambiguity of "BAND OF ANGELS", I suppose I should be more impressed with it. Thanks to Warren's novel, Ivan Goff and Ben Roberts' screenplay and Raoul Walsh's direction; the movie attempted to provide audiences with a darker view of American slavery and racism. For instance, Amantha's personal journey as a slave proved to be a harrowing one, as she deals with a slave trader with plans to rape her, a traumatic experience at the New Orleans slave mart, Bond's lustful neighbor Charles de Marigny and her attempts to keep her African-American ancestry a secret from a Northern beau later in the film. The film also touches on Rau-ru's point of view in regard to slavery and racism. Despite being educated and treated well by Hamish Bond; Rau-ru, quite rightly, is resentful of being stuck in the role of what he views as a cosseted pet. Rau-ru also experiences the ugly racism of planters like de Marigny and slave catchers; and Northerners like some of the Union officers and troops that occupied New Orleans and Southern Louisiana in the movie's last half hour. I also noticed that the movie did not hesitate to expose the ugliness of the slave trade and the system itself, including the reveal the fate of a great number of slaves who found themselves being forced by Union forces to continue toiling on the cotton and sugar plantations on behalf of the North. There are other aspects of the movie that I found admirable. Not all of "BAND OF ANGELS" was shot at the Warner Brothers Studios in Burbank. A good of the movie was shot on location in Louisiana. I have to give credit to cinematographer Lucien Ballard for doing an exceptional job for the film's sharp and vibrant color, even if the movie lacked any real memorable or iconic shot. If I must be honest, I can say the same about Max Steiner's score. However, I can admit that Steiner's score blended well with the movie's narrative, I just did not find it memorable. Marjorie Best, who had received Oscar nominations for her work in movies like "ADVENTURES OF DON JUAN" and "GIANT", served as the movie's costume designer. I was somewhat impressed by her designs, especially for the male characters, ironically. However, I had a problem with her costumes for Yvonne De Carlo. Nearly dress that the Amantha Starr character wore, possessed a low cut neckline that emphasized her cleavage. Even her day dresses. Really? After reading a few reviews about "BAND OF ANGELS", I noticed that some movie fans and critics were not that impressed by the film's performances. I have mixed feelings about them. Clark Gable seemed to be phoning it through most of the film. But there were a few scenes that made it easy to see why he not only became a star, but won an Oscar well. This was apparent in two scenes. One of them featured the Hamish Bond character recalling the enthusiasm and excitement of his past as a sea captain. And in another scene that impressed me, Bond recalled the "more shameful" aspects of his past. At age 34 or 35, I believe Yvonne De Carlo was too old for the role of Amantha Starr, who was barely into her twenties in the story. Some would say that the role could have benefited from being portrayed by a biracial actress and not a white one. Perhaps. But despite the age disparity, I still thought De Carlo gave a very strong performance as the passionate and naive Amantha, who suddenly found her life turned upside down. Ironically, I thought her scenes with Sidney Poitier seemed to generate more chemistry than her ones with Gable. Speaking of Poitier . . . I might as well say it. He gave the best performance in the movie. His Rau-ru bridled with a varying degree of emotions when the scene called for it. And the same time, one could easily see that he was well on his way in becoming the Hollywood icon that Gable already was at the time. There were other performances in "BAND OF ANGELS", but very few of them struck me as memorable. The movie featured solid performances from Rex Reason, who portrayed Amantha's Northern-born object of her earlier infatuation - Seth Parson; Efrem Zimbalist Jr., who not only portrayed Amantha's later suitor Union officer Lieutenant Ethan Sears, but was already on the road as a television star; Carroll Drake, who portrayed Hamish Bond's introverted and observant housekeeper Michele; Andrea King, who portrayed Amantha's hypocritical former schoolmistress Miss Idell; William Schallert, who had a brief, but memorable role as a bigoted Union Army officer; and Torin Thatcher, who portrayed Bond's fellow sea captain and friend Captain Canavan. Many critics had accused Patric Knowles of bad acting. Frankly, I found his performance as Bond's neighbor and fellow planter Charles de Marigny effectively slimy . . . in a subtle way. Ray Teal was equally effective as the slimy and voracious slave trader Mr. Calloway, who had conveyed Amantha to the slave marts of New Orleans. The only performance that hit a sour note from me came from Tommie Moore, who portrayed one of Bond's house maids, the loud and verbose Dollie. Every time she opened her mouth I could not help but wince at her over-the-top and if I may say so, cliched performance as Dollie. I think I could have endured two hours in the company of characters like Prissy and Aunt Pittypat Hamilton from "GONE WITH THE WIND" than five minutes in Dollie's company. I guess I could have blamed the actress herself. But a part of me suspect that the real perpetrators were screenwriters John Twist, Ivan Goff and Ben Roberts; along with director Raoul Walsh. I wish that was all I had to say about "BAND OF ANGELS". I really do. But . . . despite the movie's portrayal of the ugliness of slavery and racism, it ended up undermining its attempt. Quite frankly, I found "BAND OF ANGELS" to be a very patronizing movie - especially in regard to race. And the most patronizing character is this movie turned out to be Hamish Bond. Someone had once complained that although the movie initially seemed to revolve around Amantha Starr, in the end it was all about Bond. I do not know if I could fully agree with this, but I found it disturbing that the character "growths" of both Amantha and Rau-ru revolved around Bond and their opinion of him. One aspect of "BAND OF ANGELS" that I found particularly bizarre was Amantha's opinion of Hamish Bond's connection to slavery. At first, she simply resented him for being her owner. But she eventually fell in love with him and opened herself to being his mistress. Amantha certainly had no problems during that ridiculous scene that featured Bond's field slaves lined up near the river side to welcome him back to his plantation with choral singing. Really? This was probably the most patronizing scene in the entire movie. Yet, when Amantha discovered that his past as a sea captain involved his participation in the Atlantic slave trade, she reacted with horror and left him. Let me see if I understand this correctly. Once she was in love with Bond, she had no problems with being his slave mistress or his role as a slave owner. Yet, she found his participation in the slave trade to be so awful that she . . . left him? Slave owner or slave trader, Hamish Bond exploited the bodies of black men and women. Why was being a slave trader worse than being a slave owner? Not only do I find this attitude hypocritical, I also noticed that it had permeated in a good deal of other old Hollywood films set in the Antebellum era. Even more disturbing is that after becoming romantic with an Union officer named Ethan Sears, Amantha has a brief reunion with her former object of desire, Seth Parsons. He reveals knowing about her mother's ancestry and her role as Bond's mistress, and tries to blackmail her into becoming his. In other words, Seth's knowledge of her racial background and her history with Bond leads Amantha to run back into the arms of Bond. And quite frankly, this makes no sense to me. Why would Seth's attempt to blackmail Amantha lead her to forgive Bond for his past as a slave trader? The movie never really made this clear. I found the interactions between Rau-ru and Hamish Bond even more ridiculous and patronizing. Rau-ru is introduced as Bond's major-domo/private secretary, who also happens to be a slave. Despite receiving education from Bond and a high position within the latter's household, Rau-ru not only resents Bond, but despises him. And you know what? I can understand why. I noticed that despite all of these advantages given to Rau-ru, Bond refuses to give him his freedom. Worse, Bond treats Rau-ru as a pet. Think I am joking? I still cannot refrain from wincing whenever I think of the scene in which Bond's friend, Captain Canavan, visited and demanded that Rau-ru entertain him with a song without any protest from Bond. This scene struck me as very vomit inducing. What made the situation between Rau-ru and Bond even worse is that the former made an abrupt about face about his former master during the war . . . all because the latter had revealed how he saved Rau-ru's life during a slave raid in Africa and - get this - some bigoted Union Army officer tried to cheat Rau-ru from a reward for capturing Bond. The former sea captain/planter ended up leaving his estate to Rau-ru in a will. How nice . . . but I suspect he did so after Amantha had left him. If not, my mistake. And why did Bond failed to give Rau-ru his freedom before the outbreak of war? Instead, Rau-ru was forced to flee to freedom after saving Amantha from being raped by Charles de Marigny. In Robert Warren's novel, Rau-ru eventually killed Bond. Pity this did not happen in the movie. Overall, I see that my feelings for "BAND OF ANGELS" is mixed. There are some aspects of the movie that I found admirable. I might as well admit it. The movie especially benefited from Lucien Ballard's colorful photography, an interesting first act and an excellent performance by Sidney Poitier. Otherwise, I can honestly say that "BAND OF ANGELS" focused too much on the Hamish Bond character and was a bit too patronizing on the subject of race and slavery for me to truly enjoy it.