#Stacy Keach Age

[djscratch]

Nebraska (2013) dir. Alexander Payne 

[nysocboy]

John Amos in the Locker Room

In Episode 2.9, the Lissons show their true colors by being shockingly abusive to Lyle's aging Dad, Roddy Lisson, played by the legendary John Amos.

Amos was everywhere on television in the 1970s and 1980s: the adult Kunta Kinte in Roots (1977), Gordy the Weatherman on The Mary Tyler Moore Show (1970-77), longsuffering dad James Evans on Good Times (1974-79), sword-and-sorcery fighter Seth in Beastmaster (1982), plus guest shots on Sanford and Son, Maude, Police Story, Love Boat, The A-Team...you name it, he was in it.

On a 2010 episode of Two and a Half Men, he and Stacy Keach played an elderly gay couple, the parents of Charlie's estranged girlfriend. I'm not familiar with any other gay roles for John Amos, but he has always been an ally.

We used to go to the same gym in West Hollywood. We never became friends, but we developed a nodding acquaintance. And I saw him naked in the locker room once or twice.

There's a nude photo (not necessarily of John Amos, but close on Righteous Gemstones Beefcake and Boyfriends:

[seandillingham]

IMPROV & SCENE STUDY this Sunday January 21

Sign up in advance - Spaces Filling Up!

SD Acting Studio - Scottsdale, Az

Register HERE:

IMPROV

1-3pm

This class is comprised of warm-ups, scenes & short form games.  

This monthly Improv class is your chance to spend 2 hours, in-person,

getting into short form performance based improvising.   Warm-ups,

skills, games, principles and more!  Learn skills in listening,

observation, act outs, relationships, be in the moment, take risks,

roles, be more confident, take risks and more!  A MUST for any actor!

​

CLASS SIZE IS LIMITED.

All participants MUST pre-register.

​Ages 18+

$20 ($2 for processing fee)

2 hour class.  1 - 3 p.m.

SCENE STUDY

3-5pm

Scene Study is a very broad description for an acting class

that will vary depending on the teacher or school that teaches it.

Its foundation is in the performance of a "scene" or a segment of

a play, commercial, tv show or film by the student. From this

performance the instructor gives notes and suggestions to improve

the student's acting.

CLASS SIZE IS LIMITED.

​All participants MUST pre-register.

Ages 18+

$50 ($2 for processing fee)

2 hour class.  3 - 5 p.m.

About Sean Dillingham:

As an actor, Sean Dillingham has appeared in over 200+ commercials and 95+ films and 30 national television series.  Sean has had network television appearances on Operation REPO, Discovery ID, Buried in the Backyard, The NightShift, Longmire, Brooklyn Nine-Nine, This is Us, There’s Johnny, Yellowstone, Gentified & Better call Saul!  He has acted alongside Kevin Costner, Tony Danza, Jane Seymour, Patrick Duffy, Roger Bart, Don Ameche, Stacy Keache, John O’Hurley, Andre Braugher, Andy Samberg, Milo Ventimiglia, Bob Odenkirk, America Ferrera,  BJ Novak, Ashton Kutcher and more.  Sean has trained with several of the top Improv Troupes in the country including The Second City, The Groundlings, Upright Citizens Brigade and I.O. West.  He has also studied acting with the prestigious Lee Strasberg Theatre & Film Institute & The Stella Adler Studio of Acting.

Sean Dillingham was featured as a finalist and winner on the television show, America’s Funniest People, where ABC television producer Stephanie Keane sited him as, ”another Robin Williams”.  Sean was also a finalist on the Star Search spin-off, “Ed McMahon’s Next Big Star” and has been featured on "XM Radio".  He's shared the stage with Louie Anderson, Gilbert Gottfried, Patty Loveless, Belinda Carlisle, Loretta Lynn, The Doobie Brothers, Rick Springfield, K.C. and the Sunshine band, Victoria Jackson and more.

​Sean is also the author of "The Book on Acting".  A book of advice based on his 30+ years as a working actor.

Register HERE:

[newsknol]

James Keach: Life and Career of a Renowned Actor and Director

Renowned for his contributions to the entertainment industry, James Keach has made a name for himself as both an accomplished actor and director. His notable credits include the beloved TV series Dr. Quinn, Medicine Woman, the thrilling film The Long Riders, and the endearing romantic comedy Blind Dating. If you are eager to delve deeper into the life and accomplishments of James Keach, this article is your gateway to discovering all there is to know about this remarkable individual.

Background and Age

With a birthdate of December 7, 1947, James Keach emerged into the world in the vibrant city of Savannah, Georgia. As of 2023, he is 75 years old. This versatile individual hails from a family of immense talent, as his siblings all ascended to become renowned celebrities. Notably, James Keach is the esteemed brother of Stacy Keach Jr. and is the proud son of the incomparable Stacy Keach Sr.

Educational Pursuits

Fueling his insatiable thirst for knowledge and his desire to sharpen his craft, James Keach pursued his education at Northwestern University. Embarking on a path of intellectual growth and artistic exploration, he advanced his studies at the distinguished Yale School of Drama, achieving a master’s degree. These academic experiences undoubtedly laid a solid foundation, shaping Keach’s creative outlook and providing him with the essential skills to thrive in the demanding world of entertainment.

A Journey into James Keach’s Acting and Directing Career

James Keach, the younger brother of Stacy Keach, began his journey in the entertainment industry as an actor, specializing in supporting and often antagonistic roles. However, he eventually transitioned to producing and directing for both television and film. Despite his tall stature and down-to-earth demeanor, he managed to leave a lasting impression in the industry.

Keach initially started his acting career on stage, showcasing his talent in various roles at the prestigious New York Shakespeare Festival. He then made his way to television, portraying Orville in a highly acclaimed PBS biography of the Wright Brothers in 1972. In 1975, he made his first appearance in a feature film, playing a minor role in “Sunburst.” He continued to excel in supporting roles in movies such as “Death Play” (1976), Alan J. Pakula’s “Comes a Horseman” (1978), and Jon Troell’s “Hurricane” (1979).

However, it was Walter Hill’s “The Long Riders” in 1980 that helped James Keach establish himself further. In this revisionist Western, he co-produced, co-wrote, and co-starred alongside his brother Stacy, portraying real-life outlaw brothers. Despite receiving excellent reviews, the film did not propel Keach’s career to new heights. Instead, he continued to take on supporting roles in various movies, including a motorcycle cop in Harold Ramis’ “National Lampoon’s Vacation” (1983) and Catherine Hicks’ husband in John Byrum’s remake of “The Razor’s Edge” (1984). He also delivered a memorable performance as a traffic officer in “Moving Violations” (1985), reminiscent of a Gestapo officer…Read More

Source: News Knol

[bitter69uk]

“I adored her. I loved her whiskey voice; she had this voice that just reeked of soul and sweetness. She was like the Billie Holiday of the dispossessed.” Stacy Keach 

“She had talent, yes but God she was exhausting.” John Waters 

"The last thing my mother said to me was, 'SuSu, your life is a celebration of everything that is cheap and tawdry.' I've always liked that, and I've always tried to live up to it." Susan Tyrrell

The truly wild maverick “outsider actress” Susan Tyrrell (née Susan Jillian Creamer, 18 March 1945 – 16 June 2012) died on this day ten years ago aged 67. “Actor often cast in sleazy, raunchy roles” was The Guardian’s headline for Tyrrell’s obituary. Seriously - what greater career summation could an actress possibly hope for? She brought nuance, humanity and perversity to her portrayals of grotesques, harridans, shrews and alcoholics. For better or for worse, Tyrrell wasn’t dissimilar off-screen from the characters she played. When long-time admirer John Waters cast her as Ramona Rickettes in Cry-Baby (1990), he found the frequently drunk and volatile Tyrrell a holy terror to work with. More happily, I love the actor and podcaster Sam Pancake’s recollection of encountering Tyrrell when she lived in Silverlake. Her roommate at the time was drag performer Sean DeLear. “Seanie was in the bathroom so long today I had to go out in the yard, dig a hole and take a shit in it!” Tyrrell screeched to Pancake. If you’ve never seen a Tyrrell film, I’d recommend freaky 1981 horror movie Butcher Baker Nightmare Maker as a starting point. Portrait by George Wilhelm.

[certainlybyitslast]

Episode 9.03  “The SPK: (No.178)”

The Task Force is back in the Post Office just like old times (including random background coworkers!).  However, most of the team is not officially back in the FBI yet, so Ressler hasn’t had a haircut or shaved the beard, and he’s not wearing his usual suit and tie. It fits with his current demeanor (which includes a lot of mistrust and sniping at Dembe).  The writers seem to be slow-walking us into a new normal.  

This week’s secret society/cult-like Blacklisters are stealing holy relics for destruction, but instead, the relics are ending up on the black market. Reddington purchases a relic in exchange for the name of the seller. Eventually, we find that an old adversary (Robert Vesco played by Stacy Keach), is pulling the con and making money off of the relics.  It’s usually fun to see an old Blacklister return to provide Reddington an equal foe, but something about this storyline fell flat.  The henchmen seemed ho-hum (and were quickly dispatched by a formidable Weecha).  The bomb in the church should have been the main tension, but it was really just a subplot. After the gut punch of Season 8, I think fans expect more – more character, more story, more everything (and on a tighter budget, good luck!)

The few emotional moments in the latter half of the show made the episode. Against their better judgement, the Coopers agree to allow Reddington supervised visits with Agnes.  It was interesting to watch Reddington scramble to ready himself to meet Agnes again after two years.  He seemed in awe of her, and the fact that she clearly remembered him, the sailing of the boats, and the ice pops, all happening just before her mother died, was heart wrenching.  It’s a struggle to see Agnes age far beyond the time jump math, however.  I am really looking forward to a potential Agnes/Ressler meet.  Not so much what she meant to him in the past, but for Ressler to see bits of Liz come back to life in Agnes, as well as revisiting the future he may have hoped for with Liz and Agnes come to an emotional surface.  So far this season we have seen grumpy, angry, resentful Ressler.  I look forward to real/raw Ressler too.

We also see Ressler attempt a friendly moment of appreciation with Aram, as he learns that Aram’s software has an investor and he’ll no longer be on the task force.  Aram is torn by the course of events, clearly wanting to continue his important work with the FBI.  His moment with Ressler solidifies that sentiment.

Park is onto Ressler’s drug coverup.  She knows he is using (it’s unclear if she knows about his past addiction struggles) and that he worked to alter the drug test results to rejoin the FBI.  She’ll keep his secret for now, but only if he works to recover.

Dembe is surrounded by skeptics (yet his criminal knowledge is coming in handy).  Ressler is still unhappy about Dembe’s FBI status and doesn’t trust him, and Reddington appears just as miffed.  An important scene on the jet at the end of the episode between Reddington and Dembe gave us a little insight. While Reddington isn’t pleased that Dembe wants to take Vesco into FBI custody (instead of allowing him to get his millions back), he respects Dembe enough to agree to his wishes.  No bullying or manipulation.  More layers to their relationship to peel back later.

Random thoughts: 1) Did Spader put in his contract that he has to kiss someone every episode? Too. Much. Smooching. 2) At some point Dembe is going to say/do something that will put Ressler in his place.  That will be fun to watch.  3) Reddington said instead of determining your own fate, he believes in karma now.  Watch your back, buddy.

[brokehorrorfan]

Blu-ray Review: Escape from L.A.

Despite launching one of the genre's most successful and longest running franchise with Halloween (and returning to write and score its first two sequels), the only sequel John Carpenter ever directed was 1996's Escape from L.A. The master of horror took the skeleton of his 1981 cult classic, Escape from New York, and worked with frequent collaborator Debra Hill (Halloween, The Fog) and star Kurt Russell - his sole writing credit to date - to pen a followup for Paramount Pictures.

Set in the near-future of 2013 - after an earthquake has turned the crime-ravaged Los Angeles into an island - the city becomes a modern-day Alcatraz to which "undesirable" people are deported. When Utopia (A.J. Langer, The People Under the Stairs) - daughter of the self-declared president for life (Cliff Robertson, Spider-Man) - escapes to L.A. with the power to end her father's tyrannical empire, the government deploys Snake Plissken (Russell) in exchange for a full pardon of his laundry list of crimes. If he fails to comply within 10 hours, a designer virus will kill him.

Although the setup is a blatant carbon copy of Escape from New York - "Sounds familiar," Plissken quips during the expository opening - Carpenter and company take a few outside-the-box swings with the larger budget and expanded scope. The wacky ideas (the basketball challenge, tsunami surfing, hang gliding) don't always pay off, but these elements - and Carpenter and Russell's commitment to them - make the movie feel like a comic book come to life. The script also delves into satirical social commentary.

Escape from L.A. lacks the shadowy cinematography with which Dean Cundey captured the post-apocalyptic New York, but director of photography Gary B. Kibbe (They Live, Vampires) does a fine job. Although fairly impressive by 1996 standards, the film's visual effects have aged poorly. The early sequence of Snake's submarine diving through the ruins of Universal Studios is akin to a Syfy movie. On the practical side, Rick Baker (An American Werewolf in London) provides some fun effects.

For the soundtrack, Carpenter collaborated with Shirley Walker (Final Destination, Memoirs of an Invisible Man). While the main theme is a update of New York's instantly recognizable cue, the score mixes Carpenter's signature synth with additional instrumentation. The result varies from bombastic rock (similar to Ghost of Mars) to Western-style blues (similar to Vampires) to traditional orchestral cues. The diverse soundtrack also ranges from Tool to Tori Amos, from Sugar Ray to Randy Newman, plus an original White Zombie song over the end credits.

In addition to his atmospheric visuals and innovative synthesizer scores, Carpenter has always had a knack for casting. Any number of his films are populated with an amalgam character actors of yesteryear, contemporary stars, and up-and-comers. Escape from New York might be the best example of this, and L.A. carries the torch high. Russell falls back into the role as if no time had passed between the two productions, fully realizing his own gruff, reticent antihero in the mold of Clint Eastwood's Man with No Name.

The cast includes Steve Buscemi (Reservoir Dogs) in a fun supporting role as an opportunistic sidekick; Stacy Keach (The Ninth Configuration) as a Commander that essentially fills the Lee Van Cleef role from New York; Peter Fonda (Easy Rider) as a bitchin' surfer; B-movie queen Pam Grier (Jackie Brown) as a transgender woman with a modulated voice; horror icon Bruce Campbell (The Evil Dead), nearly recognizable under prosthetics, as a mad surgeon; Valeria Golino (Hot Shots) as an unlikely ally to Snake; and character actor Leland Orser (Seven) as an IT guy.

Escape from L.A. has received a new 4K scan from the original camera negative for Scream Factory's Collector's Edition Blu-ray. The gorgeous transfer is a notable upgrade from Warner Bros.'s earlier high definition release. It includes 5.1 surround and 2.0 stereo DTS Master Audio options. Hugh Fleming captures the film's fiery spirit on the new cover art, although it's rather busy with characters. The original poster artwork is on the reverse side.

While many of the key players opted not to participate in the new Blu-ray, and an audio commentary has never been recorded for the film - which is especially unfortunate considering how exuberant other Carpenter/Russell collaboration tracks are - Scream Factory's edition offers new interviews with cast members Keach, Campbell (audio only), Peter Jason, and Georges Corraface, plus special effects artist Jim McPherson and visual effects artist David Jones.

As a self-described fan of Escape from New York, Keach comments on the pressure of living up to the original. He concludes by explaining how the film led to his knee replacement surgery. Campbell discusses undergoing the makeup process that took five hours to apply and an hour to remove. He also shares an anecdote about Russell greeting him with a reference to Evil Dead 2, courtesy of his son. Jason shares a good-natured, if a bit long-winded (at 25 minutes), conversation tracing his origins as his actor and his collaborations with Carpenter, which include Prince of Darkness, Village of the Damned, and L.A.

Corraface talks about several milestones of his career before digging into L.A. McPherson discusses working under the tutelage of Baker in his interview, which is accompanied by some of his personal, behind-the-scenes photos. For my money, Jones gives the most interesting interview on the disc. From playing around on an Apple II to landing a gig at Disney to working on Escape from L.A. in only his second year as a visual effects artist, his story is a fascinating one. He personally takes responsibility for some of the film's "subpar" VFX but also contextualizes the achievement for its time.

Escape from L.A. is available now on Collector's Edition Blu-ray via Scream Factory.

[papermoonloveslucy]

TORBEN MAYER

December 1, 1884

Torben Meyer was born in Denmark in 1884 and did more than 70 European films before immigrating to the United States. He was generally cast as thick-accented waiters, butlers, and doctors. 

His most prominent role was in Judgment at Nuremberg (1961), but he also appeared as a wealthy Dutch banker in Casablanca (1942). 

Musical fans might spot him in Music in the Air (1934), Call Me Madam (1953) starring Ethel Merman, Anything Goes (1956) NOT starring Ethel Merman, and Li'l Abner (1959). 

For horror fans, he was strangled by the monster in Bride of Frankenstein (1935) and was a gypsy in Frankenstein Meets the Wolf Man (1943). 

Mayer played Albert (above right) in the Astaire and Rogers film Roberta (1935) in which Lucille Ball appeared as an uncredited fashion model. 

The following year the roles were reversed and it was Meyer who went uncredited, while Lucille Ball was billed as Gloria Wilson in The Farmer in the Dell. The film also starred Moroni Olsen, who later played the Judge on the “I Love Lucy” episode “The Courtroom” (ILL S2;E7).

In November 1953, he made his first appearance on television on the anthology series “The Cavalcade of America” acting opposite Stacy Keach and Maurice Marsac.  

Meyer played the unnamed Swiss bandleader who rescues the gang from the avalanche in “Lucy and the Swiss Alps” (ILL S5;E21) first aired in March 1956. 

His final screen role was on TV’s “I Dream of Jeannie” in December 1966.   

Meyer died in 1975 at the age of 90. During his long career he appeared in 255 films and television shows! 

[filmphilics]

Recommendation of the week: Nebraska (2013)

Dir.: Alexander Payne

Cast: Bruce Dern, Will Forte, Stacy Keach, Bob Odenkirk, June Squibb, Missy Doty.

Genre: Comedy

Plot: An aging, booze-addled father makes the trip from Montana to Nebraska with his estranged son in order to claim a million-dollar Mega Sweepstakes Marketing prize.

Filmphilics score: 8/10

[blackkudos]

Ben Powers

Alton Adelbert Powers (July 5, 1950 – April 6, 2015), known professionally as Ben Powers, was an American actor. Powers was best known for his role as Thelma Evans's (portrayed by Bern Nadette Stanis) husband, Keith Albert Anderson, during the sixth and final season of the CBS sitcom Good Times (1978–79). Powers was also a cast member on the NBC television comedy series Laugh-In (1977–78). Powers died on April 6, 2015 at age 64 due to liver cancer.

Biography

Powers was born in Brooklyn, New York and raised in Providence, Rhode Island. He attended the Rhode Island School of Design. Powers got his first break in the 1970s with Adrian Hall, director at Trinity Repertory Theater in Providence, Rhode Island, his hometown. In addition to stage acting, Powers did stand-up comedy, amazing impressions, and sang standards as well as original music he wrote. He was discovered by a Hollywood agent in Providence, signed on to do movies, and entertained at the Playboy clubs in Las Vegas, New York & Boston. After Good Times, Powers guest starred on a number of popular TV dramas and sitcom shows of the 1980s including Gimme a Break!, Flamingo Road, The Greatest American Hero, The New Odd Couple and Laverne & Shirley. Powers was also a regular on the CBS-TV hit detective drama show Mickey Spillane's Mike Hammer in 1984-85, until the star, Stacy Keach, was arrested in London for cocaine smuggling and the show was canceled while Keach did time in England. Powers left the Hollywood scene at the end of 1985, before the detective series was picked up again. In the early 1980s, Powers appeared in a handful of big-screen films which included Cheech and Chong's Next Movie, Things Are Tough All Over and The Man Who Loved Women as well as a number of made-for-TV movies, mostly in smaller supporting roles.

Personal life and death

Powers married Julia Harper (1950–2012) on May 4, 1981. They had four daughters: twins Maleah Cameron and Raleah Cameron, Augusta Valeria, and Simone Emerson. Powers died of liver cancer on April 6, 2015, at the age of 64 and was cremated.

[meanstreetspodcasts]

Lone Star Law and Order

“Texas - more than 260,000 square miles - and fifty men who make up the most famous and oldest law enforcement body in North America!”

In the Golden Ages of Radio and Television, police dramas and Westerns ruled the airwaves.  Some shows successfully combined these genres into a single program; Gunsmoke grew out of CBS’ desire for a “Philip Marlowe in the Old West,” and Have Gun - Will Travel offered a private eye whose beat was the post-Civil War West.  One series combined the classic cowboy hero with a 20th century forensic approach to crime solving, sort of a Dragnet with spurs.  That show was Tales of the Texas Rangers, which enjoyed a nearly 100 episode run on NBC radio before heading out to ride the television trail. That radio run began on radio on July 8, 1950.

The Rangers had a long reputation as iconic lawmen of the west.  The group was created when Stephen Austin recruited a small cadre of men to protect settlers in the territory following the Mexican war for independence from Spain in 1823.  When Texas became a republic, the Rangers fought off Native Americans and took part in battles during the Mexican-American War.  Following a brief suspension during the Civil War, the Rangers were reassembled in 1873 and their reputation (and legend) took shape in the hearts and minds of Texans.  They fought Indians and chased outlaws.  Among the notable criminals caught (and killed) by Rangers were bank robber Sam Bass and the legendary Bonnie and Clyde (as recently dramatized in the terrific Netflix movie The Highwaymen).

Producer/director Stacy Keach (father of Mike Hammer star Stacy Keach, Jr.) initially envisioned a feature film based on the exploits of the Texas Rangers but he shifted his focus to a radio series.  At the time the series premiered, there were only 50 Rangers on duty, adding to the mystique of the frontier lawman.  Keach explained the job of the Rangers was “to solve major crimes using known scientific devices, old-fashioned tracking techniques, and psychological analysis.“

Like Jack Webb and the Los Angeles Police Department in Dragnet, Keach had to obtain the cooperation of the Texas Rangers. Each script required official approval from the Rangers’ office.  Fortunately, Keach and his writers found a patron and a muse in Captain M.T. "Lone Wolf” Gonzaullas, a 30 year veteran of the Rangers who claimed to have killed 31 men during his time on the force.  Keach said twenty percent of the stories produced on Tales of the Texas Rangers came from Gonzaullas’ personal experiences.  As Keach recalled later, “[Gonzaullas] never could remember our writers’ names, but he could recall names, dates, and places of every case he had ever worked on.”  His cooperation allowed Keach and his team access to Ranger case files and interviews with the men behind the legends.  Some case reports were brief, but colorful.  Examples included “Shot all to pieces, but not serious,” and “Had a little shootin’ match. They lost.”

The series found its star in an actor who was entering his third decade in show business.  Joel McCrea started in Hollywood in the late 1920s as a stand-in for some of the stars of the silent film era, including Rudolph Valentino.  He got his first major movie role in 1934 and embarked on a career as a leading man.  McCrea starred in films from Preston Sturges (Sullivan’s Travels) and Alfred Hitchcock (Foreign Correspondent), but admitted he felt most comfortable in the Stetson and spurs garb that Westerns offered.  

“I liked doing comedies, but as I got older I was better suited to do Westerns. Because I think it becomes unattractive for an older fellow trying to look young, falling in love with attractive girls in those kinds of situations. Anyway, I always felt so much more comfortable in the Western. The minute I got a horse and a hat and a pair of boots on, I felt easier. I didn’t feel like I was an actor anymore. I felt like I was the guy out there doing it.” 

McCrea lent a tough, no-nonsense air to the lead role of Ranger Jayce Pearson.  He’s Joe Friday with a touch of Gary Cooper; Wyatt Earp with a radio and forensic knowledge.

The series premiered on NBC, the home of Dragnet, and featured many of the same supporting actors who popped up on that Jack Webb series, including Parley Baer, Stacy Harris, Tony Barrett, and Barney Phillips.  Keach also employed some of the same sound effects crew from Dragnet.  While the soundscapes for the two shows were very different, both benefited from a very real, authentic sound to the proceedings.  Hoofbeats, footsteps on rocky terrain, lonesome train whistles, and the sounds of the prairie were commonplace and helped to ground the series as docudrama.

Though it had a relatively short run (another radio series that arrived on the wrong end of television’s debut), Tales of the Texas Rangers is a unique entry in the world of radio detectives.  As a then-present day Western, it was a rarity in and of itself, but the combination of cowboy justice and methodical police work (backed up by taut scripts and production values) makes it worth a listen to audiences today.

[shakespearenews]

"...Michael Kahn directed a production of Richard III with Stacy Keach in 1990 that ruined every subsequent Richard III for me.... I recently looked up the review of the play in the Washington Post and found this description of Keach from then-critic Lloyd Rose: “With his open-faced smile and amiable laugh, he seems positively jolly—in his frequent asides to the audience—as he goes about eliminating rivals, betraying confederates, and turning the truth on its head. Keach adroitly conveys Richard’s tortured duality of preening narcissism, covering both his arms with celebratory kisses after his conquest of Lady Anne.”

“This reminded me of something about that performance: It was funny. Not just funny for Shakespeare, but real laughs from the gut. Keach was a terrifically charming villain, a seducer who was constantly in the action and outside commenting on it at the same time; and the cast, including the brilliant comic actor Floyd King, captured the hilarity in the horror of this play. Shakespeare can be one of the best and worst arguments against the idea that comedy ages poorly, but this production represented a strong case against it.” 

[letterboxd]

Bonjour.

“Jodorowsky gives Refn a tarot reading at the start of every potential project, helping the Danish filmmaker decide whether or not he’ll do it and if so, what form it should take.”

Letterboxd correspondent Doug Dillaman reports from Toute la Mémoire du Monde, the International Festival of Restored Films, held in Paris this past month.

Every day in Paris can seem like a film festival, with a clutch of cinemas devoted to retrospective screenings from John Cassavettes to John Carpenter to John Ford (plus dozens of directors whose names aren’t John, of course). No surprise that when La Cinémathèque Française, Paris’s crown jewel of film history, hosts a festival dedicated to retrospective and restored cinema, it goes all out.

Toute la Mémoire du Monde occurs over five days, but that’s the only thing that’s small about it, with over 100 films on offer spread over several venues across town. There’s also a parrain du festival, a celebrated guest of honor. This year: Nicolas Winding Refn, presenting some of his own films, some films he loves, and a selection of films from his streaming site byNWR. Other guests included directors Jerzy Skolimowski and James Ivory, cinematographer Stephen Goldblatt, and several film historians.

The festival screens films every film fan knows (Alien, Philadelphia, The Shining), films that are under the radar but holy grails to dedicated cineastes (Andy Warhol’s Chelsea Girls, Francis Ford Coppola’s One From The Heart) and films so little-seen that they were met with a blank stare: Les Mouettes (Maurice Mariaud, 1917, which at the time of writing had been logged exactly zero times on Letterboxd); Le Marchand de Poison aka Big Jim Garrity (George Fitzmaurice, 1916, which is not in our database but is mentioned in this list of silents), and Herbert Kline’s 1940 documentary Lights Out In Europe. Only a couple dozen die-hard cineastes showed up for those vintage picks, but when it came to the guest of honor, Paris turned out in force.

Nicholas Winding Refn (right) directs Ryan Gosling on the set of ‘Drive’.

Refn. We chose Drive as our selection from Refn’s retro programme (as the Pusher films, which your correspondent is yet to see, didn’t cater to English speakers). Refn introduced the sold-out screening in English, in the Salle Henri Langlois (the largest of the Cinematheque’s three screens) with his story of meeting Ryan Gosling (who had the rights to Drive and was searching for a director) while he was trying to put together a spy movie with Harrison Ford and simultaneously coming down with a flu, so high on cold medication.

Letterboxd would like to report that we asked a thoughtful and insightful question on behalf of our readers, but, in what seemed like a noble move, he only took questions from women. This corrective seemed progressive… until he invited the winner of the best question on stage at the end to receive a prize, which was—drumroll please—the opportunity to touch his hand. “This is the softest hand you will ever touch,” he intoned. Weird. Drive: still great, and hearing it loud in a cinema with proper surround really underscores Refn’s fantastic ear for detail.

His selection of influential films (mostly predictably violent genre fare—alas, he revealed during his Q&A, the Cinematheque didn’t allow him to include Sixteen Candles) included one big title I’d never seen, John Huston’s Fat City, featuring a young Jeff Bridges as an up-and-coming boxer and Stacy Keach as the over-the-hill counterpart.

Fat City turns out to be the first film Refn remembers seeing (a well loved 35mm print complete with burned-in French subtitles). He marginally spoiled his upcoming 13-hour Amazon streaming series, Too Old To Die Young, by revealing that he and director of photography Darius Khondji were both fans of Fat City and decided to steal the ending for their series. (It’s not really a spoiler, as Fat City ends on a marvellously ambiguous note. And never mind the name; for anyone who loves boxing films or American 70s cinema, Fat City is up there with the best in either category.)

Garrett Brown (left) explains the Steadicam.

Brown. Another 70s American gem screening at the festival was Hal Ashby’s biography of Woody Guthrie, Bound For Glory, hosted by one particularly legendary guest: Garrett Brown, inventor of the Steadicam. With several films featuring his invention dotted across the program, including Marathon Man, The Shining, and Philadelphia, I chose this film in part because I recently saw Hal, last year’s documentary on the director, and discovered that Bound for Glory contained the very first Steadicam shot. (It’s a common misconception that The Shining holds this honor; one courageux French audience member interrupted Brown’s opening to attempt to correct him on this point.)

If you haven’t seen the Steadicam shot that opens Bound For Glory, it’s astonishing—a three-minute take that begins on a crane, descends through a crowd, follows David Carradine through that crowd, and then back. It’s the sort of shot that helped win Haskell Wexler an Oscar for cinematography (not to discount his work on the rest of the film, obviously).

Anyway, if you can ever see Brown speak, do so. He’s a garrulous man, generous and proud at the same time, and his masterclass was the highlight of the weekend. Over an hour and a half, he chronicled how he moved from folk singer to industrial filmmaker to inventor to being the man responsible for some of cinema’s most iconic shots. I’ve included some of his stories in this list of Brown’s picks for most iconic Steadicam shots.

It’s interesting to note that Brown isn’t a fan of long takes for the sake of them, often highlighting how they can be used more effectively edited with other shots. He’s also not a fan of handheld. In his opinion, Children of Men’s famous handheld work unnecessarily calls attention to itself and suggests the presence of a person, taking away the immediacy from the characters.

Alejandro Jodorowsky (right) with Refn (center).

Jodorowsky. The weekend closed out with an in-person appearance by one of my cinematic heroes. I’ve loved Alejandro Jodorowsky ever since I had The Holy Mountain dropped on my brain during the wee hours of a 24-hour movie marathon, and when I learned that Refn was programming El Topo with Jodorowsky as his guest, I had to go (even though I’d understand next-to-none of the Spanish-language dialogue… with French subtitles).

I’d noted earlier in the week that Jodorowsky was thanked in the credits of Drive; ever since that film, Jodorowsky gives Refn a tarot reading at the start of every potential project, helping the Danish filmmaker decide whether or not he’ll do the film and if so, what form it should take.

Stories like that do nothing to reduce Jodorowsky’s mystical reputation, but wearing an aged sweater while standing next to the suit-wearing Refn, he seemed charmingly down-to-Earth, making fun of Refn’s capitalist ways and discussing his recently completed new movie, Psychomagic. At 90 years old, he shows few signs of diminishing.

Refn says he made Jodorowsky promise he’d be around to 150 so they can be friends when he’s 100. We wouldn’t rule it out.

French director Agnès Varda (1928–2019).

Varda. Letterboxd would like to take this moment to note the passing of celebrated French filmmaker Agnès Varda. If you are in or near Paris on Tuesday 2 April, La Cinémathèque Française will host a tribute to her life and career from 11:00am (her funeral will take place the same day, at Cimetière du Montparnasse, at 2:00pm). French speakers will enjoy this Varda masterclass, filmed just last year.

Repose en paix, Agnès.

Hot tip № 1: If you’re going to Paris to see movies, the Latin Quarter is the place to stay, with several of its most devoted repertory cinemas clustered together. Hot tip № 2: Check out this evolving list of chronological French cinema.

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Closer, February 4

Cover: Michael Landon 

Page 1: Contents -- What I’ve Learned -- Julia Louis-Dreyfus, Joke of the Week -- Zach Galifianakis 

Page 2: Generation Wow -- Wine -- Alyssa Milano, Nicole Kidman, Sandra Oh, Rebecca Gayheart 

Page 3: Halle Berry, Tiffani Thiessen, Amy Adams, Malin Akerman 

Page 4: Kathy Bates opens up about her health battle 

Page 5: Patricia Clarkson takes pride in her age, new clues to Glenn Miller’s disappearance 

Page 6: Liza Minnelli okays musical about her mother Judy Garland 

Page 7: Hellos & Goodbyes 

Page 8: Picture Perfect -- Duchess Meghan Markle 

Page 9: Hoda Kotb, Jane Fonda and Lily Tomlin on Ellen, Samuel L. Jackson 

Page 10: Paige Hemmis and Debbie Matenopoulos, Christie Brinkley, Sarah Paulson and James McAvoy at Glass premiere 

Page 12: Lisa Ling and daughters, Jonathan and Drew Scott, Gwyneth Paltrow 

Page 14: David Oyelowo and Lily Collins and Dominic West on the set of Les Miserables, Jane Seymour, Candace Cameron Bure and Fuller House co-stars Dashiell and Fox Messitt 

Page 16: Toni Tennille on Captain Daryl Dragon 

Page 18: Cover Story: Michael Landon was a wonderful dad 

Page 22: Carol Channing in memoriam 

Page 24: John Walsh keeps his murdered son Adam’s memory alive 

Page 29: Horoscopes -- Aquarius Alan Alda 

Page 30: Entertainment -- Chris Pine and Patty Jenkins on I Am the Night, John Malkovich on The ABC Murders, In the Spotlight -- Marcia Gay Harden 

Page 32: Movies -- Anne Hathaway and Matthew McConaughey on Serenity

Page 34: Television 

Page 36: Great Escape -- Lori Loughlin in the Bahamas 

Page 38: Food -- Please try a plant-based diet 

Page 40: 5 tips to prevent diabetes 

Page 42: Readers Ask -- Frances Bavier in Sleeping Beauty, Peter Sellers in Dr. Strangelove, Whatever Happened to the cast of Mickey Spillane’s Mike Hammer -- Stacy Keach, Lindsay Bloom, Don Stroud 

Page 43: Best Day of My Life -- George Lopez 

Page 44: Who Am I? Catherine Zeta-Jones, Richard Gere, Kaley Cuoco’s hobby is horses, It Happened This Week 

Page 45: Closer to the Heart

Page 46: Kellie Martin -- Being a mom is my greatest challenge 

Page 50: Malin Akerman and Jack Donnelly enjoying newlyweed bliss 

Page 52: Kathleen Turner -- happy on my own 

Page 54: Dr Oz having a great time as a grandfather 

Page 56: Memories of Humphrey Bogart and Lauren Bacall from their son Stephen 

Page 58: On the Move -- Jim Parsons

Page 60: The Big Picture -- Shirley Temple 

Page 62: Style -- Please don’t wear fur 

Page 64: The style of Michelle Yeoh 

Page 66: Beauty -- Pop of Coral Color -- Jessica Chastain 

Page 67: Thandie Newton 

Page 68: Best Friends -- Carolyn Hennesy rescued her dog Sophie, Salma Hayek houses an animal sanctuary, Jack Klugman in 1980 

Page 70: My Life in 10 Pictures -- James Spader 

Pager 72: Flashback -- Cowgirl hats worn by Jane Fonda and Ali Fedotowsky-Manno, Adele dressed up as June Carter Cash

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Stacy Keach Net Worth 2021: Age, Height, Weight, Wife, Kids, Bio-Wiki

Stacy Keach Net Worth 2021: Age, Height, Weight, Wife, Kids, Bio-Wiki

Stacy Keach Celebrated Name: Stacy Keach Real Name/Full Name: Walter Stacy Keach Jr. Gender: Male Age: 80 years old Birth Date: June 2, 1941 Birth Place: Savannah, Georgia Nationality: American Height: 1.8m Weight: 83 kg Sexual Orientation: Straight Marital Status: Married Wife/Spouse (Name): Malgosia Tomassi Children/Kids (Son and Daughter): Yes Dating/Girlfriend (Name): N/A Is…