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timeless-hollywood-classics · 4 years ago

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Béla Ferenc Dezső Blaskó (Hungarian: October 20 1882 – August 16 1956), known professionally as Bela Lugosi. He was a Hungarian-American actor best remembered for portraying Count Dracula in the 1931 film and for his roles in other horror films.

After playing small parts on the stage in his native Hungary, Lugosi gained his first role in a film in 1917. He had to leave the country after the failed Hungarian Communist Revolution of 1919 because of his socialist activism. He acted in several films in Weimar Germany before arriving in the United States as a seaman on a merchant ship.

In 1927, he appeared as Count Dracula in a Broadway adaptation of Bram Stoker's novel. He later appeared in the 1931 film Dracula directed by Tod Browning and produced by Universal Pictures. Through the 1930s, he occupied an important niche in horror films, with their East European setting, but his Hungarian accent limited his potential casting, and he unsuccessfully tried to avoid typecasting.

Meanwhile, he was often paired with Boris Karloff, who was able to demand top billing. To his frustration, Lugosi, a charter member of the American Screen Actors Guild, was increasingly restricted to minor parts, kept employed by the studio principally so that they could put his name on the posters. Among his pairings with Karloff, he performed major roles only in The Black Cat (1934), The Raven (1935), and Son of Frankenstein (1939); even in The Raven, Karloff received top billing despite Lugosi performing the lead role. By this time, Lugosi had been receiving regular medication for sciatic neuritis, and he became addicted to morphine and methadone. This drug dependence was known to producers, and the offers eventually dwindled to a few parts in Ed Wood's low-budget films—including a brief appearance in Plan 9 from Outer Space (1959). Lugosi was married five times and had one son, Bela George.

Lugosi, the youngest of four children, was born Béla Ferenc Dezső Blaskó in Lugos, Kingdom of Hungary (now Lugoj, Romania) to Hungarian father István Blaskó, a banker, and Serbian-born mother Paula de Vojnich. He later based his last name on his hometown. He and his sister Vilma were raised in a Roman Catholic family.

At the age of 12, Lugosi dropped out of school. He began his acting career in 1901 or 1902. His earliest known performances are from provincial theatres in the 1903–04 season, playing small roles in several plays and operettas. He went on to perform in Shakespeare's plays. After moving to Budapest in 1911, he played dozens of roles with the National Theatre of Hungary between 1913–19. Although Lugosi would later claim that he "became the leading actor of Hungary's Royal National Theatre", almost all his roles there were small or supporting parts.

During World War I, he served as an infantryman in the Austro-Hungarian Army from 1914–16, rising to the rank of Lieutenant. He was awarded the Wound Medal for wounds he suffered while serving on the Russian front.

Due to his activism in the actors' union in Hungary during the revolution of 1919, he was forced to flee his homeland. He went first to Vienna before settling in Berlin (in the Langestrasse), where he continued acting. He took the name "Lugosi" in 1903 to honor his birthplace, and eventually travelled to New Orleans, Louisiana as a crewman aboard a merchant ship.

Lugosi's first film appearance was in the movie Az ezredes (The Colonel, 1917). When appearing in Hungarian silent films, he used the stage name Arisztid Olt. Lugosi made 12 films in Hungary between 1917 and 1918 before leaving for Germany. Following the collapse of Béla Kun's Hungarian Soviet Republic in 1919, leftists and trade unionists became vulnerable. Lugosi was proscribed from acting due to his participation in the formation of an actors' union. Exiled in Weimar-era Germany, he began appearing in a small number of well-received films, among them adaptations of the Karl May novels On the Brink of Paradise (Auf den Trümmern des Paradieses, 1920) and Caravan of Death (Die Todeskarawane, also 1920) with Dora Gerson (Gerson, who was Jewish, died in Auschwitz).

Lugosi left Germany in October 1920, intending to emigrate to the United States, and entered the country at New Orleans in December 1920. He made his way to New York and was inspected by immigration officers at Ellis Island in March 1921. He declared his intention to become a US citizen in 1928; on June 26, 1931, he was naturalized.

On his arrival in America, the 6-foot-1-inch (1.85 m),[8] 180-pound (82 kg) Lugosi worked for some time as a laborer, and then entered the theater in New York City's Hungarian immigrant colony. With fellow expatriate Hungarian actors he formed a small stock company that toured Eastern cities, playing for immigrant audiences. Lugosi acted in several Hungarian plays before breaking out into his first English Broadway play, The Red Poppy, in 1922. Three more parts came in 1925–26, including a five-month run in the comedy-fantasy The Devil in the Cheese.

In 1925, he appeared as an Arab Sheik in Arabesque which premiered in Buffalo, New York at the Teck Theatre before moving to Broadway. His first American film role was in the melodrama The Silent Command (1923). Several more silent roles followed, villains and continental types, all in productions made in the New York area.

Lugosi was approached in the summer of 1927 to star in a Broadway theatre production of Dracula, which had been adapted by Hamilton Deane and John L. Balderston from Bram Stoker's 1897 novel. The Horace Liveright production was successful, running for 261 performances before touring the United States to much fanfare and critical acclaim throughout 1928 and 1929. In 1928, Lugosi decided to stay in California when the play ended its West Coast run. His performance had piqued the interest of Fox Film, and he was cast in the studio's silent film The Veiled Woman (1929). He also appeared in the film Prisoners (also 1929), believed lost, which was released in both silent and talkie versions.

In 1929, with no other film roles in sight, he returned to the stage as Dracula for a short West Coast tour of the play. Lugosi remained in California where he resumed his film work under contract with Fox, appearing in early talkies often as a heavy or an "exotic sheik". He also continued to lobby for his prized role in the film version of Dracula.

Despite his critically acclaimed performance on stage, Lugosi was not Universal Pictures' first choice for the role of Dracula when the company optioned the rights to the Deane play and began production in 1930. Different prominent actors were considered before Browning cast Lugosi for the role, but the film was a hit.

Through his association with Dracula (in which he appeared with minimal makeup, using his natural, heavily accented voice), Lugosi found himself typecast as a horror villain in films such as Murders in the Rue Morgue (1932), The Raven (1935), and Son of Frankenstein (1939) for Universal, and the independent White Zombie (1932). His accent, while a part of his image, limited the roles he could play.

Lugosi did attempt to break type by auditioning for other roles. He lost out to Lionel Barrymore for the role of Grigori Rasputin in Rasputin and the Empress (also 1932); C. Henry Gordon for the role of Surat Khan in Charge of the Light Brigade (1936), and Basil Rathbone for the role of Commissar Dimitri Gorotchenko in Tovarich (1937), a role Lugosi had played on stage.[20] He played the elegant, somewhat hot-tempered General Nicholas Strenovsky-Petronovich in International House (1933).

Regardless of controversy, five films at Universal — The Black Cat (1934), The Raven (1935), The Invisible Ray (1936), Son of Frankenstein (1939), Black Friday (1940), plus minor cameo performances in Gift of Gab (1934) and two at RKO Pictures, You'll Find Out (1940) and The Body Snatcher (1945) — paired Lugosi with Boris Karloff. Despite the relative size of their roles, Lugosi inevitably received second billing, below Karloff. There are contradictory reports of Lugosi's attitude toward Karloff, some claiming that he was openly resentful of Karloff's long-term success and ability to gain good roles beyond the horror arena, while others suggested the two actors were — for a time, at least — good friends. Karloff himself in interviews suggested that Lugosi was initially mistrustful of him when they acted together, believing that the Englishman would attempt to upstage him. When this proved not to be the case, according to Karloff, Lugosi settled down and they worked together amicably (though some have further commented that the English Karloff's on-set demand to break from filming for mid-afternoon tea annoyed Lugosi).[21] Karloff also insinuated that his rival could not act, claiming Lugosi had "never learned his trade". A small percentage of critics cited his "dull and slow performance" in Dracula as a great example of minimal dialogue with no real acting prowess needed. Lugosi did get a few heroic leads, as in Universal's The Black Cat after Karloff had been accorded the more colorful role of the villain, The Invisible Ray, and a romantic role in producer Sol Lesser's adventure serial The Return of Chandu (1934), but his typecasting problem appears to have been too entrenched to be alleviated by those films.

Lugosi addressed his plea to be cast in non-horror roles directly to casting directors through his listing in the 1937 Players Directory, published by the Academy of Motion Picture Arts and Sciences, in which he (or his agent) calls the idea that he is only fit for horror films "an error."

A number of factors began to work against Lugosi's career in the mid-1930s. Universal changed management in 1936 and, because of a British ban on horror films[citation needed], dropped them from their production schedule; Lugosi found himself consigned to Universal's non-horror B-film unit, at times in small roles where he was obviously used for "name value" only. Throughout the 1930s, Lugosi, experiencing a severe career decline despite popularity with audiences (Universal executives always preferred his rival Karloff), accepted many leading roles from independent producers like Nat Levine, Sol Lesser, and Sam Katzman. These low-budget thrillers indicate that Lugosi was much less discriminating than Karloff in selecting screen vehicles, but the exposure helped Lugosi financially if not artistically. Lugosi tried to keep busy with stage work, but had to borrow money from the Actors Fund of America to pay hospital bills when his only child, Bela George Lugosi, was born in 1938.

Historian John McElwee reports, in his 2013 book Showmen, Sell It Hot!, that Bela Lugosi's popularity received a much-needed boost in August 1938, when California theater owner Emil Umann revived Dracula and Frankenstein as a special double feature. The combination was so successful that Umann scheduled extra shows to accommodate the capacity crowds, and invited Lugosi to appear in person, which thrilled new audiences that had never seen Lugosi's classic performance. "I owe it all to that little man at the Regina Theatre," said Lugosi of exhibitor Umann. "I was dead, and he brought me back to life." Universal took notice of the tremendous business and launched its own national re-release of the same two horror favorites. The studio then rehired Lugosi to star in new films.

Universal cast Lugosi in Son of Frankenstein (1939), appearing in the character role of Ygor, a mad blacksmith with a broken neck, in heavy makeup and beard. The same year saw Lugosi making a rare appearance in an A-list motion picture: he was a stern Soviet commissar in the Metro-Goldwyn-Mayer romantic comedy Ninotchka, starring Greta Garbo and directed by Ernst Lubitsch. Lugosi was quite effective in this prestigious character role and it could have been a turning point for the actor, but within the year, he was back on Hollywood's Poverty Row, playing leads for Sam Katzman. These horror, comedy and mystery B-films were released by Monogram Pictures. At Universal, he often received star billing for what amounted to a supporting part. Lugosi went to 20th Century-Fox for The Gorilla (1939), which had him playing straight man to Patsy Kelly and the Ritz Brothers.

Ostensibly due to injuries received during military service, Lugosi developed severe, chronic sciatica. Though at first he was treated with benign pain remedies such as asparagus juice, doctors increased the medication to opiates. The growth of his dependence on opiates, particularly morphine and, after 1947 when it became available in America, methadone, was directly proportional to the dwindling of Lugosi's screen offers. He was finally cast in the role of Frankenstein's monster for Universal's Frankenstein Meets the Wolf Man (1943), but Lugosi had no dialogue. Lugosi's voice had been dubbed over that of Lon Chaney Jr., from line readings at the end of The Ghost of Frankenstein (1942).[23] Lugosi played Dracula for a second and last time on film in Abbott and Costello Meet Frankenstein (1948).

Abbott and Costello Meet Frankenstein was Bela Lugosi's last "A" movie. For the remainder of his life he appeared — less and less frequently — in obscure, forgettable, low-budget features. From 1947 to 1950, he performed in summer stock, often in productions of Dracula or Arsenic and Old Lace, and during the other parts of the year made personal appearances in a touring "spook show", and on early commercial television.

In September 1949, Milton Berle invited Lugosi to appear in a sketch on Texaco Star Theatre. Lugosi memorized the script for the skit, but became confused on the air when Berle began to ad lib. His only television dramatic role was on the anthology series Suspense on October 11, 1949, in an adaptation of Edgar Allan Poe's The Cask of Amontillado.

In 1951, while in England to play a six-month tour of Dracula, Lugosi co-starred in a lowbrow film comedy, Mother Riley Meets the Vampire (also known as Vampire over London and My Son, the Vampire), released the following year. Following his return to the United States, he was interviewed for television, and reflected wistfully on his typecasting in horror parts: "Now I am the boogie man". In the same interview he expressed a desire to play more comedy, as he had in the Mother Riley farce. Independent producer Jack Broder took Lugosi at his word, casting him in a jungle-themed comedy, Bela Lugosi Meets a Brooklyn Gorilla (1952), co-starring nightclub comedians Duke Mitchell and Sammy Petrillo, whose act closely resembled that of Dean Martin and Jerry Lewis.

Lugosi enjoyed a lively career on stage. with plenty of personal appearances. As film offers declined, he became more and more dependent on live venues to support his family. Lugosi took over the role of Jonathan Brewster from Boris Karloff for Arsenic and Old Lace. Lugosi had also expressed interest in playing Elwood P. Dowd in Harvey to help himself professionally. He also made plenty of personal appearances to promote his horror image and/or an accompanying film.

Late in his life, Bela Lugosi again received star billing in films when the ambitious but financially limited filmmaker Ed Wood, a fan of Lugosi, found him living in obscurity and near-poverty and offered him roles in his films, such as an anonymous narrator in Glen or Glenda (1953) and a Dr. Frankenstein-like mad scientist in Bride of the Monster (1955). During post-production of the latter, Lugosi decided to seek treatment for his drug addiction, and the premiere of the film was said to be intended to help pay for his hospital expenses. According to Kitty Kelley's biography of Frank Sinatra, when the entertainer heard of Lugosi's problems, he helped with expenses and visited Lugosi at the hospital. Sinatra would recall Lugosi's amazement at his visit, since the two men had never met before.

During an impromptu interview upon his exit from the treatment center in 1955, Lugosi stated that he was about to go to work on a new Ed Wood film, The Ghoul Goes West. This was one of several projects proposed by Wood, including The Phantom Ghoul and Dr. Acula. With Lugosi in his Dracula cape, Wood shot impromptu test footage, with no storyline in mind, in front of Tor Johnson's home, a suburban graveyard, and in front of Lugosi's apartment building on Carlton Way. This footage ended up in Plan 9 from Outer Space (1959), which was mostly filmed after Lugosi died. Wood hired Tom Mason, his wife's chiropractor, to double for Lugosi in additional shots.[29] Mason was noticeably taller and thinner than Lugosi, and had the lower half of his face covered with his cape in every shot, as Lugosi sometimes did in Abbott and Costello Meet Frankenstein.

Following his treatment, Lugosi made one final film, in late 1955, The Black Sleep, for Bel-Air Pictures, which was released in the summer of 1956 through United Artists with a promotional campaign that included several personal appearances. To Lugosi's disappointment, however, his role in this film was that of a mute, with no dialogue.

In 1917, Lugosi married Ilona Szmik (1898-1991). The couple divorced in 1920, reputedly over political differences with her parents. In 1921, he married Ilona von Montagh, and divorced in 1924. In 1929, Lugosi took his place in Hollywood society and scandal when he married wealthy San Francisco resident Beatrice Weeks (1897-1931), widow of architect Charles Peter Weeks. She filed for divorce four months later, citing actress Clara Bow as the "other woman".

On 26 June 1931, Lugosi became a naturalized United States citizen. In 1933, he married 22-year-old Lillian Arch (1911-1981), the daughter of Hungarian immigrants. They had a child, Bela G. Lugosi, in 1938. Bela had four grandchildren and six great-grandchildren.

Lillian and Bela, as well as his mother, vacationed on their lake property in Lake Elsinore, California (then called Elsinore), on two lots between 1944 and 1953. Bela Lugosi Jr. attended the Elsinore Naval & Military School in Lake Elsinore. Lillian and Béla divorced in 1953, at least partially because of Béla's jealousy over Lillian taking a full-time job as an assistant to Brian Donlevy on the sets and studios for Donlevy's radio and television series Dangerous Assignment – Lillian eventually did marry Donlevy in 1966. Lugosi married Hope Lininger, his fifth wife, in 1955; they remained married until his death. She had been a fan, writing letters to him when he was in the hospital, recovering from addiction to Demerol. She would sign her letters "A dash of Hope". She died in 1997 at age 78.

Lugosi died of a heart attack on 16 August 1956, while lying on a bed in his Los Angeles apartment. He was 73. The rumor that Lugosi was clutching the script for The Final Curtain, a planned Ed Wood project, at the time of his death is not true.

Lugosi was buried wearing one of the "Dracula" cape costumes in the Holy Cross Cemetery in Culver City, California. Contrary to popular belief, Lugosi never requested to be buried in his cloak; Bela G. Lugosi confirmed on numerous occasions that he and his mother, Lillian, actually made the decision but believed that it is what his father would have wanted.

In 1979, the Lugosi v. Universal Pictures decision by the California Supreme Court held that Lugosi's personality rights could not pass to his heirs, as a copyright would have. The court ruled that under California law any rights of publicity, including the right to his image, terminated with Lugosi's death.

In Tim Burton's Ed Wood, Lugosi is portrayed by Martin Landau, who received the 1994 Academy Award for Best Supporting Actor for the performance. According to Bela G. Lugosi (his son), Forrest Ackerman, Dolores Fuller and Richard Sheffield, the film's portrayal of Lugosi is inaccurate: In real life, he never used profanity, owned small dogs, or slept in coffins. And contrary to this film, Bela did not struggle performing on The Red Skelton Show.

Three Lugosi projects were featured on the television show Mystery Science Theater 3000. The 1942 film The Corpse Vanishes appeared in episode 105; the serial The Phantom Creeps appeared throughout season two, and the Ed Wood production Bride of the Monster in episode 423. An episode of Sledge Hammer! titled "Last of the Red Hot Vampires" was an homage to Bela Lugosi; at the end of the episode, it was dedicated to "Mr. Blasko".

In 2001, BBC Radio 4 broadcast There Are Such Things by Steven McNicoll and Mark McDonnell. Focusing on Lugosi and his well-documented struggle to escape from the role that had typecast him, the play went on to receive the Hamilton Deane Award for best dramatic presentation from the Dracula Society in 2002.

On July 19, 2003, German artist Hartmut Zech erected a bust of Lugosi on one of the corners of Vajdahunyad Castle in Budapest.

The Ellis Island Immigration Museum in New York City features a live 30-minute play that focuses on Lugosi's illegal entry into the country and then his arrival at Ellis Island to enter the country legally.

The cape Lugosi wore in Dracula (1931) was in the possession of his family until it was put up for auction in 2011. It was expected to sell for up to $2 million,[43] but has since been listed again by Bonhams in 2018.[44] In 2019 the Academy Museum of Motion Pictures announced acquisition of the cape via partial donation from the Lugosi family and that the cape will be on display in 2020.

Péter Müller's theatrical play Lugosi - the Shadow of the Vampire (Hungarian: Lugosi - a vámpír árnyéka) is based on Lugosi's life, telling the story of his life as he became typecast as Dracula and as his drug addiction worsened. In the Hungarian production, directed by István Szabó, Lugosi was played by Ivan Darvas.

Andy Warhol's 1963 silkscreen The Kiss depicts Lugosi from Dracula about to bite into the neck of co-star Helen Chandler, who played Mina Harker. A copy sold for $798,000 at Christie's in May 2000.

Lugosi was also the subject of "Bela Lugosi's Dead", the first single by the English band Bauhaus. Released in August 1979, it is often considered to be the first gothic rock record.

Lugosi's star on the Hollywood Walk of Fame is mentioned in "Celluloid Heroes", a song performed by The Kinks and written by their lead vocalist and principal songwriter, Ray Davies. It appeared on their 1972 album Everybody's in Show-Biz.

According to Paru Itagaki, the creator of the Japanese manga/anime Beastars, the main character Legoshi was inspired by Bela Lugosi (regarding the similar sounding names).

#bela lugosi #silent hollywood #silent movie stars #classic stars #classic horror #classic hollywood #golden age of hollywood #old hollywood #1910s movies #1920s hollywood #1930s hollywood #1940s hollywood #1950s hollywood #movie legends

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tabloidtoc · 5 years ago

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Us, February 17

Cover: Inside Scientology’s trial of the century

Page 2: Red Carpet -- hip-side sash -- Camila Cabello, Rosalia, Renee Zellweger, Laura Carmichael, Yara Shahidi, Scarlett Johansson

Page 4: Who Wore It Best? Elle Fanning vs. Amber Valletta, Keltie Knight vs. Jeannie Mai

Page 6: Loose Talk -- Kumail Nanjiani, Kiernan Shipka, Kristen Bell

Page 8: Contents

Page 10: Hot Pics -- Super Bowl -- Shakira and Jennifer Lopez perform at the halftime show, J.Lo’s daughter Emme

Page 11: Kansas City Chiefs quarterback and MVP Patrick Mahomes, Jay-Z and daughter Blue, Alex Rodriguez and daughter Natasha, Cardi B and Bruce Beal, Demi Lovato

Page 12: Duchess Kate Middleton visits Stockwell Gardens Nursery, Justin and Hailey Bieber

Page 13: Former cheerleader Kendall Jenner shows off her moves with the stars of the Netflix hit docuseries Cheer on The Ellen DeGeneres Show, Charlize Theron at the Costume Designers Guild Awards, Sophie Turner and Joe Jonas head to the Ivy in London

Page 14: At the Oscar Nominees Luncheon Cynthia Erivo chatted with Brad Pitt and Renee Zellweger, Aly Raisman and her fellow #AerieReal Role Models Beanie Feldstein and Lana Condor, Margot Robbie and Jurnee Smollett-Bell embrace in Mexico City

Page 16: Blake Lively wears six outfits in less than 48 hours to promote The Rhythm Section

Page 18: A-listers hit the slopes -- Gwyneth Paltrow and Brad Falchuk in Aspen, Sydney Sweeney in Sandpoint, Kate Hudson and Danny Fujikawa in Switzerland

Page 19: Shawn Johnson in Park City, Kevin Hart and wife Eniko and kids Kenzo and Hendrix and Heaven in Aspen, Cassie Randolph and Colton Underwood in Denver, Chelsea Handler and her assistant Brandon

Page 20: Stars They’re Just Like Us -- Jenny McCarthy shovels show outside her house in Chicago, Mark Wahlberg hits the gym

Page 21: Dove Cameron helps with beach cleanup, Duchess Camilla learns how to restore furniture

Page 22: Billie Lourd and Margaret Qualley at the Casting Society of America’s Artois Awards, Lizzo at the Sirius XM and Pandora Opening Drive Super Concert Series in Miami

Page 23: Sundance Film Festival -- Will Ferrell and Julia Louis-Dreyfus promote their film Downhill, Kajillionaire’s Evan Rachel Wood and Gina Rodriguez and Richard Jenkins, director Dee Rees with Anne Hathaway and Rosie Perez of the film The Last Thing She Wanted

Page 24: Carlin and Evan Stewart show off newborn daughter Layla Rae, Curtis “50 Cent” Jackson gets a star on the Hollywood Walk of Fame

Page 25: BAFTA Awards -- Prince William and Duchess Kate, Kate Middleton meets Hildur Gounadottir and Laura Dern, Renee Zellweger and Joaquin Phoenix, Emilia Clarke, Elizabeth Banks is Hasty Pudding’s woman of the year

Page 26: Love Lives: A little more than a year into their marriage Priyanka Chopra and Nick Jonas are as starry-eyed as ever

Page 27: Deborra-Lee Furness says husband Hugh Jackman is funny but not as funny as she is, Greta Gerwig and Noah Baumbach are competitors at this year’s Oscars but Noah says they’re purely supportive, after a brief split Channing Tatum and Jessie J are stronger than ever

Page 28: Hollywood Moms -- The Bachelor’s Catherine Giudici on kids Samuel and Isaiah and Mia

Page 29: Sienna Miller’s daughter Marlowe loves going to the set with mom, unless she’s filming with other kids, B.J. Novak is a great babysitter for Mindy Kaling and daughter Katherine, June Diane Raphael and her husband Paul Scheer aren’t committed to their sons’ genders

Page 30: Hot Hollywood -- Lady Gaga’s new man is Michael Polanski

Page 31: Meghan Markle’s dad has badmouthed her and she and Prince Harry are on the outs with the royal family since fleeing the kingdom with son Archie so that leaves one relative in the couple’s inner circle -- Meghan’s mom Doria Ragland, except they’re not really all that close, Nick Lachey is not a fan of Jessica Simpson’s memoir, VIP Scene -- Jaime King (pictured), 2 Chainz, Jennifer Beals, Paul McCartney and Rande Gerber, The Rock, Paris Hilton, Blair Underwood, Demi Lovato, Swae Lee

Page 32: Orlando Bloom’s ex Miranda Kerr and fiance Katy Perry actually like each other, Katy and Orlando will wed in April

Page 34: What’s in my Bag? Jamie-Lynn Sigler

Page 36: Cover Story -- Scientology scandal trial and error -- inside the court case that could finally bring down the controversial church

Page 40: Lori Loughlin’s desperate plea -- in a last-ditch effort to stay out of prison, the disgraced actress goes on the offensive

Page 42: Jesse Tyler Ferguson -- the new host of Extreme Makeover: Home Edition on life after Modern Family

Page 50: Oscar Stars’ Evolution -- Scarlett Johansson, Cynthia Erivo, Renee Zellweger

Page 52: Us Musts -- Fran Drescher is back with a new sitcom and a Broadway show

Page 54: Jeff Probst on Survivor: Winners at War

Page 55: Sundance Film Festival

Page 58: Fashion Police -- Retta, Alessandra Ambrosio, Rachel Brosnahan

Page 59: Robert Downey Jr., Tove Lo, Emma Mackey

Page 60: 25 Things You Don’t Know About Me -- Hector Elizondo

#tabloid #tabloid toc #cos #church of scientology #scientology #leah remini #tom cruise #kirstie alley #lori loughlin #shakira #jennifer lopez #mindy kaling #katy perry #orlando bloom #orlando and katy #katyandorlando #jesse tyler ferguson

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blackkudos · 5 years ago

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Lena Horne

Lena Mary Calhoun Horne (June 30, 1917 – May 9, 2010) was an American singer, dancer, actress, and civil rights activist. Horne's career spanned over 70 years, appearing in film, television, and theater. Horne joined the chorus of the Cotton Club at the age of 16 and became a nightclub performer before moving to Hollywood.

Returning to her roots as a nightclub performer, Horne took part in the March on Washington in August 1963 and continued to work as a performer, both in nightclubs and on television while releasing well-received record albums. She announced her retirement in March 1980, but the next year starred in a one-woman show, Lena Horne: The Lady and Her Music, which ran for more than 300 performances on Broadway. She then toured the country in the show, earning numerous awards and accolades. Horne continued recording and performing sporadically into the 1990s, disappearing from the public eye in 2000. Horne died of congestive heart failure on May 9, 2010, at the age of 92.

Early life

Lena Horne was born in Bedford–Stuyvesant, Brooklyn. She was reportedly descended from the John C. Calhoun family, and both sides of her family were through a mixture of African, Native American, and European descent and belonged to the upper stratum of middle-class, well-educated people. Her father, Edwin Fletcher "Teddy" Horne Jr. (1893–1970), a numbers kingpin in the gambling trade, left the family when she was three and moved to an upper-middle-class African American community in the Hill District community of Pittsburgh, Pennsylvania. Her mother, Edna Louise Scottron (1894–1976), was a granddaughter of inventor Samuel R. Scottron; she was an actress with a black theatre troupe and traveled extensively. Edna's maternal grandmother, Amelie Louise Ashton, was a Senegalese slave. Horne was raised mainly by her grandparents, Cora Calhoun and Edwin Horne.

When Horne was five, she was sent to live in Georgia. For several years, she traveled with her mother. From 1927 to 1929, she lived with her uncle, Frank S. Horne, dean of students at Fort Valley Junior Industrial Institute (now part of Fort Valley State University) in Fort Valley, Georgia, who later served as an adviser to President Franklin Delano Roosevelt. From Fort Valley, southwest of Macon, Horne briefly moved to Atlanta with her mother; they returned to New York when Horne was 12 years old. She then attended Girls High School, an all-girls public high school in Brooklyn that has since become Boys and Girls High School; she dropped out without earning a diploma. Aged 18, she moved to her father's home in Pittsburgh, staying in the city's Little Harlem for almost five years and learning from native Pittsburghers Billy Strayhorn and Billy Eckstine, among others.

Career

Road to Hollywood

In the fall of 1933, Horne joined the chorus line of the Cotton Club in New York City. In the spring of 1934, she had a featured role in the Cotton Club Parade starring Adelaide Hall, who took Lena under her wing. Horne made her first screen appearance as a dancer in the musical short Cab Calloway's Jitterbug Party (1935). A few years later, Horne joined Noble Sissle's Orchestra, with which she toured and with whom she made her first records, issued by Decca. After she separated from her first husband, Horne toured with bandleader Charlie Barnet in 1940–41, but disliked the travel and left the band to work at the Cafe Society in New York. She replaced Dinah Shore as the featured vocalist on NBC's popular jazz series The Chamber Music Society of Lower Basin Street. The show's resident maestros, Henry Levine and Paul Laval, recorded with Horne in June 1941 for RCA Victor. Horne left the show after only six months when she was hired by former Cafe Trocadero (Los Angeles) manager Felix Young to perform in a Cotton Club-style revue on the Sunset Strip in Hollywood.

Horne already had two low-budget movies to her credit: a 1938 musical feature called The Duke is Tops (later reissued with Horne's name above the title as The Bronze Venus); and a 1941 two-reel short subject, Boogie Woogie Dream, featuring pianists Pete Johnson and Albert Ammons. Horne's songs from Boogie Woogie Dream were later released individually as soundies. Horne made her Hollywood nightclub debut at Felix Young's Little Troc on the Sunset Strip in January 1942. A few weeks later, she was signed by Metro-Goldwyn-Mayer. In November 1944, she was featured in an episode of the popular radio series Suspense, as a fictional nightclub singer, with a large speaking role along with her singing. In 1945 and 1946, she sang with Billy Eckstine's Orchestra.

She made her debut at Metro-Goldwyn-Mayer in Panama Hattie (1942) and performed the title song of Stormy Weather based loosely on the life of Adelaide Hall, (1943), at 20th Century Fox, while on loan from MGM. She appeared in a number of MGM musicals, most notably Cabin in the Sky (1943), but was never featured in a leading role because of her race and the fact that her films had to be re-edited for showing in cities where theaters would not show films with black performers. As a result, most of Horne's film appearances were stand-alone sequences that had no bearing on the rest of the film, so editing caused no disruption to the storyline. A notable exception was the all-black musical Cabin in the Sky, although one number from that film was cut before release because it was considered too suggestive by the censors: Horne singing "Ain't It the Truth" while taking a bubble bath. This scene and song are featured in the film That's Entertainment! III (1994) which also featured commentary from Horne on why the scene was deleted prior to the film's release. Lena Horne was the first African-American elected to serve on the Screen Actors Guild board of directors.

In Ziegfeld Follies (1946), she performed "Love" by Hugh Martin and Ralph Blane. Horne lobbied for the role of Julie LaVerne in MGM's 1951 version of Show Boat (having already played the role when a segment of Show Boat was performed in Till the Clouds Roll By, 1946) but lost the part to Ava Gardner, a personal friend in real life. Horne claimed this was due to the Production Code's ban on interracial relationships in films, but MGM sources state she was never considered for the role in the first place. In the documentary That's Entertainment! III, Horne stated that MGM executives required Gardner to practice her singing using Horne's recordings, which offended both actresses. Ultimately, Gardner's voice was overdubbed by actress Annette Warren (Smith) for the theatrical release.

Changes of direction

By the mid-1950s, Horne was disenchanted with Hollywood and increasingly focused on her nightclub career. She made only two major appearances for MGM during the 1950s: Duchess of Idaho (which was also Eleanor Powell's final film); and the 1956 musical Meet Me in Las Vegas. She was blacklisted during the 1950s for her affiliations in the 1940s with communist-backed groups. She would subsequently disavow communism. She returned to the screen three more times, playing chanteuse Claire Quintana in the 1969 film Death of a Gunfighter, Glinda in The Wiz (1978), which was directed by her then son-in-law Sidney Lumet, and co-hosting the MGM retrospective That's Entertainment! III (1994), in which she was candid about her unkind treatment by the studio.

After leaving Hollywood, Horne established herself as one of the premier nightclub performers of the post-war era. She headlined at clubs and hotels throughout the U.S., Canada, and Europe, including the Sands Hotel in Las Vegas, the Cocoanut Grove in Los Angeles, and the Waldorf-Astoria in New York. In 1957, a live album entitled, Lena Horne at the Waldorf-Astoria, became the biggest-selling record by a female artist in the history of the RCA Victor label at that time. In 1958, Horne became the first African-American woman to be nominated for a Tony Award for "Best Actress in a Musical" (for her part in the "Calypso" musical Jamaica) which, at Lena's request featured her longtime friend Adelaide Hall.

From the late 1950s through to the 1960s, Horne was a staple of TV variety shows, appearing multiple times on Perry Como's Kraft Music Hall, The Ed Sullivan Show, The Dean Martin Show, and The Bell Telephone Hour. Other programs she appeared on included The Judy Garland Show, The Hollywood Palace, and The Andy Williams Show. Besides two television specials for the BBC (later syndicated in the U.S.), Horne starred in her own U.S. television special in 1969, Monsanto Night Presents Lena Horne. During this decade, the artist Pete Hawley painted her portrait for RCA Victor, capturing the mood of her performance style.

In 1970, she co-starred with Harry Belafonte in the hour-long Harry & Lena special for ABC; in 1973, she co-starred with Tony Bennett in Tony and Lena. Horne and Bennett subsequently toured the U.S. and U.K. in a show together. In the 1976 program America Salutes Richard Rodgers, she sang a lengthy medley of Rodgers songs with Peggy Lee and Vic Damone. Horne also made several appearances on The Flip Wilson Show. Additionally, Horne played herself on television programs such as The Muppet Show, Sesame Street, and Sanford and Son in the 1970s, as well as a 1985 performance on The Cosby Show and a 1993 appearance on A Different World. In the summer of 1980, Horne, 63 years old and intent on retiring from show business, embarked on a two-month series of benefit concerts sponsored by the sorority Delta Sigma Theta. These concerts were represented as Horne's farewell tour, yet her retirement lasted less than a year.

On April 13, 1980, Horne, Luciano Pavarotti, and host Gene Kelly were all scheduled to appear at a Gala performance at the Metropolitan Opera House to salute the NY City Center's Joffrey Ballet Company. However, Pavarotti's plane was diverted over the Atlantic and he was unable to appear. James Nederlander was an invited Honored Guest and noted that only three people at the sold-out Metropolitan Opera House asked for their money back. He asked to be introduced to Lena following her performance. In May 1981, The Nederlander Organization, Michael Frazier, and Fred Walker went on to book Horne for a four-week engagement at the newly named Nederlander Theatre on West 41st Street in New York City. The show was an instant success and was extended to a full year run, garnering Horne a special Tony award, and two Grammy Awards for the cast recording of her show Lena Horne: The Lady and Her Music. The 333-performance Broadway run closed on Horne's 65th birthday, June 30, 1982. Later that same week, she performed the entire show again to record it for television broadcast and home video release. Horne began a tour a few days later at Tanglewood (Massachusetts) during the weekend of July 4, 1982. The Lady and Her Music toured 41 cities in the U.S. and Canada until June 17, 1984. It played in London for a month in August and ended its run in Stockholm, Sweden, September 14, 1984. In 1981, she received a Special Tony Award for the show, which also played to acclaim at the Adelphi Theatre in London in 1984. Despite the show's considerable success (Horne still holds the record for the longest-running solo performance in Broadway history), she did not capitalize on the renewed interest in her career by undertaking many new musical projects. A proposed 1983 joint recording project between Horne and Frank Sinatra (to be produced by Quincy Jones) was ultimately abandoned, and her sole studio recording of the decade was 1988's The Men in My Life, featuring duets with Sammy Davis Jr. and Joe Williams. In 1989, she received the Grammy Lifetime Achievement Award.

In 1995, a "live" album capturing Horne's Supper Club performance was released (subsequently winning a Grammy Award for Best Jazz Vocal Album). In 1998, Horne released another studio album, entitled Being Myself. Thereafter, Horne retired from performing and largely retreated from public view, though she did return to the recording studio in 2000 to contribute vocal tracks on Simon Rattle's Classic Ellington album.

Civil rights activism

Horne was long involved with the Civil Rights Movement. In 1941, she sang at Cafe Society and worked with Paul Robeson. During World War II, when entertaining the troops for the USO, she refused to perform "for segregated audiences or for groups in which German POWs were seated in front of black servicemen", according to her Kennedy Center biography. Because the U.S. Army refused to allow integrated audiences, she staged her show for a mixed audience of black U.S. soldiers and white German POWs. Seeing the black soldiers had been forced to sit in the back seats, she walked off the stage to the first row where the black troops were seated and performed with the Germans behind her. After quitting the USO in 1945 because of the organization's policy of segregating audiences, Horne financed tours of military camps herself.

She was at an NAACP rally with Medgar Evers in Jackson, Mississippi, the weekend before Evers was assassinated. She also met President John F. Kennedy at the White House two days before he was assassinated. She was at the March on Washington and spoke and performed on behalf of the NAACP, SNCC, and the National Council of Negro Women. She also worked with Eleanor Roosevelt to pass anti-lynching laws. Tom Lehrer mentions her in his song "National Brotherhood Week" in the line "Lena Horne and Sheriff Clark are dancing cheek to cheek" referring (wryly) to her and to Sheriff Jim Clark, of Selma, Alabama, who was responsible for a violent attack on civil rights marchers in 1965. In 1983, the NAACP awarded her the Spingarn Medal.

Horne was a registered Democrat and on November 20, 1963, she, along with Democratic National Committee (DNC) Chairman John Bailey, Carol Lawrence, Richard Adler, Sidney Salomon, Vice-Chairwoman of the DNC Margaret B. Price, and Secretary of the DNC Dorothy Vredenburgh Bush, visited John F. Kennedy at The White House, two days prior to his assassination.

Personal life

Horne married Louis Jordan Jones, a political operative, in January 1937 in Pittsburgh. On December 21, 1937, their daughter, Gail (later known as Gail Lumet Buckley, a writer) was born. They had a son, Edwin Jones (February 7, 1940 – September 12, 1970) who died of kidney disease. Horne and Jones separated in 1940 and divorced in 1944. Horne's second marriage was to Lennie Hayton, who was music director and one of the premier musical conductors and arrangers at MGM, in December 1947 in Paris. They separated in the early 1960s, but never divorced; he died in 1971. In her as-told-to autobiography Lena by Richard Schickel, Horne recounts the enormous pressures she and her husband faced as an interracial couple. She later admitted in an interview in Ebony (May 1980) that she had married Hayton to advance her career and cross the "color-line" in show business.

Horne had affairs with Artie Shaw, Orson Welles, Vincente Minnelli, and the boxer Joe Louis.

Horne also had a long and close relationship with Billy Strayhorn, whom she said she would have married if he had been heterosexual. He was also an important professional mentor to her. Screenwriter Jenny Lumet, known for her award-winning screenplay Rachel Getting Married, is Horne's granddaughter, the daughter of filmmaker Sidney Lumet and Horne's daughter Gail. Her other grandchildren include Gail's other daughter, Amy Lumet, and her son's four children, Thomas, William, Samadhi, and Lena. Her great-grandchildren include Jake Cannavale.

From 1946 to 1962, Horne resided in a St. Albans, Queens, New York, enclave of prosperous African Americans, where she counted among her neighbors Count Basie, Ella Fitzgerald, and other jazz luminaries.

Death

Horne died of congestive heart failure on May 9, 2010. Her funeral took place at St. Ignatius Loyola Church on Park Avenue in New York. Thousands gathered and attendees included Leontyne Price, Dionne Warwick, Liza Minnelli, Jessye Norman, Chita Rivera, Cicely Tyson, Diahann Carroll, Leslie Uggams, Lauren Bacall, Robert Osborne, Audra McDonald, and Vanessa Williams. Her remains were cremated.

Legacy

In 2003, ABC announced that Janet Jackson would star as Horne in a television biographical film. In the weeks following Jackson's "wardrobe malfunction" debacle during the 2004 Super Bowl, however, Variety reported that Horne had demanded Jackson be dropped from the project. "ABC executives resisted Horne's demand", according to the Associated Press report, "but Jackson representatives told the trade newspaper that she left willingly after Horne and her daughter, Gail Lumet Buckley, asked that she not take part." Oprah Winfrey stated to Alicia Keys during a 2005 interview on The Oprah Winfrey Show that she might possibly consider producing the biopic herself, casting Keys as Horne.

In January 2005, Blue Note Records, her label for more than a decade, announced that "the finishing touches have been put on a collection of rare and unreleased recordings by the legendary Horne made during her time on Blue Note." Remixed by her longtime producer Rodney Jones, the recordings featured Horne with a remarkably secure voice for a woman of her years, and include versions of such signature songs as "Something to Live For", "Chelsea Bridge", and "Stormy Weather". The album, originally titled Soul but renamed Seasons of a Life, was released on January 24, 2006. In 2007, Horne was portrayed by Leslie Uggams as the older Lena and Nikki Crawford as the younger Lena in the stage musical Stormy Weather staged at the Pasadena Playhouse in California (January to March 2009). In 2011, Horne was also portrayed by actress Ryan Jillian in a one-woman show titled Notes from A Horne staged at the Susan Batson studio in New York City, from November 2011 to February 2012. The 83rd Academy Awards presented a tribute to Horne by actress Halle Berry at the ceremony held February 27, 2011.

In 2018, a forever stamp depicting Horne began to be issued; this made Horne the 41st honoree in the Black Heritage stamp series.

#06/30 #05/09

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blackkudosuniverse · 5 years ago

Text

Roland Hayes

Remembering Roland Hayes.

http://www.wikiwand.com/en/Roland_Hayes

Roland Hayes (June 3, 1887 – January 1, 1977) was an American lyric tenor and composer. It is a common myth that Hayes was the first world-renowned African-American concert artist. He had a couple of predecessors that acclaimed fame. People like Sissieretta Jones and Marie Selika were very known, but the nature of their performances were not minstrelsy and that made it not possible for them to be recorded by recording companies. The recording companies wanted a vaudeville type of singer. Hayes was able to break this barrier in his career and in 1939 he recorded with Columbia. Critics lauded his abilities and linguistic skills with songs in French, German and Italian.

Early years and family

Hayes was born in Curryville, Georgia, on June 3, 1887, to Fanny and William Hayes. Roland’s parents were tenant farmers on the plantation where his mother had once been a slave. Roland’s father, who was his first music teacher, often took him hunting and taught him to appreciate the musical sounds of nature. When Hayes was eleven his father died, and his mother moved the family to Chattanooga, Tennessee. William Hayes claimed to have some Cherokee ancestry, while his maternal great-grandfather, AbOugigi (also known as Charles) was a chieftain from the Ivory Coast. Aba Ougi was captured and shipped to America in 1790. At Mt. Zion Baptist Church in Curryville (founded by Roland’s mother) is where Roland first heard the music he would cherish forever, Negro spirituals. It was Roland’s job to learn new spirituals from the elders and teach them to the congregation. A quote of him talking about beginning his career with a pianist:

"I happened upon a new method for making iron sash-weights," he said, "and that got me a little raise in pay and a little free time. At that time I had never heard any real music, although I had had some lessons in rhetoric from a backwoods teacher in Georgia. But one day a pianist came to our church in Chattanooga, and I, as a choir member, was asked to sing a solo with him. The pianist liked my voice, and he took me in hand and introduced me to phonograph records by Caruso. That opened the heavens for me. The beauty of what could be done with the voice just overwhelmed me."

At the age of twelve Roland discovered a recording of the Italian tenor Enrico Caruso. Hearing the renowned tenor revealed a world of European classical music. Hayes trained with Arthur Calhoun, an organist and choir director, in Chattanooga. Roland began studying music at Fisk University in Nashville in 1905 although he only had a 6th grade education. Hayes’s mother thought he was wasting money because she believed that African-Americans could not make a living from singing. As a student he began publicly performing, touring with the Fisk Jubilee Singers in 1911. He furthered his studies in Boston with Arthur Hubbard, who agreed to give him lessons only if Hayes came to his house instead of his studio. He did not want Roland to embarrass him by appearing at his studio with his white students. During his period studying with Hubbard, he worked as a messenger for the Hancock Life Insurance Company to support himself.

Early career

In January 1915 Hayes premiered in New York City in concerts presented by orchestra leader Walter F. Craig. Hayes performed his own musical arrangements in recitals from 1916–1919, touring from coast to coast. For his first recital he was unable to find a sponsor so he used two hundred dollars of his own money to rent Jordan Hall for his classical recital. To earn money he went on a tour of black churches and colleges in the South. In 1917 he announced his second concert, which would be held in Boston’s Symphony Hall. On November 15, 1917, every seat in the hall was sold and Hayes’s concert was a success both musically and financially but the music industry was still not considering him a top classical performer. He sang at Walter Craig's Pre-Lenten Recitals and several Carnegie Hall concerts. He performed with the Philadelphia Concert Orchestra, and at the Atlanta Colored Music Festivals and at the Washington Conservatory concerts. In 1917, he toured with the Hayes Trio which he formed with baritone William Richardson (singer) and pianist William Lawrence (pianist).

In April 1920, he traveled to Europe. He began lessons with Sir George Henschel, who was the first conductor of the Boston Symphony Orchestra, and gave his first recital in London’s Aeolian Hall in May 1920 with pianist Lawrence Brown as his accompanist. Soon Hayes was singing in capital cities across Europe and was quite famous. Almost a year after his arrival in Europe, Hayes had a concert at London’s Wigmore Hall. The next day, he received a summons from King George V and Queen Mary to give a command performance at Buckingham Palace. He returned to the United States in 1923. He made his official debut on 16 November 1923 in Boston's Symphony Hall singing Berlioz, Mozart, and spirituals, conducted by Pierre Monteux, which received critical acclaim. He was the first African-American soloist to appear with the Boston Symphony Orchestra. He was awarded the Spingarn Medal in 1924.

Late career

Hayes finally secured professional management with the Boston Symphony Orchestra Concert Company. He was reportedly making $100,000 a year at this point in his career. In Boston he also worked as a voice teacher. One of his pupils was the Canadian soprano Frances James. He published musical scores for a collection of spirituals in 1948 as My Songs: Aframerican Religious Folk Songs Arranged and Interpreted.

In 1925 Hayes had an affair with a married Bohemian aristocrat, Bertha von Colloredo-Mansfeld (1890-1982), née Countess von Kolowrat-Krakowský, who bore his daughter, Maria "Maya" Dolores Kolowrat (1926-1982). Married since 1909 to a member of a German princely family, Hieronymus von Colloredo (1870-1942), twenty years Bertha's senior, he refused to allow the expected child to bear his name or to be raised along with the couple's four older children, managing to quietly obtain a divorce in Prague in January 1926, while Bertha left their home in Zbiroh, Bohemia (now the Czech Republic) to bear Hayes' child in Basel, Switzerland. Hayes offered to adopt the child, while the countess sought to resume the couple's relationship, while concealing it, until the late 1920s. Maya Kolowrat would marry Russian émigré Yuri Mikhailovich Bogdanoff (1928-20012) and give birth in Saint-Lary, Gers to twins Igor and Grichka Bogdanoff in 1949, who later attributed their early interest in the sciences to their unhampered childhood access to their maternal grandmother's castle library.

After the 1930s, Hayes stopped touring in Europe because the change in politics made it unfavourable to African–Americans.

In 1932, while in Los Angeles for a Hollywood Bowl performance, he married Alzada Mann. One year later they had a daughter, Afrika. The family moved into a home in Brookline, Massachusetts.

Hayes did not perform very much from the 1940s to the 1970s. In 1966, he was awarded the degree of Honorary Doctorate of Music from The Hartt School of Music, University of Hartford. Hayes continued to perform until the age of eighty-five, when he gave his last concert at the Longy School of Music in Cambridge, Massachusetts. He was able to purchase the land in Georgia on which he had grown up as a child.[3]

He died five years after his final concert, on January 1, 1977.

Racial reaction

Even when Hayes became a successful musician he faced the same prejudices as most African-Americans at the time. During his tour of Germany in 1923, some people protested against his concert in Berlin. A newspaper writer criticized him as “an American Negro who has come to Berlin to defile the name of the German poets and composers.” The night of the concert Roland faced an angry audience who mocked him for ten minutes. Hayes stood still until they stopped and then he began singing Schubert’s "Du bist die Ruh". Hayes’s remarkable voice and musical talent won over the German audience and his concert was a success.

The Chicago Defender (National edition of July 25, 1942) reported a case in which Hayes' wife and daughter were thrown out of a Rome, Georgia shoe store for sitting in the white-only section. Hayes confronted the store owner. The police then arrested both Hayes, whom they beat, and his wife. Hayes and his family eventually left Georgia.[3]

On many of his concerts Hayes would attempt to abandon the use of segregated seating. At a concert in Atlanta, Georgia Hayes had the main floor of the auditorium as well as the boxes and first balcony halved between the races. The galleries were reserved for colored students at a special rate. No whites were allowed in them except the ones chaperoning the students.

Hayes taught at Black Mountain College for the 1945 Summer institute where his public concert was, according to Martin Duberman, "one of the great moments in Black Mountain's history" (215). After this concert, in which unsegregated seating went well, the school had its first full-time black student and full-time member of the faculty.

Legacy

* In 1982, the University of Tennessee at Chattanooga opened a new musical performance center, the Roland W. Hayes Concert Hall. The concert venue is located at the Dorothy Patten Fine Arts center.

* The Roland Hayes Committee was formed in 1990 to advocate the induction of Roland Hayes into the Georgia Music Hall of Fame. In 1992, when the Calhoun Gordon Arts Council was incorporated, the Roland Hayes Committee became the Roland Hayes Music Guild and Museum in Calhoun, Georgia. The opening was attended by his daughter Afrika.

* There is a historical marker located on the grounds of Calhoun High School (Calhoun, Georgia) on the north-west corner of the campus near the front of the Calhoun Civic Auditorium.

* Hartford Stage and City Theatre (Pittsburgh) shared the world premiere of "Breath & Imagination" by Daniel Beaty, a musical based on the life of Hayes, on January 10, 2013.

* Part of Georgia State Route 156 was named for Hayes.

* A bronze plaque, mounted on a granite post, marks Hayes' home, at 58 Allerton Street in Brookline, Massachusetts. The plaque was dedicated on June 12, 2016, in a ceremony in front of the home in which Hayes lived for almost fifty years. The ceremony was attended by his daughter Afrika, former Massachusetts Governor Michael Dukakis, Brookline Town officials, and many more.

Discography

LPs

* Roland Hayes (vocal), Reginald Bordman (piano) – The Life of Christ (Amadeo, 1954)

* Roland Hayes (vocal), Reginald Bordman (piano) – Negro Spirituals (Amadeo, 1955)

Compilations

* The Art of Roland Hayes (Preiser, 2010)

#06/03 #01/01 #black history

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acsversace-news · 6 years ago

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End of 2018 - Beginning of 2019 Awards Guide

Awards and Nominations

Casting Society of America’s 34th Annual Artios Awards - Nicole Daniels and Courtney Bright nominated for best casting in a limited series

Satellite Awards 2018 - 🏆 Ensemble: Television 🏆 The Assassination of Gianni Versace won for Miniseries & Limited Series 🏆 Darren Criss won for Actor in a Miniseries Penelope Cruz nominated for Actress in a Supporting Role in a Miniseries Edgar Ramirez nominated for Actor in a Supporting Role in a Miniseries

American Film Institute Awards 2018 - 🏆 TV Program Of The Year

Golden Globes 2019 - The Assassination of Gianni Versace nominated for Best Limited Series Darren Criss nominated for Best Lead Actor in a Limited Series Penelope Cruz nominated for Best Supporting Actress Edgar Ramirez nominated for Best Supporting Actor

Writers’ Guild of America Awards 2019 - Tom Rob Smith and Maggie Cohn nominated for Long Form Adapted

Critics’ Choice Awards 2019 - The Assassination of Gianni Versace nominated for Best Limited Series Darren Criss nominated for Best Actor in a Limited Series Finn Wittrock nominated for Best Supporting Actor in a Limited Series Penelope Cruz nominated for Best Supporting Actress in a Limited Series Judith Light nominated for Best Supporting Actress in a Limited Series

Screen Actors Guild Awards 2019 - Darren Criss nominated for Outstanding Actor in a Limited Series Penelope Cruz nominated for Outstanding Actress in a Limited Series

Dorian Awards 2019 - The Assassination of Gianni Versace nominated for TV Drama of the Year Darren Criss nominated for TV Performance of the Year

Producer’s Guild of American Awards 2019 - The Assassination of Gianni Versace nominated for Outstanding Producer of Limited Series Television

Full list of awards

Upcoming Events

January

*6 January 76th Golden Globe Awards

7 January Art Directors Guild nominations announced

7 January Directors Guild of America TV nominations announced

7 January American Cinema Editors Awards nominations announced

8 January Cinema Audio Society nominations announced

10 January Costume Designers Guild nominations announced

10 January Make-up Artists and Hair Stylists Guild nominations announced

10 January Music Supervisor Guild nominations announced

15 January USC Scripter Awards nominations announced

*12 January Dorian Awards

*13 January Critics’ Choice Awards

*19 January Producers Guild of America Awards

*27 January Screen Actors Guild Awards

*31 January Casting Society of America’s Artios Awards

February 2019

*1 February American Cinema Editors Awards

*2 February Art Directors Guild Awards

*2 February Directors Guild of America Awards

*9 February USC Scripter Awards

*10 February BAFTA Awards

*13 February Music Supervisor Guild Awards

*16 February Make-up Artists and Hair Stylists Guild Awards

*16 February Cinema Audio Society Awards

*17 February Writers Guild of America Awards

*19 February Costume Designers Guild Awards

February NAACP Image Awards nominations announced

March

28 March BAFTA TV Nominations

*30 March NAACP Image Awards

May

*May 12 May BAFTA Awards

(*) indicates when award is given

#acs versace #january 2019 #.to be updated as needed #*

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pwunion · 5 years ago

Text

Sean Abley

SEAN ABLEY is a screenwriter, journalist, dramaturg, novelist, and award-winning playwright.

He has over thirty plays published by Playscripts, Brooklyn Publishers, Heuer Publishing, Next Stage Press, Stage Partners, Plays to Order, and Eldridge Plays and Musicals with titles like End of the World (With Prom to Follow), The Adventures of Rose Red (Snow White's Less-Famous Sister), Horror High: The Musical and Two-Faced: A Tragedy…Sort Of. His plays have been developed and performed at the Kennedy Center, Antaeus Theater Company, Goodman Theatre, Celebration Theatre, Write/Act Repertory, Factory Theater, Merry-Go-Round Youth Theatre, SkyPilot Theatre Company, Virginia City Players, and academically at the Playwrights Lab at Hollins University and California State University-Stanislaus. His plays for young audiences have been performed in over 300 professional and educational productions in the U.S.A., Canada, Australia, Mexico, New Zealand, Saudi Arabia, South Africa, Argentina, Belgium, Singapore, and United Arab Emirates. Most recently his play Unabridged was an official selection of the LaBute New Play Festival 2018 at St. Louis Actors’ Studio. His play Popcorn Girl was the 2nd place winner of the National Partners of the American Theatre Award as part of the Kennedy Center American College Theatre Festival 2017, and his play Absence Makes the Heart... was a national finalist for the John Cauble Short Play Award at KCACTF the same year. His short play Zombie? was a regional finalist for the Gary Garrison National Ten-Minute Play Award as part of KCACTF 2018. Before moving to Los Angeles, he was the co-founder and co-Artistic Director of Chicago’s prolific Factory Theater in 1992 (still going strong as of this writing), where his plays Bitches, Attack of the Killer B’s, Santa Claus Conquers the Martians: The Musical and Nuclear Family all enjoyed long runs. His recent Los Angeles theatrical endeavors include the world premieres of Dr. Frankincense and the Christmas Monster (Write/Act Repertory), L.A. Tool & Die: Live! (Celebration Theatre), Larva! (SkyPilot Theatre Company), the L.A. premieres of Bitches! (Magnum Players), Attack of the Killer B’s (Factory Theater West, Backstage West Garland Award winner-Best Adaptation), and Absence Makes the Heart… (SkyPilot Theatre Company.) His television writing includes multiple episodes of So Weird (Disney Channel), Sabrina, the Animated Series (Disney/UPN), Digimon and Mega Babies (both Fox Family), as well as several pilots including Bench Pressly, The World's Strongest Private Dick with Ahmet Zappa. His produced screenplays include the B-movies Socket, Rope Burn, Witchcraft 15: Blood Rose, Witchcraft 16: Hollywood Coven and Camp Blood 8: Bride of Blood. He currently serves as the TV Writing instructor at the Orange County School of the Arts in Santa Ana, CA. Sean has an MFA in Playwriting from The Playwrights Lab at Hollins University, and is a member of the Playwrights’ Union, Antaeus Theater Company’s Playwrights Lab, the Writers Guild of America, and the Dramatists Guild.

#playwright #xs

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katherinechris · 6 years ago

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1999-2000 Emmy Awards

Outstanding Makeup For A Series

The X-Files - Theef ** WINNER ** Cheri Montesanto Medcalf, Head Makeup Artist; Kevin Westmore, LaVerne Basham, Gregory Funk, Cindy Williams, Makeup Artists

also nominated: Angel, MadTV, Star Trek: Voyager, That 70s Show

Outstanding Visual Effects For A Series

The X-Files - First Person Shooter ** WINNER ** Bill Millar, Visual Effects Producer; Deena Burkett, Visual Effects Supervisor; Monique Klauer, Visual Effects Coordinator; Don Greenberg, Jeff Zaman, Steve Scott, Steve Strassburger, Visual Effects Compositors; Cory Strassburger, Visual Effects Animator

The X-Files - Rush Bill Millar, Visual Effects Producer; Deena Burkett, Visual Effects Supervisor; Monique Klauer, Visual Effects Coordinators; Don Greenberg, Visual Effects Compositor

also nominated: Star Trek: Voyager, Star Trek: Voyager, Stargate SG-1,

Outstanding Sound Mixing For A Series

The X-Files - First Person Shooter ** WINNER ** Steve Cantamessa, Production Mixer; David J. West, Harry Andronis, Ray O’Reilly, Re-Recording Mixers

also nominated: ER, Law & Order, NYPD Blue, The Sopranos, The West Wing

Outstanding Sound Editing For A Series

The X-Files - First Person Shooter Thierry J. Couturier, Sound Supervisor; Cecilia Perna, Sound Effects Editor; Debby Ruby-Winsberg, Donna Beltz, Jay Levine, Ken Gladden, Mike Kimball, Stuart Calderon, Susan Welsh, Sound Editors; Jeff Charbonneau, Music Editor; Mike Salvetta, Sharon Michaels, Foley Artists

Winner: Third Watch also nominated: ER, The Others, Star Trek: Voyager

Outstanding Music Composition For A Series (Dramatic Underscore)

The X-Files - Theef Mark Snow

Winner: Xena: Warrior Princess also nominated: Falcone, Felicity, Star Trek: Voyager

1999-2000 Screen Actor's Guild Awards

These are the X-Files related nominations for the 1999-2000 Screen Actor's Guild Awards. The awards were be presented on Sunday, March 12, 2000 and aired on TNT (Turner Network Television).

Outstanding Performance by a Male Actor in a Drama Series

David Duchovny

Winner: James Gandolfini (The Sopranos) also nominated: Dennis Franz (NYPD Blue), Rick Schroder (NYPD Blue), Martin Sheen (The West Wing)

Outstanding Performance by a Female Actor in a Drama Series

Gillian Anderson

Winner: Edie Falco (The Sopranos) also nominated: Lorraine Bracco (The Sopranos), Nancy Marchand (The Sopranos), Annie Potts (Any Day Now)

1999-2000 Miscellaneous Awards

Publicists Guild of America

Television Showmanship Award Chris Carter ** WINNER ** for the "exceptional impact" Carter has had on TV.

TV Guide Awards

Favorite Actor in a Drama David Duchovny Winner: David James Elliot (JAG) also nominated: Dennis Franz (NYPD Blue), Sam Waterston (Law & Order)

Favorite Actress in a Drama Gillian Anderson Winner: Melina Kanakaredes (Providence) also nominated: Roma Downey (Touched by an Angel), Julianna Margulies (ER)

Favorite Sci-Fi/Fantasy Show (online category) X-Files Winner: Buffy the Vampire Slayer also nominated: Charmed

Art Director Guild Awards

Television Series X-Files - Amor Fati also nominated: The Magnificent Seven (Chinatown), Roswell (Monster), Star Trek Voyager (11:59), West Wing (Pilot)

First Annual Hollywood Makeup Artists and Hair Stylists Guild Awards

Best Period Makeup - Television (For a Single Episode of a Regular Series - Sitcom, Drama, or Daytime) X-Files - Triangle ** WINNER ** Cheri Montesanto-Medcalf, Kevin Westmore and LaVerne Basham also nominated: Rude Awakenings (Between a Rock Star and Hard Place), Freaks & Geeks (Pilot), Providence (He's Come Undone)

Best Character Makeup - Television X-Files - Two Fathers/One Son Cheri Montesanto-Medcalf and Kevin Westmore also nominated: Mad TV (Episode #505), Mad TV (Episode #507), Providence (He's Come Undone)

American Society of Cinematographers

Outstanding Achievement in Cinematography in Regular Series Bill Roe, The X-Files, Agua Mala ** WINNER **

British Independant Film Awards

Best Actress Gillian Anderson (House of Mirth) ** WINNER ** also nominated: Kate Ashfield (The Low Down), Brenda Blethyn (Saving Grace), Julie Walters (Billy Elliot), Emily Watson (The Luzhin Defence)

These are the X-Files related nominations for the 1999 Emmy Awards (for the period of June 1, 1998 through May 31, 1999). The awards were televised by Fox on Sunday, September 12th, 1999. The Creative Arts Awards were given out on August 28, 1999.

Outstanding Lead Actress in a Drama Series

Gillian Anderson as Dana Scully

Winner Edie Falco (The Sopranos)

also nominated: Lorraine Bracco (The Sopranos), Christine Lahti (Chicago Hope), Julianna Margulies (ER)

Outstanding Makeup for a Series

The X-Files - Two Fathers/One Son Parts I & II ** WINNER ** Cheri Montesanto-Medcalf, Head Makeup Artist; Laverne Basham, Makeup Artist for Duchovny & Anderson; John Vulich, Makeup Effects Artist; Kevin Westmore, Greg Funk, John Wheaton, Mark Shostrom, Rick Stratton, Jake Garber, Craig Reardon, Fionagh Cush, Steve LaPorte, Kevin Haney, Jane Aull, Peri Sorel, Jeanne Van Phue, Julie Socash, Makeup Artists

also nominated: Buffy The Vampire Slayer, Saturday Night Live, Star Trek: Deep Space Nine, Tracey Takes On...

Outstanding Art Direction for a Series

The X-Files - One Son Corey Kaplan - Production Designer, Lauren Polizzi & Sandy Getzler - Art Directors, Tim Stepeck - Set Decorator

Winner Buddy Faro also nominated: Ally McBeal, The Sopranos, Star Trek: Deep Space Nine

Outstanding Cinematography for a Series

The X-Files - The Unnatural Bill Roe - Director of Photography

Winner Felicity also nominated: Chicago Hope, JAG, The Practice

Outstanding Single-Camera Picture Editing for a Series

The X-Files - S.R. 819 Heather MacDougall - Editor

Winner The Sopranos also nominated: Ally McBeal, ER

Outstanding Music Composition for a Series (Dramatic Underscore)

The X-Files - S.R. 819 Mark Snow - Composer

Winner Invasion America also nominated: Fantasy Island, The Simpsons, Xena: Warrior Princess

Outstanding Guest Actress in a Drama Series

Veronica Cartwright as Cassandra Spender (Two Fathers & One Son)

Winner Debra Monk (NYPD Blue) also nominated: Patty Duke (Touched by an Angel), Julia Roberts (Law & Order), Marion Ross (Touched by an Angel)

Outstanding Sound Editing for a Series

The X-Files - Triangle Thierry J. Couturier, Supervising Sound Editor; Stuart Calderon, Michael Goodman, Jay Levine, Maciek Malish, George Nemzer, Cecilia Perna, Chris Reeves, Gabrielle Reeves, Sound Editors; Jeff Charbonneau, Music Editor; Gary Marullo, Mike Salvetta, Foley Artists

Winner ER also nominated: Buffy The Vampire Slayer, The Pretender, The Sopranos

These are the X-Files related nominations & awards for the 1999 Golden Globes.

Best TV Series - Drama

The X-Files

Winner The Practice also nominated: ER, Felicity, Law & Order

Best Performance by an Actress in a TV Series - Drama

Gillian Anderson

Winner Keri Russell (Felicity) also nominated: Julianna Margulies (ER), Kim Delaney (NYPD Blue), Roma Downey (Touched by an Angel)

Best Performance by an Actor in a TV Series - Drama

David Duchovny

Winner Dylan McDermott also nominated: Anthony Edwards (ER), Lance Henrickson (Millennium), Jimmy Smitts (NYPD Blue)

These are the X-Files related nominations & awards for the 1998-1999 Screen Actor's Guild Awards.

Outstanding Performance by a Male Actor in a Drama Series

David Duchovny

Winner Sam Waterston (Law & Order) also nominated: Anthony Edwards (ER), Dennis Franz (NYPD Blue), Jimmy Smits (NYPD Blue)

Outstanding Performance by a Female Actor in a Drama Series

Gillian Anderson

Winner Julianna Margulies (ER) also nominated: Kim Delaney (NYPD Blue), Christine Lahti (Chicago Hope), Annie Potts (Any Day Now)

Outstanding Performance by an Ensemble in a Drama Series:

The X-Files Gillian Anderson, William B. Davis, David Duchovny, Chris Owens, James Pickens Jr, Mitch Pileggi

Winner ER also nominated: Law & Order, NYPD Blue, The Practice

Viewers for Quality Television:

Best Actress in a Quality Drama Gillian Anderson, The X-Files ** WINNER **

Academy of Science Fiction, Fantasy and Horror (Saturn Awards):

Best Series on Network TV The X-Files ** WINNER **

Blockbuster Entertainment Awards

Favorite Actress - Science Fiction Gillian Anderson, The X-Files ** WINNER **

American Comedy Awards

Funniest Male Guest Appearance in a Television Series David Duchovny, The Larry Sanders Show ** WINNER **

Producer's Guild of America Awards

The Vision Award for Artistic Achievement Chris Carter, The X-Files ** WINNER **

TV Guide Awards

Favorite Actor in a Drama David Duchovny, The X-Files ** WINNER ** Favorite Actress in a Drama Gillian Anderson, The X-Files - nominee (online) Best Dressed - Drama David Duchovny, The X-Files ** WINNER ** (online) Sexiest Male - Drama David Duchovny, The X-Files ** WINNER **

Directors's Guild of America Awards

Outstanding Directorial Achievement in Dramatic Series Chris Carter, The X-Files, Triangle - nominee

American Society of Cinematographers

Outstanding Achievement in Cinematography in Regular Series Bill Roe, The X-Files, Drive ** WINNER ** Outstanding Achievement in Cinematography in Regular Series Joel Ransom, The X-Files, Travelers - nominee

BAFTA Awards

Best International Programme or Series The X-Files ** WINNER **

These are the X-Files related nominations & awards for the 1998 Emmy Awards (for the period of June 1, 1997 through May 31, 1998). The awards were presented Sunday, September 13th, on NBC, and the "Creative Arts" Awards were televised on TV Land September 11th. Congratulations to the X-Files for being the most nominated television series (tied with ER -- both with 16 nominations)!

Outstanding Drama Series

The X-Files

Winner The Practice also nominated: ER, Law & Order, NYPD Blue

Outstanding Lead Actor in a Drama Series

David Duchovny as Fox Mulder episode - Redux II

Winner Andre Braugher also nominated: Anthony Edwards, Dennis Franz, Jimmy Smits

Outstanding Lead Actress in a Drama Series

Gillian Anderson as Dana Scully

Winner Christine Lahti also nominated: Roma Downey, Julianna Margulies, Jane Seymore

Outstanding Writing for a Drama Series

The X-Files - Post-Modern Prometheus Chris Carter - Writer

Winner NYPD Blue also nominated: Homicide: Life on the Street, NYPD Blue, The Practice

Outstanding Directing for a Drama Series

The X-Files - Post-Modern Prometheus Chris Carter - Director

Winner (tie) Brooklyn South & NYPD Blue also nominated: Chicago Hope, ER

Outstanding Art Direction for a Series

The X-Files - Post-Modern Prometheus ** WINNER ** Graeme Murray - Production Designer, Greg Loewen - Art Directory, Shirley Inget - Set Decorator

also nominated: Ally McBeal, Dharma & Greg, Nothing Sacred, Star Trek: Deep Space Nine

Outstanding Single-Camera Picture Editing for a Series

The X-Files - Kill Switch ** WINNER ** Heather MacDougall - Editor The X-Files - Mind's Eye Casey Rohrs - Editor The X-Files - Post-Modern Prometheus Lynne Willingham - Editor

also nominated: Ally McBeal, Chicago Hope, ER

Outstanding Guest Actress in a Drama Series

Veronica Cartwright as Cassandra Spender (Patient X & The Red and the Black) Lili Taylor as Marty Glenn (Mind's Eye)

Winner Cloris Leachman also nominated: Swoosie Kurtz, Alfre Woodard

Outstanding Cinematography for a Series

The X-Files - Post-Modern Prometheus Joel Ransom - Director of Photography

Winner Law & Order also nominated: Chicago Hope, Earth: Final Conflict, JAG

Outstanding Sound Editing for a Series

The X-Files - The Red and the Black Thierry Couturier - Supervising Sound Editor; Maciek Malish, M.P.S.E., Jay Levine, Gabrielle Reeves, Michael Goodman, Ira Leslie, M.P.S.E., Chris Fradkin, Rick Henson, M.P.S.E., Michael Kimball - Sound Editors; Jeff Charbonneau - Music Editor; Gary Marullo, Mike Salvetta - Foley Artists

Winner ER also nominated: Millennium, Soldier of Fortune, Inc., The Visitor

Outstanding Sound Mixing for a Drama Series

The X-Files - The Red and the Black Michael Williamson - Production Mixer; David J. West, Harry T. Andronis, Kurt Kassulke - Re-Recording Mixers

Winner Chicago Hope also nominated: ER, ER, NYPD Blue

Outstanding Makeup for a Series

The X-Files - Post-Modern Prometheus Laverne Basham, Pearl Loule - Makeup Artists, Toby Lindala, Dave Coughtry, Rachel Griffin, Robin Lindala, Leanne Rae Podavin, Brad Proctor, Geoff Redknap, Tony Wohlgemuth, Wayne Dang, Vince Yoshida - Prosthetic Makeup Artists

Winner Buffy the Vampire Slayer also nominated: Babylon 5, Star Trek: Deep Space Nine, Tracey Takes On...

Outstanding Music Composition for a Series (Dramatic Underscore)

The X-Files - Post-Modern Prometheus Mark Snow - Composer

Winner Buffy the Vampire Slayer also nominated: Roar, The Simpsons, Stargate SG-1

Honorable Mention -- since he is an X-Files character, after all: Outstanding Guest Actor in a Drama Series

Charles Nelson Reilly as Jose Chung - Millennium (Jose Chung's Doomsday Defense) Winner John Larroquette (The Practice) also nominated: Bruce Davidson (Touched by an Angel), Vincent D'Onofrio (Homicide: Life on the Streets), Charles Durning (Homicide: Life on the Streets)

These are the X-Files related nominations & awards for the 1998 Golden Globes.

Best TV Series - Drama

The X-Files ** WINNER **

also nominated: Chicago Hope, NYPD Blue, ER, Law & Order

Best Performance by an Actress in a TV Series - Drama

Gillian Anderson

Winner Christine Lahti (Chicago Hope) also nominated: Julianna Margulies (ER), Kim Delaney (NYPD Blue), Roma Downey (Touched by an Angel)

Best Performance by an Actor in a TV Series - Drama

David Duchovny

Winner Anthony Edwards (ER) also nominated: George Clooney (ER), Lance Henrickson (Millennium), Kevin Anderson (Nothing Sacred)

These are the X-Files related nominations & awards for the 1997 Emmy Awards (for the period of June 1, 1996 through May 31, 1997).

Outstanding Drama Series

The X-Files

Winner Law & Order also nominated: Chicago Hope, ER, NYPD Blue

Outstanding Lead Actress in a Drama Series

Gillian Anderson as Dana Scully ** WINNER **

also nominated: Christine Lahti (Chicago Hope), Julianna Margulies (ER), Sherry Stringfield (ER), Roma Downey (Touched by an Angel)

Outstanding Lead Actor in a Drama Series

David Duchovny as Fox Mulder

Winner Dennis Franz (NYPD Blue) also nominated: Anthony Edwards, Sam Waterston, Jimmy Smits

Outstanding Writing for a Drama Series

The X-Files - Memento Mori Chris Carter - Writer; Vince Gilligan - Writer, John Shiban - Writer, Frank Spotnitz - Writer

Winner NYPD Blue also nominated: ER, ER, NYPD Blue

Outstanding Directing for a Drama Series

The X-Files - Musings of a Cigarette Smoking Man James Wong - Director

WinnerNYPD Blue also nominated: ER, ER, ER

Outstanding Art Direction for a Series

The X-Files - Memento Mori ** WINNER ** Graeme Murray - Production Designer, Gary P. Allen - Art Director, Shirley Inget - Set Decorator

also nominated: 7th Heaven, The Drew Carey Show, NYPD Blue, Star Trek: Deep Space Nine

Outstanding Music Composition for a Series (Dramatic Underscore)

The X-Files - Paper Hearts Mark Snow - Composer

Winner The Cape also nominated: Early Edition, Orleans, Xena: Warrior Princess

Outstanding Sound Editing for a Series

The X-Files - Tempus Fugit ** WINNER ** Stuart Calderon, Sound Editor; Jeff Charbonneau, Music Editor; Thierry J. Couturier, Sound Supervisor; Chris Fradkin, Sound Editor; Ira Leslie, Sound Editor; Jay Levine, Sound Editor; Maciek Malish, Sound Editor; Gary Marullo, Foley Artist; Chris Reeves, Sound Editor; Debby Ruby-Winsburg, Sound Editor; Mike Salvetta, Foley Artist; Susan Welsh, Sound Editor

also nominated: The Cape, Chicago Hope, Nash Bridges, Profiler

Outstanding Sound Mixing for a Drama Series

The X-Files - Tempus Fugit Harry Andronis, Re-Recording Mixer; Nello Torri, Re-Recording Mixer; David West, Re-Recording Mixer; Michael Williamson, Production Mix

Winner ER also nominated: Law & Order, Star Trek, Voyager, NYPD Blue

Outstanding Single-Camera Picture Editing for a Series

The X-Files - Tempus Fugit Heather MacDougall - Editor The X-Files - Terma Jim Gross - Editor

Winner ER also nominated: Chicago Hope, ER, Law & Order

Outstanding Makeup for a Series

The X-Files - Leonard Betts Laverne Basham, Makeup Artist; Toby Lindala, Effects Makeup Artist

Winner Tracey Takes On... also nominated: Babylon 5, Buffy The Vampire Slayer, Star Trek: Deep Space Nine

These are the X-Files related nominations & awards for the 1997 Golden Globes. Congratulations to the X-Files for winning every category they were nominated in!!

Best TV Series - Drama

The X-Files ** WINNER **

also nominated: Party of Five, Chicago Hope, NYPD Blue, ER

Best Performance by an Actress in a TV Series - Drama

Gillian Anderson ** WINNER **

also nominated: Christine Lahti (Chicago Hope), Heather Locklear (Melrose Place), Jane Seymour (Dr. Quinn, Medicine Woman), Sherry Stringfield (ER)

Best Performance by an Actor in a TV Series - Drama

David Duchovny ** WINNER **

also nominated: Jimmy Smits (NYPD Blue), Anthony Edwards (ER), George Clooney (ER), Lance Henrickson (Millennium)

These are the X-Files related nominations & awards for the 1996-1997 Screen Actor's Guild Awards.

Outstanding Performance by a Female Actor in a Drama Series

Gillian Anderson ** WINNER **

Outstanding Performance by a Male Actor in a Drama Series

David Duchovny - nominee

Outstanding Performance by an Ensemble in a Drama Series:

The X-Files - nominee Gillian Anderson, William B. Davis, David Duchovny, Nicolas Lea, Mitch Pileggi, Stephen Williams

These are the X-Files related nominations & awards for the 1996 Emmy Awards (for the period of June 1, 1995 through May 31, 1996).

Outstanding Drama Series

The X-Files

Winner ER also nominated: Chicago Hope, Law & Order, NYPD Blue

Outstanding Lead Actress in a Drama Series

Gillian Anderson as Dana Scully Episode: Piper Maru

Winner Kathy Baker (Picket Fences) also nominated: Christine Lahti (Chicago Hope), Sherry Stringfield (ER), Angela Lansbury (Murder, She Wrote)

Outstanding Guest Actor in a Drama Series

Peter Boyle as Clyde Bruckman (Clyde Bruckman's Final Repose) ** WINNER **

also nominated: Michael Jeter (Chicago Hope), Richard Pryor (Chicago Hope), Rip Torn (Chicago Hope), Danny Glover (Fallen Angels)

Outstanding Writing for a Drama Series

The X-Files - Clyde Bruckman's Final Repose ** WINNER ** Darin Morgan - Writer

also nominated: ER, ER, Murder One, NYPD Blue

Outstanding Art Direction for a Series

The X-Files - Jose Chung's From Outer Space Shirley Inget - Set Decorator, Graeme Murray - Art Director

Winner Murder One also nominated: Cybill, Murder She Wrote, NYPD Blue

Outstanding Cinematography for a Series

The X-Files - Grotesque ** WINNER ** John S. Bartley, C.S.C. - Director of Photography

also nominated: Babylon 5, Chicago Hope, Dave's World, ER, Murder One

Outstanding Sound Mixing for a Drama Series

The X-Files - Nisei ** WINNER ** Nello Torri, Re-Recording Mixer; Doug Turner, Re-Recording Mixer; David J. West, Re-Recording Mixer; Michael Williamson, Production Mixer

also nominated: American Gothic, Chicago Hope, ER, Lois & Clark: The New Adventures Of Superman, NYPD Blue

Outstanding Sound Editing for a Series

The X-Files - Nisei ** WINNER ** Jeff Charbonneau, Music Editor; Thierry J. Couturier, Supervising Sound Editor; Michael Goodman, Dialogue Editor; Rick Hinson, Sound Effects Editor; Jerry Jacobson, Sound Effects Editor; Michael Kimball, Sound Effects Editor; Ira Leslie, Sound Effects Editor; Maciek Malish, Dialogue Editor; Kitty Malone, Foley Artist; Greg Pusateri, Sound Effects Editor; Chris Reeves, Dialogue Editor; Debra Ruby-Winsberg, ADR Editor; Joe Sabella, Foley Artist; Marty Stein, Dialogue Editor; Susan Welsh, Sound Effects Editor

also nominated: Dr. Quinn, Medicine Woman, Law & Order, Party of Five, Sliders, Strange Luck

These are the X-Files related nominations & awards for the 1995 Emmy Awards (for the period of June 1, 1994 through May 31, 1995).

Outstanding Drama Series

The X-Files

Winner NYPD Blue also nominated: Chicago Hope, ER, Law & Order

Outstanding Writing for a Drama Series

The X-Files - Duane Barry Chris Carter - Writer

Winner ER also nominated: ER, My So-Called Life, NYPD Blue

Outstanding Cinematography for a Series

The X-Files - One Breath John S. Bartley, C.S.C. - Director of Photography

Winner Chicago Hope also nominated: Babylon 5, Chicago Hope, Dr. Quinn, Medicine Woman, NYPD Blue, Star Trek: Voyager

Outstanding Single-Camera Picture Editing for a Series

The X-Files - Duane Barry James Coblentz - Editor The X-Files - Sleepless Stephen Mark - Editor

Winner ER also nominated: Chicago Hope, Chicago Hope, ER

Outstanding Guest Actress in a Drama Series

CCH Pounder as Agent Kazdin (Duane Barry)

Winner Shirley Knight (NYPD Blue) also nominated: Colleen Flynn (ER), Rosemary Clooney (ER), Amy Brenneman (NYPD Blue)

Outstanding Sound Editing for a Series

The X-Files - Duane Barry Thierry Couturier, Supervising Sound Editor; Maciek Malish, Dialogue Editor; Chris Reeves, Dialogue Editor; Marty Stein, Dialogue Editor; Jay Levine, Dialogue Editor; Stuart Calderon, Sound Effects Editor; Michael Kimball, Sound Effects Editor; David Van Slyke, Sound Effects Editor; Susan Welsh, Sound Effects Editor; Chris Fradkin, Sound Effects Editor; Matt West, Sound Effects Editor; Ira Leslie, Sound Effects Editor; Jeff Charbonneau, Music Editor; Debby Ruby Winsberg, ADR Editor; Kitty Malone, Foley Artist; Yvonne Preble, Foley Artist

Winner ER also nominated: Dr. Quinn, Medicine Woman, Earth 2, The Marshal

1993 - 1994 Emmy Awards

These are the X-Files related nominations & awards for the 1994 Emmy Awards (for the period of June 1, 1993 through May 31, 1994).

Outstanding Individual Achievement in Graphic Design and Title Sequences

The X-Files ** WINNER ** James Castle - Title Designer, Bruce Bryant - Title Designer, Carol Johnsen - Title Designer

also nominated: Birdland, Late Show With David Letterman, Rolling Stone '93: The Year In Review, South of Sunset, Tekwar

Outstanding Individual Achievement in Main Title Theme Music

The X-Files Mark Snow - Composer

Winner seaQuest DSV also nominated: Frasier, Lois & Clark: The New Adventures Of Superman, NYPD Blue

#the x files #David Duchovny #Gillian Andrerson

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scriptwriters-network · 6 years ago

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We hope to see you at the Immersive Storytelling: Writing VR Scripts with Evette Vargas Seminar tomorrow.

Event Date: Saturday, February 16, 2019 || Speaker: Evette Vargas || Check-in: 12:30 pm ||

In immersive storytelling, worlds come to life in dramatically different ways than in traditional storytelling. Audiences can adopt varying perspectives, sometimes becoming protagonists, antagonists, and other characters. In VR, audiences step into the story and can interact with characters and objects inside of the virtual world. But, how do you write the script? In this lecture, Evette Vargas will introduce you to the Immersiveplay scriptwriting elements, which she developed for Final Draft. Vargas will explain the differences between traditional and immersive scriptwriting and discuss why immersive scriptwriting is relevant to your writing career.

Evette Vargas is an award-winning writer, director, producer and immersive storyteller. Named by the New York Times as an “Artist to Watch,” Vargas’ work includes series for Amazon, MTV, Bravo, DirectTV; and interactive content for Fast And Furious, Lord Of The Rings trilogy and Madonna. Vargas exec produced, wrote and directed her digital series Dark Prophet , starring Henry Rollins, which was in contention for two Emmys and premiered at Sundance. Vargas has currently set up her drama series Tinacious at MGM Television. Marc Guggenheim and Rosario Dawson are serving as Executive Producers. Vargas wrote and is set to direct The Current War VR Experience as a companion piece for the film, starring Benedict Cumberbatch. Vargas is penning the Mix Master Mike feature biopic for Impossible Dream Entertainment.

Vargas created the Immersiveplay, the industry standard for immersive scriptwriting for Final Draft and has spoken at the Cannes Film Festival on VR Storytelling. A member of the Writers Guild of America, Academy of Television Arts and Sciences and Producers Guild of America, Vargas was born in the Bronx and learned to tell stories at the dinner table where the imagination ruled. Vargas kick boxes; collects action figures, typewriters and shoes; has past lives as a DJ, a fashion designer, and is a recovering New York City advertising Art Director.

Follow Evette @ insta vargasgirl23 | @VargasGirl | fb evette.vargas.5

IMPORTANT:

Please REGISTER before 10:00 pm on Thursday, February 14, 2019.

#evettevargas #evette vargas #scriptwritersnetwork #scriptwriters network #scriptwriting #screenwriting #writing #writers #write #amwriting #storywriting

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lboogie1906 · 2 years ago

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Paris K. C. Barclay (born June 30, 1956) is a television director and producer, writer, LGBT activist. He is a two-time Emmy Award winner and is among the busiest single-camera television directors, having directed over 160 episodes of television, for series such as NYPD Blue, ER, The West Wing, CSI, Lost, The Shield, House, Law & Order, Monk, Numb3rs, City of Angels, Cold Case, and more recently Sons of Anarchy, The Bastard Executioner, The Mentalist, Weeds, NCIS: Los Angeles, In Treatment, Glee, Smash and The Good Wife, Extant, and Manhattan, Empire, and Scandal. He worked as an executive producer and principal director for the Fox series Pitch. He was tapped as the executive producer and director of the Shondaland show, Station 19, which follows a group of Seattle firefighters that exist in the Grey’s Anatomy universe and stars Jaina Lee Ortiz, Jason George, Grey Damon, Miguel Sandoval, Jay Hayden, Danielle Savre, Barrett Doss, Okierette Onadowan, and Boris Kodjoe. The show is executive produced by Shonda Rhimes, Betsy Beers, and Krista Vernoff. He served two terms as the President of the Directors Guild of America, breaking historical grounds as the first African American and first out Gay male to lead the organization. He has been listed by Variety as “one of 500 most influential business leaders in Hollywood.” He was born in Chicago Heights. Raised Catholic, he attended La Lumiere School, a private college preparatory boarding school in La Porte, Indiana. On scholarship, he was one of the first African-Americans to attend the school. He went on to Harvard College, where he was extremely active in student musical theatre productions and the a cappella singing group The Harvard Krokodiloes. During his four years there, he wrote 16 musicals, including the music for two of the annual Hasty Pudding shows. #africanhistory365 #africanexcellence https://www.instagram.com/p/CfbRLLBuzDy_gbQ9RY57B686uYmL1h9nNWuRhk0/?igshid=NGJjMDIxMWI=

#africanhistory365 #africanexcellence

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abcnewspr · 3 years ago

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ABC NEWS STUDIOS PARTNERS WITH IMAGINE DOCUMENTARIES AND VERMILION FILMS TO PRESENT ‘LEAVE NO TRACE’

The Documentary Explores the Failure to Protect Generations of Boys From Sexual Abuse and the Devastating Cover Up by the Once-Trusted Organization

The Film Streams on Hulu and Premieres in Theaters, June 16

First Look Trailer HERE

Peabody and Emmy®-winning and Oscar®-nominated director Irene Taylor (“Moonlight Sonata: Deafness in Three Movements,” “Beware the Slenderman”) of Vermilion Films, Imagine Documentaries and ABC News Studios investigate the downfall of an American institution in the powerful and timely documentary, “Leave No Trace.” The film draws on financial records, court documents and scores of interviews to dissect a centurylong cover-up by The Boy Scouts of America (BSA). The organization concealed that pedophiles were in its ranks, but the disclosure of secret “perversion files” in litigation eventually led to disgrace and bankruptcy. Producing alongside Taylor is Sara Bernstein and Justin Wilkes for Imagine Documentaries, Emily Singer Chapman and Pulitzer Prize-winning journalist Nigel Jaquiss. Brian Grazer and Ron Howard serve as executive producers. Following its world premiere at the Tribeca Film Festival on June 9, “Leave No Trace” streams on Hulu and is in theaters in New York and Los Angeles beginning Thursday, June 16.

The film looks at the sexual abuse, told through firsthand accounts of survivors still trying to cope with their trauma today, even as they crusade for justice in a high-stakes court case. Interviews and taped depositions with former BSA leadership, including a highly placed insider, reveal how financial considerations factored into BSA executives putting the interests of adults and the organization ahead of keeping boys safe. The film explores the connection between declining membership—the scouts’ financial lifeblood—and policies that failed to protect boys from their abusers. And the film reveals that BSA leadership prioritized banning gay scouts and leaders over reporting pedophiles to authorities.

“Leave No Trace” shows the BSA’s extraordinary position in America: presidents, CEOs and leaders in every community have supported scouting for more than a century, building an institution of extraordinary influence and wealth. Yet, from its earliest days, BSA kept meticulous records of pedophile scout leaders—the “perversion files.” In spite of the damning information the files contained, they were kept confidential at headquarters, while some abusers moved from troop to troop without public warning.

The organization filed for bankruptcy in February 2020. Since then, more than 82,000 men have come forward with claims of abuse. The proposed reorganization plan for the BSA would include the largest sexual abuse settlement in history, even dwarfing payouts from the U.S. Catholic Church.

“Leave No Trace” is a presentation of ABC News Studios and an Imagine Documentaries and Vermilion Films production.

Directed by Irene Taylor

Produced by Irene Taylor, Sara Bernstein, Justin Wilkes, Nigel Jaquiss, Emily Singer Chapman

Executive Producers: Brian Grazer, Ron Howard, Irene Taylor

Supervising Producer: Lisa Diamond

Editors: Don Kleszy, Jody McVeigh-Schultz

Directors of Photography: Peter Hutchens, Nick Midwig

Music by Mark Orton

About Imagine Documentaries

Imagine Documentaries was formed in 2018 by Imagine Entertainment Chairmen Brian Grazer and Ron Howard with a focus on developing and producing premium feature documentaries and non-scripted television. Based out of New York, Imagine Docs is run by Academy Award-nominated and Emmy, Peabody and Producer’s Guild Award-winning producers Justin Wilkes and Sara Bernstein. The division expands on Imagine’s rich history in the documentary space which includes the hit documentary series “Mars” and “Breakthrough” (National Geographic) as well as the Ron Howard-directed films Jay- Z’s “Made in America,” “The Beatles: Eight Days a Week – The Touring Years” (2017 Grammy winner for Best Music Film), “Pavarotti,” and the Sundance 2020 documentary feature “Rebuilding Paradise” (National Geographic Films). Recent releases include Ron Howard’s documentary feature “We Feed People” profiling chef Jose Andres and the humanitarian efforts of World Central Kitchen (National Geographic Films); Amy Poehler’s documentary feature directing debut, “Lucy and Desi”, on the personal and professional partnership between Lucille Ball and husband Desi Arnaz; the Rory Kennedy directed feature documentary, “Downfall,” investigating Boeing’s 737-Max airplane crashes (Netflix); “Julia,” the definitive documentary on Julia Child, directed by Julie Cohen and Betsy West (Sony Pictures Classic); “Paper & Glue,” directed by legendary French artist JR (MSNBC); the Tribeca Film Festival Best Documentary Short award winner “Coded: The Hidden Love of J.C. Leyendecker” (MTV Films); Joe Berlinger’s “Crime Scene” anthology series, “The Vanishing at the Cecil Hotel” and “The Times Square Killer,” which both reached the top #5 globally on Netflix; “Gossip,” a limited series chronicling Cindy Adams' four-decade career at the New York Post as the “reigning queen of gossip” (Showtime); “Who Are You Charlie Brown?”, the definitive feature documentary on Charles Schulz (AppleTV+); “Crime Scene: The Vanishing at the Cecil Hotel” (Netflix); and “Supervillain: The Making of Tekashi 6ix9ine” (Showtime); “We Are The Brooklyn Saints” (Netflix); “On Pointe” (Disney+); “The Day Sports Stood Still” (HBO); Dads (Apple+); “D Wade: Life Unexpected” (ESPN Films); and “Once Were Brothers: Robbie Robertson and the Band” (Magnolia Pictures).

Upcoming projects include “The Supermodels,” a docuseries featuring the iconic careers of Naomi Campbell, Cindy Crawford, Linda Evangelista and Christy Turlington (AppleTV+); the docuseries “Light & Magic” (Disney+) about the start of George Lucas’ special effects company Industrial Light and Magic; the Martin Scorsese-directed documentary on New York’s 1970’s music scene and the New York Dolls; and “Black and Blues: The Colorful Ballad of Louis Armstrong” (AppleTV+).

About Vermilion Films

Vermilion Films is led by Peabody and Emmy-winning, Oscar-nominated director and producer Irene Taylor. Vermilion documentaries have shown theatrically, at film festivals and on television worldwide. Vermilion’s most recent film, Moonlight Sonata: Deafness in Three Movements (2019) was nominated for Best Documentary, in the 2020 Prime Time Emmy Awards, and nominated for the Grand Jury Prize at the 2019 Sundance Film Festival.

Vermilion's other credits include “Hear and Now” ( Peabody Award, Sundance Audience Award, HBO), the HBO feature documentary “Beware the Slenderman” (Critics’ Choice Award and Emmy nominee) and several short films: “The Final Inch,” (Academy award and multiple Emmy award nominee, IDA’s Pare Lorentz Award), “Saving Pelican 895” (Emmy winner, best score), “One Last Hug: Three Days at Grief Camp” (Prime Time Emmy winner for Best Children’s Programming). Irene also created the New York Times Op-Doc Between Sound and Silence, as well as “Open Your Eyes.”

Vermilion is based in Portland Oregon.

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cinema-tv-etc · 3 years ago

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Why Casablanca Is Considered One Of The Best Films Of All Time

By Michael Lee Simpson April 16, 2020

No one expected it at the time. Casablanca sparkled with Hollywood stars Humphrey Bogart, Ingrid Bergman, and Paul Henreid, but was predicted to be yet another Warner Bros. war picture. Based on Murray Burnett and Joan Allison’s unproduced play, Everybody Comes to Rick’s, the rights were acquired by Hal B. Wallis for $20,000— the highest amount any producer had paid for a project of that kind.

When production began on May 25th of 1942, the screenplay wasn’t finished. A trio of writers, Julius J. Epstein, Philip G. Epstein and his twin Howard Koch, scribbled last-minute dialogue on set, handing scraps of paper to assistants who scurried them to the actors, seconds before the cameras rolled. Memorable lines like, “Here’s looking at you, kid,” were improvised.

Difficulties surfaced, one being the substantial height difference between Bergman and Bogart. Bogart was two inches shorter, requiring him to stand on blocks in their scenes together and during their iconic kiss. Bergman also insisted on being shot on her left side, a frustrating request for cinematographer Arthur Edison. Bogart’s wife offscreen accused him of having an affair with Bergman, a distraction he didn’t need since he was already out of his element playing Rick Blaine. Most of the cast believed the dialogue in the film was laughable.

The romantic drama with an exotic Moroccan backdrop was shot at Warner Bros. Studios in Burbank, but in sequence, for the sole reason that the second half of the screenplay was non-existent. It’s Love I’m After screenwriter Casey Robinson worked on uncredited rewrites for three weeks. The censorship board rejected sexual references, forcing the deletion of dialogue and long stretches of footage. Klieg lights toppled over and shattered while shooting film noir lighting, so shadows were painted instead of created. Wartime restrictions on building supplies required the use of recycled set pieces from previous productions. A timeless masterpiece was far from anyone’s mind, especially for Michael Curtz, who wasn’t Jack Warner’s first choice for director. His Hungarian accent provoked much confusion amongst the crew, nearly causing him to quit during principal photography. The cost exceeded the original budget of $878,000, totaling $1,039,000. By all accounts, Casablanca should have bombed.

Then on November 26th of 1942, Casablanca premiered at the Hollywood Theater in New York City and went into general release two months later. It proceeded to win three Academy Awards for Best Picture, Director and Screenplay with five other nominations. Today, the classic contends with the greatest of films, rooted in a screenplay considered by many to be the best of all time.

In 2006, the Writers Guild of America awarded it that prestigious title. Universities and film historians praise its inter-woven plots and overall screenwriting craftsmanship.

“There are a lot of great things about the script,” said Kevin Willmott, Academy Award-winning screenwriter of Spike Lee’s BlacKkKlansman. “The story is very interconnected. Rick and Ilsa’s backstory and present story and the challenge to his current belief system are all beautifully intertwined.”

“Casablanca has characters that are both universal and particular to their time,” said Poltergeist screenwriter Michael Grais. “Many of the actors in the film were recent refugees from Nazi Germany. They brought to the movie a realism that was unique. None of the characters are one-dimensional… Bogart (Rick) set the tone for many film characters to follow — the broken-hearted, reluctant hero — a man who is bitter about politics and refuses to take sides. All three of the main characters are broken-hearted, not only because of each other, but because of what has happened to the world under the Nazi scourge. This is the heart of the film for me and who among us has not been broken-hearted and cynical about what the world has become? The film is as potent and timely today as it was when it was first written in 1942.”

The basic ingredients to a quality film apply today just as they did back then — an engaging story, plot twists, pacing and something that’s overlooked, dialogue that’s unique to each character.

Paul Blyskal, a story analyst at Netflix, understands the concept from years of looking over material. “As far as what a script reader tends to look for, it’s tough to put into words. It’s something you start to feel after reading a few dozen to a few hundred screenplays. In general, you’re looking for a compelling idea and a story with a strong narrative drive… tension, surprise, and characters the viewer will care about.”

“People watch movies for two reasons,” said Sherry Hudak, actress/writer/producer at Reel Stories Real People. “They either need a temporary escape or a desire to feel connected and inspired. A good movie should take its audience on a journey to expand their minds and open their hearts to all the possibilities in life. It should explore different angles of the human condition and draw you in.”

Bruce Fretts, a contributor at The New York Times, said, “Any screenplay that has multiple lines of dialogue (‘Here’s looking at you, kid,’ ‘This is the beginning of a beautiful friendship,’ ‘We’ll always have Paris,’ ‘Round up the usual suspects,’ ‘The problems of three little people don’t amount to a hill of beans in this crazy world,’ ‘I’m shocked to find out that gambling is going on,’ ‘Of all the gin joints in all the towns in all the world, she walks into mine’) enter into the popular parlance—even if one of them, ‘Play it, Sam,’ is widely misquoted—has to be considered one of the greatest of all time. Also, the screenplay for Casablanca proved you don’t need to give audiences a traditional happy ending to create one of the most beloved romances in movie history.”

📷Ilsa Lund (Ingrid Lund)

“Casablanca is a great script because it was written on the fly,” said Stu Kreisman, Cheers writer, Warner Bros. producer, and columnist at The Huffington Post. “Nobody, including the actors, director, or writers knew how it would end until it was written days before it was shot. The fact that the process was so muddled, and it turned out to be one of the classic films and scripts is astounding.”

While most appreciate Casablanca’s efforts, not everyone considers it to possess the silver screen magic that so many say — not enough to be regarded as the number one film, at least. The American Film Institute gives Citizen Kane that title, followed by The Godfather and Casablanca in third place. Interestingly, when the AFI List was first released in 1998, the slots of The Godfather and Casablanca were reversed, causing reason to suspect that the timeless facet is wearing off.

Scout Tafoya, a film critic for RoberEbert.com, holds this opinion. “It’s very good, but I don’t believe it’s the best screenplay ever written, and I think you’d basically have to find people who visit the TCM Cruise to find supporting evidence of the claim. It’s funny and romantic and clever, I think it’s lovely, but I think anyone who says it’s the greatest has about 300-400 more movies left to watch.”

“Casablanca is my second favorite movie after Citizen Kane. It captures man’s thirst for war, search for love, and man’s greed,” reflects Michael Selsman, industry veteran, producer, author of Lost on the Yellow Brick Road and former agent to Marilyn Monroe, Judy Garland, Truman Capote, Cary Grant, Jimmy Stewart, and Orson Welles. [The success] was a big surprise to Warner, He told me that when I was co-producing Dirty Little Billy, his first co-production after selling the studio. When Bonnie and Clyde became a hit, he was also gobsmacked.”

Film school professors teach their students to dissect the film and screenplay frame by frame, page by page, breaking down each act and their specifics. Although not always utilized, the three-act structure is standard for mapping out a screenplay – generally one page per minute of screen time. Koch and the Epstein brothers followed the traditional formula, harping on themes, dramatic conflict, a moving story arc and the internal and external goals of characters.

Beverly Neufeld, adjunct professor of screenwriting at USC, points out, “It speaks to anti-heroes, the times, a great love story without a happy ending, great characters and stakes.”

“Casablanca not only includes all genres within, but also redemption, inspiration, love, unity of the subdued people and much more,” explained author and UCLA Screenwriting alum Melodi Bac.

“As a writer, I know exactly why Casablanca occupies a special place in my heart. God help me, I’m an eternal optimist who believes it’s never too late for people to grow, evolve, and change. And that’s exactly what I think is so strong about Humphrey Bogart’s character of Rick Blaine. He basically starts off the movie saying, ‘I don’t help nobody.’ But by the end, he’s sacrificing everything to take on the Nazis. The way the Epstein Brothers, Howard Koch, and Casey Robinson crafted that character gives me hope every single time I watch the film. When writers feel the need to develop rich character arcs, Casablanca is a master class,” declares screenwriter, producer and USC School of Cinematic Arts professor Trey Callaway.

Casablanca transports the audience to a poignant depth unmatched by any love story told since. The beauty of Casablanca isn’t only the execution through the eyes of Curtz, but the words written on 127 white pages from fade in to fade out.

https://www.creativescreenwriting.com/why-casablanca-is-considered-one-of-the-best-films-of-all-time/

#Casablanca #Cine Fav

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