#john madden director

[cinemacentral666]

Shakespeare in Love (1998)

Movie #1,084 • FRIDAY FILL-IN

This came out 2 years and 9 months before 9/11. There's no way to say if this was a coincidence or not and I am no way insinuating that the release of Shakespeare in Love had anything to do with the towers falling on that fateful day. But facts are facts.

Look, I don't have much to say about this. When I reviewed the very blah Captain Corelli's Mandolin for The Year of Cage project, I thought it was funny that it was Coach John Madden's follow-up to this Oscar-slaying "little movie that could." It's also funny that, at the time, this was scene as such an underdog, because it seems EXACTLY like the type of movie that would clean up at the Academy Awards when viewed today. This is all to say that it's completely fine. It's not my bag but I could totally see how and why it would be someone's favorite film of all-time. I was also struck by its tone, which is explicitly going for a romcom vibe. In my memory, it was a much more serious movie but honestly if that had been the case, it probably would have been even worse.

SCORE: ⭐️⭐️⭐️⭐️⭐️½

[torchlitinthedesert]

Kenneth Tynan and the Beatles

Shout out to @mmgth for noticing Beatle mentions in the letters of Kenneth Tynan - including working with John Lennon, Paul's 1960s reputation, and glimpses of the breakup. (Alas, no George or Ringo.)

Tynan was a drama critic and later worked with Laurence Olivier at Britain's National Theatre. Philip Norman calls him "the most rigorous cultural commentator of his age": he championed working class plays in the 1950s, supported progressive art (and was widely believed to be the first person to say "fuck" on British television). So he's an interesting perspective: well connected, arty, eager for cultural change, but from an older generation, and outside the immediate rock/pop world.

The first mention is 1966, when Tynan is already working at the National Theatre.

28 September 1966

Dear Mr McCartney,

Playing 'Eleanor Rigby' last night for about the 500th time, I decided to write and tell you how terribly sad I was to hear that you had decided not to do As You Like It for us. There are four or five tracks on 'Revolver' that are as memorable as any English songs of this century - and the maddening thing is that they are all in exactly the right mood for As You like It. Apart from 'E. Rigby' I am thinking particularly of 'For No One' and 'Here, There and Everywhere'. (Incidentally, 'Tomorrow Never Knows' is the best musical evocation of L.S.D. I have ever heard).

To come to the point: won't you reconsider? John Dexter [theatre director] doesn't know I'm writing this - it's pure impulse on the part of a fan. We don't need you as a gimmick because we don't need publicity: we need you simply because you are the best composer of that kind of song in England. If Purcell were alive, we would probably ask him, but it would be a close thing. Anyway, forgive me for being a pest, but do please think it over."

Paul replied that he couldn't do the music because, hilariously, "I don't really like words by Shakespeare" - he sat waiting for a "clear light" but nothing happened. He ended, "Maybe I could write the National Theatre Stomp sometime! Or the ballad of Larry O."

It's interesting that Tynan approaches Paul individually - because they had theatre connections in common? Or did Tynan assume that John wrote the words and Paul the music, so Paul's the guy to ask for settings of Shakespeare lyrics? (Though he does correctly identify Paul songs in his letter, plus the musical setting of Tomorrow Never Knows, so he might just be asking because he's a Paul girl. He also wants Paul to know that he's cool and hip and has done acid.)

Tynan definitely is a Paul girl. On 7 November that year, he pitched possible articles (I think for Playboy). He offers articles on the War Crimes Tribunal (set up by Bertrand Russell on the US in Vietnam), an interview with Marlene Dietrich, or:

"Interview with Paul McCartney - to me, by far the most interesting of the Beatles, and certainly the musical genius of the group."

It's a reminder of how drastically Paul's reputation changed, between cultural commentators of the 1960s and post-breakup.

Tynan didn't get his Paul interview, but he worked twice with John.

On 5 February 1968, he's sorting out practical details for the National Theatre's company manager about about the stage adapation of John's book In His Own Write (which had already had a preview performance in 1967). It's a very Beatle-y affair:

Victor Spinetti and John Lennon will need the services of George Martin, the Beatles A & R man to prepare a sound tape to accompany the Lennon play. Martin did this tape as a favour for the Sunday night production, but something more elaborate will be required when the show enters the rep, and I feel he should be approached on a professional basis as Sound Consultant, or some similar title. I have written to him to find out if he is ready to help and will let you know as soon as he replies.

...John Lennon says that as far as his own contract is concerned, we should deal directly with him at NEMS rather than his publisher.

So John prefers to work within the Beatle structure: George Martin, Victor Spinetti, plus NEMS, rather than pursuing closer ties with his book publisher.

On 16 April 1968, Tynan writes to John about his ideas for a wanking sketch.

Dear John L,

Welcome back. You know that idea of yours for my erotic revue - the masturbation contest? Could you possibly be bothered to jot it down on paper? I am trying to get the whole script in written form as soon as possible.

John's reply is very John:

"you know the idea, four fellows wanking - giving each other images - descriptions - it should be ad-libbed anyway - they should even really wank which would be great..."

Oh John.

Tynan still wanted to interview Paul - and was noticing changes in Beatle dynamics. On 3 September 1968, Tynan pitched another feature on Paul, this time for the New Yorker:

In addition to pieces on theatre, I'd love to try my hand at a profile (I remember long ago we vaguely discussed Paul McCartney though John Lennon is rather more accessible)...

Accessible because Tynan had already worked with him, or because John was already flexing his PR muscles? The New Yorker was interested, because Tynan follows up on 14 October 1968:

4. A few days in the life of Paul McCartney (which we agreed should come at the end of the series of articles, because of the current overexposure of the Beatles.)

Why does he see the Beatles as "overexposed" in autumn 1968, when he hadn't in 1966? Was it the Apple launch? The JohnandYoko press campaign? The cumulative impact of a lot of Beatle news?

Tynan was still trying on 17 September 1969:

...I'd like to go on to either Mr Pinter [playwright Harold Pinter] or Paul McCartney... I incline towards McCartney who has isolated himself more and more in the past from the other Beatles and indeed from the public: he seems to have reached an impasse that might be worth exploring. On the other hand Pinter is a much closer friend and would be more accessible to intimate scrutiny."

I'm fascinated by this - that Paul's isolation was visible to those outside the Beatles circle (the letter is dated three days before the meeting of 20 September 1969, where John said he wanted a divorce).

But Tynan was right about Paul being inaccessible. On 5 January 1970:

I'm saddened to have to tell you that Paul McCartney doesn't want to be written about at the moment - at least, not by me. I gather that for some time now the Beatles have been moving more and more in separate directions. Paul went to a recording session for a new single last Sunday which was apparently the first Beatles activity in which he'd engaged for nearly nine months. He doesn't know quite where his future lies, and above all he doesn't want to be under observation while he decides.

So while Paul "doesn't want to be under observation", he's surprisingly open about the breakup - less blunt than "the Beatle thing is over", which he told Life in November 1969, but still frank.

Trying to persuade Paul to open up to "intimate scrutiny" in 1969 does suggest another reason why 1970s interviewers adored John. Tynan works for an older, more established press, but he's offering the kind of profile John would make his own - discussing his inner life and personal/artistic conflicts with cultural commentator who respects him as an artist. And Paul can't run away fast enough. As a journalist, you'd absolutely go for the guy who makes himself accessible and is eager to bare his soul, over Mr Doesn't Want To Be Written About At The Moment.

[invisibleicewands]

What makes a sex scene sexy? - #1 [...] Ashford: "We all agreed that Don’t Look Now, the Donald Sutherland and Julie Christie movie, from 1973, was memorably sexy. Michael Sheen (who plays Masters) loved it. We loved it. And our director, John Madden, said, ‘Every love scene I’ve ever directed was influenced by that movie.’ So when we went and watched the film again, we tried to figure out what were we all responding to." [...]

[weclassybouquetfun]

UK actors are having a moment!

-Hero Fiennes Tiffin late of Guy Ritchie's THE MINISTRY OF UNGENTLEMANLY WARFARE

is reporting back to Ritchie for the direct to series order for Amazon Prime's YOUNG SHERLOCK HOLMES.

Will Fiennes Tiffin's Holmes be the young version of Robert Downey Jr's Sherlock Holmes that Ritchie famously directed? By Ritchie's comments, I'm thinking the two are unrelated. "In ‘Young Sherlock’ we’re going to see an exhilarating new version of the detective everyone thinks they know in a way they’ve never imagined before,” said Ritchie. “We’re going to crack open this enigmatic character, find out what makes him tick, and learn how he becomes the genius we all love.”

The Fiennes' family are no stranger to the Holmes universe. Hero's uncle Ralph Fiennes played Moriarty in the 2018 comedy HOLMES & WATSON starring Will Ferrell and John C. Reilly.

-Nicholas Galitzine has a hit Amazon film, hit songs on the chart, he's in FYC campaigns for both Amazon's RED WHITE AND ROYAL BLUE and Starz/Sky Atlantic's MARY & GEORGE and now he can put action hero under his belt. Galitzine has been tapped for the role they have seemingly been unable to give away - He-Man, Master of the Universe!

I know. Shocking.

It has been a hard road getting this property back into the live-action realm. Previously cast was Noah Centineo,

then bewildering Kyle Allen (WEST SIDE STORY, A HAUNTING IN VENICE)

and just slightly less bewildering Galitzine.

Thicc Nick. Get those muscles back up, Prince Adam, the People's Princess.

While the articles I've seen announcing Galitzine's casting say that the plot details are unknown, the film is still being directed by Travis Knight (BUMBLEBEE, KUBO AND THE TWO STRINGS) and when he was announced as director the synopsis was: “10-year-old Prince Adam who crashed to Earth in a spaceship and was separated from his magical Power Sword—the only link to his home on Eternia. After tracking it down almost two decades later, Prince Adam is whisked back across space to defend his home planet against the evil forces of Skeletor. But to defeat such a powerful villain, Prince Adam will first need to uncover the mysteries of his past and become He-Man: the most powerful man in the Universe!”

Until then, you can see Galitzine in Variety's ACTORS ON ACTORS (in support of MARY & GEORGE) where he is paired with Leo Woodall, (ONE DAY) and who will be in the next BRIDGET JONES film, BRIDGET JONES: MAD ABOUT THE BOY.

Galitzine's RED, WHITE AND ROYAL BLUE costar Taylor Zakhar Perez will also be in ACTORS ON ACTORS and is paired with his friend and THE KISSING BOOTH costar Joey King (WE WERE THE LUCKY ONES).

The rest of the lineup

Quinta Brunson (“Abbott Elementary”) & Jennifer Aniston (“The Morning Show”) 

Jodie Foster (“True Detective: Night Country”) & Robert Downey Jr. (“The Sympathizer”) 

Jon Hamm (“Fargo,” “The Morning Show”) & Kristen Wiig (“Palm Royale”) 

Tyler James Williams (“Abbott Elementary”) & Anthony Mackie (“Twisted Metal”) 

Anna Sawai (“Shōgun “) & Tom Hiddleston (“Loki”) 

Brie Larson (“Lessons in Chemistry”) & Andrew Scott (“Ripley”) 

Hannah Einbinder (“Hacks”) & Chloe Fineman (“Saturday Night Live”) 

Elizabeth Debicki (“The Crown”) & Emma Corrin (“A Murder at the End of the World”) 

Chloë Sevigny (“Feud: Capote vs. The Swans”) & Kim Kardashian (“American Horror Story: Delicate”) 

Naomi Watts (“Feud: Capote vs. The Swans”) & Jonathan Bailey (“Fellow Travelers”) 

-As Travis Knight has directed a TRANSFORMERS film, I move on to a TRANSFORMERS alum - Jack Reynor who was in the panned TRANSFORMERS: AGE OF EXTINCTION. Dear Jack has been cast in series two of AppleTV+s CITADEL opposite Priyanka Chopra and Richard Madden.

and another dear Jack, this time Jack "The Lad" O'Connell, who was recently seen in Michael Mann's FERRARI and Sam Taylor Johnson's Amy Winehouse biopic BACK TO BLACK has been cast in the next Ryan Coogler and Michael B. Jordan collaboration (which is said to be a vampire film) and he's been cast in the upcoming 28 DAYS LATER sequel with Cillian Murphy, Jodie Comer, Aaron Taylor Johnson and Ralph Fiennes.

[movies-to-add-to-your-tbw]

Title: Shakespeare in Love

Rating: R

Director: John Madden

Cast: Joseph Fiennes, Gwyneth Paltrow, Geoffrey Rush, Tom Wilkinson, Judi Dench, Imelda Staunton, Colin Firth, Ben Affleck, Simon Callow, Steven Beard, Jim Carter, Rupert Everett, Martin Clunes, Tim McMullan, Joe Roberts, Antony Sher, Georgie Glen

Release year: 1998

Genres: romance, comedy, history

Blurb: Young Shakespeare is forced to stage his latest comedy, Romeo and Ethel, the Pirate's Daughter, before it's even written. When a lovely noblewoman auditions for a role, they fall into forbidden love, and his play finds a new life (and title). As their relationship progresses, Shakespeare's comedy soon transforms into a tragedy.

[scotianostra]

Happy Birthday musician Davey Johnstone, who forged a career of over 50 years as Elton John;s guitarist.

Born David William Logan Johnstone  on this day 1951 in Edinburgh, Davey was having a perfectly fine career in the folk music world before he was whisked away to a life of rock and roll with one of the worlds biggest “pop” stars Elton John.

Having moved to London in 1968, Davey got his first album credit that year on the Noel Murphy LP, Another Round. Noel and Davey then formed the band Draught Porridge in 1969. In 1970 Davey played on the album Seasons by Magna Carta and in 1971 joined that group as second guitarist. Their next album, Songs From Wasties Orchard, was helmed by Elton’s producer, Gus Dudgeon.Gus asked Davey to contribute to Bernie Taupin’s solo album in 1971. Davey played guitar, sitar, banjo, mandolin and lute while Bernie read his poetry aloud. 

Soon after, in August 1971, Gus called upon Davey once more, this time to play acoustic guitar and mandolin parts on four songs on Elton’s Madman Across The Water album, including the intricate harmonic part that anchors the title track. A week or so later, Elton invited Davey to join the band full-time, joining drummer Nigel Olsson and bassist Dee Murray both in the studio and on stage — and thus was born the group that solidified Elton’s sound.

Since then Davey has been an indispensable part of most of Elton’s albums.Through the decades, Johnstone has squeezed in an equally impressive, varied body of work as an in-demand session player. His roster includes Stevie Nicks, Bob Seger, Alice Cooper, Rod Stewart, Meat Loaf, the Pointer Sisters, Olivia Newton-John, Judy Collins, and many others. He has also done movie music for James Newton Howard and Hans Zimmer.

Johnstone lives in Los Angeles with his wife. He has seven children.

On 10 June 2009, Johnstone played a landmark 2,000th show as a member of the Elton John Band at the SECC Glasgow , he is currently serving as John's musical director, in addition to his guitar work. I looked through the credits for the Elton John film, Rocketman, due out this month and he doesn't seem to feature in it, you will however be able to see Scotsman Richard Madden as Eltons manager John Reid, a much better casting than Irishman Aidan Gillen, who played Reid in the Freddie Mercury bio, Bohemian Rhapsody

.Johnstone recently said "I’ve Had an Amazing, Unbelievable Career”: He released a new solo album – Deeper Than My Roots, only his third solo project, from what I can gather he put the album together during the hiatus most people had during the covid pandemic.

For the musicians out there he mainly uses a Les Paul Deluxe which he bought inn 1972. As you can imagine he has used a plethora of guitars including his trusty ’72 Les Paul Deluxe, a Gibson L-5, B.B. King Lucille, a ’69 Strat, and an Ernie Ball EVH. Acoustics included a Takamine, Gibson J-200, and a late-’60s Yamaha FG-140 he played on many of John’s ’70s classics.

[docrotten]

BEYOND THE TIME BARRIER (1960) – Episode 171 – Decades Of Horror: The Classic Era

“Sterile?” Yes, sterile! And they weren’t talking about surgical instruments. Join this episode’s Grue-Crew – Chad Hunt, Daphne Monary-Ernsdorff, Doc Rotten, and Jeff Mohr – as they blast off to the distant future of… 2024? The movie is Beyond the Time Barrier (1960).

Decades of Horror: The Classic Era Episode 171 – Beyond the Time Barrier (1960)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

In 1960, a military test pilot is caught in a time warp that propels him to the year 2024 where he finds a plague has sterilized the world’s population.

  Director: Edgar G. Ulmer

Writer: Arthur C. Pierce

Produced by: Robert Clarke (produced by); Robert L. Madden (executive producer); John Miller (executive producer)

Casting by: Baruch Lumet (uncredited), Sidney Lumet (uncredited)

Music by: Darrell Calker

Production Design by: Ernst Fegté

Makeup Department:

Corinne Daniel (hairdresser) (as Corrine Daniel)

Jack P. Pierce (makeup creator) (NOT the mutants!)

Special Effects by: Roger George

Costumer: Jack Masters

Selected Cast:

Robert Clarke as Maj. William Allison

Darlene Tompkins as Princess Trirene

Arianne Ulmer as Capt. Markova (as Arianne Arden)

Vladimir Sokoloff as The Supreme

Stephen Bekassy as Gen. Karl Kruse

John Van Dreelen as Dr. Bourman (as John van Dreelen)

Boyd ‘Red’ Morgan as Captain (as Red Morgan)

Ken Knox as Col. Marty Martin

Don Flournoy as Mutant

Tom Ravick as Mutant

Neil Fletcher as Air Force Chief

Jack Herman as Dr. Richman

James ‘Ike’ Altgens as Secretary Lloyd Patterson (as James Altgens)

William Shephard as Gen. York (as William Shapard)

John Loughney as Gen. Lamont

Russ Marker as Col. Curtis (as Russell Marker)

Arthur C. Pierce as Mutant Escaping from Jail (uncredited)

Malcolm Thompson as Guard (uncredited)

While testing the latest and greatest airship just above the atmosphere, Major William Allison (Robert Clarke) accidentally travels to the apocalyptic future of… 2024! Little did they know. Beyond the Time Barrier (1960) is a low-budget, sci-fi B-picture from director Edgar G. Ulmer (The Black Cat, 1934; Detour, 1945) and writer Arthur C. Pierce (The Cosmic Man, 1959; The Human Duplicators, 1965). To Chad’s dismay, the plot includes a lot of walking and talking across a set filled with inverted pyramids. Oh, and the mutants… sigh. Check out what the Grue Crew has to say about this B&W, time-travel trainwreck. Also, stick around for the usual batch of feedback from past episodes. 

You might also want to check out these Decades of Horror: The Classic Era episodes:

THE HIDEOUS SUN DEMON (1958) – Episode 41: w/Robert Clarke as writer, director, producer, and star

THE BLACK CAT (1934) – Episode 67: directed by Edgar G. Ulmer, starring Bela Lugosi and Boris Karloff

At the time of this writing, Beyond the Time Barrier is available for streaming from the Classic Sci-Fi Movie Channel, Amazon Prime, and Tubi. The film is available on physical media as a Blu-ray from Kino Lorber in the Edgar G. Ulmer Sci-Fi Collection, a trio of films that also includes The Man from Planet X (1951) and The Amazing Transparent Man (1960).

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, as chosen by guest host Michael Zatz, is The Hunchback of Notre Dame (1923), another silent scream starring Lon Chaney! Sanctuary! Sanctuary! Incidentally, this will be the Classic Era’s tenth discussion of a silent film.

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for watching and listening!”

Check out this episode!

[thishadoscarbuzz]

233 - The Best Exotic Marigold Hotel

From Shakespeare in Love director John Madden and with a bursting prestige-y ensemble, The Best Exotic Marigold Hotel is one we have been saving. Led by Dames Judi Dench and Maggie Smith, who both had other films in the race in this season, the film follows several seniors who seek fulfillment and romance in India, including Tom Wilkenson as a man seeking reconciliation with a former gay lover. With Dev Patel as a young hotelier, the film was a global box office success that showed up throughout the precursor season, but Oscar did not come calling.

This episode, we take a look at the 2012′s wide-spread acting races, with all previous winners in Supporting Actor and Jennifer Lawrence winning Best Actress. We also talk about Smith’s two Oscar wins, Dench’s near nomination this year for Skyfall, and the Ol Parker franchise ethos.

Topics also include our winner predictions for this year, “The Quartet,” and Dev Patel going from twink to hunk.

Links:

The 2011 Oscar nominations

Vulture Movies Fantasy League

Subscribe:

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[byneddiedingo]

Nick Nolte in The Thin Red Line (Terrence Malick, 1998)

Cast: Adrien Brody, Jim Caviezel, Ben Chaplin, George Clooney, John Cusack, Woody Harrelson, Jared Leto, Nick Nolte, Sean Penn, John C. Reilly, John Travolta. Screenplay: Terrence Malick, based on a novel by James Jones. Cinematography: John Toll. Production design: Jack Fisk. Film editing: Leslie Jones, Saar Klein, Billy Weber. Music: Hanz Zimmer.

The Thin Red Line was much anticipated because it was Terrence Malick's return as a director after a 20-year absence, following the much-praised features Badlands (1973) and Days of Heaven (1978). But it had the misfortune to come out only a few months after Steven Spielberg's Saving Private Ryan, whose portrayal of the actuality of combat on D-Day and after was hailed as landmark filmmaking. There are those who think more highly of Malick's film: Spielberg's movie, they argue, is weakened by his desire to celebrate the courage of those who fought in World War II, resulting in the gratuitous frame-story about the aging Ryan's return to the cemetery in Normandy, as well as in some conventional war-movie plotting. Malick's movie is anything but conventional: the combat scenes are accompanied by a meditative, metaphysics-heavy commentary supposedly voiced by the combatants themselves. To my mind, this mixture of war-movie action and reflective voiceover doesn't work. For one thing, much of what's said in the commentary sounds like the kind of poetry I used to write in college. Malick certainly makes his point about the existential absurdity of war, but he makes it over and over and over, to the expense of developing human characters. Sean Penn's character seems to have been designed to be the movie's central consciousness, but much of that function in the story got lost in the editing: The original cut of the film was five hours long, so it had to be reduced to its current three-hour run time, along with much of the substance of Nick Nolte's blustering colonel, whose motivations are simply alluded to in the voiceover and some of his dialogue. The editing also eliminated the performances of such major film actors as Billy Bob Thornton, Martin Sheen, Viggo Mortensen, Gary Oldman, and Mickey Rourke, while for some reason retaining the rather pointless cameos by George Clooney and John Travolta. The movie was nominated for seven Oscars, including best picture, but received none. It may, however, have siphoned away some votes from Saving Private Ryan, allowing Shakespeare in Love (John Madden, 1989) to emerge as the surprise and still very controversial best picture winner.

[tinseltowns]

name :  julia sayre-sullivan gender & pronouns :  cis woman, she/her age & date of birth :  forty-three,  born  on  october 10th, 1979  zodiac :  libra  sun,  cancer  moon,  leo  rising,  libra  venus. occupation :  actress. sexuality  :  pansexual. parents :  charlotte  sayre  and  albie  sullivan husband  :  daniel riley other  relatives  :  screen  legends  odette  hughes  and  jack  sayre,  director  john  sayre,  actress  kitty  sayre,  jazz  musician  artie  sullivan faceclaim :  jessica chastain

the  story.

             the sayre family legacy stretches back to the early days of hollywood, when odette hughes was a darling of the silver screen during the silent era who would up marrying director john sayre; their son, jack sayre, would dominate hollywood throughout the 1930s and 40s as an impassioned filmmaker and sometimes-rival of orson welles, and his youngest daughter, katherine ‘kitty’ sayre, would carry the legacy as the ultimate fiery onscreen seductress throughout the 1950s and early 1960s with her flaming red hair and beguiling charm — kitty took a step back from her career in 1963 when her daughter charlotte was born, and at age 18, the spirited charlotte wound up eloping with albie sullivan, the son of famed jazz musician artie sullivan, in a laughable union that was short-lived and resulted in one saving grace: the birth of julia sayre-sullivan. 

             charlotte had taken impish delight in revolting against expectations by sidestepping the actress route and finding much better success as a screenwriter, and after the tempestuous upbringing she had endured in the sayre family, always encouraged julia to develop an identity outside of rigorous legacy. charlotte and albie had divorced just as quickly as they married, but remained close friends and cultivated a creative, loving household for young julia. the vibrant little girl cycled through countless fanciful dreams in her youth — at seven, she wanted to be a ballerina; at nine, she wanted to be a veterinarian; at twelve, she considered painting. but an adolescence spent on film sets and surrounded by industry giants had guided julia to the inevitable: she wanted to act. 

             thankfully for julia, she was not only remarkably talented in her own right, but had some of the greatest living actors in the business as her mentors. kitty sayre remained an unyielding beauty as the years progressed, and she had encouraged julia to always keep her heart open to any opportunity that floated her way. charlotte had impressed upon her daughter a fervent sense of independence and a wry, observant nature. and even albie, now married to his new partner david, would teach his daughter to never lose her sense of curiosity in the world. while julia understood the immense luxury she had been given as an offspring of the sayre family, but she took great care to ensure that her career would never be a frivolous one.

               that would remain true for julia’s career, yes, but her personal life had never truly felt like her own — she partied as a teenager and in her early twenties, though she never allowed it to affect her professional pursuits. she also married for the first time at twenty-five to a producer ten years her senior, but much like the union between her own parents, this marriage would disappear in the blink of an eye. she got married again four years later to a baseball player, divorced one year later, and married again by thirty-three to an entertainment lawyer… that she had met via her last split. that marriage fell through swiftly, and then there was the drunken vegas elopement between julia and her longtime friend that was quickly annulled — if you ask julia herself, that one doesn’t count. 

             her most recent husband, daniel riley, also proved to have the most maddening, indelible effect on her. they had met when she was cast in his project kenmare, though julia’s mother had been quite taken with daniel after a writers on writers panel and had slyly been plotting to get them together. though julia had sworn off marriage, daniel was different — a funny, handsome, salt-of-the-earth irishman who seemed untouched by glitz and glamor of the industry. their connection blossomed during filming, and by the time they had wrapped in late 2016, it was an open secret on set that the two had fallen for each other. awards season rolled out in early 2017, earning nominations and accolades for daniel and julia. the smitten redhead slipped and offered a long, loving thank you to daniel in her awards speech, sending the rumor mill abuzz until photos of their wedding surfaced to the press and soon, confirmation came by way of publicly referring to each other as husband and wife in assorted interviews. it was, in fact, the most grounded, sincere, loving connection that julia had ever experienced - which, of course, perpetually left her on edge. why wasn’t he like the others? when was the other shoe going to drop? 

           five years of marriage, her longest yet, and julia was finally allowing herself to sink into the belief that this could very well be the one. she was even considering formally changing her name to julia riley, much to her publicist’s chagrin, until there was a sudden, disappointing shift. daniel got wrapped up in his work, julia got pulled into filming, and suddenly, their date nights went ignored, comfortable nights together became scarce, and julia, so terrified of allowing her heart to be broken, began to distance herself. she had been in this position before, sure, but not with somebody she had actually felt wholly and deeply in love with. the notion that daniel could leave her like the others stirred a chilling fear in the actress. he felt so far away, and if she allowed herself to acknowledge just how badly it would pain her to lose him, she’d crumble immediately. so after months of unease and discontent, she went abroad to film. a few weeks after that, she served divorce papers. maybe she hoped he’d come and change her mind. maybe she just wanted a response. 

           throughout those years, though, she’s earned several oscar nominations and won two, along with a tony award and a BAFTA and a few golden globes she’s tucked away in a closet. her career has been illustrious, though she’s felt stuck over the last few years. unfortunately for her agent, julia refuses to fall victim to hollywood’s refusal to allow older actresses their time to shine and has recently taken an interest in producing films that don’t pigeon-hole any actress over thirty-five. 

        she’s currently back in hollywood after almost a year in rome, where she had disappeared to recoup and re-evaluate her goals after filming. she’s also trying to get her divorce finalized, while balancing the impulsive mistake of a recent engagement that’s felt ill-fated from the start, while focusing more on developing her own production company as julia continues to cement herself as an indelible hollywood icon.

personality.

           julia inherited her grandmother’s sultry charm and her mother’s wry sense of humor — she’s almost brutally self aware of her position in the world, but she’s always surrounded herself with friends and loved ones to keep her grounded. despite being on her fifth marriage, she’s an unabashed romantic, though her affections can be fleeting. she’s a jovial friend, always happy to host dinner parties and plan surprises for her loved ones. she doesn’t necessarily allow too many people to get very close, but the ones who do manage to sink themselves into her heart are cherished early.

tl;dr -

julia sayre-sullivan is the product of an acting dynasty that stretches back into the silent era of hollywood. she’s an oscar-winning actress on her fifth marriage that is working feverishly to overcome the industry’s tendency to discard any actress over thirty-five. charming, gregarious, and passionate, she’s your favorite glamorous auntie who showers you with love, presents, and first class tickets. wry, alluring, mischevious, and engaging. big katharine hepburn energy.

noted filmography

rose in titanic (1997), penny lane in almost famous (2001), andie in how to lose a guy in 10 days (2003), katharine hepburn in the aviator (2004), clementine in eternal sunshine of the spotless mind (2004), carol in carol (2014), sally bowles in cabaret on london’s west end, eve in kenmare (2017),

[ulkaralakbarova]

A blind Vietnam vet, trained as a swordfighter, comes to America and helps to rescue the son of a fellow soldier. Credits: TheMovieDb. Film Cast: Nick Parker: Rutger Hauer Frank Devereaux: Terry O’Quinn Billy Devereaux: Brandon Call Cobb: Charles Cooper MacCready: Noble Willingham Annie Winchester: Lisa Blount Lynn Devereaux: Meg Foster The Assassin: Sho Kosugi Slag: Randall “Tex” Cobb Lyle Pike: Nick Cassavetes Tector Pike: Rick Overton Latin Girl: Julia González Gang Leader: Paul James Vasquez Crooked Miami Cop #1: Woody Watson Crooked Miami Cop #2: Alex Morris Bus Station Cop: Mark Fickert Popcorn: Weasel Forshaw Six Pack: Roy Morgan Snow: Tim Mateer Female Biker: C.K. McFarland Cornfield Killer #1: T.J. McFarland Cornfiled Killer #2: Blue Deckert Cornfield Killer #3: Glenn Lampert Cornfield Killer #4: Red Mitchell Rockwell Mom: Bonnie Suggs Rockwell Dad: Harold Suggs Freeway Lady #1: Barbara Gulling-Goff Freeway Lady #3: Holly Cross Vagley Freeway Lady #2: Dorothy Young Colleen: Sharon Shackelford Casino Bodyguard #1: Jay Pennison Casino Bodyguard #2: Masanori Toguchi Crooked Croupier: R. Nelson Brown Croupier #2: Lincoln Casey Jr. Croupier #3: Gene Skillen Big Mama: Debora Williams Casino Cowboy: Kyle Thatcher Casino Patron: Patricia Mathews Waiter in Elevator: Mitch Hrushowy Penthouse Guard #1: Ernest Mack Penthouse Guard #2: Linwood Walker Drug Dealer: Robert Prentiss Ski Lodge Killer #1: Jeffrey J. Dashnaw Ski Lodge Killer #2: Glenn R. Wilder Ski Lodge Killer #3: David R. Ellis Ski Lodge Killer #4: Michael Adams Ski Lodge Killer #5: Dave Bartholomew Ski Lodge Killer #6: Fred Lerner Ski Lodge Killer #7: Mike Shanks Ski Lodge Killer #8: Ray Colbert Film Crew: Director of Photography: Don Burgess Executive Producer: Robert W. Cort Producer: Daniel Grodnik Director: Phillip Noyce Producer: Tim Matheson Executive Producer: David Madden Associate Producer: Charles Robert Carner Production Design: Peter Murton Editor: David A. Simmons Original Music Composer: J. Peter Robinson Location Manager: Carole Fontana Unit Production Manager: Dennis Stuart Murphy Location Scout: Mike Harrowing Set Designer: Lauren E. Polizzi Title Designer: Michael Lodge Costume Design: Katherine Dover Production Coordinator: Jeffrey J. Kiehlbauch Casting Assistant: Louise Marrufo Production Coordinator: Gina Scheerer Casting: Junie Lowry-Johnson Casting Associate: William A. Johnson Art Direction: John Myhre Casting Assistant: Elisa Goodman Location Manager: Susan Elkins Script Supervisor: Helen Caldwell Set Decoration: Tom Talbert Second Unit Director: Dick Ziker Key Makeup Artist: Karoly Balazs Special Effects Makeup Artist: J.C. Matalon Assistant Hairstylist: Jan Sebastian Key Makeup Artist: Jeanne Van Phue Hairstylist: Cinzia Zanetti Production Manager: Leonard Bram Executive In Charge Of Production: Ted Zachary Additional Second Assistant Director: Sandy Collister Second Assistant Director: K.C. Colwell First Assistant Director: Tom Davies Second Assistant Director: Douglas Dean III Second Assistant Director: Thomas A. Irvine First Assistant Director: Donald P.H. Eaton Second Unit Director: Max Kleven Set Dresser: Joel Bestrop Art Direction: Michael Marcus Set Decoration: Nicholas T. Preovolos Sound Editor: Gregg Baxter Production Sound Mixer: Jacob Goldstein Assistant Sound Editor: David Hagberg Sound Re-Recording Mixer: Grover B. Helsley Sound Editor: Michael Hilkene Sound Mixer: Walter Hoylman Sound Editor: David M. Ice Sound Editor: Doug Jackson Special Sound Effects: Eric Lindemann Sound Re-Recording Mixer: William L. McCaughey Boom Operator: Prometheus Patient ADR Editor: Tally Paulos Foley Mixer: Troy Porter Sound Re-Recording Mixer: Richard D. Rogers Foley Artist: Joan Rowe Sound Editor: Christopher Sheldon Assistant Sound Editor: Thomas W. Small Foley Artist: Jerry Trent Special Effects Coordinator: Martin Bresin Special Effects Assistant: Steven C. Foster Special Effects Assistant: Marvin Gardner Special Effects Coordinator: Allen Hall Special Effects Supervisor: Mike Manzel Special Effects Assistant: Joe Montenegr...

[sa7abnews]

Nicolas Cage to play John Madden in big-budget biopic

New Post has been published on Sa7ab News

Nicolas Cage to play John Madden in big-budget biopic

Nicolas Cage has been cast to play John Madden in an upcoming biopic by Amazon MGM Studios, the film’s director, David O. Russell, said in a statement Thursday.

[moviereviews101web]

Operation Mincemeat (2021) Movie Review

Operation Mincemeat – Movie Review Director: John Madden Writer: Michelle Ashford (Screenplay) Writer: Ben Macintyre (Book) Cast Colin Firth (The King’s Speech) Matthew Macfayden (A Beautiful Day in the Neighbourhood) Kelly Macdonald (Trainspotting) Penelope Wilton (Shaun of the Dead) Jason Isaacs (Event Horizon) Plot: During WWII, two intelligence officers use a corpse and false papers…

[abraham2love]

john madden : director

full movie

[movies-to-add-to-your-tbw]

Title: Rocketman

Rating: R

Director: Dexter Fletcher

Cast: Taron Egerton, Jamie Bell, Richard Madden, Bryce Dallas Howard, Gemma Jones, Stephen Graham, Steven Mackintosh, Tate Donovan, Charlie Rowe, Tom Bennett, Matthew Illesley, Kit Connor

Release year: 2019

Genres: drama, music, history

Blurb: Follow Elton John’s years as a prodigy at the Royal Academy of Music through his influential and enduring musical partnership with Bernie Taupin.