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A trained dancer, Sean Young studied at the School of American Ballet in New York City, and did some modeling. She began...
30/12/2024

A trained dancer, Sean Young studied at the School of American Ballet in New York City, and did some modeling. She began a promising film career by acting in a Merchant-Ivory film "Jane Austen in Manhattan (1980) for Academy Award winning director James Ivory, She followed that up in the comedy hit film "Stripes" (1981) for Ivan Reitman. Soon, important directors were casting her in their films, such as Garry Marshall in "Young Doctors in Love" (1982), David Lynch in "Dune" (1984), and Ridley Scott in "Blade Runner" (1982, below) in what is probably her most respected film.

1987 was a big year for her, since she appeared in two big movies. Academy Award winner Oliver Stone cast her in the hit film "Wall Street" (1987). However, her other hit film, "No Way Out" (1987), which involved a famous steamy scene in the backseat of a limousine with Kevin Costner, gave her star status.

Young was cast as Vicki Vale in Tim Burton's "Batman" (1989), but during rehearsals, she broke her arm after falling off a horse and was replaced by Kim Basinger. In an unsuccessful attempt to win the role of Catwoman (which was originally offered to Annette Bening but, after Bening became pregnant, Michelle Pfeiffer was cast) in the sequel "Batman Returns" (1992), Young constructed a homemade Catwoman costume and attempted to contact Burton and actor Michael Keaton during production. She appeared on "The Joan Rivers Show" in character as the Catwoman, campaigning for the role and making a plea to Tim Burton.

Estelle Parsons worked as a singer with a band before she became the first Women's Editor on "The Today Show."Parsons sa...
30/12/2024

Estelle Parsons worked as a singer with a band before she became the first Women's Editor on "The Today Show."

Parsons says she was the only member of the cast of "Bonnie and Clyde" (1967) who actually researched the history of the Barrow Gang. She also says that early in the filming, she wanted to meet the real Blanche Barrow, but Warren Beatty, in his capacity as the producer, was against the idea. Finally, after a week, Warren relented, and set up a meeting with Blanche, but at that point, Parsons lost interest, and never met Blanche. In fact, Warren Beatty brought the script to Blanche for her to read for her approval before she would give permission to use her name. She agreed the script was factual and approved it. While there, he played her piano and sang for her. She was very fond of Warren, even though the director completely changed the script to make her look as in her own words, "a screaming horse's ." She took her third husband Eddie to see the movie with her for the first time, and nearly died of embarrassment. She would eventually sue Warner Brothers over the way she was depicted in the film. Although, as noted earlier, she agreed the script was factual, in reality Barrow was the same age as Bonnie Parker, arguably better looking than her, she was not a preacher's daughter, and had married Buck knowing fully well that he was an escaped prisoner and twice divorced.

In 1983, when co-starring with fellow Academy Award-winning actor Jack Lemmon in a new Ernest Thompson stage play in Los Angeles, Parsons appeared on the November 1 episode of "The Tonight Show," telling Johnny Carson that Lemmon had been her first boyfriend, when they were both teenagers in the 1940s. (IMDb)

Happy Birthday, Estelle Parsons!

"'10' (1979) was amazing! I had no career before '10' and then all of a sudden I was able to do pretty much whatever I w...
30/12/2024

"'10' (1979) was amazing! I had no career before '10' and then all of a sudden I was able to do pretty much whatever I was able to do in the business."

Director Blake Edwards had difficulty finding the right actress to play the pivotal role of bride Jenny in "10," and gave serious consideration to using his own daughter Jennifer Edwards, even filming a screen test of her. Kim Basinger, Christie Brinkley, and Tanya Roberts were considered for the role. Once Bo Derek read for the part late in the process, all consideration of other actresses ended.

This was the first major film appearance for Derek in a main role, having previously had a small part in the movie "Orca" (1977). She was cast at the suggestion of then-husband John Derek, who had previously been married to both Linda Evans and Ursula Andress. Bo was twenty-two years of age when she appeared in this movie. She had been most well-known at the time for an erotic poster where she was seen at the beach kneeling in the surf, which had sold over half a million copies. When she auditioned for "10,", Edwards recounted, "Her first words, when she came in to read for us, were: 'I'm sorry about wasting your time...' Meanwhile, [co-producer] Tony Adams and I were crossing our fingers and praying: 'Let her be able to act -- please let her be able to act!'"

Derek's cornrow hairstyle took two women 10 hours to braid, and required the use of Elmer's glue to stay in place during filming.

Because of this movie, Ravel's "Bolero" remains one of the most expensive songs to use for film and TV; the rights cost more than $25,000. According to SACEM, the French equivalent of ASCAP, Ravel's estate earns more royalties than any other French composer. (IMDb)

Happy Birthday, Bo Derek!

In 1892, Clifton Webb's formidable mother, Mabelle, moved to New York with her beloved "little Webb," as she called him ...
30/12/2024

In 1892, Clifton Webb's formidable mother, Mabelle, moved to New York with her beloved "little Webb," as she called him for the remainder of her life. She dismissed questions about his father, Jacob Grant Hollenbeck, a railroad ticket clerk, by saying, "We never speak of him. He didn't care for the theater." Webb and Maybelle lived together until her death at age 91. When Clifton's obsessive grieving for his mother continued on for well over a year, close friend Noël Coward, keeping their lengthy friendship in mind, is said to have remarked with a bit of exasperation, "It must be difficult to be orphaned at seventy-one."

Webb never recovered from his mother's death. He made one film, then spent the remainder of his life in ill health and seclusion, eventually dying of a heart attack at the age of 76. He is interred in crypt 2350, corridor G-6, Abbey of the Psalms in Hollywood Forever Cemetery, alongside his mother.

Writer Walter Reisch said that Daryl Zanuck called in him and Charles Brackett and said "I have Clifton Webb under contract, and we have CinemaScope, and I now want to do something big... Don't make Clifton a clown. I want him to start a new career as a character actor. Use all the young people we have on the lot, like Audrey Dalton and Robert Wagner . . ."

Reisch says he came up with idea of a film revolving around the sinking of the Titanic and pitched Webb as one of the 25 multimillionaires who died on the ship. He said the film, released in 1953 under the title "Titanic," would be "60 percent truth, completely documentary" drawing on real life accounts. Charles Brackett, who co-wrote and produced the film, told the press that some of the stories had to be discarded, "because they are too fantastic for movie audiences to believe.

Many of the sets (including the ship model) were reused for several other films after this such as "Dangerous Crossing" (1953, and in particular the dining room, cabins, grand staircase, lounge, radio room, boat deck, promenade deck and the deck chairs),"Gentlemen Prefer Blondes" (1953, using the remodified ship model, the dining room walls, the lounge, the promenade deck, and the deck chairs again),. "A Blueprint for Murder" (1953, once again remodifying the ship model and using the dining room, promenade deck, and deck chairs), and finally "Woman's World" (1954, which also starred Webb).

According to his daughter Victoria, Vincent Price felt that Gene Tierney had as much to do with the success of the film ...
30/12/2024

According to his daughter Victoria, Vincent Price felt that Gene Tierney had as much to do with the success of the film "Laura" (1944) as Otto Preminger's direction: "In his opinion, it was Gene Tierney's 'odd beauty' and underrated acting ability that made 'Laura' so popular," she said. "He felt her beauty was both timeless and imperfect."

Tierney didn't give herself much credit for its success: "I never felt my own performance was much more than adequate. I am pleased that audiences still identify me with Laura, as opposed to not being identified at all. Their tributes, I believe, are for the character--the dreamlike Laura--rather than any gifts I brought to the role. I do not mean to sound modest. I doubt that any of us connected with the movie thought it had a chance of becoming a kind of mystery classic, or enduring beyond its generation . . . If it worked, it was because the ingredients turned out to be right."

The portrait of Gene Tierney as Laura appeared in "On the Riviera" (1951) (in color) co-starring Danny Kaye, then later in "Woman's World" (1954) starring Clifton Webb, the frustrated Waldo Lydecker of "Laura". In "Woman's World," the painting hung on a wall amid portraits of several other women who were supposed to have been former romantic interests of Webb's character. Artist Azadia Newman, Rouben Mamoulian's wife, was commissioned to paint the portrait of Laura with which the detective becomes entranced, but it was not used in the final film. In his autobiography, Preminger wrote, "When I scrapped Mamoulian's sets, the portrait of Laura went with them." According to Preminger, "portraits rarely photograph well, so I devised a compromise. We had a photograph of Gene Tierney enlarged and smeared with oil paint to soften the outlines. It looked like a painting but was unmistakably Gene Tierney." (IMDb)

Happy Birthday, Gene Tierney!

While making "Sleepless in Seattle" (1993), writer/director Nora Ephron was focused on its long-term legacy: "Our dream ...
30/12/2024

While making "Sleepless in Seattle" (1993), writer/director Nora Ephron was focused on its long-term legacy: "Our dream was to make a movie about how movies screw up your brain about love, and then if we did a good job, we would become one of the movies that would screw up people's brains about love forever."

Inspired by director Leo McCarey's "An Affair to Remember" (1957), which itself was a same-script remake of McCarey's "Love Affair" (1939), "Sleepless in Seattle" was conceived as a romantic drama by Jeff Arch in 1989. Several studios rejected his script, deterred by the idea that its main couple does not meet for nearly the entire film. Ward and Ephron were among several writers hired to re-write the script into a funnier film, with Ephron eventually being promoted to director.

The role of Annie Reed was originally offered to Julia Roberts, who turned it down. Kim Basinger was also offered the role in the early script process, but turned it down because she thought the premise was ridiculous. After Michelle Pfeiffer, Jennifer Jason Leigh and Jodie Foster declined as well, Meg Ryan landed the role.

Ryan initially expected to star in the film with her then-husband Dennis Quaid, who had been looking for a film to star in together. However, Ephron felt Quaid was not funny enough to play Sam, a role she and the studio decided was more suitable for Tom Hanks. Having grown weary of playing goofy, immature characters by this point in his career, Hanks initially turned down the role because he was unhappy with its original script, but was drawn towards Ephron's revisions because he felt her version of Sam was more serious than previous roles he had played. Despite her interest in Hanks, Ephron was not entirely convinced the actor could play a romantic leading man in the vein of Cary Grant until she met him for the first time.

Of the three films starring Tom Hanks and Ryan (including 1990's "Joe Versus the Volcano" and 1993's "You've Got Mail"), "Sleepless in Seattle" is the most successful financially and critically.

Jodie Foster was twelve years old when "Taxi Driver" (1976) was filmed, so she could not do the more explicit scenes (he...
30/12/2024

Jodie Foster was twelve years old when "Taxi Driver" (1976) was filmed, so she could not do the more explicit scenes (her character was also twelve years old). Connie Foster, Jodie's older sister, who was nineteen when the film was produced, was cast as her body double for those scenes. Before Foster was eventually cast as Iris, there were more than two hundred fifty applicants for the role, including newcomers Carrie Fisher, Mariel Hemingway, Bo Derek, Kim Cattrall, Rosanna Arquette, Kristy McNichol, and Michelle Pfeiffer. Before taking on the role, Foster was required to attend counseling to make sure someone so young could cope with the demands of the role.

In the diner scene, 12-year-old Iris adds sugar to her toast which is already covered in jelly. Some viewers interpret this character trait as Iris still being a kid at heart; however, this was not the intention. The other ho**er who walks the streets with Iris in the film was an actual pr******te whom Foster shadowed to prepare for her role. The pr******te (played by Garth Avery) was also a he**in addict and one way in which she would quell her addiction was to add extra sugar to her meals. Jodie, being a very young but very observant and intuitive young actress, incorporated this character trait into the scene.

At the 31st AFI Life Achievement Awards, Foster credited Robert De Niro with introducing her to the true craft of acting. He would insist that they'd meet for coffee and rehearse their scenes together at a local diner. After a while, Jodie became bored of the routine until De Niro began improvising lines during their rehearsals. Jodie soon learned to follow his improv as he weaved back and forth to the original script, in essence teaching her how to effectively build a character.

De Niro's actions in this film provoked John Hinckley, who was obsessed with Foster, to try to get her attention by shooting President Ronald Reagan. The opportunity to reverse her role in this film, and also distance herself from Hinkley, is in part what inspired Foster to take the role of the he**ine and rescuer in "The Silence of the Lambs" (1991). (IMDb)

Happy Birthday, Jodie Foster!

During an intermission at the November 19, 1980 premiere of "Heaven's Gate" at the New York Cinema 1 theater, the audien...
30/12/2024

During an intermission at the November 19, 1980 premiere of "Heaven's Gate" at the New York Cinema 1 theater, the audience was so subdued that Cimino was said to have asked why no one was drinking the champagne. He was reportedly told by his publicist, "Because they hate the movie, Michael."

This is considered one of the most notorious screen disasters in the history of film. After struggling with personal movies that went nowhere, Cimino finally got to make "The Deer Hunter" (1978), which brought him critical and commercial success and earned five Academy Awards. Afterward, United Artists was willing to allow him anything he wanted. According to Steven Bach's book "Final Cut", Cimino got $11.6 million to make his next project, a western about a land war in Johnson County, Wyoming, featuring a first-rate cast. It went over budget almost immediately, mostly due to Cimino's insistence on absolute perfectionism. Stories abounded that he was tearing down sets for no reason, and hiring and firing crew members almost weekly.

Many of the stories were exaggerated, but the cost ballooned to a then-astronomical $40 million ($125 million in 2020 dollars). When Cimino presented the movie to United Artists, it ran well over five hours. After some squabbling, he agreed to trim it down to 3 hours, 39 minutes.

The movie was a commercial and critical disaster that destroyed Cimino's career as a director. It nearly bankrupted United Artists, which merged with MGM. The initial critical reception to the film was almost universally negative. The New York Times critic Vincent Canby panned the film, calling it "something quite rare in movies these days - an unqualified disaster," comparing it to "a forced four-hour walking tour of one's own living room." Canby went even further by stating that "[i]t fails so completely that you might suspect Mr. Cimino sold his soul to the devil to obtain the success of 'The Deer Hunter' and the Devil has just come around to collect."
After a sparsely attended one-week run, Cimino and United Artists quickly pulled the film from any further releases, completely postponing a full worldwide release. Cimino wrote an open letter to the studio that was printed in several trade papers blaming unrealistic deadline pressures for the film's failure.

This movie is notorious for the amount of animal abuse that took place during production, including real c**kfights and decapitated chickens. Horses were tortured, and at least four died. The outcry prompted the Screen Actors Guild and the Alliance of Motion Picture & Television Producers to contractually authorize the American Humane Society to monitor the use of all animals in all filmed media.

Willem Dafoe, in his feature film debut, appears briefly as a c**kfighter. According to Dafoe, his role was supposed to be much larger, but during a long lighting set-up, he laughed out loud at a joke an extra told him. Cimino was so annoyed that he fired Dafoe, and he is uncredited in the final cut.

On this date in 1975, "One Flew Over the Cuckoo's Nest" was released.Actor Kirk Douglas—who had originated the role of M...
29/12/2024

On this date in 1975, "One Flew Over the Cuckoo's Nest" was released.

Actor Kirk Douglas—who had originated the role of McMurphy in the 1963–1964 Broadway stage version of the Ken Kesey novel—had purchased the film rights to the story, and tried for a decade to bring it to the big screen, but was unable to find a studio willing to make it with him. Eventually, he sold the rights to his son Michael Douglas, who succeeded in getting the film produced—but the elder Douglas, by then nearly 60, was considered too old for the McMurphy role, which ultimately went to 38-year-old Jack Nicholson. Douglas brought in Saul Zaentz as co-producer.
The film's first screenwriter, Lawrence Hauben, introduced Douglas to the work of Miloš Forman, whose 1967 Czechoslovak film "The Firemen's Ball" had certain qualities that mirrored the goals of the present script. Forman flew to California and discussed the script page by page, outlining what he would do, in contrast with other directors who had been approached who were less than forthcoming. Forman wrote in 2012: "To me, [the story] was not just literature, but real life, the life I lived in Czechoslovakia from my birth in 1932 until 1968. The Communist Party was my Nurse Ratched, telling me what I could and could not do; what I was or was not allowed to say; where I was and was not allowed to go; even who I was and was not."

Zaentz, a voracious reader, felt an affinity with Kesey, and so after Hauben's first attempt he asked Kesey to write the screenplay, and promised him a piece of the action, but it did not work out and ended in a financial dispute.

Hal Ashby, who had been an early consideration for director, suggested Jack Nicholson for the role of McMurphy. Nicholson had never played this type of role before. Production was delayed for about six months because of Nicholson's schedule. Douglas later stated in an interview that "that turned out to be a great blessing: it gave us the chance to get the ensemble right."

Danny DeVito, Douglas’ oldest friend, was the first to be cast, having played one of the patients, Martini, in the 1971 off-Broadway production. Chief Bromden, played by Will Sampson, was found through the referral of a used car dealer Douglas met on an airplane flight when Douglas told him they wanted a "big guy" to play the part. The dealer's father often sold cars to Native American customers and six months later called Douglas to say: "the biggest sonofab!tch Indian came in the other day!"

Forman had considered Shelley Duvall for the role of Candy; coincidentally, she, Nicholson, and Scatman Crothers (who portrays Turkle) would all later appear as part of the main cast of the 1980 film adaptation of "The Shining". While screening "Thieves Like Us" (1974) to see if she was right for the role, he became interested in Louise Fletcher, who had a supporting role, for the role of Nurse Ratched. A mutual acquaintance, the casting director Fred Roos, had already mentioned Fletcher's name as a possibility. Even so, it took four or five meetings, over a year, (during which the role was offered to other actresses such as Angela Lansbury, Anne Bancroft, and Geraldine Page) for Fletcher to secure the role of Nurse Ratched. Her final audition was late in 1974, with Forman, Zaentz, and Douglas. The day after Christmas, her agent called to say she was expected at the Oregon State Hospital in Salem on January 4 to begin rehearsals.

Speaking of the Orgon State Hospital, the producers decided to shoot the there, an actual mental hospital, as this was also the setting of the novel. The hospital’s director, Dean Brooks, was supportive of the filming and eventually ended up playing the character of Dr. John Spivey in the film. Brooks identified a patient for each of the actors to shadow, and some of the cast even slept on the wards at night. He also wanted to incorporate his patients into the crew, to which the producers agreed. Douglas recalls that it was not until later that he found out that many of them were criminally insane.

On this date in 1928, "Steamboat Willie" was released.According to Roy O. Disney, brother Walt was inspired to create a ...
29/12/2024

On this date in 1928, "Steamboat Willie" was released.

According to Roy O. Disney, brother Walt was inspired to create a sound cartoon after watching "The Jazz Singer" (1927). Disney created cartoons starring Mickey Mouse in secret while he fulfilled his contract for another series, Oswald the Lucky Rabbit. However, the first two Mickey Mouse films produced, silent versions of "Plane Crazy" (1928) and "The Gallopin' Gaucho" (1928), had failed to impress audiences and gain a distributor. Disney believed that adding sound to a cartoon would greatly increase its appeal.

There was initially some doubt among the animators that a sound cartoon would appear believable enough, so before a soundtrack was produced, Disney arranged for a screening of the film to a test audience with live sound to accompany it. This screening took place on July 29, 1928 with "Steamboat Willie" only partly finished. The audience sat in a room adjoining Walt's office. Roy placed the movie projector outdoors and the film was projected through a window so that the sound of the projector would not interfere with the live sound. Co-director Ub Iwerks set up a bedsheet behind the movie screen behind which he placed a microphone connected to speakers where the audience would sit. The live sound was produced from behind the bedsheet. Composer Wilfred Jackson played the music on a mouth organ, Iwerks banged on pots and pans for the percussion segment, and Johnny Cannon provided sound effects with various devices, including slide whistles and spittoons for bells. Walt himself provided what little dialogue there was to the film, mostly grunts, laughs, and squawks. After several practices, they were ready for the audience, which consisted of Disney employees and their wives.

The response of the audience was extremely positive, and it gave Walt the confidence to move forward and complete the film. He said later in recalling this first viewing, "The effect on our little audience was nothing less than electric. They responded almost instinctively to this union of sound and motion. I thought they were kidding me. So they put me in the audience and ran the action again. It was terrible, but it was wonderful! And it was something new!" Iwerks said, "I've never been so thrilled in my life. Nothing since has ever equaled it."

"Steamboat Willie" premiered at Universal's Colony Theater in New York City (now known as the Broadway Theatre) on November 18, 1928. The film was distributed by Celebrity Productions and its initial run lasted two weeks. Disney was paid $500 a week which was considered a large amount at the time. It played ahead of the independent feature film "Gang War" (1928). "Steamboat Willie" was an immediate hit, while "Gang War" is all but forgotten today.

The success of Steamboat Willie not only led to international fame for Walt Disney, but for Mickey Mouse as well. The response led to the two previous Mickey films being reproduced as sound cartoons and given wide theatrical releases.

During the filming of "Blow-Up" (1966), David Hemmings was annoyed to see that director Michelangelo Antonioni was shaki...
29/12/2024

During the filming of "Blow-Up" (1966), David Hemmings was annoyed to see that director Michelangelo Antonioni was shaking his head back and forth in the gesture that he had interpreted as negative during his audition process. However, he soon realized that the gesture was simply a tic and had no negative meaning at all. "Once the mystery was solved," he said, "I was prepared to love him; and I never told him about the week of hell he'd put me through as a result of his affliction."

Hemmings was amazed at Antonioni's energy and stamina throughout the production. "I was an energetic 25-year-old - probably more so than most - and I was fascinated by the way Antonioni, at 54, could operate around the clock and still sustain a momentum he needed to get him through the production," he said. "It seemed that, however late he'd gone to bed the night before, he appeared on the set each morning as bright-eyed as a bantam c**k, and just as well-groomed...For a man of his age, he was impressively eager for new experiences. I think perhaps he was a little in thrall to the idea of 'swinging London' and even once shooting had started, he spent a great deal of time hanging around in search of oscillation, often with photographers and models. Perhaps he considered it all research, but in his quest he raved ceaselessly, night after night in clubs and discotheques, in the company of the new goddesses of the fashion world, with his fierce eyes shining intensely in the dark, grave face as he drank grappa till his ears bubbled and tried to extract every last ounce from the swinging city - a man from Rome, a modern Bellini, determined to leave his mark in the middle of the liberated new world."

Antonioni discovered Hemmings when he saw him playing young Dylan Thomas in a London production of "Adventures in the Skin Trade." Antonioni wanted Hemmings' character in "Blow-Up" to have the same energy as he saw in the stage production. Therefore, the name of Hemmings' character, Thomas, came from Hemmings' role of Dylan Thomas. (IMDb)

Happy Birthday, David Hemmings!

At age 14, Linda Evans (short for Evanstad) was encouraged to take drama classes to overcome her shyness. At 15, she joi...
29/12/2024

At age 14, Linda Evans (short for Evanstad) was encouraged to take drama classes to overcome her shyness. At 15, she joined a friend who was auditioning for a television commercial. Linda got the part. A short time later, Linda earned her first guest-starring role on a major television series, "Bachelor Father", starring John Forsythe, whose career would become eternally tied to Linda when they portrayed the powerful Carringtons on "Dynasty."

Nancy Sinatra was the original choice to play Sugar Kane in "Beach Blanket Bingo" (1965). However, she backed out just before production was supposed to begin because a few months earlier her brother Frank Sinatra Jr. was kidnapped and when she found out that part of the plot involved a kidnapping she decided to back out. Interestingly, it would have been her motion picture debut. Evans ultimately played the role; her singing vocals were dubbed by Jackie Ward (known at the time as Robin Ward), who was one of the most popular studio singers of the 1960s-1970s.

On December 31, 1967, John Derek recruited Evans, his wife at the time, to operate one of his cameras after he had been commissioned by daredevil Evel Knievel to film his motorcycle jump of the fountains at Caesars Palace in Las Vegas. It was Evans who captured the iconic images of Knievel's devastating crash as the jump failed.

Joan Rivers once said that Evans "is one of the only people in the business I've never heard anything negative about."

Ben Stiller wrote the part of Hansel in "Zoolander" (2001) specifically for Owen Wilson, and said that no one else was e...
29/12/2024

Ben Stiller wrote the part of Hansel in "Zoolander" (2001) specifically for Owen Wilson, and said that no one else was even considered for the role (although Wikipedia says that it was uncertain if he would be available and auditions were held; Jake Gyllenhaal was among those who auditioned).

Wilson wore a wig for the entire movie. He was filming "Behind Enemy Lines" (2001) at the same time, and had to keep his hair short for the role.

"I wasn't like every other kid, you know, who dreams about being an astronaut, I was always more interested in what bark was made out of on a tree. Richard Gere's a real hero of mine. Sting. Sting would be another person who's a hero. The music he's created over the years, I don't really listen to it, but the fact that he's making it, I respect that. I care desperately about what I do. Do I know what product I'm selling? No. Do I know what I'm doing today? No. But I'm here, and I'm gonna give it my best shot."

"Zoolander" was reportedly never shown in Malaysia, as the film depicts an attempted assassination of the Malaysian prime minister. Malaysia's censorship board deemed it "definitely unsuitable." The film was also banned in neighboring Singapore due to "controversial elements" according to the country's Board of Film Censors, but it was subsequently made available in Singapore in 2006, with an NC-16 rating.

Imogene Coca originally turned down the part of Aunt Edna in "National Lampoon's Vacation" (1983), because she did not t...
29/12/2024

Imogene Coca originally turned down the part of Aunt Edna in "National Lampoon's Vacation" (1983), because she did not think she could portray such a mean character. Even during filming, she was often concerned that she was being too mean to her fellow cast members.

Coca suffered what is believed to have been a stroke during production. Director Harold Ramis said they filmed a scene that morning, and by that afternoon she couldn't remember anything they did. After getting out of the hospital, she and her husband worked together to re-learn her lines, and get her back on set to finish the movie.

It was originally scripted that after Aunt Edna was tied to the roof of the car, there was a shot of her fingers moving, implying she was, in fact, still alive. This was considered "cruel" to have a live person on the roof of a car by the ratings board, so it was cut, and she remained dead.

In real life, Coca was very afraid of car travel. She may have had a good reason: Hours after Coca and her husband completed their New Year's Eve 1972 performance of "Fourposter" at the Showboat Dinner Theater in St. Petersburg, Florida, they were involved in a serious auto accident. Donovan sustained a slight leg injury, and the rear-view mirror entered Coca's right eye, smashing her cheekbone. Transported to the Manhattan Eye, Ear and Throat Hospital, Coca underwent plastic surgery and a cosmetic lens covered her now-blind eye for the rest of her career.

On this date in 1992, "Malcolm X" was released.Once Warner Bros. agreed to the project, they initially wanted Academy Aw...
29/12/2024

On this date in 1992, "Malcolm X" was released.

Once Warner Bros. agreed to the project, they initially wanted Academy Award-nominated Canadian film director Norman Jewison to direct the film. Jewison, director of the seminal civil rights film "In the Heat of the Night" (1967), was able to bring Denzel Washington into the project to play Malcolm X. Jewison and Washington previously worked together in the 1984 film "A Soldier's Story." A protest erupted over the fact that a white director was slated to make the film. Spike Lee was one of the main voices of criticism; since college, he had considered a film adaption of "The Autobiography of Malcolm X" to be a dream project. Lee and others felt that it was appropriate that only a black person should direct "Malcolm X."

After the public outcry against Jewison, producer Marvin Worth came to the conclusion that "it needed a black director at this point. It was insurmountable the other way...There's a grave responsibility here." Jewison left the project, though he noted he gave up the movie not because of the protest, but because he could not reconcile Malcolm's private and public lives and was unsatisfied with Charles Fuller's script. Lee confirmed Jewison's position, stating, "If Norman actually thought he could do it, he would have really fought me. But he bowed out gracefully." Jewison and Washington would reunite several years later for "The Hurricane" (1999), in which Washington played imprisoned boxer Rubin "Hurricane" Carter, who spent nearly twenty years in prison for a murder he claimed he did not commit before his conviction was overturned in 1985.

Lee was soon named the director, and he made substantial changes to the script. "I'm directing this movie and I rewrote the script, and I'm an artist and there's just no two ways around it: this film about Malcolm X is going to be my vision of Malcolm X. But it's not like I'm sitting atop a mountain saying, 'Screw everyone, this is the Malcolm I see.' I've done the research, I've talked to the people who were there."

Soon after Lee was announced as the director and before its release, "Malcolm X" received criticism by black nationalists and members of the United Front to Preserve the Legacy of Malcolm X, headed by poet and playwright Amiri Baraka, who were worried about how Lee would portray Malcolm X. One protest in Harlem drew over 200 people. Some based their opinion on dislike of Lee's previous films; others were concerned that he would focus on Malcolm X's life before he converted to Islam. Baraka bluntly accused Spike Lee of being a "Buppie," stating "We will not let Malcolm X's life be trashed to make middle-class Negroes sleep easier,", compelling others to write the director and warn him "not to mess up Malcolm's life." Some, including Lee himself, noted the irony that many of the arguments they made against him mirrored those made against Jewison.

Looking back on the experience of making the film and the pressure he faced to produce an accurate film, Lee jokingly stated on the DVD's audio commentary that when the film was released, he and Washington had their passports handy in case they needed to flee the country.

Lee also encountered difficulty in securing a sufficient budget. Lee told Warner Bros. and the bond company that a budget of over US$30 million was necessary; the studio disagreed and offered a lower amount. Following advice from fellow director Francis Ford Coppola, Lee got "the movie company pregnant": taking the movie far enough along into actual production to attempt to force the studio to increase the budget. The film, initially budgeted at $28 million, climbed to nearly $33 million. Lee contributed $2 million of his own $3 million salary. Completion Bond Company, which assumed financial control in January 1992, refused to approve any more expenditures; in addition, the studio and bond company instructed Lee that the film could be no longer than two hours, fifteen minutes in length. The resulting conflict caused the project to be shut down in post-production.

The film was saved by the financial intervention of prominent black Americans, some of whom appear in the film: Bill Cosby, Oprah Winfrey, Michael Jordan, Magic Johnson, Janet Jackson, Prince, Tracy Chapman, and Peggy Cooper Cafritz, founder of the Duke Ellington School of the Arts. Their contributions were made as donations; as Lee noted: "This is not a loan. They are not investing in the film. These are black folks with some money who came to the rescue of the movie. As a result, this film will be my version. Not the bond company's version, not Warner Brothers'. I will do the film the way it ought to be, and it will be over three hours." The actions of such prominent members of the African American community giving their money helped finish the project as Lee envisioned it.

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