Showing posts with label DGA. Show all posts
Showing posts with label DGA. Show all posts

Monday, November 11, 2024



SAG screening








NEW YORK, NEW YORK - NOVEMBER 11: Angelina Jolie is seen outside the DGA on November 11, 2024 in New York City. (Photo by Raymond Hall/GC Images)





























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Tuesday, October 1, 2024



Leaving Carlyle (via Cafe Carlyle)










Arriving for DGA Theater Screening











NEW YORK, NEW YORK - OCTOBER 01: Angelina Jolie is seen in Midtown on October 01, 2024 in New York City. (Photo by The Hapa Blonde/GC Images)













@andrewtess stories







Q&A




























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Friday, October 13, 2017








It sounds like Villeneuve will start prep on his next film in December, at the earliest.  It might be Dune, although that would mean back-to-back dense sci-fi films after Blade Runner 2049.  Cleopatra seems closer to being ready, but Angelina won't be free til probably fall next year, after Maleficent 2 and probably WWZ 2.  Cleopatra is a big production and it could need 6 - 9 months of prep.

-- Fussy


indiewire

Dennis Villenueve

Next up: He stops.

Soon, Villeneuve will tackle remakes of two other big-scale epics: the Frank Herbert sci-fi classic that defeated David Lynch, “Dune,” and producer Scott Rudin’s long-in-the-works “Cleopatra,” based on the Stacy Schiff non-fiction opus (not the Elizabeth Taylor version that almost bankrupted Twentieth Century Fox). But first: a nap.
“I want to just sleep, and take the month of November to think about what happened over the past six years, reflect on that,” said Villeneuve. “I have some projects, but I said to everybody, ‘I want to work, but I don’t want to start prep.’ It’s a privilege to work at that rhythm, to be in contact always with the camera, I deeply loved it, but you are always in the present time, then you shoot another movie. I need to watch movies, read books, and cook for a while before I jump again.”
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Tuesday, September 26, 2017



DGA

Director Angelina Jolie discusses First They Killed My Father: A Daughter of Cambodia Remembers

September 22, 2017 A DGA Q&A in Los Angeles

The Cambodian genocide is recalled through the eyes of a five-year-old girl in Director Angelina Jolie’s new drama, First They Killed My Father: A Daughter of Cambodia Remembers.
Based on the memoir by Cambodian author and human rights activist Loung Ung, Jolie’s film recounts the story of how Ung embarked on a harrowing quest for survival after the Khmer Rouge assumed power over Cambodia and undertook a four-year reign of terror that resulted in the deaths of nearly 2 million of her countrymen.
Following the DGA membership screening in Los Angeles on September 22, Jolie sat down with Director Jeremy Kagan (Shot) to discuss the making of First They Killed My Father: A Daughter of Cambodia Remembers.
In addition to First They Killed My Father: A Daughter of Cambodia Remembers, Jolie’s credits include the feature films By the Sea, Unbroken and In the Land of Blood and Honey and the documentary A Place in Time. Jolie has been a DGA member since 2013.







Thanks Pride&Joy



https://awards.netflix.com/mobile//film/screenings/ftkmf


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Saturday, September 23, 2017









I saw Angelina Jolie present her movie, FIRST THEY KILLED MY FATHER, two nights ago. It is a straight-up great movie that deserves to be seen in the theater (although it premiered on Netflix.) It starts out a little clunky with a montage about Cambodia during the Vietnam war set to "Sympathy for the Devil" (eye roll), but as soon as it gets into the story of Loung Ung, whose memoir about her family's struggles under the Khmer Rouge is the source material for this movie, it becomes a beautiful and moving thing to behold. The actors are mostly first-timers, and the key characters are children, so there's an unvarnished vitality and immediacy to the performances that I loved. It's the story of a horrible ordeal, and yet the movie is never ponderous or preachy. It just tells the story with simplicity and grace. Every now and then, Jolie betrays a Mel Gibsonesque penchant for depicting suffering in graphic, lingering detail that might work against the storytelling (because you have to back out of the experience just to get through it.) But only occasionally. There's a surprising amount of aesthetic pleasure to be had from this film, even though the experiences the characters endure are intensely sad and painful and infuriating. Part of that pleasure comes from the lively performance of the young lead actress in concert with camerawork that places us deeply into her point of view. Sometimes her hands come from either side of the camera as if we're literally looking out of her eyes, but it doesn't feel gimmicky. It makes us children along with her, and surprisingly makes it easier to understand how a child might be more resilient under harsh conditions than an adult, who understands fully what is at stake and what has been lost. The camera is frequently at child's-eye height, the way Ozu's camera was kept at the height of a kneeling adult, and it changes how we experience everything. Jolie has earned her Cambodian street cred gradually, through 14 years of work and outreach in the country. That knowledge and commitment shows in the work. It's a lively, sad, brutal, visually gorgeous, inspiring film. #firsttheykilledmyfather #angelinajolie
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DGA, Friday, Sept. 23






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BMW X5 SUV





indiewire

 Oscar Announces Changes for Foreign-Film Voting: Now Simpler! (Sort Of.)

As promised, new Academy president John Bailey, a long-time and passionate voter on the foreign language committee, has pushed through some long-awaited changes in the voting rules. It’s meant to be simpler; here’s how the new system works.
By the October 2 deadline, the Academy expects some 90 foreign entries. These will be divided into multiple lists (the number is TBD; last year, there were four); committee participants (volunteers from all 17 Academy branches) are each assigned a list. They are required to watch all of the films on their assigned list at one of two screening rooms in L.A. They can see as many films on other lists as they like, and will receive full credit for each movie they screen. (Previously, a committee member had to watch a given percentage of films to qualify for voting.)
The Academy acknowledges that many questions about the actual breakdown of lists and votes remain to be determined.
Publicists and distribution and marketing executives who are affiliated with any given contender are now welcome to vote. This is a positive change, because so many of the people with the most knowledge of the foreign-film world are the ones involved in releasing and promoting these Oscar contenders. Now the likes of Fredell Pogodin and Nancy Willen, to name a few, can also vote.
Some things haven’t changed: Screenings are still in Los Angeles only. (Broadening the pool on a global basis via the internet is still far down the pike.) But in the second phase, after the shortlist of nine is chosen, there may be changes in how a wider group of committee members see the films in order to pick the final five. (On the documentary side, streaming is already happening.) I’m curious to see how that plays out.





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