#Pinter Studio

[dushume]

I was delighted to be invited to give an artist talk about my practice and also perform at the Quorum based in the ArtsOne Building's Pinter Studio at Queen Mary University in Mile End, London. Quorum is affiliated with the School of English and Drama.

Thank you to Henry, Heath and all the Quorum Committee, and big thanks to David Wright for the technical support on lighting and sound, plus Zoom!

[mchummery]

Top-to-Toe

We love to see headshot pix of Rich 1. but maybe the rest of him deserves more exposure.😋  Here’s a few 6’2” Top-to-Toe pix of Rich.

1.During The Crucible

2.The Hobbit: An Unexpected Journey WP NZ 2012

3.Geneva signing Waterstones Picadilly London 2023

4.Airport arrival – unsure where and when

5.Leaving BBC Studios 20 July 2014

6.Old Vic Auditorium, The Crucible

7.Astrov in Uncle Vanya Harold Pinter Theatre Jan 2020 

8.Rich captured by Ray Burmiston for The Sunday Times April 2024

[asrisgratitudejournal]

The Wild Robot

Haii hari Sabtu adalah waktunya aku menulis tumblr post. Ini lagi di department, awalnya sih mau kerja, tapi yaudah secukupnya aja lah ya crossing off to-do lists yang kubikin Jumat kemarin. Seharian ini udah banyak banget deh yang dikerjain: bangun-bangun udah ngucek sprei, sarung bedcover, alas bed yang di bawah sprei, bedcovernya juga, sama ada mattress topper ya namanya (tentu saja juga underwear dan celana tidur) gara-gara tembus heboh, buset. Jadi dari bangun pun udah cranky dan langsung bekerja keras. Terus ngevakum rumah karena udah lama banget gak divakum dan debu-debu sampe kelihatan. Cabut jam 11.18-an buat ke bioskop, jalan 25 menit-an, jadwal filemnya padahal 11.30, plan awalnya tu mau jalan dari rumah jam 11 tapi ya namanya juga Noni kan, pake ada acara masukin laundry dulu dsb. Untungnya sampe studio belum mulai filmnya. Tapi udah gelap, jadinya susah banget nemu tempat duduk. Berujung sepanjang film ku duduk di 1 seat belakang tempatku yang seharusnya. Untungnya dari nonton jam 11.30 tu tapi studionya sepi sih, jadi aman-aman aja sebetulnya mau duduk di mana-pun. Kayanya tadi total penontonnya ga sampai 15 orang di satu studio itu.

Nonton The Wild Robot huhu bagus banget. Dan di Odeon tuh cuma £5 kursi standard jadi yaudah lumayan banget kan. Sebetulnya semalam dikasih link ilegalnya sama Hanif tapi aku tuh kalau nonton film perlu banget dengan sound system yang proper. Jadi £5 tu worth it banget kalo kata aku mah. Se-Oxford raya ada 3 bioskop. Dulu paling rajin nonton di Curzon di Westgate sampai punya annual membership (karena se-suka itu aku nonton di bioskop dengan proper sound system). Si Curzon ini bioskop yang paling proper di Oxford, se-levelnya CGV-lah, tapi MUAHAL banget. Sekali nonton £15. Waktu itu pas member kayanya bayar £50/tahun dapet 4 film gratis dan sisanya diskon 20% apa ya. Terus baru Odeon. Dulu ada 2 Odeon di Oxford, tapi yang satu yang Magdalene St tutup, karena emang udah gedung tua banget juga sih, dan kayanya nggak se-laku itu buka bioskop di Oxford. Ramenya kan pas lagi term time aja. Sempat nonton Suzume di Odeon Magdalene St itu. Terus kayanya sisanya selalu yang di George St. Sempet nonton Godzilla Minus One sama Mas Rangga, terus Wonka juga sama Diny dan Deva. Tadi kayanya baru pertama kali dapet yang Screen 1 deh. Pernah nonton supermurah juga dulu apa ya filemnya, sama Sarah Iris. Lupa euy. Odeon Oxford ini murah banget tapi juga kualitasnya B banget, cenderung jelek bahkan. Betul-betul bioskop tua aja gitu. Jadi kalo gak pinter milih tempat duduk bakalan jauh banget dari Screen dan kaya lagi lihat slide kuliah. OH, kayak Depok XXI! Yang di Ramayana itu. Kalau gak salah ada screen di situ yang modelnya mirip banget kaya bioskop Odeon. Jadi dulu kayanya aku nonton Frozen 2 apa ya sendirian Jumat-jumat gitu pas lagi break Jumatan. Nah karena gak tahu layout studionya, kupilih aja yang A paling atas kan. Eh ternyata JAUH BANGET itu teh dari layar, buset. Anyway, iya gitu, jadi kalau ke Odeon pun harus pintar-pintar pilih seats. Bioskop satu lagi bioskop indie gitu dekat rumah, namanya The Phoenix, lumayan tua juga itu bioskop. Waktu itu sempat nonton The Boy and The Heron di situ. Yang diputer situ biasanya film-film festival gitu sih, bukan yang di Box Office.

Lah jadi cerita panjang bioskop, naon Non. Awalnya mau cerita betapa bagusnya ni filem, The Wild Robot. Tapi kalau diceritain banyak kepanjangan. Intinya kalau kalian fansnya DreamWorks, nonton Puss in Boots: The Last Wish kemarin yang juga bagus banget dan sangat menghibur, nah inituh kualitas animasinya di level itu, tapi writingnya, dan character buildingnya dan SOUND FXnyaaa. Semua berkombinasi menjadi satu dan jadi filem yang sangat CAKEUP. Ku nangis 7x deh kayanya. Mulai nangis pas Brightbill training habis-habisan buat bisa terbang dan ada background music yang super touching (sebetulnya agak uplifting sih), ku langsung yang: YAAMPUN ITU ADALAH AKU DI PHD INI (nangis). Hahaha bukan bermaksud membuat everything is about me tapi betulan yang relatable aja gituu. Kaya.. what are the odds buat dia succeed, but he’s still trying anyway.

Terus nangis lagi lainnya lebih ke karena hubungan ibu-anak aja sih, kan hubungan ibu-anak-ku agak traumatic yah (ku rasa kebanyakan dari kalian juga). I love my mom, I do, with all of my heart. Dan kalau bukan karena kritikannya, supportnya, semua pilihan yang dia ambil: ke mana aku sekolah SD, SMP, SMA, kuliah, les sempoa, ga bakal aku di sini sekarang. Cuma ya exactly criticism itu pulak yang membuatku jadi gampang burnout, jadi unnecessarily perfeksionis yang bikin ku juga punya acute procrastination, ga bisa kind ke diriku sendiri, being SO HARD on myself, selalu ngerasa gak good enough karena ga pernah di-validate feelingnya.

Nangis ke-3 kayanya karena climate change yang membuat SEMUA MAKHLUK HIDUP suffer!!! Si hewan-hewan (dan tumbuhan) ini gak tau apa-apa, mereka literally just existing aja, tapi harus menanggung beban berat kena storm, long super cold winter, dan harus bisa survive. Sedih banget lihatnya.

Terus apa lagi ya… kayanya karena ku juga hard empath aja jadinya ngerasa sedih sama Fink, Ros, dan Brightbill yang dimusuhi semua orang dan gapunya teman padahal bukan salah mereka, Cuma karena mereka beda aja.

Udah sih sisanya sedih balik lagi ke interrelationship character itu lagi. Yang ku bisa relate banget juga tuh sebagai dosen/guru kadang kita yang bantuin students kita sampe udah jago, terus tapi supaya mereka bisa terus berkembang ya gabisa kita keep terus, at one point harus dilepas merekanya, padahal kita udah sayang (ini berlaku buat ibu ke anak juga).

Yaudah intinya ni filem bagus banget lah. Gatau sih bakal beda apa nggak reaksi emosional diriku ini kalau nggak lagi mens, mungkin jumlah nangisnya bakal berkurang.

Terus mau cerita apa lagi ya… Minggu ini lumayan seru dan produktif walaupun hari Jumat kemarin KAYAK HELL. CAPEK BANGET semua ada di twitter aku. Bentar, kita coba recount dari Minggu dulu. Oh! Minggu ke rumah Bu Yani merayakan ulangtahunku huhu dan makan-makan. Sambil ada rapat mau bikin acara minggu depan juga sih ada orang pemerintahan gitu lah dateng ke Oxford, aku sih gak ikut-ikutan yah karena fokusnya mau submit thesis. Cuma seru aja melihat dinamika itu semua. Dikasih bunga juga sama Kak Kaca! Huhu so happy.

Senin lupa lagi ngapain. Kayanya Senin Selasa Rabu kerja kaya biasa aja deh. OHHHHH. Hari Selasa sore KU SUBMIT chapter result ke-2 dari thesisku ke JOURNAL! HAHAHA. Harusnya ini lebih jadi highlight of the week, tapi jujur the Wild Robot >>> submit paper sih. Terus Kamis meeting sama spv dan postdoc, mulai keluar nama-nama calon internal/external examiner HAMDALAH makin dekat ni finish line saya PhD.

Jumat kemarin itu sebetulnya capek karena mix antara dapet hari ke-2, salah pake underwear (yang tidak period friendly), dan co-author-ku yang resek (dan post-doc-ku juga sih yang entah kenapa berulah banyak bener kemarin), dan kurang tidur juga kayanya karena belakangan ini susah banget tidur di bawah jam 1 entah kenapa???

Tapi yaudah overall good kok hidup. Amat sangat bersyukur. MAKASIH BANYAK YAA ALLAH. Sekian dulu. Kayanya pulang aja ah. Bawa laptop. Serem juga departemen kalau udah gelap. Bye, undur diri dulu. Oh. Terakhir. Tadi juga habis datang dari acara kumpul-kumpul warga Oxford gitu setelah ku selesai nonton bioskop. Dan sempat bahas sama teman-teman terkait ada satu teman kami (sebut namanya A) yang sudah memasuki tahun ke-4 PhD-nya tapi progresnya cukup mengkhawatirkan. Masalahnya (nggak masalah juga sih), aku adalah salah satu orang yang cukup frequent ketemu sama si A ini. Seminggu bisa minimal 1x-lah. Tapi emang aku ketemuan sama si A ini betulan buat nyampah aja gitu. Ku jarang banget nanya “gimana kerjaan?” begitu pula dia. Betul-betul buat decompress aja gitu. Dan lagipula ku mikirnya kalau ku nanya-nanya dia, dia jadi nggak comfortable lagi dan malah makin narik diri dan avoidant (dia bukan tipe yang banyak teman, jadi kalau udah sekali ilang, bubar). Barusan tapi udah ku-chat ke dia kalau aku pun pernah sempat konseling ke uni (karena kadang cuma perlu tahu satu orang lain buat bisa mendorong berani melakukan hal yang sama). Soalnya kesimpulan dari diskusi dengan teman-teman tadi, kami semua gaada yang bisa bantu juga… semua punya load PhD masing-masing… dan emang udah di ranahnya professional gaksih kalau sampai udah 3 tahun dia nggak tahu dia PhD-nya ngapain??? Karena kita teman-teman yang peduli juga kan, jadi gak bisa dibiarin aja… Bismillah deh. Semoga membaik keadaan si kawan ini.

Dah beneran terakhir, karena udah dingin banget beneran. See you next week!!!

Best,

Noni

Office 26/10/2024 18:48

[nayialovecat]

The Ink Demonth 2023 - Day 26. Demon

Day 26. Demon Crossover: The Owl House You're wrong, Luz. This is Earth. Just a very, very strange and specific piece of Earth. Yes, this is the exit door from BATIM. Now you know why there was such a strange light coming from them X"D

It was even fun to draw, although I was very hesitant to do it, which became even more intense just before colouring (which I will tell you about in a moment). The premise was that Luz opened a portal to the Workshop during her attempts to recreate the Portal Doors - this is the period in which King was searching for his father (and didn't know who he was). By the way, this also explains how Bendy managed to get out of the Studio, breaking the curse, and went on his tour around the multiverse :D

And now it will be less fun. I've had a really bad panic attack and anxiety in the last twenty-four hours - and for a while I didn't want to post anything else. Never. And it all started with a short exchange of comments under picture Day 23. Contraband on dA (screenshot here). It doesn't seem like anything (I tried to make it a joke, but then they blocked me), but I checked this person's account and discovered that they were publishing other people's works there (mainly from Twitter and Pinteres). I don't know if it was with their consent, but it seems to me that if they have consent to it, they should still include information about the original author of the work in the description of the image (I'm not even saying that it would be perfect to provide a link to the original work), and this is not the case does. If it weren't for the fact that some of the works have watermarks or signatures of the original authors, you might think that the guy draws themself - nowhere does they state that this is the case, but they comments on the pictures as if they were their author. Plus as I said earlier, they blocked me before i could ask about these (probably stolen) arts. Why did it make me anxious and paranoid? Well, 'cause I am very, very afraid of my works being stolen. I'm not very popular, so there's little chance of this happening - and I usually don't remember such things happening. Sometimes I feel anxiety when I find my arts on Pinterest or strange websites with pictures - I didn't give permission for that. This person, however, reminded me of it with their indignation that how do I have the right not to have a picture of Owl House when the search engine returned it as Owl House. As I say, I was ready to give up further work not only on Ink Demonth (especially since, as you can see, this entry is about Owl House, on which that person clearly has an unhealthy fixation), but also any work that I had post on dA or tumblr. I blocked them on dA, but cannot block myself for them in the whole internet, right? First of all, my paranoia resulted in me blocking the visibility of my tumblr for people who are not logged in, I'm also trying to do something like that for dA, but I don't think it's possible. I don't know where I'll end up with my paranoia - but my friends have made a lot of effort to convince me that everything is ok. Finally, I decided to post this picture and I'll probably upload other Ink Demonth entries at last. I hope I won't regret it :c But I'm afraid and I don't know if after finishing the Ink Demonth challenge I won't give up (for some time or forever) publishing my drawings on the Internet. I wanted you to know. It's bad. My anxiety doesn't necessarily make sense - but it has huge consequences.

My paranoia brought another bad thing. Although I really liked the show The Owl House and was looking forward to the translation and dubbing of the next season in my country (the one that takes place on Earth) - I'm not waiting for it anymore. To be honest, I'm sick of it and feel anxious just looking at the characters of the show. Here look, how can a bad fandom ruin even the coolest thing :/ Someone will say that I am exaggerating. YES I KNOW. But that's how my fucked up, full of illnes mind works and I have no influence on it.

I didn't want such a monologue under this art. I wanted to write here which characters I like and who I'm shipping with whom - but right now... well. No. Sorry.

I just want to have the joy of creating again…

Bendy and the Ink Machine (c) Joey Drew Studios Inc. The Owl House (c) Dana Terrace Sammy and the Ink Machine (c) Nayia Lovecat

[vintage1981]

Celebrating Jacqueline Pearce

Jacqueline Pearce is a British actress best know for playing Servalan in all four series of Blake's 7.

Born in Woking in the south of England, Jacqueline Pearce trained at the British stage school RADA and at Lee Strasberg’s Actors Studio in Los Angeles. 

Her TV career began in the 1960’s with regular roles in the ITV Play of the Week as well as appearances in shows such as The Avengers and Armchair Theatre.

She starred in two Hammer horror films, The Plague of the Zombies and The Reptile, filmed simultaneously in 1966. Other film roles include Sky West and Crooked, Don’t Raise the Bridge, Lower the River and How to Get Ahead in Advertising.

Roles in the 1970’s included Rosa Dartle in David Copperfield, Claudia Haswell in Couples, and Anna Rupius in Vienna 1900. But it was in 1978 that she was cast in the role for which she would be ever known.

Servalan was the Supreme Commander of the Terran Federation in Blakes 7, the TV drama devised by Dalek creator Terry Nation. The character was only expected to appear in one episode of the saga, but Pearce’s electrifying performance ensured the character would survive far longer than the title character, appearing in all four series.

A cold, calculating, ruthless sociopath Servalan’s main aim was to destroy the crew of the Liberator and the relish with which Pearce played the character ensured she would remain a fan favourite for the series duration. 

Her Doctor Who appearance came in 1985, playing Chessene of the Franzine Grig in the Colin Baker story The Two Doctors. She later appeared in a slew of Blake’s 7 and Doctor Who audio adventures for for Big Finish Productions.

In 1991 she played Miss Pendragon in the Russell T. Davies series Dark Season. She also appeared in series such as Casualty, Doctors, Daniel Deronda and The Young Indiana Jones Chronicles.

Her theatre work included West End appearances in Harold Pinter’s Otherwise Engaged (Queen’s Theatre) and JB Priestly’s Dangerous Corner (Garrick Theatre); Shadowlands; Tom Stoppard’s Night and Day (Belgrade Theatre, Coventry) ; and her one woman show A Star is Torn.

Jacqueline relocated to South Africa for several years, initially to care for orphaned monkeys, before recently returning to the UK. Her autobiography, From Byfleet to the Bush, was published in 2012. 

Jacqueline Kay Pearce, actor, born 20 December 1943; died 3 September 2018

[ganhosdoelefante]

London, 22 de Maio do Ano 2 - Sexta - Doc - 25 anos.

06:00 - Acordamos e corremos. 07:00 - Voltamos, tomamos banho e nos arrumamos. 07:45 - Tomamos café em casa:

08:30 - Trabalhamos. Cada um no seu. 12:30 - Almoço na salinha com Thom:

13:00 - Volto ao trabalho. 17:00 - Saio. 17:10 - Compro flores para casa: Titania's Garden

17:25 - Passo na galeria: Potato Art Studio

17:50 - Chego em casa e tomo chá da tarde com Carl:

18:40 - Tomamos banho e nos arrumamos para sair. 19:30 - Teatro: The Harold Pinter Theatre

21:10 - Jantamos: Coco Grill & Lounge

23:00 - Voltamos para casa e ficamos bebendo um drink e escutando música.

00:00 - Dormimos (L).

[peterviney1]

The Birthday Party - 2024, Bath Ustinov, review

Review of the 2024 production of THE BIRTHDAY PARTY by Harold Pinter (follow link to review) at Bath’s Ustinov Studio. The Ustinov Studio continues with top directors and casts in a tiny studio theatre, the end result normally being a transfer intact to London and a bigger stage. I think this will follow the pattern.

[smileasalways]

Peran Lama yg Muncul Kembali

Been a (very berry) long time ga nulis di sini. Di sini emang tempatnya galau, lah sekarang mau galau udah ga sempet, ga ada waktu. wkwkwk

Tapi, kemarin ada kejadian menarik yang membuatku berkontemplasi berhari-hari. Karena sayang kalo nanti lupa, jadi mau mengabadikan di sini. Hehe.

Jadi, kira-kira seminggu yang lalu aku ketemu seniorku. Dia sekarang tinggal di US dan udah selesai PhD. Emang pinter sedari dulu kala orangnya. Aku kenal dia sejak SMP, pas dia naksir sahabatku. Haha. Good old memory. Terus ketemu lagi pas kuliah. Berhubung udah kenal sejak SMP kan ya jadi otomatis langsung asik pas ketemu di kampus. Tapi kami beda konsentrasi, aku sangat fokus organisasi, dia udah kenyang dan fokus ke akademik. Ga banyak beririsan pokoknya. Di tahun terakhir, aku diajakin dia ngerjain hibah penelitian. Kami berlima, dari 5 angkatan yg berbeda. Itu seru banget sih. Sampe pas dia lulus, kami foto studio bareng.

Setelah itu, kami lost contact. Aku cuma tahu update dari sosmednya. Oh, dia S2 di UK. Oh, skrg di US. Oh, habis lulus PhD. Dan yaudah nyapa sekedarnya aja, nyelametin hore-hore.

Long story short, pas tau dia lagi balik Indo, dan ke Jogja pula (becoz orang jogja ya), aku insist buat ketemu bahas sesuatu ada deh. Sejam doang, dan ga ada bahas2 personal kehidupan pribadi. Mana di Mirota Kampus, sambil berdiri di antara baju-baju, diliatin orang. Sumpe pertemuan yg sangat aneh lah. Udah tu kelar bahasannya, aku balik ke kampus.

Weeeeh, tanpa diduga, aku nangis weeey sepanjang di motor. Nangis deres sesenggukan. T____T

Aku sendiri kaget kenapa reaksiku begitu emosional. Padahal aku tu happy loh ketemu dia, dan happy juga denger sekilas kehidupan dia di US, tapi kok nangeesss tanpa tau sebabnya.

Ada yg bilang karena lama ga ketemu, ada yg bilang karena aku diam-diam menginginkan perjalanan hidupnya, ada yg bilang emang ada orang-orang tertentu yg bikin kita terharu. Tapi ga ada alasan yg bisa kusetujui sepenuh hati. Semua alasan itu, mungkin ada benernya, tapi ga sepenuhnya.

And I keep guessing.

Ternyata, setelah seminggu nih mikir, pas ketemu sama dia tuh deep down aku merasa bisa jadi adek. Sebuah peran yang seumur hidup aku ga pernah miliki. Tuh kan nanges lagi nulisnya. Apalagi dengan adult life sekarang ini yang selalu menuntut untuk kita bisa decision making dengan cepat, bikin pertimbangan-pertimbangan sendiri, cari alasan kenapa melakukan A B C, kenapa ga X Y Z, bertanggung jawab atas ini itu, endebre endebra. Selama ini ya aku stand for myself, stand for what i believe good for everyone around me, intinya jadi yg terdepan. Nahh, pas ketemu dia tuh, ndilalah bahas sesuatu yg aku memposisikan diriku know nothing dan dia yg kasih semua ilmunya. Itu tuh ternyata.... damn, enak banget wey punya peran sebagai adek. Ga mikir sendiri, dikasi tau, diarahin T_T

Bukan berarti aku nggak bersyukur dengan kehidupan dan seluruh peran yg aku jalani sekarang lho ya, ga separatis gitu. Tapi ya memberiku wawasan baru, ada lho peran dalam hidup yg mungkin dulu pernah aku nikmati, perlahan hilang, dan ketika sekarang ngerasain lagi tuh.... nyess bgt. :"

Dulu pas S1 mah buanyak orang yg bisa kusandarin tanya ini itu. Tapi habis lulus kan engga. Semua punya jalannya masing-masing dan akhirnya terpisahlah kami. Dan yauda gapapa karena emang sunatullahnya gitu.

Tiba-tiba diingetin lagi dulu pernah punya peran itu, di masa belasan tahun lalu, that i took that for granted.

Bersyukur, pernah punya masa itu. Bersyukur banget juga masih punya kesempatan ketemu sama dia yg ga berubah sehingga peranku pun juga ga berubah pas sama dia. Meski udah umur segini, tapi bisa jadi adek. Huhu. Makasih lho.. :")

Dengan analisis itu, hipotesisku bilang kalo aku juga akan seemosional ini ketemu sama senior yg lain dg posisi aku sbg junior. Sebenernya selain dia, aku masih ada ketemu-ketemu senior lain, tapi posisinya kan sekarang seringnya setara. Sama-sama ibu yg ngobrolin tumbang anak, atau sama-sama istri, jadi ya rasanya bukan adek kayak jaman dulu.

Hmm

Menarik ya.. :)

[agrpress-blog]

Il grande attore americano, interprete di film come Invito a una sparatoria di Richard Wilson, Quiller memorandum di Michael Anderson, Chi ha paura di Virginia Woolf? di Mike Nichols, Il gufo e la gattina di Herbert Ross, Un tocco di classe di Melvin Frank, California Poker di Robert Altman e molti altri, avrebbe novant’anni. Nato a Great Neck - nello Stato di New York - nel febbraio 1934 (è morto nel marzo del 2021) da genitori figli di emigrati russi, si diploma alla Columbia University e frequenta l’Actor’s Studio. Dopo alcune apparizioni televisive, esordisce al cinema all’inizio degli anni Sessanta in Giorni senza fine (1961) di Phil Karlson, con Ben Gazzara e Fredric March, e, nel ’62, fa parte del cast corale di Il giorno più lungo di Ken Annakin e Andrew Marton, tratto dall’omonimo saggio storico (1959) di Cornelius Ryan sullo sbarco in Normandia. Segue un’intensa stagione - che durerà per circa vent’anni - da comprimario e poi da protagonista, dal western psicologico - Invito a una sparatoria (1964) di Richard Wilson, con Yul Brynner - al film di spionaggio - l’ottimo Quiller memorandum (1966), scritto da Harold Pinter, diretto da Michael Anderson ed interpretato anche da Senta Berger e Max von Sydow); è un pittore nel drammatico-grottesco La nave dei folli (1965) di Stanley Kramer, con Simone Signoret e Vivien Leigh (al suo ultimo film); ottiene una nomination all’Oscar come Miglior Attore non Protagonista per Chi ha paura di Virginia Woolf? (1966) di Mike Nichols, tratto dall’opera teatrale omonima di Edward Albee, ed interpretato da Elizabeth Taylor e Richard Burton. A prove drammatiche - Loving, gioco crudele (1970) di Irving Kershner - e di grande intensità - Il mio uomo è una canaglia (1971) di Ivan Passer - alterna commedie più indiavolate ed eccentriche come Il gufo e la gattina (1970) di Herbert Ross, con Barbra Streisand, Un tocco di classe (1973) di Melvin Frank, con Glenda Jackson, California Poker (1974) di Robert Altman, con Elliot Gould. Negli anni Ottanta e Novanta, sia pur continuando a lavorare a pieno ritmo, la sua carriera cinematografica si avvia verso il declino e Segal si orienta al film tv - Intrigo a Berlino (1984) di James Dearden ed alle serie televisive. Le sue apparizioni al cinema si orienteranno a ruoli di secondo piano, come ad esempio Senti chi parla (1989) di Amy Heckerling, con Kristie Alley e John Travolta, Giorni di gloria… giorni d’amore (1991) di Mark Rydell, Un orso chiamato Arturo (1992) di Sergio Martino, con Carol Alt, Senti chi parla adesso! (1993) di Tom Ropelewski, con K. Alley, J. Travolta e Elias Koteas, Caccia mortale (1993) di Vic Armstrong, Da morire (1995) di Gus Van Sant, Babysitter… Un thriller (1995) di Guy Ferland, Il rompiscatole (1996) di Ben Stiller, L’amore ha due facce (1996) di Barbra Streisand, con B. Streisand, Jeff Bridges, Lauren Bacall e Pierce Brosnan. Fra gli altri film ricordiamo Squadra di emergenza (1964) di John Rich, Qualcuno da odiare (1965) di Bryan Forbes, Né onore né gloria (1966) di Mark Robson, con Claudia Cardinale, Il massacro del giorno di San Valentino (1967) di Roger Corman, Addio Braverman (1968) di Sidney Lumet, Non si maltrattano così le signore (1968) di Jack Smight, con Rod Steiger e Lee Remick, Il suo modo di fare (1968) di Franco Brusati, Il ponte di Remagen (1969) di John Guillermin, La pietra che scotta (1972) di Peter Yates, con Robert Redford, Una pazza storia d’amore (1973) di Paul Mazursky, Roulette russa (1975) di Lou Lombardo, La volpe e la duchessa (1976) con Goldie Hawn e Marito in prova (1979) con G. Glackson entrambi di Melvin Frank, Rollercoaster - Il grande brivido (1977) di James Goldstone, con Richard Widmark, Henry Fonda ed una giovanissima Helen Hunt (al suo esordio cinematografico), Non rubare se non è strettamente necessario (1977) e Qualcuno sta uccidendo i più grandi cuochi d’Europa (1978), di Ted Kotcheff, Sfida alla vita (1985) di Michael Tuchner, Scherzare con il fuoco (1985) di Burt

Reynolds, Heights (2004) di Chris Terrio, 13 giorni a Las Vegas (2007) di Charlie Picerni, 2012 (2009) di Roland Emmerich, Amore & altri rimedi (2010) di Edward Zwick, Elsa &Fred (2014) di Michael Radford, con Christopher Plummer e Shirley MacLaine. Molto attivo, come già detto, anche in televisione, è apparso in vari film tv - Death of a Salesman (1966) di Alex Segal, Le piccanti avventure di Robin Hood (1984) di Ray Austin - ed in alcuni episodi di serie e miniserie - Channing (1963), La signora in giallo (1993), Just Shoot Me (1997-2003), circa centocinquanta episodi , Law & Order - Unità vittime speciali (2003), Retired at 35 (2011-13, oltre venti episodi), The Goldbergs (2013-21, oltre centosettanta episodi).

[imnothinginparticular]

#finishedbooks Awakenings by Oliver Sacks. Picked this up from my favorite used book store in Mitaka by my ikebana studio. I had read his seemingly absurd book "The Man Who Mistook his Wife for a Hat" some years back simply intrigued by the title and cover. What I got was quite unexpected as it was more of a medical catalogue written with a literary skew that then came off absurd because the neurological cases were so bizarre. Awakenings is perhaps his most known story about his treatment of a rare disease, encephalitis lethargica, that for the most part rendered its victims completely catatonic. There was a small epidemic of this disease in the late 20s correlated to the great pandemic post WWI. Sacks sought to treat these long forgotten victims with a new drug in 1969 L-DOPA that suddenly awakened his patients from decades of their stasis. The results all varied but each patient had their own unique awakening and complications there after. For example one patient would take 15 hours to scratch his nose and upon awakening was shocked as he felt it was only seconds while another patient swore it was still 1926 and couldn't handle the fact their life was taken and had no one left. The book is structured with an extended preface followed by a selection of some of his patients followed by a epilogue and postscript that certainly breaks up what would perhaps have become redundant in simply chronicling each awakening. The 1990 post script proved interesting to me as the one commonality was that disease stemmed from the 1918 pandemic. He talks about minor occurrences in pandemics since but following COVID-19 and its shear scale, one has to wonder...as the disease although rare, is certainly not extinct. But the implications of the awakenings are certainly the heart of the book, something I recognized from that late Harold Pinter play, A kind of Alaska who really went into its philosophical ramifications of the patients who has been catatonic yet vaguely conscious for half their lives. Think some would recognize this story from the Academy bait film starring Robin Williams and Robert De Niro. Williams playing Dr. Sacks and De Niro playing, who I found to be the most interesting patient, an intellectual who couldn't handle the awakening and side effects and opted to return to his state. The film exaggerates a lot and mixes stories for effect ways that simply just weren't true. I felt the real story was far more interesting as he essentially showed all the side effects of prolonged ecstasy addicts. It was an interesting read and I'd skip the Hollywood film for the Pinter play. Also, there is also a solid PBS documentary on Dr. Sacks.

[willstafford]

Ashes to Alaska

A HAROLD PINTER DOUBLE BILL: Ashes To Ashes / A Kind of Alaska The Crescent Theatre, Birmingham, Saturday 28th October 2023 Relieved to be able to make it to the final performances of this double bill, I settle into my seat.  The Ron Barber Studio has been rendered even more intimate, with seating raked high on three sides of the stage area.  It’s like an anatomist’s theatre.  The whiteness of…

[coolrahulsarin]

The damn talent of William Friedkin

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The damn talent of William Friedkin

With a reputation for his bouillant character, but also for his scholarship, William Friedkin has passed away at the age of 87. A time in the farés cinema of the new Hollywood thanks to the successive triumphs of the political drama the french connection (The French filière), lauréat de cinq Oscar, dont ceux du meilleur film et de la meilleure réalisation, et du drama d’horreur The Exorcist (The Exorcist), alors la production la most popular de tous les temps, Friedkin connut une carrière en dents de scie ponctuée d’oeuvres cultes, comme Magician (convoi de la peur) and Cruise (The chasing). In recent years, I have made a convenient comeback with the tordus. Bug and killer joe.

In roughly 60 years of career, not 20 films have been made, most of his projects tombèrent à l’eau, en le disait peu commode du côté des studios. Divorced three times, and made up by Jeanne Moreau, married since 1991 to Sherry Lansing, longtime head of Paramount.

William Friedkin lived in the world in 1935 in Chicago. Son pere de él travaille dans la marine marchande et sa mère de él est infirmière, tous deux des immigrantes d’origine juive ukrainienne. Il est très tôt fasciné par le cinéma, qui devient a passion à l’adolescence au contact des filmes the devilish ones and The salaire of the peurd’Henri-Georges Clouzot, and Psychopath (Psychosis), by Alfred Hitchcock.

At the age of 16, he is sent to the messenger service of a local television station. At 18, he is promu réalisateur. Ebloui pair Citizen Kane, by Orson Welles, discovered at age 20, partly for Hollywood. In 1967, he made his first film, qu’il renera: le kitsch. good timesmettant in vedette the popular duo Sonny and Cher.

Il s’applique par la suite à se falsifier a reputation as a serious filmmaker with two adaptations of pieces jugées audacieuses à l’époque: The birthday party (1968), by Harold Pinter, and the boys in the band (1970) by Matt Crowley. This last film lui vaut des éloges pour sontreatment réaliste et sans faux-fuyant de l’homosexualité, subject encore tabou à Hollywood à l’époque.

glory and after

The consecration came in 1971 with the french connection, où Gene Hackman embodies Popeye Doyle, a brilliant film that dans sa mire des trafiquants marseillais. Novaatrice, the sequence of the poursuite de voitures fait école.

Fort de son Oscar de la meilleure réalisation, Friedkin a beau jeu et jette son dévolu sur le roman de William Peter Blatty The Exorcist (The Exorcist). Scénariste réputé, Blatty lui soumet an adaptation, which Friedkin rejected. S’ensuit an orageuse collaboration, but in short, fruitful.

The tournament is full of conflicts, but also moments of grace, voire de pur génie. Récit d’une actress divorcee (Ellen Burstyn) qui appelle à l’aide deux prêtres (Jason Miller and Max von Sydow) afin qu’ils exorcescent sa fille de ella possédée de ella (Linda Blair), The Exorcist fait à la fois courir et défaillir les foules.

Outre ses images saissantes, ce film jouit d’une conception sonore hallucinante. In the December 1973 issue, The Exorcist beat all the records d’entrées d’alors.

On le croit sur une lancee, mais Friedkin ne revient qu’au bout de quatre ans. Remake onereux du salaire de la peur, Magician (1977) est le fruit d’un tournage encore plus cauchemardesque que celui de The Exorcist. Roy Scheider, a bandit who doesn’t laugh anymore, and drives a truck full of explosives through the jungle with a bunch of compagnons d’infortune. Here, time and intimacy are captivated.

A flop à sa sortie, Magician he is presently regarded as a chef-d’oeuvre par plusieurs. Il n’empêche, cet échec diminishes the rapport of force du réalisateur avec les studios. In 1980, Friedkin went back to the heart of a controversial lorsque son film Cruise (1980) est accusé d’homophobie — you filmed him s’en défend avec véhémence. Al Pacino and Campe, a cop who infiltrates the sadomasochistic fringe of the gay community, où sévit un tueur en serial. Another failure, another revalued title to the house after the fact.

A renewed fire

Between 1983 and 2003, Friedkin made several separate films. Aucun ne connait de succès. Il n’en faut pas moins signaler l’excellent Live and Die in LA (Federal Police, Los Angeles ; 1985), another brilliantly realized political drama, et l’âpre Rampage (1987), Sur un tueur en série sanguinaire.

Then, in 2006, after a three-year hiatus, Friedkin refaited the coup de ses débuts by proposing two adaptations of plays, all two by Tracy Letts: Bug (2006), about Ashley Judd and Michael Shannon prêtent corps (littéralement) à un cas déstabilisant de folie à deux, et killer joe (2011), où Matthew McConaughey embodies a tueur à gages intractable en matière d’éthique de travail.

These two films are a dull joy that demonstrates remarkable fougue, and a desire to push moviegoers out of their comfort zone.

In September, Friedkin will be his companion at the Venice Festival The Caine Mutiny Court Martial, or the prosecution of a marine officer who started a riot against an unstable captain. Voilà un chant du cygne tout designé pour un éternel rebelle qui, dans son autobiographie de él, entrusted in 2013: «Je pense à mon histoire d’amour avec le cinéma. Des images or fragments arise in my consciousness, like pike. When I get to capture them, fleeting leurs éclats illuminent de sombres recoins de ma mémoire. »

Au tour des films de William Friedkin de se muer en incandescent plots of cinematic immortality.

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[hahahafangirl]

hmmm yeah for sure!! i definitely must consider "conversation using fist" as an "alternative" language... i suppose i was tunnel-visioning too much on the failure of speech in this matter, while thats not exactly the focus of wbk at all xD it seeks to supply a new language (the fist) when words fail, not analyzing how they fail, the way pinter and beckett did it... though this does give me the thoughts about the more audial medium of theater versus the soundless manga... we have anime, of course, but i am sort of biased against using anime as "primary source" in general because i have no idea how far authorial intention gets in anime, where sometimes the studio just sorta. do whatever they want. wbk seems to be a bit of an outlier in that nii-sensei seems to engage a lot with the adaptation (see: the togame joining shishitoren scene-- did the anime studio come up with that or nii-sensei themselves?)

there are certainly ways in which "standard" language may be "abused" in the text, i think. this is a delinquent manga after all, those kids are not speaking properly xP. i still remember kiryuu's introductory line being translated as "what a coinkydink" lol. but alack, im nowhere near fluent enough at japanese to start digging there.

nonetheless, yeah, seeing the boundary of the effectiveness of speech in wbk.... examining the silence, perhaps, is a good way to begin. maybe the focus of my analysis should be more on how the fist and body language substitute speech in the manga. body language and those small subtlety is where the visual media shine, after all xD

i prommy myself and my roomie that i will wrap up the crisis of contact discussion first, butttttttttttt this is too enticing

anyway, as for anne carson materials! i am sooo glad you asked. the primary way i have been watching her lectures are through youtube. im sure if you search up "anne carson" a whole playlist would come up (i saw it, but cant find it now for some reason), but i'd highly recommend the following:

lecture on stillness; also pdf

lecture on corners

lecture on the history of skywriting (also published in wrong norma)

lecture on stillness and corners are supposed to be followed by chairs, but thats the one i could not find Anywhere >:'(

i think i reference stillness and corners on here a lot. another big one is dirt and desire, which you may find a pdf of online, but also published in men in the off-hour. i also recommend the glass essay and the fall of rome, both published in glass, irony, and god (highly recommend everything in this book honestly). another foundational text of my life is autobiography of red and red doc>. the beginning of autobiography, red meat, is beautiful (and give me so many feelings)

so i just figure out that the "failure of language" stuff DID in fact came from anne carson's lecture on corners and particularly about harold pinter's approach to dialogue in his plays. she also talks about this in the introduction to hekabe and quote beckett on how "the only novel way to do language is to abuse it" (paraphrasing badly). well now thats a very different view of what i thought it was but lets see how we uhm. wrangle (read: butcher) this to fit our literary purposes.

[tomhiddleslove]

Tom Hiddleston in the studio of BBC Radio 2, for The Breakfast Show with Zoe Ball,on January 18, 2019.

From tinadaheley IGS.

[erlenmasson]

Designed by Ground Graphics, printed by Dot Studio, London. #hologrPhicfoil #screenprinting via https://ift.tt/3n6Tbf5

[deniroarchives]

“Lobby cards for The Last Tycoon, 1975 Robert De Niro Papers 337 De Niro was preparing for his role in The Last Tycoon (1976) while he was filming Taxi Driver (1976). The script was written by the noted playwright Harold Pinter based on the unfinished novel by F. Scott Fitzgerald and was produced by Sam Spiegel, one of the last larger-than-life producers of Hollywood's golden age. But it was the director, Elia Kazan, who most attracted De Niro to the project. Kazan had been a member of the Group Theatre and had cofounded the Actors Studio in 1947. Along with Lee Strasberg and De Niro's former teacher, Stella Adler, Kazan was one of the developers and best-known practitioners of "The Method," a naturalistic style of acting that dominated American theatre and film in the twentieth century. Kazan's and De Niro's working methods complemented one another, and their collaboration was enjoyable and satisfying for both. Kazan's notes and letters to De Niro about his character, Monroe Stahr, based on the life of MGM mogul Irving Thalberg, are numerous and detailed. The Last Tycoon was Kazan's last film, and while it was not a box office success on its release, it has been enjoying a reevaluation in recent years.”