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Henry Fonda and Alfred Hitchcock in his cameo from The Wrong Man | Ray Harryhausen working on Medusa for Clash of the Titans | Jennifer Lawrence by Ellen von Unwerth | Wes Anderson and Jude Law on the set of The Grand Budapest Hotel | Mads Mikkelsen by Eddy Brière | Jane Daly getting into costume for The Mysterious Island, 1929. | Zooey Deschanel by Carter Smith | Danny Trejo and Antonio Banderas on the set of Desperado. | Humphrey Bogart by Philippe Halsman | Liza Minnelli and Bob Fosse on Cabaret | Marilyn Monroe by Nickolas Murray | Alfred Hitchcock by Ara Güler | Tom Hiddleston by Francesco Guidicini | Natalie Portman by Tony Duran | Ursula Andress by Herman Leonard | Sir Ben Kingsley by Andy Gotts | Guillermo del Toro in his Home | Louis Armstrong and Cicely Tyson by Sammy Davis Jr. | Scarlett Johansson by Damon Winter | Marilyn Monroe by Cecil Beaton | Eva Green by Julia Fullerton-Batten | Emma Stone as Cabaret's Sally Bowles by Richard Phibbs | Penélope Cruz by Nico | Steven Spielberg on the set of Raiders of the Lost Ark | Madonna by Patrick Demarchelier | Dita Von Teese and Scarlett Johansson by James White | Jennifer Lawrence by Patrick Demarchelier | Marilyn Monroe by Milton Greene | Dustin Hoffman by John Baldessari | Angelina Jolie by Mario Testino | Doug Jones getting in costume for Pan's Labyrinth | Miniature FX on the set of King Kong | Jim Carrey by Annie Leibovitz | George C. 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Ockenfels | Kate Upton by Mario Testino | Orson Welles by Douglas Kirkland | Christina Ricci by Mary Ellen Mark | Kate Winslet by Daniel Jackson | Zoe Saldana by Jill Greenberg | Sylvester Stallone, Djimon Hounsou, Forest Whitaker, Robert Downey Jr., Jessica Biel, and Tobey Maguire by Annie Leibovitz | Anne Hathaway by Marc Hom | Eva Green by Ellen von Unwerth | Eva Green by Paolo Roversi | Hugh Laurie by Robert Trachtenberg | Marilyn Monroe by Ernest Bachrach | Marion Cotillard by Eliott Bliss | Jodie Foster by Helmut Newton | Sofia Coppola by Jean-Baptiste Mondino | Tom Hiddleston by Max Vadukul | Ian McKellen and Patrick Stewart by Luke Fontana | Alfred Hitchcock directs Frenzy, 1971 | Scarlett Johansson by Craig McDean | Salma Hayek by Mark Anderson | Christian Slater by Murdo Macleod | Famke Janssen by David Needleman | Keira Knightley by Donald McPherson | Anna Kendrick by Eric Ogden | Drew Barrymore by Craig de Cristo | Keira Knightley by Emily Hope | Marilyn Monroe by Alfred Eisenstaedt | Fred Astaire and his dancing shoes. | A Young Girl plays in a Replica of a Lunar-module in Toronto, Canada, August 1975 by Robert Madden | Uma Thurman by Michel Comte | Natalie Portman by Mert and Marcus | Julianne Moore by Annie Leibovitz | David Lynch by Krijn van Noordwijk | Amy Adams by Marc Hom | Angelina Jolie by Marc Hom | Matthew McConaughey by Marc Hom | Anna Kendrick by Eric Ogden | Leonardo DiCaprio by Hugh Stewart | Alfred Hitchcock with Tippi Hedren by Philippe Halsman | Marx Brothers, 1908 | George Lucas and Amrish Puri on the set of Indiana Jones and the Temple of Doom | Lea Seydoux by Eric Guillemain | Nicole Kidman by Greg Kadel | Cillian Murphy by James White | Anna Farris by Patrick Hoelck | Jamie Lee Curtis on the set of Halloween | Rachel Weisz by Annie Leibovitz | Robert De Niro by Andy Gotts | Ellen Page by Olivia Malone | Ellen Page by Olivia Malone | Angelina Jolie by Hedi Slimane | Grace Kelly and Cary Grant. To Catch a Thief 1955 | Elizabeth Olsen by Hunter & Gatti | Christina Hendricks by James White | Francis Ford Coppola, Marlon Brando, and Al Pacino on the set of The Godfather | Marilyn Monroe by Philippe Halsman | Angelina Jolie by Heidi Slimane | Penelope Cruz by Tom Munro | Salvador Dali by Philippe Halsman | Quentin Tarantino, Samuel L. Jackson & Maria de Medeiros on the set of “Pulp Fiction” | Marilyn Monroe by Milton Greene | Bela Lugosi and Boris Karloff | Scarlett Johansson by Annie Liebovitz | David Lynch by Miles Aldridge | Robert De Niro by Jérôme Bonnet | Kate Mara by John Russo | Penelope Cruz By Kristian Schuller | Daniel Craig by Greg Williams | Demi Moore by Ellen Von Unwerth | Kate Winslet by Tom Munro | Scarlett Johansson by Craig McDean | Javier Bardem & Penélope Cruz by Mario Testino | Johnny Depp by Bruce Weber | Kate Winslet by Miguel Reveriego | Bill Nighy by Lorenzo Agius | Scarlett Johansson by Craig McDean | Emma Watson by Boo Georges | Joan Crawford and Clark Gable | Cobie Smulders by David Gubert | Keri Russell by Ellen von Unwerth | Audrey Hepburn by Richard Avedon | Naomi Watts by Greg Williams | Henry Fonda and Alfred Hitchcock in his cameo from The Wrong Man

Carroll O’Connor Once told Norman Lear he would ’Never go Near’ this one “All in the Family” scene

Norman Lear tells Yahoo Global News Anchor Katie Couric that Carroll O’Connor, the actor who played Archie Bunker, was not a fan of a scene that ended up being one of Lear’s favorite moments from “All in the Family”.

Via Go Into The Story

Norman-Lear

25 Things Writers Should Know About Creating Mystery

Novelist and screenwriter Chuck Wendig covers a few things to keep in mind when writing a mystery.

Rear Window

1. YOUR STORY MUST BE AN INCOMPLETE EQUATION

A complete equation is 4 + 5 = 9. It’s simple. Clean. And it’s already resolved. Stories are not simple. They are not clean. And we most certainly don’t want to read stories that have already been resolved. We read stories that evolve and evade as we read them. Their uncertainty feels present — though we know the story will finish by its end, a good story lets us — or demands that we — forget that. A good story traps us in the moment and compels us by its incompleteness. The equation then becomes X + 5 = 9, and we are driven to solve for X. It is the X that haunts us. It is the emptiness of that variable we hope to fill.

2. EVERY STORY IS A MYSTERY STORY

This isn’t a list about murder mysteries. This is a list about every story out there. All stories need unanswered questions. All stories demand mysteries to engage our desperate need to know. We flip the little obsessive dipswitches in the circuit boards of our reader’s mind by presenting enigmas and perplexities. Why is our lead character so damaged? What’s in the strange mirrored box? How will they escape the den of ninja grizzlies? Storytelling is in many ways the act of positing questions and then exploring the permutations of that question before finally giving in and providing an answer.

3. YOUR STORY IS THE OPPOSITE OF THE NEWS

A news story is upfront. Tells the facts. “Woman wins the Moon Lottery.” “Man sodomized by a zoo tapir.” “New Jersey smells like musty tampons, says mayor.” (Musty Tampons was my nickname in an old Steve Winwood cover band.) A journalist is tasked to answer the cardinal questions (the five W’s and the one H): who, what, where, when, why, and how. But your job as a storyteller is to make the audience ask these questions and then bark a sinister laugh as you choose not to answer them all. Oh, you answer some of them. But one or two remain open, empty. Unanswered variables. Incomplete equations.

Terrible Minds | Read the Full Article

The Clear Career Path Laid out by David Lynch’s pre-Eraserhead shorts

Mike D’Angelo examines David Lynch’s pre-Eraserhead work for clues on how the auteur’s mind works.

Til presse møde på Gammel strand, hvor han udstiller.

No masterpiece arrives completely out of nowhere. People like to point to Orson Welles as an example of someone who set the world on fire with his first film, but Welles had made his reputation as a creative genius, both in the theater and on the radio, before he exposed the first frame of Citizen Kane. Steven Spielberg spent years shooting 8mm movies in his backyard before breaking into the business. David Fincher, like many other directors who arrived in the 1990s, cut his teeth on music videos. (And the Alien franchise.) The details vary, but rest assured that a lot of gruntwork and experimentation has preceded anything capable of inspiring awe, whether or not the public ever sees the fruits of that labor.

All the same, it’s hard to imagine a film as singular as Eraserhead evolving from an artist’s discipline. It seems like something that just exploded onto the screen straight from David Lynch’s head. And while the world is definitely a better place because Lynch continued working, it’s an interesting thought experiment to imagine how Eraserhead would be perceived had he disappeared immediately afterward, never to be heard from again. As it is, he’s always been admirably closemouthed, revealing little about his creative process—no commentaries, evasive interviews—so fans have to glean what they can from the films themselves. In the case of Eraserhead, that means examining the five shorts that preceded it (four of which are included as supplements on the newly released Criterion edition) for clues about how his mind works.

The Dissolve | Read the Full Article

The Notorious History of Drunken Hollywood

Larry Getlen digs through Hollywood’s sordid history looking at some legendary Tinseltown drunks.

High Society

By the early 1930s, Herman J. Mankiewicz was a screenwriting genius who had secretly helped construct classic films such as “Monkey Business” and “Duck Soup” by the Marx Brothers and “The Wizard of Oz.”

He was also, according to a new book by author Mark Bailey, a raging drunk who picked fights everywhere he went and insulted everyone from studio execs to actors in his films.

Mankiewicz had once been friends with newspaper mogul William Randolph Hearst and attended many a party at San Simeon, the publisher’s infamous mansion. The relationship ended, however, when Hearst banned Mankiewicz after the screenwriter kept trying to get Hearst’s mistress, Marion Davies, drunk.

Mankiewicz sought revenge. He began writing a script about a newspaper mogul and used everything he knew about Hearst to humiliate him, including basing one character on Davies in a harshly negative portrait and even appropriating what he knew to be Hearst’s special nickname for Davies’ clitoris: Rosebud.

The script, of course, was “Citizen Kane,” which would become a cinematic landmark and win Mankiewicz an Oscar.

Hearst, though, got his own revenge several years later. After Mankiewicz crashed into another car while drunk — a non-story, since no one was hurt — it became front-page news in all of Hearst’s newspapers, destroying the writer’s reputation.

NY Post | Read the Full Article

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