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Tech Support Interview: 'The Artist' costume designer Mark Bridges on building character in black and white
For those of us who closely monitor the caliber of film costumes, Mark Bridges’s talent has been apparent for well over a decade, going back to at least Paul Thomas Anderson’s “Boogie Nights.” Efforts such as “Magnolia,” “Punch-Drunk Love,” “Blast from the Past,” “There Will Be Blood” and “The Fighter” have shown Bridges’s ability to design threads for numerous periods and in a vast array of genres. His collaboration with Michel Hazanavicus on “The Artist,” however, has probably presented him with his best chance to date to finally find a place in Oscar’s final quintet.
The costumer came aboard this year's Best Picture frontrunner about 18 months ago, he says. “I went to meet Michel on the July fourth weekend in LA and as we discussed the project, we ended up referencing the same silent films,” he says, noting that it was clear the two of them clicked and he was formally offered the job shortly thereafter.
While TNT may be counting on pretty young things like Jordana Brewster and Jesse Metcalfe to fuel interest in its new continuation of the old series "Dallas," the stars who really got the journalists at the TCA press tour fired up were the original show's "Big Three" -- Larry Hagman, Linda Gray and Patrick Duffy. Hagman, wearing an enormous hat and looking fighting trim despite a cancer diagnosis last year, got the biggest laugh of the afternoon, despite some zingers from Duffy.
PASADENA - Karen Gillan came to press tour to discuss her new TV-movie "We'll Take Manhattan," but as often happens at this event, the first question for her was about her more famous role on "Doctor Who," which she will leave sometime during the British sci-fi series' next season.
The first thing I should say about "Napoleon Dynamite" the FOX animated series is that I hated "Napoelon Dynamite" the 2004 live-action film.
The Academy has announced that it will present Douglas Trumbull with the Gordon E. Sawyer Award at the Scientific and Technical Awards presentation on Saturday, February 11, at the Beverly Wilshire Hotel. The award is meant to honor "an individual in the motion picture industry whose technological contributions have brought credit to the industry."
Trumbull has worked in a visual effects capacity on pioneering films such as "2001: A Space Odyssey," "The Andromeda Strain," "Silent Running" and, more recently, "The Tree of Life,” and received three Best Visual Effects Oscar nominations for “Star Trek: The Motion Picture,” “Blade Runner” and “Close Encounters of the Third Kind.”
Trumbull was granted a Scientific and Engineering Award in 1992 for his role in the design of the CP-65 Showscan Camera System for 65mm motion picture photography.
In a now familiar refrain, it’s Adele’s “21” for the win next week as the title is poised to spend its 16th non-consecutive week at No. 1 on the Billboard 200.
The British singer’s sophomore set could top the 100,000 mark again next week, according to Hits Daily Double, giving it a huge margin of David Crowder Band’s “Give Us Rest,” which is predicted to sell around 45,000, to come in at No. 2
"Dance, dance, otherwise we are lost." This statement of purpose, at once urgent and evasive of reality, by the late choreographer Pina Bausch has been appropriated as the chief marketing line of Wim Wenders's "Pina," a heartsore elegy for her work masquerading as a lithe 3D performance study. The creative restlessness endorsed by these words, however, could as easily describe Wenders own protracted journey to get the film made as any dancing caught by his camera.
The words "labor of love" have acquired a veneer of glib earnestness through overuse, but this is indeed a film born exclusively of its director's devotion to his subject, and his lengthy search for an appropriate cinematic means of serving and preserving her art. The resulting film is something of a one-off, within both the rangy oeuvre of the veteran German filmmaker and the scattershot genre of the dance movie: Bausch's stage pieces, aggressively heightened mini-studies of desperate human behavior, are singular viewing experiences even without the matchless 3D that Wenders has employed to make kinetic screen spectacle of them, even without the subtext of offscreen grief and joy underpinning each number.
Welcome to 2012, “Fringe” fans. Did you miss the show? Most likely. Did you miss my reviews? Less likely. But that’s fine: it was probably as little fun to read my frustrations with the show as it was to write them. I’ve gone over my problems with this fourth season week after week this season, so regurgitating them here is pointless and waste of all of our times. What I will say is this: while “Back To Where You’ve Never Been” didn’t solve those systemic problems by a long shot, it was certainly a step towards something better in what may be the show’s final season.
A review of tonight's "Chuck" coming up just as soon as I'm wearing a fake dreadlocked ski hat...
Unfortunately, "Dog Whisperer with Cesar Milan" star Cesar Millan didn't bring any canine companions to his NatGeo panel during press tour, but the trainer did repeatedly pop to his feet to imitate his four-legged friends. When asked why so many people misjudge dogs, Millan demonstrated canine posture and explained how humans tend to ignore what dogs are trying to say. "The dog is always speaking to the human, but the human is always trying to impose a different identity on the dog, so they don't understand the language... they disregard the conversation with the dog. That's why I train people and rehabilitate the dog."