c a s a f o r t e: September 2012

Sunday, September 23, 2012

Room 237

James Bond 50° Anniversary : Everything Or Nothing

Metro-Goldwyn-Mayer Pictures, Columbia Pictures, Passion Pictures and Red Box Films are proud to announce their new feature documentary EVERYTHING OR NOTHING: THE UNTOLD STORY OF 007 directed by Stevan Riley (FIRE IN BABYLON), produced by John Battsek (ONE DAY IN SEPTEMBER, THE TILLMAN STORY) and Simon Chinn (MAN ON WIRE, PROJECT NIM) to coincide with the 50th anniversary of James Bond films on October 5.

EVERYTHING OR NOTHING focuses on three men with a shared dream - Bond producers Albert R. Broccoli, Harry Saltzman and author Ian Fleming. It's the thrilling and inspiring narrative behind the longest running film franchise in cinema history which began in 1962.

With unprecedented access both to the key players involved and to Eon Productions' extensive archive, this is the first time the inside story of the franchise has ever been told on screen in this way.

Director Stevan Riley follows a story that begins with a ground-breaking spy thriller and continues six Bonds and five decades later. While Bond was saving the world from chaos and catastrophe on screen, this compelling documentary draws back the curtain to reveal the battles, threats and real stakes unfolding behind the camera.

summer's gone....

Sean 1965 circa

following

70's comix

Wednesday, September 12, 2012

Sunday, September 09, 2012

Monday, September 03, 2012

The Paperboy - Trailer

Les Misérables - Teaser

Arnold Böcklin, In the Play of the Waves [Im Spiel der Wellen] (1883)

In 1899, when the craze for Arnold Böcklin’s work was in full swing, the art historian Cornelius Gurlitt (the brother of Böcklin’s Berlin dealer Fritz Gurlitt) wrote that the German public regarded this painting as “one of the greatest achievements of our century.”

When it was painted in 1883, art critics had been less sure. Enthusiasm for the painting had grown, however, by the time of its showing at the Third Munich International in 1888.

Offering his interpretation of the work, Ferdinand Avenarius of Der Kunstwart declared that the worried mermaid being pursued by the laughing triton personified the ocean itself and the natural forces of water and sky.

Actually, a rather ordinary episode in the artist’s life appears to have provided the immediate inspiration for this composition. Böcklin had been swimming in Italy with the family of Anton Dohrn, the zoologist who commissioned Hans von Marées’s Oarsmen. Dohrn dove into the waves, swam some distance underwater, and suddenly resurfaced near the women in the bathing party. The ladies’ surprise caught Böcklin’s fancy, and he decided to portray a similar scene drawn from the world of mythical underwater creatures.

His compostion thrusts the viewer into the rising and falling waves, which are shown without the slightest hint of land in the distance. Dohrn’s features can actually be seen in the face of the triton, whose freely expressed and ribald intentions make this the most playful of Böcklin’s works.

In the early years of the twentieth-century, when overzealous members of the moral purity movement were subject to ridicule and denouncement, In the Play of the Waves offered ample basis for caricature – moral zealots, complete with fig leaves, were shown swimming into the frame of the painting in order to arrest the mermaids.