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On the Record: Anton Corbijn's Album Art
Updated July 30, 2010
In anticipation of the release of the George Clooney hitman movie The American, Nick Dawson looks at the famous record covers shot by the film’s director, Anton Corbijn.
Slide 1: Introduction
As well as being the director of The American, Anton Corbijn is one of the most lauded contemporary photographers and a man who is perpetually pursued by musicians desperate to have him take their picture. In the documentary Shadow Play: The Making of Anton Corbijn, R.E.M.’s lead singer Michael Stipe attempts to sum up Corbijn’s special appeal as a photographer, and notes that “a lot of people have gone to Anton to help them figure out what it is exactly they want to look like, if they want to project a new idea or image onto themselves.” Indeed, as you will see in the following slideshow about the photographs Corbijn has taken for musicians over the years, his album images have not just made already cool rockers look even cooler but have more importantly added new facets to the these artists’ music which has propelled them to much greater success.
People in Film | Anton Corbijn
Updated July 21, 2010
From making videos for U2 to a featue film about Joy Division to a thriller with George Clooney, Anton Corbijn expands his creative sphere.
Anton Corbijn, Director of The American
Anton Corbijn is not unlike George Clooney’s protagonist in The American, the expat hitman holed up in an Italian village. Corbijn, just like Clooney’s Jack, is a man who moved to a foreign country and now quietly makes his living doing something that requires few words: shooting people. Of course, it’s very important to stress that UK-based Dutch transplant Corbijn uses a camera rather than a gun: after becoming one of the most celebrated photographers in the world, Corbijn transitioned to directing films in 2007 with Control, his Cannes award-winning biopic of Joy Division frontman Ian Curtis. The American is his second feature.
People in Film | George Clooney
Updated July 21, 2010
From early TV spots to anchoring feature films, George Clooney has slowly emerged as one of the world’s most determined––and desired––movie stars.
George Clooney, The American
In The American, George Clooney plays Jack, a weapons maker for professional assassins and a killer himself, who suddenly finds himself at the opposite end of a gun sight. In many ways, the character fits Clooney: smart, handsome, worldly. But the character is hardly the man, who in addition to being voted “sexiest man alive,” is a writer, director, producer and humanitarian. Indeed, as The American director Anton Corbijn told us, Clooney is able to weave all of these identities together: “he’s a director’s favorite in terms of understanding what a director needs from an actor. He’s directed three films and so he knows that it’s very important to have an actor who’s on set. So George is never in the trailers. He’s on set and ready.”
The Future of Sperm
Updated July 20, 2010
The reproductive technology at the heart of The Kids Are All Right is, as Joel Bleifuss reports, part of the wild and wacky history around artificial insemination.
Slide 1: The New Family Comedy
Lisa Cholodenko’s comedy The Kids Are All Right celebrates core family values: the responsibility of people to be loving parents, of kids to be good children and of family members to be there for each other. The twist in this film is that the two parents are a lesbian couple, Nic (Annette Bening) and Jules (Julianne Moore). The drama is provided by the arrival on the scene of Paul (Mark Ruffalo), the Y-guy (as in Y chromosomes). Paul is the “sperm contributor” (the politically correct term for sperm donor), who helped Nic and Jules’ two children come into the world.
People in Film | Lisa Cholodenko
Updated July 14, 2010
Lisa Cholodenko, Filmmaker
When Lisa Cholodenko set off to cast The Kids Are All Right, one of her greatest assets in attracting talent was herself. In the last decade, Lisa Cholodenko has emerged as one of the most respected filmmakers of her generation. “This was a serious director that I was being approached by,” Annette Bening told us about being asked to appear in The Kids Are All Right. “I had seen High Art and I had seen Laurel Canyon; I loved those movies. I thought there was something very imaginative and specific about the characters and the story and the filmmaking.” Indeed, in The Kids Are All Right, as in her other films, Cholodenko creates in-depth, complicated characters whose defects, as well as virtues, are easy to identify with.
Updated July 12, 2010
To coincide with the release of The Kids Are All Right, Nick Dawson looks at the trials, tribulations and triumphs of mothers on the big screen over the course of film history.
Slide 1: Introduction
The Kids Are All Right, writer-director Lisa Cholodenko’s new comedy about unconventional families, offers a rather unique perspective on motherhood. In the movie, lesbian moms Nic (Annette Bening) and Jules (Julianne Moore) struggle with the reality that their eldest child, 18-year-old Joni (Mia Wasikowska), is getting ready to fly the nest for college, worry about the sexuality of their 15-year-old son Laser (Josh Hutcherson), and have to deal with a rival parent appearing on the scene when their children get in contact with their sperm donor father, Paul (Mark Ruffalo). To mark the movie’s release through Focus Features, FilmInFocus decided to look back through movie history at the way that mothers have been portrayed on the big screen over the years, from Sergei Pudovkin’s 1926 silent Soviet melodrama Mother all the way through to Henry Selick’s 2009 animated fantasy Coraline.
New York Premiere of The Kids Are All Right
Updated July 02, 2010
A slideshow of pictures from the New York City premiere of The Kids Are All Right on June 30, 2010.