Dick Miller, prolific screen actor and B-Movie legend, best known for his role as Murray Futterman in the 1984 classic horror film Gremlins, has died. He was 90.
With a career spanning more than 60 years, Miller has made hundreds of on screen appearances, beginning in the 1950’s with legendary director and producer Roger Corman. It was then that he starred as Walter Paisley – a character the actor would reprise throughout his career – in the cult classic “A Bucket of Blood,” before going on to land roles on projects such as The ‘Burbs, Fame and The Terminator.
Miller also boasts a long history of high-profile director partnerships, working with the likes of James Cameron, Ernest Dickerson, Martin Scorsese, John Sayles and, perhaps most notably, Joe Dante, who used Miller in almost every project he helmed.
In one of Dante’s earlier films, Piranha, Miller played Buck Gardner, a small-time real estate agent opening up a new resort on Lost River Lake. The only catch? A large school of genetically altered piranha have accidentally been released into the resort’s nearby rivers. Next up was a police chief role in the 1979 film Rock ‘n’ Roll High School before reprising the Walter Paisley mantle as an occult bookshop owner in Dante’s 1981 horror film The Howling.
Other notable appearances include the 1986 cult favorite Night of the Creeps, where he shared the screen with Tom Atkins as a police ammunition’s officer named Walt – he supplies Atkins with some necessary firepower in the face of an alien worm-zombie invasion – and a pawnshop owner in James Cameron’s 1984 hit The Terminator; the same year he appeared in yet another of Dante’s films, Gremlins.
Most recently, Miller reprised the role of Walter Paisley for a final time as a rabbi in Eben McGarr’s horror film Hanukkah.
Miller is survived by his wife Lainie, daughter Barbara and granddaughter Autumn.
Dante called him “one of his most treasured collaborators,” writing, “I ‘grew up’ (kinda) watching Dick Miller in movies from the 50’s on and was thrilled to have him in my first movie for Roger Corman.”
Burt Reynolds, the mustachioed megastar who first strutted on screen more than half a century ago, died Thursday, according to his agent, Todd Eisner. He was 82.
The Michigan native, whose easy-going charms and handsome looks drew prominent roles in films such as “Smokey and the Bandit” and “Boogie Nights,” suffered a cardiac arrest, Eisner said. A call for an ambulance came from his estate in Martin County, Florida, 911 records show.
An iconic Hollywood sex symbol in front of the camera, Reynolds also tried his directorial hand behind it, and later earned a reputation for philanthropy after founding the Burt Reynolds Institute for Film & Theatre in his home state of Florida. His roles over the years ranged and pivoted from Southern heartthrob to tough guy to comedy, notably in his role as Rep. David Dilbeck in the 1996 film “Striptease,” which flopped at the box office but earned him widespread praise for his comedic prowess.
His résumé included ‘Casablanca,’ ‘A Clockwork Orange,’ ‘The Exorcist,’ ‘Dog Day Afternoon’ and decades’ worth of Eastwood films. Bill Gold, who revolutionized the art of the movie poster over a seven-decade career that began with Casablanca and included A Clockwork Orange, The Exorcist and dozens of Clint Eastwood films, has died. He was 97.
Gold died at Greenwich Hospital in Greenwich, Connecticut, on Sunday, according to family spokeswomen Christine Gillow.
The Brooklyn native began at Warner Bros. in the early 1940s and had a hand in more than 2,000 posters during his iconic career, working on films for everyone from Alfred Hitchcock (1954’s Dial M for Murder), Elia Kazan (1955’s East of Eden) and Federico Fellini (1963’s 8 1/2) to Sam Peckinpah (1969’s The Wild Bunch), Robert Altman (1971’s McCabe & Mrs. Miller) and Martin Scorsese (1990’s GoodFellas).
Gold, who received a Lifetime Achievement Award from The Hollywood Reporter during its 1994 Key Art Awards ceremony, had a way of setting the mood for a movie using a less-is-more philosophy.
“We try not to tell the whole story,” he told CBS News in March. “We try to tell a minimum amount of a story, because anything more than that is confusing.”
Gold’s fruitful relationship with Eastwood began with Dirty Harry (1971), and he gave the actor a gun or a gritty countenance on posters for such films The Enforcer (1976), The Outlaw Josey Wales (1976), The Gauntlet (1977), Pale Rider (1985) and Unforgiven (1992).
Gold retired after working on the Eastwood-directed Mystic River (2003) but re-emerged to do the poster for the filmmaker’s J. Edgar (2011).
“With Bill, I knew he would bring great ideas, and the poster he created would be one less thing we had to think about,” Eastwood writes in the introduction to the 2010 book Bill Gold PosterWorks. “He respected the film, he respected the story, and he always respected what we were trying to accomplish.
“Four of the films he worked on won best picture Oscars, including Unforgiven. The first image you have of many of your favorite films is probably a Bill Gold creation.”
Movie critic Leonard Maltin once noted that each of Gold’s posters is “as individual as the movies they are promoting. I can’t discern a Bill Gold style, which is a compliment, because rather than trying to shoehorn a disparate array of movies into one way of thinking visually, he adapted himself to such a wide variety.”
Gold “started drawing at age 8 and never stopped,” he said in a 2016 interview. After graduating from Pratt Institute in New York City, he approached the art director of the poster department at Warner Bros.’ offices in New York.
“He sent me away on a trial to design posters for four earlier films: Escape Me Never and [The Adventures of] Robin Hood with Errol Flynn, The Man I Love with Ida Lupino and Bette Davis’ Winter Meeting,” he recalled.
Gold passed the test and was hired at age 21, and his first assignment was Casablanca (1942).
As he told CBS News, Gold laid out the poster for Casablanca and placed a gun in Humphrey Bogart’s hand at the last minute: “Somebody suggested, ‘This is Bogart. Let’s put a gun in his hand. That’s the way he acts, the way he exaggerates his action. We don’t want just a head of him. It’s too boring!’ ”
The gun was taken from another Bogie film, High Sierra (1941). Gold also was assigned work on Warners’ Yankee Doodle Dandy (1942) around this time.
After enlisting and serving three years during World War II, when he made training films for the U.S. Army Air Force, Gold returned to Warner Bros. and in the late 1950s moved west to work on the studios’ Burbank lot. He started his own company in the early 1960s back in New York.
Gold’s poster for William Friedkin’sThe Exorcist (1973) — showing the priest played by Max von Sydow under a shaft of light outside the Georgetown home of the possessed young girl (Linda Blair) — was created after he was told not to “show anything that had any hint of religious connotation.”
Gold also worked on posters for The Searchers (1956), Cool Hand Luke (1967), Funny Girl (1968), My Fair Lady (1968), Bullitt (1968), Woodstock (1970), Klute (1971), Deliverance (1972), The Sting (1973), Blazing Saddles (1974), Dog Day Afternoon (1975), On Golden Pond (1981), For Your Eyes Only (1981) and Thelonious Monk: Straight No Chaser (1988).
In 2011, producer Sid Ganis, who headed advertising at Warner Bros. during the 1970s, told THR that Gold was “the maestro. He was the one directing his art directors and directing his copy writers on what to do, which was a great thing. He was also the one who communicated with the studio. He was the guy in charge of the symphony.”
Survivors include his wife, Susan, son Bob, daughter in-law Joanne, daughter Marcy, grandson Spencer, granddaughter Dylann and her fiancé Justin, great nephew Jaaron and “man’s best friend” Willoughby.
Legendary filmmaker George A. Romero, father of the modern movie zombie and creator of the ground-breaking Night of the Living Dead and subsequent franchise, has died at 77.
Romero died Sunday in his sleep after a “brief but aggressive battle with lung cancer,” according to a statement by his longtime producing partner, Peter Grunwald. Romero died while listening to the score of one his favourite films, 1952’s “The Quiet Man,” with his wife, Suzanne Desrocher Romero, and daughter, Tina Romero, at his side, the family said.
Romero jump-started the zombie genre as the co-writer (with John A. Russo) and director of the 1968 movie Night of the Living Dead, which went to inspire future generations of filmmakers such as Tobe Hooper and John Carpenter that generating big scares didn’t require big budgets. Living Dead spawned an entire school of zombie knockoffs, and Romero’s sequels included 1978’s Dawn of the Dead, 1985’s Day of the Dead, 2005’s Land of the Dead, 2007’s Diary of the Dead and 2009’s George A. Romero’s Survival of the Dead.
In recent years, as the zombie genre had a resurgence, Romero wasn’t always a fan. He told a British newspaper in 2013 that he’d been asked to do some episodes of The Walking Dead, but had no interest.
“Basically it’s just a soap opera with a zombie occasionally,” he told the Big Issue. “I always used the zombie as a character for satire or a political criticism, and I find that missing in what’s happening now.”
Romero took an intellectual view to his depiction of zombies, an approach he found lacking in some of the work that came after him.
“I grew up on these slow-moving-but-you-can’t-stop-them [creatures], where you’ve got to find the Achilles’ heel, or in this case, the Achilles’ brain,” Romero told The LA Times in 2005, referring to the organ whose destruction waylays a zombie. “In [the remake] they’re just dervishes, you don’t recognize any of them, there’s nothing to characterize them…. [But] I like to give even incidental zombies a bit of identification. I just think it’s a nice reminder that they’re us. They walked out of one life and into this.”
A sad day for my fellow horror fans, Romero kick-started so much of what we have come to love over the last 50 years. Rest in Peace.
Director Neill Blomkamp is known for inventive depictions of extraterrestrial warfare, like in District 9 (2009) and Elysium (2013). True to form, his latest short, Rakka, features a richly textured post-apocalyptic world where humans and otherworldly creatures battle over their entwined fates. And in keeping with sci-fi tradition, the queen of alien ass-kicking, Sigourney Weaver, leads a group of people who have planned a rebellion against the creatures who “came here to exterminate us.”
Rakka does feel somewhat like an extended trailer, and that is by design. The film is the first release from Blomkamp’s new venture, Oats Studios, which is an experimental incubator for feature-length ideas and new storytelling formats. The studio has released the film for free, but asks audiences to support its future work by voluntarily paying for the work in return for some digital assets like scripts, concept art, and 3D models.
Blomkamp told The Verge that Rakka is just the seed of a larger project, whose form is yet unknown. “Rakka feels like it could almost be more of an episodic thing,” he said, “because there’s a lot of avenues to explore. The footage is too unconventional and weird [for a mainstream feature], and the audience has to think of the footage as a snapshot of the window of this world.”
Powers Boothe, a character actor who appeared in films like Sin City and TV shows including Deadwood and Agents of S.H.I.E.L.D., died Sunday morning in his sleep of natural causes at his home in Los Angeles. He was 68.
His rep told The Hollywood Reporter that a private service will be held in Boothe’s home state of Texas, with a memorial celebration under consideration as well. Donations can be made to the Gary Sinise Foundation, which honors the nation’s defenders, veterans, first responders, their families and those in need.
Boothe, who grew up on a farm in Texas, began his acting career in the theatre, playing in a number of Shakespearean productions including Henry IV. He made his Broadway debut in the late 1970s in Lone Star & Pvt. Wars.
In 1980, Boothe won an Emmy for lead actor in a limited series or special for playing cult leader Jim Jones in CBS’ Guyana Tragedy: The Story of Jim Jones. He won that award during an actors strike and chose to cross the picket line to accept his trophy, saying, “This may be either the bravest moment of my career or the dumbest.”
On the strength of Guyana Tragedy, he was cast in Southern Comfort, one of my favourite movies of the 80’s. His character, Corporal Hardin was described by Director Walter Hill as “the rational, hardworking, self made individual” a description you believe could be applied to the subsequent casting image of Boothe.
He starred in A Breed Apart (1984), the John Boorman Amazonian adventure, The Emerald Forest (1985), again for Walter Hill in Extreme Prejudice (1987). He was unforgettable as the wicked gunman Curly Bill Brocius in Tombstone (1993). Excellent as Alexander Haig in Nixon (1995) and a sheriff in another Oliver Stone film, U Turn (1997).
Boothe gained a reputation for playing villains with memorable roles in the action film Sudden Death (1995), Bill Paxton’s Frailty (2001) and the nefarious Senator Roark in Sin City (2005). Perhaps his most famous villain role was Cy Tolliver, the ruthless saloon owner on HBO’s Deadwood.
Boothe also was nominated two ensemble SAG Awards, first in 1996 alongside the cast of Nixon and then again in 2007 with the cast of Deadwood.
More recently, Boothe took on the role of Gideon Malick as part of the Marvel Cinematic Universe, debuting the role in 2012’s The Avengers and reprising it on ABC’s Agents of S.H.I.E.L.D.
Michael Parks, a character actor who enjoyed a career renaissance in recent decades thanks to high profile roles in films by Quentin Tarantino, Robert Rodriguez and Kevin Smith, died Wednesday at the age of 77.
Parks made his acting debut in a small role in 1961 on the sitcom The Real McCoys, and, racked up dozens of roles on both television and feature films, most notably as the casino owner and drug runner Jean Renault on the second season of Twin Peaks.
After years playing bit roles in made-for-TV movies, Westerns and slasher films, Parks was cast as Texas Ranger Earl McGraw in Rodriguez’ 1996 vampire flick From Dusk ’til Dawn. Quentin Tarantino, an associate of Rodriguez’, then cast Parks in a dual role for Kill Bill: Volume 1 and Volume 2; in the former, he reprised the McGraw role, while the latter found the actor playing Mexican pimp Esteban Vihaio.
Parks would portray McGraw once more for Tarantino and Rodriguez in the directors’ Grindhouse films. Tarantino also recruited Parks for a small role in Django Unchained.
Parks’ career revival also resulted in roles in Ben Affleck’s Argo, The Assassination of Jesse James By the Coward Robert Ford and a pair of Kevin Smith horror flicks, Red State and Tusk.
“Michael was, and will likely forever remain, the best actor I’ve ever known. I wrote both [Red State] and [Tusk] FOR Parks, I loved his acting so much,” Smith posted on Wednesday. “He was, hands-down, the most incredible thespian I ever had the pleasure to watch perform. And Parks brought out the absolute best in me every time he got near my set.”
At the time of his death, Parks was cast in the upcoming Christian Bale film Hostiles.