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.
As we near the start of Westworld Season 2, the marketing machine has clicked into gear, teasing with a new teaser , revised new website HERE and cool poster with hidden binary code. Producers Jonathan Nolan spoke to EW today:
“We don’t like to endlessly build mystery; we like to settle our debts by the end of the season,” Nolan said. “We want to feel like the show is rocketing ahead. The first season was a journey inward; this is a journey outward. It’s a search for what else is in the park, and what else is beyond the park.”
As this show attempts to question our understanding of reality, we still haven’t explored outside the confines of this manufactured theme park.
“If we were to describe the show as one camera angle, it would be a steady pull out revealing more and more context,” Nolan says. “So as the hosts learn more about their world—and other worlds, and the real world—the audience is doing the same thing.”
While the creators were hesitant to say if they’d be spending much time in Shogun World, they do confirm that it will take place outside of Westworld.
“This year is much more of a road show—Sweetwater isn’t home anymore,” Nolan tells EW, teasing that leaving behind Westworld is only the beggining into where and when the real world begins. “These hosts don’t live on the same time frame we do and don’t have the four-year life span of replicants [like in Blade Runner]. If left to their own devices, they could live forever. So our story has some real scope to it.”
Certainly they’ve left it open for the inevitable Seasons 3-7, but for now, I can’t wait to see where Season 2 takes us next month.
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.
The actor Geoffrey Bayldon has died aged 93. The actor who starred in the much-loved 1970’s television series Catweazle, was partly brought to his most famous role by the chastening experience of rejecting the chance to be the first Doctor Who. Bayldon, was approached to play the Doctor in 1963. But the Time Lord was scripted as an eccentric old man, and Bayldon, then in his late 30’s, was wary of being typecast in such roles, even though he was exceptionally good at them. With no inkling of the success Doctor Who would turn out to be, and put off by the punishing filming schedule, he turned the offer down after only 10 minutes’ consideration.
He later admitted to regretting the decision, and when another high-profile TV role – to play the even older and markedly more eccentric Catweazle – came his way in 1969, he had no second thoughts. The character of Catweazle – a wild-eyed 11th-century magician transported into the modern world – suited Bayldon to a T, and in fact the creator of the series, Richard Carpenter, had written the script with him in mind. Bayldon took on the part enthusiastically, creating one of the most instantly recognisable and enchanting TV characters of the era.
In a Sunday afternoon slot on ITV, Catweazle’s 26 episodes drew audiences of many millions as they charted the light-hearted adventures of the ragged-cloaked, pointy-bearded hero and his “familiar’, the toad Touchwood. Inadvertently thrown through time by his own inept sorcery into the bewildering landscape of 20th-century England – where he saw magic in everything, including the “electrickery” of lightbulbs and the amazing “tellingbone” that allowed people to communicate with each other – Catweazle muddled his way through misunderstandings and escapades as he attempted to find the magic spell that would return him to his own era.
The programme ran from February 1970 to April 1971, and its gentle humour and Bayldon’s star quality made it immensely popular with children and adults alike. It generated spin-offs such as Christmas annuals, books and a series of comic strips. The two series, preserved on DVD, still have a cult following and even today there is a large and active Catweazle fanclub… I still have a Catweazle Annual from he early 70’s.
Bayldon put his heart and soul into the series, not least in the makeup department, where he would spend an hour and a half each day transforming his appearance. He invested Catweazle with much of his own engaging personality and animated him with mannerisms, tics and catchphrases.
Catweazle became Bayldon’s lead into dozens of other TV roles, including the equally crusty Crowman in the late 1970’s Worzel Gummidge series, alongside Jon Pertwee and Una Stubbs. But he had originally set out as a theatre actor and initially paid little attention to the small screen.
Bayldon was born in Leeds, his father a tailor and his mother a head teacher. Although neither parent had any noticeable acting talent, Bayldon inherited his mother’s flair for narration, and traced his love of the stage to a debut at the age of four in a school play, in which he portrayed a robin.
After spending three quiet second world war years stationed at Yorkshire airfields with the RAF, during which time he appeared in many revues, he began training as a professional actor in 1947 at the Old Vic theatre school in London.
Bayldon spent two seasons as a successful Shakespearean actor at Stratford, playing alongside John Gielgud in Measure for Measure and Julius Caesar (both in 1950). For a further two years, he was with the Birmingham repertory theatre, with whom he appeared as Caesar at the Old Vic and, to rave reviews, in Paris.
Eventually, however, he felt he should be making concessions to the popular new medium of television, and he moved to London. There he took roles in a number of live BBC Wednesday plays, and began to appear in episodes of series including The Avengers and The Saint.
His triumph as Catweazle sealed his TV reputation, drawing him into countless series and dramas including All Creatures Great and Small, The Tomorrow People, Tales of the Unexpected, Blott on the Landscape and Rumpole of the Bailey. In three 1979 episodes of Doctor Who he was Organon the astrologer – during the Tom Baker era – and even played an alternative version of the Time Lord in two audio versions of Doctor Who stories released in 2003 and 2005.
Bayldon made numerous film appearances, rubbing shoulders with greats such as Sidney Poitier (To Sir With Love, 1967), Peter Sellers (Casino Royale, 1967, and The Pink Panther Strikes Again, 1976), Albert Finney (Scrooge, 1970) and Vincent Price (The Monster Club, 1981).
His TV acting continued well into his 80s, when he noted that he was still well qualified to play old men, and he had credits in Midsomer Murders, Heartbeat, Casualty, New Tricks and My Family in more recent years. He would attend the annual gathering of the Catweazle fanclub with enthusiasm, and in 2005 revealed that he had finally been able to watch the show with a sense of detachment. “I turned it on and I was sitting back watching myself without being conscious at all that it was me,” he said. ‘“And I was jaw-dropped. I suddenly thought: ‘This fella’s bloody good.’”
I also thought he was great in Born to Boogie (1972) but that may be because I was a huge T-Rex fan as a kid.
Rest in Peace Geoffrey.
Mondo Tees has announced the THE THING ™ INFECTION AT OUTPOST 31, their very first board game in collaboration with USAopoly’s designer games division, Project Raygun. The regular version of the game will be in stores and online nationwide this October, and a limited edition Mondo exclusive version will be available at MondoTees.com.
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An alien lifeform has infiltrated a bleak and desolate Antarctic research station assimilating other organisms and then imitating them. In the hidden identity game THE THING ™ INFECTION AT OUTPOST 31, you will relive John Carpenter’s sci-fi cult classic in a race to discover who among the team has been infected by this heinous lifeform.
The game has been designed to be as authentically cinematic as possible, ensuring that the players will experience the paranoia and tension that makes the film so great.
“Mondo brought more than their storied design acumen to the table,” said Joe Van Wetering, Creative Design and Game Development at Project Raygun. “Thanks to their deep understanding and reverence for THE THING, they helped define the tone and shape the game play itself. INFECTION AT OUTPOST 31 reflects a true collaboration between our two brands resulting in a game that will excite table top and film aficionados alike.”
The regular version of the game features artwork and designs by Justin Erickson of Phantom City Creative. The Mondo exclusive version, sold exclusively through MondoTees.com, is limited to 1,982 copies, and features different packaging artwork by Jock. The limited edition game will also come with a Mondo print, enamel pin and two additional sculpted movers: the Norwegian character and the Palmer Thing.
Commenting on the design, artist Justin Erickson said, “with THE THING box art, I wanted to focus on the isolation of Outpost 31 and hint at the hidden alien dangers that lurk around every corner. The title of the game cut out of the ice/snow is a call back to the Thing originally being cut out of the ice by the Norwegians.”
The Thing™ Infection at Outpost 31 Gameplay
It is the start of the bleak, desolate Antarctic winter when a group of NSF researchers manning the claustrophobic, isolated U.S. Outpost 31 comes into contact with a hostile extra-terrestrial lifeform. Bent on assimilating Earth’s native species, this being infiltrates the facility—creating a perfect imitation of one of the Outpost 31 crew. The staff frantically begin a sweep of the base, desperate to purge this alien infection before escaping to warn McMurdo Station that somewhere, out there in the frigid darkness, something horrible is waiting.
In THE THING™ INFECTION AT OUTPOST 31, relive John Carpenter’s sci-fi cult classic as a hidden identity game designed to push you to the edge. Play as one of a dozen characters like helicopter pilot MacReady, mechanic Childs, or station manager Garry. Face sabotage and infection as you investigate the facility—gather gear, battle The Thing, expose any imitations among you, and escape Outpost 31!
Jonathan Demme, the Oscar-winning filmmaker who observed emphatically American characters with a discerning eye, a social conscience and a rock ’n’ roll heart, achieving especially wide acclaim with The Silence of the Lambs and Philadelphia, died on Wednesday at his home in Manhattan. He was 73.
His publicist, Leslee Dart, confirmed the death. Mr. Demme disclosed that he had cancer in 2015.
Mob wives, CB radio buffs and AIDS victims; Hannibal Lecter, Howard Hughes and Jimmy Carter: Mr Demme (pronounced DEM-ee) plucked his subjects and stories largely from the stew of contemporary American subcultures and iconography. He created a body of work — including fiction films and documentaries, dramas and comedies, original scripts, adaptations and remakes — that resists easy characterization.
Robert Jonathan Demme was born on Long Island, in Baldwin, on Feb. 22, 1944, and grew up mostly in nearby Rockville Centre, where he listened to music and went to the movies.
The family moved to Miami, where Jonathan went to high school and worked in a kennel and an animal hospital. Wanting to be a veterinarian, he attended the University of Florida with that in mind until he failed chemistry, at which point he went to the university newspaper, discovered it had no movie critic, and assumed the job himself, he said, so that he could get into movies free.
It happened that Mr. Levine was on vacation in Miami Beach, staying at the Fontainebleau Hotel, where he had become acquainted with the hotel’s publicist, Robert Demme. The elder Demme introduced Mr. Levine to his son, whose review of Zulu impressed him. Mr. Levine offered him a job.
A personable man with the curiosity gene and the what-comes-next instinct of someone who likes to both hear and tell stories, Demme had a good one of his own, a Mr. Deeds kind of tale in which he wandered into good fortune and took advantage of it. A former movie publicist, he had an apprenticeship in low-budget B-movies with the producer Roger Corman before turning director.
In 1971, he took a job as a unit publicist in Ireland for a Roger Corman film, Von Richthofen and Brown, about a German flying ace. Shortly after that, he began making films of his own for Corman’s production company. He wrote (with Joe Viola) and produced a biker film, Angels Hard as They Come, and wrote and directed a handful of others, including Caged Heat (1974), a heavy-breathing women’s prison movie, and Crazy Mama (1975), a campy road story with a ’50s rock score that starred Ann Sothern and Cloris Leachman as mother-and-daughter outlaws.
Demme then became known early in his career for quirky social satires that led critics to compare him to Preston Sturges. They included Handle With Care (1977), originally titled Citizens Band, and Melvin and Howard (1980), a tale inspired by true events.
“Music was my first love, movies came second,” Demme once told the New York newspaper The SoHo News. In a 1988 interview with Premiere magazine, he said: “I grew up with rock ’n’ roll — literally,” adding, “The first rock song I remember was ‘Sh-Boom,’ and since then I’ve never stopped obsessing on at least something.”
“I can’t think of any other director who is so instinctively and democratically interested in everybody he shows you,” Kael wrote.
David Byrne of Talking Heads Demme worked together frequently, notably on Stop Making Sense, a 1984 concert film about Talking Heads that many critics (and filmgoers) found mesmerizing, though it had few filmic bells and whistles. (Demme preferred to call it a “performance film” because, he said, it wasn’t about the concert experience — he didn’t show the audience until the end.)
Mr. Byrne also scored Demme’s Married to the Mob, a gaudy 1988 farce in which Michelle Pfeiffer plays the wife of a Long Island gangster (Alec Baldwin) who tries to exit the mob life after her husband is bumped off when he dallies with the girlfriend of the local boss (Dean Stockwell). Things get especially dicey when she moves with her young son into a shabby Manhattan apartment and strikes up a romance with an F.B.I. agent (Matthew Modine) who has her under surveillance.
Later, as a known commodity, Mr. Demme directed prestige Hollywood projects like Beloved (1998), an adaptation of Toni Morrison’s novel about the lingering, post-Civil War psychological horror of slavery, with Oprah Winfrey and Danny Glover in starring roles, and The Manchurian Candidate (2004), a remake of the 1962 Cold War drama of the same title about a brainwashed American prisoner of war. Mr. Demme’s updated version, starring Denzel Washington, Meryl Streep and Liev Schreiber, takes place during the Persian Gulf war.
Demme may be best remembered for two films from the 1990s that were, at the time, his career’s biggest anomalies. The first, The Silence of the Lambs (1991), was a vivid thriller based on the novel by Thomas Harris that earned five Oscars, including best picture and best director. Unlike his previous films, with their mischievous pleasure and tender melancholy, this was straightforward and serious storytelling with only a few moments of shivery humor.
The story is told largely from the perspective of an F.B.I. trainee who becomes a key figure in the pursuit of a serial killer known as Buffalo Bill when she is assigned to conduct a prison interview with Hannibal Lecter, a mad and murderous psychiatrist, hoping to extract from him clues to Bill’s identity.