I love Nic Roeg movies. Along with Ken Russell he was an artistic touchstone in the British film industry through the 70’s and 80’s, they were provocative, original, broke new ground, caused trouble and most important, were never boring. Nic Roeg died on Sunday aged 90, rest in peace.
From his early years as a clapper boy, Roeg had progressed to world-class cinematographer, working for second unit camera under Freddie Young on David Lean’s masterpiece Lawrence of Arabia (1962). Roeg’s work on this led to important credits including Roger Corman’s The Masque of the Red Death (1964), Francois Truffaut’s Fahrenheit 451 (1966) and on John Schlesinger’s Far From the Madding Crowd (1967).
By the late 60s, after a career in cinematography which would have been quite enough for most mortals, he came to directing remarkably late: Performance (1970) Walkabout (1971), Don’t Look Now (1973), The Man Who Fell to Earth (1976) and Bad Timing (1980). And even after that he continued to make excellent movies, including Eureka (1983), Insignificance (1985), the fantasy of Marilyn Monroe meeting Albert Einstein, Track 29 (1988), the sensually charged Dennis Potter drama with Gary Oldman and Roeg’s partner Theresa Russell, and his excellent Roald Dahl fantasy The Witches (1990) with Anjelica Huston.
After his run of brilliant films in the 70s, the British antipathy to experimentation, and films lacking conventional narrative-based realism, resulted in the comparative neglect of Roeg had no liking for self-publicity, which resulted in some projects falling to other directors. As he remarked, he “refused to join the club”.
What an extraordinary film-maker Nic Roeg was, a man whose imagination and technique could not be confined to conventional genres. He should be remembered for a clutch of masterly films, but perhaps especially for his classic Don’t Look Now, not merely the best British scary movie in history, but one infused with compassion and love.
The newly restored version of the 1910 Frankenstein is available on the Library of Congress YouTube channel and in the National Screening Room, a recently launched digital collection of films. And, like most films on the NSR, it’s freely downloadable in both ProRes LT and MPEG-4 formats, complete with the Sosin score.
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.
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.
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.
It was just over a month ago that Liz Wrightson announced that her husband, legendary artist Bernie Wrightson was retiring. Liz confirmed on Sunday that after a long battle with cancer, Bernie has passed away. Here is the full transcript from Liz. My condolences to the Wrightson family, Rest in Peace Bernie.
A Message from Liz Wrightson.
After a long battle with brain cancer, legendary artist Bernie Wrightson has passed away.
Bernie “Berni” Wrightson (born October 27, 1948, Baltimore, Maryland, USA) was an American artist known for his horror illustrations and comic books. He received training in art from reading comics, particularly those of EC, as well as through a correspondence course from the Famous Artists School. In 1966, Wrightson began working for The Baltimore Sun newspaper as an illustrator. The following year, after meeting artist Frank Frazetta at a comic-book convention in New York City, he was inspired to produce his own stories. In 1968, he showed copies of his sequential art to DC Comics editor Dick Giordano and was given a freelance assignment. Wrightson began spelling his name “Berni” in his professional work to distinguish himself from an Olympic diver named Bernie Wrightson, but later restored the final E to his name.
His first professional comic work appeared in House of Mystery #179 in 1968. He continued to work on a variety of mystery and anthology titles for both DC and its principal rival, Marvel Comics. In 1971, with writer Len Wein, Wrightson co-created the muck creature Swamp Thing for DC. He also co-created Destiny, later to become famous in the work of Neil Gaiman. By 1974 he had left DC to work at Warren Publishing who were publishing black-and-white horror-comics magazines. There he produced a series of original work as well as adaptations of stories by H. P. Lovecraft and Edgar Allan Poe. In 1975, Wrightson joined with fellow artists Jeff Jones, Michael Kaluta, and Barry Windsor-Smith to form “The Studio,” a shared loft in Manhattan where the group would pursue creative products outside the constraints of comic book commercialism. Though he continued to produce sequential art, Wrightson at this time began producing artwork for numerous posters, prints, calendars, and coloring books.
Wrightson spent seven years drawing approximately 50 detailed pen-and-ink illustrations to accompany an edition of Mary Shelley’s novel Frankenstein, which the artist considers among his most personal work. Wrightson drew the poster for the Stephen King-penned horror film Creepshow, as well as illustrating the comic book adaptation of the film. This led to several other collaborations with King, including illustrations for the novella “Cycle of the Werewolf,” the restored edition of King’s apocalyptic horror epic, “The Stand,” and art for the hardcover editions of “From a Buick 8” and “Dark Tower V.” Wrightson has contributed album covers for a number of bands, including Meat Loaf. The “Captain Sternn” segment of the animated film Heavy Metal is based on the character created by Wrightson for his award-winning short comic series of the same name.
Characters he worked on included Spiderman, Batman and The Punisher, and he provided painted covers for the DC comics Nevermore and Toe Tags, among many others. Recent works include Frankenstein Alive Alive, Dead She Said , the Ghoul and Doc Macabre (IDW Publishing) all co-created with esteemed horror author Steve Niles, and several print/poster/sketchbooks series produced by Nakatomi.
As a conceptual artist, Bernie worked on many movies, particularly in the horror genre: well-known films include Ghostbusters, The Faculty, Galaxy Quest, Spiderman, and George Romero’s Land of the Dead, and Frank Darabont’s Stephen King film The Mist.
Bernie lived in Austin, Texas with his wife Liz and two corgis – Mortimer and Maximillian. In addition to his wife, he is survived by two sons, John and Jeffrey, one stepson, Thomas Adamson, and countless friends and fans. A celebration of his life is planned for later this year.
I just saw this update from the Bernie Wrightson facebook page and am truly saddened to share the news posted by Bernie’s wife Liz. Bernie is one of my all time favourite artists, I am lucky enough to own 2 signed prints of his, of Frankenstein (pictured above) and The Texas Chainsaw Massacre. A true gentleman and towering talent of the comic book industry.
Dear Fans and Friends,
I apologize for our silence for the past few months. Last November Bernie began falling again, and having obvious problems with perception. He had to undergo yet another brain surgery to relieve bleeding, and then spend several weeks undergoing in-patient rehabilitation. Unfortunately, it appears that he has lasting damage: he has extremely limited function on his left side, and is unable to walk or reliably use his left hand, among other limitations.
W…e have had to come to the sad conclusion that he is now effectively retired: he will produce no new art, and he is unable to attend conventions. Should this situation change I will happily announce it here.
He can still sign his name (in fact he was signing Kickstarter prints in the hospital!), and is otherwise pretty healthy and has good cognition. We expect to continue releasing signed prints, and offering occasional pieces of art for sale from the collection that remains. We both thank all of you for your continuing support and good wishes!
All our best,
Liz and Bernie Wrightson