The light she casts is so dazzling, this seems an entirely sufficient reason to be. Miss Desmond is embodied by Glenn Close, the much-celebrated movie actress who won a Tony in the same part 22 years ago. And what was one of the great stage performances of the 20th century has been reinvented, in terms both larger and more intimate, that may well guarantee its status as one of the great stage performances of this century, too. Close is even better than when I first saw her — more fragile and more frightening, more seriously comic and tragic.
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Part of this presumably involves the insights an artist accumulates over the decades. It is also to Ms. As in such presentations, the orchestra 40 pieces strong is onstage and visible. Yes, a car still shows up onstage. And our Miss Desmond still gets a workout walking up and down the stairs. The good news is that Norma has never looked bigger. It's the bootlegs that got small". DeMille", which is a famous line from this film.
It's no accident that the play she directs is 'Solome'. The reference is obscure but undeniable. DeMille" scene. Reg Hollis. She's Alive! American Beauty: Look Closer Even the title of both are street names in Hollywood. A Huey P. Who Is Cletis Tout? Elizabeth Cutler invites Dr.
Phlox to see the film as she believed that he would like it. I Couldn't Care Less! Die, Mommie, Die! It's the pictures that got small" line. Jackson's characters, the Sunset Blvd. On je zena! DeMille", saying Ted is ready for his close-up before he goes in for surgery. A star is born. R U Invited?
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Demille I'm ready for my closeup". Demille, I'm ready for my close-up". DeMille," even though the line is actually, "All right, Mr. DeMille, I'm ready for my close-up. It's the pictures that got small. Ready for our close-up. General Hospital: Episode 1. Demille," when discussing Jinkx Monsoon's runway look. There are also numerous references to Billy Wilder in this film, who made Sunset Blvd. DeMille, I'm ready for my close-up" line from Sunset Blvd. There is also a monkey. The Chase Australia: Episode 1. Hail, Caesar! This is the same name as the studio gate guard in Sunset Boulevard. DK : The rest of the art dept—very experienced older people—were somewhat alarmed.
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One of them derided me as "future boy". They also thought my designs were too wild, too out there.
These are by now familiar criticisms to me but then, I was devastated by the disapproval. The assistant set decorator came in one day and slammed down some staid, real-life political flyers on my desk and said "This is what it should be! This is what's real! We're going for a deep state menace meets the circus by way of a soviet constructivist military coup vibe!
This is what Jonathan and Kristi are feelin! I didn't censor myself at all. I designed things to the farthest reaches of my imagination, anything I thought would help tell the story they wanted to tell and wow them. To this day I think it is better to wow people then rein yourself in than to never wow people at all. It wasn't until I saw the finished film that my fear I had ruined his film turned into pride. To this day there is no project that better features my goods.
Att the climax of the movie, right before the assassination, he cuts to Meryl Streep and Liev Schrieber standing in front of that huge supergraphic I did of that Uncle Sam fist bursting through an American flag! I had an artgasm when I saw that.
Glenn Close Reflects on Her Seven Oscar-Nominated Roles
What a brilliant movie.. Long live Jonathan Demme! SH : What is required of you when commissioned to do these? How much research is required?
DK : Every show requires research, but period projects require the most research. It is essential that everything I design passes for reality. This is where my background as a drag performer has come in handy—also the theme of the drag documentary Paris Is Burning —the idea of creating an illusion so powerful that it passes for real. SH : Have you ever made an error in terms of timeline or anachronistic typeface? This would be my nightmare. I've never had a Helvetica on the Titanic moment and never will.
SH : What have been your favorite films and shows? Not many. But the people who do know are going to notice! Here are a few of the posters in the show: SH : What has been your most challenging assignment? Talk about teamwork—the Art Department Coordinator, Art Director, everyone pitched in to find a porn photographer from the time who had a photo archive with model releases that we could pull from.
Finally we found somebody! And then it was up to me to work at breakneck speed to replicate all the strange typefaces and gradient, metallic, and glow effects that were used at the time on these covers.