Los Angeles, Feb 19 (Ians) Oliver Wood, an English cinematographer whose credits include ‘Die Hard 2’, ‘Face/Off’, aThe Other Guys’ and the original ‘Bourne’ trilogy, has passed away at his home in Hollywood following a battle with cancer. He was 80.
With a career spanning across seven decades, Wood worked across a wide variety of projects, collaborating with directors like John Woo, Adam McKay, Antoine Fuqua, Barry Sonnenfeld and Larry Cohen, reports ‘Variety’.
He was nominated for a BAFTA award for best cinematography for his work on 2007’s aThe Bourne Ultimatum’, directed by Paul Greengrass.
Born in London, Wood moved to New York City when he was 19. His first major credit came on Leonard Kastle’s 1970 crime film aThe Honeymoon Killers’ making a strong impression for his technique of using available light to give the anachronistic dark comedy the look of a newsreel.
As per ‘Variety’, Wood shot numerous B-movies and independent...
With a career spanning across seven decades, Wood worked across a wide variety of projects, collaborating with directors like John Woo, Adam McKay, Antoine Fuqua, Barry Sonnenfeld and Larry Cohen, reports ‘Variety’.
He was nominated for a BAFTA award for best cinematography for his work on 2007’s aThe Bourne Ultimatum’, directed by Paul Greengrass.
Born in London, Wood moved to New York City when he was 19. His first major credit came on Leonard Kastle’s 1970 crime film aThe Honeymoon Killers’ making a strong impression for his technique of using available light to give the anachronistic dark comedy the look of a newsreel.
As per ‘Variety’, Wood shot numerous B-movies and independent...
- 2/19/2023
- by News Bureau
- GlamSham
Oliver Wood, the veteran cinematographer behind several of the “Bourne” films, “Step Brothers,” “Talladega Nights” and “Face/Off,” died Monday, Feb. 13 of cancer, his representatives confirmed. He was 80.
The British director of photography acquired 60 credits over his five-decade career, including beloved action and comedy hits like “Die Hard 2” (1990), “Freaky Friday” (2003), “Talladega Nights: The Ballad of Ricky Bobby” (2006), and “Jack Reacher: Never Go Back” (2016).
Born Feb. 21, 1942, Wood moved to New York City at age 19 and found work on B-movies such as cult crime film “The Honeymoon Killers” (1969) and as a camera operator on “Body Rock” (1984), among others. He broke out in the film industry following his work on “Miami Vice,” where he was primary Dp from 1987 to 1989.
Also Read:
Tim McCarver, 2-Time World Series Champ and Hall of Fame Broadcaster, Dies at 81
From there, he moved into the big leagues with ’90s films like “Die Hard 2” (1990), “Bill & Ted’s Bogus Journey...
The British director of photography acquired 60 credits over his five-decade career, including beloved action and comedy hits like “Die Hard 2” (1990), “Freaky Friday” (2003), “Talladega Nights: The Ballad of Ricky Bobby” (2006), and “Jack Reacher: Never Go Back” (2016).
Born Feb. 21, 1942, Wood moved to New York City at age 19 and found work on B-movies such as cult crime film “The Honeymoon Killers” (1969) and as a camera operator on “Body Rock” (1984), among others. He broke out in the film industry following his work on “Miami Vice,” where he was primary Dp from 1987 to 1989.
Also Read:
Tim McCarver, 2-Time World Series Champ and Hall of Fame Broadcaster, Dies at 81
From there, he moved into the big leagues with ’90s films like “Die Hard 2” (1990), “Bill & Ted’s Bogus Journey...
- 2/18/2023
- by Harper Lambert
- The Wrap
Oliver Wood, an English cinematographer whose credits include “Die Hard 2,” “Face/Off,” “The Other Guys” and the original “Bourne” trilogy, died Monday, Feb. 13, at his home in Hollywood following a battle with cancer. He was 80.
With a career spanning across seven decades, Wood worked across a wide variety of projects, collaborating with directors like John Woo, Adam McKay, Antoine Fuqua, Barry Sonnenfeld and Larry Cohen. He was nominated for a BAFTA award for best cinematography for his work on 2007’s “The Bourne Ultimatum,” directed by Paul Greengrass.
Born in London, Wood moved to New York City when he was 19. His first major credit came on Leonard Kastle’s 1970 crime film “The Honeymoon Killers,” making a strong impression for his technique of using available light to give the anachronistic dark comedy the look of a newsreel.
Wood shot numerous B-movies and independent films throughout the late 1970s and ’80s, frequently collaborating...
With a career spanning across seven decades, Wood worked across a wide variety of projects, collaborating with directors like John Woo, Adam McKay, Antoine Fuqua, Barry Sonnenfeld and Larry Cohen. He was nominated for a BAFTA award for best cinematography for his work on 2007’s “The Bourne Ultimatum,” directed by Paul Greengrass.
Born in London, Wood moved to New York City when he was 19. His first major credit came on Leonard Kastle’s 1970 crime film “The Honeymoon Killers,” making a strong impression for his technique of using available light to give the anachronistic dark comedy the look of a newsreel.
Wood shot numerous B-movies and independent films throughout the late 1970s and ’80s, frequently collaborating...
- 2/18/2023
- by Jazz Tangcay and J. Kim Murphy
- Variety Film + TV
By Lee Pfeiffer
Like many boys who grew up in the 1960s, I was addicted to Mad magazine. It's sarcastic satires of politicians and pop culture figures were all the rage and the magazine was a showcase for some truly impressive writers and artists. Mad pushed the envelope in some regards but publisher William Gaines still maintained a family-friendly facade. In 1970, I entered high school a few months after another satire magazine, National Lampoon, published its premiere issue. The first issue I saw featured a striking cover by artist Frank Frazetta that spoofed those old jungle movies. It depicted a courageous white guy saving a scantily clad white woman from a hoard of African natives. It was titled "White Man's Wet Dream". I was hooked before I opened the magazine. National Lampoon became a "must-read" for young people of the era. Unlike Mad, there were no holds barred when it came to off-limits subjects.
Like many boys who grew up in the 1960s, I was addicted to Mad magazine. It's sarcastic satires of politicians and pop culture figures were all the rage and the magazine was a showcase for some truly impressive writers and artists. Mad pushed the envelope in some regards but publisher William Gaines still maintained a family-friendly facade. In 1970, I entered high school a few months after another satire magazine, National Lampoon, published its premiere issue. The first issue I saw featured a striking cover by artist Frank Frazetta that spoofed those old jungle movies. It depicted a courageous white guy saving a scantily clad white woman from a hoard of African natives. It was titled "White Man's Wet Dream". I was hooked before I opened the magazine. National Lampoon became a "must-read" for young people of the era. Unlike Mad, there were no holds barred when it came to off-limits subjects.
- 4/1/2022
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Scott Marshall Smith, the screenwriter whose credits included the Robert De Niro films Men of Honor and The Score, has died, his family said Tuesday. He was 62.
Smith was finishing work on his latest movie, the psychological thriller Wasatch, when he suffered a stroke. No further details were provided.
Born in Monterey, CA, raised in the Midwest and a graduate of New York University’s Tisch School of the Arts, Smith began his entertainment career working for commercial and music video director Bob Giraldi. He later moved to Los Angeles to pursue a writing career.
After a stint working at Panavision Hollywood, Smith saw his first script land at Fox 2000. It was Men of Honor, a biopic about Carl Brashear, the first African American Navy diver. Cuba Gooding Jr. played Brashear alongside De Niro, and George Tillman Jr. directed the film, which was released in 2000. His next screenplay became Paramount’s The Score,...
Smith was finishing work on his latest movie, the psychological thriller Wasatch, when he suffered a stroke. No further details were provided.
Born in Monterey, CA, raised in the Midwest and a graduate of New York University’s Tisch School of the Arts, Smith began his entertainment career working for commercial and music video director Bob Giraldi. He later moved to Los Angeles to pursue a writing career.
After a stint working at Panavision Hollywood, Smith saw his first script land at Fox 2000. It was Men of Honor, a biopic about Carl Brashear, the first African American Navy diver. Cuba Gooding Jr. played Brashear alongside De Niro, and George Tillman Jr. directed the film, which was released in 2000. His next screenplay became Paramount’s The Score,...
- 12/15/2020
- by Patrick Hipes
- Deadline Film + TV
Producer-writer Scott Marshall Smith, who received his first screenplay credit on “Men of Honor,” died following a stroke, his family said Tuesday. He was 62.
Smith was a native of Monterey, Calif., and was raised in the Midwest. A graduate of New York University’s Tisch School of the Arts, Smith began his career in entertainment working for commercial and music video director Bob Giraldi. He spent four years learning production in New York before leaving Giraldi Productions to pursue his screenwriting career in Los Angeles.
When Smith first arrived in LA, he joined Panavision Hollywood, where he supplied cameras to Quentin Tarantino and Emmanuel Lubezki. In 2000, Fox made “Men of Honor,” starring Robert De Niro and Cuba Gooding Jr. and directed by George Tillman Jr. Smith was the sole credited writer on the screenplay.
Smith also was also credited as a writer on Paramount’s “The Score,” starring Robert De Niro,...
Smith was a native of Monterey, Calif., and was raised in the Midwest. A graduate of New York University’s Tisch School of the Arts, Smith began his career in entertainment working for commercial and music video director Bob Giraldi. He spent four years learning production in New York before leaving Giraldi Productions to pursue his screenwriting career in Los Angeles.
When Smith first arrived in LA, he joined Panavision Hollywood, where he supplied cameras to Quentin Tarantino and Emmanuel Lubezki. In 2000, Fox made “Men of Honor,” starring Robert De Niro and Cuba Gooding Jr. and directed by George Tillman Jr. Smith was the sole credited writer on the screenplay.
Smith also was also credited as a writer on Paramount’s “The Score,” starring Robert De Niro,...
- 12/15/2020
- by Dave McNary
- Variety Film + TV
” There are only three proper responses when I say something to you: “Yes chef,” “No chef,” “I don’t know chef.” “
What A Rush! 20 Years With Chris Clark is a night of cinema and cuisine to honor Cinema St. Louis Artistic Director, Chris Clark co-presented by Cinema Saint Louis and Tenacious Eats. The event is Saturday, September 14, 2019 at 6pm and will now be held at The Mahler Ballroom ( 4915 Washington Blvd. in St. Louis). The event includes a 5-course dinner and a screening of the 2000 film Dinner Rush. Individual Tickets are $125 or a VIP Table of 6: is $1,000 (includes premium seating and event recognition). A Facebook invite for the event can be found Here, To purchase tickets, contact Bree Maniscalco 314.289.4154 or bree@cinemastlouis.org
Chris Clark has been an integral part of the growth and artistic direction of the Saint Louis International Film Festival. Drawing on his background in film studies...
What A Rush! 20 Years With Chris Clark is a night of cinema and cuisine to honor Cinema St. Louis Artistic Director, Chris Clark co-presented by Cinema Saint Louis and Tenacious Eats. The event is Saturday, September 14, 2019 at 6pm and will now be held at The Mahler Ballroom ( 4915 Washington Blvd. in St. Louis). The event includes a 5-course dinner and a screening of the 2000 film Dinner Rush. Individual Tickets are $125 or a VIP Table of 6: is $1,000 (includes premium seating and event recognition). A Facebook invite for the event can be found Here, To purchase tickets, contact Bree Maniscalco 314.289.4154 or bree@cinemastlouis.org
Chris Clark has been an integral part of the growth and artistic direction of the Saint Louis International Film Festival. Drawing on his background in film studies...
- 9/9/2019
- by Tom Stockman
- WeAreMovieGeeks.com
” There are only three proper responses when I say something to you: “Yes chef,” “No chef,” “I don’t know chef.” “
What A Rush! 20 Years With Chris Clark is a night of cinema and cuisine to honor Cinema St. Louis Artistic Director, Chris Clark co-presented by Cinema Saint Louis and Tenacious Eats. The event is Saturday, September 14, 2019 at 6pm and will be held at The Mad Art Gallery (2727 S 12th St. in St. Louis). The event includes a 5-course dinner and a screening of the 2000 film Dinner Rush. Individual Tickets are $125 or a VIP Table of 6: is $1,000 (includes premium seating and event recognition). A Facebook invite for the event can be found Here, To purchase tickets, contact Bree Maniscalco 314.289.4154 or bree@cinemastlouis.org
Chris Clark has been an integral part of the growth and artistic direction of the Saint Louis International Film Festival. Drawing on his background in film...
What A Rush! 20 Years With Chris Clark is a night of cinema and cuisine to honor Cinema St. Louis Artistic Director, Chris Clark co-presented by Cinema Saint Louis and Tenacious Eats. The event is Saturday, September 14, 2019 at 6pm and will be held at The Mad Art Gallery (2727 S 12th St. in St. Louis). The event includes a 5-course dinner and a screening of the 2000 film Dinner Rush. Individual Tickets are $125 or a VIP Table of 6: is $1,000 (includes premium seating and event recognition). A Facebook invite for the event can be found Here, To purchase tickets, contact Bree Maniscalco 314.289.4154 or bree@cinemastlouis.org
Chris Clark has been an integral part of the growth and artistic direction of the Saint Louis International Film Festival. Drawing on his background in film...
- 8/5/2019
- by Tom Stockman
- WeAreMovieGeeks.com
Filmmakers have long strove to capture the essence of human desire within their work. Our hunger for power, love, and sex is an intense driving force that binds us to a bevvy of movie heroes. When these onscreen ego ideals finally sink their teeth into their long-longed for desire, we the audience are granted a shiver-inducing — albeit vicarious — thrill. But perhaps no movie thrill is so teasing and tantalizing as the onscreen indulgence of our lust for food. Slow motion cinematography, leering close-ups of ingredients and swooning diners flaunt food so succulent you can almost taste it.
In celebration (and thanks) of these teasing food porn scenes, we raise our glass to the….
Critics loathed Steven Spielberg’s high-flying Peter Pan adventure, but kids adored it for all its goofiness, action and magic. (Not to mention the dreamy bad boy Rufio!) In Hook, Peter Pan (Robin Williams) has become a...
In celebration (and thanks) of these teasing food porn scenes, we raise our glass to the….
Critics loathed Steven Spielberg’s high-flying Peter Pan adventure, but kids adored it for all its goofiness, action and magic. (Not to mention the dreamy bad boy Rufio!) In Hook, Peter Pan (Robin Williams) has become a...
- 11/24/2011
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
New York -- Tina Fey, Alec Baldwin, Rachael Ray and New York Jets quarterback Mark Sanchez are lending their pro-bono on-screen support to New York as a tourism destination in a new summer/fall TV ad campaign under the banner "I Love New York."
The state on Tuesday unveiled two 30-second TV spots with the celebrities -- along with 15-second promos featuring them individually -- produced by director Bob Giraldi.
State officials lauded the latest spot -- the first TV spot since 2006 -- for bringing together big names for pro-bono work at a time when the state is looking for tourism as a key part of its economic recovery strategy. "The commercial, film, and television industries has been incredibly supportive of New York State over the years," emphasized Pat Swinney Kaufman, executive director of the Governor's Office for Motion Picture and Television Development.
The "I Love New York" branding campaign...
The state on Tuesday unveiled two 30-second TV spots with the celebrities -- along with 15-second promos featuring them individually -- produced by director Bob Giraldi.
State officials lauded the latest spot -- the first TV spot since 2006 -- for bringing together big names for pro-bono work at a time when the state is looking for tourism as a key part of its economic recovery strategy. "The commercial, film, and television industries has been incredibly supportive of New York State over the years," emphasized Pat Swinney Kaufman, executive director of the Governor's Office for Motion Picture and Television Development.
The "I Love New York" branding campaign...
- 8/3/2010
- by By Georg Szalai
- The Hollywood Reporter - Movie News
"Love Is a Battlefield", written by Holly Knight and Mike Chapman, was released as a single by singer Pat Benatar,alongside a music video, directed by Bob Giraldi, depicting her as a teenage runaway trying to survive in New York City.
Benatar's vocals mellowed from hard rock to atmospheric pop for the song, with the story-based video becoming a hit at MTV and Benatar becoming the first female rocker to air on the station.
"Love Is A Battlefield" earned Benatar her fourth consecutive Grammy Award for 1983's "Best Female Rock Vocal Performance" and was included as a studio track on the "Live from Earth" concert LP recorded in 1982, becoming Benatar's fifth consecutive platinum album winner.
Sneak Peek "Love Is A Battlefield"...
Benatar's vocals mellowed from hard rock to atmospheric pop for the song, with the story-based video becoming a hit at MTV and Benatar becoming the first female rocker to air on the station.
"Love Is A Battlefield" earned Benatar her fourth consecutive Grammy Award for 1983's "Best Female Rock Vocal Performance" and was included as a studio track on the "Live from Earth" concert LP recorded in 1982, becoming Benatar's fifth consecutive platinum album winner.
Sneak Peek "Love Is A Battlefield"...
- 2/4/2010
- by Michael Stevens
- SneakPeek
Smooth criminal or fragile humanitarian? Eternally childlike or mortally flawed? Black or white? Might not the late Michael Jackson have been all of the above? As for Kenny Ortega, the longtime Mj associate entrusted to whittle three-and-a-half hours of rehearsal footage down to less than two, he was obviously never going to be Barbara Kopple or Albert Maysles, much less Pedro Costa or Frederick Wiseman. But at least Ortega's "This Is It" allows us to see the self-anointed King of Pop as a moonwalking mass of contradictions right to the end, which is about as much as one could reasonably want from a posthumous cash-in whose printed prologue rushes to praise Mj's "passionate gift," a work of literal deadline journalism whose stated responsibility is to "the fans."
Still, for some -- that is, roughly a smidgen of the zillions who'll flock to "This" -- as much as one could reasonably...
Still, for some -- that is, roughly a smidgen of the zillions who'll flock to "This" -- as much as one could reasonably...
- 10/28/2009
- by Rob Nelson
- ifc.com
Beginning in fall 2010, the School of Visual Arts in New York City will offer a Master of Professional Studies in Live Action Short Film, a one-year degree program featuring an intensive studio-based approach to short, narrative film production. The program will be chaired by TV and film director and longtime Sva faculty member Bob Giraldi.
"Many established and successful directors, including George Lucas, Steven Spielberg and Martin Scorsese, first began by making short films--it served as a way for them to hone their craft and gain entrance into the industry," Giraldi said. "The short film is a vehicle for experimentation with new technologies and offers a freedom of ideas that cannot easily be realized in a longer format. Digital media and editing equipment have made the genre an accessible, economical way for filmmakers to articulate ideas that might otherwise be deemed too challenging or untenable."
The program will culminate in...
"Many established and successful directors, including George Lucas, Steven Spielberg and Martin Scorsese, first began by making short films--it served as a way for them to hone their craft and gain entrance into the industry," Giraldi said. "The short film is a vehicle for experimentation with new technologies and offers a freedom of ideas that cannot easily be realized in a longer format. Digital media and editing equipment have made the genre an accessible, economical way for filmmakers to articulate ideas that might otherwise be deemed too challenging or untenable."
The program will culminate in...
- 8/13/2009
- The Hollywood Reporter - Movie News
After the passing of Michael Jackson last week, Tom DeFeo aka "The Godfather of Fangoria" (our owner & president) asked me to post a copy of our Screamography episode featuring John Landis. With last night's news that Dimension might be remaking An American Werewolf In London, the episode certainly seems hauntingly timely.
Presented below is the full, 54-minute episode of Fangoria's Screamography: John Landis, along with a text transcript featuring Landis on Jackson.The segment on An American Werewolf begins around the 23 minute mark, with the segment on Thriller beginning around 37.
Fangoria Screamography - John Landis
Transcript: The Making Of Michael Jackson's Thriller (at 37:00 in the video):
Narrator: Landis' next project was for the small screen and starred The King of Pop...
John Landis: Thriller cost about $600,000 which at the time was huge because the average rock video cost between $50K and $100K, and we made one for $600K.
Presented below is the full, 54-minute episode of Fangoria's Screamography: John Landis, along with a text transcript featuring Landis on Jackson.The segment on An American Werewolf begins around the 23 minute mark, with the segment on Thriller beginning around 37.
Fangoria Screamography - John Landis
Transcript: The Making Of Michael Jackson's Thriller (at 37:00 in the video):
Narrator: Landis' next project was for the small screen and starred The King of Pop...
John Landis: Thriller cost about $600,000 which at the time was huge because the average rock video cost between $50K and $100K, and we made one for $600K.
- 6/29/2009
- by no-reply@fangoria.com (James Zahn)
- Fangoria
Yes, he was the punchline of approximately a quarter-million Tonight Show jokes. But Michael Jackson's stop-on-a-dime dance moves and sensual soprano have influenced generations of musicians, dancers and entertainers, and the man was so much more than what the tabloids made him out to be. One of entertainment's greatest icons, he was incredibly gifted, and like most gifted individuals he was an equally troubled genius who kept us captivated at his most dazzling, and at his most appalling moments. The New York Times once described him as one of the six most famous people on the planet. I'd like to up the ante: he was the most famous person on the planet. He influenced artists ranging from Justin Timberlake to Madonna, and genres from rock to pop to R&B to even rap. No other artist has been as unifying. Jackson also helped elevate the music video, turning it...
- 6/28/2009
- by Kyle Reese
- SoundOnSight
Beat It, directed by Bob Giraldi [1] and choreographed by Michael Peters [2], and based on the Broadway musical West Side Story helped further establish Jackson as an international pop icon [3]. Like Thriller [4], the video became famous for it's mass choreography, a Jackson trademark and actually starred 80 genuine gang members-to add authenticity to the production-and 18 professional dancers. It cost $150, 000 to make and Michael's red leather jacket became the next big thing in fashion while his elaborate choreography opened up many new job opportunities for dancers in the U.S. [1] http://en.wikipedia.org/wiki/Bob_Giraldi [2] http://en.wikipedia.org/wiki/Michael_Peters [3] http://en.wikipedia.org/wiki/Pop_icon [4] http://en.wikipedia.org/wiki/Thriller_%28music_video%29...
- 6/28/2009
- by Ricky
- SoundOnSight
Though it may not seem movie related, Michael Jackson's music videos were always a cinematic event. Growing up in the 1980s and '90s, I'll always remember huddling around the television for the MTV premiere of another one of Jackson's event-style music videos/mini-movies – all of which took the art form to an entirely different (and historic) level. Throughout his career, Jackson teamed with some of the top filmmakers of our generation on his videos, and the results were always memorable trips to a fantastical time and place, with great music, dancing and visual effects. Here now are what I consider to be Michael Jackson's five greatest music videos:1. Beat It: Directed by Bob Giraldi, Michael Jackson's Beat It video was his first to feature an ensemble...
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- 6/26/2009
- by Fandango
- Fandango
Though it may not seem movie related, Michael Jackson's music videos were always a cinematic event. Growing up in the 1980s and '90s, I'll always remember huddling around the television for the MTV premiere of another one of Jackson's event-style music videos/mini-movies – all of which took the art form to an entirely different (and historic) level. Throughout his career, Jackson teamed with some of the top filmmakers of our generation on his videos, and the results were always memorable trips to a fantastical time and place, with great music, dancing and visual effects. Here now are what I consider to be Michael Jackson's five greatest music videos:1. Beat It: Directed by Bob Giraldi, Michael Jackson's Beat It video was his first to feature an ensemble...
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- 6/26/2009
- by Fandango
- Fandango
Though it may not seem movie related, Michael Jackson's music videos were always a cinematic event. Growing up in the 1980s and '90s, I'll always remember huddling around the television for the MTV premiere of another one of Jackson's event-style music videos/mini-movies – all of which took the art form to an entirely different (and historic) level. Throughout his career, Jackson teamed with some of the top filmmakers of our generation on his videos, and the results were always memorable trips to a fantastical time and place, with great music, dancing and visual effects. Here now are what I consider to be Michael Jackson's five greatest music videos:1. Beat It: Directed by Bob Giraldi, Michael Jackson's Beat It video was his first to feature an ensemble...
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- 6/26/2009
- by Fandango
- Fandango
By Aaron Hillis, GreenCine Daily Hiding Out
Directed by Bob Giraldi
1987, 98 minutes, USA
Lionsgate
"I can't hide here forever. My grades aren't that good."
- Jon Cryer, Hiding Out
Don't wipe your glasses clean, you absolutely read that title correctly. While I'd be lying if I attempted to defend this predictable, lightweight thriller-cum-teen comedy as some unsung masterpiece, I'll unashamedly admit that Hiding Out holds a dear place in my suburban-child heart. (Which is precisely what Lionsgate is banking on, but more on that later.) Jon Cryer—a year after enamoring teen girls as Pretty in Pink's Duckie, and two years after his role in Altman's neglected O.C. & Stiggs—stars as twenty-something yuppie Andrew Bujalski Morenski, a wealthy Boston bond dealer whose accidental entanglement with mobsters puts him in the line of fire before he can testify against these villainous inside traders.
Directed by Bob Giraldi
1987, 98 minutes, USA
Lionsgate
"I can't hide here forever. My grades aren't that good."
- Jon Cryer, Hiding Out
Don't wipe your glasses clean, you absolutely read that title correctly. While I'd be lying if I attempted to defend this predictable, lightweight thriller-cum-teen comedy as some unsung masterpiece, I'll unashamedly admit that Hiding Out holds a dear place in my suburban-child heart. (Which is precisely what Lionsgate is banking on, but more on that later.) Jon Cryer—a year after enamoring teen girls as Pretty in Pink's Duckie, and two years after his role in Altman's neglected O.C. & Stiggs—stars as twenty-something yuppie Andrew Bujalski Morenski, a wealthy Boston bond dealer whose accidental entanglement with mobsters puts him in the line of fire before he can testify against these villainous inside traders.
- 4/16/2009
- by underdog
- GreenCine
Sebastian Silva's "The Maid" was named best narrative film at the 11th Sarasota Film Festival, which handed out awards Saturday night in Sarasota, Fla.
Ben Steinbauer's "Winnebago Man" took the prize for documentary feature.
The evening also included a filmmaker tribute to the late Hal Ashby.
The prize for best narrative feature included the offer of a U.S. distribution deal from Film Movement, while the doc prize carried with it the offer of distribution from First Run Features.
Prizes in the narrative categories also went to Tze Chun's "Children of Invention," which took the special jury prize, and to cinematographer Steve Cosens, who received the special jury prize for cinematography for "Nurse, Fighter, Boy," which also scored an audience award for best in world cinema.
Director-cinematographer Jody Lee Lipes was awarded a special jury prize for cinematography for the doc "Brock Enright: Good Times Will Never Be the Same.
Ben Steinbauer's "Winnebago Man" took the prize for documentary feature.
The evening also included a filmmaker tribute to the late Hal Ashby.
The prize for best narrative feature included the offer of a U.S. distribution deal from Film Movement, while the doc prize carried with it the offer of distribution from First Run Features.
Prizes in the narrative categories also went to Tze Chun's "Children of Invention," which took the special jury prize, and to cinematographer Steve Cosens, who received the special jury prize for cinematography for "Nurse, Fighter, Boy," which also scored an audience award for best in world cinema.
Director-cinematographer Jody Lee Lipes was awarded a special jury prize for cinematography for the doc "Brock Enright: Good Times Will Never Be the Same.
- 4/5/2009
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
Dinner Rush
As overstuffed as some of the culinary creations it so prominently puts on display, this sophomore film from noted video/commercial director Bob Giraldi (his other feature, "Hiding Out", was a mere 14 years ago) is an entertaining melodrama and a knowing satire of the modern-day restaurant biz. While "Dinner Rush" ultimately bites off more than it can chew, so to speak, it's plenty engrossing along the way, especially for those who wonder about what exactly goes on behind the kitchen doors of their favorite eatery. Showcased at the New Directors/New Films festival, the film is due for a commercial release in the fall.
Danny Aiello, in a part he fits into as comfortably as an old suit, plays Louis, the owner of Gigino, a beautiful Tribeca restaurant that has patrons clamoring to get in. An old-school Italian, Louis is most comfortable with a heaping plate of pasta, but his son Udo (Edoardo Ballerini), the head chef, has grander ideas, creating the sort of lavish dishes that inspire raves from snooty restaurant critics.
The film takes place during one frenzied evening when everything seems to happen. Louis, who also runs a bookmaking business, is threatened by a pair of thugs (Mike McGlone and Alex Corrado) who, in between courses, make it very clear that they want to take over both of his operations. Because his partner was recently gunned down, Louis takes them very seriously.
Meanwhile, he also must deal with numerous other customers and employees, including a pretentious critic (Sandra Bernhard); a chef (Kirk Acevedo) who's in way over his head with gambling debts; his partner's widow (Polly Draper), for whom he has a deep attraction; a snooty gallery owner (Mark Margolis) who makes a sport of demeaning his waitress (Summer Phoenix); and a Wall Street trader (John Corbett) who watches everything from his perch at the bar with an air of bemusement. "When did eating out become a Broadway show?" he innocently inquires.
While some of the plot elements go over the top and the film's climax isn't nearly as clever as it attempts to be, "Dinner Rush" works because of its fast pacing, down-to-earth dialogue, well-drawn characters and, most importantly, its attention to detail. Giraldi owns more than a few successful restaurants, including the one so prominently and lovingly featured here, and he has perfectly captured the atmosphere of controlled frenzy, conspicuous consumption and forced bonhomie prevalent in so many fancy eateries. And his extensive advertising experience pays off; the film boasts a gorgeous visual style, with the restaurant and food shown off to the best possible advantage. While "Dinner Rush" may or may not succeed, it's a safe bet that business at Giraldi's restaurant is going to skyrocket.
DINNER RUSH
Access Motion Picture Group
Credits:
Director: Bob Giraldi
Screenwriters: Brian Kalata, Rik Shaughnessy
Producers: Lou DiGiaimo, Patti Greaney
Executive producer: Phil Suarez
Photography: Tim Ives
Original music: Alexander Lasarenko
Production designer: Andrew Bernard
Cast:
Louis: Danny Aiello
Udo: Edoardo Ballerini
Nicole: Vivian Wu
Carmen: Mike McGlone
Duncan: Kirk Acevedo
Jennifer Freeley: Sandra Bernhard
Marti: Summer Phoenix
Natalie: Polly Draper
Sean: Jamie Harris
Fitzgerald: Mark Margolis
Ken: John Corbett
No MPAA rating
Color/stereo
Running time -- 100 minutes...
Danny Aiello, in a part he fits into as comfortably as an old suit, plays Louis, the owner of Gigino, a beautiful Tribeca restaurant that has patrons clamoring to get in. An old-school Italian, Louis is most comfortable with a heaping plate of pasta, but his son Udo (Edoardo Ballerini), the head chef, has grander ideas, creating the sort of lavish dishes that inspire raves from snooty restaurant critics.
The film takes place during one frenzied evening when everything seems to happen. Louis, who also runs a bookmaking business, is threatened by a pair of thugs (Mike McGlone and Alex Corrado) who, in between courses, make it very clear that they want to take over both of his operations. Because his partner was recently gunned down, Louis takes them very seriously.
Meanwhile, he also must deal with numerous other customers and employees, including a pretentious critic (Sandra Bernhard); a chef (Kirk Acevedo) who's in way over his head with gambling debts; his partner's widow (Polly Draper), for whom he has a deep attraction; a snooty gallery owner (Mark Margolis) who makes a sport of demeaning his waitress (Summer Phoenix); and a Wall Street trader (John Corbett) who watches everything from his perch at the bar with an air of bemusement. "When did eating out become a Broadway show?" he innocently inquires.
While some of the plot elements go over the top and the film's climax isn't nearly as clever as it attempts to be, "Dinner Rush" works because of its fast pacing, down-to-earth dialogue, well-drawn characters and, most importantly, its attention to detail. Giraldi owns more than a few successful restaurants, including the one so prominently and lovingly featured here, and he has perfectly captured the atmosphere of controlled frenzy, conspicuous consumption and forced bonhomie prevalent in so many fancy eateries. And his extensive advertising experience pays off; the film boasts a gorgeous visual style, with the restaurant and food shown off to the best possible advantage. While "Dinner Rush" may or may not succeed, it's a safe bet that business at Giraldi's restaurant is going to skyrocket.
DINNER RUSH
Access Motion Picture Group
Credits:
Director: Bob Giraldi
Screenwriters: Brian Kalata, Rik Shaughnessy
Producers: Lou DiGiaimo, Patti Greaney
Executive producer: Phil Suarez
Photography: Tim Ives
Original music: Alexander Lasarenko
Production designer: Andrew Bernard
Cast:
Louis: Danny Aiello
Udo: Edoardo Ballerini
Nicole: Vivian Wu
Carmen: Mike McGlone
Duncan: Kirk Acevedo
Jennifer Freeley: Sandra Bernhard
Marti: Summer Phoenix
Natalie: Polly Draper
Sean: Jamie Harris
Fitzgerald: Mark Margolis
Ken: John Corbett
No MPAA rating
Color/stereo
Running time -- 100 minutes...
- 5/29/2001
- The Hollywood Reporter - Movie News
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