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15558
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https://www.instagram.com/nfdcindia/p/C9b-CzdRC1b/
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Instagram
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https://www.facebook.com/musicverandah/videos/kitu-gidwani-show/675521913588170/
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en
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18th February 2022 , Friday , 8:30pmIST, Kitu Gidwani-a sunshine person at Music Verandah & Green Verandah .. Kitu Gidwani , an Indian Film & Television...
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18th February 2022 , Friday , 8:30pmIST, Kitu Gidwani-a sunshine person at Music Verandah & Green Verandah ..
Kitu Gidwani , an Indian Film & Television...
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de
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/musicverandah/videos/kitu-gidwani-show/675521913588170/
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https://www.hollywoodreporter.com/movies/movie-reviews/gattu-berlin-film-review-292608/
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en
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Gattu: Berlin Film Review
|
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"Deborah Young"
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2012-02-18T15:26:16+00:00
|
Director Rajan Khosa's drama centers on an illiterate boy who sneaks into school.
|
en
|
The Hollywood Reporter
|
https://www.hollywoodreporter.com/movies/movie-reviews/gattu-berlin-film-review-292608/
|
Hitting just the right note to interest young audiences without condescending, while adding a hopeful note to the aching problem of India’s street kids, the charming, very original Gattu describes how an illiterate boy obsessed with kite-flying sneaks into school to fly his kite from the roof. The cleverness and determination of the hero are amply rewarded in a well-constructed finale by director Rajan Khosa, making a happy return to feature films after his well-received 1997 debut, Dance of the Wind. The film won a special mention from the young people’s jury at Berlin.
The story is set in the town of Roorkee in the Himalayan foothills, where the naughty orphan Gattu (Mohammad Samad) works on odd jobs for his stern uncle Anees Bahi (Naresh Kumar). Keeping Gattu out of school and forcing him to work with angry threats, the uncle comes off as a tyrannical villain, though this judgment is revised by film’s end.
The enterprising little boy is not above lying and stealing to indulge in the town’s favorite sport of kite-flying. Samad’s incredibly serious eyes fix on the drama in the skies, where the mysterious black kite Kali has, for many years, cut the strings of all her rivals to remain the undefeated champion. No one knows who is flying her, but when Kali appears, the boys hurry to let out their string and launch a challenge. Their colorful CGI kites tremble and spin over the humble terraces of Roorkee.
Gattu is smart enough to realize his only chance to beat Kali is to fly his kite from the highest roof in town, which happens to be the school building. Swiping a blue uniform off a clothesline, he bluffs his way into class, even though he can’t read or write. When he is discovered to be an impostor by his friends Minky, Honey Singh and Manuj, he brilliantly claims to be an undercover detective sent to protect the school against a terrorist attack. Together the four of them set the stage for Gattu’s final duel with the black kite.
Produced by the Children’s Film Society of India, the film is admirable in the way it presents poverty, child labor and the ugly side of life within a basically joyous, upbeat story, making it educational without being shocking. The school song, for instance, fervently sung by the principal and children, celebrates India as a paradise, but the director feels no compunction about showing such locations as a junkyard, a garbage dump and a public toilet. Humor is well-used to balance the protag’s serious look as he sets out to fulfill his dreams.
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yago
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3
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https://en.wikipedia.org/wiki/Rajan_Khosa
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en
|
Rajan Khosa
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
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2008-02-24T17:17:37+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Rajan_Khosa
|
Indian writer-director-producer
Rajan Khosa is an Indian writer-director-producer who has worked between the UK, Europe and India for much of his career.
He is best known for his directorial venture Gattu, which won at Berlin Film Festival. It won a Screen Award in India and 20 other international awards. Rajan came into the limelight with his debut feature film Dance of the Wind (1997),[1] which was a co-production between six countries, the very first of its kind in India, and was sold worldwide. It premiered at Venice and won awards at Rotterdam, Chicago, London, and Nantes, to name a few. In 2015-17, Rajan was creative director on animation project Selfie With Bajrangi a 104 episode series now on Amazon.
In 2014–16, he developed a large scale feature film with Disney-UTV. Rajan has been a recipient of the Huber Bals Award in Rotterdam & Montecinemaverite Award in Locarno. His half-hour Indian diploma Bodh-Vriksha (Wisdom Tree), which released in 1987, garnered him a National Award and three Oberhausen Awards. Along with being a voting member of BAFTA Awards, he's also an alumnus of the Royal College of Arts London, FTII Pune, and NID Ahmedabad. Rajan is founder of Elephant Eye Productions that not only makes feature films but also produces spatial experiences with story, multiple projections and holography.
Biography
[edit]
Rajan Khosa started his professional education at Film and Television Institute of India (FTII), Pune, and Royal College of Art (RCA) London and also spend a few years at National Institute of Design, Ahmedabad.[2][3]
Filmography
[edit]
Gattu (2012)
Dance of the Wind (1997)
Bodh-Vriksha (Wisdom Tree) (1987)
Selfie With Bajrangi (series) (2015-2017)
Awards
[edit]
1985: National Film Award for Best Short Fiction Film: Wisdom Tree[4]
1997: London Film Festival: Audience Award: Dance of the Wind.
1997: Festival of Three Continents: Audience Award: Dance of the Wind.
1998: Chicago International Film Festival: Gold Plaque, Best Music: Dance of the Wind (1997)
1998: International Film Festival Rotterdam: Netpac Award: Dance of the Wind (1997)[5]
2012: 62nd Berlin International Film Festival- Special Mention - Best Film: Grand Prix of the Deutsches Kinderhilfswerk: Gattu [6]
2012: Asia Pacific Screen Awards: Nomination for Best Children's film: Gattu
2012: Colors Screen Award: Best Child Artist: Gattu
2012: Los Angeles International Film Festival: Audience Award for Best Feature: Gattu
2012: Tel Aviv International Children's Film Festival - Israel: Citation of Excellence Award: Gattu
2012: Castellinaria Film Festival - Switzerland: Bronze Castle Award: Gattu
2012: Castellinaria Film Festival - Switzerland: Pemio ASPI Award: Gattu
2012: Seoul International Youth Film Festival - South Korea: Audience Award: Gattu
2012: New York Indian Film Festival: Best Feature Film: Gattu
2012: New York Indian Film Festival: Best Young Actor: Gattu
2013: 42nd Roshd Int.Film Festival - Tehran-Iran: Diploma of Honor: Gattu
2013: China International Children's Film Festival: Best Performance by a Child Actor: Gattu
References
[edit]
Official website
Rajan Khosa at IMDb
Further reading
[edit]
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https://surendarchawdhary.wordpress.com/tag/vijay-singh/
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en
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Surendar Chawdhary Times
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https://secure.gravatar.com/blavatar/6ca2a6f045d1d37fedac47a875bba27ab8a80962378b452348fb5b1c5739c942?s=200&ts=1724202811
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Posts about Vijay Singh written by Surendar Chawdhary
|
en
|
https://secure.gravatar.com/blavatar/6ca2a6f045d1d37fedac47a875bba27ab8a80962378b452348fb5b1c5739c942?s=32
|
Surendar Chawdhary Times
|
https://surendarchawdhary.wordpress.com/tag/vijay-singh/
|
[In 1998, Goethe Institute invited me for an extended 3-week long “Contact and Information tour” through Germany. Since I was going to be right next-door, I requested the French embassy for an additional week in Paris visiting their film schools and related facilities. This brief visit turned out to be a rich, memorable experience. For one, I got to spend an hour with Satyajit Ray’s ‘red book’ on Apur Sansar and second, I got a chance to meet Roman Polanski while shooting his latest The Ninth Gate.
The following two-part extract of my Paris diary captures the magic of these and other adventures.]
><
I was in France—in fact just Paris—between June 24 and 30 [1998]. Thanks to Xavier Guerard of the French embassy, whom I had met briefly at the inaugural day of Raoul Coutard’s workshop [November 1997; also see my article Coutard of the Godard Fame], and whom I later wrote to seeking a week’s hospitality in Paris mainly to visit FEMIS and the famous Cinematheque, my hosts in Paris were their Ministry of External Affairs, no less! Which, it turned out, meant that in addition to booking me a hotel room at a prime location, they also provided invaluable assistance of a man who daily picked me up in a car, drove me around various addresses and also work as interpreter. Without this man—Monsieur Bertrand de Lorgeril—I wouldn’t have made it to half the number of people and places that I eventually did.
Apart from the two film schools—FEMIS and a polytechnic—my schedule in Paris consisted of visits to mainly the government establishments dealing with cinema, talks with their officials and on the basis of these talks if I found another place worth a visit, quickly fixing an appointment and visiting there. Thrown in on the intervening Saturday was a visit to a historic chateau outside Paris and on Sunday, what can be better than visiting one of the famous museums—tickets are much cheaper there on Sundays—the best known of which were within walking distance from my hotel? I had been through Louvre on an earlier visit; so this time I spent the whole day in the company of the impressionists at a much more compact Musee D’orsay.
A Bengladeshi ex-student of FTII, Anwar Hossain, who is married and settled in Paris, called on me one evening. I had written and directed his diploma film Vidhwans while he was at the Institute in 1978.
Anwar handed me for our library two volumes of collection of his still photographs. He also expressed a desire to give a weeklong workshop for our cinematography students while on his way to or from Bangladesh and would write to us when such an occasion came.
Discovering FEMIS is a story by itself. On reaching their Pathe Studio address, we found construction work going on there and a notice which said that the school was temporarily shifted to another premises while its new building came up!
It turned out that Monsieur Lorgeril had been given the old address in the perfectly reasonable assumption that film schools don’t change addresses all that often! The route to the new address was very confusing and took time, so that by the time we were there, we had just one hour to go round and wrap up the place.
Philippe Coutant, the English speaking “International Relation” in-charge of the school received us and showed us around. A classroom encounter with the students, which he and I had been in correspondence about, was now out of the question. Instead I had brief exchanges with the students wherever we found them—in the cafeteria, at the Steenbeck or Avid, or just in the corridors. Coutant and I talked about students of our two institutions who had spent time in each others’ school—our Kartikeyan who he recalled had not completed the course at FEMIS, and one of their girl students who spent a semester at FTII designing and constructing a set for one of the diploma films on the basis of which she got her own diploma. Coutant did not know Dilip Padgaonkar, that the eminent Times of India editor had been a student decades back, not at FEMIS but its earlier avatar, OEDEC. He however dug up the name from a directory of the ex-students much in the manner of our own Mehboob sahib at FTII.
At present FEMIS is scattered among hired spaces of a commercial studio, which itself is a scattered establishment among blocks housing all kinds of other businesses, like godowns, warehouses, transport company offices etc. The place is such an amalgam that a casual visitor would see neither the atmosphere of a studio, nor a film school. Next year the building would be ready and the school would find a permanent home “for at least ten years” at its Pathe Studio address “where Renoir once shot.”
The other school I went to was Ecole Nationale Superieure Louis Lumiere where its director Georges Dadoun gave a brief background to the activities of the school. Housed in its own 3-4 storied single block building on the outskirts of Paris, the school offers courses in Still Photography, Cinematography and Sound Recording. When asked why with all the necessary equipment and production facilities they don’t offer Direction courses as well—after all they need directors for their diploma films and other exercises—I was given a rather strange reason. The school cannot afford the extra faculty positions which will be needed for an additional course! Teachers’ salaries, it was made out, constitute a major expense of running a film school.
Centre National de la Cinematography, CNC, is the French equivalent of our NFDC where we were briefed by their Director of Public Relation, Monsieur Decaudaveine. Apart from running film festivals, funding productions and handling distribution too, CNC takes pride in a scheme under which they subsidise foreign productions. The Indian list of films produced under this scheme starts from Mrinal Sen’s Genesis, Ketan Mehta’s Maya Memsahib, Dev Benegal’s English August, Vijay Singh’s Jai Ganga and our own Rajan Khosa’s Dance of the Wind. Mani Kaul and Farida Mehta (with their Naukar ki kameez and Kali shalwaar), among others, are in the pipeline.
None of the French institutions is perhaps as much loved and admired—as also visually referred to in their films—by the directors of the nouvelle vague as the one where they were all virtually raised, the Cinematheque Francaise. On my first visit to Paris in mid-eighties, passing casually in front of a building on my way back from seeing the Eiffel Tower (what else?), I was struck by a strange familiarity. Wasn’t it the same staircase that you descended in order to get into a basement projection theatre? That was an image from Trauffaut’s Stolen Kisses, and this indeed was the frontage of the famous premises. So this is where they all gathered evening after evening to get their diet of films, you said. You even saw in your mind’s eye the portly, rotund figure of its legendary director Henri Langlois conducting the vibrant place. Henri Langlois would be France’s PK Nair.
Regrettably, I was told that those premises of the Cinematheque have since burnt down in a fire and its functions have been shifted to different locations. On my schedule was a visit to its main office at rue de Longchamp where one Monsieur Marchand advised us to visit their film archive outside Paris. An appointment was made and the next day Monsieur Lorgeril and I drove to the place following a map.
There is a whole tradition in Europe of converting old buildings to modern use by keeping the exterior intact. If Musee L’Orsay housing the work of impressionists was originally a railway station next to the Louvre, the film archive where we were now going, Les Archives du Film, had been a castle which during the II world war was used for stocking all kinds of war ammunition. Camouflaged as it is by grass covered mounds and dense greenery, the approach to the place is quaint. The check post at the entry looks as though gun-toting, metal-stud booted soldiers would walk in any time.
The small built but intense, extremely energetic curator of the place, Madame Michelle Aubert received us at the check post and aided by an assistant immediately began to tell us about the place and show us the vaults. The concealed space of the castle had been put to ingenious use aiding temperature and humidity regulations so necessary for film storage. She showed us a whole range of weird sprocket holes on strange gauges of film from the origins of cinema, some of which I photographed.
Further inside in the middle of the compound is a modern, double-storied building specially designed for office space, restoration work space, projection hall and the like. Back in her office, Madame Aubert, who is also the president of FIFA, presented me with brochures, two VHS cassettes and a CD-ROM on Lumiere Brothers, all as it turned out in French.
><
My last day in Paris, 30th June, was full of surprises—all pleasant—and even a bit of a live chase sequence. I had been enquiring whereabouts of the original screenplay books of Satyajit Ray’s Pather Panchali (the famous ink-wash sketches which have been reproduced in various books) which I knew had been gifted by the master to the Cinematheque. The search brought us to CNC’s Bibliotheque du Film, BIFI, where the young “Directrice de la Mediatheque” Fortunee Sellam received us. After a moment’s pause, she clicked on a computer, spoke on the phone and smiled. “I think Mr Chawdhary it would be easy for us to satisfy you,” she said.
After coffee, Fortunee Sellam showed us around the ultra modern, high tech, skylight lit reading hall. A couple of cardboard models of landscape on two tables caught my eye. These were representations of the two film sets that were designed and used by Alain Resnais for his iconic twin films Smoking/ No Smoking.
We had recently seen this strange film in the Institute. Taking place all outdoors but shot exclusively on two elaborate studio sets, we never realised that all the characters there (5 males and 4 females) had been played by just two actors! The action flowed so smoothly the impression came all 9 were free to walk in the frame any moment!
Finally an assistant brought what I was after. Wrapped carefully in a red cloth, this appeared to be 2-3 volumes. But when placed on a reading table and opened, this was one single notebook wrapped in layers of paper. Also, instead of Pather Panchali, this turned out to be the Apur Sansar screenplay. Red cloth covered and stitch bound—traditional account books called Khero Khata—this was about a hundred page unruled journal with sketches drawn in Ray’s known hand. I spent about an hour with the book, took pictures of some interesting pages and asked a sequence over 5-6 pages photocopied.
On the left are his doodles of Satyajit Ray Production logo. Apur Sansar was the first film produced by Ray.
These frames refer to the humorous moment when Apu reads snatches of his wife’s letter in a crowded bus. A sweaty dark man ogles.
This slideshow requires JavaScript.
These pages cover the entire morning sequence where Aparna lights up coal fire as Apu watches from the bed. Shot numbers run from 1 to 29. The famous hair pin shot is here, as is a close up of the cigarette packet (Scissors brand) where he sees her warning note. At the end can be seen Apu playing flute.
><
The chase I refer to pertains to locating Roman Polanski who happened to be shooting his latest in Paris…
[Continued]
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https://kazimi.medium.com/the-14-south-asian-films-who-will-pitch-like-a-startup-35a5892b48aa
|
en
|
The 14 South Asian film projects that will be pitched like a startup
|
[
"https://miro.medium.com/v2/resize:fill:64:64/1*dmbNkD5D-u45r44go_cf0g.png",
"https://miro.medium.com/v2/resize:fill:88:88/1*Pa_LBuqtkufW4ztnF0oF4Q.jpeg",
"https://miro.medium.com/v2/resize:fill:144:144/1*Pa_LBuqtkufW4ztnF0oF4Q.jpeg"
] |
[] |
[] |
[
""
] | null |
[
"Misaq Kazimi",
"kazimi.medium.com"
] |
2019-11-01T19:32:45.137000+00:00
|
If you are a fan of films, you know and go to film festivals, but if you are in the business of film, you go to a film market. I’ve written about their difference before and highly encourage serious…
|
en
|
https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
|
Medium
|
https://kazimi.medium.com/the-14-south-asian-films-who-will-pitch-like-a-startup-35a5892b48aa
|
If you are a fan of films, you know and go to film festivals, but if you are in the business of film, you go to a film market. I’ve written about their difference before and highly encourage serious filmmakers to ditch the fanfare of film festivals and instead attend film markets.
One such market is India’s Film Bazaar where they select a number of quality projects and have the producers pitch the project in-front of industry professionals and financiers. This practice results in films finding co-producers, financiers and/or distribution all in one room.
Film projects can be in development for years, but if they’ve made it to a prestigious market like this, very much like a startup demo day at the end of an accelerator, the chances of the project being made are very high.
Here’s the list of this year’s selection which come from teams across across India, Bangladesh, Bhutan, France, Nepal, Singapore and USA.
● Aamar Xokolure Bhaalpowa (All Our Loves) | Assamese | India / Director- Mehdi Jahan / Producer- Heer Ganjwala, Human Trail Pictures
Mehdi Jahan completed his masters in mass communication from AJK MCRC, Jamia Millia Islamia in 2011. He shot PSBT produced documentary, The F-Word by Saba Rehman. He also assisted and shot…
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https://www.firstpost.com/entertainment/gattu-a-kids-tale-of-education-and-courage-to-pursue-dreams-381162.html
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en
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Gattu: A kid's tale of education and courage to pursue dreams
|
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[] |
[] |
[
"BuzzPatrol",
"Nandita Das"
] | null |
[
"FP Staff"
] |
2012-07-18T11:07:19+05:30
|
"The film is about the have and have-nots and the right to education," says director-producer Rakeysh Omprakash Mehra.
|
en
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https://images.firstpost.com/dlxczavtqcctuei/news18/static/images/fp/favicon.ico
|
Firstpost
|
https://www.firstpost.com/entertainment/gattu-a-kids-tale-of-education-and-courage-to-pursue-dreams-381162.html
|
Can cinema and education co-exist for children? It can, and Gattu, a film by Rajan Khosa, promises to do that.
Many educationists came together to support Gattu and participate in a discussion about the pertinent subject of cinema and its role in education, on Friday, during the launch of Gattu’s promotional song â Laga le pech.
âWe can aim to make a difference in the way films are viewed and make them a learning tool,â said Nandita Das, actor and chairperson of Children’s Film Society India (CFSI).
Gattu is the first work by CFSI to be released commercially.
âWe also have a Kannada and an animation film coming up. Gattu will be a gate opener for all of them," Nandita told reporters at the event. “Through this release we hope to reach out to millions of children in India. Gattu gives me the courage to follow my dream as well. I will feel that if he can do it, so can I,” she said.
The film, starring Mohammas Samad as Gattu, has been directed by Rajan Khosa of Dance of the Wind fame.
Revealing the story, Khosa said the film is about a nine-year-old street boy who is obsessed with flying kites. “He wants to cut this black kite called Kali and for this he needs a high roof. He realises that the school has one and pretends to go to the school and wins the heart of all children,” he added.
Gattu opened at the 17th International Children’s Film Festival at Hyderabad. The film was held in high regards by critics and film reviewers all over the world. It had also been honoured with a special mention at the 62nd Berlin International Film Festival.
Director-producer Rakeysh Omprakash Mehra is supporting Gattu and says that the entertaining and wonderful story will take viewers back to their childhood days. “I am proud that I am associated with Gattu. I will do whatever I can to support the film,” said Mehra.
“The film is about the have and have-nots and the right to education. It is about all of us. I am sure it will be a lovely movie and I want to give it my entire support. Lower the budget, the more the challenges. The film seems entertaining and the story is wonderful. Let’s revisit our childhood through this film,” he added.
Laga le pech has been sung by Shubha Mudgal and child artists of Gattu. Lyrics are by Khosa and Ankur Tiwari and Sandesh Shandilya has composed it.
CFSI is a government body that produces, exhibits and distributes childrenâs cinema. Since its inception CFSI has given opportunities to young and imaginative film-makers and over the years some of the most delightful childrenâs content has been produced by the organisation. CFSI films are regularly shown on satellite channels, but this is the organisationâs first foray into a nation-wide theatrical release.
The film is being distributed in India by Rajshri Media and will release on 20 July.
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|
en
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r_tutorial/procvicovani/movie_avshotlength.csv at master · lich-uct/r_tutorial
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https://opengraph.githubassets.com/04b3289acfccb39e9c1be322f0615999f44e5bf856ba2cf07879241ef14677ae/lich-uct/r_tutorial
|
https://opengraph.githubassets.com/04b3289acfccb39e9c1be322f0615999f44e5bf856ba2cf07879241ef14677ae/lich-uct/r_tutorial
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[] |
[] |
[] |
[
""
] | null |
[
"lich-uct"
] | null |
Lehký úvod do jazyka R a statistiky. Tutoriál slouží jako materiál k předmětu Statistická analýza dat vyučovaném na VŠCHT Praha. - r_tutorial/procvicovani/movie_avshotlength.csv at master · lich-uct/r_tutorial
|
en
|
GitHub
|
https://github.com/lich-uct/r_tutorial/blob/master/procvicovani/movie_avshotlength.csv
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Skip to content
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|
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https://www.screendaily.com/kashyap-nair-among-film-makers-selected-for-film-bazaar/4041791.article
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en
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Kashyap, Nair among film-makers selected for Film Bazaar
|
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] |
[] |
[] |
[
""
] | null |
[
"Liz Shackleton",
"Jeremy Kay",
"Michael Rosser",
"Ellie Calnan"
] |
2008-11-05T08:25:00+00:00
|
Nair, who picked up Cannes' Camera d'Or award in 1999 for Throne Of Death, will present Hindi-Chinese drama Simply Love to potential investors and partners later this month (see details below). Karun, who was awarded with a Camera d'Or - Special Mention for The Birth (Piravi) in 1988, has Malayalam ...
|
en
|
/magazine/dest/graphics/favicons/favicon-32x32.png
|
Screen
|
https://www.screendaily.com/kashyap-nair-among-film-makers-selected-for-film-bazaar/4041791.article
|
Camera d'Or winners Murali Nair and Shaji Karun and hot up-and-coming writer-director Anurap Kashyap are among the filmmakers who have had projects selected for the second edition of India's Film Bazaar co-production market (Nov 26-29).
Nair, who picked up Cannes' Camera d'Or award in 1999 for Throne Of Death, will present Hindi-Chinese drama Simply Love to potential investors and partners later this month (see details below). Karun, who was awarded with a Camera d'Or - Special Mention for The Birth (Piravi) in 1988, has Malayalam and Hindi-language drama Legend at the market.
Kashyap, whose credits include acclaimed documentary Black Friday and drama No Smoking which premiered at the Rome film festival last year, will present suspense thriller Happy Ending, about the culmination of a girl's life-long search for her father.
Other cutting edge filmmakers to have projects selected for the market include Ashim Ahluwalia (John & Jane) and Rajan Khosa (Dance Of The Wind). In addition, UK director Michael Anderson will present an adaptation of Indra Sinha's Booker Prize-nominated novel Animal's People.
Organised by India's National Film Development Corp (NFDC) and held at the same time as the International Film Festival of India in Goa (Nov 22-Dec 2), Film Bazaar aims to encourage the diverse cinemas of India through international co-production and collaboration.
A total of 12 feature films have been selected along with ten documentary projects, tackling subjects such as environmental issues, the choices facing young Indians and the winners and losers of global trade practices (see below).
In addition to the NFDC-selected projects, the European Producers Club is also bringing a slate of India-centric projects that are looking for partners in India. These include an adaptation of Vikas Swarups' novel Six Suspects, to be produced by Paul Raphael, and producer Leslee Udwin's sequel to East Is East, entitled West Is West.
Indian Panorama features and non-feature films that are being showcased by this year's IFFI are also being promoted at the market.
Other features of Film Bazaar include a Work-In-Progress Workshop; a Screenwriters Lab, held in association with Amsterdam-based Binger Filmlab; a series of seminars co-hosted by Screen International, and a master class held by eminent Indian filmmaker Shyam Benegal.
Screenwriters Lab mentors include Philippa Campbell, Sooni Taraporevala, Franz Rodenkirchen and Udayan Prasad. Advisors for the Work-In-Progress workshop include Arclight Films' Gary Hamilton, critic Derek Malcolm and editor Molly Stensgaard (Dancer In The Dark).
Other international guests set to attend the market include Fortissimo Films' Michael Werner, Distant Horizon's Anant Singh and the UK Film Council's Emma Clarke. In addition, former Cinemart director Ido Abram is acting as a consultant to this year's Film Bazaar.
FILM BAZAAR FEATURE PROJECTS
1. Animal's People
Dir/prod: Michael Anderson
Prod co: Quadrapedal Films
Language: English
Synopsis: Derived from the Booker Prize-nominated novel by Indra Sinha about a boy living with the consequences of an explosion in a chemical factory.
2. Bandra Fair
Director: Judith Varma
Producer: Sudhir Mishra
Production Company: Cineraas Entertainment
Language: English
Synopsis: A former Catholic priest returns home from to Mumbai to break the news to his mother that not only has he left the priesthood, but is married with two daughters.
3. A Different Childhood
Director: Brahmanand Singh
Producers: Joy Sengupta / Rajesh Pavithran
Production Company: Born Free Cine Paradise
Language: Hindi
Synopsis: Drama exploring the issues surrounding, and possible solutions to, the global problem of child labour.
4. Happy Ending
Dir/prod: Anurag Kashyap
Production Company: Anurag Kashyap Productions
Language: English / Hindi / French
Synopsis: Suspenseful thriller that plays out over four days in Mumbai and narrates the culmination of a girl's life-long search for her father.
5. Hero
Dir/prod: Mangesh Joshi
Production Company: Pravah Nirmitee
Language: Hindi
Synopsis: A young shoe-shine boy cannot believe his luck when he is chosen to be the hero of a film. But when time passes and nothing is heard of the project, he starts to search for the filmmakers.
6. The Breakers
Director: Rajan Khosa
Producer: Rajan Khosa
Production Company: Elephant Eye
7. Miss Lovely
Director: Ashim Ahluwalia
Producers: Shumona Goel & Ashim Ahluwalia
Production Company: Future East
Language: Hindi
Synopsis: Drama revolving around two brothers who produce sleazy C-grade films, and the innocent, baby-faced beauty who mysteriously appears in their lives.
8. Most Wanted
Director: Manu Gautam
Producer: Ashutosh Deshmukh
Production Company: Freeze Frame
Language: Hindi
Synopsis: The tables are turned against the flashy anchor of a sensational live TV show that brings to the public the country's worst criminals for them to condemn.
9. Samuel Karthikeya
Director: Prakash Kovelamudi
Producer: Prakash Kovelamudi & Suresh Babu
Production Company: A Bellyful of Dreams & Suresh Productions
Language: Tamil / Hindi
Synopsis: A Christian boy of Hindu birth develops an angry alter-ego, named Karthikeya, which seeks justice in the night.
10. Simply Love
Director: Murali Nair
Producer: Elliot Tong
Production Company: Foxy Brown Entertainment
Language: Hindi / Chinese
Synopsis: A software engineer realises his dreams and secures a job in Hong Kong, but his happiness is complicated by the fact that he is engaged to marry a girl in India.
11. Legend
Dir/prod: Shaji Karun
Language: Malayalam & Hindi
Synopsis: A young woman's studies are interrupted when she is brought home by her father at the behest of her mother whom she hasn't seen for 16 years.
12. This Is Not A Love Story
Director: Anahata Menon
Producer: Dushyant Singh
Production Company: Back 2 Back Entertainment & Mesmer
Language: Hindi
Synopsis: Drama following the real-life experiences of a young Indian man who undergoes a sex change.
DOCUMENTARY PROJECTS:
1. Breaking Into Bollywood
Director: Adam Dow
Producer: Ruchika Muchhala
Production Company: Thirdkulture Films
2. Desperate In The Desert
Director: Geeta Singh
Producer: Avinash Kumar Singh
Production Company: I Stylus
3. The Disappearing World: Bees In A Crisis
Director: Mike Pandey
Producer: Gautam Pandey & Arjun Pandey
Production Company: Riverbank Studios
4. Fifty Years Apart: Tales From Sarbatwalla Chowk
Director: Kaevan Umrigar
Producer: Kaevan Umrigar & Vinoo Krishnan
Production Company: Floating Weeds
5. Gang Of Seven
Director: Nitin K
Producer: Nitin K
Production Company: Dissolve Studio
6. The Glacial Tragedy
Director: Pramod Mathur
Producer: Neelima Mathur
Production Company: Spotfilms
7. Killer Punch
Director: Sudhesh Unniraman
Producer: Iqbal Malhotra
Production Company: AIM Television Pvt. Ltd
8. Mad About IIT - JEE
Director: Preeti Mankar
Producer: Preeti Mankar & Suri Gopalan
Production Company: 517 Productions & 1947 Films
9. Of Many Lives
Director: Bidyut Kotoky
Producer: Bidyut Kotoky
Production Company: Dhruv Creative Production
10. Travels Of My T-shirt
Director: Ranjan Kamath
Producer: Ranjan Kamath
Production Company: RKO Moving Media Pvt. Ltd
|
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Cinemas of India, Videos, Festival Participation & Awards, National Award, Regional Cinema, Independent Cinema, Art House Cinema, Jaya Ganga, Mirch Masala, Party, Salim Langde Pe Mat Ro
|
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1991 | 140 mins. | Social | Hindi
The film deals with an individuals ordeal in the face of an indifferent establishment. It revolves around the payment of an electricity bill for a farm pump-set. Velu owns a small sugarcane field and has immense faith in the establishment, in this case, the Electricity Board, to condone a delay in payment of his electricity bill. But when the power is severed he and his wife Sita are devastated. Friends and well wishers raise their hands helplessly and can only offer suggestions for restoration of power. Help comes finally from the most unexpected quarters. Their neighbour Radha who is looked down upon by the villagers, restores the power and reinforces ones faith in basic human values.
Director: K. Hariharan
Cast: Om Puri, Deepti Naval, Dr. Shreeram Lagoo, Anjan Srivastava, Savita Prabhune.
Producer: NFDC Ltd.
2003 | 101 mins. | Drama | English
Some two decades later, Jairaj and Ratna are now forced to confront their troubled past as Lata, their daughter, prepares for her arrangetram or debut as a dancer. Into this memory laden house, Lata brings her fiance, Vishal, to meet her parents. Exposed to an environment alien to his own, Vishal in some ways acts as a catalyst to reveal the dark secrets of the family's relationships and its generational conflicts.
Director: Pamela Rooks
Cast: Shobana, Arif Zakaria, Anoushka Shankar, Samir Soni, Mohan Agashe
Producer: NFDC Ltd.
1999 | 86 mins. | Social | Hindi
Set in contemporary New Delhi, the film captures the 5000-year-old tradition of passing on the legacy of Hindustani music, taught by parent to child, by Guru to disciple, over generations. A young singers successful professional life comes to a sudden halt at the death of her mother and teacher. The film traces her downfall and recovery thought the help of her mother's guru, and a mysterious young girl, Tara.
Director: Rajan Khosa
Cast: Kitu Gidwani, Bhaveen Gosain, Roshan Bano, B. C. Sanyal, Kapila Vatsayan
Producer: NFDC Ltd.
Awards:
London Film Festival 1997 Audience Award,
Festival Of 3 Ontinents 1997,
Chicago Festival 1998 Gold Plaque,
Venice Film Festival 1997 Selected For Critics Week,
Rotterdam Film Festival 1998 Best Asian Film (Netpac Award),
British Asian Film Festival 1998 Best Director.
2000 | 120 mins. | Drama | Hindi
Sunil, an NRI married to an American girl is returning to Kolkata after 15 years to see his father who has never reconciled to his marriage. A shock awaits him when he learns that his father has disappeared and no one knows where he has gone. The only people who could know are his sister Ruma who lives in Banaras, his younger brother Anil in Mumbai and their old servant Sambhu. With a deep sense of guilt Sunil hits upon a clue that suggests his father had spent the last few years at an old age home near Kolkata. The final blow is the discovery that his father had died a few months earlier and had been cremated because no one had claimed the body. It is at the home that Sunil meets Satyababu, who tells him that his father cared more for his children than they did for him.
Director: Gul Bahar Singh
Cast: Rajit Kapoor, A.K. Hangal, Kritika Desai, Anjan Srivastav.
Producer: NFDC Ltd.
2002 | 145 mins. | Hindi | Historical
History is made
Not by Warriors and Kings,
But by Simple Women,
Wives and Widows . . .
Born in an unknown dhangar (shepherd) family in the late 1720's Ahilya became the daughter- in-law of Malharrao Holkar, the first Maratha Subhedar (Governor) of Malwa in Central India. Ahilya was in her twenties and a mother of two children when the sudden death of her husband Khanderao led her towards sati - the ritual burning on husband's funeral pyre. Malharrao prevented this tragedy and groomed her into handling administrative duties for the Holkar State - thus Ahilya overcame barriers of tradition with austerity and hard work to achieve venerable social status at a young age.
Her daughter's delayed marriage, her errant son's descent into madness and political intrigue over issues of succession of Malwa leadership have all become folk legends, but her piety and dedication raised her to an exalted status of a religious reformer and an ideal ruler who initiated, executed and maintained an Empire of Charities; from Dwarka to Benares and from Hrishikesh to Rameshwaram she created an identity of a united India above and beyond any political boundaries of the time.
"Devi" Ahilyabai is not just a bio-epic or docu-drama, but with scintillating music including sixteen songs, a historic film that integrates facts, folklore and legend that together underline the inherent contradictions between the rights and duties of rulers in our society.
Director: Nachiket & Jayoo Patwardhan
Cast: Mallika Prasad, Sadashiv Amrapurkar, Shabana Azmi, Satish Alekar, Omkar Arjunwadkar, Surabhi Ganguli, Chetan Pandit, Hrishikesh Joshi,Ganesh Yadav, Prakash Dhotre, Jayant Sawarkar, Praveen Tarde, Bharti Jaffery
Producer: NFDC & Ministry of Tourism & Culture, Department of Culture, Government of Maharashtra
1991 | 120 mins. | Colour | Social
Dharavi, brings to life the squalid corruption and crime-ridden expanse of the largest slum in Asia. The fast paced plot brings us a buoyant and susceptible Rajkaran who hires rides as a cabbie and lives in a cubbyhole with his wife Kunda (Shabana Azmi) and son. Rajkaran is possessed with the desire to own a cloth factory, and making better his life's situations, he pledges all his resources to this sole dream of making it big.
His only respite from hostile realities and underhanded friends that threaten to destruct his dream is the gorgeous Bollywood starlet Madhuri Dixit; his make believe fantasy and only solace.
Director: Sudhir Mishra
Editor: Renu Saluja
Music: Rajat Dholakia
Cast: Om Puri, Shabana Azmi, Raghuvir Yadav, Virendra Saxena, and Madhuri Dixit in a special appeareance.
Awards
National Award for Best Editing - 1992
National Award for Best Feature Film in Hindi - 1992
National Award for Best Music Director - 1992 1991 | 120 mins. | Colour | Hindi | Social
Acharya Udupa is a vedic scholar running a residential school - a gurukul. An austere man demanding rigorous discipline from the novices under training, he accepts the latest disciple, Nanni, with the utmost reluctance. Nanni's training begins at two levels, the formal one with the Acharya, informal one with a couple of fellow novices. Also living with Udupa is Yamuna, his young daughter, a widow, whose life has a secret side to it. She is in love with the local schoolmaster - a forbidden, abhorrent idea for the Brahmin society. One night, during the Acharya's absence from the village, Yamuna has an intimate meeting with the schoolmaster. She becomes pregnant, and a target for the full orthodox society.
Director: Arun Kaul
Camera: A. K. Bir
Editor: Adesh Verma
Music: Mohinderjit Singh
Cast: Nana Patekar, Manohar Singh, Ashish Mishra, Rajashri Sawant
Awards
National Award for Best Editing - 1992
National Award Best Film in Hindi - 1992
Film Fare Critics Award for Best Hindi Film - 1992
Film Fare Critics Award for Best Screenplay - 1992
Annonay International Film Festival, France - Prix Du Public (Audience Awards) for Best Film - 1992
Madhya Pradesh Development Corporation - Best Hindi Film - 1992 1973 | 82 mins. | Color | Hindi
A girl Lachhi, is married to a merchant's son, Kishanlal. He brings her to his village but leaves her immediately to go away on business. Lachhi is left to her own devices.
Meanwhile a ghost falls in love with her and assumes the form of her husband and begins to live with her. Soon she finds herself pregnant with a child.
The husband returns a dilemma arises
The film moves on two planes - inside-outside, dark-light, a structure that exists in the folk tales and myths the world over.
Director: Mani Kaul
Editor: Ravi Patnaik
Cast: Ravi Menon, Raisa Padamsee
Awards
National Award for Best Director - 1974
Fimfare Critics Award for Best Film - 1974
Festival Participation
Berlin International Film Festival - Form for New Cinema (Interim Award Recommendation) - 1975 1988 | 105 mins. | Social | Hindi
Calcutta: one day the city is crippled by a heavy downpour. Everything goes topsy turvy. A professor who has gone out for a while doesn't return home for months, leaving his family in great anxiety. In the vacuum created by his absence, the family finds itself trapped in a new emotional world.
Director: Mrinal Sen
Cast: Shabana Azmi, Dr. Sreeram Lagoo, Aparna Sen, Rupa Ganguly.
Producer: NFDC & Doordarshan
Awards:
Bengali Film Journalists Association Award 1989 - Best Director, Best Supporting Actor, Best Supporting Actress, Best Screenplay, Best Art Director, Best Editor.
National Award 1989 - Best Supporting Actress.
1990 | 122 mins. | Colour | Hindi | Social
After years of painstaking research at the cost of his domestic pleasure, Dr. Dipankar Roy discovers a vaccine for leprosy. The news is flashed over television and overnight; an insignificant junior doctor receives international recognition. Professional jealousy and abuse of power threaten Dr. Roy, even as the Secretary of Health reprimands him for breaking the news to the press. He is asked to report to the Director of Health. Professional colleagues Dr. Arijit Sen and Dr. Ramananda invite him to a lecture but it is merely a pretence to humiliate him. Dr. Roy suffers a mild heart attack but he refuses to go to the hospital. His wife and few others like Dr. Kundu stand by Dr. Roy, but the harassment continues; a letter from an American foundation is suppressed and Dr. Roy transferred to a remote village. The last straw is two American doctors receiving credit for discovering the same vaccine. Dr. Roy is shattered.
Director | Script | Music: Tapan Sinha
Camera: Soumendu Roy
Editor: Subodh Roy
Cast: Shabana Azmi, Pankaj Kapur, Irfan Khan, Deepa Sahi, Vijayendra Ghadge
Awards
National Award for Second Best Film & Best Director - 1991
Special Jury Award for Best Actor - 1991
Bengal Film Journalists Association Awards for Best Film, Best Director - 1991
Festival Participation
37th Film Fare Award for Best Screenplay - 1991
Red Cross Film Festival, Sofia (Bulgaria) 19911989 | 98 mins. | Drama | Hindi
Rajanna and Geeta arrive in the city in the fond hope of building a cosy little home. When they discover just such a house their happiness knows no bounds. Things are fine till, one day, a workshop opens up next door and brings with it a wide variety of sounds. When the noise crosses the bounds of tolerance, Rajanna is indignant but cannot do much, until he discovers that his wife has achieved the impossible task of getting the shed vacated, but only by yielding to the demands of the police inspector. Rajanna now wants to take Geeta away from the environment. He seeks the help of the workmen who had earlier occupied the shed, but discovers that their slum is being demolished to make way for a multinational.
Director: Girish Kasaravali
Cast: Naseeruddin Shah, Deepti Naval, Rohini Hattangady.
Producer: NFDC Ltd.
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https://indianraga.wordpress.com/2009/04/05/dance-of-the-wind-the-soundtrack/
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Dance of the Wind : the Soundtrack
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2009-04-05T00:00:00
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Very few films have featured Hindustani classical music as their central theme. Dance of the Wind (or Swara Mandal) is a 1997 Hindi film, written and directed by Rajan Khosa. The film was a co-production between five countries, including UK, Germany and India. A celebration of classical music traditions, the film captures the beauty of…
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en
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https://secure.gravatar.com/blavatar/88a9d2330c31978b533ceebf4450f1e16155eef96dd0c1fc4bbb72407e03a46c?s=32
|
Indian Raga
|
https://indianraga.wordpress.com/2009/04/05/dance-of-the-wind-the-soundtrack/
|
Very few films have featured Hindustani classical music as their central theme. Dance of the Wind (or Swara Mandal) is a 1997 Hindi film, written and directed by Rajan Khosa. The film was a co-production between five countries, including UK, Germany and India. A celebration of classical music traditions, the film captures the beauty of ancient Indian music and the culture from which it emanates.
Pallavi (Kitu Gidwani), a budding Indian classical singer, is the daughter and student of celebrated classical singer, Karuna Devi (Kapila Vatsyayan). While she was still gaining her confidence, her mother expires suddenly. Due to this shock Pallavi lost not just her bearings but also her voice, subsequently she also loses her career, her students, and her husband. It is only after she meets a young street urchin, Tara and start teaching her, following the guru-shishya parampara (master-student tradition) of Indian classical music, as her mother once did with her, does she begin to find herself again, and also her voice.
The beautiful soundtrack of the film is by Shubha Mudgal, while playback was given by Shweta Jhaveri (for Pallavi), Shanti Hiranand (for Karuna Devi), and Brinda Roy Choudhuri (for Tara). Other noted artists, who worked on the soundtrack were, Sarangi maestro, Ustad Sultan Khan, and noted flautist, Ronu Majumdar.
The Concert – Shweta Jhaveri : (Download)
http://www.fileden.com/files/2009/5/21/2450334/dance-of-the-wind-02-the-concert-shweta-jhaveri.mp3
Tara’s Song – Brinda Roy Choudhuri : (Download)
http://www.fileden.com/files/2009/5/21/2450334/dance-of-the-wind-03-taras-song-brinda-roy-choudhuri.mp3
I recently met Brinda Roy Choudhuri on eSnips.com and she was surprised that I remembered her name. She did not have copies of the songs she sang for this film (she was 11 years old then). I was too glad to oblige. She is a 25 year old, highly talented singer now. Shweta Jhaveri, as we all know, is a well known classical vocalist of today. Shanti Hiranand is better known for a biography of her guru, the legendary Begum Akhtar: The Story of my Ammi. She also played a miniscule role of Siddhartha’s mother in Conrad Rooks’ 1972 movie Siddhartha. She is a superb singer and I wonder why more of her songs are not available today.
Echoes in Time 1 – Shanti Hiranand : (Download)
http://www.fileden.com/files/2009/5/21/2450334/dance-of-the-wind-04-echoes-in-time-1-shanti-hiranand.mp3
Heart of Darkness – Shweta Jhaveri : (Download)
http://www.fileden.com/files/2009/5/21/2450334/dance-of-the-wind-05-heart-of-darkness-shweta-jhaveri.mp3
Echoes in Time 2 – Shanti Hiranand : (Download)
http://www.fileden.com/files/2009/5/21/2450334/dance-of-the-wind-06-echoes-in-time-2-shanti-hiranand.mp3
The film was premiered at 1997 Venice Film Festival, and became India’s official entry at the Karlovy Vary Film Festival, Melbourne Film Festival, Jerusalem Film Festival and International Film Festival of India (IFFI) in 1998. The film went on to win the ‘Gold Plaque for Music’ at the 1998 Chicago Film Festival. However, it was commercially released in India, only in February 2008.
indianraga
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http://film-directory.britishcouncil.org/dance-of-the-wind
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en
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British Council Film: Dance of the Wind
|
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"Dance of the Wind",
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Set in contemporary New Delhi, Dance of the Wind follows a young singer, Pallavi Sehgel, whose succe
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/layout/header/images/british_council-favicon.ico
| null |
Synopsis
Set in contemporary New Delhi, Dance of the Wind follows a young singer, Pallavi Sehgel, whose successful professional life comes to a sudden halt at the death of the woman and musician who was both her mother and teacher. She loses her voice and with that her career, students, and finally, it seems, her husband. At first it appears that she is simply grief-stricken. But her silence persists. The efforts of those closest to her to discover the reason fail.
The answer lies in her own desire for the pure music she once heard as a child, in the veiled past of her mother's death and in the laws of the sacred tradition itself... A strange old mendicant appears at the hour of her mother's death, accompanied by a young girl, Tara, who sings with a voice of angelic beauty. Pallavi is haunted by the child's voice, but she proves to be as elusive as she is entrancing. The only acknowledgement she offers Pallavi is to disappear into the shadows from whence she came.
And the old man, is he her mother's teacher, who renounced the world for mysterious reasons many years ago? Or is he just another wandering madman? If he is truly 'Baba', of whom her mother rarely spoke, then perhaps he also holds the key to her voice.
With perseverance, however, and with help of the young girl, Pallavi comes to learn that the old man communicates his knowledge in dreams and visions.
Pallavi's downfall sees everything she holds dear stripped away. While her husband, a usurping pupil and a ferocious critic all have a part to play in her journey through silence and near madness in the nightmare of a market place, Pallavi somehow finds the strength to reconstruct herself as a link in the ancient chain.
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https://m.rediff.com/style/jun/04mudgal.htm
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en
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Style: The Rhythms of Passion
|
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Amrapali Singh in New Delhi
Today, the golden voice at Motia Khan belongs to 38-year-old Shubha Mudgal, who has been making classical, and controversial, waves in the world of music.
The latest in the wave of purist accusation is the fact that she has contributed to the music of Mira Nair's controversial film, Kamasutra. "I even have a two-minute role in the movie,'' she tells you, a gleam of mischief in her huge, kohl-lined eyes. "I play a classical singer who gives a performance at the Jai Niwas palace in Jaipur.'' Though the overall music in the film is by Canadian music director Michael Danna, Mudgal has provided the Indian touch to the film's music.
Highlighting the controversy is the fact that a Rs 800,000 case has been slapped against her by the Shriram Bhartiya Kala Kendra. They claim that she has illegally used the music of their ballad Meera, in Kamasutra.
"First of all," says an angry Mudgal, "I provided the music for that ballad. And we did not sign a contract for that music. So how can they say it belongs to them? Moreover, I have set this particular musical score on Meera's lyrics. Where does the Kendriya come in the picture? People like Shobha Deepak Singh (director, SBKK) take advantage of the artists' gullibility.''
Not, of course, that Mudgal is new to controversy. Her first attempt at popular music, in the form of a collection of Sufi songs, was an instant rage with the public. It also generated a lot of negative criticism and her cassette, Ali More Angana, was trounced as an attempt to portray herself as the India counterpart to the immensely popular Ustad Nusrat Fateh Ali Khan.
The purists, on the other hand, frowned on a classical singer who, according to them, was stooping to the level of semi-classical and, worst of all, popular music. But Ali More Angana -- the lively, colourful album with soul-stirring Sufi lyrics where God is both the lover and the giver, the teacher and the friend -- was a rip-roaring success, with the younger generation in particular.
Which was exactly what Mudgal was hoping for when she signed a deal with Magnasound. "If," her otherwise gentle eyes flash again, "my effort has made people stop and listen to words and tunes which they would have otherwise shunned, why not? I haven't deviated from my music, only experimented with the beat. As long as my conviction remains intact, I will have no hesitation whatsoever in continuing to do so."
Experimentation, in fact, is the by-word for this singer. "I don't intent to repeat the Ali More... experience, but I have no regrets either,'' she says firmly. And, what with giving musical scores to television serials like Firdaus and Sayeed Naqvi's Mera Bharat to performing live in Sahmat's (the Safdar Hashmi Memorial Trust)'s Artists against Communalism concerts, Mudgal has been anything but conventional.
In the process, she won an award for the music she provided for Meera Dewan's award-winning documentary Amrit Beeja and for the music she set for NRI film-maker Rajan Khosa's Dance of the Wind, a short film on the guru-shishya parampara (the teacher student tradition). "I think both these films have helped me in my effort to popularise classical music," says Mudgal.
The classical tradition is obviously very close to her heart. Yet, her training did not begin until she was 16 years old. It was only at the suggestion of her mother that she began learning classical singing under Kamala Bose in Allahabad. And she discovered that her strong, booming voice, which could encompass a wide range, was eminently suited to the genre.
Ram Ashray Jha, her next teacher, introduced her to the soul of music. Later, after her marriage, she studied under her father-in-law, Vinay Chandra Maudgalya. Eventually, she honed her talent under classical greats like Kumar Gandharva, Vasant Thakar, Jitendra Abhisheki and Naina Devi.
Yet, Mugdal, despite her belief in the classical tradition, refuses to be bound by its rigidity. She does begin her day with riyaaz, but with tending to her family, her daily household chores and her seven Dalmatians. Riyaaz, for Mudgal, happens between 10 am and 1 pm. She also used this time to guide music research scholars who come to her for help.
The rest of the day goes by in a jiffy, with appointments and recordings and meeting more people. "I just know," says Mudgal, as she leans back into the pillows, "that I want to be associated with music is some way of the other -- either as a teacher, singer or a composer. That's my only aim in life.''
Besides, of course, singing in a mehfil at a historical site in front of select audience!
Shubha Mudgal's photographs: Atul Chowdhury
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https://issuu.com/cfsindia/docs/bioscope-14112011
|
en
|
Bioscope 14112011
|
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[
""
] | null |
[] |
2011-11-22T00:00:00+00:00
|
From the Chairperson Nandita Aunty is so nice. When I asked her to give me an interview, she agreed immediately. The 'Children's World' section wil...
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en
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/favicon.ico
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Issuu
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https://issuu.com/cfsindia/docs/bioscope-14112011
|
From the Chairperson Nandita Aunty is so nice. When I asked her to give me an interview, she agreed immediately. The 'Children's World' section will showcase never seen before award-winning films from the last decade while the 'India Competition' will feature some of India's best recent films. Another first is the introduction of age-wise programming. But the festival has a lot more, with many interesting workshops and Open Forums on subjects related to children and cinema. th
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https://rajankhosa.com/project/dance-of-the-wind/
|
en
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Dance of the Wind – RAJAN KHOSA
|
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[] | null |
en
|
https://rajankhosa.com/project/dance-of-the-wind/
|
Synopsis:
The professional life of Pallavi Sehgel, a young singer, comes to a sudden halt at the death of the woman who was both her mother and teacher. We follow her downfall and recovery through the help of her mother’s guru, Baba, and a mysterious young girl, Tara, who appears as if from nowhere.
Credits:
Original Story and Direction: Rajan Khosa, Cinematography: Piyush Shah, Sound Design: Vikram Joglekar, Music Composer: Shuba Mudgal, Production Design: Amardeep Behl, Producer: Karl Baumgartner, Financiers: The European Co-Production Fund, Filmstiftung NRW, Hessischer Rundfunk Filmforderung, ARTE and WDR, The French Ministry of Culture and French, Ministry of Foreign Affairs, National Committee for International, Cooperation and Sustainable Development, Hubert Bals Fund – The International Film Festival Rotterdam, National Film Development Corporation of India, Fondatione Montecinemaverita, Distribution: UK (Artificial Eye) July 98, Germany (Pegasos Film) Oct. 98, France (Pierre Grisse) April 98, The Netherlands (Cinemien) April 98, Switzerland (Trigon Films) Feb. 98. Also released in Spain, Belgium, Norway, Sweden etc in 99, 00.
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https://www.asymptotejournal.com/blog/2024/07/03/from-the-tale-of-crafting-a-god-afrizal-malna-on-the-afrizalian-in-indonesian-poetry-and-drama/
|
en
|
From the Tale of Crafting a God: Afrizal Malna on the Afrizalian in Indonesian Poetry and Drama
|
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2024-07-03T00:00:00
|
In writing poetry, I experience this body-that-writes as a mutant in language; I feel a different person is present in myself.
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en
| null |
In contemporary Indonesian literature, the writer Afrizal Malna has earned his own movement. Coined by Universitas Gadjah Mada professor Faruk HT, the Afrizalian has come to mean “seemingly disjointed images and ideas wrapped inside deceivingly simple phrases,” according to University of Auckland’s Zita Reyninta Sari, who goes on to elaborate the ways that it puts “everyday objects, especially those which in a glance are the most mundane … in the spotlight.” In his foreword to Afrizal’s Anxiety Myths, translator Andy Fuller also contributes to the definition: “An Afrizalian aesthetic is an engagement with the physicality of the city. How the body collides and rubs up against the textures of the city; of the varying intense urban spaces of everyday life.”
A SEA Write award-winning writer and artist sketched as “one of Indonesia’s best contemporary poets,” Afrizal’s works have been translated from their original Indonesian into languages such as Dutch, Japanese, German, Portuguese, and English, and have received accolades from literary award-giving bodies in Indonesia and beyond. To name one, Daniel Owen’s translation of Afrizal’s poems was the winner of Asymptote’s 2019 Close Approximations Prize.
In this interview, I spoke with Afrizal—currently in Sidoarjo in East Java—with the help of Owen’s translation. Our discussion covers the Afrizalian literary movement within contemporary Indonesian poetry and drama; the terrains of linguistic hierarchies and reader reception; and his latest poetry collection Document Shredding Museum, originally published as Museum Penghancur Dokumen in 2013.
Alton Melvar M Dapanas (AMMD): Your latest collection, Document Shredding Museum, is now out from World Poetry Books. Could you tell us about the collection’s journey?
Afrizal Malna (AM): This edition of Document Shredding Museum is actually a revised, second edition of the book; the first edition was published by the Australia-based publisher Reading Sideways Press in 2019. In Indonesia, it was published a decade ago. The answer I’m giving you to this question now is probably quite different from how I would have responded back then.
This book was written between 2009 and 2013, over a decade after the fall of the Suharto regime and the 1998 Reformasi. This regime ruled from 1966 to 1998 as a result of the 1965 tragedy—the massacre of members of the Indonesia Communist Party (Partai Komunis Indonesia or PKI) and those accused of being Communists, alongside the overthrow of the prior president Soekarno—which is still full of question marks even now. 2009 to 2013 was a time when the Indonesian people began questioning: what resulted from the 1998 Reformasi? Has there really been a fundamental change? We wondered if the powerful in Indonesia will always be prone to nepotism and its corollary effects—such as legal, ethical, and human rights violations, as well as corruption.
It was also during this time that I lived in Yogyakarta, in a Javanese cultural environment, occupying the boundary between village and city as a blurred space in Nitiprayan, Bantul (still a part of Yogyakarta). This became the moment for me to start from zero, and to allow my activities to mimic the wind, moving to find empty spaces and lowlands. This blank slate could shift the past—which was filled with hope for political change, as well as hope for literature and art to respond the 1998 Reformasi.
Global society at that time was facing social upheaval and natural disasters. When the earthquake in Padang, West Sumatra happened, I was living in a house that I had rented from a family of farmers—an old, fragile Javanese house (rumah limasan) made of wood. The earthquake made the house convulse, and it was as if the house were dancing along to the earthquake’s rhythm in order to avoid collapse. When the earthquake stopped, not a single part was damaged, but many of the houses made of stone or cement had cracked or collapsed. It felt as if the wind had vanished. Leaves were stiff like in a painting, and the feeling of solitude, of quiet, was stifling.
That natural disaster, among many others, reflected the awareness that our bodies and our technology were paralyzed, powerless. Our ancestors, who had a long history of facing disasters, may have known how to read the portents of an upcoming disaster as an ancient form of mitigation, but this knowledge was not passed down to us.
These events gave rise to an obsession, or an agitation: “Can language shake? Can meaning convulse?” It was a new challenge for the practice of writing poetry. For example, there is one poem whose title is directly connected with the eruption of Mt. Merapi:
Merapi vomits Jakarta. This is green lava. This
is brown lava. Straight as the ruler measuring
your calf. Please, choose to be photographed. Please, take a photo.
Please, take a photo. Gentlemen, there’s a hot cloud in the way
you drive your cars. Looking
for donations. Fashioning heroes out of
volunteers. Fashioning the people as victims
and refugees. Thousands of speakers gather among
microphone cables heading for electricity. The gentlemen don’t
know the meaning of chicken and cow. Merapi
vomits Jakarta, a very straight color.
A very straight grid measures the lava. The gentlemen
of parliament are on break in Germany, using up
their year-end budgets. The ladies are busy
with the national income and expense
budget for the coming year.
For me, the structure of the poem and the way the words are placed resemble an earthquake with its propensity to convulse, which perhaps can shake up the balance in reading. Jakarta is positioned as a city of politics and economics, in accordance with its status as the capital.
AMMD: How different is Document Shredding Museum from your other collections previously translated into English like Morning Slanting to the Right (tr. Jorgen Doyle, Hannah Elkin, & Andy Fuller) and Anxiety Myths (tr. Andy Fuller)—in terms of your creative process and poetic underpinnings?
AM: I live only in Indonesian, a language stemming from a national policy to unify the hundreds of local languages in Indonesia. This reality has accustomed me to living within various languages I don’t understand. I’m accustomed to being part of the majority in certain situations, and part of the minority in others, because of the language I use.
When I encounter my works translated into a foreign language, I am once again thrown into a foreign atmosphere. It is no longer my work, having moved into a different world, so I never know the results of the translation. When I discuss the differences between Document Shredding Museum and the other two books you’ve brought up, my response pertains to the books in the Indonesian-language imagination.
Anxiety Myths is a collection in which I began to draw a boundary between language and the body as the first layer of writing. When we take language as the first layer of writing, we must remain constantly aware that language is a representation machine through which immense distortions take place, positioning us within language as the past. This awareness caused me to try to see the body as the first layer when writing; I refer to it as a “body-that-writes” (“tubuh-yang-menulis”). This positioning not only brought my sensory experience to the poems, but also allowed traumatic experiences to become part of the writing. The body works like an algorithm that indexes experiences as image, sound, scent, texture, and spatial landscape. This process made things or objects more provocative than words. It shifted the activity ratio from the instrument of language to the instrument of objects, and resituated the thinking process as an effort to make sense of images.
Each of our bodies is shaped by different histories and cultures. My books before Document Shredding Museum were published in the shadow of the Suharto regime, which used a culture of violence to lead Indonesia into a militaristic culture of silence. History was obscured.
Suharto’s presidency was actualized through the violence of the 1965 tragedy. The 1974 Malari Incident, a student demonstration against Japanese investment in Indonesia, was effected through this culture of violence as well. The 1998 Reformasi movement to topple Suharto was also accompanied by violence towards Peranakan Chinese Indonesians. Activists were shot or kidnapped and disappeared, including the poet Wiji Thukul, whose poems were often used in the Reformasi movement. Even now, the government still hasn’t taken historical responsibility for the disappearance of Wiji Thukul. I participated in both the Malari Incident and Reformasi with an overwhelming sense of fear.
These experiences, coupled with daily domestic practices, brought me to an awareness of the body as, on one hand, a terminal for memories and traumatic experiences, and, on the other hand, a signal reaching out to dreams and unseen other worlds. Javanese culture, along with many of the subcultures of Indonesia, is deeply rooted in animism in its spiritual cosmology, presence of a spirit realm, and mysticism.
In writing poetry, I experience this body-that-writes as a mutant in language; I feel a different person is present in myself. “What is the body, what is language, what is I?”—these questions arrive like falling rocks of incongruous volume and weight, rubbing against each other and falling together with the sound they produce.
In the process of writing, perhaps there is a “taming” of time. The Indonesian language doesn’t have grammatical tenses to divide time; time is a designation (lexical), rather than a linguistic projection (grammatical). This dimension of Indonesian therefore gives me the opportunity to conduct an exploration of time as a play of gaps, leaps, reversals, and fractures. When this work moves into English, I imagine a very interesting change in the dimension of time must occur.
Meanwhile, in Document Shredding Museum, a different layer began to sneak in. I wrote some of those poems using graphic design tools, and was also beginning to make videos based on my poems. In the years of 2009 to 2013, a lot was happening with the Internet, the computer, and cellular technology. We were just entering the era of digital currency, Android with its 3G speed, the era of social media playing revolutionary roles. Also, a great many archival sites were opened to free digital access, and we were suddenly flooded with new information.
In the middle of this flood there were many hoaxes as well—criminal currents meant to confound the ways we understand the Indonesian historical record. Indonesia’s independence in 1945 took place in the acute friction between nationalism, religion, and Communism. This tension was later disciplined by Suharto, primarily through the Tragedy of 1965, which entailed the massacre of Communists and those considered left-wing or infidel. Around this time, a number of Hindu historical sites were destroyed by religious fundamentalist groups, particularly in Java. Is it our right to destroy the culture produced by the generations before us? We’re trapped in a representational conflict, “a struggle over God,” through a religious perspective that claims absolute truth. And this was all happening in the midst of the technological developments with their post-truth discourse.
The internet demolished the identity of an “I” as a sole, individual position that proceeds continuously. Through social media, I experience commercialization as a multiple-I, or as data, or as an “I” that is multiplied as a series of statuses that we post. “I” here is a product constantly recycling between itself and I-which-is-another in social media space. “I” as a “dead ‘I’ pandemic” which we collectively celebrate through social media. This is the effect of what Richard Shusterman has called “informational culture” on private space, and this technological layer created a fog between the body and language in my poems. This is what makes Document Shredding Museum seem simpler, but with a more complex structure. The primary index of the book can be found in a phrase from its eponymous poem:
Document shredding machine
alone in your sagas.
The other book, Morning Slanting to the Right, is a compilation of my short stories, most being recordings of specific experiences that I wanted to share. One example is “xezok ker lubig job kurleksok,” which takes its inspiration from Andy Fuller’s visit to my apartment in Berlin. At that time (2014 to 2015), I was participating in the DAAD Berlin residency program, and Andy had come with his wife, Nuraini Juliastuti, and their child, Cahaya. Cahaya was still little and couldn’t yet speak. She was using a language she had made up herself. This moment was important to me, because I was meeting a figure who hadn’t yet been formed by language, and I could see the difference between the actions of a body that had been disciplined and ordered by language and that of one who was still untouched by language. This collection is like the narrative side of the world of poetry where I’ve built a spiderweb trap between the body, language, and reality.
AMMD: I am interested about your view on readership and reception—in particular among Anglophone and Westerner scholars. In “Poetry and an Epidemic of History: A Letter from the Author to the Translator,” you debunked certain claims on your poetry’s esotericism and disconnectedness. Could you speak more about it?
AM: Unfortunately I can’t read responses to my poems written by scholars working in English, but I would like to discuss the differences between readers in Indonesia and readers from European-language backgrounds in their understanding of my poetry.
For the most part, people of my generation, born around the end of the 1950s, haven’t understood my poems. However, there were some among the philosophy students at Sekolah Tinggi Filsafat Driyarkara (Jakarta) who published my first book of poems, Abad Yang Berlari, and a theater group in Jakarta, Teater Sae, who’ve performed many of my texts. I actually think that more people of the present generation can understand my poems, compared to people of my own generation.
Indonesian readers always need meaning. They see poetry as a product of language, and because of that, it has to be understood in accordance with the language used. However, in my poems, perhaps I have overthrown language in a coup d’état, so the poems can be seen more as artworks that use the element of words. However, European-language readers haven’t had a problem with meaning. For me, poetry isn’t directly connected to meaning as a destination, because meaning lies with the reader. The opposite is the case with short stories, where meaning is inside the story itself. The deficiency of the ways that poetry is taught in school contributes to forming a narrow literary culture for Indonesian readers. This is why poetry readings and performances are so important in Indonesia; they provide an opportunity for bridging this gap. Through poetry readings, readers can meet poets and talk with them directly.
When readers encounter my poems, especially in Indonesia, there usually is a sense of strangeness because I use that strangeness as a distancing mechanism for readers to perceive the boundaries between language and meaning—where the process of reading is equivalent to the process of opening a sort of “conceptual horizon.” Isn’t all art, including the cave paintings made by our ancestors, an effort to open such conceptual horizons?
AMMD: In Secrets Need Words, a book which surveyed Indonesian poetry from 1966 to 1998, you were imaged as someone who “remained a symbolist but . . . used the material images of the city, instead of rural landscapes of night, rivers, and trees.” In Writing and Rewriting National Theatre Histories, your work as a theatre scholar has been set out as a usage of post-structuralist models within theatre historiography. Would you say this is how the Afrizalian manifests in both poetry and drama: symbolist, metropolitan, and post-structuralist?
AM: Those terms that are applied to my work come from outside: post-structuralist, afrizalian, and then others call it “neo-materialist.” We’re living in what Richard Shusterman once called “informational culture”: a culture where experience, the body, and language have become past forms in the development of information technology. We’re flooded with information in the form of shattered space and time. To choose, arrange, shape, and manipulate through works of art doesn’t mean that we can overcome the spaces and time that have shattered. Here, structure becomes a new dynamic, like editing film or video to make a narrative that isn’t merely arranged in order, but also moves.
This shattered space and time is ever more pronounced in Jakarta, as a city formed by colonialism, a city that sought a new identity amidst nationalism, the capital city of the Indonesian state, and as a global city. It’s a city with severe social inequality between wealth and poverty—forced evictions of slums, street vendors, and pedicab drivers. A city convulsed by change and bewildered as to where to place its past. A city that actually celebrates the local war that destroyed the prior residents of the city—when it was still called Sunda Kalapa. (Afterwards it was renamed Jayakarta, and then Batavia throughout the colonial period, becoming Jakarta after Indonesia’s independence). This sort of urban culture forms the creative ecosystem for my work.
At first I was taken aback by the existence of the term afrizalian. What sort of creature is this? After that I tried to understand how this term was an effect of the literary politics that sought to marginalize anomalous forms of literature (like my work) as incomprehensible writings. The regime of lyricism has strong roots in Indonesian poetry, even now. Its roots are in Malay culture, because the Indonesian language is rooted in the Malay language. These roots are celebrated through the pantun tradition. In modern Indonesian poetry, lyricism was fortified through such poets as Amir Hamzah, Sitor Situmorang, Chairil Anwar, Goenawan Mohammad, and Sutardji Calzoum Bachri.
As for my relationship with theatre, it was initially formed through my participating in the social life of the Taman Ismail Marzuki Jakarta Arts Center. The Jakarta Arts Council, which runs various arts and literature programs, is housed in this arts center, and it connects many Indonesian artists through its programs. Through the social life around the arts center, I became close friends with a theatre director named Boedi S. Otong—the director of Teater Sae. We began a collaboration in which I worked as the text writer for their performances. You can see two Teater Sae performances that were recorded on video here and here. These days, Boedi S. Otong lives in Switzerland and hates theatre.
When I was writing performance texts, I didn’t try to learn more about playscripts; I thought I was just making texts to be performed. And, for the most part, I made those texts while watching Teater Sae’s rehearsals. In those texts, I brought in a lot of other texts. They became texts inside texts. Maybe now I’d call it a “text network dramaturgy.” This term is more appropriate for my practice than the term “post-structuralist.” In the middle of a performance of “Biography of Yanti After 12 Minutes,” for instance, there could be an interview in Indonesian that was translated into German, which may have seemed controversial in its time because of the intertexual practice.
I don’t know if my works have the symbolist qualities that Harry Aveling attributed to them; I have never consciously made symbols or utilized symbolist qualities in my work. What I know is that I have often worked with metaphors to bind space and time, and to wreck the law of linguistic linearity in the making of sentences. The grammar of the Indonesian language—which has its particular way of using affixes to change a word into a verb, an adjective, or a noun—makes it possible to transform grammatical play into lexical play.
AMMD: You have been translated by several translators across Dutch, English, German, Japanese, Portuguese—the languages of Indonesia’s colonizers. The very language you write in, Indonesian, is also a colonizing one towards the minoritized such as Papuan languages. As a writer and scholar working in a language that is both colonized and colonizing, how do you navigate linguistic hierarchies?
AM: This is a part of the tension in the identity politics of Indonesia’s history, which is directly related to how official policy has insisted on Indonesian as the sole national language.
My relationship with Indonesian is very dynamic. The character of Indonesian as a medium for writing is different from that of Indonesian as a medium for speech. As a medium for speech, all of the aspects of local culture can contribute to shaping Indonesian, but when it is written, it’s as if the language enters into a disciplined, orderly box. Every writer has the chance to disassemble the boundaries between these two mediums. One example of this is Linus Suryadi AG’s “Javanization” of Indonesian in his 1981 work Pariyem’s Confession. Another is Darmanto Jatman’s poems.
It seems that practices of this sort don’t make much of a meaningful impact. Education in the Indonesian language, which is massive in the schools, has pushed the present generation increasingly further from their mother tongues. Local languages are more alive in domestic spaces.
I’m part of a generation that doesn’t live in its mother tongue. I was raised in Indonesian, though my parents came from the Minangkabau culture in West Sumatra. When I participated at Performance Platform Lublin, I spoke in Indonesian, and Melati Suryodarmo translated. Waldemar Tatarczu, the curator of the program, listened to my speech, and commented that many of the words I used are present in European languages: Portuguese, Dutch, English. Of course. Indonesian has lost its Malay roots, and Malay culture itself has undergone a long process of Islamization. Indonesian, like the country of Indonesia itself, has been shaped by numerous nations; China, India, Arabia, Portugal, Holland, and England have all contributed.
I myself wonder why other local languages haven’t been made national languages. It’s a complex question, because Indonesia has around seven hundred local languages, and many of them in Papua. Why hasn’t Javanese, the language of the majority in Indonesia, been made into a national language? The lexicon of Javanese is far more numerous than Indonesian, and also far more complex because of its integration with the complex Javanese culture.
In the future, the presence of Indonesian will increasingly threaten the presence of local languages. What’s needed is language education that teaches Indonesian through the local language of each area. That could become a bridge for overcoming an Indonesian language that doesn’t represent the sea-based culture of Bugis language speakers, or the Hindu culture of Balinese language speakers, or the forest-based culture of Dayak language speakers, and especially for the agrarian culture of Indonesia’s great many farming communities. And, conversely, the Indonesian language will be threatened in the future by the growing numbers of English language speakers. Perhaps there is a presumption that it isn’t possible to be a part of global society if one lives using only Indonesian.
AMMD: Among the books you’ve written that have not been translated into English yet, which one do you think would be the most difficult to translate? And what demands would a translator face?
AM: I think Document Shredding Museum is the most difficult of my books to translate. Some of the poems feel too global, some too local. And most of them exist loosely from their context or background. They exist like images that have been cropped and their backgrounds discarded. I don’t know, do readers still need the context of temporal and spatial background in reading Indonesian-language poetry?
I can’t imagine what kinds of difficulties emerge in translating my works. I imagine language as a stage for works of literature written by whomever, and the design of that stage depends quite a bit on the insight and courage of the translator. I imagine translating a work of literature might be far more difficult than writing one. The presence of machine translation actually reinforces the notion that every translation practice is also a work of cross-cultural encounter, because machines can’t yet enter into the world of language as a culture-forming space.
Maybe at first translators are frustrated by my poems, and then they get drawn in, agitated, as they go deeper into them (as if they feel that they themselves are making them). And then they come out again to take some distance, to make a strategy and a design, considering the various possibilities that can occur in the cultural encounter between the first language and the second language as a product of translation.
AMMD: When we speak of Indonesian Literatures, who has shaped your philosophy, your creative-critical writings, and your ethos?
AM: When I lived in Jakarta, my house wasn’t too far from the H.B. Jassin Literary Documentation Center, the largest library of Indonesian literature in the city. Through this library, I read a lot—including private letters between authors. For some time I allowed myself to drown in Indonesian literature, and I began to build a personal library. Later on I came out of that, using my body to read the reality that I experienced. I even left behind the personal library I had built. Then I became involved with the urban poor movement in Jakarta through the NGO Urban Poor Consortium. On several occasions, I was arrested by state security forces for participating in this movement.
Indonesian literature is a literature whose primary canon was mapped by H.B. Jassin, A. Teeuw, and later Umar Junus. With the 1965 Tragedy, many works by authors associated with the Indonesian Communist Party were burnt—and of course they didn’t enter into this mapping. For myself, an understanding of what constitutes Indonesian literature is incomplete, due to ideological problems and the sharp split between modern and traditional literature. This has caused Indonesian literature to depend solely on texts written in Indonesian, while the ones in other local languages remain unmapped. So the situation is complex.
Through these points, I want to express that I am open to influences from many factors, because every influence presents new challenges and contributes to repositioning my perspective on writing. And because of this I can’t say who has had the most influence on the ways I write poetry.
I have been greatly intrigued by Ludwig Wittgenstein’s notion of language games, which I’ve read about through essays written by Indonesian writers. But Wittgenstein’s Philosophical Investigations hasn’t yet been translated into Indonesian. This has caused my understanding of language games to be rather vague. My understanding of Walter Benjamin’s concept of aura—as a perception that reverberates when we look at a work of art—is likewise vague.
I think I must be very sensitive to influence. Every time that the rain and wind arrive, it rattles me. An influence then becomes a kind of laboratory for opening things up, and then it’s as if I’ve received a new path for writing. This makes it hard for me to identify a particular poem or a particular poet that has influenced me directly. The trace has already vanished. I’m happier with saying, for instance, that my poetry is written by many poets.
AMMD: Are there contemporary Indonesian poets and playwrights whom you wish to be read more (or in the case of playwrights, their works be staged and performed more) globally or even translated further?
AM: I enjoy the works of contemporary Indonesian poets such as Ratri Ninditya’s Rusunothing and Gratiagusti Chananya Rompas’ e____y. Both of these poets mix Indonesian and English in their poems, using diction unique to the youth of Jakarta. Rompas doesn’t call her books poetry collections anymore, but “writing collections.” Another poet whose work I want to mention is Oz Valkyrie, who wrote Selibat.
Or the work of Rachmat Hidayat Mustamin—Indeks Penghabisan Manusia. This work is a collaboration between poetry and graphic design. Each poem is imagined as being read through a handphone—one scrolls to get to each page—and all of the poems are untitled. Rachmat mashes up data in his poems as well, for instance data about domestic violence with data sourced from religious practices.
The work of these four poets doesn’t just manifest poetry, but also creates a new disturbance of what poetry is. It seems to me that there are a number of poets who work not based on the conventions of poetry, but based on the new challenges they face as a result of changes in their environment.
AMMD: If you were to teach a course on Indonesian Poetry, what poetry collections and poems (in Indonesian languages or in translation) would you wish to include as key texts?
AM: In the poetry classes I’ve taught, I’ve never used any poems as material. I try to challenge participants to use basic things—for instance, moving the cup of coffee on the table into words. When the movement is complete, I put forward another question: what is lost in this movement? How do we respond to what has been lost—what we see after the object has been rewritten through the medium of words?
After this, I ask the participants to move the words once again, from Indonesian into their respective local language. And then I put forward a new provocation: what has changed through this movement?
Other materials that I’ve used are more based in visual arts. For instance, using the work of Marcel Duchamp to discuss the limits of what’s art and what’s not art; using the work of Joseph Kosuth to discuss the practices of representation, presentation, and performativity in creating a work; using the work of Rene Magritte to discuss the practice of forming metaphors; works of performance art, like Carolee Schneemann’s performance “Interior Scroll,” to discuss the relationship between text and the body; or the poems of Mirtha Dermisache, which can’t be read.
There are two books of mine that I think are interesting for sharing poetry writing methods. The first is Berlin Proposal, which was made very intensely while I was participating in DAAD Berlin. At that time, Berlin was celebrating the centennial of World War I, and I began tracing data about the war as the basis for creating poems. I also encountered a number of curatorial practices that were quite diverse in visual art, literature, film, theater, dance, and at the big museums in Berlin—an experience that opened new perceptions for me and connected art and history. In this book, I started to make data present as poetry. I was very pleased when Daniel Owen gifted me a book of poetry by Carlos Soto Román, 11. This work takes its title from events of September 11, 1973, when Augusto Pinochet overthrew Salvador Allende as President of Chile. In Soto Román’s poems, classified state documents, in the form of letters, are made present as poetry. This book gave me a new companion in the practice of connecting poetry to archives or data.
The second book is Prometheus Pinball, which uses a method of expanding my biography through global history. I used this method to make history into biography, and conversely to expand the territory of biography as an expansion of identity. My position in poetry became my position in history, which is inhabited by many people. Andy Fuller, who published this book, once made the comment that it isn’t poetry. I was happy to hear Andy’s opinion, because it gave rise to discussion about the ways we perceive poetry in the midst of the information revolution, brought about by internet technology.
Other materials that I might use are traditional sources that aren’t easy to access. I use them to read the past and bring it into the present, and this journey back and forth causes one to wonder what sort of bridge can be made to span the great distance of time between us and traditional sources. How poetry has a special way of acting as a medium for the construction of time bridges.
This interview has been translated from the Indonesian by Daniel Owen.
Afrizal Malna, born in Jakarta in 1957, is an Indonesian poet, artist, and writer of short stories, novels, essays, and playscripts. His work has won a number of national and international literary awards including SEA Write Award and the Khatulistiwa Literary Award. He was a 2015 DAAD artist-in-residence in Berlin and has performed at poetry festivals in Bali, Bremen, Maastricht, Hamburg, Kerala, and Yokohama. He has been translated into Dutch, English, German, Japanese, and Portuguese. Other books of his in translation are Morning Slanting to the Right and Anxiety Myths. Among his earlier books include Abad yang Berlari (1984), Yang Berdiam dalam Mikropon (1990), and Arsitektur Hujan (1995). His works also appeared in Indonesian anthologies such as Perdebatan Sastra Kontekstual (ed. Ariel Heryanto, 1986), Tonggak Puisi Indonesia Modern 4 (ed. Linus Suryadi, 1987), and Traum der Freiheit Indonesien 50 jahre nach der Unabhangigkeit (eds. Hendra Pasuhuk & Edith Koesoemawiria, 1995). He also edited Radio ½ Radio: Antalogi Naskah Drama Dan Analisis Dramaturgi (2019) and Tiang Hitam Belukar Malam (1996). For the theatre group Teater Sae, he has written plays and performance pieces such as Ekstase Kematian Orang-orang (1984), Pertumbuhan di Atas Meja Makan (1991), Biografi Yanti Setelah 12 Menit (1992), and Migrasi dari Ruang Tamu (1993).
Alton Melvar M Dapanas (they/them), Asymptote’s editor-at-large for the Philippines, is the author of M of the Southern Downpours (Australia: forthcoming), In the Name of the Body: Lyric Essays (Canada: Wrong Publishing, 2023), and Towards a Theory on City Boys: Prose Poems (UK: Newcomer Press, 2021). Their works—published from South Africa to Japan, France to Singapore, and translated into Chinese and Swedish—appeared in World Literature Today, BBC Radio 4, Oxford Anthology of Translation, Sant Jordi USA Festival of Books, and the anthologies Infinite Constellations (University of Alabama Press) and He, She, They, Us: Queer Poems (Macmillan UK). Formerly with Creative Nonfiction magazine, they’ve been nominated to The Best Literary Translations and twice to the Pushcart Prize. Find more at https://linktr.ee/samdapanas.
*****
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Rewind to the maverick producer, Suresh Jindal, who was proudest of his collaboration on Shatranj Ke Khiladi, by Khalid Mohamed
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Suresh Jindal‘Hirsute’ is the description Sai Paranjpye and I had coined for him. With his abundant salt-and-pepper hair always brushed, and a beard that hid his mouth, often dangling a filter-tip cigarette which he would puff away furiously, Suresh Jindal (1942- 2022), was the sort you could have met at a kavi sammelan or an experimental theatre, and certainly not at a studio or location site serving as a hands-on producer. His other remarkable feature was a booming laughter, even if the produc
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Just Cinema
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https://www.just-cinema.com/post/rewind-to-the-maverick-producer-suresh-jindal-who-was-proudest-of-his-collaboration-on-shatranj-ke
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Suresh Jindal
‘Hirsute’ is the description Sai Paranjpye and I had coined for him. With his abundant salt-and-pepper hair always brushed, and a beard that hid his mouth, often dangling a filter-tip cigarette which he would puff away furiously, Suresh Jindal (1942- 2022), was the sort you could have met at a kavi sammelan or an experimental theatre, and certainly not at a studio or location site serving as a hands-on producer.
His other remarkable feature was a booming laughter, even if the production schedule was going awry. He was a mirthful man, even if a trolley hadn’t arrived for hours required for a dance sequence at the Mehboob Studios. “When anyone says reaching in five minutes, it translates as five hours,” he would chortle, lighting up yet another cigarette.
A graduate with a science degree in electrical engineering from UCLA, Suresh Jindal had spent four years in the aerospace and electronics industry in California. Yet, the cinema bug had bitten him.
The word ‘Bollywood’ can never be attached to him because Suresh, a personal friend, wished to change the formulaic system, even if it was from a distance of his antiques and priceless paintings scattered in his South Delhi home, where he lived alone with a pack of pedigreed dogs and a household help.
A force of nature in the parallel cinema movement, among the most well-known films he produced were Satyajit Ray’s only Hindi film Shatranj Ke Khiladi (1977), Sai Paranjpye’s Katha (1982) Mani Kaul’s Nauker ki Kameez (1999),Pamela Brooks’ A Train to Pakistan (1998)besides being a multi-tasker on Sir Richard Attenborough’s multiple Oscar-grabber Gandhi, not to forget the avant-garde 250 Metros (2011) by the revered French theatre stalwart Jean Claude-Carriere.
The book authored by him, “My Adventures with Satyajit Ray: The Making of Shatranj Ke Khiladi” places on record how Jindal met Ray when the latter was 57 and the former was just about to turn 33. Jindal wrote, “I was 5’6” tall and he was 6’2”, a veritable giant by Indian standards I was from a well-to-do, non-intellectual, conservative, vegetarian Jain-Bania family from Punjab…Ray was from a distinguished family of Bengal – quite a distance away from my home – that was aristocratic, highly accomplished both academically and artistically and progressive.”
While Jindal looked up to Ray, working together also had its share of hurt and disappointments. The book features letters exchanged between the producer and the director.
For about five years, he did shift to a seafront apartment in Eden Roc, Worli, Bombay, but moved back to the capital city, disenchanted perhaps by the obstacles that he had to face with his Mumbai peers who considered him ‘an outsider’. Plus Yayati, a young 20yish, assistant, had passed away suddenly, a tragedy which pained him to talk about.
Suresh Jindal was proudest of his collaboration with Ray. When a frontline Hollywood studio, 20th Century Fox pulled out of the distribution of Shatranj Ke Khiladi overseas, he was enraged. And was frank enough to express his anger in an interview on the front page of The Times of India, the most widely-circulated national daily newspaper. This he followed up by authoring that tell-all book, ‘My Adventures with Satyajit Ray…”, exchanges between the auteur and the rule-breaking producer.
Satyajit Ray & Suresh Jindal
Bollywood’s actor-director Tinnu Anand, who had worked with Ray as an assistant director on Goopy Gyne Bagha Byne (1969), Aranyer Dir Ratri (1970), and Pratidwandi (1970), had introduced Jindal to Ray. Jindal’s first impression was that Ray’s study “looked like a combination of a Renaissance atelier and an alchemist’s lab”. Fortuitously, he was at the right place at the right time because Ray was thinking of making a Hindi film. He had warned Jindal that it would be “at least four or five times more expensive” than his Bengali films, and said, “You may not want to spend so much on my first Hindi film.”
When Jindal asked for an English translation of Premchand’s Hindi story, Ray told him that he had one published by the United Nations Educational, Scientific and Cultural Organization (UNESCO) but would share it only if Jindal promised to return the copy after reading it. Jindal soon learnt that they had slightly different ways of working. In fact, later when Jindal gave Ray an envelope containing ‘a signing amount’ as per the conventions of the Bombay film industry, Ray said, “No, I don’t work that way. And if we are to work together, you will have to work my way. First, I will write a draft of the screenplay, and if it is satisfactory, we can discuss money.”
As a student in the U.S., Jindal had watched Ray’s films and as a fan-boy aspired to meet him and stated in his book that Ray, “wrote his original scripts in traditional clothbound notebooks called ‘khatas’…they were more like a research scientist’s lab notes than ordinary scripts…he would draw the frames of the shots on the left-hand side and write the dialogues on the right.”
The cast assembled for Shatranj… were top-grade talents: Sanjeev Kumar, Saeed Jaffrey, Shabana Azmi, Amjad Khan, Farouq Shaikh, Farida Jalal and Sir Richard Attenborough.
Sanjeev Kumar & Saeed Jaffrey in Shatranj Ke Khiladi(1977)
While Shatranj Ke Khiladi did not score the commercial success of Rajnigandha , it did ensure the producer’s collaboration with Richard Attenborough’s Gandhi as an associate producer. Attenborough had acted in Shatranj Ke Khiladi before he produced the Oscar-winning Gandhi with Ben Kingsley. One of the close contenders for the Gandhi role had been Naseeruddin Shah. Of course, many films have been made about the life of Mahatma Gandhi, but this one has never been bettered.
Vidya Sinha & Amol Palekar in Rajnigandha(1974)
After this, Jindal produced Sai Paranjpye’s film Katha (1983) depicting life in a Mumbai chawl. Based on S. G. Sathye’s play Sasa Aani Kasav, it showcased Deepti Naval, Farooq Sheikh and Naseeruddin Shah. Jindal’s penchant for adaptations of literary texts, was followed up by Sturla Gunnarsson’s take on Rohinton Mistry’s novel Such A Long Journey (1998) which detailed the life of a Parsi family in 1971 during the rule of Prime Minister Indira Gandhi. Jindal assembled an impressive cast comprising Roshan Seth, Om Puri, Soni Razdan, Naseeruddin Shah and Irrfan Khan.
In addition, Jindal was a supervising producer of Dance of the Wind (1997) directed by Rajan Khosa with actors Kittu Gidwani and Kapila Vatsyayan. The narrative told of a classical singer who loses her voice when her mother, her guru, dies. Shubha Mudgal had composed the music score.
Deepti Naval in Katha(1982)
Next, Jindal was an executive producer on Naukar Ki Kameez (1999) directed by Mani Kaul based on a novel by Vinod Kumar Shukla. The acting crew included Pankaj Sudhir Mishra, Anu Joseph and Om Prakash Dwivedi.
Yet, Jindal was restless and discontented and turned to spiritualism as a student of Dzongsar Jamyang Khyentse Rinpoche aka Khyentse Norbu in 2004, and later an advisor to the board of the Khyentse Foundation. He had been drawn towards Buddhism much earlier when he had spent a year studying at the University of California, Berkeley.
Vis-a-vis, Jindal’s life in the US in the 1960s, he wrote that he was exposed to “the headiest experiences of the century” which included “the space race to the moon, the computer explosion, freedom rides against segregation in South America, flower power, psychedelic drugs, love-ins, environmental protection, gay liberation, hippie and the anti-Vietnam War protests by pacifists.” Eventually, he was into Buddhism, Dharma and Sangha with the Dalai Lama in Dharamsala.
He made a brief return to films when his guru Dzongsar Khyentse Jamyang Rinpoche aka Khyentse Norbu – who was also a film director – asked him to be the executive producer: Vara:A Blessing (2013) – with actors Shahana Goswami, Devesh Ranjan and Swaroopa Ghosh. Vara Mohamed Adamaly – was based on Sunil Gangopadhyay’s short story Rakta Aar Kanna. It was not only a creative project but also an act of service towards his beloved teacher.
It was a one-of-a-kind journey undertaken by any Indian film producer. Above all, without his lobbying with the Delhi government, it is quite possible that Sir Richard’s Gandhi would have never seen the light of day,since it had become the subject of an acrimonious controversy: Why should a Britisher make a film on the Mahatma?, it had been argued, even by the otherwise free-minded ‘New Wave’ filmmakers.
Neena Gupta, Ben Kingsley & Supriya Pathak in Gandhi (1982)
For his role in creating a global interrelationship in cinema and the allied arts, he was awarded Chevalier de L’Ordre des Arts et Lettres by the French government. Despite such honours, towards his later years, Suresh had resolved to extinguish his dreams of a new world of cinema, and had found solace in Buddhism.
On a personal note, I had approached him for the remaking rights of Katha, during a trip to Delhi. Over lunch, he had stated, “It’s yours for gratis. Except maybe for two paintings by you.” He didn’t fail to tell me that filmmakers Sanjay Leela Bhansali and Rohit Shetty had sent him feelers for the Katha rights, adding, “They would have made a holy mess of it. I trust that you won’t.”
As it happened the remake was imperilled by mountainous production problems, it was completed but canned. My last conversation with Suresh over the phone went on the lines of, “You shouldn’t even have tried,” he had said remorsefully, “You have to be a shopkeeper there, not a filmmaker.”
|
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https://variety.com/2023/film/global/taylor-hackford-the-devils-advocate-ray-1235756629/
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en
|
Lumiere Festival Honoree Taylor Hackford: A Career of Classy, Old-School Hollywood Entertainment
|
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[
"Guy Lodge"
] |
2023-10-15T11:16:51+00:00
|
Taylor Hackford, who is being honored at France's Lumiere festival, has consistently proven the essential value of the distinguished craftsman.
|
en
|
Variety
|
https://variety.com/2023/film/global/taylor-hackford-the-devils-advocate-ray-1235756629/
|
The list of Oscar-winning directors for short films who have gone on to major careers in the feature-length realm is shorter than you might imagine. Andrea Arnold, Martin McDonagh and Claude Berri achieved arthouse success; David Frankel made multiplex hits like “The Devil Wears Prada” and “Marley & Me.” But perhaps only Taylor Hackford, a winner in 1979 for an affecting little mockumentary titled “Teenage Father,” became a full-scale Hollywood brand — a name associated with a certain temperature of sleek studio gloss and versatile genre smarts.
In an industry increasingly given over to auteur reverence, Hackford has instead consistently proven the essential value of the distinguished craftsman — the kind that keeps the industry running, even if the status doesn’t earn you as many glittering prizes or prestigious festival berths. Consider the Festival Lumière’s tribute to Hackford a welcome exception. The four films selected by the festival to represent the director’s oeuvre — “White Nights” (1985), “Blood In Blood Out” (1993), “The Devil’s Advocate” (1997) and “Ray” (2004) — aptly point to the range and scope of a consistently mainstream career that has always veered between populism and prestige, occasionally binding the two.
Critics, for example, didn’t thrill to “White Nights,” a far-fetched blend of Cold War thriller and dance movie that starred Mikhail Baryshnikov as a Russian-American ballet star fighting his Soviet repatriation with the assistance of Gregory Hines’ American expat tap dancer.
The script is ludicrous, but Hackford knew its selling points: as a vehicle for the stars’ spectacular footwork, Twyla Tharp’s elaborate choreography and a hit soundtrack of smooth mid-‘80s pop (landing Lionel Richie an Oscar), the film — lensed with a creamy luxe finish by David Watkin — delivers in spades. Today it stands as, if no masterwork, an exemplary time capsule of its era. It also introduced Hackford to his future wife Helen Mirren, here cast as a thickly accented love interest.
If “White Nights” maintains some illusion of seriousness, “The Devil’s Advocate” (certainly the Hackford film that this critic has watched most often) gleefully flirts with outright trash. Starring Keanu Reeves as a callow defense attorney who finds himself working for Satan himself — a cloven-hooved Al Pacino at his most leeringly ripe — it’s hot nonsense, compulsive and exquisitely lacquered, that only glancingly touches emotional truth via Charlize Theron’s sharp mettle-proving performance as the lawyer’s luckless wife. One might call it a guilty pleasure, but where’s the guilt?
“The Devil’s Advocate” certainly wasn’t aiming for any high-minded accolades; “Blood In Blood Out,” a muscular three-hour exploration of brotherly bonds in L.A.’s Chicano community, arguably was. Its initial box-office fizzle was a disappointment, indicative of American audiences’ resistance to Latino stories, yet the film has endured as a touchstone for many Mexican-American viewers.
A quarter-century after his short film win, Hackford finally caught the Academy’s attention again with “Ray,” a handsomely gilded Ray Charles biopic that earned him his only Best Director nomination, and a win for Jamie Foxx’s all-in performance as the soul legend.
Grossing $125 million worldwide, “Ray” was Hackford’s last hit. His three films since — the blowsy Mirren vehicle “Love Ranch,” the relatively anonymous Jason Statham auctioneer “Parker” and the mellow Robert De Niro indie “The Comedian” — will never be listed as prime Hackford, though perhaps the upcoming “Sniff,” a twilight-years detective story starring Morgan Freeman alongside Mirren and Pacino, will fare better.
Either way, Hackford’s legacy as a classy, old-school Hollywood entertainment merchant is firmly cemented. Somewhat surprisingly, the Lumière fest’s selection doesn’t include his biggest and perhaps most enduring box office smash “An Officer and a Gentleman,” a robust, full-hearted blend of swoony romance and making-of-a-man military drama that launched a million daydreams of a crisply uniformed Richard Gere sweeping you up and away from your daily drudgery. It’s still stirring, 41 years on.
Nor does it include some of the most interesting outliers in his career, among them 1987’s terrific, Chuck Berry-centered concert documentary “Hail! Hail! Rock ‘n’ Roll,” still a model of the form at its most straightforwardly effective, or “Dolores Claiborne,” his most daring and perhaps best fiction feature. A Stephen King adaptation that induces shivers, though not in the usual way associated with the author, this perverse psychodrama of failed mother-daughter relations and suburban sociopathy rests on two icily precise performances by Kathy Bates and Jennifer Jason Leigh, and unnerved audiences to better-than-expected box office in the spring of 1995. Prickly but florid, confessional but elusive, it’s far from what one might typically label “a Taylor Hackford film” — a term that resists definition the longer you look at his restlessly crowd-pleasing career.
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https://www.nyfa.edu/guest/taylor-hackford/
|
en
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Guest Speaker Taylor Hackford
|
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[] |
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[
""
] | null |
[
"Yonghui Chen",
"www.facebook.com"
] |
2018-06-13T20:24:00+00:00
|
Taylor Hackford has appeared as the Guest Speaker to share stories and experience with our students.
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en
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NYFA
|
https://www.nyfa.edu/guest/taylor-hackford/
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https://www.facebook.com/peoplemag/videos/the-beautiful-issue-helen-mirrens-24-year-marriage-to-taylor-hackford/524890222570922/
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en
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Our Beautiful Issue cover star Helen Mirren is opening up about her relationship with her longtime love and husband of 24 years, Taylor Hackford. ❤️
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Our Beautiful Issue cover star Helen Mirren is opening up about her relationship with her longtime love and husband of 24 years, Taylor Hackford. ❤️
|
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/peoplemag/videos/the-beautiful-issue-helen-mirrens-24-year-marriage-to-taylor-hackford/524890222570922/
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http://thehollywoodinterview.blogspot.com/2008/03/taylor-hackford-hollywood-interview.html
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The Hollywood Interview: Taylor Hackford: The Hollywood Interview
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Director Taylor Hackford. TAYLOR HACKFORD: GIMME SOME PROOF By Alex Simon Editor’s Note: The following article originally...
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en
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http://thehollywoodinterview.blogspot.com/favicon.ico
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http://thehollywoodinterview.blogspot.com/2008/03/taylor-hackford-hollywood-interview.html
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https://lasvegasweekly.com/news/archive/2006/jun/15/cinevegas-taylor-hackford-working-classy/
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CINEVEGAS: Taylor Hackford: Working Classy
|
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2006-06-15T00:00:00
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Talking with CineVegas' Vanguard Director
|
//assets.lasvegasweekly.com/assets/images/icons/favicon-64.png
|
Las Vegas Weekly
|
https://lasvegasweekly.com/news/archive/2006/jun/15/cinevegas-taylor-hackford-working-classy/
|
Director Taylor Hackford, 61, received a 2004 Oscar nomination for Ray. A champion of the working class and a lover of music, his films also include The Idolmaker (1980), An Officer and a Gentleman (1982), Against All Odds (1984), White Nights (1985), Dolores Claiborne (1995), The Devil's Advocate (1997) and Proof of Life (2000). I spoke to him via phone about his life's work.
It's interesting that your career is book-ended by two rock 'n' roll stories. How did The Idolmaker come about?
It was an interesting piece because, as opposed to a genius musician [like Ray Charles], it's also about another era. It's somebody who didn't make it in show business.
My favorite scene is the one in which Tony is standing backstage watching his first creation (Paul Land) perform; he's going through all the same motions behind the curtain.
Bob Marcucci, whom the movie was based on, consulted with me on the script. He still could go through all these little movements that he had taught Frankie Avalon and Fabian. I got the idea of putting him backstage and showing the puppet master really going through it. He wanted in the worst way to be out in front.
The Idolmaker makes a very interesting comparison to Ray. One is about the guy who gets left behind by the talent, and the other is about the talent who leaves everyone behind.
The Idolmaker was my first film, and it was my opportunity. Ray Sharkey was a wonderful talent, and you feel that. Ray is a very different kettle of fish. He's a true genius. But the drive is similar. Ray Charles refused to listen to those people who said "You're a cripple." He was striving to prove that he was as good or better than anyone else. I make films about working-class people. Show business is one of those things that people can use to get themselves out of the lower rung of society.
I noticed that you're very gifted at shooting music sequences. A great scene in Ray is the onstage creation of "What'd I Say." Most directors either do too much or too little.
If you zoom in and zoom out, it takes you out of the music. The director's job should give you a sense of music without drawing attention to itself. You come up with a visual style that allows you to get in. What I try to do is get inside.
Some might portray you as a man's man director, but you've directed several top-notch female performances: Debra Winger, Jessica Lange, Kathy Bates ...
I defy you to find a better woman's performance than Kathy Bates in Dolores Claiborne. This is not tooting my own horn; this is singing the praises of the people I work with. People look at that film, and they don't get it. Then they finally clock it that she's this walking wound. She's very smart and very aware of what causes that neurosis. There are a lot of things in that film that I'm proud of, getting into the hearts and minds of these three tough women.
You're known for working with different races, creeds and colors in films like Ray and Blood in Blood Out. Does it ever cause you any trouble in the movie business?
It's a double-edged sword. You're trying to make films in a commercial medium that are very specific. I try to make films that will convince the most difficult subject. What I was trying to do in An Officer and a Gentleman was convince Marines with Louis Gossett's performance. Blood In Blood Out is a movie about the Latino experience. I'm always interested in the working-class people. Gangster movies are as old as Little Caesar (1930). What I was doing was updating it. But when you do that, when you do something that's ethnic, you risk the general audience saying "What are you doing?" And then you get the Latinos saying "How dare you?" But when Latinos come up to me and say "Thank you," it means a lot. Today you cannot find Blood In Blood Out in any video store in a Latin neighborhood. It's always checked out.
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https://www.amazon.com/prime-video/actor/Taylor-Hackford/amzn1.dv.gti.27438293-6120-4c17-808e-ce3655b67662/
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Taylor Hackford: Movies, TV, and Bio
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Browse Taylor Hackford movies and TV shows available on Prime Video and begin streaming right away to your favorite device.
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https://www.amazon.com/prime-video/actor/Taylor-Hackford/amzn1.dv.gti.27438293-6120-4c17-808e-ce3655b67662/
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In addition to helming the iconic feature hits An Officer and a Gentleman (1982), Against All Odds (1984), Ray (2004), and the cult thriller The Devil's Advocate (1997), Taylor Hackford has directed the films Dolores Claiborne (1995), Everybody's All-American (1988), and Proof of Life (2000). Taylor developed and produced La Bamba (1987), the most successful Latin-themed feature film in history. Mr. Hackford has been an active member of the Directors Guild of America for over 40 years, including twice as elected President of the DGA, beginning in 2009.
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taylor hackford
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By Tonisha Johnson
History reveals so many things. It lets you take a look at the past. Once it is told by someone else, after viewing and researching it, you find intricate details that you either overlooked, never saw at all or never bothered to know at all. Ray Charles' life can be viewed as a struggle? Yes. From being poor, to racism, death and then blindness; Ray Charles could grieve a hundred times over.
As this film unfolds; as you watch the direction from Taylor Hackford and the skill that actor/comedian Jaime Foxx brings and ignites on to the silver screen; your heart beats faster. Your eyes well up with water. As your hand lifts to the right side of your face; one finger holding your chin up while the other caresses the temple in disbelief, wonder, curiosity and amazement.
It is so hard for films of color to get a green light. So many actors and actresses that are of quality are lost in the shuffle. And we are never privileged to know their true skill.
Many Blackfilm.com readers are exposed to both sides of the filmmaking process, thru endless interviews, celebrity profiles and film reviews. And out of those readers, quite a few are potential actors and actresses, who subscribe to this black resource for industry news that includes entertainers of all colors; some looking to find an inkling that would maybe gear them towards a big break.
Here, there is a voice. A voice where major and minor, Big Box Office or Independent actors/actresses/filmmakers/directors of colo r can be seen and heard, by you, the reader.
In this film, Taylor Hackford, as well as great actresses like Sharon Warren, Regina King and Kerry Washington; along with great actors like Jaime Foxx, Bokeem Woodbine, Larenz Tate, Clifton Powell, C.J. Sanders, and a flood of others that made you gasp and say I know him/her" when you saw them; get the chance to use that voice. Support the voices of all those that are big and those that are small. If you as an audience green light them, then Hollywood will have to.
One would have to admit that the film Ray is a serious Oscar contender. There is no question that director Taylor Hackford has taken 15 years to develop the story cast the right character to play Ray Charles, and ultimately perfect this cinematic masterpiece. It was well worth the wait.
As I sat down to talk to Taylor, his eyes were all a buzz over the excitement of the release of Ray. Eager to begin, we sat down quickly and the words just flowed like water from Hackfords' lips to my paper.
Any Dramatic License in this film?
90% true. 95% true. The dramatic license that I took was rather minor. You have to understand that I collaborated for 15 years with this film with Ray Charles. So, I did my own independent research. I've read is autobiography. And I feel his autobiography is a difficult story to perceive because I do tell the story from the point of view of the artist, only. Because there are always other sides to that issue, I went out myself and probably talked to about 35 other people who were intimately involved in his life. And I wrote a screen story back in the late 80s. And unfortunately it took so long to get this film financed. Not so much that we couldn't have gotten it together to make but because we couldn't find the money. I tried to, mys elf, findyou know when you meet Ray Charles, I didn't know what to expect, and I went to talk to Ray Charles Jr. to try to convince him to give me the rights. The man walks into the room, alone. No cane, no seeing-eye dog. Walks around 5 obstacles, walks up to me and says "Hey Taylor; Put some skin in the pocket." And then he walked away from me, walked around 4 or 5 more things, sat behind his desk and said "did you see the Lakers last night?" "Could you believe that 3 pointer shot Magic shot at the end of the game to win it?" SEE. SEE. You know, this is Ray Charles. So controlling of his own environment. Invincible. I initially thought the man could see. He's perpetrated one of the biggest hoaxes ever, on the worldlol. But of course, he had both eyes taken out. The man could not see. They give you an indication of how in control he was. If you want to have an interpretation of a straight ahead traditional biopic, that's fine.
My sense was, I wanted to tell a real story. A visceral story. When period movies are made and you kind of look through the gauze to the past. The Ray movie is a revolutionary movie. I wanted those scenes in those clubs to be as intense and sweaty. Ray Charles played 8 sets a night. He had 10 minutes off and played for fifty. If he didn't get people out of their seats and on their feet dancing, they'd throw his ass out of there. That's what he said to me. So, I wanted to try to portray that, but I also wanted to tell a story that was a lot more complicated than that. This is a man, if you wanted to deal with his entire life, you could deal with 75 years. Because all those are interesting. But I had to make a choice. My choice is always that, you should talk about the struggle. This is a film about life impacting art. As oppose to vice versa. In other words, what created Ray Charles? What was involved in making him the incredible icon that we all know? I believe that the things that happened to him, in his life, impacted and made that work. And kind of, in its own strange way, it's a musical. Because the songs in the picture are pretty much in chronological order. I tried to take what happened in his life and showing how that music came out of those experiences. And I think there is one song that is out of order. And that's Hard Time, which is at the very end of the film. So most of the other things are actually in the chronological order as they are depicted in the film. Is every detailed nuance of Ray Charles' life and sin in this picture? Of course not. You can't. But, he gave me a huge gift. He said "Taylor, you know, I'm no angel. And I don't need to have myself depicted as such. Just tell the truth." And that is an incredible gift. So, if you want to point out the inaccuracies, I will deal with them. I'd be happy to. But I stand by the picture. It's true and real, I believe, within the context, of what I as a filmmaker, decided to tell. And I have certain limitations because of time, because of whatever. But, I pretty much stand by everything that's there.
Being aware of his illness, did you feel a sense of urgency to get this film out there before he passed away?
No. Yes, I was aware that he was ill. It was very apparent as time passed. Now that I look back I start to realize that he probably was aware of his illness, probably 3 years ago when I was just getting the film pre-produced and ready to go, to shoot. We were in the studio together. Again, the music of this film is used in various ways. I was blessed with the fact that Ray Charles was recorded by Tom Dowd. Who was the greatest engineer of his generation at Atlantic Records. So, in 1953 when he's recording "I Got a Woman", I'm using "I Got a Woman" in this picture. Do you know how unusual that is? That presents certain problems on its own. We did a little bit of enhancing when you cut to the horn section. You'll hear the horns more, we did that. And ultimately I was blessed on that level. When Ray had been traveling with Lowell Fulton, Fulton had not been recorded well. So Rays' guys said Ray, do you think you might be able to give me a name of somebody who might be able to arrange these things to work?" And Ray said, "I did the arranging, why don't I do it." I mean, incredible. So Ray went into the studio and he played the piano. In that sequence when you hear Jaime alone in the bar and the band has left with the girls and he's left there alone; trying to portray the loneliness of this man. Basically, however brilliant he is, Ray Charles, however many woman, how huge the audience response he still returns to the same place; he's alone in the dark. And I wanted to portray that in this film. So, in that instance, I'm sitting in the studio, describing him how he's having trouble with Lowell, Wilbur screwing him over money; the band is kind of going out, leaving him there. These are the moments leading to his heroin addiction. These are the moments that he's talked about as the pain of being on the road and not even knowing where he was. And I'm describing it to him and I want you (Ray) to sit at the piano playing this quiet, contemplative number. And he does something that is very beautiful. And I say Ray? And he says, "Well, what do you think of that?" I say Ray, to be honest with you, I think it's great. But it sounds like your playing for a bunch of people. This is you alone, in this place, playing from your heart from yourself. And his response was kind of like, "hey Ray Charles ain't gonna play bad for nobody." And I say, I would never ask you to. And around the place, the musicians are over there, their all Ray Charles' musicians and their all going don't disagree with the master here'. Now I wasn't disagreeing with him, but I have to get my film. So, I say no Ray, I really believe Lowell was messing around with you or Wilbur was messing around with you. The guys have left and they always made you feel low. And he kind of went, fuck it'. I mean it was like, you know, tough! So, I went well, I'll think about something else. And as I turned my back to go out, he says, "Well, if they had done that to me. And if I had been screwed on the money and if I was alone and had felt that way, I might play something like this." And he just went; bang! There it was. It was a collaboration like all collaborations. I'm talking about one of the worlds great geniuses. And at the same time he is trying to understand what I needed for the film. And it was a fantastic experience. And then we role right into "Everyday I Have the Blues" that he's arranged and he plays piano on. And Chris Thomas King, who is a fabulous artist in his own life, who plays Lowell Fulson who sang and played guitar on. So, you have those moments of real collaboration and closeness. I mean, it was a life experience for me. But, getting back to your question; I start to realize now that he probably knew he was sick, although he was vibrant and alive and completely on top of his game. There was no portrayal of any weakness. But that very time, he gathered all 12 of his children from around the world, for the first time, together. And I now realize, looking at that, what he was doing. We went to shoot the film and when I came back I saw him and he seemed to be in fine shape. He was there on the set with us when we were at RPM Studios in Los Angeles, he seemed fine. But I went into the editing room and I spent about 10 weeks to cut it and I took a rough cut to RPM to show him because he would say he wanted to see it but he sat next to the and I could tell that he was not the Ray Charles that I knew from before. And he was starting to deteriorate. Typical Ray Charles fashion, it went about 3 months more than the doctors ever thought possible. He was dying, dying; he'll never make it past this. And he was proving them all wrong. And at certain point, Ray was going to do like always, he was going to do it his way. And he's going to prove them wrong. And of course, when it happens, it's a huge shock. Yeah, it's painful he's not hear to see the film. But ultimately he did see the rough cut. First thing he asked to see was, I want to see my mom, I want to hear what you put in for my mom. That was the most important thing to him. And he loved it.
What experiences did you take from working on music films like La Bamba to Ray?
Music has always been an important thing to me in my life and understand I've worked in the music business. And trying to understand the real nature of musicians and real musical creations. Clearly those are other pieces of work that related to the same field. This to me is a much more substantial piece because you have to watch how these things are created. And I was dropping in small bits of pieces of what really happens when someone is there or recording. And also, creating something on the road or devising. Whether the audience gets it or not, that process of watching him busted in Indianapolis. Coming home and sitting alone at his piano in his den, playing You Don't Know Me; you know, that whole concept of what Ray Charles went to, when he was in his lowest depth. He did what he loved. He went to Country Music. This is a guy; he grew up listening to the Grand Ole Opry. He loved songs and he loved Country Music. Ray Charles, in his own way, it's like at the beginning, Ray Charles changed American music, not once but twice. Totally. Back in the early 50s when he was doing I Got a Woman, he was blasphemy. The record didn't mean anything to the white community. Because whites weren't even listening to that. But the black community, you did not mix Gods music, with the Devils music. At Saturday night, in the Juke Joint, you're communing with the devil. And you go out Sunday morning, you are dealing with God. And it's serious stuff. And there are people who wanted to string him up! He changed it. He's the first guy to use a 3 girl backup group. The vocal stylings of gospel and all these things. That's what he did. So, all of a sudden, that's accepted. Now, all the worldElvis does it. Now in 1962 he goes and takes basically white music, country western, and he starts recording that. Any country western artist and I don't care who they are today, will say Modern Sounds in Country and Westerns is still one of the greatest country albums ever recorded. This is a man; I was trying to portray, to answer your question, who you couldn't define. And he justbecause he was blind, going back to Rays' line when he was sent to St. Augustine', to the state school for the blind in Florida. When he got there, there was a big fence down the middle. And the white kids were on one side and the black kids were on the other. And his response was, at the time, "Well, how the hell we're all gonna know who's who? We're all blind." And I think that was one of the things that was Ray Charles great gift. I never found any; any black person has room for resentment in real life. Ray Charles was just a guy who didn't have any. Ray Charles was just a guy who was proud of who he was. If you looked at his organization it was almost entirely African American, but he didn't hold any rank. He just was there and did what he did, sang what he felt did what he did, related to you in that way and those are the things that I was trying to portray in it.
You've taken 15 years to put this movie together. Was it because you were waiting for the right man to play Ray?
I think you hit it. I don't know who I would have cast if I had made the film originally in the late 80s. You live or die when you make a biopic by the person who plays the role. Jaime Foxx is the man for this. I can't imagine anybody even coming close to what he does. His level of commitment; it's a great experience from the point of view of the director. I can give an actor tools to prepare themselves for the role. But they've got to pick them up and use them. And Jaime from the very beginning, we just fused this partnership. It was a fantastic experience. The man's commitment was total. I asked him to do the role blind. He said fine. A lot of actors would go, yeah that'd be cool, I'll experiment with that. Maybe I'll do a half day and kind of feel what it's like. I asked Ray to take his glasses off and let me photograph his eyes. And he did. And we made prosthetics to look exactly like Ray Charles' eyes. And you put them on. And they cover, it just glues on. Jaime had to be led. You never touch Ray. He grabs you by the arm and you just lead him in a very light way, whatever, and I would lead Jaime onto the set. He had people with him and help him take him to the bathroom. I mean, this was a commitment that was total. I made the choice that we had to use Ray Charles once he finds himself when he's imitating the acting cold, that's Jaime. Jaime is fabulous. I didn't know at the beginning, but I do know now, I learned very quickly; he's a consertment musician. He went to university on a piano scholarship. But, I wanted to use Ray Charles; these are masterpieces. You don't mess with masterpieces and I used the real stuff. That means that Jaime Foxx has tobut, in today's world you record the vocals and the piano track separate. You could flip it if it's out of sync. These are monaural till 1959, everything in this. In that one sequence in I Believe to My Soul, you see, Tom Dowd had the first 8 track. Up till then, everything is monaural. So, Jaime Foxx can't be flipped. You can't take the vocal and flip it. And I'm going from his fingers on the keys to his mouth and back down. You know what a gift that is to a director, if you're doing a musical? And for you as an audience looking at it going, I know this is bullshit. You know, show me in this film where Jaime Foxx is out of sync? You're not going to find it. And learning those piano parts; Ray Charles is not somebody who goes, IAM; no. It was all singing off the note. That's what Ray did. So whatever his hands are doing, his vocals are doing differently. Jaime had to learn both those things simultaneously. It was an incredible gift. But I think we are all aware of great artists and we all see them in different ways. You never know how great somebody is until they have a role. African Americans in this community don't always have these great roles. And this was one that I reallyI chose Jaime. I introduced him to Ray and Ray put him through his paces. And ultimately after being really tough on him, he got up and hugged himself and said "this is it, this is the kid." Ray anointed Jaime himself. I watched Jaime grow from whatever his regular height was, till about 10 feet, right there at that moment. But there are those moments that ultimately say, the man himself said you could do it. Then there is that responsibility and that pressure that said Jaime was going to do it. And he was just great.
In the early part of the film, Ray fell victim to money scams, where he wanted to be paid in singles. Do you think that was still a concern for Ray as he became wealthier and more successful?
Oh yeah. The thing that is interesting about Ray Charles is that in all the drama to the Jeff Brown to the Joe Adams syndrome, it's all real, it all happened. And Joe Adams is a very smart guy. But Ray Charles never had a manager in his life or a lawyer in his life that was leading the band. He did it himself. Little bits and pieces, I tried to put in there. Cause he told me, the first gig he had, some guy said 5, 10, 15, 20. He goes with 20 bucks and puts it down and says "Can I you take $5 dollars for a room?" And the guy says sir that's going to take 5 of those. And he says "that's five bucks?" And the guy says "no it's not. It's one." Those kinds of rip-offs, you learn. And the late Ray Charles learned; getting paid in singles, to ultimately making million dollar deals. He was just that kind of mind. He was a pretty interesting pragmatic guy. I think he is one of the smartest guys I've ever met. There's no question about it. And he was fantastic to deal with. But he always had his eye on the bacon. He was performing, he knew what he had. But with his momma, he learned a lesson. He almost took it too seriously; stand on your own feet and don't be dependent on anyone. And I believe, seriously, that's what he did. There was no puppet master behind Ray Charles.
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Taylor Hackford Movies and Shows
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Learn about Taylor Hackford on Apple TV. Browse shows and movies that feature Taylor Hackford including Blood In, Blood Out, La Bamba, and more.
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https://tv.apple.com/us/person/taylor-hackford/umc.cpc.4e7krr5v9php13v2w70f6wyo7
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Taylor Edwin Hackford is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father. Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman and Ray, the latter of which saw him nominated for the Academy Award for Best Director and Academy Award for Best Picture.
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dbpedia
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https://indiefilmhustle.com/taylor-hackford/
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IFH 475: Making the Horror Classic: The Devil's Advocate with Oscar® Winner Taylor Hackford
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"Alex Ferrari"
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2021-06-08T14:30:33+00:00
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I am honored to have on the show today, academy award-winning director, producer, and screenwriter, Taylor Hackford. When you hear Hackfor...
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en
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Indie Film Hustle®
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https://indiefilmhustle.com/taylor-hackford/
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Alex Ferrari 0:04
I would like to welcome to the show Taylor Hackford, how you doing Taylor?
Taylor Hackford 0:07
I'm doing great.
Alex Ferrari 0:09
Thank you so much for coming on the show. It is a, it is a humbling honor to speak to you. So I'm a huge fan.
Taylor Hackford 0:18
I wanted to say that, you know, it's interesting with your last name, I love it. Well, you know, you got the fast car, but I there was a guy who ran, he ran actually, two different big companies. He ran Columbia Pictures in Italy. And he ran Warner Brothers in Italy. I mean, he was by far the best European distributor of American films I know of. And his name was Paolo, karate. And you know, you drive with him in raw, you know, in Rome, and he'd be driving around, you'd be gripping things. And he looked at you and, and, and raises eyebrows and say, they don't call me FERRARI for nothing.
Alex Ferrari 0:59
Well, if I ever give you a ride, Sir, my Prius does not corner Well, at high speeds.
Taylor Hackford 1:05
Well he's a great guy anyway. Side mentioning his name,
Alex Ferrari 1:12
I appreciate that. So, first, before we get going, how did you get started in the in the business?
Taylor Hackford 1:20
You know, I'm not one of those filmmakers who grew up, you know, with chronic asthma, or, you know, I was in a terrible accident. So I, I lived through movies when I was growing up, you know, I was pretty active in various things, I played sports, I was involved in politics, student politics, all those kinds of things. And, you know, I went to the movies, I liked the movies, I read a lot of books, but I had not really kind of outlined as a child or as a adolescent, or even as a teenager, that this was what I wanted to do. You know, I, as I said, I was a political animal. And I grew up in the 60s, when I say grew up, I reached a majority in the 60s. So when I was in college, you know, is 1967 1968 it was major things that were happening in the world, I think 1968 is still the most momentous year minmatar, free with all the things that happen. And I in 1968, I was in the Peace Corps, I lived in South America in Bolivia. And at that point, I had been, I thought I was going to maybe go to law school, I'd been accepted to law school, I started hanging with some film students, in my senior year in college, and, you know, I'd go to they would series film that, you know, and they go and they, and I spend time looking at their, at the films that they would see, and seeing through their eyes, the study and the process of looking at style. And I got hooked. And I got myself before I went to the Peace Corps, I got myself a super eight camera. And I took it to Bolivia with and I started shooting, you know, just whatever I wanted, you know, making little films that were part and parcel of the experience that I was going through, which was intense, you know, Americans when they grew up, you know, we are so fortunate we so lucky. You know, you live in a culture where most people are healthy, you know, you have media, you have all the conveniences of modern life. When you go to a third world country, you realize that you realize how lucky Americans are. And then you have to confront a different life. You know, we I was living in a, you know, in a barrio outside of La Paz, you know, with mostly imar Indians. And it was it was intense and very interesting. And the process of seeing that, and when the camera, I started shooting, and I was interested, what I'd become interested in when I hung with my film students was the political power of film, the impact what film could do in terms of communicating ideas, and to create change. So without being too pretentious, they know. But at the time, in the 60s, if you were political, you were pretty political. And one of the reasons I was in the Peace Corps was that I didn't want to go to Vietnam, I didn't want to fight in Vietnam, I freely admitted, but I did want to serve my country. So you know, that was an alternative and the alternative i thought was far preferable. And when I was there, it just, you know, you're bombarded with all of this cultural diversity. And, and, and, you know, plus, like, I'm speaking Spanish. I'm learning Spanish and learning and to speak. So it's it's it was a really really positive, very strong experience for me. And what I came to the realization was that I liked shooting film, I liked being able to express myself visually, that it wasn't, you know, I, when I came back from the Peace Corps I was there, got involved in, we created a volunteer newspaper only for volunteers, but still I was. So doing journalism. And what I found was that expression, being able to express myself, both in print and, and on on screen, I mean, these are little screens separate. Remember what I do did. It just captured me. So when I came back from the Peace Corps, I had been accepted law school. And I went, you know, it's kind of like, you have that momentum going, this is what you're supposed to do. And I spent two weeks there in the class, and kind of went, you know, this could be perfectly fine to do in life, you know, I'm sure, but it's not what I want to do. And it was weird, because I didn't have any money. I put any money I had down on tuition. I got up, walked out with, you know, for fitting all of that. And when I was in college, I had been student body president of USC. And I said involved in student government, student politics, and general politics in general, leaning toward the left, I might say. And I had been interviewed at a public television station in Los Angeles called KC et when I was a student politician. And the producer, there had been nice and so on, I just quit law school, drove up to Los Angeles. went over to Casey t asked to see this guy. Just call it a cold call, you know. And basically, he would did remember me and I and he was quite well, he didn't go to film school, did you? I said, No. I majored in international relations and economics. And he goes, Well, I can tell you what, we got room in the mailroom. And it's a good place to go, and you can work your way out and I said, I'll take it. And that was it. So and I was married at the time. You know, my wife had been with me, my then wife was with me in the Peace Corps. I mean, basically, I took a really low paying job, I had to learn how to mimeograph print, and deliver mail. It's a far cry from expressing myself visually. But on the weekends, I still short film. And I and I started going to film you know, I attended a lot of screenings with my friends in the film and film school and I was the scene. But I really started taking it seriously, I would go because there was a lot of, at the time in Los Angeles, there were a lot of repertory film houses and then showed classics. And I basically did what my friends that had been film schools did my though their film students had seen all those films, and I decided I had to do it. So I would go to probably, and this is no baloney. I would probably see 12 1314 movies a week, and I was working full time, ya know, at night, I would go, you know, I would go to see a double feature. You know, you see all of Birdman, you see all the Fellini, you see all of Andre vida, you know, you see all these years, you know, at that time, I was looking at European films, but at the same time, you know, john Ford, Howard Hawks, you know, that, you know, john used in the, the, the great American directors who had style, I was also and so, you know, I was soaking that up, plus, I was out shooting my own kind of super eight and eight millimeter movies. And basically working in the mailroom, and then, you know, I got to know the great thing about being in the mailroom, and I think you hear about it in Hollywood, you get to go to every department, you got to go you get to meet everybody, you're handing them, they're male, that's an important thing. And you shoot the shit, you know, if you're a good bullshitter you, you talk to them about what they're thinking and they either like you or they don't. But there is a process that if they do like you, and they feel that you got something on the ball, they might be you know, it might be conducive to them giving you a break when the time comes. And so there was a there was a show in case at a couple of reporters from the LA Times, and at that time, there was a lot of student ferment going on. When I graduated from college, I got into the Peace Corps I'd come back but it all that political stuff was roiling, and up at UCSB in Santa Barbara, the bunch radicle students burned down a bank of america crazy and literally burnt it down. And on my own, I got up and it was on the weekend. And I said to hell with it, I got in the car, took my super aq. And I went up to Santa Barbara. And I got up at like four in the morning so I could get there. I read that it had been burned down at midnight. We literally got one up there. And I'm now at this place, and it's still smoldering. And the students are standing around kind of like, hey, look what we did. You know, they're there. They they have the police had been there and done things. Some people have been arrested, and there's others. But clearly, it was a big kind of mob. This painting, which I thought was an amazing kind of statement that was that's, you know, the fact that it's the Bank of America and the students decided to take that as a symbol. And I shot some footage, and I interviewed some people.
Taylor Hackford 10:57
And I came back down to kct. And on Monday morning, I went and I said I went up and did this. And these guys put me on the air. They basically put me on the air and I showed my footage. And they asked me as though I were a reporter. You know what I'd seen who I'd interviewed, etc. And I expressed myself because I'd always you know, as I said I was a student politician, I could talk and they liked it. And all of a sudden, they said, Can you shoot? Well, then, one day, the cinematographer who worked for the studio, you know, got sick or didn't come in and something they say Can you shoot 16 and I lied and said I could, you know, because, you know, super eights very different, you'd have a cartridge to put in. And I was shooting a millimeter, you did have to thread it through the camera. But I've never shot 60. But I went out and I kind of taught myself and I didn't screw up too bad. And I started shooting. And then I started reporting and you know, in a way kct was my film school. That's amazing. It was great. Because, you know, when you're in film school, you got a semester to do a project, I had to do things every single day, I had air dates, and I started to become a political reporter on air. I also at the same time, you know, is the great thing about this was understaffed the station. So as long as you didn't care about sleep, you could do a lot of stuff. And I would do reports during the day. And I would do cultural shows because I was a student of rock and roll. I started doing, you know, uninterrupted music on TV. And, and then at the same time, I started doing longer documentaries. And I ended up by making a film about Charles Bukowski who was, you know, a great, great la poet. And I got very close to him, and he loved me make this portrait and lo and behold, and so, you know, I would I would edit the film at night. I would do my news work during the day do my cultural shows, you know,
Alex Ferrari 12:58
and sleep and sleep. How long?
Taylor Hackford 13:01
Who needs sleep?
Alex Ferrari 13:02
At that age? You don't need much sleep
Taylor Hackford 13:04
now. No, no, it was it was an opportunity. Shannon, the because the film took him to me about, you know, nine months to make because I shot it. And then I edited it. And I edited the San Francisco Film Festival and it one good progress document. And it and you know, those are the kinds of things that you do you don't know you didn't set out? Although, you know, I grabbed the opportunity. I thought because it was important. here's here's a cultural affairs department that and I public television station in Los Angeles. They have no idea who Charles because. And I said, Well guess what? JOHN Janae and john Paul Sartre call it America's greatest poet. So, you know, they think he's important. I think he's important. Why don't we deal with it since this is called called, quote, cultural affairs. And it's that's poetry. But you know, but koski was not what they had this idea of a poet. And of course, you know, because he was brawling and trumpkin. And, you know, all he could do is talk about fighting with women and so on. So in the film got, you know, when the film was finished, they were kind of shocked, but they put it on. And people complained, and I love this, this, I take this as a great, great compliment. It was because there was the word fuck. And there was a lot of there was a lot of things with Rakowski that you know, you can't alter you know, so I put it on it was an hour documentary. And somebody complained to the FCC and said I that this this this film had violated FCC was amoral, and it violated FCC rules. And it was investigated by the FCC. And if in fact, they agreed the student is the station could lose his license, right? She's so you know, we're all waiting around and with a great deal of worry for the meantime You know, I'd won the San Francisco Film Festival. And then the word came back and it said, we reject this challenge. We find this film a work of art.
Alex Ferrari 15:13
Oh my god, that must have been amazing feeling with
Taylor Hackford 15:17
it was a really cool thing to have happened. And then and then you know, use one from there.
Alex Ferrari 15:23
So, so it took from from what I saw you from filmography you that came out around 73. And then you got another film called idol maker and seven years later took you to get to that point. But then you made another little film called officer in the gentlemen. Now how, because for people and I was I was young, I was a young man when that came out. But even I my age, heard of Officer and a Gentleman and even when I got older, it was just something with the in the sight guys remember that? It was everywhere. Everybody was talking about everyone's spoofing it and talking about it. What was it like being in the middle of that kind of cultural hurricane?
Taylor Hackford 16:04
It's, uh, you know, it's a big surprise. You know, my, my first feature was the automaker, if I told you, I did a lot of rock and roll, right? It was, you know, when you get your first opportunity, you would pay them for the opportunity. Oh, yeah. I mean, I had done other documentaries, and I'd done a lot of music shows and so on, I finally quit Casey T. And because because people would say you make documentaries, you can't work with real actors. Wait a minute, you know, when you can get real people to reveal themselves and their type, all the barriers of that takes a certain challenge when you work with actors who want to give themselves I mean, you know, well, I had to go out and I made a, I made a short, dramatic film that won an Academy Award for Best Dramatic short, that was my ticket. Because now I can say to them, hey, these are actors. I won the Academy Award. Yes, it's a half hour film. But uh, you know, I guess I can work with that.
Alex Ferrari 16:56
Not too shabby, not too shabby.
Taylor Hackford 16:58
And, and so to do the filmmaker, was was was a great gift. And it was an interesting process. Because I really identical, I wrote a couple of drafts of the script. I didn't get credit, because directors don't get credit. But regardless, I know I got that film made. And I directed it. And I got, you know, very nice reviews. But it came at a time it was made for a company called the United Artists. And then United Artists, when they made my film in my film was, you know, a $3 million film was small. They were also making the most expensive movie ever made. Heaven's Gate. Yes, Heaven's Gate. And I always remember for my film, we had a promotional screening at Radio City musical in New York, with 5000 teenagers, it was, you know, a huge space, they flip the movie, they loved it at the same time afterwards, and the producers are jumping around going, oh, wow, this is gonna be great. We got to hit. And I was looking around the corner, I looked at the human artists, people, they had these clowns on their faces. I mean, they looked miserable. And, and I went over it because I knew the Pr Pr says, what's what's going on? Because I mean, I expected them to be looking at my film. And hopefully, like the producers thinking well, and they had this look in their face. And they said, Well, we just screened heaven's gate in New York last night for the critics. And it was a disaster. The filmmaker and the actors were on a plane from New York to go to the Toronto Film Festival. And the head of the United Artists, the president united goddess was on the film unplaned with him, telling them that they pulled the film. And these people were like, this is how this is Hollywood, they were looking at Doomsday. And, and, you know, they invested so much money. And of course, you had an artist went out of business, again, bought by MGM, and so on. But my little film was just collateral damage. It never really know. I mean, I'm proud of film, but it was out there. But enough people saw it that you know, I was able to get a second film. That's what it's all about, you know, you get enough for the first film, you got to do well enough and make it a show that you know what you're doing to get your second film and that was often the gentleman. And that then became a big deal. And I made it Paramount a month and it was when Michael Eisner Jeffrey Katzenberg and Barry Diller were there. And, you know, that was a tough place. That was a really tough place. And, you know, I, I wasn't like the writer, I didn't have anything to do with developing it, although I work with him in very intensely. And, you know, they said to me, you know, you got to make this movie, our production guy said, it's gonna cost cost this much to take this long. We don't like the film, we don't want to do it. This is it, you're talking right. But if, but if you make the film for, you know, much less and, and a shorter schedule, we'll make an Of course, you know, you know, yes. Well, okay. I got to make the movie. And of course they were they were literally walking me on the plank. And you know, so the first two weeks I was day behind on both weeks and they were gonna fire me, of course and and it was also the spring after Mount St. Helens eruption. Yeah, I remember that day it rained every single day, every single day of that shoot, it rained.
Alex Ferrari 20:23
It looked it looks, it looks like
Taylor Hackford 20:26
it actually gave the picture great saturated look, right. Yeah. But But regardless, it was, it was a tough thing. They're gonna fire me and you know, Richard Gere Devo. And your Lou Gossett just basically said, Sorry, if he goes, we go. And that's, you know, I never forget things like that. Because in an instance, where, you know, the you got a bunch of executives who really don't know shit, but are but are mean son of a bitches. And they're difficult. And, and in the word came, you know, you finished this week, or you're out? Well, I finished and I went on, and I made the film. And then, you know, and I'd had a big fight with the producer, the producer on the film just didn't believe in the film. He was constantly calling Hollywood and undermining the film and talking about you know, it's you don't know, a lot of people don't know, when you make films. how tough it can be. You have a vision, you're trying to carry that vision out, and people are subverting that vision. But the crew wasn't and we made the film. And then I came back and they made seven, they made six other films at that time, they were trying to beat a preschool strike. And I just kept working. And nobody had any. And I finally made my cut. And we had our first screening. And audience loved audience really loved it. And the word studio and it turned out, that was the only movie out of the seven films they made, they made no money. But it made so much money that it made everybody a hero. And you know, nobody remembers, you know, the fact that they, you know, they were tougher, by the way, you know, was I tough? Yeah. And, and did I make a film that actually delivered something? I was pleased to be good. I was. But when you ask us is a long answer. Your question, I prepared for that kind of response. Meaning, you know, the film made over $100 million. It was a it was a little 82 and 82. Yeah. And, and it was, it was a kind of social phenomenon. And people love the film. And you know that obviously after that, it helps your career considerably. You know, when you go to Hollywood and something makes a lot of money. People stand up and take notice, and then things get easier. When you're making a film. It never gets easier. It's always a tough, it's always a battle. But I can't say that opsins gentlemen didn't pave the way for my career. Now and that end scene, that famous end scene with Richard and Deborah,
Alex Ferrari 23:13
I hear that that almost didn't happen that way. I think Richard didn't want to do it or something. And by the way, was Richard Richard Gere at that point. Yeah. Did he is that before or after American Gigolo?
Taylor Hackford 23:25
It was after? Okay. You know, Richard had he but you know, my sense with Richard. I love Richard. He really delivered for me big time. He's a great guy. He's a terrific actor. But up to that point, you know, Richard had been asked he Richard has this incredible look, right? He has this incredible look. And there's a kind of brittle veneer. You know, I mean, you see him in America glow. And he's, he's walking around looking fantastic. You know, in, in looking for Mr. goodbar. You know, he has this fantastic character will replace a guy with a knife. He looks at it has an attitude that doesn't allow you him. And with an officer and gentlemen. You know, I had a script in Vegas script by a guy named Douglas de Stewart. But it's about a guy who is had a really weird appearance and has a lot of armor. And in order to make this film work, I thought, I got to break through the armor and I got to get in there and make the audience feel for this guy. And so I told Richard, you know, this is a thing you meeting somebody that I work with? And I said, Listen, I, I think that you're fantastic. And I know how talented you are. But I think up till now there's been this veneer over. And I'm gonna break through that veneer and get inside. And his response was Have at it, you know? And, you know, so in order to, to really do that, you know, I put him through some really interesting things. He knew he was complicit in that scene in the bunker out there when he breaks and says, I got it. nowhere else to go. Yeah, that's a big moment. And I had physically just beat him down. You know, with all that all his money, his face and mud and that means sticking in the mud. He had to stick at it, you know, that's who was my surrogate? That's the drill. But, you know, there were things without about that film that I thought were really interesting. You get a really good script. Lou Gossett role has always been written. White, you know, Doug's days towards di and he'd been a naval officer was a little Bender, Bruce, that Bantam rooster Southern cracker. If I couldn't find the right act was well written. So I said, visited Pensacola where the real basic training is. and ethnic, you know, like, the eyes are black and Latino. And, and, and I said To hell with it, and I got new glasses put him in a position, Doug, Doug, you know, didn't want it. But I thought, you know, look, I said when the Academy Award was interesting, first time a black man having total control over a bunch of white cadets, you know, in this instance, and he was tough. And, and I knew that to be the case, because I've been down there. When basically he was a working man, he was an enlisted man. He was a guy that that had been in battle had been battle tested, and he's training people. And he was basically saying, you know what, at the end of this, I have to salute damned if I'm gonna pass somebody through here that doesn't deserve you know, it's gonna have that built into battle and maybe kill him. I'm not gonna, you know, so look, I'm on it is all possible. And he was, and it's a great role. It's a great character, and you understand what he's doing. He's really committed military guy, marine. And, you know, when they pay him at the end for that salute, they earned it. And I think the audience got it. But anyway, going to what he was saying at the at the very end, there's a sequence that was scripted, Doug's done a story, because there's this it's a love story, in addition to this bonding experience of men and women wanting to become officers in the Navy Air Corps. There's a story about, you know, working class girls, and then open your bytown this is very real, this happens. I visited Pensacola and in Mobile, Alabama, there was the paper factories, and they call them mobiel depths. And, you know, when we went to we shot it in Washington State and had to create that, but we call the Puget Debs up there at the Puget Sound.
But, you know, basically these is working class girls and the paper factories. A big catch for them was to catch an officer and Debra Winger and Lisa Blount play these two girls, by the grace of brisky played the mother, Deborah, they worked in this paper factory they'd had, you know, I make I'm working class. My mother was a waitress, I make films about working class people. That's what I do. And I like, and I wanted to make them real. And so anyway, it you know, Deborah's is a tough character in this. She's a real young, working class woman, you know, and, you know, there's, the film is about young people, and it's about sex. And it's about all of those things that young people were forming themselves. But, you know, they had he, she and Richard had their ups. Like, they're, they're finished, right. And Deborah makes a kind of heroic Deborah's character, Paula makes a kind of heroic gesture. And, and kind of gives up her wanton ways as it were, she, she, she is ready to give up retreat and still keep her integrity and assets dug in with the sequence where at the end, he graduates he has ever had a rocky road getting there, he pays for that salute from any you know, he's going to go ahead and do really well. But he goes to the factory and he walks in and he picks her up and carries her out. And it's a kind of fairy tale. Although, I would submit it's a working class story, and it's a working class, you know, nobody's wearing glass slippers.
Alex Ferrari 29:30
Not at all. I mean, the factory she's picking her up at
Taylor Hackford 29:33
is a real but you know, I didn't know it was gonna work but I you know, when you when you make a commitment, you know, when you make a film, you're involved with comrades, male and female and you're working your ass off in the film is a collaborative effort. If it works, it doesn't just work because the director has a vision. It works because everybody shares that vision and expands on it and improves. So Douglas de Stewart was the writer I had a good relationship with and I I committed to make his film. That sequence was always in the script. You know, I have a feeling studio went to hell with this. And the producers certainly want to make it. But you know, Doug believed in it. And he begged me and I said, Yeah, I'm gonna have to beg me. I quit. You created the script, I committed to make that script and I'll shoot it. Well, the studio didn't want to shoot it. The producer definitely didn't want to shoot it. Richard Gere thought it was the shoot it. But I said, Hey, word to Doug Stewart. So what they did, you know, this, this is a pretty complicated scene, you know, these girls are there, the paper bag, they're coming in, they're working, whole factories going. I mean, basically, they gave me I think, three hours to shoot that sequence. They effectively are saying, We don't need it, we don't want it. And second of all, it's not going to be in the movie. So it's a waste we're getting out of here. And I didn't as I told you, I had a real problem with the producers. So you know, I just said, fuck you, I'm going to shoot it. And, and, and I and I set everybody up was like Chinese flag jobs. I mean, the factory was working. And I didn't have control of it. I just had to get things ready. And I had Richard back here to walk in through the machines with his white uniform. And I Deborah and, and, and Lisa Brown with their machines. And I got one little brief rehearsal. And what we did is the women who were running the machines, the working class women, the women that actually were worked in this paper bag factory their entire lives, stepped back from the machines behind the camera. And they're standing there because they're not gonna be very long. Shoot, it's so fast. And Richard walks up, I got one little rehearsal, he walks up Deborah's working. And she doesn't know he's there. And he taps her, and she turns throughout, and there's the rehearsal, and then I had to rush them back to shooting. But when I was doing that, I heard this noise behind me that I turned around. And these women were clapping, and crying. And laughing, they were clapping and laughing, and crying at the same time. And these are hard, tough. Women who are factory workers who had tough lives. And they looked at this, see, and they were that one sheet, they were dead. And at that moment, I knew this he was going to work. I knew it. I didn't know what up to then I never noticed through the whole movie, but I'm shooting it. And now I have to I just boom, boo, boo, boo, boo, boo, boo, boo, boo, my shooting it, getting it like, and I got out in time. And we made that we got that we got the sequence, you realize that? That's the sequences very, very famous. And it really works. And I had three hours to shoot. It was just a killer. But the interesting thing is, I knew right there, because if those women, those women, no, no, no, that's bullshit. That's Hollywood. Oh, give me a fucking break. Right? No, no. That was their lives. They identified they got it. And that's the way audiences responded in general.
Alex Ferrari 33:22
Yeah. And I like I told you, I remember it being spoofed on television shows. And I mean, it was just one of those moments. The simple they did a whole episode. Yeah. Simpsons episode like that. It was remarkable. But now I know this the behind the scenes stories that and generally a lot of times when you see these, these iconic moments in film, most of the time you hear like, yeah, had an hour. Oh, that was a throwaway. Oh, that was it's never like I had four weeks to prep for that shot. And never happens. During the 80s you had a run of really Zeit Geist style films like white knights. I remember very good and against all odds, as well. These are films that at least in my household, maybe it maybe it was just my parents love these movies. I knew about them, but I do remember seeing them, but specifically with white knights. I remember in the 80s I mean, Baryshnikov was, and still is, I mean, he's, he is who he is. He is he is the Michael Jordan. He is the goat as they say the greatest of all time of what he does, how did you approach directing a non actor of his magnitude in his world? I mean, that must have been intimidating as a director, but then not only directing, arguably the greatest dancer of his generation, but then trying to pull up performance out of it, which was a fantastic one at that.
Taylor Hackford 34:42
Yeah. You know, the thing is interesting is that Nisha is a truly a great artist. I mean, he is a truly great artist. And at the time, the world's greatest ballet dancer. I mean, I had the world's greatest tap dancer, Gregory Hines. And and but great He had done films he done things. But you know, the problem with this film, it was a dance film. I wanted to be a dancer. It's a it's a weird film because it's a dramatic dansville it isn't all singing all dancing fan. It's, it's a specific story about, you know, people behind the Iron Curtain. And they are doesn't exist anymore, but it did them. And so with meesha, you know, you just need you need to meet the department, you meet the Cal Bruce to come. And you're impressed because he holds himself incredibly well. He is very smart. He is a fabulous artist dancer. But he's got a lot going on. And and you know, you can see that look in his eyes. You know, all movie stars, they've got a movie star is a movie star, because look they have in their eyes, if they can communicate without words, and tell you whatever. That's the one key that I think is an all great actors, you know that I don't mean great actors on the stage, great actors on the stage. Who's their voice? It's all about projection. And, and in saying your Shakespearean thing, you know, you on the stage, you can't see people's eyes, right? No, but but the camera, the eyes, or the or the or the, the opening to the soul, and you know, camera and close up and that that is people don't understand how important the eyes are, and and how important it is for at least for an activity still, still and let that power and that energy come out of their eyes. So number one beach is playing somebody who's playing himself. I mean, he's playing a defector who ends up by going back home. And you know, the truth of why Knights was that defecting is a crime in communist Russia. It was a crime. You know, and punishable by some pretty bad stuff. So to find himself back inside Russia, by accident because of plane crash is a moment that is very real to me. You know, something that can be terrifying to him. He still has never gone back to Russia. He's never got once he got out. There's everybody. Roman Polanski went back to Poland. People have gone. Rushkoff will never go back to Russia, at least. I don't think he will. He certainly hasn't gone yet. And that's because he loves Russia. He loves it with a passion without the Russians when they can't speak Russian, you know, basically, like they are. They are, they're being robbed of their soul. They know eat Russian food, they know. I mean, it's it's there's a sadness to meet you. That's amazing, however. And he carries himself. He is a star. He carries himself on stage when he's dancing like a star. And I thought that he carried himself in front of the camera as a star. So, you know, he committed I committed and Greg Hines who was one of the great people that ever lived and Greg Hines is a fantastic artists but it's amazing human being and a very good actor. You know, they made this commitment. Three of us made the commitment together and all the people around. You know, Mike, my wife was in the film. Isabella Rossellini was of the film. Jerzy Skolimowski was
Alex Ferrari 38:27
a decent cast decent cast.
Taylor Hackford 38:28
Yeah, it was a great it was a great group. But most importantly, it was Twyla Tharp was the choreographer. And she's, you know, believe me, there's, there's a woman that's got, she's, she forget about a reputation, she is tough as nails, and she's really tough to deal with. However, she's great. And and so we had a, we had a very terrific unit, and we shot in Europe, and we shot in, you know, interesting places. And I'm very proud of the film, you know, when the film came out, you know, people going, Oh, well, this is bullshit. And, you know, I said, you know, what, every Eastern European, every Russian, Czech poll, all those people that have been behind the Iron Curtain, see white knights, they get it, they immediately understand it. And they understand what was going on. And because, you know, we wanted to imbue on the Eastern Bloc, our own ideas, oh, everything's cool, and everything's melting and so forth. Only the people that have lived there and had lived under that system, as artists understood how difficult it was. So, you know, I have a lot of respect for Russia and for Russians. But I also know that a lot of the stuff in white knights, I think, struck a real chord, at least to the people who knew that experience.
Alex Ferrari 39:54
Now you I mean, you've been able to pull some of the most amazing performances out of actors over the years. Oh, Your career? How do you or what advice do you have for directors on directing actors? Because a lot of times, young directors specifically, they all think about the pretty shots and moving the camera, they'd never think about talking to the actor getting the book, because that's what people are looking at. They're not looking at the camera shots, they're looking at the performances, what advice do you have for pulling out those performance?
Taylor Hackford 40:19
Well, that's, you know, that's interesting, because I set out I mean, I'm, as I told you, I'm a real student of film, I love film I've studied, I've seen so many films, and I love you know, I was president, the Directors Guild of directors, but my style, and you know, everybody has a different style. And I'm not taking anything away from great directors who really know what they're doing. But I didn't want to call attention to myself, the, you know, the Howard Hawks versions of directing, you know, to me, and there are a lot of great directors, I don't want to just singling them out. The idea that you don't know that the camera is you, you go through the camera into the drama, and the nuances of the story you're telling is on your actress faces, I was going for it because I guess when I started making documentaries, I didn't want arch style. In terms of acting style, I wanted to naturalistic acting style. And those subtleties that are expressed, which we experience every day in our lives, are the things that I think an audience can see and go, Whoa, I'm buying this, I'm buying it I this person is, is is in trouble, or this person has inner feelings, or this person is frustrated. And I'm writing along now with him in this story, to see what happens to them. So, you know, I didn't really ever want to hang from my feet by the ceiling, when the camera in my hand, swing around. So the audience is going, Wow, look at that camera. I have a lot of camera movement in my films, but I try to cover it. So that you're not aware, but you're aware of are the actors and the story. And you asked that question, basically, I tell the actors what I'm going for. But it's a collaboration. It's a real collaboration. I'm not. You said what do you say to them? What do you talk? You know, you don't say, Oh, this is I'm I never give a library am?
Alex Ferrari 42:30
Of course not.
Taylor Hackford 42:31
Well, there are people who do you know, people, they're great directors who give libraries? I don't, I don't because that's, you know, I'm not going to say to them, oh, say it this way. That's their choice. I'm, I'm working through the the my instrument is them. And so I want them to feel the character I work with each actor individually. I I'm, I will do a read through of the material. I go out and I find all the locations or if it's on a set, I still do that there. And I bring the actors to the location. It just once in advance and we don't you know, I I'll make them read through the scene there. But it's not because I'm you know, Sidney Lumet was very famous for rehearsing, rehearsing, rehearsing, chalked out things in the ground, and they rehearse to me, and by the way, great director, and I, there's not a better film than Dog Day Afternoon. I but but the point is, and, and. and john, you know, his partner in that was brilliant, brilliant performances. So it's just every director does it differently. But to me, I don't want to over rehearse a scene. I want the actors to know their lines, and I sit with them, and I work out their backstory, you know, when you meet them. On camera, you meant them at the beginning of the story. They've had this whole life, the characters has lived the life up to them. I worked that out with the actors. So when they walk in, they know who they are. But when the actors are meeting two actors in the scene for the first time, I want there to be some sort of, you know, if you rehearse it over and over again, oh, you know, I know Ferrari. And we work this thing out. And you know, so you come into it. And it's kind of like, well, there's no there's no spontaneity because we know it all. But if dopers together like that, they know the script, of course, but they don't know what's going to happen. And I believe the camera captures that
Alex Ferrari 44:35
magic.
Taylor Hackford 44:37
It is it is and that doesn't mean that there's not a you know, huge amount of technique. And there's not a lot of prep, but I work individually with the actors. So when they get together, there's something that because, you know, nobody, I
Alex Ferrari 44:50
won't say you don't work with them as a group.
Taylor Hackford 44:52
No, I don't. I mean, like I said, I do a read through the whole cast, and I take You know, people that are in a scene out to the location because, again, what you got to watch is that, you know, when you spring things on actors, and they walk into a strange place they've never seen before. It's kind of like daunting. And sometimes if you say, hey, I want you to walk over by the window, and I want you to stand over here. And then I want you to say these lines, and they go, well hold it. Who the fuck are you? No, no, I know, we got no time. But this is not doing a television series. Right. Right. And, and in that instance, by taking them there, and having them kind of feel the rule. And sometimes they even say, you know, just just improvise, just do something here, I see something they do, and I use in my corporate, so they feel like they've contributed to the scene. And by the way, it soon falls apart. So they asked me, they'd help. But the fact is, they've been there. And the reason you do that, is that the day you show up, there's an army that moves and the lighting is there, they run in, you do a walkthrough, and then they go to makeup. And when they come back, they got to be ready. If they are seeing it for the first time. And they kind of go, I'm just completely for mercy. I'm completely mixed up. I don't, I'm confused. I don't know, that's no way to start to sing. So by having them go to that location, that's something that I always try to do, if I can, doesn't have to be very long. But it's enough that when they come back again, they're ready. And they're not going well. I'm completely unsettled. I don't feel right. That's where you lose time when you shoot. Because now you got to stay with them until they get comfortable.
Alex Ferrari 46:39
Right. And I always I always find it that it's kind of like, my job as a director is always to try to catch the lightning. And, and if you rehearse, rehearse, rehearse, rehearse, like you just said, it gets stale. Whereas you just got to take them just to the edge, and then let them play. And that's when those amazing things happen, that you just can't plan for.
Taylor Hackford 46:58
That's, that's kind of my philosophy. And, and if the actors know that you trust them, I guess the other thing, and then what you do, because, you know, I passively, you know, I started I sometimes made a lot did a lot of checks. I don't anymore, I really trust the actors, if the actors are good, you know, you get it, and you got to, you know, so that. And also you don't have the same schedule as you used to. So you try to get it as quickly as possible, however, adjustments once you start, if you're if you're deft at being able to jump in for the, the the accuracy or not, so that everybody else again, I don't want all the actors in the scene to hear the notes that I'm giving Helen Mirren you know, he's going to respond in a way that I can jump over, and I can deal with Al Pacino. And I can go over and deal with Dennis Quaid. Or I can go over and deal with Jessica Lange. You you deal with different people individually, and then they come back in the scene and they may change it. But again, that's a valuable thing. They're changing their delivery. And the response of the other actors in the scene aren't Whoa, that's not the way they did last time, which then gives a kind of right. reeling in an energy that I think is good. It's good for the drama.
Alex Ferrari 48:16
Yeah, no question. Now you made a milk film called Dolores Claiborne, which I absolutely adored when I saw it. years ago. And I've watched it many times since those flashback scenes, that was the first time in your work that I noticed that technique, because you were saying like you try to hide the camera. But I noticed that technique and it wasn't a camera move, but it was so it was very cinematic. What you did, how did you approach the flashback scenes? It was that in the script like that in the book like that, how does that work? Well,
Taylor Hackford 48:48
I'm gonna give Yeah, I want to give the credit to again, you know, you know, work alone. And my screenwriter. On that film is the first time we worked together his name Tony Gilroy. He's become a resident, okay,
Alex Ferrari 49:01
he's done. Okay. Yeah, he's
Taylor Hackford 49:01
done okay for himself. But that was, you know, that was our first film. We made three films after that. Tony did a brilliant job of adaptation. It was a Stephen King novel. And Stephen King is, you know, I mean, you know, it's my, my best selling author in the United States. You know, I came on that picture. And it was a wonderful script. Wonderful script. And it was it was it was two stories tall, 20 years apart. And they weren't, they weren't like you did a flashback. At the beginning of the end. All the way through the movie. There was your cutting back and forth from different time periods. Fine, I loved it. I worked with him on two drafts, we're getting ready to go. And then I also picked up the book. I mean, anybody who's gonna do an adaptation? I read the book and Stephen King it was in Doris was a fantastic Stephen King, such a great writer. Amazingly, kids characters so fantastic, but this was not this was This was a dotnet core story. But it was not a special effects movie. It was not a fantasy. were no monsters. No monsters coming up. It was the monster was in these people, right? So I read that book and I went, Whoa. Now I really have an appreciation for what Tony do because in the book, it's very straight procedural, a woman is caught maybe killing her employee plate and her employer. And she goes into the police station and they are going to arrest her and they don't know. And she says I didn't kill her. I didn't want to kill her. I didn't kill her. Well, it certainly looked like it. And she said I didn't. But I did murder my husband 20 years ago. And at that moment, it's kind of like watch. And then you flashback to 20 years before, or 25 years before when she's a young woman. She's married. And she has a 12 year old daughter. And that's the story. The characters that the actors who were in my movie was starring Kathy Bates as the mother of two different ages. But Jennifer Jason Leigh playing the adult, Selena, the daughter, that adult Selena was not in the book, never in the book. So you understand what Tony did. This, the subject of Dolores Claiborne is the worst crime that I think there ever was the worst crime, which is an incest. You know, when a parent incest the child, their own chart, there ain't no worse priming. That's what this film is about. So what Tony did, which is brilliant, is that when a girl is interested in she's 12 years old, it doesn't him for her. He grows up, he becomes a woman, she becomes a mother, she becomes a grandmother. She's carrying that inside. She's caring that she's been scarred for life. But he was brilliant enough to say I'm going to bring this character back, Selena as an adult as a educated woman who believes that her mother killed her father. And she is blocked out why she's blocked in her mind because of the severity of the crime. He blocked out what and and because her mother is accused of a new murder. You know, 25 years later, she has to come back when she hates her mother. And they're they're fighting each other. And the whole mystery of the peace and this again, Stephen Stephen King, is the realization that that Selena have, because the mother realizes she never ever understood what went on ad. And so it's a great, it's a great story generated by Stephen King, and then a great screenplay by Tony Gilroy. That took what's the Stephen King was saying and expanded it. So, you know, I get this script. And what I've got to do is tell two separate stories with the same character 25 years apart, and I and I found a young, really wonderful young actress named Ellen Muth, who plays the young Selena David Strathairn, great, great actor who has to play the father Joe Oh, his daughter. And he's such a sweet guy. It's such a great father. But he understood what he had to play. And the great Christopher Plummer, you know, who is recovering who has come back on that movie, he really, he showed everybody and afterwards, he says to one great film after another after another, but you're working with those kinds of great actors. I then had my own idea about how to mix these. And you were you were saying, you know, sometimes the first flashback I wanted the audience to know I needed to make it clear,
Alex Ferrari 53:58
establish the language,
Taylor Hackford 54:00
you know, that establish the language and also give the audience a little zetz you know, a jolt and so you're, you know, you've got Selena coming to this terrible house in blue rock, seeing her mother and Kathy, this old old woman and you can feel it. And then I have a motion control shot which is for the audience. It's where you lock the camera in a particular way that can't move. And I Dolly across Cathy's back you see the place Selena sitting at the table and you and you bring it across and as you bring it across? You go from the past to the present to the past. And Selena goes from a you know, Jennifer Jason Leigh disappears. And this 13 year 12 year old girl runs into the room. And you know right there and the colors change. So what I what I did because I want that was the first one that no one could miss. You know from that moment on a wonderful the audience I kept wanting to have them you No think that they were in one place. And then they Oh, shit. I'm in a dip. Oh, no, they're there. And I think it works. But But what I did was that I, I and you, you do it psychologically my cinematographer is a wonderful artist named Gabrielle Bernstein is a Mexican. And he came from Mexico and he was working in the states and I'd worked with him on blood and blood out, which was another one of my movies. Anyway, Gabby and I worked it out. And what we what we did is say, listen, just look at the film stock. Let's look at folks like Kodak, which is the Eastman Kodak was the stock that everybody used at the time. It's sharp. It's got really strong blacks. It is in itself a kind of cold look. I mean, you can you can warm it up. But you know, it's it's sharp, it's and so it has a coldness to it anyway. And in Maine where we shot we shot this in Nova Scotia was supposed to be Maine. It's cold, it's bitter. It's winter. And so what we decided to do I both Gabby and I'd see the film that spin Nyquist had shot for in my bourbon called the passion of Anna. And the pack of Anna is almost black and white. It's colored, but it's almost back. It's so bleated out. You just felt that coast of Sweden just made you cold to the bone. That's what we did we d saturated codec, and turned up the blues, it was blue Mexico code. So the presence of Dolores Claiborne is shot on Kodak has been D saturated. And there's it every time we went to a flashback, we switched film stock to Fuji. And in anybody who shot Fuji, Fuji is pastel, right? It's kind of soft, and it has a more grain. And it's just a pastel look. And I kind of you know, thought it fit for the old doors whose life has been one hardship after another. And she's in such pain, that that cold look fit. But to go to 25 years before when she's a young woman, and she has hopes and dreams, she still hopes that things are gonna work out, you know, you want the film to have a different look. So pretty soon when you made these transitions, and I got better and better at finessing them, you know, you could just feel it, you felt you went from cold to warm, you went, you know, it's uh, you know, near the end, there's a wonderful like sequence where Kathy and Jennifer are having a conversation at the kitchen table. And they really don't mean Jennifer doesn't like her and is kind of sick. And just, she just is really upset. And Cathy demands that she sit down and listen to it because she's going to tell her the truth. And she has a bottle of whiskey. And she pours drink for saline for Jennifer. And she, I go into a close up, but she pushes it across the table. And it sits there and the hand comes out. And then a man's hand comes in and picks it up and you follow it up to his face and David's stress. So amazing. You've just gone in one shot. And this has no special effects or anything else. This is just the director kind of working on shots. But you've literally gone from an intense relationship between a mother and daughter to a man picking up the drink. And it's the father who insisted his daughter and the mother is confronting. So in that moment, you you know, I kind of did it subtly until at the end. The audience is like used to it, the audience does that they don't even there's no rise. They just go Okay, got it. Now I'm here now I'm there. I'm back and forth, and I'm in it. And that kind of storytelling is really fun to do.
Alex Ferrari 58:52
No, it was it was it was again, one of the first times I've ever seen that that technique, or at least for the first time was brought to my attention was absolutely wonderful. Now I have to ask you, the devil's advocate had been what a wonderful film. What was it like directing a force of nature? That is out the Chino as the devil note, lads.
Taylor Hackford 59:15
It's brilliant. When you haven't you know alpa Chino, and I can't. I've worked with some great actors. I've worked with narrow I work with Chino I worked with, you know, Joe pece. I work with great male actors, and I worked with some great female actors. I mean, I think my wife is the greatest actress there is.
Alex Ferrari 59:36
I mean, I'm not gonna argue with you at all.
Taylor Hackford 59:40
But, you know, in that instance, where you have al and again, it was not a foregone conclusion, you know, yeah, Tony Gilroy was with me. He wrote the screenplay. He wrote a, we took a screenplay that existed and completely changed. My concept of this was I wanted a Dramatic satire on the millennium, I wanted to know I wanted to make a statement about again, it was in the original source material, but not like we did it. I wanted to do something that really confronted the ego, the whole process of, of where we were at a certain point in our life, and lawyers, who, as we say, in their head, become the new priesthood. You know, everybody, everybody deserves a good lawyer as long as you can pay for it. And you know, the ones that that don't kind of pay for it are probably going to lose, because the better ones are going to come in and the people with a lot of money hired. So it was a lot of statement that was going to go on here and I convinced Tony I had to convince Tony do it. He goes, it's a devil movie. I'm not doing it. And I haven't convinced them alpa Chino goes, Yeah, it's the devil who cares? I said, out, you're just a complete Shakespeare night. You know, you you think those are great roles. Come on, that this is the devil. Come on. It's the greatest role you can have. And and, and we call the character john Milton, by the way, who wrote Paradise Lost? Of course, of course. But But you know, we had to write some new scene throughout. Because the fact is, it was Canada's movie. And, and, and although the devil is cool, you know, Allison Ellis got a big appetite. And he wanted it. But you know what? I went back, Tony rewrote some scenes, and Al did the role, but you have him in the film. And you just have, you know, just it's such a pleasure. You know, every single time he tackles something, you don't know what's going to come out? Yeah, he's got the words. Yes, he knows the words. Yes, he's going to deliver them, but how he's going to deliver it and also his abilities, probably the greatest at the end of that film. There is the final scene that you know that Canada who kind of comes in, he comes to Milton's apartment. And there's Connie Nielsen, it's just the three of them in the scene. And in the devil is basically you know, he's heard from his mother, you know, who's Judy, IBM is fantastic in the movie, that she is a young girl had been seduced by john Milton, and that that and he's, you know, he's, he's actually john Milton, son. It's like all this craziness is going to happen. So we shot the whole movie in New York, but we shot that big sequence back here in LA. And we went down to to Vernon, City of industry, where the big warehouse it was, it was incredibly high. We Bruna Rubio, who is my production designer, and five films, great, great collaborator of mine, built this fantastic interior set, and we shot it. But I went in the weekend before because I wanted to again, remember I told you what the act is to feel the space. And I and I took Connie and Kiana and Alan and I said listen, forget the text. All right. I want you to feel this space. I want you to use it. I want you to forget the text. I want you to improvise something, whatever you care, whatever you want to do. And I think you know Kiana and Connie were like, improvise what it was like Chino went okay, and pre Chino starts parading read this. I mean he's doing he owns it. He's just creating is probably the most brilliant, the most brilliant improvisations I've ever seen. Unbelievable. And he didn't use the text. So at one point, he's all excited and he started singing. It happened in Monterey. A long time ago, it happened in Monterey. You know, Mexico, stars and Steel Guitars, like singing this Frank Sinatra song. It's where the hell did that come from? No one knows. I put it in the seat. You know, I put, you know, put, you know the devil at a certain point where he's feeling his oats. He starts singing with Frank Sinatra's voice, but of course the devil could could be but that was all LPG. No. And I you know, I mean, the rest of it was Tony Gilmore. And I and I and he did a brilliant job of text in that piece. But you throw something like that in an alpha Chino can bring it off.
Alex Ferrari 1:04:28
And that many actors Could I mean, it is something very special. Yeah, I just remember that. You know, like he's an absentee landlord and all those wonderful lines but the way he did that's amazing dialogue but also that you really like out like you love john melt like you really are. You can he's seducing the audience. I mean, in his place, also
Taylor Hackford 1:04:51
seducing he's really seducing Kevin, right here. I love it. You know, and when, you know there's a sequence and let me tell you, you know, Tough sequence, I and there's a sequence where he's walking through Chinatown. With with Kevin, and they're playing through Chinatown. And, you know, he goes to this Chinese vendor, he says, where's the chicken that you can predict the future? You know? And, and he's tells Kevin about this. And Kevin is this, like, Who is this guy? He's the, he's the. And I had all the way through, it was my idea to basically have him speak all these different languages. Every time you see Alex speaking in a different language speaking in Chinese, he's speaking in Spanish in the subway, he's speaking this and that, and so forth. But anyway, he's in. He's in Chinatown. And he speaks to the vendor in Chinese. And I remember that's it. And, and it was, let me tell you try, we stole that sequence. We had to go in and shoot it without any control, because you can't control chinato. It was wild. I mean, talk about there's a there was a guy named Burt Harris, who was my ad is very famous. He used to shoot a lot with labette in New York. And he, he said, You know, there's no way to do it, just go steal it. But anyway, there at the end of that sequence, you know, he's taken Kevin as part of a seduction, where he's, you know, he's king of the world. He's had this huge international corporate law firm, all those things. And at the end, he goes across the street. He's like, Where's your limousine? He says, Kevin, it's New York. Take the subway, take the train, learn it, at any step that token and he's going down into the subway. So you're going this guy who run who the Master of the Universe still takes the subway in New York, you got to love him.
Alex Ferrari 1:06:44
You got to let it's it's amazing. Now, one of one of the films in your in your career that you that really I know, meant a lot to you. And obviously meant a lot to a lot of people was Ray. And and you bring in Ray Charles story to the big screen. I know that took you a while to get going. How did you? Yeah, yeah, I know. That was like a real big passion project for years. And then finally, Jamie showed up and he was right. I mean, he there's no doubt about it. How, how was it bringing that to life? How did you how did that performance? Because obviously he won the Oscar with that performance. And it is uncanny. I mean, you watch, it is uncanny. Not only his performance, but he could like his voice can sing, like way sounds like right. How did you how did that work?
Taylor Hackford 1:07:33
Well, two things. You know, I, it took me 15 years to get that for me. It's kind of fortuitous, because I wouldn't have had Jamie Foxx if I don't, you know, at the very beginning. And, you know, partnering with an actor, I talked a lot here about partnering with actors. I think that a great partnership was Jamie and myself. You know, I cast him. I didn't know him. And he was an irreverent comedian. booty call. So I found out when I talked to him that he'd gone to university on a piano scholarship. And I said, Oh, we'll funk and jazz, no, no, classical. When you hear the Jamie Foxx, the Reverend comedian, you know, played classical music and went to university on the basis of the fact that he played it brilliantly. You now realize, who's this guy is, and you realize he's got depth. He's got incredible soul. And he's really smart. And I just cast him on the spot. I just cast him. And that that dedication, that sense that Jamie and I were together, you know, went all the way through the film, because my sense was for him. And Jamie lives in the, you know, he lives in the back of it. And he's, you know, he's very much a black man in the black community. And I said, Listen, we're dealing with firing, Ray Charles is the greatest, you know, Ray, Charles, is it and everyone knows him. And if we fuck up, you're going to spend the rest of your life apologizing, and going around to your uncle and cousins like me, you just couldn't do it, you know? And I'm gonna look at every black friend, I have to say, How dare you, you know. And so it was kind of bonding there. But you know, the other part of it is, you know, if you if you didn't notice, I'm not black. I
Alex Ferrari 1:09:28
didn't notice that.
Taylor Hackford 1:09:29
But you know, what you do in that instance, because I'm making most of the cast is black. And I'm telling you a story about a black man. Now, Ray Charles, never had a problem. Ray Charles and again, I knew him for 15 years, one of the most brilliant people I've ever known, but he trusted me. And he wanted me to make the film and he never took the rights away. You know, many times I had to go back and apologize. Nobody would make it. He never did. Right. So can you and you kept asking for the rights but
Alex Ferrari 1:09:53
it just a couple more years. Just a couple more years. Yeah,
Taylor Hackford 1:09:56
exactly. But but in reality I Listen, you know, I've got one the screenwriter was, you know, I wrote this the story. And then the screenwriter came in, he was black. And he had, you know, it was from the south. And he had voice and he knew so you know, you you, you've got to listen. Because what you didn't experience what you don't know. And with Jamie, and all the other actors, and I mean, you know, Regina King is going through a huge thing. Yes, but he's my pastor is Margie Hendricks is she's as good and Ray as she's been anything else. I mean, she is so great. She a body, that woman. And you know, she and Jamie just created and Kerry Washington, a huge star. You know, they're in this movie. And they're both playing incredible roles, like the one of the great pains I had with Ray, and ingenue Ellis, who played Marianne. And Sharon Ward, who played Ray's mother was brilliant. And she's never, she was not a professional actress when I met him. But, you know, I had four women that I think all deserve to be nominated for Best Supporting Actress. They weren't the center of the movie, but they were big roles. And they all kicked ass. When you when your director and these actors have given you so much, and they're really they were on board was incredible collaboration. I love them all. I couldn't, what I should have said is say, carry. You're brilliant. You know, as D, you know, you know be you know, Ray's wife. But I'm going to go with Regina, or Regina, you're fantastic. And I'm going to go with Sharon Ward, or ingenue, you're terrific. But I'm going with Kerry Washington. I didn't. And you know what, not one of them got nominated. And they should have been, they really should have been. All of them should have been nominated, although that's kind of much one film. But what happened is they split the vote. And that's sometimes you got to be pragmatic, but I still couldn't say to him, you're out and this person's in
Alex Ferrari 1:12:09
there, we're all just too good.
Taylor Hackford 1:12:11
They weren't they were, let me tell you. I know, of course, I'm prejudiced because I've directed the movie. But you know, the thing of collaborating with people who know what they're talking about, who were raised black, they're raised in a community that and Jimmy White, who had written the dialogue knew what he was doing. They knew that fit. I mean, it was country as his country. And so it's great, Charles country, you know, but the fact is, we all collaborated beautifully together. And they gave me everything I asked the poor, it was a fantastic experience. And I still Jamie nerds still very, very close. And
Alex Ferrari 1:12:51
I have to ask you, there was a movie that you did not direct, but you were the editor and producer on which is arguably still one of my favorite documentaries of all time when we were kings. They know that we have a story because it took them like you shot with the juice. You didn't shoot it, but the director shot it. And then like, what, 20 years later or something like that you made the movie or something along those lines.
Taylor Hackford 1:13:14
Yeah, maybe basically they went they were shooting a concert film in Africa. That's a sore point for me because I was stupid. Partly, you know, they came to me with a film they couldn't. They didn't work that they couldn't ever do anything with. And and asked me to come in and I you know, I was president, the Directors Guild. I'm a bit so I didn't want to take the directors credit. But the fact is, I made that film. I did. I mean, I came in. I did all the interviews with maler. Plimpton, my leak is biographer Spike Lee called spike up because he'd gone to Africa and never interviewed one African. He never talked, you know, here's this story. But it's, it's about Li going to Africa and capturing that spirit. So I did all the interviews, I had final cut of the film. I went back and bought the they didn't they weren't there for the flight, that whole last act, I confected and made that like, like, they were there, because I bought the footage from the fight. And, and, but in any event, I'm very proud of it. And the reason I made the film is it Ollie To me, it was the greatest movie star of my generation. You know, what a great person an incredible, incredible presence. And I wanted my son's it because at the end of his life when he got Parkinson's and he was all shaking, you know it and that you know, the producer and did lean on what let's get let's go shooting now. It'll be a good tear at the end. I said, No fucking way. I'm not going to I don't want the world to see that. I want the world to see this man who was the champ who was in charge, you know, in complete control of everything. And I want them to go out realizing what I realized was there was nobody you Nobody alive like Muhammad Ali. And that's I was celebrating him, actually. So my two sons could could see that.
Alex Ferrari 1:15:07
Yeah, and I just remember watching it. And you see, you set that story up so beautifully as you know, as foreman as this absolute monolith. And, and honestly, physically, Ali was not the same as his form of form, it was a monster. But I
Taylor Hackford 1:15:24
understand that the way the film was came to me, you know, there was a, you know, what happened to fight fires, of course, the first in the first press conference, Ollie kind of predicts it all. And, and there was no film that was just like, what are we gonna, we'll look at the software. So what I had to do was build up, as you were just saying, George formance invincibility. And you know, when you get those old, that old footage where you see him, literally, knock Joe Frazier off his feet, take Ken Norton and destroy him, you know, everybody in his path, he was destroyed. And now, you know, I get mailer and Plimpton to talk about the fact that Ollie in that press conference where he's talking about this or that he's terrified, he's terrified. He thinks he's gonna lose, but he has no option. He has to come back from the drug, the draft dodging thing and so forth. And, you know, so I kind of structured that whole movie, to be able to get to the conclusion that it was so obvious. But the other part The other reason I wanted to do the film, is that I made the film for women. You know, I happen to love boxing, and I love the sweet sport, the sweet science, but most women go, Oh, it's terrible. It's just such a terrible thing. And it's brutal. And yes, it is brutal, but it's brutal. And they're stupid, as I say. The people who really understand boxing, understand that it's hard. You know, it's skill. Its brains, and it's hard. And the great, great, great fighters have it. They're not just lugs they have it probably was so smart. You know, Muhammad Ali couldn't be George. Come on. He's in his, you know, 30s George form is 24. He's invincible. Ali won that fight here. That fight Bye, bye. Absolutely out, maneuvering, mentally George Foreman, and all of that stuff that went on. And so you kind of see it. Plus, I had, you know, Norman Mailer who incredible voice George Plimpton incredible voice, Spike Lee, who, you know, can talk about, you know, in rightfully, as, and also, you know, he can talk about black people in America. He's focused his career, but he also understood it, nobody has any history, people have forgotten who he was. So you could have him put that in context. And then I had a friend who had been part of Peter Brooks international theatre company named Molly Baba JoJo, he was from Mali. And he actually was the voice of Africa in that film. And he could talk about as an African, what they thought of Bali, how they look, because Foreman's darker form is much darker, he should be the guy they, instead they say, No, no, it has nothing to do with the color of his skin. He embodied what Africa was about, we loved and we, you know, and anyway, in that film, you, you see that evolution. And you also realize how great a champion he was. Because when women see the film, if I succeeded, they come out, they go, Oh, he won that. By being smarter. He psychologically psyched him out completely. They get it. And then and that's, that's what I was setting out to do.
Alex Ferrari 1:18:55
What drives you to continue to make movies, I mean, you've made some some of the greatest movies in in Hollywood history, arguably speaking. What makes you making wanting to keep making stories, but making movies?
Taylor Hackford 1:19:08
You know, that's the I told you when I was in the Peace Corps, and I started with my super a camera, and I eat, it excites you, you'll get the opportunity to tell I'm a storyteller. As I said, I'm more interested in using the nuances of an actor's face and telling the process on camera than I am in, in creating some big cameras, that everybody goes, wow. Because when we're honest, what you say, those big camera moves take you out of the movie. What they're saying is, oh, wow, this filmmaker really is showing me something. And until I'm back here, looking at it, instead of in there with the actors doing the story, right? That isn't again, that's not sad to put anybody down. I love directors with great time. I am a fan of it, I just don't choose to tell my stories that way. And I think that the, the excitement of having a story, like I said, I just developed six projects, I want to make all of them. And in the last few years, it's tough. I mean, I would never be able to make rain today. I want a Blackberry. It's just, I can't do it. So I was lucky to be able to have that experience. You know, I knew Ray Charles and I felt I did injustice. And he told me I did. But you know, today's world is different. But I still have a passion to tell, you know, stories that excite me, and, and the fact that I can, until I know, hopefully, it's hard getting money harder now than it ever was. If I get the opportunity, you can bet I'm going to jump out there and be the first one out of the blocks at the starting gate. And that you know, and and be able to be there when I come around with the finish line. Because it's it's a, it's a, it's a great gift, it's a great opportunity. And, you know, if you have to hunger to tell the story, and you work with collaborators, that the other thing is the realization that you need, you're not a novelist, alone at your typewriter or theater. So you need really talented people, you've got to seduce a whole group of people, whether they're actors or crew members to come along with you. And then you've got to give, you've got to listen to them, because they're all contributing, so that when you finish it, you've been through war together. But you also realize God, we we put something together, we put something together together, all of this collaboration, and then it's better than anybody could have done alone. And that process if that's what you like doing that, you know, again, I like all the processes of filmmaking. I love the editing room, I love, you know, pre production getting set. But it's when you're shooting, that's what you're dancing. That's the case you got to come up, there's always going to be things that come out of Nope. It's all these things that are never expected and can destroy you. And how bad things on your feet and solve them and and shoot your way out of a corner. It's what it's exhilarating. It really is.
Alex Ferrari 1:22:27
And I'm gonna ask you a few questions asked all of my guests. What advice would you give a filmmaker trying to break into the business today?
Taylor Hackford 1:22:34
Grab a camera and tell a story. I mean, you know, it's easier today than it ever was. But you know, I, I got my break, to be able to make dramatic film. Because I I shot a dramatic short. And they won an Academy Award. And that was taken for me. But without it, you know, people would still said, Yeah, you did documentaries. But can you work with actors? Can you tell a story proven, and you don't need to do half hour, you can do 15 minutes, you know, it's hard to tell a short story and make it make sense. But you can do it. And now that you've got an iPhone, you can you know, you can you can shoot whatever you want. I didn't have that option. You know, I had to make things look, you know, cool and get a cinematography. I mean, sooner or later, you want to have people and I would just also the idea of even though you're using an iPhone, get it, get somebody to shoot it. Because you need to talk to the actress. You know, you want a great editor, you know people can do in a Steven Soderbergh is a friend of mine, and he's a great director. But you know, he shoots, he edits, he does it all himself everything. And, you know, that's great, I could never do that. And I, I want I feed off of the energy of all those collaborators, because they got great ideas you got, you just have to know. You can't take their word for everything. You know, yes, they're talented, but it's you making the film. So you say I want to know what you think I want to get these ideas. And then you finally have to say, those are all interesting things. But I'm doing it this way. My Way, as you can't sit in the movie theater at the end, as people are walking out telling, well, that wasn't my idea. No, it's got your name on it. So, you know, what I would say is make or choose a group of people keep a team small planes. You think of that, and make a small short film that you can show as your calling card.
Alex Ferrari 1:24:37
Now, what is the lesson that took you the longest to learn whether in the film industry or in life?
Taylor Hackford 1:24:44
It's interesting. I'm going to tell you a story of this brilliant, brilliant man, but I do Ray Charles and I was recording was using him to record some early lol Folsom elements. He played piano for local some of the road boltholes was a great blues map. Every every day, I have the blues, some. And Ray was going to, you know, I asked him what about an arranger that puts us there and says how I rank those things. I'll do it for you. So I was in raised studio and Ray had always been really cool, really cool. You know, Taylor, you got the eyes, you got the passion, I'm supporting you. But he was doing he was sitting in the chair that he knew a lot about, which is music. And he was going to be putting together these, these the band, I had a wonderful blues, young blues guy from Louisiana, came named Chris Thomas came. And he's really good. But he was going to say you play the guitar, but the bandulus but before we did that, I had a sequence in the film where I wanted ready to be playing and kind of contemplative groups. And, you know, he's, he's hurting, he has never been on the road before. He's a blind man. He's out with a bunch of musicians. There's, he's, they've finished the gig, guys are at the bar, and they've got some girls, and they're going to go out and re wants to go with him. We're sitting there alone with him and says, Hey, fellas, where you going? And they, and they hear this guy say, We don't need no cripple with us. Let's get out of here, you know. And, you know, he's, he's left. And this is all leading up to his his pain and his sadness. And when he started taking heroin, so it was these things, you need these scenes to build up to show how, how completely bereft is of any kind of joy in his life. So after those people leave, he starts playing this little melody, little kind of contemplative blues of the piano. And it becomes the intro to the next night when they're performing. Everyday I have the blues loaf or something. So I had a very specific, it's my creation of the scene where I wanted a piano intro, that then becomes the next night. And then afterwards, he goes and shoots heroin. Because he's so you know, low. So I asked me, like, describe how I want it. He's there. We were alone in the studio, because the engineer myself and Ray, and I described what he wanted, he sits down and starts playing. And it's real showing, it's just not at all what I want. And he finishes his How's that? And I said, well, to tell you the truth, man. It wasn't what I wanted. It's way too showy. It's way too busy. And it just didn't work. And Ray Charles, we've been so nice to meet, you know, now turns and says, Listen, mother fucker. I'm doing this as a favor to you. You know, I played that son of a bitch Exactly. Like you described it. Now you better get your shit together. I'm getting them a walking out of here right now. And the man who had been so cool to me, was in testing. Right? And what he said was right, I thought about it. And now I said, you know, because you can hear I, I know how to talk. And, you know, directors can talk and talk and talk. Well, the lesson that I learned, I stopped. You know, I mean, my heart was beating. I look, I look behind the glass at the booth. The engineer kind of slid down in his chair below, you can see, you know, they're all alone. You're all alone. Cobra when the rattlesnake came out of Ray Charles, let me tell you, he was frightened. And so I thought I had to think really quickly. And now I came back and I described what I wanted. In 25% of the words that I originally used. And race it. Okay, great turnaround, played it perfectly played exactly what I wanted. And he finished he said, how's that? And I said, was perfectly was just right. He said, okay, just say what you mean.
Alex Ferrari 1:29:21
So when you say 25% less, do you mean that you would just No, no 75% less? 75%? Right. 25%
Taylor Hackford 1:29:29
of the words i'd originally used in other ways the lesson learned for filmmakers. Don't talk so much that you're there your community know and rate. You know, sometimes people use their hands. They're trying to explain all these goes into what you're saying. Right. couldn't see any of them. He heard what I said. And he played it the way I described it. And I know Ray Charles, he played it the way I described it, I fucked up. I used to Too many words, mixed up things. And now he forced me to take 75% of the bullshit out. And I thought 25% of the words, and he knew exactly what it was, and he delivered what I asked. And so I think the best advice is what Rachel said. Just say what you mean. And don't dress it up with all that bullshit.
Alex Ferrari 1:30:24
And last question, three of your favorite films of all time.
Taylor Hackford 1:30:28
Oh, God. You know, that's really hard because I told you how much I love them. Sure. Treasure Sierra Madre moderate is perfect. It's a perfect. I think that the Wild Bunch pretty amazing film. Yeah, that really means a comb about age and about America. And, you know, the rest of you know. I mean, I'll just give you you know, I can't, you know, I can't give you you know, by giving you a third that I've got, I believe those two, and then I didn't realize that, you know, karasawa should be in there. Sure. No, Fellini's should be in there. Andre Vita, who is one of my favorite directors is check director. You know, there are too many young guys, any, any move is a great director. You seen films that stop your breath. And you realize that there are there are filmmakers out there who can truly tell the story and make you feel something that nothing else like it's film that will change your your perspective on life. So I don't have to give you a third,
Alex Ferrari 1:31:45
fair enough.
Taylor Hackford 1:31:46
It would be one of those filmmakers.
Alex Ferrari 1:31:49
Taylor, thank you so much for your time and your stories and your advice. It has been an absolute pleasure talking to you. So thank you so much and keep doing what you do. We need more films from you, sir.
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https://www.hollywoodreporter.com/business/business-news/taylor-hackford-elected-dga-president-86920/
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Taylor Hackford elected DGA president
|
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2009-07-25T19:44:00+00:00
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Taylor Hackford will succeed Michael Apted as president of the Directors &#8232;Guild of America.&#8232;&#8232;
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en
|
The Hollywood Reporter
|
https://www.hollywoodreporter.com/business/business-news/taylor-hackford-elected-dga-president-86920/
|
Taylor Hackford will succeed Michael Apted as president of the Directors Guild of America.
Hackford was chosen Saturday during the guild’s biennial national convention at Directors Guild headquarters in Hollywood. Steven Soderbergh was re-elected national VP and Gilbert Cates was re-elected secretary-treasurer.
The 135 delegates on hand also elected members of a new national board of directors. The DGA includes more than 14,000 members.
After a year and a half of labor unrest, which included a four-month writers strike and a protracted stand-off for the actors union, Hackford faces the challenge of navigating the next round of contract negotiations looming in 2011.
With new-media considerations dominating the previous round’s contentious debates, the de facto collective bargaining that will materialize in early 2011 should prove once again to be a battle over the digital future and how the creative community should be compensated as content migrates to the Web.
Hackford also took aim at Internet piracy in a statement after his victory. ”We have to be aware of the challenges we’re facing in protecting our work on the Internet,” said Hackford. “What’s euphemistically called ‘Internet Piracy,’ I choose to call by its true name, ‘Internet Theft.’ It threatens the future of our economic lives: our employment, residuals and pension and health plans. Solutions won’t come easy, but they must be found, if we are going to survive as professional filmmakers.”
The WGA contract expires May 1, 2011, and the SAG, AFTRA and DGA deals expire two months later, on June 30. All of the agreements included a sunset clause signaling that new-media concerns could and would be re-addressed in the next round of bargaining.
Though the writers will technically be in front, the directors guild has a tradition of beginning negotiations early and cutting deals with the AMPTP that effectively set a template for the other unions. When the more hardline WGA went on strike in late 2007-early 2008, the DGA ultimately stepped in and cut a deal in January that included new-media jurisdiction, though not to the extent that the writers — or, eventually, the actors — had wanted.
“The Guild will be in extremely capable hands with Taylor, who has already served the Guild in different capacities for years,” said Apted from on set in Australia. “I’m thrilled to see him take his place as the next DGA president and I know he’ll do a fantastic job steering the DGA through the many complex issues that will come its way.”
Apted served three consecutive two-year terms after he was elected to succeed Martha Coolidge in 2003.
Also elected were first vp Paris Barclay; second vp William M. Brady; third vp Betty Thomas; fourth vp Gary Donatelli; fifth vp Thomas Schlamme; sixth vp Vincent Misiano; and assistant secretary-treasurer Scott Berger.
Hackford joined the DGA in 1974 and became a member of the national board in 2002. He was then elected third vp in 2005. He currently co-chairs the DGA Task Force on Social Responsibility. In 2007, the guild honored Hackford with the Robert B. Aldrich Achievement Award for extraordinary service to the DGA and its membership.
As a director, Hackford has helmed features such as “An Officer and a Gentleman,” “White Nights,” “The Devil’s Advocate” and Ray. He was nominated for a DGA Award and an Academy Award for best director for “An Officer and a Gentleman” in 1983 and for “Ray” in 2005. He won the Oscar for his live-action short “Teenage Father” in 1979.
Elected board members include: Herb Adelman, Apted, Stephen Glanzrock, Lesli Linka Glatter, Victoria Hochberg, Kim Kurumada, Michael Mann, Donald Petrie, Scott L. Rindenow, Ed Sherin and Jesus Trevino.
Associate board members include Duncan Henderson, Dennis W. Mazzocco, Barbara Roche, Liz Ryan and Mary Rae Thewlis.
Alternate board members include Laura Belsey, LeVar Burton, Stephen Gyllenhaal, Rod Holcomb, Todd Holland, Jeremy Kagan, Randal Kleiser, Garry Marshall, Max A. Schindler, Millicent Shelton, Eames Yates and Michael Zinberg. Second Alternate Board Members include Lee Blaine, Alan Curtiss, Julie Gelfand, Joan Griffin, Kathleen McGill and Elena Santaballa.
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https://observer.com/2004/11/give-the-man-an-oscar-jamie-foxxs-pitchperfect-ray/
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Give the Man an Oscar: Jamie Foxx’s Pitch-Perfect Ray
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2004-11-08T05:00:00
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Taylor Hackford's Ray , from a screenplay by James L. White, based on a story by Mr. Hackford and Mr. White, turned out to be even better than everyone said it was, and I write this as one who has never regarded the music of Ray Charles as a cultural priority.
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en
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Observer
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https://observer.com/2004/11/give-the-man-an-oscar-jamie-foxxs-pitchperfect-ray/
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Taylor Hackford’s Ray , from a screenplay by James L. White, based on a story by Mr. Hackford and Mr. White, turned out to be even better than everyone said it was, and I write this as one who has never regarded the music of Ray Charles as a cultural priority. Not that I wish to strike a pose as some kind of musical elitist; rather, I want to assure readers as indifferent to most music as I am that Ray is eminently worth seeing and hearing for its brilliantly integrated fusion of story and song.
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The film expertly dramatizes the personal and professional life of Ray Charles Robinson, who was born on Sept. 23, 1930, in Albany, Ga., and died on June 10, 2004, at the age of 73. He dropped the “Robinson” at an early stage of his career because the championship boxer Sugar Ray Robinson had pre-empted the name “Robinson” in the public mind. Blind since the age of 7, Ray Charles had to overcome the additional handicaps of being born poor and African-American in the segregated South.
One would think that Hollywood decision makers would’ve jumped at the chance to film a life story so chock-full of inspirational human-interest themes, including the ever-timely civil-rights struggle. Such was not the case, however. Mr. Hackford, the director, co-writer and co-producer of Ray , met Ray Charles for the first time in 1987 while trying to secure rights to his life story, and their collaboration over the next 15 years left a lasting impression on the filmmaker, as he describes in the production notes: “To really understand Ray Charles, the music is important, but there is so much more to the man. When I first heard the stories of his life, I thought, ‘My God, I never had any idea.’ I did not realize how he came up, how he went blind, how he traveled on a Greyhound bus from Northern Florida to Seattle, how he got off that bus as a blind man on his own, experienced discrimination, addiction and sorrow-and yet found his way to become an incomparable artist, an incredible businessman and an American icon. I thought, ‘This man’s story must be told.'”
Of the man himself, Mr. Hackford observed: “He was a very gracious man, yet also very, tough. He was one of the smartest people I’ve ever met and he was also very, very candid. Of course, he was not an easy person, but nobody that accomplished is easy. Having overcome the monumental obstacles he’d faced in his life, Ray exuded a confidence that can only come from being a self-made man. He was also a perfectionist who demanded total concentration and dedication from others. And it was impossible not to be inspired by him.”
After Mr. Hackford and his co-producer, Stuart Benjamin, secured the rights to Charles’ life, they were surprised to discover such a lack of interest in Hollywood that it would take more than a decade to get the project off the ground. As it turned out, this long delay meant that Charles never lived long enough to see the movie on which he’d labored so tirelessly.
On the more positive side, an earlier green light on the project might have meant that Jamie Foxx would not have been considered for the part of the famous musician. And let’s make no bones about it: Mr. Foxx comes as close to reincarnating Ray Charles as any mere mortal could be expected to come. After all, who could have thought in advance that Mr. Foxx, in addition to being a skillful stand-up comedian on television and a persuasive actor in Oliver Stone’s Any Given Sunday (1999) and Michael Mann’s Ali (2001) and Collateral (2004), also possessed musical talent of his own, and had learned to play the piano at 3? This ensures a confidence at the keyboard and a facial accompaniment to the vocals that never betray the original.
Indeed, so many things went right with this ambitious production-and particularly with Mr. Foxx’s amazingly and uncannily charismatic performance-that a mere Oscar seems grossly inadequate compensation. The casting and performances of the women alone contribute to the gravitational pull of the increasingly sensual Jamie Foxx–Ray Charles persona. Kerry Washington as Charles’ gospel-singer wife, Della Bea Robinson, is counterposed with the sassy, angry, heroin-addicted singer-temptress, Margie Hendricks (Regina King), and the proud soloist Mary Ann Fisher (Aunjanue Ellis), who walks in and walks out of the Ray Charles orbit; all enhance the film with their womanly graces and their rhythmically compelling voices.
As little Ray’s thin-boned, iron-willed mother, Sharon Warren’s Aretha Robinson provides the tough love needed to lead a blind child away from the path of charity-seeking dependency and onto the open road of brave independence. Mr. Foxx has noted that he was seeking the “nuances” in Charles’ character, though he would seem to have his hands full as a sighted actor conveying the infinite darkness of a blind musician. Mr. Hackford has adjusted his camera setups so that Charles seems to come lurching from out of the darkness, and sets up scenes in which his acute hearing is demonstrated; and the director is not afraid to illustrate Charles’ hallucinatory delusions with lurid sensory shocks.
The heroin addiction that resulted in Charles’ two well-publicized brushes with the law may have given pause to the Hollywood honchos during the decade they hemmed and hawed about the project. Mr. Hackford doesn’t break any new ground in this area, although a couple of hard-edged rehab scenes with Patrick Bauchau’s no-nonsense Dr. Hacker makes the addict’s final recovery seem plausible. After all, his heroic mother had instilled in him a capacity to confront crises head-on.
The drowning of his beloved younger brother in a grotesque accident in a small outdoor tub sets off a cycle of loss, grief, guilt and the onset of blindness that a child might well interpret as divine punishment for his failure to save his brother. I must confess at this point that the death of my brother in a sky-diving accident when he was 28 years old and I was 32 has never left me entirely free of guilt for having survived, and so I completely identified with the dramatization of this fraternal trauma. But where the film scored an emotional knockout for me was the drug-withdrawal-induced hallucinatory images of Ray’s dead brother flying into his loving arms while Ray’s mother, also long dead, beams approval of the brotherly reunion.
Charles’ early experiences as a saloon musician are shown in slightly raucous fashion as occasions for having his blindness exploited, both by his own people and his white employers-to the point that Charles demands his paltry wages be paid in dollar bills so he can count his earnings out with his sightless but tactile fingers. As his earnings multiplied exponentially, Charles relied on a succession of assistants and business managers to protect his interests against the notorious predators in the music business. Sometimes the transition in his fortunes took an ugly turn, most notably when he replaced longtime driver and road manager Jeff Brown (Clifton Powell) and accused him of stealing. The film doesn’t soft-soap this Trumpish change in Charles as the megabucks kept pouring into his coffers. Similarly, his frequent infidelities on the road are viewed through the eyes of his humiliated wife.
The singer’s career-making association with Atlantic Records, personified by the Turkish-American Ahmet Ertegun (Curtis Armstrong) and the Jewish-American Jerry Wexler (Richard Schiff), was later jettisoned for the sake of an irresistible deal with ABC-Paramount; under this new deal, Charles was allowed to keep ownership of his master tapes, a concession that no previous musician-not even Sinatra-had ever been granted by a record company. In the movie, Mr. Ertegun remains friendly with Charles after the break, but Mr. Wexler is completely outraged by Ray’s ingratitude and disloyalty, although in real life Charles eventually returned to Atlantic Records.
Then there are the songs themselves, a few sung by Mr. Foxx but most by Ray Charles-14 of them written by Ray himself, twice as many written by other people but transformed by the artist into personal anthems, most notably Hoagy Carmichael and Stuart Gorrell’s “Georgia On My Mind,” Percy Mayfield’s “Hit the Road Jack” (sung in the film by both Charles and Mr. Foxx), and Ahmet Ertegun’s “Mess Around,” which got Charles through a temporary crisis in his recording career. Some reviewers have complained that there aren’t enough completed songs in the mix, but with more than 40 separate pieces of music to create as many separate moods, it’s hard to see what, besides a plotless Ray Charles concert film, would fully satisfy these critics. For my own admittedly tin ear in this realm, the songs were just right, and never too much.
Ray Charles entered the civil-rights struggle in the 60’s and subsequently became an influential force in the cause. His refusal to perform in a segregated hall in Augusta, Ga., led to a lifelong ban in that state; in 1979, the state rescinded that decision with a formal apology to Charles and proclaimed “Georgia on My Mind” the official state song.
Mr. Hackford seems to have slipped off everyone’s directorial radar after his deserved success in 1982 with An Officer and a Gentleman as well as his role as producer of the excellent feature documentary When We Were Kings (1996), on the Ali-Foreman title fight in Zaire. After Ray , however, Mr. Hackford has earned the right to a complete re-evaluation of his work.
Li’l Lili
Claude Miller’s La Petite Lili , from a screenplay by Julien Boivent and Mr. Miller, is ostensibly based-though admittedly loosely-on Chekhov’s The Seagull . But it’s also influenced just as much or more by Luigi Pirandello’s Six Characters in Search of an Author . In fact, Mr. Miller confesses a divided authorship for La Petite Lili by crediting Mr. Boivent entirely for the second part of the film, with his separate screenplay for Mr. Miller’s anti-Chekhovian “fourth act.”
In an interview, Mr. Miller reveals the genesis of his film: “About ten years ago, I reread The Seagull . Even though the play is set in the 19th century in a world of theater and literature, I found so many similarities with our lives as filmmakers and movie actors that I wanted to do a screen adaptation of it to show how contemporary and universal the characters are. All the characters in the play are the heroes of the film. Nina is Lili (Ludivine Sagnier), who dreamt of becoming an actress. Treplev has become Julien (Robinson Stevenin), an intransigent young filmmaker. Arkadina, his mother, is Mado (Nicole Garcia), a talented actress. Trigorin is Brice (Bernard Giraudeau), a successful director and Mado’s lover. Masha is Jeanne-Marie (Julie Depardieu), who Julien doesn’t realized is in love with him, and Sorin is Simon (Jean-Pierre Marielle).
“So, The Seagull was the starting point for La Petite Lili , except for the fact that I felt that Act IV wouldn’t work with young people in this day and age. My adaptation moves toward a different denouément.”
In addition to variants of Chekhov and Pirandello (and Miller and Boivent), there is a bit of contemporary French-pastry oo-la-la with Ms. Sagnier at the outset of the film. Still, at the very heart of the drama is a curiously judgmental puritanism at work in the treatment of her character. After deserting a young idealist to run off with an older pragmatist and further her film career, Lili is shown regretting her choice when she sees that her ex-lover is now happily married, with a child, and is a successful filmmaker besides. In this new context, Lili is closer to a female Alfie than a character out of Chekhov.
The rest of the French cast is more than adequate, though most of the parallels between Chekhov’s turn-of-the-century worlds of theater and literature and the contemporary world of autobiographical cinema seem forced and arbitrary. But the biggest problem is Lili herself: Having seen Vanessa Redgrave’s Nina onscreen, as well as a Nina-like character that she played in an Ibsen play onstage, I have to say that Ms. Sagnier is decidedly lightweight by comparison. Think of Audrey Hepburn and Leslie Caron in their prime, or Nicole Berger in Claude Autant-Lara’s Game of Love , or Simon Simone in Jean Renoir’s La Bête Humaine , and you get a sense of the range of magical possibilities.
There is one startling twist in the film-within-a-film that takes up much of the new fourth act, but you have to be especially alert to catch it. Overall, La Petite Lili is a modest entertainment for hard-core Francophiles like me.
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https://texasarchive.org/2014_00573
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The Roy Faires Collection, no. 31 - Spotlight on Everybody
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Edited interviews with Dennis Quaid and Taylor Hackford, and movie reviews of Everybody's All-American
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By Tonisha Johnson
History reveals so many things. It lets you take a look at the past. Once it is told by someone else, after viewing and researching it, you find intricate details that you either overlooked, never saw at all or never bothered to know at all. Ray Charles' life can be viewed as a struggle? Yes. From being poor, to racism, death and then blindness; Ray Charles could grieve a hundred times over.
As this film unfolds; as you watch the direction from Taylor Hackford and the skill that actor/comedian Jaime Foxx brings and ignites on to the silver screen; your heart beats faster. Your eyes well up with water. As your hand lifts to the right side of your face; one finger holding your chin up while the other caresses the temple in disbelief, wonder, curiosity and amazement.
It is so hard for films of color to get a green light. So many actors and actresses that are of quality are lost in the shuffle. And we are never privileged to know their true skill.
Many Blackfilm.com readers are exposed to both sides of the filmmaking process, thru endless interviews, celebrity profiles and film reviews. And out of those readers, quite a few are potential actors and actresses, who subscribe to this black resource for industry news that includes entertainers of all colors; some looking to find an inkling that would maybe gear them towards a big break.
Here, there is a voice. A voice where major and minor, Big Box Office or Independent actors/actresses/filmmakers/directors of colo r can be seen and heard, by you, the reader.
In this film, Taylor Hackford, as well as great actresses like Sharon Warren, Regina King and Kerry Washington; along with great actors like Jaime Foxx, Bokeem Woodbine, Larenz Tate, Clifton Powell, C.J. Sanders, and a flood of others that made you gasp and say I know him/her" when you saw them; get the chance to use that voice. Support the voices of all those that are big and those that are small. If you as an audience green light them, then Hollywood will have to.
One would have to admit that the film Ray is a serious Oscar contender. There is no question that director Taylor Hackford has taken 15 years to develop the story cast the right character to play Ray Charles, and ultimately perfect this cinematic masterpiece. It was well worth the wait.
As I sat down to talk to Taylor, his eyes were all a buzz over the excitement of the release of Ray. Eager to begin, we sat down quickly and the words just flowed like water from Hackfords' lips to my paper.
Any Dramatic License in this film?
90% true. 95% true. The dramatic license that I took was rather minor. You have to understand that I collaborated for 15 years with this film with Ray Charles. So, I did my own independent research. I've read is autobiography. And I feel his autobiography is a difficult story to perceive because I do tell the story from the point of view of the artist, only. Because there are always other sides to that issue, I went out myself and probably talked to about 35 other people who were intimately involved in his life. And I wrote a screen story back in the late 80s. And unfortunately it took so long to get this film financed. Not so much that we couldn't have gotten it together to make but because we couldn't find the money. I tried to, mys elf, findyou know when you meet Ray Charles, I didn't know what to expect, and I went to talk to Ray Charles Jr. to try to convince him to give me the rights. The man walks into the room, alone. No cane, no seeing-eye dog. Walks around 5 obstacles, walks up to me and says "Hey Taylor; Put some skin in the pocket." And then he walked away from me, walked around 4 or 5 more things, sat behind his desk and said "did you see the Lakers last night?" "Could you believe that 3 pointer shot Magic shot at the end of the game to win it?" SEE. SEE. You know, this is Ray Charles. So controlling of his own environment. Invincible. I initially thought the man could see. He's perpetrated one of the biggest hoaxes ever, on the worldlol. But of course, he had both eyes taken out. The man could not see. They give you an indication of how in control he was. If you want to have an interpretation of a straight ahead traditional biopic, that's fine.
My sense was, I wanted to tell a real story. A visceral story. When period movies are made and you kind of look through the gauze to the past. The Ray movie is a revolutionary movie. I wanted those scenes in those clubs to be as intense and sweaty. Ray Charles played 8 sets a night. He had 10 minutes off and played for fifty. If he didn't get people out of their seats and on their feet dancing, they'd throw his ass out of there. That's what he said to me. So, I wanted to try to portray that, but I also wanted to tell a story that was a lot more complicated than that. This is a man, if you wanted to deal with his entire life, you could deal with 75 years. Because all those are interesting. But I had to make a choice. My choice is always that, you should talk about the struggle. This is a film about life impacting art. As oppose to vice versa. In other words, what created Ray Charles? What was involved in making him the incredible icon that we all know? I believe that the things that happened to him, in his life, impacted and made that work. And kind of, in its own strange way, it's a musical. Because the songs in the picture are pretty much in chronological order. I tried to take what happened in his life and showing how that music came out of those experiences. And I think there is one song that is out of order. And that's Hard Time, which is at the very end of the film. So most of the other things are actually in the chronological order as they are depicted in the film. Is every detailed nuance of Ray Charles' life and sin in this picture? Of course not. You can't. But, he gave me a huge gift. He said "Taylor, you know, I'm no angel. And I don't need to have myself depicted as such. Just tell the truth." And that is an incredible gift. So, if you want to point out the inaccuracies, I will deal with them. I'd be happy to. But I stand by the picture. It's true and real, I believe, within the context, of what I as a filmmaker, decided to tell. And I have certain limitations because of time, because of whatever. But, I pretty much stand by everything that's there.
Being aware of his illness, did you feel a sense of urgency to get this film out there before he passed away?
No. Yes, I was aware that he was ill. It was very apparent as time passed. Now that I look back I start to realize that he probably was aware of his illness, probably 3 years ago when I was just getting the film pre-produced and ready to go, to shoot. We were in the studio together. Again, the music of this film is used in various ways. I was blessed with the fact that Ray Charles was recorded by Tom Dowd. Who was the greatest engineer of his generation at Atlantic Records. So, in 1953 when he's recording "I Got a Woman", I'm using "I Got a Woman" in this picture. Do you know how unusual that is? That presents certain problems on its own. We did a little bit of enhancing when you cut to the horn section. You'll hear the horns more, we did that. And ultimately I was blessed on that level. When Ray had been traveling with Lowell Fulton, Fulton had not been recorded well. So Rays' guys said Ray, do you think you might be able to give me a name of somebody who might be able to arrange these things to work?" And Ray said, "I did the arranging, why don't I do it." I mean, incredible. So Ray went into the studio and he played the piano. In that sequence when you hear Jaime alone in the bar and the band has left with the girls and he's left there alone; trying to portray the loneliness of this man. Basically, however brilliant he is, Ray Charles, however many woman, how huge the audience response he still returns to the same place; he's alone in the dark. And I wanted to portray that in this film. So, in that instance, I'm sitting in the studio, describing him how he's having trouble with Lowell, Wilbur screwing him over money; the band is kind of going out, leaving him there. These are the moments leading to his heroin addiction. These are the moments that he's talked about as the pain of being on the road and not even knowing where he was. And I'm describing it to him and I want you (Ray) to sit at the piano playing this quiet, contemplative number. And he does something that is very beautiful. And I say Ray? And he says, "Well, what do you think of that?" I say Ray, to be honest with you, I think it's great. But it sounds like your playing for a bunch of people. This is you alone, in this place, playing from your heart from yourself. And his response was kind of like, "hey Ray Charles ain't gonna play bad for nobody." And I say, I would never ask you to. And around the place, the musicians are over there, their all Ray Charles' musicians and their all going don't disagree with the master here'. Now I wasn't disagreeing with him, but I have to get my film. So, I say no Ray, I really believe Lowell was messing around with you or Wilbur was messing around with you. The guys have left and they always made you feel low. And he kind of went, fuck it'. I mean it was like, you know, tough! So, I went well, I'll think about something else. And as I turned my back to go out, he says, "Well, if they had done that to me. And if I had been screwed on the money and if I was alone and had felt that way, I might play something like this." And he just went; bang! There it was. It was a collaboration like all collaborations. I'm talking about one of the worlds great geniuses. And at the same time he is trying to understand what I needed for the film. And it was a fantastic experience. And then we role right into "Everyday I Have the Blues" that he's arranged and he plays piano on. And Chris Thomas King, who is a fabulous artist in his own life, who plays Lowell Fulson who sang and played guitar on. So, you have those moments of real collaboration and closeness. I mean, it was a life experience for me. But, getting back to your question; I start to realize now that he probably knew he was sick, although he was vibrant and alive and completely on top of his game. There was no portrayal of any weakness. But that very time, he gathered all 12 of his children from around the world, for the first time, together. And I now realize, looking at that, what he was doing. We went to shoot the film and when I came back I saw him and he seemed to be in fine shape. He was there on the set with us when we were at RPM Studios in Los Angeles, he seemed fine. But I went into the editing room and I spent about 10 weeks to cut it and I took a rough cut to RPM to show him because he would say he wanted to see it but he sat next to the and I could tell that he was not the Ray Charles that I knew from before. And he was starting to deteriorate. Typical Ray Charles fashion, it went about 3 months more than the doctors ever thought possible. He was dying, dying; he'll never make it past this. And he was proving them all wrong. And at certain point, Ray was going to do like always, he was going to do it his way. And he's going to prove them wrong. And of course, when it happens, it's a huge shock. Yeah, it's painful he's not hear to see the film. But ultimately he did see the rough cut. First thing he asked to see was, I want to see my mom, I want to hear what you put in for my mom. That was the most important thing to him. And he loved it.
What experiences did you take from working on music films like La Bamba to Ray?
Music has always been an important thing to me in my life and understand I've worked in the music business. And trying to understand the real nature of musicians and real musical creations. Clearly those are other pieces of work that related to the same field. This to me is a much more substantial piece because you have to watch how these things are created. And I was dropping in small bits of pieces of what really happens when someone is there or recording. And also, creating something on the road or devising. Whether the audience gets it or not, that process of watching him busted in Indianapolis. Coming home and sitting alone at his piano in his den, playing You Don't Know Me; you know, that whole concept of what Ray Charles went to, when he was in his lowest depth. He did what he loved. He went to Country Music. This is a guy; he grew up listening to the Grand Ole Opry. He loved songs and he loved Country Music. Ray Charles, in his own way, it's like at the beginning, Ray Charles changed American music, not once but twice. Totally. Back in the early 50s when he was doing I Got a Woman, he was blasphemy. The record didn't mean anything to the white community. Because whites weren't even listening to that. But the black community, you did not mix Gods music, with the Devils music. At Saturday night, in the Juke Joint, you're communing with the devil. And you go out Sunday morning, you are dealing with God. And it's serious stuff. And there are people who wanted to string him up! He changed it. He's the first guy to use a 3 girl backup group. The vocal stylings of gospel and all these things. That's what he did. So, all of a sudden, that's accepted. Now, all the worldElvis does it. Now in 1962 he goes and takes basically white music, country western, and he starts recording that. Any country western artist and I don't care who they are today, will say Modern Sounds in Country and Westerns is still one of the greatest country albums ever recorded. This is a man; I was trying to portray, to answer your question, who you couldn't define. And he justbecause he was blind, going back to Rays' line when he was sent to St. Augustine', to the state school for the blind in Florida. When he got there, there was a big fence down the middle. And the white kids were on one side and the black kids were on the other. And his response was, at the time, "Well, how the hell we're all gonna know who's who? We're all blind." And I think that was one of the things that was Ray Charles great gift. I never found any; any black person has room for resentment in real life. Ray Charles was just a guy who didn't have any. Ray Charles was just a guy who was proud of who he was. If you looked at his organization it was almost entirely African American, but he didn't hold any rank. He just was there and did what he did, sang what he felt did what he did, related to you in that way and those are the things that I was trying to portray in it.
You've taken 15 years to put this movie together. Was it because you were waiting for the right man to play Ray?
I think you hit it. I don't know who I would have cast if I had made the film originally in the late 80s. You live or die when you make a biopic by the person who plays the role. Jaime Foxx is the man for this. I can't imagine anybody even coming close to what he does. His level of commitment; it's a great experience from the point of view of the director. I can give an actor tools to prepare themselves for the role. But they've got to pick them up and use them. And Jaime from the very beginning, we just fused this partnership. It was a fantastic experience. The man's commitment was total. I asked him to do the role blind. He said fine. A lot of actors would go, yeah that'd be cool, I'll experiment with that. Maybe I'll do a half day and kind of feel what it's like. I asked Ray to take his glasses off and let me photograph his eyes. And he did. And we made prosthetics to look exactly like Ray Charles' eyes. And you put them on. And they cover, it just glues on. Jaime had to be led. You never touch Ray. He grabs you by the arm and you just lead him in a very light way, whatever, and I would lead Jaime onto the set. He had people with him and help him take him to the bathroom. I mean, this was a commitment that was total. I made the choice that we had to use Ray Charles once he finds himself when he's imitating the acting cold, that's Jaime. Jaime is fabulous. I didn't know at the beginning, but I do know now, I learned very quickly; he's a consertment musician. He went to university on a piano scholarship. But, I wanted to use Ray Charles; these are masterpieces. You don't mess with masterpieces and I used the real stuff. That means that Jaime Foxx has tobut, in today's world you record the vocals and the piano track separate. You could flip it if it's out of sync. These are monaural till 1959, everything in this. In that one sequence in I Believe to My Soul, you see, Tom Dowd had the first 8 track. Up till then, everything is monaural. So, Jaime Foxx can't be flipped. You can't take the vocal and flip it. And I'm going from his fingers on the keys to his mouth and back down. You know what a gift that is to a director, if you're doing a musical? And for you as an audience looking at it going, I know this is bullshit. You know, show me in this film where Jaime Foxx is out of sync? You're not going to find it. And learning those piano parts; Ray Charles is not somebody who goes, IAM; no. It was all singing off the note. That's what Ray did. So whatever his hands are doing, his vocals are doing differently. Jaime had to learn both those things simultaneously. It was an incredible gift. But I think we are all aware of great artists and we all see them in different ways. You never know how great somebody is until they have a role. African Americans in this community don't always have these great roles. And this was one that I reallyI chose Jaime. I introduced him to Ray and Ray put him through his paces. And ultimately after being really tough on him, he got up and hugged himself and said "this is it, this is the kid." Ray anointed Jaime himself. I watched Jaime grow from whatever his regular height was, till about 10 feet, right there at that moment. But there are those moments that ultimately say, the man himself said you could do it. Then there is that responsibility and that pressure that said Jaime was going to do it. And he was just great.
In the early part of the film, Ray fell victim to money scams, where he wanted to be paid in singles. Do you think that was still a concern for Ray as he became wealthier and more successful?
Oh yeah. The thing that is interesting about Ray Charles is that in all the drama to the Jeff Brown to the Joe Adams syndrome, it's all real, it all happened. And Joe Adams is a very smart guy. But Ray Charles never had a manager in his life or a lawyer in his life that was leading the band. He did it himself. Little bits and pieces, I tried to put in there. Cause he told me, the first gig he had, some guy said 5, 10, 15, 20. He goes with 20 bucks and puts it down and says "Can I you take $5 dollars for a room?" And the guy says sir that's going to take 5 of those. And he says "that's five bucks?" And the guy says "no it's not. It's one." Those kinds of rip-offs, you learn. And the late Ray Charles learned; getting paid in singles, to ultimately making million dollar deals. He was just that kind of mind. He was a pretty interesting pragmatic guy. I think he is one of the smartest guys I've ever met. There's no question about it. And he was fantastic to deal with. But he always had his eye on the bacon. He was performing, he knew what he had. But with his momma, he learned a lesson. He almost took it too seriously; stand on your own feet and don't be dependent on anyone. And I believe, seriously, that's what he did. There was no puppet master behind Ray Charles.
|
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2659
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https://tv.apple.com/us/person/taylor-hackford/umc.cpc.4e7krr5v9php13v2w70f6wyo7
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en
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Taylor Hackford Movies and Shows
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Learn about Taylor Hackford on Apple TV. Browse shows and movies that feature Taylor Hackford including Blood In, Blood Out, Parker, and more.
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Apple TV
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https://tv.apple.com/us/person/taylor-hackford/umc.cpc.4e7krr5v9php13v2w70f6wyo7
|
Taylor Edwin Hackford is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father. Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman and Ray, the latter of which saw him nominated for the Academy Award for Best Director and Academy Award for Best Picture.
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2659
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dbpedia
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https://www.ranker.com/list/the-best-taylor-hackford-movies/jason-bancroft
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The Best Taylor Hackford Movies
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[
"Jason Bancroft"
] |
2024-05-29T00:00:00
|
Taylor Hackford, a renowned filmmaker, has gifted the world with some truly memorable films. His unique directorial style blends deep character studies with ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/the-best-taylor-hackford-movies/jason-bancroft
|
Taylor Hackford, a renowned filmmaker, has gifted the world with some truly memorable films. His unique directorial style blends deep character studies with gripping narratives, making each of his projects stand out in the crowded landscape of Hollywood cinema.
This list rounds up the best movies directed by Taylor Hackford. From dramatic biopics to thrilling dramas, these films showcase his ability to draw powerful performances from actors and create visually compelling stories. Whether you're a longtime fan or new to his work, this collection will highlight why Hackford's films are worth watching.
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1
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https://freshairarchive.org/segments/film-director-taylor-hackford
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en
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Film Director Taylor Hackford
|
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1988-11-14T12:00:00+00:00
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Hackford produced the Ritchie Valens biopic La Bamba. He recently produced and directed Everybody's All American, about the life a college football hero. Hackford joins Fresh Air to talk about his early successes and failures, and the role songs play in his films.
|
en
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/themes/custom/fresh_air/favicon.ico
|
Fresh Air Archive: Interviews with Terry Gross
|
https://freshairarchive.org/segments/film-director-taylor-hackford
|
John Hubner, co-author with Lindsey Gruson of the book Monkey on a Stick, talks to Fresh Air about Krishna Consciousness in the 1960s. Led by Indian guru Swami Prabhupada and disciples like Kirtananda Swami Bhaktipada -- nee Keith Ham -- the movement's growth was accompanied by scandal, crime, and murder.
Jane Ira Bloom recorded her first album when she was still a student at Yale; she later was invited to compose music for NASA. Critic Kevin Whitehead says her latest album features tasteful electronics and a sensitive, spare accompaniment.
25 years after John F. Kennedy was assassinated, several networks are rebroadcasting the original news coverage of that event, or airing new specials. TV critic David Bianculli shares his thoughts on a few of these upcoming programs.
Film critic Stephen Schiff talks with Terry Gross about this years movies. He says 1988 was an unusually good year for American films, though his favorite Women on the Verge of a Nervous Breakdown, by Spanish director Pedro Almodovar. His least favorite movie was Willow.
Actor Ray Sharkey. He starred last season in the television series "Wiseguy." His feature film credits include a fast-talking rock promoter in "The Idolmaker," a romantic dreamer in "Love and Money," and a sadistic killer in "Who'll Stop the Rain." Sharkey won the Golden Globe award as best actor in 1982 for his performance in "The Idolmaker."
Rock musician Marshall Crenshaw. According to The New York Times, many critics have ranked Crenshaw"among the finest rock artists of the last dozen years." Now he has written a book. It's a reference guide to Rock 'n' Roll in the movies ("Hollywood Rock" HarperPerennial). According to his longtime bass player Graham Maby, Crenshaw has an encyclopedic knowledge of rock music. And he knows about the rock and roll movie genre from first-hand experience. He played Buddy Holly in the 1987 movie "La Bamba" about musician Ritchie Valens.
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https://www.225batonrouge.com/article/all-american-boy-on-the-25th-anniversary-of-the-iconic-b-r-film-acclaimed-director-taylor-hackford-discusses-everybodys-all-american
|
en
|
On the 25th anniversary of the iconic B.R. film, acclaimed director Taylor Hackford discusses Everybody's All
|
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2013-10-01T00:00:31-05:00
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Growing up the son of a single mother who waited tables to support him, director Taylor Hackford spent much of his youth in 1950s California fascinated by underdogs who navigate a world of privilege. That interest has birthed a storied Hollywood career. From his Oscar-winning short film Teenage Father, to An Officer and a Gentleman,...
|
en
|
[225]
|
https://www.225batonrouge.com/article/all-american-boy-on-the-25th-anniversary-of-the-iconic-b-r-film-acclaimed-director-taylor-hackford-discusses-everybodys-all-american
|
To celebrate the 25th anniversary of Everybody’s All-American, 225 spoke with Hackford to discuss his epic Baton Rouge-set drama.
Click here to read more about the film and some locals who participated in its making.
What hasn’t changed is that we still honor and revere our athletes. However, today there’s a new awareness of the residual physical damage visited on football players, so maybe my film would have more impact than it did back in the ’80s when it was released. At that time audiences didn’t respond to the tragic elements in the film, because in America we worship our idols, but we want them to stay the same. There are no second acts in American culture.
I showed Gavin past his prime. You see him with all those career scars of a wounded warrior, and nobody wanted to look at him. Dennis did an amazing job of walking with arthritis, physically paying the price for all that worship. We were voicing all those concerns back then which are now at the forefront of the conversation about the NFL.
One of my old college roommates at USC was from New Orleans, and I’d spent a lot of time in Louisiana with him. By the time I was scouting for the movie, his wife was the assistant chancellor of LSU, and so I called her and said I wanted to look at the campus in Baton Rouge as a possible setting for the movie.
So much—everything. The traditions and almost rabid enthusiasm of the fans was perfect for our story. The fact that there was a live tiger on campus was incredible. Billy Cannon being one of the last great white running backs in the country really fit one of the themes of the book.
Also, the whole mythic connection between LSU and Huey P. Long. The fact that he got Federal funds during the Depression to build dormitories on campus, but actually built Tiger Stadium which incorporated the dorm rooms, was priceless. I began the film at a big pep rally with John Goodman’s character climbing up Huey’s statue in front of the State Capitol.
There is an epic quotient in Deford’s novel. I always viewed it as a mythical film about change in America—especially the South, using football as a metaphor. Starting in the 1950s, Gavin Grey, one of the last great white running backs, is almost a noble character. He marries the beautiful “Magnolia Queen,” Jessica Lange.
They are archetypes of traditional Southern culture, but we see them experience the monumental changes of the 1960s and ’70s.
Yes, the character of Blue, played by Carl Lumley, is important. A great African American athlete before blacks were allowed to play at LSU. Later in life he becomes a Col. Sanders-like entrepreneur, and after Gavin’s fall from grace, Jessica’s character becomes an executive for Blue’s company, effectively becoming the family breadwinner. All the characters in the film shift roles as America changes, but the one thing that doesn’t change is the community’s love for the Tigers. What will probably never change in Baton Rouge is its passion for SEC Football.
I’d get the best pizza in America. I’d go back to Fleur de Lis. While New Orleans and the French Quarter will always have my heart, I loved my time in Baton Rouge. There are so many surprises: Who could imagine finding this amazing Roman pie. Whenever I’m within 50 miles of Baton Rouge, I have to detour to Fleur de Lis.
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https://moviewiser.com/cast/18596
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Taylor Hackford
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[
"Miguel Santaolalla"
] | null |
Age: 79 | DIRECTING | Santa Barbara, California, U.S. | 1944-12-31
|
https://moviewiser.com/cast/18596
|
Taylor Edwin Hackford (born December 31, 1944 in Santa Barbara, CA) is an American film director and producer. He is best known for his work on films such as "An Officer and a Gentleman" (1982), "The Devil's Advocate" (1997) and "Proof of Life" (2000), and for directing Jamie Foxx to an Academy Award for Best Actor in "Ray" (2004). Hackford served as president of the Directors Guild of America from 2009 to 2013.
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https://www.tribes.org/web/2000/06/04/nothing-sacred-ray-directed-by-taylor-hackford-reviewes-by-d-anthony
|
en
|
Nothing Sacred "Ray" Directed by Taylor Hackford, Reviewes by D. Anthony — A Gathering of the Tribes
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[
""
] | null |
[
"Tribes"
] |
2000-06-04T00:00:00
|
Now, I'm no catholic or anything, but I do have a confession to make. Right about now I'm not trying to see any movie, go to any play, hear any poetry reading or slam, wander through any pretentious gallery openings for free wine, check out any bands or hip hop acts, nothing, without asking what the
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en
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A Gathering of the Tribes
|
https://www.tribes.org/web/2000/06/04/nothing-sacred-ray-directed-by-taylor-hackford-reviewes-by-d-anthony
|
Now, I'm no catholic or anything, but I do have a confession to make. Right about now I'm not trying to see any movie, go to any play, hear any poetry reading or slam, wander through any pretentious gallery openings for free wine, check out any bands or hip hop acts, nothing, without asking what the shit means to me when I walk out that door. I'm about what kind of rhythm it leaves me with. Period. My patience and attention span have pretty much worn thin. I'm tired.
11-2 trumped 9-11, and it didn't jump up out of thin blue air. Those star-crossed confederates, those fundamentalists ... those gods of the red states. Those southern crackers on fire. Them and their allies out for the kill. It's all so ... West Coast with an East-Coast flair. Finance capital and such. Obscures the yeoman farmer, the middle-man, the eat-dirt road. A case of the Beverly Hillbillies gone mad. Waco. What a team we make. The two of us.
No, it wasn't supposed to be this way. Revolutions came and went. In government, ideas and sound. They predicted God's death a long time ago. Said it loud and clear. Dionysus. A chorus of voices told us that the devil stuck his fork in Him with art, secular rationalism and industrial profit. Bless their souls. I don't even believe in their hippy Jesus but it doesn't take much to see that he's about to get us all thrown in hell if we aren't there already. Him along with Allah and who ever the fuck it is the Jews think they're waiting for. Someone else's land and self-interest no doubt.
And Georgia, where they won't even let you buy a fucking vibrator for christ's sake. They'd just as soon have your cunt sown up as let you play with it, unless you're having a baby. And you'd better have it too. The price you pay for sin. I'm talking about some outlaw sex. The abolition of desire and shit. No-man's-land. They have it on their flag, wear it on their hats, their arms, slap it on the back of their trucks and shed blood for it ... to this day. \italic{Georgia, Georgia, The whole day through/ Just an old sweet song/ Keeps Georgia on my mind.} Black people and women know what I'm talking about. Some of them. Or at least they used to.
Desire, freedom, space, autonomy, rhythm, love, rage, food, clothes and shelter. I'm talking about a gutbucket. Some low-down basic in your balls longing for shit. So bad it aches. That's the kind of grind Ray could hit you with. He told the church to kiss his ass. "I'm blind motherfucker, this is my shit." He took all that good stuff and put it back where it belonged. Stole it right under their nose, beneath their wide-open eyes. Satisfaction and how to get some. Pain and how to express it. The body and how to move it. Struggle. Labor. Hustle. Lust ... when they'd just as soon cut your dick off as let you put it to some better use.
Now, I don't know if you've ever lived with a junky ... or been one. But a junkie is a dirty dog that bites. A junkie is a say-shit-out-of-line piss when he ain't supposed to cranky ass bitter unreliable behind your back two-faced say sorry all the time potentially violent self-centered motherfucker. That's what a junkie is right there. That's who you cross the street to get away from. On dope? Ask Bird if you can find him. Dead as a duck. A junkie is X-rated even when he can't get it up. Nothing PG-13 about a junkie. It does more than just scratch and grin and mumble and make people sincerely vaguely concerned. \italic{But Ray, what about me, what about the children? }At which point, if the movie has any integrity at all, Ray the junkie is supposed to turn around and say, \italic{Fuck you bitch, stay out of my shit from now on and mind your business, or I'll send your funky loose-tit ass back to the pastor you were with before I met you. }He might have even slapped her or something unseemly for looking in his shaving kit and finding his works. Let's not even mention the tracks and sores for now. This movie sure doesn't. But I mean, break a glass or something Ray ... goddamn. I hear he followed that shit for over a decade but hey, what do I know? I wasn't there.
And I can't speak for you, but I sure ain't never been blind ... at least not in the literal sense. It's pretty hard to say something bad about a guy who couldn't see anything ... even if it is only about a movie someone else made after he died to cash in on a profit ... a cheap shot. A cheap trick. Trust me, I feel like a creep. But I bet working night-clubs and trying to get paid or starve would make you a hell of a lot tougher than what comes across from a 36 year-old neo-vaudevillian comic who went to church every week, sang in the choir and joined the boy scouts when he was a kid. Which is true. A guy who was the star quarterback on his high school football team ... a guy who got all the leads, all the breaks, all the head behind the bleachers ... a guy who played classical piano at Julliard to boot. That's Jamie's bio. It shows. Now don't get me wrong, he does an admirable job as an impersonator. He made his reputation as a flaming queer vamping all over national television for christ's sake. Imagine that. Outlaw sex made safe.
\italic{Stage directions: Actor bows out to Thunderous applause and a shower of gold coins}.
I can't hold it against him. After all, as I sat there waiting for the music to play, he's the one who tried to make sure I wasn't completely bored watching this film. And I sincerely appreciate him for that. He did the best he could given the circumstances. He's easy to look at, he's good at what he does, he's a professional. So is Kerry Washington, who plays his ever-tolerant, sweet as can be naive wife. Both of their careers are secure ... should be rolling in it from here on out ... but that's the point. In the absence of the blues, the only place left to go is sentimentality and outright lies. Kind of like a junkie but with a different agenda. Safety. A cover-up. Fakin' it till you make it. Not the soundtrack that fills in every time Jamie opens his mouth to lip-sync mind you, but the cheesy, formulaic, predictable stuff that takes over when the music (by far the best part of this movie) isn't playing. This film is down on its knees, arms outstretched singing "Mammy." No doubt it will join the canon of late night VH-1nders. But shit, I'd rather give the part to Harvey Keitel and let him do it in blackface. He'll show you a blind nigger junkie alright.
It's not Jamie's fault. Like I said, he didn't have much to work with. The lack of spine in this film can be traced straight back to Hackford and White. I mean, it took them 15 years to make this movie. That's before Nas and Old Dirty hit the scene and even before some of the kids this movie was made for were even born. He even met Ray himself. I'd rather hear the interviews personally. Maybe they'll release them as a box set or something.
So, the foundation is missing. Words are a structure and if you don't have that you better be a committed anarchist. I'm not saying that's necessarily a bad thing mind you. Sometimes words get in the way. But flat dialogue and high melodrama will only take you so far and then you better start dancing and singing again. Fortunately this movie has plenty of that.
And what about the fuckin? Ray dropped 12 kids with five women. There isn't a sign of those snotty noses running around on Christmas in August let alone the urge that made them. Of course, I wasn't there mind you ... so what do I know about his family values and such. Yeah, I understand the art of reading between the lines. Even the bottom ones. Like the money General Electric is afraid to lose by telling the truth about Ray. "We might bring good things to light but we've got a commodity to protect after all ... Ain't nothin' free in this world but Jesus." And even that will cost you these days.
Our journey starts off in Northern Florida, 1948. Somewhere down by Universal Studios in Orlando ... right where it ends. A full circle. You ever been there? Jeb Bush and theme parks is what I'm talking about. The dark ages for sure. They still make niggers and silence go hand in hand for ten dollars a ticket. You can walk around all day with your eyes closed ... the more things change .... Anyway, Jamie, I mean Ray, I mean Jamie (the butterfly effect working its way into the frontal lobe, REM, the beauty and danger of film), is trying to take his black ass up to Seattle for a gig but some redneck bus driver, you know, the rank-and-file, is not about to be any Seeing Eye Dog for a blind nigger and he won't give him any play. So Jamie tells him he lost his sight in the war and receives the double-VIP treatment straight to beer halls, sluts and Quincy Jones. Hmmm. Poetic justice, poetic license, I understand. But why would you need to make some fable with a mythic subject like this. Take it into a never-never land of hallucination. Afraid to look it in the eye. We're all fair game. Ray, the civil rights hero working the Chitlin' Circuit, reading the Bible in braille, cutting a path through Seattle, Los Angeles, Harlem, Atlanta, Dallas and the Newport Jazz Festival. Being a victim of dope fiends, managers and women ... standing up to Jim Crow in Georgia ... coming to self-realization when it all fades to subtitles and black ... 20 million dollars to charitable institutions, a parade at the Georgia State Capital with Julian Bond ... earning his stars and stripes.
The problem is, every time I started to feel all slowly brainless and "Maybe I kind of like this movie," you know, deluded about the whole experience, just when I might have been taken in like a sucker biting the bait, falling for the pray, just when the seat was wrapping its arms around me and stroking my thighs real nice, just when the flashbacks to his brother drowning in a laundry bucket and the sprawling five-year old Ray, who lost his sight nine months after the tragedy cries \italic{Mama, Mama, I need you, help }and she ignores it, keeps on making bread to make him tough ... \italic{promise you won't be no cripple, Ray,} never a victim, eyes full of that gooey puss you don't want to look at but can't help doing it anyway thinking, "What is that shit, Vaseline?" ... some junk at last, nasty, and maybe this starts to bring a tear to your jaded dry consumer eye when ... bam! Here comes the Atlanta Compromise, Georgia raising its head again like clockwork. god is out, Ahmet Ertegun and Jerry Wexler are in. Now you're fucked kid, even if you are rich. From the frying pan straight into the fire so to speak. They taught him how to be himself all right ... Ahmet bending over the piano: "You've got to find yourself Ray, your own voice, that's why I hired you, here let me sing you a song I wrote. Croak, croak. Play it like that." Ray: "You mean like this, boss?" Ahmet: "Yeah, that's it kid, now you really sound like yourself." Some red, white and blue redux shit. You don't need any more lyrics to understand this pastoral scene. But I'll play it for you anyway: \italic{Oh beautiful, for heroes proved, In liberating strife, Who more than self, our country loved, And mercy more than life, America, America may God thy gold refine, Til all success be nobleness And every gain divined.} I ain't making this shit up. The sacred and the secular resolved. And right along with Ray-gun too in '84. What a happy family. I told you, I feel like a creep.
If that's how you like your movies, you'll have a swell old time at this one. Don't let me discourage you.
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||
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| 63
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https://www.allmusic.com/artist/taylor-hackford-mn0000010153
|
en
|
Music Search, Recommendations, Videos and Reviews
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[
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[] | null |
AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
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en
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AllMusic
|
https://www.allmusic.com/updated
| ||||||
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https://en.geneastar.org/genealogy/hackfordtay/taylor-hackford
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en
|
Family tree of Taylor Hackford
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Taylor Edwin Hackford (born December 31, 1944) is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father (1979). Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman (1982) and Ray (2004), the latter of which saw him nominated for the Academy Award for Best Director and the Academy Award for Best Picture.
Early life
Hackford was born in Santa Barbara, California, the son of Mary (née Taylor), a waitress, and Joseph Hackford. He graduated from the University of Southern California in 1968, where he was a pre-law major focusing on international relations and economics. After graduating, he served as a Peace Corps volunteer in Bolivia, where he started using Super 8 film in his spare time. The camera was purchased for him by fellow Peace Corps volunteer, Steve Ball. He decided that he did
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https://geneacdn.net/bundles/geneanetgeneastar/images/favicon.ico
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https://en.geneastar.org/genealogy/hackfordtay/taylor-hackford
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Director
Born Taylor Edwin Hackford
American film director and former president of the Directors Guild of America
Born on December 31, 1944 in Santa Barbara, California , United States (79 years)
This form allows you to report an error or to submit additional information about this family tree: Taylor HACKFORD (1944)
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Taylor Hackford
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AKA Taylor Edwin Hackford
Born: 31-Dec-1944
Birthplace: Santa Barbara, CA
Gender: Male
Race or Ethnicity: White
Sexual orientation: Straight
Occupation: Film Director
Party Affiliation: Democratic
Nationality: United States
Executive summary: An Officer and a Gentleman
Taylor Hackford started as a mailroom clerk at L.A.'s public TV station, KCET, where he worked his way up to investigative reporter and eventually won two Emmys. He won an Oscar in 1978 for his first short film, Teenage Father, starring Suzanne Crough (the youngest member of The Partridge Family) as the teenaged mother. Hackford has since become known for enjoyable if somewhat longwinded dramas like An Officer and A Gentleman, Everybody's All-American, The Devil's Advocate, and an adaptation of Stephen King's Dolores Claiborne. Hackford's biggest hit was Ray in 2004, after he spent 16 years trying to get the biopic financed. Its subject, Ray Charles, died just weeks before the film opened.
In 2002, Hackford signed on as a co-plaintiff in the Directors Guild's lawsuit against a "family-oriented" video company called CleanFlicks, which had re-edited Proof of Life to make the movie OK for ninnies. CleanFlicks had removed the entire opening sequence involving rebel brutality, deleted the film's first killings, and edited out the subsequent kidnapping that set the plot into motion.
Son: Rio D. Hackford (bar owner and actor, Swingers, b. 28-Jun-1970)
Wife: Helen Mirren (actress, cohabited since 1986, m. 31-Dec-1997)
University: BA International Relations, University of Southern California (1966)
University: BA Film, University of Southern California (1968)
Al Franken for Senate
Innocence Project Artists' Committee
John Kerry for President
Kappa Alpha Order
Midwest Values PAC
Peace Corps two years in Bolivia, 1960s
Progressive Patriots Fund
FILMOGRAPHY AS DIRECTOR
Parker (23-Jan-2013)
Love Ranch (30-Jun-2010)
Ray (12-Sep-2004)
Proof of Life (4-Dec-2000)
The Devil's Advocate (17-Oct-1997)
Dolores Claiborne (24-Mar-1995)
Blood In, Blood Out: Bound by Honor (16-Apr-1993)
Everybody's All-American (4-Nov-1988)
Chuck Berry Hail! Hail! Rock 'n' Roll (18-Sep-1987)
White Nights (22-Nov-1985)
Against All Odds (2-Mar-1984)
An Officer and a Gentleman (28-Jul-1982)
The Idolmaker (14-Nov-1980)
FILMOGRAPHY AS ACTOR
Bukowski: Born into This (18-Jan-2003) · Himself
New!
NNDB MAPPER Create a map starting with Taylor Hackford
Requires Flash 7+ and Javascript.
Do you know something we don't?
Submit a correction or make a comment about this profile
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Genealogy for Taylor Hackford family tree on Geni, with over 260 million profiles of ancestors and living relatives.
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geni_family_tree
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https://www.geni.com/people/Taylor-Hackford/6000000009129214467
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http://en.wikipedia.org/wiki/Taylor_Hackford
Taylor Edwin Hackford (born December 31, 1944) is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father (1979). Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman (1982) and Ray (2004), the latter of which saw him nominated for the Academy Award for Best Director and Academy Award for Best Picture.
Hackford was born in Santa Barbara, California, the son of Mary (née Taylor), a waitress, and Joseph Hackford. He graduated from the University of Southern California in 1968, where he was a pre-law major focusing on international relations and economics. After graduating, he served as a Peace Corps volunteer in Bolivia, where he started using Super 8 film in his spare time. He decided that he did not want to pursue a career in law, and instead got a mailroom position at KCET-TV.
Personal life:
Hackford has been married to Academy Award-winning actress Helen Mirren since 1997. Hackford met Mirren when he was directing her in White Nights although their first meeting did not go well. He kept her waiting to audition for White Nights, and she was icy. "It was a strange way to meet Helen, because she is a lovely person," says Hackford, "but she didn’t hold back her fury." Hackford and Mirren wed in 1997 after 12 years together. As a young woman Mirren had vowed never to marry.
Hackford has two grown children from his two previous marriages.
Filmography:
Director and producer -
* Bukowski—1973
* Against All Odds—1984
* White Nights—1985
* Everybody's All-American—1988
* Dolores Claiborne—1995
* Devil's Advocate—1997 (executive producer)
* Proof of Life—2000
* Ray—2004
* Love Ranch—2010
Director -
* Teenage Father—1978
* The Idolmaker —1980
* An Officer and a Gentleman—1982
* Chuck Berry Hail! Hail! Rock 'n' Roll—1987
* Blood In Blood Out—1993
* Smooth Criminal: The Michael Jackson Story—2007
Producer -
* La Bamba—1987
* The Long Walk Home—1990 (executive producer)
* When We Were Kings—1996
* G:MT - Greenwich Mean Time—1999
Actor -
* Bukowski: Born into This—Himself (2003)
Awards:
Hackford received an Academy Award for Live Action Short Film for Teenage Father in 1979. He received two Oscar nominations in 2004 for the Ray Charles biopic Ray. He was awarded the 2005 Film Society Award for Lifetime Achievement in Directing.
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Taylor Hackford: Movies, Photos, Videos, News, Biography & Birthday
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Taylor Hackford: Check out the list of all Taylor Hackford movies along with photos, videos, biography and birthday. Also find latest Taylor Hackford news on Times of India.
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The Times of India
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https://timesofindia.indiatimes.com/topic/Taylor-Hackford
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Helen Mirren glad she married late
PTI / Aug 10, 2014, 13:41 (IST)
Veteran actress Helen Mirren, who married director Taylor Hackford at the age of 52, says had she done it any earlier, it would almost certainly have failed.
Miles Teller to feature in Paramount's 'An Officer and a Gentleman' remake
PTI / Jun 15, 2024, 18:02 (IST)
Miles Teller, known for his role in Top Gun: Maverick, will headline Paramount's remake of the 1982 classic An Officer and a Gentleman. This modern update of the original film, which featured Richard Gere, Debra Winger, and Louis Gossett Jr., aims to bring a contemporary twist to the iconic story. The original movie followed Zack Mayo, an aspiring Navy aviator played by Gere, who clashes with his stern drill instructor, Gunnery Sgt. Emil Foley, a role that earned Gossett an Oscar for Best Supporting Actor. Directed by Taylor Hackford, the film was a major box office success. Dana Fox has written the latest draft of the script, following an earlier version by Matt Johnson. The project will be produced by Temple Hill for Paramount.
Helen steps out in a skimpy bikini!
Jul 17, 2008, 00:04 (IST)
You can have a fabulous figure even at the age of 62 and English actress Helen Mirren proved this by turning heads when she stepped out in a skimpy bikini!
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Taylor Hackford: Credits, Bio, News & More
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Searching to find out more about Taylor Hackford? We have a full Biography, Photos, Theatre Credits, TV and Movies, Videos and more! Check out Taylor Hackford's bio now including film and tv, as well as on stage.
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https://www.broadwayworld.com/people/Taylor-Hackford/
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Taylor Hackford News
RACHMANINOFF AND THE TSAR by Hershey Felder To Play Balboa Theatre in August
Hershey Felder will star as Sergei V. Rachmaninoff in the world premiere of RACHMANINOFF AND THE TSAR, a new musical play at Balboa Theatre, San Diego. Learn how to purchase tickets.
TheatreWorks Reveals Lineup For 2024-25 Season of World and Regional Premieres, Commissions, and More
TheatreWorks Silicon Valley has announced its 54th season—a lineup of works to be presented October 2024 through July 2025. Learn more about the full lineup here!
GEORGE GERSHWIN ALONE Comes to South Coast Repertory This Month
South Coast Repertory presents pianist/actor/playwright/producer Hershey Felder for a limited engagement of Hershey Felder as George Gershwin Alone, Jan. 18-28 on the Julianne Argyros Stage.
Ensemble Theatre Company of Santa Barbara to Present THE PIANIST OF WILLESDEN LANE Directed by Hershey Felder
Ensemble Theatre Company of Santa Barbara will present THE PIANIST OF WILLESDEN LANE
Harry Lennix and Tamara Tunie Join the Cast of Steppenwolf's PURPOSE
Harry Lennix (The Blacklist, The DC Universe) and Tamara Tunie (Law & Order: SVU, I Wanna Dance with Somebody) will join the cast of its world premiere of Steppenwolf Theatre Company's Purpose.
Tickets On Sale Today For HERSHEY FELDER AS GEORGE GERSHWIN ALONE at TheatreWorks Silicon Valley
Tickets for TheatreWorks Silicon Valley’s highly-anticipated, limited engagement of the hit solo show Hershey Felder as George Gershwin Alone will go on sale to the public 1pm PST, Friday, December 15, 2023.
HERSHEY FELDER AS GEORGE GERSHWIN ALONE is Coming to TheatreWorks in February
Hershey Felder brings the tour de force musical masterpiece 'Hershey Felder as George Gershwin Alone' to TheatreWorks in Feb. 2024.
Hershey Felder Raises Funds for TheatreWorks
Internationally-acclaimed actor, pianist, and filmmaker Hershey Felder packed the house and raised the roof while also raising more than $140,000 for TheatreWorks Silicon Valley.
Meet the Cast of I NEED THAT, Beginning Previews on Broadway Tonight!
Danny DeVito returns to Roundabout Theatre Company in I Need That, starring alongside his daughter, Lucy DeVito, and Ray Anthony Thomas. The production begins previews tonight, October 13. Meet the cast of I Need That here!
Hershey Felder Will Perform a One-Night-Only Benefit For TheatreWorks
Hershey Felder has responded to TheatreWorks fundraising needs with an extraordinary offer: Felder will fly in for the day on October 11 and take the stage for one evening only with his Great American Songbook Sing-Along: A One-Night-Only Benefit for TheatreWorks. Learn more about the upcoming event here!
The Guadalupe Cultural Arts Center Announces THE 44th CINEFESTIVAL SAN ANTONIO
San Antonio's original Latinx film festival returns on Tuesday, July 11 through Sunday, July 16, 2023, at the historic Guadalupe Theater with a greater than-ever Texas filmmaker presence. Featuring 114 films, including 38 films from San Antonio and 40 films from the Lone Star State, the 44th CineFestival San Antonio continues to support local and regional filmmakers, while offering a well-rounded program to local audiences that also includes national and international films that highlight artistic excellence and diversity.
Aida Rodriguez To Take The Stage At City Winery Boston, April 12
Multi-talent actress, comedian, and writer Aida Rodriguez will be bringing her unique brand of insightful and observational comedy to the City Winery Boston Wednesday, April 12, 2023.
Designers Behind BLACK PANTHER and More Join THE WIZ; Full Design Team Announced!
The design team has been announced for the all-new production of the groundbreaking, Tony Award-winning musical The Wiz. The Wiz will launch a national tour in Fall of 2023 in Baltimore, MD before returning to Broadway for a limited engagement in the 2023/24 season. Learn more about the team and the production here!
Jason Graae and David Turner Will Lead MAX AND WILLY'S LAST LAUGH Reading at Mosaic Theater's Catalyst New Play Festival
Co-authored by Conor Duffy and Jake Broder, Max & Willy’s Last Laugh is based on the true story of entertainers Max Ehrlich and Willy Rosen, who for 18 months performed the funniest cabaret in Europe to ensure their safety at the Westerbork Transit Camp during World War II.
Hershey Felder in CHOPIN IN PARIS is Coming to Laguna Playhouse in January
LAGUNA PLAYHOUSE has announced that pianist and actor Hershey Felder will present his musical masterpiece as he portrays Monsieur Chopin in CHOPIN IN PARIS.
HERSHEY FELDER AS GEORGE GERSHWIN ALONE is Coming to Mountain View Center for the Performing Arts in March
Virtuoso pianist/actor/playwright/ producer Hershey Felder will return to the Bay Area for a strictly limited engagement of his acclaimed work, Hershey Felder as George Gershwin Alone, part of a limited farewell tour of a character performed live more than 3000 times throughout the world.
HERSHEY FELDER AS GEORGE GERSHWIN ALONE to Have Dallas Premiere at the Music Hall at Fair Park
Hershey Felder As George Gershwin Alone will make its Dallas Premiere on Sunday, January 26, 2023 at the Music Hall at Fair Park.
Cinema Audio Society To Honor Alejandro González Iñárritu With Filmmaker Award At 59th Annual CAS Awards
Alejandro González Iñárritu will receive the Cinema Audio Society's Filmmaker of the Year honor at the 59th CAS Awards on Saturday, March 4, at the InterContinental Los Angeles Downtown hotel.
Meet the Cast of DEATH OF A SALESMAN, Beginning Previews Tonight!
Previews begin, September 17, for the 17-week engagement of Death of a Salesman. Meet the cast bringing this iconic play to life!
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Family tree of Taylor Hackford
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Taylor Edwin Hackford (born December 31, 1944) is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father (1979). Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman (1982) and Ray (2004), the latter of which saw him nominated for the Academy Award for Best Director and the Academy Award for Best Picture.
Early life
Hackford was born in Santa Barbara, California, the son of Mary (née Taylor), a waitress, and Joseph Hackford. He graduated from the University of Southern California in 1968, where he was a pre-law major focusing on international relations and economics. After graduating, he served as a Peace Corps volunteer in Bolivia, where he started using Super 8 film in his spare time. The camera was purchased for him by fellow Peace Corps volunteer, Steve Ball. He decided that he did
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https://geneacdn.net/bundles/geneanetgeneastar/images/favicon.ico
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https://en.geneastar.org/genealogy/hackfordtay/taylor-hackford
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Director
Born Taylor Edwin Hackford
American film director and former president of the Directors Guild of America
Born on December 31, 1944 in Santa Barbara, California , United States (79 years)
This form allows you to report an error or to submit additional information about this family tree: Taylor HACKFORD (1944)
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https://www.reelviews.net/search/director/taylor-hackford
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en
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Movies directed by Taylor Hackford
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On Reelviews you can find extended reviews and ratings for movies directed by Taylor Hackford, including thoughts on the world of cinematography by James Berardinelli.
|
en
|
Reelviews Movie Reviews
| null |
Devil's Advocate, The
Taylor Hackford's The Devil's Advocate has many laudable qualities, but subtlety is not among them. The story, which postulates that the devil is walking among us today, gives Satan's human alter-ego a truly obvious name: John Milton (for those w...
Parker
Parker delivers just about what the average viewer would expect from it: a Jason Statham-flavored action thriller (as opposed to, say, a Matt Damon-flavored action thriller or a Rock-flavored action thriller). Statham, like John Wayne in his heyday...
Ray
Taylor Hackford's Ray has a tremendous performance by Jamie Foxx and a soundtrack that is jammed with recordings by the late Ray Charles, but both work in service of a paint-by-numbers screenplay that runs too long and could have been developed in ...
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Taylor Hackford
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Director
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Hackford
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Oscar Winner to Direct ABC Pilot
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An untitled ABC drama project has an Oscar winner on board to direct the pilot. The Hollywood Reporter’s Live Feed reports that Taylor Hackford will direct the untitled pilot from Richard LaGravenese.
The drama is about two powerful socialites who manipulate the people around them as part of their power plays for each other’s affection, the story says. LaGravenese, who received an Oscar nomination for his screenplay for “The Fisher King” in 1992, will write and executive produce.
Hackford is a former president of the Directors Guild of America and is known for directing a string of high-profile feature films including "An Officer and a Gentleman" (1982), "Against All Odds" (1984) and "The Devil’s Advocate" (1997). He won an Oscar in 1979 for best live-action short film for “Teenage Father,” and his 2004 feature “Ray” was nominated for best picture.
Last year Hackford directed and executive produced “Company Town,” a drama pilot for the CW.
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Movies directed by Taylor Hackford
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On Reelviews you can find extended reviews and ratings for movies directed by Taylor Hackford, including thoughts on the world of cinematography by James Berardinelli.
|
en
|
Reelviews Movie Reviews
| null |
Devil's Advocate, The
Taylor Hackford's The Devil's Advocate has many laudable qualities, but subtlety is not among them. The story, which postulates that the devil is walking among us today, gives Satan's human alter-ego a truly obvious name: John Milton (for those w...
Parker
Parker delivers just about what the average viewer would expect from it: a Jason Statham-flavored action thriller (as opposed to, say, a Matt Damon-flavored action thriller or a Rock-flavored action thriller). Statham, like John Wayne in his heyday...
Ray
Taylor Hackford's Ray has a tremendous performance by Jamie Foxx and a soundtrack that is jammed with recordings by the late Ray Charles, but both work in service of a paint-by-numbers screenplay that runs too long and could have been developed in ...
|
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The Volunteer who became a nationally known film director and producer — Taylor Hackford (Bolivia) – Peace Corps Worldwide
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Jeremiah Norris (Colombia 1963-65)
•
After graduating from the University of Southern California, Taylor Hackford served as a Peace Corps Volunteer in Bolivia from 1968 to 1969.
While in Bolivia, he started using a Super 8 movie camera in his spare time — a camera purchased for him by a fellow Volunteer. After his volunteer days, Taylor decided that he did not want to pursue a career in law as he had earlier considered, and instead found a mailroom job at KCET, a public TV station in Los Angeles, where, in 1970, he became an associate producer on the Leon Russell special “Homeword.” Then, In 1973, again at KCET, he produced a one-hour special “Bukowski” about the poet Charles Bukowski.
Although he had never gone to film school, Taylor went on to be director of 15 major films, producer of 13 others, and the executive producer of 7 more. He was director of The Idolmaker in which Ray Sharkey was awarded a Golden Globe for Best Actor for his portrayal of Vinne. Taylor said of this film: “I make films about working-class people; show business is one of those things through which people can get themselves out of the lower rung of society. To me, the compelling story in The Idolmaker is the guy with a wonderful talent and a fairly strong ego has to make it happen through puppets”.
In 1982, a film that went on to win the Directors Guild of America Award for Outstanding Directing was An Officer and a Gentleman. In the film, Taylor kept Lou Gossett in a separate living quarters from other actors so he could intiminate them more during his scenes as a drill instructor. In a famous scene, Richard Gere originally balked at shooting its ending, which involves his character arriving at his lover’s factory wearing his Navy Dress Whites and carrying her off the factory floor. Gere thought the ending would not work because it was too sentimental. Taylor was initially inclined to agree with Gere until during rehearsal when extras playing the workers began to cheer and cry. But when Gere saw the scene later with music underneath at the right tempo, he said it sent chills up the back of his neck, and he was now convinced that Taylor made the right decision.
In 2004, Taylor, commenting on his film Ray, the story of the life and career of the legendary rhythm and blues musician Ray Charles, that “his proudest moments were in those ‘chitlin’ clubs. (Later in life Ray played in concert halls, where people would go in tuxedos and quietly listen to a genius perform.) In those clubs, he tried to get people up and dancing. What I tried to create was a little of that energy and exuberance. The great thing about music is when you can get people on their feet.” In 2004, for this film, Taylor was nominated for the Academy Award as Best Director and the Academy Award for Best Picture. Jamie Foxx, who played Ray, won the Academy Award for Best Actor in a Leading Role .
In a 2005 interview, Taylor confirmed that he never watched his own films. He said: “when I finish a film, I put it away and never go back to it again. Occasionally, I do now because of DVDs and the commentary tracks. I usually put it aside and go onto the next one.. He also directed music videos, including ‘Say You, Say Me’ by Lionel Richie. In 1987, Taylor developed and produced La Bamba, the most successful Latin-themed feature film in history.
In 2009, Taylor was elected president of the Directors Guild of America (DGA). He was reelected to a second term as president in 2011 at the DGAs National Biennial Convention in Los Angeles.
In that time of his life since his days as a Volunteer in Bolivia where he began his highly acclaimed professional film career with his Super 8 camera, Taylor Hackford has used the enduring quality of film to entertain and inform millions of people around the world, meriting him a Profile in Citizenship.
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https://www.225batonrouge.com/article/all-american-boy-on-the-25th-anniversary-of-the-iconic-b-r-film-acclaimed-director-taylor-hackford-discusses-everybodys-all-american
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en
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On the 25th anniversary of the iconic B.R. film, acclaimed director Taylor Hackford discusses Everybody's All
|
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Growing up the son of a single mother who waited tables to support him, director Taylor Hackford spent much of his youth in 1950s California fascinated by underdogs who navigate a world of privilege. That interest has birthed a storied Hollywood career. From his Oscar-winning short film Teenage Father, to An Officer and a Gentleman,...
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[225]
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https://www.225batonrouge.com/article/all-american-boy-on-the-25th-anniversary-of-the-iconic-b-r-film-acclaimed-director-taylor-hackford-discusses-everybodys-all-american
|
To celebrate the 25th anniversary of Everybody’s All-American, 225 spoke with Hackford to discuss his epic Baton Rouge-set drama.
Click here to read more about the film and some locals who participated in its making.
What hasn’t changed is that we still honor and revere our athletes. However, today there’s a new awareness of the residual physical damage visited on football players, so maybe my film would have more impact than it did back in the ’80s when it was released. At that time audiences didn’t respond to the tragic elements in the film, because in America we worship our idols, but we want them to stay the same. There are no second acts in American culture.
I showed Gavin past his prime. You see him with all those career scars of a wounded warrior, and nobody wanted to look at him. Dennis did an amazing job of walking with arthritis, physically paying the price for all that worship. We were voicing all those concerns back then which are now at the forefront of the conversation about the NFL.
One of my old college roommates at USC was from New Orleans, and I’d spent a lot of time in Louisiana with him. By the time I was scouting for the movie, his wife was the assistant chancellor of LSU, and so I called her and said I wanted to look at the campus in Baton Rouge as a possible setting for the movie.
So much—everything. The traditions and almost rabid enthusiasm of the fans was perfect for our story. The fact that there was a live tiger on campus was incredible. Billy Cannon being one of the last great white running backs in the country really fit one of the themes of the book.
Also, the whole mythic connection between LSU and Huey P. Long. The fact that he got Federal funds during the Depression to build dormitories on campus, but actually built Tiger Stadium which incorporated the dorm rooms, was priceless. I began the film at a big pep rally with John Goodman’s character climbing up Huey’s statue in front of the State Capitol.
There is an epic quotient in Deford’s novel. I always viewed it as a mythical film about change in America—especially the South, using football as a metaphor. Starting in the 1950s, Gavin Grey, one of the last great white running backs, is almost a noble character. He marries the beautiful “Magnolia Queen,” Jessica Lange.
They are archetypes of traditional Southern culture, but we see them experience the monumental changes of the 1960s and ’70s.
Yes, the character of Blue, played by Carl Lumley, is important. A great African American athlete before blacks were allowed to play at LSU. Later in life he becomes a Col. Sanders-like entrepreneur, and after Gavin’s fall from grace, Jessica’s character becomes an executive for Blue’s company, effectively becoming the family breadwinner. All the characters in the film shift roles as America changes, but the one thing that doesn’t change is the community’s love for the Tigers. What will probably never change in Baton Rouge is its passion for SEC Football.
I’d get the best pizza in America. I’d go back to Fleur de Lis. While New Orleans and the French Quarter will always have my heart, I loved my time in Baton Rouge. There are so many surprises: Who could imagine finding this amazing Roman pie. Whenever I’m within 50 miles of Baton Rouge, I have to detour to Fleur de Lis.
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https://en.wikipedia.org/wiki/Taylor_Hackford
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Taylor Hackford
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https://en.wikipedia.org/wiki/Taylor_Hackford
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American film director
Taylor Edwin Hackford (born December 31, 1944) is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father (1979). Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman (1982) and Ray (2004), the latter of which saw him nominated for the Academy Award for Best Director and the Academy Award for Best Picture.
Early life
[edit]
Hackford was born in Santa Barbara, California, the son of Mary (née Taylor), a waitress, and Joseph Hackford.[1] He graduated from the University of Southern California in 1968,[2] where he was a pre-law major focusing on international relations and economics. After graduating, he served as a Peace Corps volunteer in Bolivia, where he started using Super 8 film in his spare time. The camera was purchased for him by fellow Peace Corps volunteer, Steve Ball. He decided that he did not want to pursue a career in law, and instead got a mailroom position at KCET-TV.[3] At KCET he was the associate producer on the Leon Russell special "Homewood" in 1970.[4] In 1973 at KCET he produced the one-hour special Bukowski (about the poet Charles Bukowski), directed by Richard Davies.[5]
Career
[edit]
Hackford's feature directorial debut was The Idolmaker starred Ray Sharkey, who was awarded a Golden Globe for Best Actor for his portrayal of "Vinnie" in the film. The Music Supervisor was Richard Flanzer.[6] Hackford said of The Idolmaker, "I make films about working-class people; showbusiness is one of those things through which people can get themselves out of the lower rung of society. To me, the compelling story in The Idolmaker is the guy with a wonderful talent and a fairly strong ego has to make it happen through puppets."
During the filming of An Officer and a Gentleman, Hackford kept Lou Gossett Jr. in separate living quarters from the other actors so he could intimidate them more during his scenes as a drill instructor.[7] Richard Gere originally balked at shooting the ending, which involves his character arriving at his lover's factory wearing his Navy dress whites and carrying her off from the factory floor. Gere thought the ending would not work because it was too sentimental, and Hackford was initially inclined to agree with Gere, until during a rehearsal when the extras playing the workers began to cheer and cry. But when Gere saw the scene later with the music underneath it at the right tempo, he said it sent chills up the back of his neck, and is now convinced Hackford made the right decision.[8]
In 1983, Taylor Hackford partnered with Keith Barish, film producer, to co-develop a film version of At Play in the Fields of the Lord, for which both Hackford and Barish received a lawsuit in 1986, claiming they had an option to exercise the rights from MGM/UA Entertainment Co., a film distributor.[9]
Hackford said of his film Ray: "My proudest moments in Ray were in those 'chitlin' clubs. Ray Charles ended his life in concert halls, where people would go in tuxedos and quietly listen to a genius perform. But in these clubs, he had to get people up dancing. What I tried to create was a little of that energy and exuberance. The great thing about music is when you can get people on their feet."[6]
In a 2005 interview, Hackford confirmed that he never watched his own films: "When I finish a film, I put it away and I never look at it again. Occasionally I do now because of the DVDs and the commentary tracks. I usually put it aside and go onto the next. I never went to film school. I worked for the KCET public television station in L.A. I worked in concerts. I have done a lot of music. I feel very comfortable shooting music, and I think you can see that."[10] Hackford has also directed music videos, including "Against All Odds (Take a Look at Me Now)" by Phil Collins and "Say You, Say Me" by Lionel Richie.
On July 25, 2009, Hackford was elected president of the Directors Guild of America.[11] He was re-elected to a second, two-year term as president on June 25, 2011, at the DGA's National Biennial Convention in Los Angeles.[12]
Hackford is attached to direct the neo-noir action thriller film Sniff, starring Morgan Freeman, Al Pacino, Helen Mirren and Danny DeVito.[13]
Personal life
[edit]
Hackford has been married three times. He married his first wife, Georgie Lowres, in 1967; they have one child, Rio Hackford (1970–2022). The couple divorced in 1972. In 1977, Hackford married Lynne Littman, with whom he has one child, Alexander Hackford, born in 1979; their marriage lasted until 1987. Hackford has been married to Academy Award-winning actress Helen Mirren since 1997.
Hackford met Mirren when he was directing her in White Nights, although their first meeting did not go well: he kept her waiting to audition for White Nights, and she was icy. "It was a strange way to meet Helen, because she is a lovely person," says Hackford, "but she didn't hold back her fury."[14] Hackford and Mirren wed in 1997, although as a young woman Mirren had vowed never to marry.[14] The couple live along the Nevada side of Lake Tahoe.[15]
In 2009, Hackford signed a petition in support of director Roman Polanski, calling for his release after his arrest in Switzerland in relation to his 1977 charge for statutory rape,[16] after Steve Cooley, the Los Angeles District Attorney, tried to prosecute Polanski.[17]
Filmography
[edit]
Year Film Director Producer Writer Notes 1973 Bukowski No Yes Yes Documentary 1978 Teenage Father Yes Yes Yes Short film
Academy Award for Best Live Action Short Film 1980 The Idolmaker Yes No uncredited 1982 An Officer and a Gentleman Yes No No Nominated- Directors Guild of America Award for Outstanding Directing 1984 Against All Odds Yes Yes No 1985 White Nights Yes Yes No 1987 Hail! Hail! Rock 'n' Roll Yes No No Documentary 1988 Everybody's All-American Yes Yes No 1993 Blood In, Blood Out Yes Yes No (originally: Bound by Honor) 1995 Dolores Claiborne Yes Yes No 1997 The Devil's Advocate Yes Executive No 2000 Proof of Life Yes Yes No 2004 Ray Yes Yes Story Nominated- Academy Award for Best Picture
Nominated- Academy Award for Best Director
Nominated- Directors Guild of America Award for Outstanding Directing 2010 Love Ranch Yes Yes No 2013 Parker Yes Yes No 2016 The Comedian Yes Yes No TBA Sniff Yes Yes No
References
[edit]
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https://www.csmonitor.com/2004/1029/p12s02-almo.html
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An audition for 'Ray' with Ray
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2004-10-29T12:10:00-04:00
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Prior to his passing, Ray Charles played an integral part in the making of the movie about his life.
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The Christian Science Monitor
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https://www.csmonitor.com/2004/1029/p12s02-almo.html
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Throughout the process of making "Ray," the real-life Ray Charles was integral to the film's development. The story pulls no punches about the darker sides of the late musician's life, including lifelong womanizing and decades of heroin addiction. But, says director Taylor Hackford, Charles was interested only in the truth. Early on, Hackford had the script translated into Braille (which the singer learned as a child at a school for the blind in Georgia). Charles read the script and according to the director, made only a few minor changes before approving the story.
Perhaps his most important contribution was his involvement in casting the lead role. The director arranged for actor Jamie Foxx to meet Charles in his recording studio. After they were introduced, Ray Charles demanded the two sit down and play piano together. He had set up two electric pianos to be side by side for the "audition." Together, the two played through the Ray Charles repertoire. The actor, who had attended university on a piano scholarship, initially kept pace. But Foxx floundered when Charles started to improvise the music of jazz great Thelonius Monk. Director Hackford writes of the tense moments that followed. "Ray didn't let up on him. He said, 'Come on, man, it's right under your fingers. Come on, man.' The pressure was almost embarrassing."
Instead, Foxx mastered the passage and won unconditional support for his work in the film.
The storytelling techniques in "Ray" take the musical-biopic genre into new territory, weaving some 40 songs into the life story of the man Frank Sinatra called "the only genius in our business." Beginning with the twin tragedies of Charles's early life - watching his younger brother drown and going blind by the age of 7 - the film tracks the complex relationship between his struggles with personal demons and his songwriting process.
"A lot of the songs came out of his particular struggles," says actress Regina King, who plays Margie Hendricks, a woman Ms. King calls "the musician's muse." At one emotionally charged moment in the film, when Charles is trying to break off the relationship with Hendricks, he comes up with the song "Hit the Road, Jack."
Scene after scene makes the case that seminal moments in the musician's creative development came from dark confrontations with his own problems. There are notable exceptions, such as the signature song "Georgia on my Mind." This song did not grow out of any personal trauma, but out of what he viewed as his home state's tragedy of segregation.
Charles was one of the first musicians to refuse to play under Jim Crow laws. After he walked out of a segregated concert hall in protest, Georgia banned him from the state "for life." This edict was reversed in 1977 when the state welcomed him back and made his song its state anthem.
As director Hackford describes it, "when a song is onscreen, you're seeing that the song came from the emotion and the drama in his life and that the two are necessarily intertwined and related."
King points to the musical catalog of hundreds of Ray Charles songs that span more than half a century and says that condensing that into a single narrative of fewer than 50 songs was not simple, but it was the most effective approach. "Prior to this film, musical biopics gave you a hint of the music," says King, "but they didn't allow the music to tell the story. But with Ray, his music is his story."
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https://facts.net/celebrity/8-extraordinary-facts-about-taylor-hackford/
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en
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8 Extraordinary Facts About Taylor Hackford
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From his notable directorial career to his Oscar-winning marriage, discover 8 extraordinary facts about Taylor Hackford.
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Facts.net
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Taylor Hackford is an accomplished film director.
Taylor Hackford has made a name for himself in the film industry with his exceptional directing skills. With a career spanning several decades, Hackford has helmed numerous critically acclaimed movies and has become renowned for his ability to bring stories to life on the big screen.
He directed the iconic film “Ray” in 2004.
Ray” is a biographical film about the legendary musician Ray Charles. Hackford’s brilliant direction captured the essence of Charles’ life and earned him widespread praise from audiences and critics alike. The film received several accolades, including two Academy Awards, and further solidified Hackford’s reputation as a master filmmaker.
Taylor Hackford is married to iconic actress Helen Mirren.
The power couple of Hollywood, Hackford and Mirren have been together for over 20 years. Their partnership is a testament to their love and shared passion for the arts. Both Hackford and Mirren have achieved great success in their respective careers and continue to support and inspire each other.
He has directed several notable Hollywood stars.
Throughout his career, Hackford has had the privilege of working with some of the biggest names in Hollywood. From Denzel Washington in “The Devil’s Advocate” to Jamie Foxx in “Ray,” Hackford’s ability to bring out the best in his actors has resulted in extraordinary performances that have captivated audiences worldwide.
Taylor Hackford is a dedicated advocate for the arts.
Not only is Hackford a talented director, but he is also deeply committed to supporting and promoting the arts. He has served as the president of the Directors Guild of America and has been actively involved in various initiatives aimed at advancing the creative industries.
He directed the critically acclaimed film “An Officer and a Gentleman” in 1982.
“An Officer and a Gentleman” is a romantic drama that garnered significant praise for its compelling story and outstanding performances. Hackford’s masterful direction brought the characters to life and resonated with audiences, making it a timeless classic in the world of cinema.
Taylor Hackford has received numerous accolades for his contributions to film.
Over the years, Hackford has been recognized for his exceptional work behind the camera. He has received several prestigious awards, including the Academy Award for Best Live Action Short Film and the DGA Award for Outstanding Directorial Achievement in Feature Film.
He has a deep passion for storytelling.
At the core of Hackford’s success as a director is his genuine love for storytelling. He approaches each project with a deep understanding of the power of narrative and strives to create impactful films that resonate with audiences on an emotional level.
Conclusion
In conclusion, Taylor Hackford is truly an extraordinary figure in the world of entertainment. His impressive career as a director, producer, and screenwriter has spanned several decades, and his contributions to the film industry are undeniable. From his early successes with “An Officer and a Gentleman” to his recent acclaimed works like “Ray,” Hackford has consistently demonstrated his creativity and talent. His ability to bring compelling stories to life on the big screen has earned him numerous awards and accolades, solidifying his status as a Hollywood heavyweight. With his passion for storytelling and dedication to his craft, Taylor Hackford continues to leave a lasting impact on the industry, and his legacy will undoubtedly be remembered for years to come.
FAQs
1. What is Taylor Hackford best known for?
Taylor Hackford is best known for directing the critically acclaimed film “Ray” (2004), a biographical drama about the life and career of musician Ray Charles. The film received widespread acclaim and earned Hackford several awards, including the Academy Award for Best Director.
2. Has Taylor Hackford directed any other notable films?
Apart from “Ray,” Taylor Hackford has directed other notable films such as “An Officer and a Gentleman” (1982), starring Richard Gere, which was a box office success and earned Hackford an Academy Award nomination for Best Director. He has also directed films like “The Devil’s Advocate” (1997) and “Proof of Life” (2000), showcasing his versatility as a director.
3. What awards has Taylor Hackford won?
Taylor Hackford has won several prestigious awards throughout his career. In addition to the Academy Award for Best Director for “Ray,” he has also received a Golden Globe Award, a Directors Guild of America Award, and a BAFTA Award, among others. His talent and contributions to the film industry have been widely recognized and honored.
4. Is Taylor Hackford involved in any other aspects of filmmaking?
Yes, Taylor Hackford is not only a director but also a producer and screenwriter. He has produced films like “La Bamba” (1987) and “Against All Odds” (1984), showcasing his ability to bring diverse and compelling stories to the screen. Hackford’s involvement in various aspects of filmmaking highlights his passion and dedication to the craft.
5. What is Taylor Hackford’s filmmaking style?
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://playbill.com/article/ray-filmmaker-taylor-hackford-to-direct-musical-version-of-leap-of-faith-com-131906
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"Ray" Filmmaker Taylor Hackford to Direct Musical Version of "Leap of Faith"
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Taylor Hackford, the career filmmaker who recently had a success with the biopic "Ray," will stage Leap of Faith , a new musical based on a Steve Martin film. It will premiere on Broadway during the 2007-08 season.
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Playbill
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https://playbill.com/article/ray-filmmaker-taylor-hackford-to-direct-musical-version-of-leap-of-faith-com-131906
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The musical is penned by composer Alan Menken, librettist Janus Cercone (who wrote the original screenplay for the 1992 movie, which also starred Debra Winger) and lyricist Glenn Slater. The project has been in the work for a few years now. It will be produced by by Michael Manheim (who also produced the original picture), James D. Stern & Douglas L. Meyer and Steven Baruch, Richard Frankel, Marc Routh & Thomas Viertel.
No casting has been announced.
Taylor Hackford has directed a wide variety of movies over his long career. Among the best known are "An Officer and a Gentleman," "Against All Odds," "The Idolmaker," and "White Nights." His career was somewhat in eclipse when "Ray," a film about Ray Charles, became a box office hit and was nominated for six Academy Awards, including a nod for Hackford and an Oscar for star Jamie Foxx. Several of his movies have had musical or show business themes.
Leap of Faith would mark the first Broadway musical that composer Menken — of Beauty and the Beast and the upcoming The Little Mermaid — has penned directly for the Broadway stage (Little Shop took the long Off Broadway-to-film-to-Broadway route).
Menken is known for his work on Disney animated movies including "Aladdin," "Beauty and the Beast," "Pocahantas" "The Hunchback of Notre Dame," "Home on the Range" and "Hercules." Glenn Slater's work includes Newyorkers and That's Life. The 1992 film starred Steve Martin as a fake faith healer who travels with a band of con artist helpers swindling townsfolk from one place to the next with their faux revival, until they break down in a small town and he falls for a local. The movie also featured performers Liam Neeson (The Crucible), Philip Seymour Hoffman, (Long Day's Journey Into Night) and La Chanze (Once on this Island).
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https://lier.bibliotheek.be/en/catalog/taylor-hackford/devils-advocate/dvd/library-marc-vlacc_2112355
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Devil's advocate
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Taylor Edwin Hackford (born December 31, 1944) is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father (1979). Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman (1982) and Ray (2004), the latter of which saw him nominated for the Academy Award for Best Director and the Academy Award for Best Picture.
Early life
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Taylor Hackford
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Explore the filmography of Taylor Hackford on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
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An early career in television documentaries helped to shape the degree of verisimilitude that informed much of Taylor Hackford's efforts as a director and producer in Hollywood. After proving his skill with real-life subjects, he ventured into features, where he fared best with biopics - especially those based on the lives of rock 'n' roll pioneers like Ritchie Valens in "La Bamba" (1987) and Ray Charles in "Ray" (2004). "An Officer and a Gentleman" (1982) and "Against All Odds" (1984) also won many moviegoers' hearts, as did later projects like "White Nights" (1985) and "Everybody's All-American" (1988). Feature-length documentaries proved to be one of his most satisfying milieus, with "Chuck Berry: Hail! Hail! Rock 'n' Roll" (1987) and the Muhammad Ali fight story "When We Were Kings" (1996) earning him praise from critics and viewers alike. Films like these solidified Hackford's status as a director with an uncanny knack for capturing the drama inherent in everyday lives.
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FILE - Canadian-born actor Christopher Plummer, shown June 15, 1973, poses for a photo before making his musical debut on Broadway in "Cyrano." "RIP to Christopher Plummer, a living legend who loved his craft, and was an absolute gentleman. RIP Christopher Plummer. "Pixar remembers Christopher Plummer, who as Charles Muntz in ‘Up,’ taught us that 'adventure is out there.' “If I live to be 91 maybe I’ll have time to fully appreciate all the great work of Christopher Plummer.” — actor Dave Foley on Twitter.
A representative for the Directors Guild of America said his family informed the organization that he passed Thursday, Jan. 7, 2021. (Photo by Jordan Strauss/Invision/AP, File)Michael Apted, the acclaimed British director of the “Up” documentary series and films as diverse as the Loretta Lynn biopic “Coal Miner’s Daughter” and the James Bond film “The World Is Not Enough,” has died. A representative for the Directors Guild of America said his family informed the organization that he passed Thursday night. Apted served as a researcher on the first film and took over as director seven years later, continuing to check in with the subjects every seven years. “The series was an attempt to do a long view of English society,” Apted told Slant Magazine in 2019.
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Ray
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Best known for directing ‘An Officer and a Gentlemen’, Taylor Hackford has been a lifelong music fan who started his career as a journalist, before making music
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Time Out Worldwide
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By Tonisha Johnson
History reveals so many things. It lets you take a look at the past. Once it is told by someone else, after viewing and researching it, you find intricate details that you either overlooked, never saw at all or never bothered to know at all. Ray Charles' life can be viewed as a struggle? Yes. From being poor, to racism, death and then blindness; Ray Charles could grieve a hundred times over.
As this film unfolds; as you watch the direction from Taylor Hackford and the skill that actor/comedian Jaime Foxx brings and ignites on to the silver screen; your heart beats faster. Your eyes well up with water. As your hand lifts to the right side of your face; one finger holding your chin up while the other caresses the temple in disbelief, wonder, curiosity and amazement.
It is so hard for films of color to get a green light. So many actors and actresses that are of quality are lost in the shuffle. And we are never privileged to know their true skill.
Many Blackfilm.com readers are exposed to both sides of the filmmaking process, thru endless interviews, celebrity profiles and film reviews. And out of those readers, quite a few are potential actors and actresses, who subscribe to this black resource for industry news that includes entertainers of all colors; some looking to find an inkling that would maybe gear them towards a big break.
Here, there is a voice. A voice where major and minor, Big Box Office or Independent actors/actresses/filmmakers/directors of colo r can be seen and heard, by you, the reader.
In this film, Taylor Hackford, as well as great actresses like Sharon Warren, Regina King and Kerry Washington; along with great actors like Jaime Foxx, Bokeem Woodbine, Larenz Tate, Clifton Powell, C.J. Sanders, and a flood of others that made you gasp and say I know him/her" when you saw them; get the chance to use that voice. Support the voices of all those that are big and those that are small. If you as an audience green light them, then Hollywood will have to.
One would have to admit that the film Ray is a serious Oscar contender. There is no question that director Taylor Hackford has taken 15 years to develop the story cast the right character to play Ray Charles, and ultimately perfect this cinematic masterpiece. It was well worth the wait.
As I sat down to talk to Taylor, his eyes were all a buzz over the excitement of the release of Ray. Eager to begin, we sat down quickly and the words just flowed like water from Hackfords' lips to my paper.
Any Dramatic License in this film?
90% true. 95% true. The dramatic license that I took was rather minor. You have to understand that I collaborated for 15 years with this film with Ray Charles. So, I did my own independent research. I've read is autobiography. And I feel his autobiography is a difficult story to perceive because I do tell the story from the point of view of the artist, only. Because there are always other sides to that issue, I went out myself and probably talked to about 35 other people who were intimately involved in his life. And I wrote a screen story back in the late 80s. And unfortunately it took so long to get this film financed. Not so much that we couldn't have gotten it together to make but because we couldn't find the money. I tried to, mys elf, findyou know when you meet Ray Charles, I didn't know what to expect, and I went to talk to Ray Charles Jr. to try to convince him to give me the rights. The man walks into the room, alone. No cane, no seeing-eye dog. Walks around 5 obstacles, walks up to me and says "Hey Taylor; Put some skin in the pocket." And then he walked away from me, walked around 4 or 5 more things, sat behind his desk and said "did you see the Lakers last night?" "Could you believe that 3 pointer shot Magic shot at the end of the game to win it?" SEE. SEE. You know, this is Ray Charles. So controlling of his own environment. Invincible. I initially thought the man could see. He's perpetrated one of the biggest hoaxes ever, on the worldlol. But of course, he had both eyes taken out. The man could not see. They give you an indication of how in control he was. If you want to have an interpretation of a straight ahead traditional biopic, that's fine.
My sense was, I wanted to tell a real story. A visceral story. When period movies are made and you kind of look through the gauze to the past. The Ray movie is a revolutionary movie. I wanted those scenes in those clubs to be as intense and sweaty. Ray Charles played 8 sets a night. He had 10 minutes off and played for fifty. If he didn't get people out of their seats and on their feet dancing, they'd throw his ass out of there. That's what he said to me. So, I wanted to try to portray that, but I also wanted to tell a story that was a lot more complicated than that. This is a man, if you wanted to deal with his entire life, you could deal with 75 years. Because all those are interesting. But I had to make a choice. My choice is always that, you should talk about the struggle. This is a film about life impacting art. As oppose to vice versa. In other words, what created Ray Charles? What was involved in making him the incredible icon that we all know? I believe that the things that happened to him, in his life, impacted and made that work. And kind of, in its own strange way, it's a musical. Because the songs in the picture are pretty much in chronological order. I tried to take what happened in his life and showing how that music came out of those experiences. And I think there is one song that is out of order. And that's Hard Time, which is at the very end of the film. So most of the other things are actually in the chronological order as they are depicted in the film. Is every detailed nuance of Ray Charles' life and sin in this picture? Of course not. You can't. But, he gave me a huge gift. He said "Taylor, you know, I'm no angel. And I don't need to have myself depicted as such. Just tell the truth." And that is an incredible gift. So, if you want to point out the inaccuracies, I will deal with them. I'd be happy to. But I stand by the picture. It's true and real, I believe, within the context, of what I as a filmmaker, decided to tell. And I have certain limitations because of time, because of whatever. But, I pretty much stand by everything that's there.
Being aware of his illness, did you feel a sense of urgency to get this film out there before he passed away?
No. Yes, I was aware that he was ill. It was very apparent as time passed. Now that I look back I start to realize that he probably was aware of his illness, probably 3 years ago when I was just getting the film pre-produced and ready to go, to shoot. We were in the studio together. Again, the music of this film is used in various ways. I was blessed with the fact that Ray Charles was recorded by Tom Dowd. Who was the greatest engineer of his generation at Atlantic Records. So, in 1953 when he's recording "I Got a Woman", I'm using "I Got a Woman" in this picture. Do you know how unusual that is? That presents certain problems on its own. We did a little bit of enhancing when you cut to the horn section. You'll hear the horns more, we did that. And ultimately I was blessed on that level. When Ray had been traveling with Lowell Fulton, Fulton had not been recorded well. So Rays' guys said Ray, do you think you might be able to give me a name of somebody who might be able to arrange these things to work?" And Ray said, "I did the arranging, why don't I do it." I mean, incredible. So Ray went into the studio and he played the piano. In that sequence when you hear Jaime alone in the bar and the band has left with the girls and he's left there alone; trying to portray the loneliness of this man. Basically, however brilliant he is, Ray Charles, however many woman, how huge the audience response he still returns to the same place; he's alone in the dark. And I wanted to portray that in this film. So, in that instance, I'm sitting in the studio, describing him how he's having trouble with Lowell, Wilbur screwing him over money; the band is kind of going out, leaving him there. These are the moments leading to his heroin addiction. These are the moments that he's talked about as the pain of being on the road and not even knowing where he was. And I'm describing it to him and I want you (Ray) to sit at the piano playing this quiet, contemplative number. And he does something that is very beautiful. And I say Ray? And he says, "Well, what do you think of that?" I say Ray, to be honest with you, I think it's great. But it sounds like your playing for a bunch of people. This is you alone, in this place, playing from your heart from yourself. And his response was kind of like, "hey Ray Charles ain't gonna play bad for nobody." And I say, I would never ask you to. And around the place, the musicians are over there, their all Ray Charles' musicians and their all going don't disagree with the master here'. Now I wasn't disagreeing with him, but I have to get my film. So, I say no Ray, I really believe Lowell was messing around with you or Wilbur was messing around with you. The guys have left and they always made you feel low. And he kind of went, fuck it'. I mean it was like, you know, tough! So, I went well, I'll think about something else. And as I turned my back to go out, he says, "Well, if they had done that to me. And if I had been screwed on the money and if I was alone and had felt that way, I might play something like this." And he just went; bang! There it was. It was a collaboration like all collaborations. I'm talking about one of the worlds great geniuses. And at the same time he is trying to understand what I needed for the film. And it was a fantastic experience. And then we role right into "Everyday I Have the Blues" that he's arranged and he plays piano on. And Chris Thomas King, who is a fabulous artist in his own life, who plays Lowell Fulson who sang and played guitar on. So, you have those moments of real collaboration and closeness. I mean, it was a life experience for me. But, getting back to your question; I start to realize now that he probably knew he was sick, although he was vibrant and alive and completely on top of his game. There was no portrayal of any weakness. But that very time, he gathered all 12 of his children from around the world, for the first time, together. And I now realize, looking at that, what he was doing. We went to shoot the film and when I came back I saw him and he seemed to be in fine shape. He was there on the set with us when we were at RPM Studios in Los Angeles, he seemed fine. But I went into the editing room and I spent about 10 weeks to cut it and I took a rough cut to RPM to show him because he would say he wanted to see it but he sat next to the and I could tell that he was not the Ray Charles that I knew from before. And he was starting to deteriorate. Typical Ray Charles fashion, it went about 3 months more than the doctors ever thought possible. He was dying, dying; he'll never make it past this. And he was proving them all wrong. And at certain point, Ray was going to do like always, he was going to do it his way. And he's going to prove them wrong. And of course, when it happens, it's a huge shock. Yeah, it's painful he's not hear to see the film. But ultimately he did see the rough cut. First thing he asked to see was, I want to see my mom, I want to hear what you put in for my mom. That was the most important thing to him. And he loved it.
What experiences did you take from working on music films like La Bamba to Ray?
Music has always been an important thing to me in my life and understand I've worked in the music business. And trying to understand the real nature of musicians and real musical creations. Clearly those are other pieces of work that related to the same field. This to me is a much more substantial piece because you have to watch how these things are created. And I was dropping in small bits of pieces of what really happens when someone is there or recording. And also, creating something on the road or devising. Whether the audience gets it or not, that process of watching him busted in Indianapolis. Coming home and sitting alone at his piano in his den, playing You Don't Know Me; you know, that whole concept of what Ray Charles went to, when he was in his lowest depth. He did what he loved. He went to Country Music. This is a guy; he grew up listening to the Grand Ole Opry. He loved songs and he loved Country Music. Ray Charles, in his own way, it's like at the beginning, Ray Charles changed American music, not once but twice. Totally. Back in the early 50s when he was doing I Got a Woman, he was blasphemy. The record didn't mean anything to the white community. Because whites weren't even listening to that. But the black community, you did not mix Gods music, with the Devils music. At Saturday night, in the Juke Joint, you're communing with the devil. And you go out Sunday morning, you are dealing with God. And it's serious stuff. And there are people who wanted to string him up! He changed it. He's the first guy to use a 3 girl backup group. The vocal stylings of gospel and all these things. That's what he did. So, all of a sudden, that's accepted. Now, all the worldElvis does it. Now in 1962 he goes and takes basically white music, country western, and he starts recording that. Any country western artist and I don't care who they are today, will say Modern Sounds in Country and Westerns is still one of the greatest country albums ever recorded. This is a man; I was trying to portray, to answer your question, who you couldn't define. And he justbecause he was blind, going back to Rays' line when he was sent to St. Augustine', to the state school for the blind in Florida. When he got there, there was a big fence down the middle. And the white kids were on one side and the black kids were on the other. And his response was, at the time, "Well, how the hell we're all gonna know who's who? We're all blind." And I think that was one of the things that was Ray Charles great gift. I never found any; any black person has room for resentment in real life. Ray Charles was just a guy who didn't have any. Ray Charles was just a guy who was proud of who he was. If you looked at his organization it was almost entirely African American, but he didn't hold any rank. He just was there and did what he did, sang what he felt did what he did, related to you in that way and those are the things that I was trying to portray in it.
You've taken 15 years to put this movie together. Was it because you were waiting for the right man to play Ray?
I think you hit it. I don't know who I would have cast if I had made the film originally in the late 80s. You live or die when you make a biopic by the person who plays the role. Jaime Foxx is the man for this. I can't imagine anybody even coming close to what he does. His level of commitment; it's a great experience from the point of view of the director. I can give an actor tools to prepare themselves for the role. But they've got to pick them up and use them. And Jaime from the very beginning, we just fused this partnership. It was a fantastic experience. The man's commitment was total. I asked him to do the role blind. He said fine. A lot of actors would go, yeah that'd be cool, I'll experiment with that. Maybe I'll do a half day and kind of feel what it's like. I asked Ray to take his glasses off and let me photograph his eyes. And he did. And we made prosthetics to look exactly like Ray Charles' eyes. And you put them on. And they cover, it just glues on. Jaime had to be led. You never touch Ray. He grabs you by the arm and you just lead him in a very light way, whatever, and I would lead Jaime onto the set. He had people with him and help him take him to the bathroom. I mean, this was a commitment that was total. I made the choice that we had to use Ray Charles once he finds himself when he's imitating the acting cold, that's Jaime. Jaime is fabulous. I didn't know at the beginning, but I do know now, I learned very quickly; he's a consertment musician. He went to university on a piano scholarship. But, I wanted to use Ray Charles; these are masterpieces. You don't mess with masterpieces and I used the real stuff. That means that Jaime Foxx has tobut, in today's world you record the vocals and the piano track separate. You could flip it if it's out of sync. These are monaural till 1959, everything in this. In that one sequence in I Believe to My Soul, you see, Tom Dowd had the first 8 track. Up till then, everything is monaural. So, Jaime Foxx can't be flipped. You can't take the vocal and flip it. And I'm going from his fingers on the keys to his mouth and back down. You know what a gift that is to a director, if you're doing a musical? And for you as an audience looking at it going, I know this is bullshit. You know, show me in this film where Jaime Foxx is out of sync? You're not going to find it. And learning those piano parts; Ray Charles is not somebody who goes, IAM; no. It was all singing off the note. That's what Ray did. So whatever his hands are doing, his vocals are doing differently. Jaime had to learn both those things simultaneously. It was an incredible gift. But I think we are all aware of great artists and we all see them in different ways. You never know how great somebody is until they have a role. African Americans in this community don't always have these great roles. And this was one that I reallyI chose Jaime. I introduced him to Ray and Ray put him through his paces. And ultimately after being really tough on him, he got up and hugged himself and said "this is it, this is the kid." Ray anointed Jaime himself. I watched Jaime grow from whatever his regular height was, till about 10 feet, right there at that moment. But there are those moments that ultimately say, the man himself said you could do it. Then there is that responsibility and that pressure that said Jaime was going to do it. And he was just great.
In the early part of the film, Ray fell victim to money scams, where he wanted to be paid in singles. Do you think that was still a concern for Ray as he became wealthier and more successful?
Oh yeah. The thing that is interesting about Ray Charles is that in all the drama to the Jeff Brown to the Joe Adams syndrome, it's all real, it all happened. And Joe Adams is a very smart guy. But Ray Charles never had a manager in his life or a lawyer in his life that was leading the band. He did it himself. Little bits and pieces, I tried to put in there. Cause he told me, the first gig he had, some guy said 5, 10, 15, 20. He goes with 20 bucks and puts it down and says "Can I you take $5 dollars for a room?" And the guy says sir that's going to take 5 of those. And he says "that's five bucks?" And the guy says "no it's not. It's one." Those kinds of rip-offs, you learn. And the late Ray Charles learned; getting paid in singles, to ultimately making million dollar deals. He was just that kind of mind. He was a pretty interesting pragmatic guy. I think he is one of the smartest guys I've ever met. There's no question about it. And he was fantastic to deal with. But he always had his eye on the bacon. He was performing, he knew what he had. But with his momma, he learned a lesson. He almost took it too seriously; stand on your own feet and don't be dependent on anyone. And I believe, seriously, that's what he did. There was no puppet master behind Ray Charles.
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Taylor Hackford Biography
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[
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Read all about Taylor Hackford with TV Guide's exclusive biography including their list of awards, celeb facts and more at TV Guide.
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/favicon.ico
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TVGuide.com
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https://www.tvguide.com/celebrities/taylor-hackford/bio/3030197985/
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Fast Facts
After graduating from college, spent two years in Bolivia as part of the Peace Corps
While filming his time in Bolivia, fell in love with the medium and gave up his desire to study law
Earned two local Emmys in the 1970s for his work as an investigative reporter for KCET in Los Angeles
Made his big-screen directorial debut in 1980 with the rock biopic The Idolmaker
Scored his biggest hit as a director with the 1982 romance An Officer and a Gentleman
Met his wife, actor Helen Mirren, on the set of his 1985 drama White Nights
Has become known for his documentary profiles and biopics, including the acclaimed Chuck Berry: Hail! Hail! Rock 'n' Roll (1987) and the Oscar-winning Ray (2004)
Succeed Michael Apted as president of the Directors Guild of America in 2009
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https://www.hollywoodreporter.com/tv/tv-news/taylor-hackford-direct-abcs-richard-679093/
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Taylor Hackford to Direct ABC’s Richard LaGravenese Pilot (Exclusive)
|
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[
"Lesley Goldberg"
] |
2014-02-10T15:20:34+00:00
|
A year after helming The CW's "Company Town," the Oscar winner will helm the ABC soap from the "P.S. I Love You" writer-director.
|
en
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The Hollywood Reporter
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https://www.hollywoodreporter.com/tv/tv-news/taylor-hackford-direct-abcs-richard-679093/
|
ABC has enlisted another Academy Award writer to its pilot season ranks.
Taylor Hackford has been tapped to direct the network’s untitled Richard LaGravenese drama, The Hollywood Reporter has learned.
The drama, set in New York City, revolves around the love and rivalry between two equally matched, powerful socialites who play out their obsessive attraction and seduction of each other through their manipulation of others.
STORY: TV Pilots 2014: The Complete Guide
LaGravenese, who earned an Oscar nomination for 1991’s The Fisher King, will pen the script and exec produce the ABC Studios entry alongside Erwin Stoff, Ilene Staple and Wren Arthur.
Hackford — who won an Oscar for his short film Teenage Father in 1978 and was nominated for his directing work for 2004’s Ray — directed (and executive produced) drama pilot Company Town for The CW last year. He also directed the pilot for E-Ring.
Hackford becomes the latest Academy Award winner to head to ABC. The network also is teaming with American Hustle‘s David O. Russell for an untitled drama that was picked up straight to series. Fellow Oscar nominee 12 Years a Slave‘s John Ridley is writing and directing ABC’s American Crime; Lee Daniels is prepping Fox’s Empire; and Matt Damon and Ben Affleck are executive producing CBS’ More Time With Family, with the latter also developing Fox’s The Middle Man.
Hackford is repped by CAA.
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https://www.vulture.com/2017/03/taylor-hackford-remembers-making-a-movie-with-chuck-berry.html
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en
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Taylor Hackford Remembers Making a Movie With Chuck Berry
|
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"Bill Wyman"
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2017-03-22T12:02:27-04:00
|
“It was like riding a Brahma bull. He was going to buck you off sooner or later, but you had to try.”
|
en
|
Vulture
|
https://www.vulture.com/2017/03/taylor-hackford-remembers-making-a-movie-with-chuck-berry.html
|
Director Taylor Hackford is a Hollywood fixture, having made his name with a string of first-rate entertainments — Officer and a Gentleman first among them — and then burnishing his reputation with Ray, the Ray Charles biopic, for which he got a Best Director Oscar nomination. Hackford has always been a music guy; one of his first films was The Idolmaker, an engrossing look at the teen-idol days of rock and roll, but most rock fans know him as the man behind Chuck Berry: Hail! Hail! Rock and Roll, a now-legendary documentary on the late pioneer.
As I detailed in my retrospective on Berry’s life, Hail! Hail! was intended to be the simple record of a celebratory 60th-birthday concert for Berry in his hometown of St. Louis. Keith Richards himself organized the event to acknowledge his debt to the guitarist, and Eric Clapton, Robert Cray and Etta James were on hand to help out. But Berry himself turned out to be peevish and cantankerous, and Hail! Hail! in the end became a puzzling portrait of a man with some issues. The film was a PR cataclysm of the first order. Amazingly, the story behind the film is even wilder. In the wake of Berry’s death, Hackford was kind enough to spend some time looking back on the experience. The following is a lightly edited version of our conversation.
Have you ever had a filmmaking experience like that?
No, nothing close. From a strategic point of view, if you’re making a documentary and it’s going to be a kind of celebratory thing where everyone’s saying nice things, that fine, but it’s not going to be very interesting. For me growing up in the ’50s, Chuck Berry scored my life. He was speaking right to American teenagers. He knew how to write songs for us. And so to me, it was an important film. But I also knew that he was going to be a very thorny character, and that makes for an interesting film. I said, chances are he’s not going to be able to hide who he really is, and the camera always finds that out. Little did I know that he was actually trying to recapture — or maybe he started to believe—his “bad boy of rock and roll” ethos. And he put us through it. He put us through it like crazy.
What was the first signal you had that things weren’t right?
It was gradual, because Chuck can be incredibly charming. He invited me to do the film, he was very solicitous and very nice, talked about movies I had made that he’d seen. But after he asked me to do the film, we met in Chicago, and Keith Richards came in — and so it was an opportunity for the musical director, Keith, and myself and Stephanie Bennett, the producer, to spend a little time and to plot out the film with Chuck.
Well, Chuck had this great big motor home, gigantic, and he talked about having driven up to Chicago [from St. Louis, where he’d gotten his start], and he knew Chicago because he recorded at Chess Records and so on. He was performing at the Chicago Blues Festival, and we went to the Blues Festival. Afterward, we’re driving with him in his motor home, and he turns on Michigan Avenue, which is like an eight-lane, one-way street. He’s going the wrong way! And we’re going, “Chuck, Chuck,” and he’s pulling up the street, and he hits his air horn. These cars are coming down the street at him and peeling off! He went for two blocks and then turned off. Now, I was thinking, was that on purpose? Did he make a mistake? He said, “It didn’t used to be one-way, it used to be two-way,” way back when he was there in Chicago.
When we were scouting the Cosmo Club in East St. Louis, he pulled the camper van in and backed up into a woman’s car, a woman from the neighborhood. We were inside, and this woman was sitting outside and going, “Chuck Berry, you come out here right now! You hurt my car!” And Chuck wouldn’t come out. He didn’t want to confront that woman in the street. The associate producer went out and made a deal for her, paid her $30 or something. I thought, well, that was an interesting one. Chuck, as bravura as he is, did not want to go out and confront this neighborhood woman from East St. Louis in the street about bumping into her car.
You actually were on a very tight time schedule making that movie. It has a very expansive feel — did you really make it in a week?
Well, my time in St. Louis was literally five days, that was my schedule. I was interested in going to the first prison that Chuck was in. [Berry spent three years in prison for what was basically armed carjacking.] He went from his 18th birthday to his 21st birthday in the Missouri State Penitentiary. Chuck had a relationship with them, and he would go up there and visit, and sometimes he would do concerts there. There was a kind of very nice, cordial relation between Chuck as an alumni of the prison. We pulled up to the gate, and had four women with us and about four or five guys in two different cars. Chuck was in his Cadillac and we were in a van behind him. He said, “It’s Chuck Berry,” and the guy says, “Hey Chuck,” and opens the gate. So we drive up, and we pull into this kind of field, this exercise yard in front of the prison. And a guard comes out, and she kind of seems confused, saying, “Did you have an appointment here?” He says, “No, I wanted to come up and show the people the thing.” All of a sudden, the bell rings and people are coming out on the yard. This guard is getting a little nervous.
I have Chuck’s video camera. He said, “Why don’t you shoot some stuff?” So I’m shooting as these guys pour onto the field. And his girlfriend and his daughter are wearing short skirts. The guys come out on the field and the guys say, “Hey Chuck, want to come back and see the cellblock?” He said, “Sure.” He leaves us. Now, we’re sitting there with this rather small security guard and a whole bunch of guys, maybe 300, that are now on the yard, and they’re seeing women — women in short skirts and high heels.
The women started getting very panicked, and the guard said, “Now, nobody show any panic, just start walking toward that building over there, the administration building.” And meanwhile I’m filming, and all these guys start surrounding the women. We get about a hundred feet from the thing, and the women go down — they fall down. I don’t know if they were tripped or whatever. And there’s probably about 300 hands that reach in, grabbing them, feeling them up. They were pretty shaken.
We got inside, and then the warden says, “What the hell are you doing here?” And Chuck says, “Well, I came by.” He said, “Well, you’re supposed to call and let me know this.” The place is getting pretty wild. The only way they’re going to get us out now is if Chuck gets with the prison band that he played with and do a concert. So he gets up onstage, and they’ve got all of us up on the stage behind him, and then they open the door, and we escaped.
In any event, Chuck asks for the tape back, I give him his camera, and I say, “God, this is great stuff. I want to use it in the film.” Meanwhile, the warden was pissed at him. He said, “If you ever come here again, you better let me know,” and then Chuck got angry at him. I’d gotten permission to shoot with my cameras, and they withdrew that. And I said, “Well, Chuck, give me the footage.” He said, “No.” I never got the tape back.
You’re captive of Chuck Berry in his world, and he could pull the plug at any moment. So the same thing with [my interview with Themetta, Berry’s wife]. He said, “That’s it. It’s over, shut it off.” You see that Chuck was controlling everything, and he’d only let a certain amount of things show. I wanted people to know that I was aware. I mean, the concert was an excuse — it was a wonderful excuse to be able to see the man, see him in his situation, see Berry Park, which was obviously a complete fiasco. In a way, it was like Citizen Kane living in Xanadu. One of my favorite shots of the film is the very end, where you see the guitar-shaped pool with stagnant water in it; and we walk around, and you find him alone in his old studio playing the steel guitar, right? It’s very much a statement about the man; he’s alone; he’s dark; he’s brooding, and at the same time brilliant.
Is it really true that on the first day of filming he just didn’t show up?
He was being paid $500,000 for his life and music rights. The first day of the shoot, I’m going over to East St. Louis to the Cosmo Club, and I say, “I want to start early, Chuck, because I’ve only got five days to shoot this, and I want to get everything.” He said, “Fine, fine.” I said, “Well, I’ll send a car for you,” and he said, “Nobody drives Chuck Berry but Chuck Berry. I’m driving myself.”
At seven o’clock, no Chuck Berry, 7:15, 7:30, and I’m getting worried. I call and talk to his assistant. She says, “Chuck left at 5:30.” And I’m thinking, maybe he got in an accident, maybe there’s a problem. Eight o’clock comes, 8:30 comes. Quarter of nine, a pay phone rings on the corner in East St. Louis, and let me tell you, East St. Louis was one of the tougher towns. They didn’t have a police force. The National Guard patrols the streets. It rings, and rings, and rings. Nobody answers it, because they thought it didn’t mean anything. Finally, somebody in the crew picks it up, turns to me and says, “It’s for you. It’s Chuck.” I said, “Chuck, where are you? Is everything okay? Where are you?” He said just these words: “Taylor, I just want you to know, everything’s cool between you and me.” And I go, “That’s fine, Chuck. What does that mean?” And then he says, “Let me talk to the producer.” Stephanie proceeds to have this huge fight with him on the phone. It’s a Saturday, the banks aren’t open, and he will not come to the set unless he has $2,500 in cash in a brown paper bag. And it took her until three. He didn’t show up until three. I started filming at three, after being there at 6 a.m. I don’t know whether he was playing with us, or whether he was genuinely neurotic about having the cash.
Did I read somewhere he tried to make the argument that he had agreed to appear only for 90 minutes of filming? And that you guys were saying, “No, it’s a 90-minute movie”?
Yes. He did everything possible to extort. It was probably the greatest nightmare of any filmmaking experience I’ve ever had. I look back on it and I’m laughing, but you have to understand, we were being sabotaged at every step. And every day, you didn’t know whether you were going to shoot the next day. The first concert [at the St. Louis Fox] was supposed to start at 8:30, and the second concert was going to start at 11:00. The first concert started at 11:30, and the second concert started after 2 a.m. Didn’t finish till 4:30 a.m.
He’s such an enigma. You’d think that someone as canny and money-conscious as him would say, “I got Eric Clapton here, I got Keith Richards, let’s make me look as good as possible,” but it seemed like he sabotaged himself.
He was trying every step of the way. I had five days. Then he says to me, “On Wednesday, I can’t shoot.” I said, “What? I only have five days.” He said, “I got a gig at the Ohio State Fair.” I said, “You got a gig? How could you have a gig? You’re the executive producer of this whole film. You knew we were going to be here.” He said, “I’m getting paid 25 Gs, that’s the way it is.” I said, “You’re getting paid $500,000 for this movie!” The rug is getting pulled out from under me, right before the film starts. I said, “Fuck it, I’m going.” So I go back to say to him — I say, “Chuck, I’m going to go. If you’re going to the Ohio State Fair, I’m going.” He says, “That’s fine with me, but I ain’t paying.” Classic Chuck Berry.
But you know what? That sequence turned out to be one of the more interesting sequences in the film. It defines what Chuck Berry did for 35 years. He went out every weekend; he played a gig; he didn’t take a band. He got a pickup band. Every rock-and-roll band should know Chuck Berry songs. He collected his money in cash. He flew in; he did his concert; people went nuts. He got back in his rental car, went back to the plane, and flew back. I had him getting into his car in the short-term car park at 12:30 at night. And he made 25 grand.
Unbelievable.
So I shoot that sequence because I just was not about to get blanked. I needed to shoot something that day. It turns out later, when I talk to Bruce Springsteen about being in the film, Springsteen says, “I’ll do it if I can talk about when I and the E Street Band were nobody, and we backed up Chuck Berry.” So Springsteen, giggling the whole time, tells this story about Chuck Berry. And I use his story to narrate that sequence, because nothing had changed in 15 years since Springsteen had done this.
Keith and I realized we had to wing it. We realized that all the planning, everything that you might do, was going to go right out the window, and that it was like riding a Brahma bull. He was going to buck you off sooner or later, but you had to try.
Dick Allen, his booking agent for 40 years, told me the story about the French May Day concert in Paris. He and Jerry Lee Lewis were on the bill. It was the socialist government, that’s their biggest holiday of the year, and they had this huge thing outside of Paris. So Chuck got his normal $75,000 fee, and Jerry Lee did, too. Then they were deciding who was going to go on first. And Chuck never in his entire career cared about going on last. When he was first touring, he liked to go on first — even though he had the most hits — because he could go on, get off, and then kind of scour the crowd for a young piece of jailbait that he could screw before they had to get on the road again. But when Chuck realized there was money involved, he and Jerry Lee had a big fight about who was going to go on last. And Chuck said, “You know, you pay me a little bit more money, and you can let Jerry Lee go on last.” They drive out to this fairground where this is happening; and as they’re driving out, they just see thousands of cars. And they get there, and Chuck realizes that there are 300,000 people there for this May Day thing. He goes, “No fucking way that I’m going onstage unless they pay me triple or quadruple what they said they’d pay me.” And Dick Allen described the French going, “No, Mr. Berry, you do not understand. We are socialists.” And Chuck Berry’s going back, “Fuck socialism, I want my money.”
He wouldn’t go on. Meanwhile, the French fans are getting drunk. It’s in the afternoon; it’s hot; they’re getting drunk; they’re starting to get unruly. They said, “There are no banks open.” Chuck says, “You see all those people out there selling wine and selling food? They got money, they got the cash. You get it from them.” And they went out and they collected, I think, an extra $100,000 for him, and then he finally went on. And, of course, because he had agreed to go on first, Jerry Lee couldn’t go on. He held up the entire French socialist movement. That’s Chuck, he didn’t care.
When did the incident happen where he brought McDonald’s into the fancy restaurant? Was he being kind of punk rock about it, or was he insecure, or was he clueless?
I think he was being punk rock about it. We went to a nice restaurant, and Chuck brought some McDonald’s in and opened it up, and was eating it right there. Chuck loved food. He took me to some great barbecue joints in St. Louis. I think he really did like to eat like a working-class person. I’m not answering your question, because I don’t really know. I don’t know whether that was a kind of statement — “You people are fancy, and I’m going to show you what I eat” — or he genuinely didn’t want to eat fancy food, and felt more comfortable eating McDonald’s.
Did you get any indication of his sexual issues while you were there?
Well, I mean, he came on to every woman on the film, completely. I mean, he would try. There wasn’t anything horrendous, but he did try to bed every woman that was there, including Stephanie Bennett, the producer. But again, was that a surprise? I don’t think that was a surprise. Everybody knew that Chuck Berry had a real sexual jones. But once they turned him down, then he didn’t push it. But he certainly tried.
Was there a moment when things started to go south between him and the other musicians?
Everybody was thrilled to be there. It never went south with Eric [Clapton]. I mean, he admired Eric. It’s just that with Keith, he had made up his mind that he was going to give Chuck Berry a great band. Keith wanted to rehearse. I don’t think Chuck was prepared. He’d invited us there, but I don’t think he was prepared for the intrusion on his life.
One other thing that I loved that I think is revealing. We were shooting at the concert at the Fox Theater, which is this huge movie palace in St. Louis. Chuck told the story about when he was a little boy: he goes up to the box office; he puts his money up there, and the woman says, “No, take your money, get out of here. Your kind can’t come in here.” Within his lifetime the Fox Theater was segregated, and now he is headlining it, which is a great kind of statement.
But what was most important to me about that whole moment was when I asked him, “What was the movie you wanted to see?” and he said, “A Tale of Two Cities. Charles Dickens and A Tale of Two Cities starring Ronald Colman.” I can’t fucking believe it. Here’s this little kid who doesn’t want to see a gangster movie, or a cowboy movie, or whatever was big in his time; he wants to see a classic literary piece, A Tale of Two Cities. That tells you so much about who Chuck Berry was. Yes, he was an outlaw; yes, he went to jail; yes, he was all those things, but words were important to him, and he was a first-rate rock-and-roll lyricist.
I think people don’t see how different the ’50s were. Think of some God-fearing, nice American man seeing his daughter going to a Bo Diddley show. I can’t imagine what people thought.
In the film, Little Richard is so hilarious. He said, “You imagine, there’s rock and roll, and they got this big, black, greasy guy with all these white girls.” And they said, “No, no, no!” And Chuck and Bo are laughing. It’s the truth. In the ’50s, pop music was Perry Como and Patti Page. And this music came out of nowhere. And the difference was, black people listened to the blues, and they sold blues records, that was it. It was anything but mainstream. Elvis got rock and roll in white teenagers’ bedrooms. But then with Chuck, and Richard, and Bo, teenagers started listening to all this music, and then they wanted to see them live. And then, of course, parents started to say, “Wait a minute, I’m not dropping my daughter off and my son off at places like this!”
Do you have any sense of what the root was of these insecurities, and the peculiar waspishness, and the irregularities? Did you get any sense of where any of that came from?
There was a huge amount of resentment that Chuck felt, as an originator. It’s a normal situation where somebody comes up with the first evocation of an art form, and they’ve done it, and they’re brilliant at it, and then everybody comes on afterward and refines it. The Rolling Stones adapted Chuck Berry, the Beatles adapted Chuck Berry. The Beach Boys copied Chuck Berry. Prince told me that without Chuck Berry, he wouldn’t have been there. I think Chuck understood that. Right in front of his eyes, he had Keith Richards, and everybody was like falling all over themselves — “Oh my God, we’ve got the Rolling Stones here. It’s Keith. Oh, Keith.” Keith was there to celebrate Chuck, but people were screaming for Keith.
He did profit from the British Invasion, but he was also looking at the fact that they had hundreds of millions of dollars, and he just had a few million — and he had created it all. Chuck could play; he could sing; he could do the duck walk. The brilliance dripped off him. He was a star. But he was a black man. Maybe it was having that talent and realizing that if he’d been born white, he could have been one of the biggest, most successful, and richest performers ever.
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https://www.amazon.com/prime-video/actor/Taylor-Hackford/amzn1.dv.gti.27438293-6120-4c17-808e-ce3655b67662/
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en
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Taylor Hackford: Movies, TV, and Bio
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Browse Taylor Hackford movies and TV shows available on Prime Video and begin streaming right away to your favorite device.
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en
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https://www.amazon.com/prime-video/actor/Taylor-Hackford/amzn1.dv.gti.27438293-6120-4c17-808e-ce3655b67662/
|
In addition to helming the iconic feature hits An Officer and a Gentleman (1982), Against All Odds (1984), Ray (2004), and the cult thriller The Devil's Advocate (1997), Taylor Hackford has directed the films Dolores Claiborne (1995), Everybody's All-American (1988), and Proof of Life (2000). Taylor developed and produced La Bamba (1987), the most successful Latin-themed feature film in history. Mr. Hackford has been an active member of the Directors Guild of America for over 40 years, including twice as elected President of the DGA, beginning in 2009.
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https://laist.com/shows/airtalk/helen-mirren-and-taylor-hackford-take-on-the-worlds-oldest-profession
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en
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Helen Mirren and Taylor Hackford take on the world's oldest profession
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2010-07-09T19:00:00+00:00
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In the movie Love Ranch, Helen Mirren and Joe Pesci play a married Nevada couple running one of the first legalized brothels in the country. But their lives are complicated when the husband enters a business endeavor to revive an Argentinean boxer's career. Directed by Mirren's husband Taylor Hackford, the film is based on the lives of Joe and Sally Conforte and boxer Oscar Bonavena.
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en
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/apple-touch-icon.png
|
LAist
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https://laist.com/shows/airtalk/helen-mirren-and-taylor-hackford-take-on-the-worlds-oldest-profession
|
In the movie Love Ranch, Helen Mirren and Joe Pesci play a married Nevada couple running one of the first legalized brothels in the country. But their lives are complicated when the husband enters a business endeavor to revive an Argentinean boxer's career. Directed by Mirren's husband Taylor Hackford, the film is based on the lives of Joe and Sally Conforte and boxer Oscar Bonavena.
Guests:
Helen Mirren, actress and star of Love Ranch. She won the 2007 Best Actress Academy Award for her role in The Queen.
Taylor Hackford, Director of Love Ranch. His other films include An Officer and a Gentlemen and Ray.
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https://oscars.fandom.com/wiki/Taylor_Hackford
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Taylor Hackford
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2024-07-29T22:27:06+00:00
|
Taylor Hackford is an American film director, and president of the Directors Guild of America. Taylor quoted in an interview, "I make films about working-class people; showbusiness is one of those things through which people can get themselves out of the lower rung of society." Hackford never...
|
en
|
https://static.wikia.nocookie.net/oscars/images/4/4a/Site-favicon.ico/revision/latest?cb=20210713164425
|
Oscars Wiki
|
https://oscars.fandom.com/wiki/Taylor_Hackford
|
Hackford at the 51st Academy Awards 3 Nominations / 1 Win Role Director Born December 31, 1944 Santa Barbara, California, USA
Taylor Hackford is an American film director, and president of the Directors Guild of America. Taylor quoted in an interview, "I make films about working-class people; showbusiness is one of those things through which people can get themselves out of the lower rung of society." Hackford never watches his own films. He is married to Academy Award winning actress, Helen Mirren.
Wins[]
51st Academy Awards, 1978
Best Live Action Short — Teenage Father
Nominations[]
51st Academy Awards, 1978
Best Live Action Short — Teenage Father
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2
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https://www.aol.com/taylor-hackford-appreciation-classy-old-111651774.html
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Lumiere Festival Honoree Taylor Hackford: A Career of Classy, Old-School Hollywood Entertainment
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[
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"Devil’s Advocate",
"Andrea Arnold",
"Claude Berri",
"Mikhail Baryshnikov",
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[
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2023-10-15T11:16:51+00:00
|
The list of Oscar-winning directors for short films who have gone on to major careers in the feature-length realm is shorter than you might imagine. Andrea Arnold, Martin McDonagh and Claude Berri achieved arthouse success; David Frankel made multiplex hits like “The Devil Wears Prada” and “Marley & Me.” But perhaps only Taylor Hackford, a …
|
en
|
https://variety.com/2023/film/global/taylor-hackford-the-devils-advocate-ray-1235756629/
|
The list of Oscar-winning directors for short films who have gone on to major careers in the feature-length realm is shorter than you might imagine. Andrea Arnold, Martin McDonagh and Claude Berri achieved arthouse success; David Frankel made multiplex hits like “The Devil Wears Prada” and “Marley & Me.” But perhaps only Taylor Hackford, a winner in 1979 for an affecting little mockumentary titled “Teenage Father,” became a full-scale Hollywood brand — a name associated with a certain temperature of sleek studio gloss and versatile genre smarts.
In an industry increasingly given over to auteur reverence, Hackford has instead consistently proven the essential value of the distinguished craftsman — the kind that keeps the industry running, even if the status doesn’t earn you as many glittering prizes or prestigious festival berths. Consider the Festival Lumière’s tribute to Hackford a welcome exception. The four films selected by the festival to represent the director’s oeuvre — “White Nights” (1985), “Blood In Blood Out” (1993), “The Devil’s Advocate” (1997) and “Ray” (2004) — aptly point to the range and scope of a consistently mainstream career that has always veered between populism and prestige, occasionally binding the two.
More from Variety
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Critics, for example, didn’t thrill to “White Nights,” a far-fetched blend of Cold War thriller and dance movie that starred Mikhail Baryshnikov as a Russian-American ballet star fighting his Soviet repatriation with the assistance of Gregory Hines’ American expat tap dancer.
The script is ludicrous, but Hackford knew its selling points: as a vehicle for the stars’ spectacular footwork, Twyla Tharp’s elaborate choreography and a hit soundtrack of smooth mid-‘80s pop (landing Lionel Richie an Oscar), the film — lensed with a creamy luxe finish by David Watkin — delivers in spades. Today it stands as, if no masterwork, an exemplary time capsule of its era. It also introduced Hackford to his future wife Helen Mirren, here cast as a thickly accented love interest.
If “White Nights” maintains some illusion of seriousness, “The Devil’s Advocate” (certainly the Hackford film that this critic has watched most often) gleefully flirts with outright trash. Starring Keanu Reeves as a callow defense attorney who finds himself working for Satan himself — a cloven-hooved Al Pacino at his most leeringly ripe — it’s hot nonsense, compulsive and exquisitely lacquered, that only glancingly touches emotional truth via Charlize Theron’s sharp mettle-proving performance as the lawyer’s luckless wife. One might call it a guilty pleasure, but where’s the guilt?
“The Devil’s Advocate” certainly wasn’t aiming for any high-minded accolades; “Blood In Blood Out,” a muscular three-hour exploration of brotherly bonds in L.A.’s Chicano community, arguably was. Its initial box-office fizzle was a disappointment, indicative of American audiences’ resistance to Latino stories, yet the film has endured as a touchstone for many Mexican-American viewers.
A quarter-century after his short film win, Hackford finally caught the Academy’s attention again with “Ray,” a handsomely gilded Ray Charles biopic that earned him his only Best Director nomination, and a win for Jamie Foxx’s all-in performance as the soul legend.
Grossing $125 million worldwide, “Ray” was Hackford’s last hit. His three films since — the blowsy Mirren vehicle “Love Ranch,” the relatively anonymous Jason Statham auctioneer “Parker” and the mellow Robert De Niro indie “The Comedian” — will never be listed as prime Hackford, though perhaps the upcoming “Sniff,” a twilight-years detective story starring Morgan Freeman alongside Mirren and Pacino, will fare better.
Either way, Hackford’s legacy as a classy, old-school Hollywood entertainment merchant is firmly cemented. Somewhat surprisingly, the Lumière fest’s selection doesn’t include his biggest and perhaps most enduring box office smash “An Officer and a Gentleman,” a robust, full-hearted blend of swoony romance and making-of-a-man military drama that launched a million daydreams of a crisply uniformed Richard Gere sweeping you up and away from your daily drudgery. It’s still stirring, 41 years on.
Nor does it include some of the most interesting outliers in his career, among them 1987’s terrific, Chuck Berry-centered concert documentary “Hail! Hail! Rock ‘n’ Roll,” still a model of the form at its most straightforwardly effective, or “Dolores Claiborne,” his most daring and perhaps best fiction feature. A Stephen King adaptation that induces shivers, though not in the usual way associated with the author, this perverse psychodrama of failed mother-daughter relations and suburban sociopathy rests on two icily precise performances by Kathy Bates and Jennifer Jason Leigh, and unnerved audiences to better-than-expected box office in the spring of 1995. Prickly but florid, confessional but elusive, it’s far from what one might typically label “a Taylor Hackford film” — a term that resists definition the longer you look at his restlessly crowd-pleasing career.
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https://dove.org/reviews/director/taylor-hackford/
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Taylor Hackford Archives
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Taylor Hackford News & Biography
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1944-12-31T00:00:00
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Find out everything Empire knows about Taylor Hackford. Discover the latest Taylor Hackford news.
|
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https://www.empireonline.com/people/taylor-hackford/
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2659
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https://www.latimes.com/archives/blogs/culture-monster-blog/story/2009-02-11/taylor-hackford-swings-from-film-to-stage-to-direct-louis-keely
|
en
|
Taylor Hackford swings from film to stage to direct “Louis & Keely”
|
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[
"Mike Boehm",
"Mike Boehm Staff",
"www.latimes.com"
] |
2009-02-11T00:00:00
|
This article was originally on a blog post platform and may be missing photos, graphics or links.
|
en
|
/apple-touch-icon.png
|
Los Angeles Times
|
https://www.latimes.com/archives/blogs/culture-monster-blog/story/2009-02-11/taylor-hackford-swings-from-film-to-stage-to-direct-louis-keely
|
This article was originally on a blog post platform and may be missing photos, graphics or links. See About archive blog posts.
It isn’t often that a Hollywood eminence sets out to make a film, but winds up doing it as a stage musical instead. Taylor Hackford, known for his biographical features about Chuck Berry (‘Chuck Berry Hail! Hail! Rock ‘n’ Roll’), Ritchie Valens (‘La Bamba’) and Ray Charles (‘Ray’), says his vision for another ‘50s-rooted showbiz saga, about the Las Vegas lounge duo, Louis Prima and Keely Smith, unexpectedly jumped from the screen to the stage on a hot August night in Hollywood.
In the first professional public stage-directing gig of his career, Hackford will mount a retooled version of ‘Louis & Keely: Live at the Sahara,’ which was a critical and box office hit last year in two local 99-seat houses: Sacred Fools Theater and the Matrix Theatre.
Hackford has rewritten the book with the show’s co-stars and co-creators, Vanessa Claire Smith and Jake Broder, and rented out the Geffen Playhouse’s Audrey Skirball Kenis Theater for a March 18-April 26 run. Recession-driven budget woes had left the Geffen’s 132-seat second stage dark and available for what Hackford sees as a chance to spend at least six weeks developing and debugging the show in hopes of taking it to further glory. The film is still a long-range objective, he says, but for now the play’s the thing.
It became so when Hackford ventured to Sacred Fools after reading strong notices for ‘Louis & Keely.’
The director long had been a fan of Prima, who went from early stardom as a 1930s swing bandleader and songwriter, to a 1950s revival paired with his much younger wife, Smith. The marriage and performing partnership broke up during the early 1960s. Prima died in 1978, after more than two years in a coma caused by a brain tumor. About two years ago, Hackford met with Smith in L.A. to discuss making a biographical film. He found her likeable and ‘incredibly candid,’ sharing previously untold tales.
Impressed by the sweat-soaked stage performance of writer-actors Smith (who is not related to her character and namesake) and Broder, Hackford asked if he could get involved with their show. They liked his ideas for reworking the storytelling, and together with Hackford have revised the book with an eye toward a more factual -- and dramatic -- narrative.
Two additional actors, Nick Cagle and Erin Matthews, will play various roles opposite the co-stars, and the music, as before, will be fueled by a seven-member, onstage band. The song sequence has been rejiggered and expanded, from 17 to 19 numbers.
‘If the show clicks, we’ll see what the future is,’ says Hackford. ‘It’s too soon to say we’re going to ask all these Broadway angels to come’ in hopes of raising the $10 million or more it typically takes to open a Broadway musical. ‘We’ll try to touch an audience and see how the show plays.’ If it touches off enough ticket demand, the six-week run could be extended indefinitely.
Hackford directed a workshop last year in New York, for a proposed stage-musical adaptation of ‘Leap of Faith,’ a 1992 film, fired by gospel music, that starred Steve Martin as a charlatan faith-healer. The director says scheduling problems prevented him from continuing with that project. Meanwhile, he’s trying to develop an extreme rarity -- a biographical film about a playwright, Tennessee Williams.
The Geffen box office, (310) 208-5454, will start selling tickets for ‘Louis & Keely’ on Friday; online sales through geffenplayhouse.com and Ticketmaster begin next week.
-- Mike Boehm
|
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https://www.businessinsider.com/taylor-hackford-directing-robert-de-niro-and-al-pacino-2017-2
|
en
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This Oscar-winning director reveals the secrets of working with De Niro and Pacino
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[
"Jason Guerrasio"
] |
2017-02-01T17:42:03+00:00
|
Director Taylor Hackford has worked with legends Robert De Niro and Al Pacino in his career. He gives insight on directing the two.
|
en
|
/public/assets/BI/US/favicons/apple-touch-icon-192x192.png?v=2023-11
|
Business Insider
|
https://www.businessinsider.com/taylor-hackford-directing-robert-de-niro-and-al-pacino-2017-2
|
Taking charge of a De Niro passion project.
Robert De Niro had been trying to make “The Comedian” for years. Martin Scorsese was even going to direct it at one time. But last year, after another project fell through for Hackford, he got the call to come on and shoot “The Comedian.”
He admits he wasn’t instantly sold since he knew it was a De Niro passion project, but he accepted and found out working with the actor was “a dream.”
“De Niro really respects directors,” Hackford said. “He encouraged me every step of the way to take charge. That’s a gift. He wants direction.”
Pacino gave him the greatest improv performance he’s ever seen.
Hackford notes that both De Niro and Pacino are very dedicated in their preparation before filming begins. But there’s also room for spontaneity.
Before shooting the end of "The Devil's Advocate," in which Pacino’s character reveals he’s the devil, Hackford asked Pacino and his costar Keanu Reeves to improv the scene.
“I told them to forget the text, just feel the room, and I saw Pacino walk in and do the most incredible improv I’ve ever seen in my life,” Hackford said. “Out of the middle of nowhere he stars to sing, ‘I met her in Monterey, in old Mexico,’ and that’s from an old Frank Sinatra song I hadn’t heard in 30 years. I said, ‘Where the hell did that come from?’ and he said, ‘I don’t know, I just felt like singing it.’”
Hackford put that moment in the final version of the scene, but instead of Pacino singing, he dubbed it with Sinatra singing.
“I thought, the devil could sound like Sinatra if he wants to,” he said.
De Niro is no slouch at improv, either.
In “The Comedian,” Hackford points out that De Niro had to be quick on the draw, as he was placed in situations with major comedians who never stayed on script.
“We made the film in 27 days and I didn’t do a lot of takes. I wanted spontaneity,” Hackford said. “Bob had to respond, and there’s some real moments I’m so proud of. The Friars Club scene with Cloris Leachman, she was throwing zingers that De Niro wasn’t ready for, but he responded right on the spot. Then the scene with comic Jessica Krison, the general framework was that De Niro and Leslie Mann were going to walk through the shot, but what Jessica and Bob did was all riffing, that scene is all improv.”
The secret to working with legends.
Hackford said he’s never been scared to go to an actor and give them direction if it’s needed, but for the most part he allows them to work, especially when you have talent like De Niro and Pacino.
“Pacino and De Niro have different styles, but deep down they are real pros and will make it work,” he said. “I know not to step on their toes. You find a common language and you only intrude when you feel they need it. Outside of that, you give them the freedom to make something work.”
|
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https://www.wfae.org/2004-10-28/taylor-hackford-takes-on-a-legend-with-ray
|
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Taylor Hackford Takes On a Legend with 'Ray'
|
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"Alex Chadwick"
] |
2004-10-28T00:00:00
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NPR's Alex Chadwick talks to filmmaker Taylor Hackford about his new movie Ray, a biographical feature about the life and music of Ray Charles. Jamie Foxx's performance as the legendary musician, who died last June of liver disease, is already generating Oscar buzz.
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WFAE 90.7 - Charlotte's NPR News Source
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https://www.wfae.org/2004-10-28/taylor-hackford-takes-on-a-legend-with-ray
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NPR's Alex Chadwick talks to filmmaker Taylor Hackford about his new movie Ray, a biographical feature about the life and music of Ray Charles. Jamie Foxx's performance as the legendary musician, who died last June of liver disease, is already generating Oscar buzz.
Copyright 2022 NPR. To see more, visit https://www.npr.org.
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Helen Mirren’s Husband: Everything To Know About Taylor Hackford & Their 25 Year Marriage
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"James Crowley"
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2022-02-27T13:00:15+00:00
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Find out everything you need to know about Helen Mirren and Taylor Hackford's 25-year marriage.
|
en
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Hollywood Life
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https://hollywoodlife.com/feature/helen-mirren-husband-4658602/
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Helen Mirren, 76, is acting royalty! The Hitchcock star has appeared in tons of beloved and critically acclaimed movies throughout her career. From her early career as Hermia in a 1967 adaptation of A Midsummer Night’s Dream to more recent roles in mystery dramas like The Good Liar in 2019, there’s no slowing the British star down. Throughout much of her career she’s had one man by her side: her husband Taylor Hackford, 77, who she’s been with since 1986 and married to since 1997. Find out more about Taylor and his marriage to Helen!
How did Helen and Taylor meet?
Both Helen and Taylor had established themselves in the film industry when they first crossed paths in 1985. Helen had recently made her breakout performance in 1980’s The Long Good Friday, and Taylor had recently had box office success with An Officer and a Gentleman and The Idolmaker. The pair met when Helen was cast in Taylor’s 1985 flick White Nights. Taylor opened up about his first meeting with Helen in a 2006 profile on the actress for AARP. He revealed that he’d kept her waiting for her audition for an extended period of time. “It was a strange way to meet Helen, because she is a lovely person, but she didn’t hold back her fury,” he said.
Prior to meeting Taylor, Helen had thought that she wouldn’t get married, but she’s come to really enjoy being wed to the director. She explained she especially likes calling him her husband in that AARP interview. “I can’t wait for an opportunity to say it…you know: ‘My husband is over there at the moment.’ I absolutely love it,” she said. The pair ended up wedding on New Year’s Eve in 1997.
Taylor is a director and producer
Like his wife, Taylor has had a presence in the entertainment industry for decades, but he’s mostly stayed behind the camera throughout his nearly 50-year career. He made his directorial debut in 1973 with the TV movie Economic Love-In, and that same year he released a documentary on the transgressive poet Charles Bukowski. Throughout his career, he’s been a director and producer for a number of different genres, but perhaps his best known movie is the 2004 Ray Charles biopic Ray, which starred Jamie Foxx as the iconic musician. His most recent directorial effort came in 2016, when he was the auteur behind the Jeff Ross-written, Robert De Niro–starring movie The Comedian.
Taylor has two kids from previous marriages
While Helen has no kids of her own, she is a step-mom to two of Taylor’s sons from his first two marriages. Taylor was married to Georgie Lowres from 1967 to 1972, and they have one son Rio, 51, who is also an actor, having appeared in a number of projects including The Mandalorian. His second marriage was to director Lynne Litman from 1979 to 1987, and the pair had a son Alexander, 43, who is the head of creative music affairs at PlayStation, according to his LinkedIn.
Taylor’s directed Helen in three movies
While Helen and Taylor have both had extremely busy careers since they’ve gotten together, the pair have not worked together on many projects. Besides White Nights when the pair first met, the couple have only collaborated on two more movies together. The pair didn’t work together again until 25 years after their first picture together, when Helen starred in Taylor’s 2010 movie Love Ranch alongside Joe Pesci. In the dramedy, Helen and Joe play a couple who go into business when they open the first legal brothel in Nevada.
The pair wouldn’t reunite for the screen again until 12 years later, and the pair are working together on the upcoming movie Sniff, which is expected to hit theaters in September 2022. Besides Helen, Taylor has recruited an all-star cast, consisting of Al Pacino, Morgan Freeman, and Danny Devito. The film will tell the story of a detective brought out of retirement to taken down a notorious criminal mastermind.
He’s also won an Oscar
Like his wife, Taylor has also won an Academy Award. He received the Oscar for Best Live Action Short Film in 1978 for the short film Teenage Father, which briefly told a story about teen pregnancy. Taylor received nominations from the Academy again in 2005, when Ray was nominated for both Best Motion Picture and Best Director.
Taylor and Helen have the same number of Oscars, with the actress receiving the award in 2007 for her leading role in The Queen. Helen has been nominated on three other occasions. Her first nod came in 1995, when she was nominated for Best Supporting Actress in The Madness of King George. She received a Best Supporting Actress nomination again in 2002 for Gosford Park, and she was nominated for Best Leading Actress again in 2009 for The Last Station.
Helen and Taylor usually spend time apart due to their jobs
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https://www.encyclopedia.com/education/news-wires-white-papers-and-books/hackford-taylor-1944
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Hackford, Taylor 1944(?)–
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Hackford, Taylor 1944(?)–PERSONALFull name, Taylor Edwin Hackford; born December 31, 1944 (some sources cite December 3 or 1945), in Santa Barbara, CA; son of Joseph and Mary (a waitress; maiden name, Taylor) Hackford; married Georgie Lowres (divorced); married Lynne Littman (a producer and director), May 7, 1977 (divorced); married Helen Mirren (an actress, producer, and director), December 31, 1997; children: (first marriage) Rio D; (second marriage) Alexander Littm Source for information on Hackford, Taylor 1944(?)–: Contemporary Theatre, Film and Television dictionary.
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https://www.encyclopedia.com/education/news-wires-white-papers-and-books/hackford-taylor-1944
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PERSONAL
Full name, Taylor Edwin Hackford; born December 31, 1944 (some sources cite December 3 or 1945), in Santa Barbara, CA; son of Joseph and Mary (a waitress; maiden name, Taylor) Hackford; married Georgie Lowres (divorced); married Lynne Littman (a producer and director), May 7, 1977 (divorced); married Helen Mirren (an actress, producer, and director), December 31, 1997; children: (first marriage) Rio D; (second marriage) Alexander Littman. Education: University of Southern California, B.A., 1968.
Addresses:
Agent—Scott Greenberg, Creative Artists Agency, 2000 Avenue of the Stars, Los Angeles, CA 90067.
Career:
Director and producer. KCET-TV (PBS affiliate), Los Angeles, began as mailroom clerk, became director, producer, investigative reporter, and writer, 1970-77; Hackford-Littman Films, Los Angeles, director, producer, and writer, 1977-79; New Visions, Inc., founder, mid-1970s; New Visions Pictures, partner and chair, 1988-91; Venice International Film Festival, jury member, 2000 and 2001; U.S. Peace Corps, volunteer in Bolivia, 1968-69.
Member:
Directors Guild of America (vice president), Writers Guild of America, West.
Awards, Honors:
Silver Reel Award, San Francisco International Film Festival, 1972; local Emmy awards, investigative reporting category, 1974 and 1977; Academy Award, best live-action short film, 1979, for Teenage Father; ShoWest Award, director of the year, National Association of Theatre Owners, 1983; Directors Guild of America Award nomination, outstanding directorial achievement in motion pictures, 1983, for An Officer and a Gentleman; Tokyo International Film Festival Award, best director, 1993, for Bound by Honor; Film Society Award for Lifetime Achievement in Directing, San Francisco International Film Festival, 2005; Academy Award nomination, Golden Satellite Award nomination, International Press Academy, and Critics Choice Award nomination, Broadcast Film Critics Association, all best director, Directors Guild of America Award nomination, outstanding directorial achievement in motion pictures, Academy Award nomination (with others), best motion picture of the year, and David di Donatello Award nomination, best foreign film, all 2005, and Grammy Award (with others), best compilation soundtrack album for motion picture, television, or other visual media, National Academy of Recording Arts and Sciences, 2006, all for Ray; Best of Show Award, Music DVD awards, Home Media magazine, 2007, for Hail! Hail! Rock 'n' Roll; Robert B. Aldrich Achievement Award (with Paris Barclay), Directors Guild of America, 2007.
CREDITS
Film Director:
Teenage Father (short film), New Visions, 1978.
The Idolmaker (also known as Rock machine), United Artists, 1980.
An Officer and a Gentleman, Paramount, 1982.
Against All Odds, Columbia, 1984.
White Nights (also known as Biale noce, Die Nacht der Entscheidung, Hvide naetter, Il sole a mezzanote, Noches del sol, O sol da meia-noite, O sol da meia noite, Sol de medianoche, Valkeat yoet, Vita naetter, and White Nights—Nacht der Entscheidung), Columbia, 1985.
Hail! Hail! Rock 'n' Roll (music documentary; also known as Chuck Berry Hail! Hail! Rock 'n' Roll and Chuck Berry: Hail! Hail! Rock 'n' Roll), Universal, 1987.
Everybody's All American (also known as When I Fall in Love), Warner Bros., 1988.
Bound by Honor (also known as Blood In … Blood Out and Blood In, Blood Out … Bound by Honor), Buena Vista, 1993.
Dolores Claiborne (also known as Dolores, Eclipse Total, Eclipse total, Eclipse total (Dolores Claiborne), Stephen Kings Dolores, and Stephen Kings Dolores Claiborne), Columbia, 1995.
The Devil's Advocate (also known as Devil's Advocate and Im Auftrag des Teufels), Warner Bros., 1997.
Proof of Life, Warner Bros., 2000.
Ray (also known as Unchain My Heart: The Ray Charles Story), Universal, 2004.
Film Executive Producer:
Rooftops (also known as Combat Dance), New Visions, 1989.
The Long Walk Home, Miramax, 1990.
Defenseless, New Visions/Seven Arts Pictures, 1991.
Mortal Thoughts, Columbia, 1991.
Queens Logic, Seven Arts Pictures, 1991.
Sweet Talker (also known as Confidence), New Visions, 1991.
The Devil's Advocate (also known as Devil's Advocate and Im Auftrag des Teufels), Warner Bros., 1997.
Film Producer:
Bukowski (documentary; also known as Bukowski: A Film by Taylor Hackford and Richard Davies), 1973.
Teenage Father (short film), New Visions, 1978.
Against All Odds, Columbia, 1984.
White Nights (also known as Biale noce, Die Nacht der Entscheidung, Hvide naetter, Il sole a mezzanote, Noches del sol, O sol da meia-noite, O sol da meia noite, Sol de medianoche, Valkeat yoet, Vita naetter, and White Nights—Nacht der Entscheidung), Columbia, 1985.
La Bamba (also known as Let's Go), Columbia, 1987.
Everybody's All American (also known as When I Fall in Love), Warner Bros., 1988.
Bound by Honor (also known as Blood In … Blood Out and Blood In, Blood Out … Bound by Honor), Buena Vista, 1993.
Dolores Claiborne (also known as Dolores, Eclipse Total, Eclipse total, Eclipse total (Dolores Claiborne), Stephen Kings Dolores, and Stephen Kings Dolores Claiborne), Columbia, 1995.
When We Were Kings (documentary), Gramercy Pictures, 1996.
G:MT Greenwich Mean Time (also known as G:mt), Icon Film Distribution, 1999.
Proof of Life, Warner Bros., 2000.
Ray (also known as Unchain My Heart: The Ray Charles Story), Universal, 2004.
Film Work; Other:
Film editor, When We Were Kings (documentary), Gramercy Pictures, 1996.
Film Appearances:
The director, To Grandma with Love (short film), Total Sol Films, 2003.
Himself, Bukowski: Born into This (documentary), Magnolia Pictures, 2004.
Vince Vaughn's "Wild West Comedy Show: 30 Days & 30 Nights—Hollywood to the Heartland" (documentary; also known as Wild West Comedy Show: 30 Days & 30 Nights—Hollywood to the Heartland), 2006, Picturehouse Entertainment, 2008.
Television Producer; Specials:
Bonnie Raitt and Paul Butterfield, PBS, 1974.
Rick Nelson: It's All Right Now, The Nashville Network, 1990.
Executive producer, Genius: A Night for Ray Charles, CBS, 2004.
Also worked on programs about various other musicians, including John Prine, Sonny Rollins, Leon Russell, and Cat Stevens.
Television Work; Pilots:
Executive producer and director, E-Ring (also known as Pentagon, D.O.S.—Division des operations speciales, and E-Ring—Aporrites apostoles), NBC, 2005.
Television Work; Other:
Director, Economic Love-In, KCET-TV (PBS affiliate), 1973.
Television Appearances; Specials:
Himself, The Score, Trio, 2003.
Himself, Bleep! Censoring Hollywood, American Movie Classics, 2005.
Himself, Budd Boetticher: A Man Can Do That, TCM, 2005.
Television Appearances; Awards Presentations:
(In archive footage) The 77th Annual Academy Awards, ABC, 2005.
36th NAACP Image Awards, Fox, 2005.
The 59th Primetime Emmy Awards, Fox, 2007.
The 64th Annual Golden Globe Awards, NBC, 2007.
Television Appearances; Episodic:
Himself, First Works (also known as Firstworks), 1989.
Himself, "The Making of ‘Proof of Life,’" HBO First Look, HBO, 2000.
Himself, "Richard Gere," Biography (also known as A&E Biography: Richard Gere), Arts and Entertainment, 2004.
Himself, Sunday Morning Shootout, American Movie Classics, 2004.
RECORDINGS
Videos:
Director, "Say You, Say Me," The Lionel Richie Collection, Universal Music & Video Distribution, 2003.
Himself, Pas de Deux: Making "White Nights" (short), Columbia/TriStar Home Video, 2004.
Himself, Budd Boetticher: An American Original, Paramount Home Video, 2005.
Himself, An Officer and a Gentleman: 25 Years Later (short), Paramount Home Entertainment, 2007.
Music Video Director:
Phil Collins, "Against All Odds," 1984.
Lionel Richie, "Say You, Say Me," 1985.
WRITINGS
Screenplays:
Bukowski (documentary; also known as Bukowski: A Film by Taylor Hackford and Richard Davies), 1973.
Teenage Father (short film), New Visions, 1978.
Song "Show Me Your Tattoo," The Devil's Advocate (also known as Devil's Advocate and Im Auftrag des Teufels), Warner Bros., 1997.
(Story) Ray (also known as Unchain My Heart: The Ray Charles Story), Universal, 2004.
Author of other screenplays, including Cry Dance.
OTHER SOURCES
Periodicals:
Entertainment Weekly, February 4, 2005, p. 92.
Movieline, November, 2000, pp. 70-74.
People Weekly, November 3, 1997, p. 153; January 19, 1998, p. 102.
Variety, February 14, 2005, p. S34.
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Taylor Hackford
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2005-01-30T21:26:20+00:00
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Taylor_Hackford
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American film director
Taylor Edwin Hackford (born December 31, 1944) is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father (1979). Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman (1982) and Ray (2004), the latter of which saw him nominated for the Academy Award for Best Director and the Academy Award for Best Picture.
Early life
[edit]
Hackford was born in Santa Barbara, California, the son of Mary (née Taylor), a waitress, and Joseph Hackford.[1] He graduated from the University of Southern California in 1968,[2] where he was a pre-law major focusing on international relations and economics. After graduating, he served as a Peace Corps volunteer in Bolivia, where he started using Super 8 film in his spare time. The camera was purchased for him by fellow Peace Corps volunteer, Steve Ball. He decided that he did not want to pursue a career in law, and instead got a mailroom position at KCET-TV.[3] At KCET he was the associate producer on the Leon Russell special "Homewood" in 1970.[4] In 1973 at KCET he produced the one-hour special Bukowski (about the poet Charles Bukowski), directed by Richard Davies.[5]
Career
[edit]
Hackford's feature directorial debut was The Idolmaker starred Ray Sharkey, who was awarded a Golden Globe for Best Actor for his portrayal of "Vinnie" in the film. The Music Supervisor was Richard Flanzer.[6] Hackford said of The Idolmaker, "I make films about working-class people; showbusiness is one of those things through which people can get themselves out of the lower rung of society. To me, the compelling story in The Idolmaker is the guy with a wonderful talent and a fairly strong ego has to make it happen through puppets."
During the filming of An Officer and a Gentleman, Hackford kept Lou Gossett Jr. in separate living quarters from the other actors so he could intimidate them more during his scenes as a drill instructor.[7] Richard Gere originally balked at shooting the ending, which involves his character arriving at his lover's factory wearing his Navy dress whites and carrying her off from the factory floor. Gere thought the ending would not work because it was too sentimental, and Hackford was initially inclined to agree with Gere, until during a rehearsal when the extras playing the workers began to cheer and cry. But when Gere saw the scene later with the music underneath it at the right tempo, he said it sent chills up the back of his neck, and is now convinced Hackford made the right decision.[8]
In 1983, Taylor Hackford partnered with Keith Barish, film producer, to co-develop a film version of At Play in the Fields of the Lord, for which both Hackford and Barish received a lawsuit in 1986, claiming they had an option to exercise the rights from MGM/UA Entertainment Co., a film distributor.[9]
Hackford said of his film Ray: "My proudest moments in Ray were in those 'chitlin' clubs. Ray Charles ended his life in concert halls, where people would go in tuxedos and quietly listen to a genius perform. But in these clubs, he had to get people up dancing. What I tried to create was a little of that energy and exuberance. The great thing about music is when you can get people on their feet."[6]
In a 2005 interview, Hackford confirmed that he never watched his own films: "When I finish a film, I put it away and I never look at it again. Occasionally I do now because of the DVDs and the commentary tracks. I usually put it aside and go onto the next. I never went to film school. I worked for the KCET public television station in L.A. I worked in concerts. I have done a lot of music. I feel very comfortable shooting music, and I think you can see that."[10] Hackford has also directed music videos, including "Against All Odds (Take a Look at Me Now)" by Phil Collins and "Say You, Say Me" by Lionel Richie.
On July 25, 2009, Hackford was elected president of the Directors Guild of America.[11] He was re-elected to a second, two-year term as president on June 25, 2011, at the DGA's National Biennial Convention in Los Angeles.[12]
Hackford is attached to direct the neo-noir action thriller film Sniff, starring Morgan Freeman, Al Pacino, Helen Mirren and Danny DeVito.[13]
Personal life
[edit]
Hackford has been married three times. He married his first wife, Georgie Lowres, in 1967; they have one child, Rio Hackford (1970–2022). The couple divorced in 1972. In 1977, Hackford married Lynne Littman, with whom he has one child, Alexander Hackford, born in 1979; their marriage lasted until 1987. Hackford has been married to Academy Award-winning actress Helen Mirren since 1997.
Hackford met Mirren when he was directing her in White Nights, although their first meeting did not go well: he kept her waiting to audition for White Nights, and she was icy. "It was a strange way to meet Helen, because she is a lovely person," says Hackford, "but she didn't hold back her fury."[14] Hackford and Mirren wed in 1997, although as a young woman Mirren had vowed never to marry.[14] The couple live along the Nevada side of Lake Tahoe.[15]
In 2009, Hackford signed a petition in support of director Roman Polanski, calling for his release after his arrest in Switzerland in relation to his 1977 charge for statutory rape,[16] after Steve Cooley, the Los Angeles District Attorney, tried to prosecute Polanski.[17]
Filmography
[edit]
Year Film Director Producer Writer Notes 1973 Bukowski No Yes Yes Documentary 1978 Teenage Father Yes Yes Yes Short film
Academy Award for Best Live Action Short Film 1980 The Idolmaker Yes No uncredited 1982 An Officer and a Gentleman Yes No No Nominated- Directors Guild of America Award for Outstanding Directing 1984 Against All Odds Yes Yes No 1985 White Nights Yes Yes No 1987 Hail! Hail! Rock 'n' Roll Yes No No Documentary 1988 Everybody's All-American Yes Yes No 1993 Blood In, Blood Out Yes Yes No (originally: Bound by Honor) 1995 Dolores Claiborne Yes Yes No 1997 The Devil's Advocate Yes Executive No 2000 Proof of Life Yes Yes No 2004 Ray Yes Yes Story Nominated- Academy Award for Best Picture
Nominated- Academy Award for Best Director
Nominated- Directors Guild of America Award for Outstanding Directing 2010 Love Ranch Yes Yes No 2013 Parker Yes Yes No 2016 The Comedian Yes Yes No TBA Sniff Yes Yes No
References
[edit]
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https://letterboxd.com/producer/taylor-hackford/
|
en
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Films produced by Taylor Hackford
|
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] | null |
[] | null |
Films produced by Taylor Hackford
|
en
|
https://letterboxd.com/producer/taylor-hackford/
|
Taylor Edwin Hackford (born December 31, 1944 in Santa Barbara, CA) is an American film director and producer. He is best known for his work on films such as "An Officer and a Gentleman" (1982), "The Devil's Advocate" (1997) and "Proof of Life" (2000), and for directing Jamie Foxx to an Academy Award for Best Actor in "Ray" (2004). Hackford served as president of the Directors Guild of America from 2009 to 2013.
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https://letterboxd.com/film/ray-2004/
|
en
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Ray (2004)
|
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Born on a sharecropping plantation in Northern Florida, Ray Charles went blind at seven. Inspired by a fiercely independent mom who insisted he make his own way, He found his calling and his gift behind a piano keyboard. Touring across the Southern musical circuit, the soulful singer gained a reputation and then exploded with worldwide fame when he pioneered couping gospel and country together.
|
en
|
https://letterboxd.com/film/ray-2004/
|
I really liked this! I think I just have a thing for biopics about musicians though.
I do think it was a little too long, I think it could have benefitted from being shorter because the run time was pretty long and it dragged a bit in the middle.
This is the first time Jamie Foxx has actually really impressed me. He was fantastic as Ray Charles and really disappeared into the role. Very deserving of that Oscar.
It felt very similar to other biopics so if you don’t like that genre, you probably won’t like this one either. I liked it though! His life was interesting and sad but amazing. They really showed all of his flaws too which I appreciated because it made him feel so down to earth and it can be easy to overly praise someone who’s considered such a legend.
scavenger hunt 53 —> watch a jazzy movie
Week 6 of the 2024 edition of the 52 week film challenge: This week is a music biopic. All criteria you will find in my list | 52 week film challenge |
I went into "Ray" not really knowing or caring about Ray Charles or his music, and I came out of it the complete opposite. Which is exactly what I'd want from a music biopic. Informative, respectful, engaging and I fell in LOVE with the music! And of course Jamie Foxx was absolutely phenomenal, talk about a transformative performance and he was definitely deserving of that Oscar.
In short, "Ray" is an excellent biopic. It does everything correct in my opinion and while it's not quite my favourite (Rocketman still holds that title) I do think this is the best that I've seen. A must watch.
My Last Review: | Walk the Line |
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https://thedinnerparty.tv/helen-mirren-taylor-hackford/
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Academy Award Winners Helen Mirren and Director Taylor Hackford
|
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[] |
[
""
] | null |
[] |
2017-05-29T20:56:35+00:00
|
en
|
The Dinner Party with Elysabeth Alfano
|
https://thedinnerparty.tv/helen-mirren-taylor-hackford/
|
Energies were high as Academy Award winner (The Queen), Dame Helen Mirren and Academy Award winning director (Ray), Taylor Hackford, who is also her husband, graced the red carpet of Cinema Chicago’s Spring Gala. Mirren received the prestigious Gold Hugo Award for her Career Achievement in Acting and Hackford received the same for his Career Achievement in Directing.
In a rare moment of “communal red carpeting”, Mirren and Hackford walked the carpet together, his arm tightly around her waist, and her holding his hand firmly there, never more than an inch from each other’s side. The two have been married for over 20 years and together for almost 35.
With the elegance and sophistication that we have come to know from Mirren, in the video below, she discusses how she chooses roles and why she decided to get married after so many years. In the same video, in a light hearted and off-the-cuff response from Hackford, we learn if directing means being a best friend or being a bastard.
Proceeds from the event benefit the year-round programs of Cinema/Chicago, including the Chicago International Film Festival, Chicago International Television Festival,CineYouth Festival, International Screenings, and Education Program. Cinema/Chicago’s Education Program provides free film screenings to more than 7,000 Chicago Public Schools annually as well as curriculum support and study guides for educators.
Cinema/Chicago, the parent organization of the Chicago International Film Festival, is a year-round non-profit arts and education organization dedicated to fostering better communication between people of diverse cultures through the art of film and the moving image. For more information, visit chicagofilmfestival.com and http://TheDinnerParty.tv/podcast .
Share This!
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Subscribe to my podcast
|
||||||
2659
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2
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https://neworleanspodcasting.com/interview.php%3Finterviewee%3DTaylor%2520Hackford
|
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audio: Taylor Hackford
|
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[] |
[] |
[
"New Orleans",
"New Orleans PodCasting",
"Taylor Hackford"
] | null |
[] | null |
Taylor Hackford, award winning director, producer and writer talks about his interests in New Orleans and his vision for the rebuilding of the city.
| null |
New Orleans PodCasting
Rebuilding
New Orleans
One Voice at a Time
Allison Slatten
Allison Slatten reigned as Queen of Osiris, 2013.
Archbishop Hannan
Archbishop Hannan served as Archbishop of New Orleans from 1965 to 1989; at age 96, he is now the oldest living Archbishop in the world.
Alan Freeman
Alan Freeman is General Manager of the Louisiana Superdome and the New Orleans Arena.
Darrell Guy, Sr.
Darrell Guy, Sr. is Director of Special Projects for the NFL YET Program at the Boys and Girls Club of Southeast Louisiana.
Anne Milling
Anne Milling founded Women of the Storm in January, 2006, three months after Hurricane Katrina.
Stephen Hales
Stephen Hales is archivist for the Rex Carnival organization.
|
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2659
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| 72
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https://omny.fm/shows/more-than-a-movie-american-me/la-bamba-pt-2-with-taylor-hackford
|
en
|
La Bamba (Pt. 2) with Taylor Hackford - More Than a Movie
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"There’s a whole audience you’re missing.” On this episode of More Than a Movie, we met with the producer of La Bamba, Academy Award winning filmmaker Taylor Hackford, and explored how a white kid from Santa Barbara ended up becoming the driving force behind a film about a Mexican-American rock star. We talked everything from obtaining life rights to casting Lou Diamond Phillips, and what it truly means to be an ally in Hollywood.
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"There’s a whole audience you’re missing.” On this episode of More Than a Movie, we met with the producer of La Bamba, Academy Award winning filmmaker Taylor Hackford, and explored how a white kid from Santa Barbara ended up becoming the driving force behind a film about a Mexican-American rock star. We talked everything from obtaining life rights to casting Lou Diamond Phillips, and what it truly means to be an ally in Hollywood.
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https://www.latimes.com/archives/blogs/company-town-blog/story/2011-06-25/taylor-hackford-reelected-president-of-the-directors-guild-of-america
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Taylor Hackford reelected president of the Directors Guild of America
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2011-06-25T00:00:00
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This article was originally on a blog post platform and may be missing photos, graphics or links.
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/apple-touch-icon.png
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Los Angeles Times
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https://www.latimes.com/archives/blogs/company-town-blog/story/2011-06-25/taylor-hackford-reelected-president-of-the-directors-guild-of-america
|
This article was originally on a blog post platform and may be missing photos, graphics or links. See About archive blog posts.
Taylor Hackford was reelected president of the Directors Guild of America on Saturday at the union’s biennial convention in Los Angeles.
Hackford was first elected president in 2009 and ran unopposed. The director of such films as ‘An Officer and a Gentleman,’ ‘Dolores Claiborne’ and ‘Against All Odds’ joined the DGA in 1974 and became a member of the National Board in 2002.
“It is my honor to accept once again the position of President of the Directors Guild of America in this, our 75thanniversary year,” Hackford said in a statement. “This is the greatest distinction anyone can have in this town. I am so proud to be a member of this Guild and to be part of the leadership, and I can promise you that, as I have in the last two years, I will work as hard as I possibly can to represent our members and fight for their creative and economic rights – whether that be at the bargaining table, on the set or in Washington, DC.”
Hackford was nominated for a DGA Award and an Academy Award for best director for ‘An Officer and a Gentleman’ in 1983 and for ‘Ray’ in 2005. He won the Academy Award for live-action short ‘Teenage Father’ in 1979. Hackford also won a Grammy for the soundtrack to ‘Ray.’
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https://www.celebritynetworth.com/richest-businessmen/producers/taylor-hackford-net-worth/
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Taylor Hackford Net Worth
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2014-07-16T16:55:05+00:00
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Taylor Hackford Net Worth: Taylor Hackford is an American film director who has a net worth of $100 million. He is perhaps as well-known for being the
|
en
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Celebrity Net Worth
|
https://www.celebritynetworth.com/richest-businessmen/producers/taylor-hackford-net-worth/
|
What is Taylor Hackford's Net Worth?
Taylor Hackford is an American film director who has a net worth of $100 million. Taylor Hackford is perhaps as well-known for being the husband of actress Helen Mirren as he is for his directing credits. Our net worth listed here is a combined net worth with Helen. Taylor directed and produced the movies "Ray", "Proof of Life" and "The Devil's Advocate".
Early Life
Taylor Hackford was born December 31, 1941 in Santa Barbara, California. Taylor's initial passions lay with international relations, which he studied while pursuing a degree in pre-law at the University of Southern California. After graduating in 1968, he headed to Bolivia as part of the Peace Corps, where he began experimenting with a Super-8 camera in his spare time, documenting the world around him. He abandoned law in favor of a film degree from USC's School of Cinema then took a job in the mail-room at the Los Angeles public television station KCET-TV. The position served as a training ground for the aspiring director.
Career
He quickly moved up to the station's cultural programming department where he was among the first in the country to present uninterrupted broadcasts of musical performances from the likes of Bonnie Raitt, Cat Stevens and Leon Russell. From there he worked as an investigative reporter and earned two Emmys and an Associated Press Award. He graduated to film documentaries in 1973 and was soon winning Oscars and racking up hits. His film An Officer and a Gentleman (1982) came close to having a different ending when actor Richard Gere protested to the ending, feeling it was too sentimental. Hackford stuck with the sentimental ending and proved his theory right when even Gere said that (when paired with the music soundtrack) it gave him chills. In a 2005 interview, Hackford confirmed that he never watched his own films.
On July 25, 2009, Hackford was elected President of the Directors Guild of America and re-elected to a second, two-year term on June 25, 2011. His other notable films include 2004's Ray which also won him an Academy Award.
Personal Life
Hackford has been married three times. He met Helen Mirren when she came in to audition for the movie "White Nights". Hackford reportedly kept her waiting for over an hour which caused her to be extremely icy to him. Hackford and Mirren wed in 1997 after 12 years together, despite the fact that as a young woman Mirren had vowed never to marry.
Real Estate
Hackford and Mirren have homes in Los Angeles, Provence (France), New York City, New Orleans and Lake Tahoe (Nevada).
In 1986 Taylor bought a 6.6-acre property in the Hollywood Hills. The home was built in 1908 for a silent film actor named Dustin Farnum. In 2014 Taylor and Helen listed this home for rent for the low-low fee of $40,000 per month. In July 2021 they listed this home for sale for $18.5 million or for rent for $45,000 per month.
Their primary home is a property in Lake Tahoe, on the Nevada side.
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The Ray Charles Story. Accessible website with audio decribed trailer
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'Ray' - The Story of Ray Charles.
Starring Jamie Foxx.
Directed by Terry Hackford.
A U.I.P. release.
Text can be displayed black on white or white on black.
Contents:
The story.
Audio described movie trailer. ('Windows Media' format - loading times between ten and sixty seconds, depending on connection speed). (External link to download player if necessary).
Audio described cinema shows - now finished.
Production notes.
The cast.
Director, producer and screenplay credits.
Testimonials to Ray Charles.
Links to more Ray Charles websites.
U.K. audio described cinema - information.
The story
Ray is the never-before told musical biographical drama of American legend Ray Charles. Featuring a remarkable performance from Jamie Foxx in the central role. Ray follows the inspiring story of a one-of-a-kind genius.
Born in a poor town in Georgia, Ray Charles went blind at the age of seven, shortly after witnessing his younger brother's accidental death. Inspired by a fiercely independent mother who insisted he make his own way in the world, Charles found his calling and his gift, behind a piano keyboard. Touring across the Southern musical circuit, the soulful singer gained a reputation and then exploded with worldwide fame when he pioneered incorporating gospel, country, jazz and orchestral influences into his inimitable style.
As he revolutionized the way people appreciated music, he simultaneously fought segregation in the very clubs that launched him and championed artists' rights within the corporate music business. Ray provides an unflinching portrait of Charles' musical genius as he overcomes drug addiction while transforming into one of this country's most beloved performers.
Back to contents.
Ray - The Ray Charles Story (15)
Audio described cinema shows:
No more shows are planned.
Back to contents.
Production notes .
If a life is merely the sum of its parts, the the story of Ray Charles might read as a tale of personal highs and lows behind a lengthy, award-winning career in the music business.
But for a man who synthesized his struggles, pain and personal darkness as effectively as he incorporated a myriad of musical styles - Jazz, Rhythm & Blues, Rock & Roll, Gospel, Country & Western - into his art, the story reads much differently, transformed from a sequence of events and accomplishments into a compelling and ultimately inspiring journey of a one-of-a-kind genius with a distinct vision who along the way, gave the world a new way to hear.
Ray is the never-before-told musical biographical drama of american legend Ray Charles, brought to the big screen following a 15-year journey by award-winning filmmaker TAYLOR HACKFORD and featuring a remarkable performance from the multifaceted JAMIE FOXX.
Link to full production notes.
Back to contents.
The cast.
Jamie Foxx stars as Ray Charles.
Kerry Washington plays Della Bea Robinson
Clifton Powell plays Jeff Brown
Harry Lennix plays Joe Adams
Terrence Dashon Howard plays Gossie McKee
Larenz Tate plays Quincy Jones
Richard Schiff plays Jerry Wexler
Aunjanue Ellis plays May Ann Fisher
Bokeem Woodbine plays Fathead Newman
Sharon Warren plays Aretha Robinson
Curtis Armstrong plays Ahmet Ertegun
Regina King plays Margie Hendricks
Link to full cast biographies.
Back to cast members.
Back to contents.
Jamie Foxx stars as Ray Charles.
Jamie Foxx (Ray Charles) is enjoying success in a multifaceted career that already encompasses dramatic roles in films and television, as well as stand-up comedy and music. Though previously best known for his comedy work, his emergence as a leading dramatic actor is evidenced in his most recent an upcoming roles. He most recently starred opposite Tom Cruise in Michael Mann's thriller Collateral; Foxx portrays Max, a taxi driver who becomes "collateral" - an expandable person - when he and his cab are hijacked for a night by a contract killer (Cruise) in town to carry out five hits before dawn. In addition to his title role in Ray, Foxx is set to star in the action thriller Stealth for director Rob Cohen, which is slated for release in 2005.
Foxx recently received critical acclaim for his portrayal of gang member-turned-Nobel Peace Prize nominee Stan Tookie Williams in the cable movie Redemption. He also starred opposite Gabrielle Union in the urban romantic comedy film Breakin' All the Rules.
Foxx first came to fames as a popular stand-up comedian and comedy actor. During the early 1990s, he was a regular on the comedy series In Living Color, alongside Keenan Ivory Wayans, Damon Wayans and Jim Carrey. He also had a recurring role on the series Roc, and guest-starred on several other shows.
In 1996, he launched his own series, The Jamie Foxx Show, which became one of the top-rated shows on the WB network. Foxx not only co-created and starred on the show, but also served as an executive producer and directed several episodes. During the show's five-year run, Foxx won an NAACP Image Award and earned three more nominations for Outstanding Actor in a Comedy Series.
On the big screen, Foxx received praise from both critics and audiences for his performance as a breakout star quarterback in Oliver Stone's 1999 football-themed drama Any Given Sunday, in which he joined an ensemble cast that also included Al Pacino, Cameron Diaz and LL Cool J. In addition to his on-screen role in the movie, Foxx wrote, produced and performed two songs featured on the film's soundtrack, including the title track and the chant "My Name Is Willie".
He went on to co-star with Will Smith in the 2001 epic Ali, which marked Foxx's first collaboration with director Michael Mann. His portrayal of Muhammad Ali's corner man and constant inspiration, Drew Bundini Brown, brought Foxx another Image Award for Outstanding Supporting Actor in a Motion Picture. His additional film credits include Bait, The Truth About Cats and Dogs and The Great White Hype.
In 2002, Foxx brought down the house in his first HBO comedy special, Jamie Foxx: I Might Need Some Security. He also has the distinction of hosting the top-rated Saturday Night Live of the 2001-02 season.
Back to cast members.
Back to contents.
Director, producer and screenplay credits.
Ray is directed by acclaimed filmmaker Taylor Hackford (An Officer and a Gentleman); screenplay by James L White, from a story by Hackford and White; and produced by Hackford, Stuart Benjamin, Howard Baldwin and Karen Baldwin.
Link to full biographies.
Back to contents.
Twenty testimonials to Ray Charles by his peers.
"...The only genius in our business."Frank Sinatra.
"In a time where racism was at a premium high, he brought together country music rhythm and blues."Stevie Wonder.
"Ray was always positive about what he was doing, and I admire him most for that. I tell you one thing: He could see a lot better than those eyes"James Brown.
"I have grown up with Ray Charles' music and I have always thought of him as the quintessential Soul Man - the flip side of Nat King Cole, if you will. Ray is a musical genius on piano and in voice. The consistency and substance of his work and his career is something for any musical artist to aspire to. His arrangements are always rich, soulful but elegant, and he knows how to have fun. Anyone who can turn the National Anthem into the anthem of all times is an artist to be reckoned with. I am proud to have worked with him on this endeavour."Natalie Cole.
"the voice of a lifetime."Aretha Franklin.
"When people mention Ray Charles, I just smile. That grin, that voice, his music is so joyous. He had an enormous effect on my career. Anything he put out, I bought. He has one of the greatest voices of all time."Elton John.
"When he started singing, that was it. Everyone else was playing for second."Bruce Hornsby.
"Ray Charles was a true American original who many artists tried to emulate - among them, myself, Rod Stewart, Joe Cocker, Steve Winwood and countless others. Ray Charles defined rhythm and blues, soul and authentic rock and roll. I am eternally grateful to him...Billy Joel.
"I just love everything about Ray Charles. He could sing any song, and it sounds like Ray Charles and it sounds amazing. There's nothing I could say to do him justice. I love him so much. He is as big an influence on me as you can get."Norah Jones.
"There will never be another musician who did as much to break down the perceived walls of musical genres as much as Ray Charles did."Quincy Jones.
"Brother Ray is so good. It was great to have the opportunity to work with long-time friends like him and Billy Preston. We were a sight; three old timers burning through this historic blues track. I cannot express how much it meant to me to sing alongside Ray on on e of his hits from his early career."BB King.
"When recording or performing with Ray I always knew I was in presence of greatness. A true legend in his time and mine..."Gladys Knight.
"I was so nervous to be in the same studio as Ray Charles. He is not just an ordinary singer, musician or icon. He's the best of the best. It was a highlight of my life."Johnny Mathis.
"To be singing with Ray Charles, two feet away from him live with an orchestra was pretty unbelievable. "Hey Girl" is the ingredient that makes the moment even more special to me because I know how much Ray loves that song."Michael McDonald.
"His sound was stunning - it was blues, it was R&B, it was gospel, it was swing - it was all the stuff I was listening to before that but rolled into one amazing, soulful thing."Van Morrison.
"A lot of folks want to pay tribute to Ray Charles, and I'm glad a lot of us are getting the opportunity to do that. Ray and I are very good friends and there's no one any better, as far as I'm concerned, at what we do. Recording with Ray was an extraordinary experience. Who would have thought that guys like us would still be out there recording and doing stuff. That's what makes it special."Willie Nelson.
"There was music before Ray Charles, and there's music after Ray Charles. It's that stark a difference... I got to record with him for his duets project... He was very kind and generous and appreciative - very present. And when I heard that voice and that piano coming out of the headphones, well, that was the pinnacle of my career..."Bonnie Raitt.
"It's a special privilege to say you've recorded with Ray Charles. Being immersed in and around his musicality is always a learning experience. He set the pace for all of us."Phil Ramone.
"It was all music to Ray. He was the first true crossover artist... But Ray was Rock & Roll. He was Rhythm & Blue. He was Jazz. He was country. He had such reach - and far-reaching effect."Keith Richards
"Ray Charles has made the greatest individual contribution to American music in my lifetime... He was a genius. He was the one."James Taylor.
Back to contents.
Links to more Ray Charles websites:
Link to official U.K. website.
Link to official U.S. website.
Link to U.S. website.
Link to Ray Charles fan club website.
The latest news on Ray Charles.
Back to contents.
Content copyright Universal Studios 2004. Website link.
Accessible website by 'your local cinema dot com'.
Website link. Email: ad@yourlocalcinema.com Telephone: 0845 056 9824.
Audio described trailer courtesy of I.T.F.C., London.
Website link. Email: info@itfc.com Telephone: 020 8752 0352.
Back to top of page.
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Activate and hold the button to confirm that you’re human. Thank You!
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2004-10-29T00:00:00
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Legendary soul musician Ray Charles is portrayed by Jamie Foxx in this Oscar-winning biopic. Young Ray watches his 7-year-old brother drown at age seven. When he loses his sight at the age of 9, his hardworking mother (Sharon Warren) urges him not to feel sorry for himself. He rises through the ranks of the Seattle jazz scene, struggling with drug addiction and infidelity while on the road. Supported by his wife (Kerry Washington), Ray Charles redefines soul music and inspires a generation.
|
en
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https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
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https://www.rottentomatoes.com/m/ray
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Let's keep in touch!
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2659
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0
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Taylor Hackford
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/favicon.ico
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‘RAY’ OF HOPE FOR DIRECTOR
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2005-01-07T00:00:00
|
THE Ray Charles biopic “Ray” gained in the Oscar race yesterday after scoring a nomination for helmer Taylor Hackford in the bellwether Directors...
|
en
|
New York Post
|
https://nypost.com/2005/01/07/ray-of-hope-for-director/
|
THE Ray Charles biopic “Ray” gained in the Oscar race yesterday after scoring a nomination for helmer Taylor Hackford in the bellwether Directors Guild of America awards.
“Ray” edged out Brad Bird’s animated “The Incredibles,” which scored a nomination Wednesday in the Producers Guild of America awards, as well as Terry George’s genocide drama “Hotel Rwanda,” all of which are competing for Oscar Best Picture nominations.
The other four DGA nominations mirrored the PGA: Clint Eastwood for the boxing drama “Million Dollar Baby,” Martin Scorsese for the Howard Hughes biopic “The Aviator,” Alexander Payne for the buddy comedy “Sideways,” and Marc Foster for “Finding Neverland,” starring Johnny Depp as “Peter Pan” creator J.M. Barrie.
The directors will hand out their awards – which have predicted the winner of the Best Director Oscar for 50 out of 56 years – on Jan. 29.
Meanwhile, “Million Dollar Baby” surprisingly failed to make the short list of 15 movies eligible for nominations in the British Academy Awards, which will be issued Jan. 18.
Insiders said this was probably because the film’s British distributor had not sent out DVDs or tapes of the movie or scheduled enough screenings, as has been done with Oscar voters.
Eastwood’s movie did manage to qualify for BAFTA nominations for best actress (Hilary Swank), supporting actor (Morgan Freeman) and adapted screenplay.
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2659
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1
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https://www.tribes.org/web/2000/06/04/nothing-sacred-ray-directed-by-taylor-hackford-reviewes-by-d-anthony
|
en
|
Nothing Sacred "Ray" Directed by Taylor Hackford, Reviewes by D. Anthony — A Gathering of the Tribes
|
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2000-06-04T00:00:00
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Now, I'm no catholic or anything, but I do have a confession to make. Right about now I'm not trying to see any movie, go to any play, hear any poetry reading or slam, wander through any pretentious gallery openings for free wine, check out any bands or hip hop acts, nothing, without asking what the
|
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A Gathering of the Tribes
|
https://www.tribes.org/web/2000/06/04/nothing-sacred-ray-directed-by-taylor-hackford-reviewes-by-d-anthony
|
Now, I'm no catholic or anything, but I do have a confession to make. Right about now I'm not trying to see any movie, go to any play, hear any poetry reading or slam, wander through any pretentious gallery openings for free wine, check out any bands or hip hop acts, nothing, without asking what the shit means to me when I walk out that door. I'm about what kind of rhythm it leaves me with. Period. My patience and attention span have pretty much worn thin. I'm tired.
11-2 trumped 9-11, and it didn't jump up out of thin blue air. Those star-crossed confederates, those fundamentalists ... those gods of the red states. Those southern crackers on fire. Them and their allies out for the kill. It's all so ... West Coast with an East-Coast flair. Finance capital and such. Obscures the yeoman farmer, the middle-man, the eat-dirt road. A case of the Beverly Hillbillies gone mad. Waco. What a team we make. The two of us.
No, it wasn't supposed to be this way. Revolutions came and went. In government, ideas and sound. They predicted God's death a long time ago. Said it loud and clear. Dionysus. A chorus of voices told us that the devil stuck his fork in Him with art, secular rationalism and industrial profit. Bless their souls. I don't even believe in their hippy Jesus but it doesn't take much to see that he's about to get us all thrown in hell if we aren't there already. Him along with Allah and who ever the fuck it is the Jews think they're waiting for. Someone else's land and self-interest no doubt.
And Georgia, where they won't even let you buy a fucking vibrator for christ's sake. They'd just as soon have your cunt sown up as let you play with it, unless you're having a baby. And you'd better have it too. The price you pay for sin. I'm talking about some outlaw sex. The abolition of desire and shit. No-man's-land. They have it on their flag, wear it on their hats, their arms, slap it on the back of their trucks and shed blood for it ... to this day. \italic{Georgia, Georgia, The whole day through/ Just an old sweet song/ Keeps Georgia on my mind.} Black people and women know what I'm talking about. Some of them. Or at least they used to.
Desire, freedom, space, autonomy, rhythm, love, rage, food, clothes and shelter. I'm talking about a gutbucket. Some low-down basic in your balls longing for shit. So bad it aches. That's the kind of grind Ray could hit you with. He told the church to kiss his ass. "I'm blind motherfucker, this is my shit." He took all that good stuff and put it back where it belonged. Stole it right under their nose, beneath their wide-open eyes. Satisfaction and how to get some. Pain and how to express it. The body and how to move it. Struggle. Labor. Hustle. Lust ... when they'd just as soon cut your dick off as let you put it to some better use.
Now, I don't know if you've ever lived with a junky ... or been one. But a junkie is a dirty dog that bites. A junkie is a say-shit-out-of-line piss when he ain't supposed to cranky ass bitter unreliable behind your back two-faced say sorry all the time potentially violent self-centered motherfucker. That's what a junkie is right there. That's who you cross the street to get away from. On dope? Ask Bird if you can find him. Dead as a duck. A junkie is X-rated even when he can't get it up. Nothing PG-13 about a junkie. It does more than just scratch and grin and mumble and make people sincerely vaguely concerned. \italic{But Ray, what about me, what about the children? }At which point, if the movie has any integrity at all, Ray the junkie is supposed to turn around and say, \italic{Fuck you bitch, stay out of my shit from now on and mind your business, or I'll send your funky loose-tit ass back to the pastor you were with before I met you. }He might have even slapped her or something unseemly for looking in his shaving kit and finding his works. Let's not even mention the tracks and sores for now. This movie sure doesn't. But I mean, break a glass or something Ray ... goddamn. I hear he followed that shit for over a decade but hey, what do I know? I wasn't there.
And I can't speak for you, but I sure ain't never been blind ... at least not in the literal sense. It's pretty hard to say something bad about a guy who couldn't see anything ... even if it is only about a movie someone else made after he died to cash in on a profit ... a cheap shot. A cheap trick. Trust me, I feel like a creep. But I bet working night-clubs and trying to get paid or starve would make you a hell of a lot tougher than what comes across from a 36 year-old neo-vaudevillian comic who went to church every week, sang in the choir and joined the boy scouts when he was a kid. Which is true. A guy who was the star quarterback on his high school football team ... a guy who got all the leads, all the breaks, all the head behind the bleachers ... a guy who played classical piano at Julliard to boot. That's Jamie's bio. It shows. Now don't get me wrong, he does an admirable job as an impersonator. He made his reputation as a flaming queer vamping all over national television for christ's sake. Imagine that. Outlaw sex made safe.
\italic{Stage directions: Actor bows out to Thunderous applause and a shower of gold coins}.
I can't hold it against him. After all, as I sat there waiting for the music to play, he's the one who tried to make sure I wasn't completely bored watching this film. And I sincerely appreciate him for that. He did the best he could given the circumstances. He's easy to look at, he's good at what he does, he's a professional. So is Kerry Washington, who plays his ever-tolerant, sweet as can be naive wife. Both of their careers are secure ... should be rolling in it from here on out ... but that's the point. In the absence of the blues, the only place left to go is sentimentality and outright lies. Kind of like a junkie but with a different agenda. Safety. A cover-up. Fakin' it till you make it. Not the soundtrack that fills in every time Jamie opens his mouth to lip-sync mind you, but the cheesy, formulaic, predictable stuff that takes over when the music (by far the best part of this movie) isn't playing. This film is down on its knees, arms outstretched singing "Mammy." No doubt it will join the canon of late night VH-1nders. But shit, I'd rather give the part to Harvey Keitel and let him do it in blackface. He'll show you a blind nigger junkie alright.
It's not Jamie's fault. Like I said, he didn't have much to work with. The lack of spine in this film can be traced straight back to Hackford and White. I mean, it took them 15 years to make this movie. That's before Nas and Old Dirty hit the scene and even before some of the kids this movie was made for were even born. He even met Ray himself. I'd rather hear the interviews personally. Maybe they'll release them as a box set or something.
So, the foundation is missing. Words are a structure and if you don't have that you better be a committed anarchist. I'm not saying that's necessarily a bad thing mind you. Sometimes words get in the way. But flat dialogue and high melodrama will only take you so far and then you better start dancing and singing again. Fortunately this movie has plenty of that.
And what about the fuckin? Ray dropped 12 kids with five women. There isn't a sign of those snotty noses running around on Christmas in August let alone the urge that made them. Of course, I wasn't there mind you ... so what do I know about his family values and such. Yeah, I understand the art of reading between the lines. Even the bottom ones. Like the money General Electric is afraid to lose by telling the truth about Ray. "We might bring good things to light but we've got a commodity to protect after all ... Ain't nothin' free in this world but Jesus." And even that will cost you these days.
Our journey starts off in Northern Florida, 1948. Somewhere down by Universal Studios in Orlando ... right where it ends. A full circle. You ever been there? Jeb Bush and theme parks is what I'm talking about. The dark ages for sure. They still make niggers and silence go hand in hand for ten dollars a ticket. You can walk around all day with your eyes closed ... the more things change .... Anyway, Jamie, I mean Ray, I mean Jamie (the butterfly effect working its way into the frontal lobe, REM, the beauty and danger of film), is trying to take his black ass up to Seattle for a gig but some redneck bus driver, you know, the rank-and-file, is not about to be any Seeing Eye Dog for a blind nigger and he won't give him any play. So Jamie tells him he lost his sight in the war and receives the double-VIP treatment straight to beer halls, sluts and Quincy Jones. Hmmm. Poetic justice, poetic license, I understand. But why would you need to make some fable with a mythic subject like this. Take it into a never-never land of hallucination. Afraid to look it in the eye. We're all fair game. Ray, the civil rights hero working the Chitlin' Circuit, reading the Bible in braille, cutting a path through Seattle, Los Angeles, Harlem, Atlanta, Dallas and the Newport Jazz Festival. Being a victim of dope fiends, managers and women ... standing up to Jim Crow in Georgia ... coming to self-realization when it all fades to subtitles and black ... 20 million dollars to charitable institutions, a parade at the Georgia State Capital with Julian Bond ... earning his stars and stripes.
The problem is, every time I started to feel all slowly brainless and "Maybe I kind of like this movie," you know, deluded about the whole experience, just when I might have been taken in like a sucker biting the bait, falling for the pray, just when the seat was wrapping its arms around me and stroking my thighs real nice, just when the flashbacks to his brother drowning in a laundry bucket and the sprawling five-year old Ray, who lost his sight nine months after the tragedy cries \italic{Mama, Mama, I need you, help }and she ignores it, keeps on making bread to make him tough ... \italic{promise you won't be no cripple, Ray,} never a victim, eyes full of that gooey puss you don't want to look at but can't help doing it anyway thinking, "What is that shit, Vaseline?" ... some junk at last, nasty, and maybe this starts to bring a tear to your jaded dry consumer eye when ... bam! Here comes the Atlanta Compromise, Georgia raising its head again like clockwork. god is out, Ahmet Ertegun and Jerry Wexler are in. Now you're fucked kid, even if you are rich. From the frying pan straight into the fire so to speak. They taught him how to be himself all right ... Ahmet bending over the piano: "You've got to find yourself Ray, your own voice, that's why I hired you, here let me sing you a song I wrote. Croak, croak. Play it like that." Ray: "You mean like this, boss?" Ahmet: "Yeah, that's it kid, now you really sound like yourself." Some red, white and blue redux shit. You don't need any more lyrics to understand this pastoral scene. But I'll play it for you anyway: \italic{Oh beautiful, for heroes proved, In liberating strife, Who more than self, our country loved, And mercy more than life, America, America may God thy gold refine, Til all success be nobleness And every gain divined.} I ain't making this shit up. The sacred and the secular resolved. And right along with Ray-gun too in '84. What a happy family. I told you, I feel like a creep.
If that's how you like your movies, you'll have a swell old time at this one. Don't let me discourage you.
|
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| 67
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https://goldenglobes.com/video/black-history-2005-jamie-foxx-and-the-best-speech-of-the-night/
|
en
|
BLACK HISTORY (2005) – Jamie Foxx and the Best Speech of the Night
|
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2022-02-26T01:00:00+00:00
|
He was the favorite in 2005 to win Best Actor in a Motion Picture Musical or Comedy for his portrayal of Ray Charles in Taylor Hackford’s Ray and gave the funniest and liveliest acceptance speech of the night until dedicating his Golden Globe to his grandma Estelle. That moment brought tears.
|
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|
Golden Globes
|
https://goldenglobes.com/video/black-history-2005-jamie-foxx-and-the-best-speech-of-the-night/
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https://en.wikipedia.org/wiki/Taylor_Hackford
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Taylor Hackford
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2005-01-30T21:26:20+00:00
|
en
|
/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Taylor_Hackford
|
American film director
Taylor Edwin Hackford (born December 31, 1944) is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father (1979). Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman (1982) and Ray (2004), the latter of which saw him nominated for the Academy Award for Best Director and the Academy Award for Best Picture.
Early life
[edit]
Hackford was born in Santa Barbara, California, the son of Mary (née Taylor), a waitress, and Joseph Hackford.[1] He graduated from the University of Southern California in 1968,[2] where he was a pre-law major focusing on international relations and economics. After graduating, he served as a Peace Corps volunteer in Bolivia, where he started using Super 8 film in his spare time. The camera was purchased for him by fellow Peace Corps volunteer, Steve Ball. He decided that he did not want to pursue a career in law, and instead got a mailroom position at KCET-TV.[3] At KCET he was the associate producer on the Leon Russell special "Homewood" in 1970.[4] In 1973 at KCET he produced the one-hour special Bukowski (about the poet Charles Bukowski), directed by Richard Davies.[5]
Career
[edit]
Hackford's feature directorial debut was The Idolmaker starred Ray Sharkey, who was awarded a Golden Globe for Best Actor for his portrayal of "Vinnie" in the film. The Music Supervisor was Richard Flanzer.[6] Hackford said of The Idolmaker, "I make films about working-class people; showbusiness is one of those things through which people can get themselves out of the lower rung of society. To me, the compelling story in The Idolmaker is the guy with a wonderful talent and a fairly strong ego has to make it happen through puppets."
During the filming of An Officer and a Gentleman, Hackford kept Lou Gossett Jr. in separate living quarters from the other actors so he could intimidate them more during his scenes as a drill instructor.[7] Richard Gere originally balked at shooting the ending, which involves his character arriving at his lover's factory wearing his Navy dress whites and carrying her off from the factory floor. Gere thought the ending would not work because it was too sentimental, and Hackford was initially inclined to agree with Gere, until during a rehearsal when the extras playing the workers began to cheer and cry. But when Gere saw the scene later with the music underneath it at the right tempo, he said it sent chills up the back of his neck, and is now convinced Hackford made the right decision.[8]
In 1983, Taylor Hackford partnered with Keith Barish, film producer, to co-develop a film version of At Play in the Fields of the Lord, for which both Hackford and Barish received a lawsuit in 1986, claiming they had an option to exercise the rights from MGM/UA Entertainment Co., a film distributor.[9]
Hackford said of his film Ray: "My proudest moments in Ray were in those 'chitlin' clubs. Ray Charles ended his life in concert halls, where people would go in tuxedos and quietly listen to a genius perform. But in these clubs, he had to get people up dancing. What I tried to create was a little of that energy and exuberance. The great thing about music is when you can get people on their feet."[6]
In a 2005 interview, Hackford confirmed that he never watched his own films: "When I finish a film, I put it away and I never look at it again. Occasionally I do now because of the DVDs and the commentary tracks. I usually put it aside and go onto the next. I never went to film school. I worked for the KCET public television station in L.A. I worked in concerts. I have done a lot of music. I feel very comfortable shooting music, and I think you can see that."[10] Hackford has also directed music videos, including "Against All Odds (Take a Look at Me Now)" by Phil Collins and "Say You, Say Me" by Lionel Richie.
On July 25, 2009, Hackford was elected president of the Directors Guild of America.[11] He was re-elected to a second, two-year term as president on June 25, 2011, at the DGA's National Biennial Convention in Los Angeles.[12]
Hackford is attached to direct the neo-noir action thriller film Sniff, starring Morgan Freeman, Al Pacino, Helen Mirren and Danny DeVito.[13]
Personal life
[edit]
Hackford has been married three times. He married his first wife, Georgie Lowres, in 1967; they have one child, Rio Hackford (1970–2022). The couple divorced in 1972. In 1977, Hackford married Lynne Littman, with whom he has one child, Alexander Hackford, born in 1979; their marriage lasted until 1987. Hackford has been married to Academy Award-winning actress Helen Mirren since 1997.
Hackford met Mirren when he was directing her in White Nights, although their first meeting did not go well: he kept her waiting to audition for White Nights, and she was icy. "It was a strange way to meet Helen, because she is a lovely person," says Hackford, "but she didn't hold back her fury."[14] Hackford and Mirren wed in 1997, although as a young woman Mirren had vowed never to marry.[14] The couple live along the Nevada side of Lake Tahoe.[15]
In 2009, Hackford signed a petition in support of director Roman Polanski, calling for his release after his arrest in Switzerland in relation to his 1977 charge for statutory rape,[16] after Steve Cooley, the Los Angeles District Attorney, tried to prosecute Polanski.[17]
Filmography
[edit]
Year Film Director Producer Writer Notes 1973 Bukowski No Yes Yes Documentary 1978 Teenage Father Yes Yes Yes Short film
Academy Award for Best Live Action Short Film 1980 The Idolmaker Yes No uncredited 1982 An Officer and a Gentleman Yes No No Nominated- Directors Guild of America Award for Outstanding Directing 1984 Against All Odds Yes Yes No 1985 White Nights Yes Yes No 1987 Hail! Hail! Rock 'n' Roll Yes No No Documentary 1988 Everybody's All-American Yes Yes No 1993 Blood In, Blood Out Yes Yes No (originally: Bound by Honor) 1995 Dolores Claiborne Yes Yes No 1997 The Devil's Advocate Yes Executive No 2000 Proof of Life Yes Yes No 2004 Ray Yes Yes Story Nominated- Academy Award for Best Picture
Nominated- Academy Award for Best Director
Nominated- Directors Guild of America Award for Outstanding Directing 2010 Love Ranch Yes Yes No 2013 Parker Yes Yes No 2016 The Comedian Yes Yes No TBA Sniff Yes Yes No
References
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Category:Films directed by Taylor Hackford
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Wikimedia category
Category:Movies directed by Taylor Hackford
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The Hollywood Interview: Taylor Hackford: The Hollywood Interview
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http://3.bp.blogspot.com/_Cvo4jwbe8wE/R-QHMo4uTpI/AAAAAAAAAnc/pPHaF1SSdng/w1200-h630-p-k-no-nu/thackford.bmp
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Director Taylor Hackford. TAYLOR HACKFORD: GIMME SOME PROOF By Alex Simon Editor’s Note: The following article originally...
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DGA Interview - Taylor Hackford
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Taylor Hackford’s great enthusiasm for music, dance, and life comes through in such far-ranging films as An Officer and a Gentleman, Hail! Hail! Rock ’n’ Roll, and Ray. And while practicing his craft, he has energetically served the Guild for 30 years--including two terms as president.
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https://www.dga.org/Craft/DGAQ/All-Articles/1504-Fall-2015/DGA-Interview-Taylor-Hackford
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Fall 2015
The Director’s Chair
Taylor Hackford’s great enthusiasm for music, dance, and life comes through in such far-ranging films as An Officer and a Gentleman, Hail! Hail! Rock ’n’ Roll, and Ray. And while practicing his craft, he has energetically served the Guild for 30 years--including two terms as president.
BY TERRENCE RAFFERTY
Photographed by Jill Greenberg
On a wall in Taylor Hackford’s New York home— improbably, a penthouse apartment in the ever- funky East Village—hangs an old photograph of two men, in natty suits, on the deck of an ocean liner. The short, smiley, bald one is the songwriter Lorenz Hart; the tall, imperious-looking gent shaking his hand is the great choreographer George Balanchine. Hackford is a man who loves music and dance about as much as he loves film, which is to say, a lot, and he can talk about all these subjects until the cows come home.
Today, though, we’re here to speak about the art and craft he has practiced for most of his adult life, which is that of the movie director—a job that, the evidence suggests, he’s very skilled at. His first short film, Teenage Father, won an Academy Award in 1979; his second feature, An Officer and a Gentleman (1982), was one of the biggest box-office hits of the ’80s and was nominated for a DGA Award; his 2004 biopic of Ray Charles, Ray, was also nominated for a DGA Award, as well as six Oscars, including best picture and best director, with Jamie Foxx winning for best actor. Hackford’s work has ranged from documentaries (Hail! Hail! Rock ’n’ Roll, 1987) to true stories (Blood In, Blood Out, 1993) to thrillers (The Devil’s Advocate, 1997).
As a director, Hackford is both passionate and scrupulous, qualities that came in handy, too, in the two terms he served as president of the Directors Guild of America, from 2009 to 2013. He received the Robert B. Aldrich Award in 2007 for his many years of service to the Guild. But right now he is preparing to shoot a new movie, The Comedian, with Robert De Niro. He looks as fit and focused as Balanchine, and as happy as Hart. Taylor Hackford is in his element. He’s about to embark on a voyage.
The Right Note: Hackford directs two of his music-related films: his first feature, The Idolmaker (top), and Hail! Hail! Rock ’N’ Roll (middle); (bottom) working with Helen Mirren on White Nights. (Photos: (top) Courtesy Taylor Hackford; (middle) Universal Pictures; (bottom) Courtesy Taylor Hackford)
TERRENCE RAFFERTY: You’re spending August in New York? That’s brave.
TAYLOR HACKFORD: Well, I love New York, and, any- way, you go where you work; that’s the No. 1 priority. I’d tried for a year to get a film going about the widow Clicquot—of the famous Champagne family, in the 1800s—that I was going to shoot in France with a French crew, but the money wasn’t coming together so I looked around for something else. And it happened that Bob De Niro and [producer-writer] Art Linson were looking for a director for a project they’d been working on for years that was very near and dear to them, and I was able to jump right in. It’s about a stand-up comedian who refuses to give up, and it’s a dark character, as comedians tend to be. This guy is really difficult, really smart, maybe a misanthrope, and Bob really wants to do this role; he’s been working on it for like 15 years.
Q: Sort of like you with Ray?
A: When you’re passionate about something and you feel driven to make it, there’s a seriousness that can’t be denied.
Q: What stage of preproduction are you in now?
A: I’m supervising a page-one rewrite, and I hope to cast by Oct. 1. We’ll start shooting in New York in January. You know, when you’re making a movie you’re always in a race against both the clock and the cash register, and I’ve learned over time that you don’t need 18 takes if you’re working with good people—you get into a groove and you know what you need and you move on. Directing is about making decisions, in every aspect it’s about making decisions. But with casting you really want to make sure you’ve got the right people, and you know you can’t wait forever.
Q: What crew do you hire first?
A: For me, the production designer is usually the first person on the film, not the cinematographer, because you’re conceiving the whole look. It’s all about finding a team that will understand and share your vision. As a director, you’re not a painter at an easel alone with your paint and brushes and canvas; you’re not a novelist alone at your typewriter. Making movies is collaboration, and you’re as good as the people you choose to take this journey with you. Inspiring them and cajoling them, doing whatever you can to have them deliver your vision, that’s the process.
Q: Tell me a little bit about how you started out in film. You didn’t go to film school, did you?
A: No, I didn’t. I majored in international relations at USC, and then I went into the Peace Corps. I was sent to Bolivia, where I got involved in starting a newspaper. When I got back, I went to law school for two weeks— it wasn’t for me—and after that I got a job in the mail- room of the public television station in Los Angeles, KCET. Every night I’d go around to the repertory cinemas and see whatever I could, every Fellini film, every Godard, every Truffaut, Bergman, all the stuff you have to see. And whenever I had a moment, I’d experiment a little with my Super 8 camera. One day someone at the station asked me if I could shoot film, and I said sure—though I’d never shot 16 mm film in my life. I didn’t screw up too badly, so they put me on camera doing political reporting, cultural affairs, and music shows. As long as I didn’t sleep or eat, I could do everything.
Q: So that was your film school?
A: Yes, and unlike in film school you don’t get an entire semester or an entire year to do a project. I had actual airdates, and the most important thing was learning to deliver on a deadline. I’d shoot the film one day, edit the next, and it would be on the air that night. When I had six or seven hours to write a nine-minute piece, that was fine, but sometimes the edit wouldn’t be finished, and I’d have 25 minutes. Your mind focuses. When you’re making movies, the pressure is always to get your day on the set or on the location, and there are always all these factors that can prevent you from doing things the way you’ve planned. You’ve got to react to the circumstances, and that’s directing. My experience at KCET helped me understand that.
Not So Gentle: Staging a fight between Louis Gossett Jr. and Richard Gere in An Officer and a Gentleman. (Photo: Courtesy Taylor Hackford)
Q: So you know what to do when the unexpected happens, like the weather not cooperating.
A: When we were shooting An Officer and a Gentleman, it was the wettest year on record on the Olympic Peninsula in Washington. I think it rained every day except two. But I discovered that you get a more interesting saturation without sunlight, the deep saturation in the colors comes out. And I learned that if you lift the lens off the ground so you don’t see the puddles, the audience can’t tell it’s raining; rain has to be backlit for you to see it. There was one important scene late in the picture in which Richard Gere confronts Lou Gossett Jr., and we wound up having to shoot in a completely different location than I’d planned. So at the last minute I staged it, blocked it, and shot it, and it works. Every single time you go out, there are things that will hit you, that call on you to adjust to the moment. And that’s the joy of directing. When you’re a young director and you’ve worked your way out of a hole, it really adds to your confidence, too.
Q: You won an Academy Award for the short film Teenage Father, and that landed you your first feature, The Idolmaker (1980). What was it like making your first film?
A:Anyone directing their first feature, they’re terrified; you feel like everybody on the set knows more than you do. On The Idolmaker, I’d storyboarded the entire picture, every frame, and that’s both a good thing and a bad thing, because there’s a temptation to think of it as holy scripture. I had good people, a veteran AD named Cliff Coleman who’d started with John Ford and had worked on Sam Peckinpah’s movies, and I had a lot of respect for him. He’d look at my story- board and say, ’Jesus Christ, you don’t want to do it like that, you should do this and this.’ And my cinematographer, Adam Holender, who was also very experienced and very good, would look at the storyboards and just sigh and say, ’You could do it this way, but it’s very pedestrian.’ So I did it their way at first, and when I looked at the dailies after the second day of shooting, I thought, ’That’s not very good.’ And I realized that I wasn’t going to get those scenes back—they’re going to be in the picture. So I called everyone together on the third day and said, ’From this point on I’ll listen to what you have to say and value what you have to say, but I’m going to make the decisions about what we do. And they all said, ’Oh, OK.’
Q: Do you wish you hadn’t done those storyboards?
A: On a first film, they do help build confidence. Today I only storyboard action scenes and special effects scenes. I know the way I want to shoot a picture. I walk on the set and I feel like I’m never going to be at a loss, that I’m going to come up with a way to do it. I’ve thought it through, but the spontaneity is part of the process, too, it’s like you’re dancing. Some directors like preproduction, some like post, but my favorite time is when I’m shooting, because you have all these talented people and you’ve got to orchestrate them. You’re dancing, the director’s dancing. It’s terrifying, it’s difficult, it’s agonizing, but it’s fun.
Q: Was it tough shooting The Idolmaker in New York?
A: I didn’t, except for a week at the end of the shoot.
Q: Wait a minute. I definitely saw Arthur Avenue in the Bronx. ...
A: It was. We shot there, and at the Fulton Fish Market, and at the Brooklyn Bridge. But I was told at the beginning, you can’t shoot this in New York, it’s got to be shot in L.A. And I remembered that Scorsese had shot the majority of Mean Streets in L.A., and that’s a New York picture if there ever was one. [I thought] if Marty can do it, I guess I can, too.
Q: It must have felt a little strange to you, though, considering your background in documentary and public television.
A: In some way I feel like the biggest thing I got from working in documentary is paying attention to how people really react. That has a lot to do with the acting style I try to get in my films. I think I go for a very realistic style, aside from something like Devil’s Advocate, where it’s important for Al Pacino to come out big in the end. Having worked in documentary, my thinking is if you can get real people to reveal their inner feelings on camera, you can sure as hell get actors to do it. The essence of movie acting is this: You’re not on stage, you can’t be a completely different character. You have to take from whoever you are, because the camera is a magnifying glass—I’m not the first one to say this—and you can’t really separate who you are from the character you’re playing. You can imbue your natural character with other elements that fit the role you’re playing, but ultimately you’re going to have to take the elements you naturally have and use them. That’s what I try to encourage when I direct actors.
Star Power: Hackford has often worked with top talent: (top) with Dennis Quaid in Everybody’s All-American; (middle) with Meg Ryan and Russell Crowe in Proof of Life. (bottom) Hackford received the Guild's Aldrich Award in 2007. (Photos: (top, middle) Warner Bros.; (bottom) DGA Archives)
Q: How do you prepare your actors?
A: I think it’s important to take the actors to a set so they see it and start to think about it in advance. What I’m not going to do is bring them to a location they’ve never seen and say, ’Stand there, do this, do this’—they’re going to rebel. I don’t do heavy rehearsals, but I want to give the actors a chance to get their feet wet and feel comfortable. If you’re going to rehearse and rehearse, talk with all the actors about everybody’s psychological motivation, [so] when they come into a scene there’s no discovery going on. It’s not the way life is. For me, that process is the magic of film. But every director works differently.
Q: You’ve done some pretty steamy sex scenes, in An Officer and a Gentleman, Against All Odds (1984), Everybody’s All-American (1988), and Love Ranch (2010). Do you do anything different when you shoot those scenes?
A: My attitude about shooting sex is very much like my attitude about shooting violence—it should be real. Bodies have to be part of it, but for me it’s all in the eyes; you’re never going to see a love scene from me in which you can’t see the eyes. When I look at a sex scene, it’s a dramatic scene like any other. Of course, it’s terribly difficult for the actors, and you have to let them feel that you respect their discomfort. But aside from that, they’ve just got to do it, like any other scene: You’ve got to make it as real as you can, and it’s got to lead us somewhere in the story.
Q: Speaking of violence, your most recent movie, Parker (2013), is as close to a straight action picture as you’ve ever made.
A: I love action movies, though I never really thought about making one before this. The thing about Parker is he’s a great literary character by a great writer, Donald Westlake. I’ve done plenty of action and fight scenes in my other pictures: the karate fight in An Officer and a Gentleman, the fight with Jeff Bridges and the assassins in Against All Odds, the sequence in which John Good- man is beaten to death in Everybody’s All-American. I always want my fight sequences to be real, to be brutal. Violence isn’t fun—it hurts, and I want you to feel it.
Q: We’ve been talking about your desire for realism, but you’ve also made films in less realistic modes, like The Devil’s Advocate and Dolores Claiborne (1995). How do you approach those?
A: Although the acting is realistic, Dolores Claiborne is certainly more stylized. In fact, my production designer, Bruno Rubeo, and I looked at a lot of Magritte’s surrealist paintings, and even incorporated some of his imagery in the film, like when Jennifer Jason Leigh looks in the bathroom mirror and what she sees is the back of her head. I was trying to create a unique look in that film, where the narrative alternates between the present and the past. I had different looks for each, and they had to reflect the psychological nature of Dolores. In the present tense, we shot on Kodak, which naturally has a strong, contrasty, bluish feel to it—it’s a little cold compared to Fuji. There was a film I loved that Sven Nykvist had shot for Ingmar Bergman, The Passion of Anna, in which almost all the color had been stripped out, and I told my cinematographer, Gabriel Beristain, that I wanted that look in Dolores Claiborne. So we used Kodak for all the contemporary sequences, then desaturated it like crazy, and flashed it. But for the flashback scenes, when Dolores is 25 and hopeful, we used Fuji, which has a pastel look—it creates a kind of natural feeling of bliss. I did that all throughout the film.
Q: What about that fantastic sequence at the end of Devil’s Advocate in which the frieze seems to come to life? How was that done?
A: Bruno had had this idea about an animated bas- relief, and I hired a very smart guy named Richard Greenberg as a visual consultant to help me figure out how to do it. He took me to the Pageant of the Masters in Laguna Beach, where every year they re-create old master paintings with real people on stage, and he also showed me a book by a photographer who took pictures of ballet dancers underwater—he had some film footage, too. So Richard and I would get dancers and shoot them underwater, then freeze their three-dimensional form in this bas-relief, and then we’d animate them digitally when they’re supposed to be coming to life. It’s a great effect, I think.
Q: It is. And you did a good job shooting dancers on dry land, too, in White Nights (1985).
A: I love dance. In White Nights, I knew I wanted to do something with Mikhail Baryshnikov and Gregory Hines, but initially I didn’t know what the story was going to be. I’m a narrative film- maker, so I wanted a musical in which every dance carried either the character or the narrative through. Once I got that, I knew it would be interesting to contrast these styles, which are completely different. In tap dancing, you develop your body to move only from the knees down; ballet dancers move every single muscle, every bone in their bodies. I had Twyla Tharp for the choreography. I’ve got to say, choreographers are the toughest of the tough. Directors can be difficult, but they’re nothing compared to choreographers. Twyla was able to work with these two disparate styles and put them together. In that one number where Greg and Misha dance together, it’s terrific, neither one of them is dancing to his capabilities, but they’re conforming their styles in order to dance together. It’s a true pas de deux. And by the way, they’re also advancing the plot.
Ensemble: (top) With Kathy Bates in Dolores Clairborne; (bottom) with Jeff Bridges and Rachel Ward in Against All Odds. (Photos: (top) Warner Bros.; (bottom) Everett Collection)
Q: You spend a lot of screen time in that movie on warming up and rehearsals, which I always think are interesting processes.
A: Absolutely. In Hail! Hail! Rock ’n’ Roll, the documentary I made about Chuck Berry, the best sequences are the rehearsals, with Keith Richards leading the band that’s going to back Chuck at a concert in St. Louis. In the rehearsals, though, there’s a moment when Chuck tries to humiliate Keith, and no one could have foreseen anything like that. That’s the great thing about documentary, when you can capture something real and you were there to see it. That’s gold.
Q: One thing I really appreciate about the way you shoot music is that you’re always clear about who’s playing at any given time. In the Chuck Berry con- cert, you’ve sometimes got four guitarists playing on stage—Chuck, Keith, Robert Cray, Eric Clapton— and you cut it so that we can tell who’s playing what.
A: In documentaries as in any film project, I want to tell a story, and part of the story here is understanding what the performer is saying, whether it’s a vocal or a guitar solo. When two or three or four guitarists are playing together, something’s happening there, dialogue is being exchanged. Why would you cut any differently, when you’re trying to understand what’s being said?
Q: And you seem to apply that principle to shooting dance, too, where you mostly show the whole body so we can see what the dancers are doing in relation to one another. How did you get those amazingly fast scenes in which Hines and Baryshnikov seem to be just flying around the rehearsal studio? Was that Steadicam?
A:No Steadicam, all dolly moves. On that picture, I had one of the great dolly operators of all time, a guy named Freddie Cooper. My cinematographer, David Watkin, was one of the greats, but he really didn’t care about anything except the lighting. Once he’d lit, he’d go off and read a book. But he had this fantastic operator. When we shot the ballet that opens the picture, Le jeune homme et la mort, I storyboarded it with this one very complicated shot that I thought I’d probably break in threes, but Freddie wanted to try doing it in one. He did it almost perfectly, and then said to me, ’If you give me another shot, I’ll be able to get it.’ I thought, ’My God, I have as brilliant a camera operator as Baryshnikov is a dancer.’ And of course, when you realize that you’ve got that tool, you start to push, you design your shots differently. My visual vocabulary has just expanded; I’m going to try things I would have thought were impossible to do. We didn’t even have to do that many takes, because Freddie and the dolly operator could rush around and just stop on a dime. We were doing 360s, and how do you do that in a dance studio, where there are mirrors all around? The designer, Philip Harrison, made every mirror cantilevered so every one could be turned a little bit, and then Freddie would angle each one. Baryshnikov and Hines would go all around the studio three times, and although you’d see them reflected in the mirrors, you’d never see the camera.
Q: Have you always had a special interest in music and dance?
A: Always. I grew up in Santa Barbara, a beautiful bedroom community, though we were on the wrong side of the tracks, and what you don’t have there is a large ethnic population. So I was one of those kids staying up late at night trying to tune in to L.A. radio stations to listen to black music. The first time I heard Ray Charles, I knew he was a cut above. He was my guy. That’s why I spent 13 years trying to raise the money to make a biography of him.
Q: Did your thinking about the film change a lot over all that time?
A: In the original treatment, it was a story- based narrative, in chronological order. Once I finally had the money and I had to figure out how to visualize the story, it immediately became clear to me that it was impractical to tell the story that way, in part because when you’re doing the biography of a brilliant artist, by far the best and most interesting part of the story is the attaining. Once they’re there, it’s less interesting; it’s that process of creating something out of nothing that’s indelible. I’d used a parallel structure in Dolores Claiborne, using flashbacks all the way through, so that was in my lexicon. In Ray, I had to use some tricks. We show him in Seattle in, I think, 1949, but all we had from that time was 8 mm footage, which even after we digitized it and blew it up wasn’t great quality. So what I had to do was step on the scenes right before and after the flashback, deteriorate my own material, so when the audience goes into the flashback it isn’t shocking and when you come out of it the transition isn’t that jarring. I used a bleach bypass process for the present-day story—you take color out, it’s got a much more contrasty look, with darker darks. The look of the flashbacks, though, is really vivid, be- cause Ray could see them, and that’s how he remembered it. It’s the vision of a child, and it’s a blind man remembering when he could see, so it’s got to be idealized.
Q: There is some good dancing in Ray, too.
A: Those dance sequences are some of the moments I’m proudest of in my movies. A lot of the credit has to go to my [dance] consultant on that, Vernel Bagneris. He said to me, ’You know, this was pre-American Bandstand, there was no homogeneous dance style in America then. Every city had its own style, Cleveland or New York or Boston or Atlanta, even though they were all listening to the same music.’ So that’s the way we did it, with every dance scene in a different style. That’s something I thought was really important. And Vernel did some terrific stuff in the scene where Ray comes up with ’What’d I Say,’ with the audience responding out on the dance floor, just burning it up. To see the moment of creation, a moment like that, is unbelievably exciting.
Building Character: (top) Hackford on the mean streets of New York with Al Pacino and Keanu Reeves in The Devil‘s Advocate; (middle) in his office as DGA president; (bottom) Hackford directing Jamie Foxx in the title role in Ray. (Photos: (top) Warner Bros.; (middle) DGA Archives; (bottom) Nicola Goode/Universal Pictures)
Q: Let’s talk about the Guild, which I know has been very important to you.
A: I love this organization, I really believe in the Directors Guild. I joined before The Idolmaker, and it was great to know that I had rights. You’ve got 10 weeks to do your first cut; that’s a miracle. And the Guild is really the only place where filmmakers can get together, share ideas, and truly have a dialogue about the process, all we do in common. None of us are the same, but we all have the same kinds of problems to solve. We’ve got directors of movies, TV, commercials, music videos, reality shows—plus unit production managers, stage managers, and assistant directors. ADs are a big part of the process; you’re totally dependent on them. Your 1st AD is your lieutenant on the set, and when you’ve got a good one, you’re in great shape. The directors are the largest group in the Guild, and they could throw their weight around in negotiations. But we always make room for the ADs, SMs, and UPMs, because we know we need them to get our vision on the screen. I’ve been in this Guild for 40 years, and I can tell you that directors are still deferential to their team.
Q: What do you see as the value of Guild service and why would you encourage other active members to serve?
A: At the beginning of your career, you are happy to get a job. And in reality, when you do get those jobs, you profit from the protections that the DGA, over the course of time, has given directors. So you’re happy to be a member, and you think this is great. But after you’ve been able to make two or three movies, you start to realize, ’Wait a minute. There are people that came before that actually made that possible for me.’ And, you know, everybody wants to say, ’I’m too busy. I’ve got this, I’ve got that.’ But when you actually go and spend time with your peers at the Guild, the people who really, in the present tense, are making sure that directors and their teams are protected, it can be a really enjoyable experience. You’re working for other people in your profession, and a stewardship for people who come after you, and nobody else is going to do that. So instead of it being a chore, it is actually a joy.
Q: You’ve said that the most important accomplishment of your presidency was securing the health plan in the 2010 negotiations. Why is that so significant to the Guild?
A: When I was president, we got to a point where we realized that the cost of health care was quickly accelerating to the point where we were going to be in trouble. So in 2010, the focus of the negotiations was health care. We were able to take that moment and increase the value of our package and have the option of making that happen in the health plan and get an extra bump from employer contributions. By doing that, we ensured another five years of our plan surviving and being in great health. And this has to do with [National Executive Director] Jay Roth and his brilliance. I think these are some of the big responsibilities that a lot of people don’t understand but as leadership you do. When you go through a negotiation and you realize what we’ve actually done is ensure our health plan for the future, these are moments that are really gratifying.
Q: What were some of the other issues you had to deal with in your time as president?
A: The biggest thing is piracy, which destroys our ability to monetize what we do. If you can’t monetize what you do, the people who put up the money in the first place aren’t going to do it anymore. During my presidency, we went to Washington and spoke for a couple of bills, nothing sweeping, just trying to shut down some pirate sites offshore. Google and its allies came out and killed us there; they flexed their muscles and destroyed that legislation. The power today is in the hands of those Internet giants, who in reality are making money stealing intellectual property. For an artist, if you can’t feed your family, you can’t create; you have to become a plumber or something. I realize I’m talking about a failure here, but you can’t be defeated if you’re a director. I think in the future we’ll find ways to protect the work we do. We’ve got to recapture the audience as a paying audience—not gouging them, but having them pay so we can make a living for ourselves and our families. Everything we do costs money. Ray was an independent film, but it still cost $30 million. One guy financed it. That’s a huge risk, and if he knew there wasn’t a chance he’d make his money back would he have done it? That’s where we’re at today.
Q: You’re in the midst of preproduction now. How do you prepare yourself, physically and mentally, for making a movie?
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'Ray' - The Story of Ray Charles.
Starring Jamie Foxx.
Directed by Terry Hackford.
A U.I.P. release.
Text can be displayed black on white or white on black.
Contents:
The story.
Audio described movie trailer. ('Windows Media' format - loading times between ten and sixty seconds, depending on connection speed). (External link to download player if necessary).
Audio described cinema shows - now finished.
Production notes.
The cast.
Director, producer and screenplay credits.
Testimonials to Ray Charles.
Links to more Ray Charles websites.
U.K. audio described cinema - information.
The story
Ray is the never-before told musical biographical drama of American legend Ray Charles. Featuring a remarkable performance from Jamie Foxx in the central role. Ray follows the inspiring story of a one-of-a-kind genius.
Born in a poor town in Georgia, Ray Charles went blind at the age of seven, shortly after witnessing his younger brother's accidental death. Inspired by a fiercely independent mother who insisted he make his own way in the world, Charles found his calling and his gift, behind a piano keyboard. Touring across the Southern musical circuit, the soulful singer gained a reputation and then exploded with worldwide fame when he pioneered incorporating gospel, country, jazz and orchestral influences into his inimitable style.
As he revolutionized the way people appreciated music, he simultaneously fought segregation in the very clubs that launched him and championed artists' rights within the corporate music business. Ray provides an unflinching portrait of Charles' musical genius as he overcomes drug addiction while transforming into one of this country's most beloved performers.
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Ray - The Ray Charles Story (15)
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Production notes .
If a life is merely the sum of its parts, the the story of Ray Charles might read as a tale of personal highs and lows behind a lengthy, award-winning career in the music business.
But for a man who synthesized his struggles, pain and personal darkness as effectively as he incorporated a myriad of musical styles - Jazz, Rhythm & Blues, Rock & Roll, Gospel, Country & Western - into his art, the story reads much differently, transformed from a sequence of events and accomplishments into a compelling and ultimately inspiring journey of a one-of-a-kind genius with a distinct vision who along the way, gave the world a new way to hear.
Ray is the never-before-told musical biographical drama of american legend Ray Charles, brought to the big screen following a 15-year journey by award-winning filmmaker TAYLOR HACKFORD and featuring a remarkable performance from the multifaceted JAMIE FOXX.
Link to full production notes.
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The cast.
Jamie Foxx stars as Ray Charles.
Kerry Washington plays Della Bea Robinson
Clifton Powell plays Jeff Brown
Harry Lennix plays Joe Adams
Terrence Dashon Howard plays Gossie McKee
Larenz Tate plays Quincy Jones
Richard Schiff plays Jerry Wexler
Aunjanue Ellis plays May Ann Fisher
Bokeem Woodbine plays Fathead Newman
Sharon Warren plays Aretha Robinson
Curtis Armstrong plays Ahmet Ertegun
Regina King plays Margie Hendricks
Link to full cast biographies.
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Jamie Foxx stars as Ray Charles.
Jamie Foxx (Ray Charles) is enjoying success in a multifaceted career that already encompasses dramatic roles in films and television, as well as stand-up comedy and music. Though previously best known for his comedy work, his emergence as a leading dramatic actor is evidenced in his most recent an upcoming roles. He most recently starred opposite Tom Cruise in Michael Mann's thriller Collateral; Foxx portrays Max, a taxi driver who becomes "collateral" - an expandable person - when he and his cab are hijacked for a night by a contract killer (Cruise) in town to carry out five hits before dawn. In addition to his title role in Ray, Foxx is set to star in the action thriller Stealth for director Rob Cohen, which is slated for release in 2005.
Foxx recently received critical acclaim for his portrayal of gang member-turned-Nobel Peace Prize nominee Stan Tookie Williams in the cable movie Redemption. He also starred opposite Gabrielle Union in the urban romantic comedy film Breakin' All the Rules.
Foxx first came to fames as a popular stand-up comedian and comedy actor. During the early 1990s, he was a regular on the comedy series In Living Color, alongside Keenan Ivory Wayans, Damon Wayans and Jim Carrey. He also had a recurring role on the series Roc, and guest-starred on several other shows.
In 1996, he launched his own series, The Jamie Foxx Show, which became one of the top-rated shows on the WB network. Foxx not only co-created and starred on the show, but also served as an executive producer and directed several episodes. During the show's five-year run, Foxx won an NAACP Image Award and earned three more nominations for Outstanding Actor in a Comedy Series.
On the big screen, Foxx received praise from both critics and audiences for his performance as a breakout star quarterback in Oliver Stone's 1999 football-themed drama Any Given Sunday, in which he joined an ensemble cast that also included Al Pacino, Cameron Diaz and LL Cool J. In addition to his on-screen role in the movie, Foxx wrote, produced and performed two songs featured on the film's soundtrack, including the title track and the chant "My Name Is Willie".
He went on to co-star with Will Smith in the 2001 epic Ali, which marked Foxx's first collaboration with director Michael Mann. His portrayal of Muhammad Ali's corner man and constant inspiration, Drew Bundini Brown, brought Foxx another Image Award for Outstanding Supporting Actor in a Motion Picture. His additional film credits include Bait, The Truth About Cats and Dogs and The Great White Hype.
In 2002, Foxx brought down the house in his first HBO comedy special, Jamie Foxx: I Might Need Some Security. He also has the distinction of hosting the top-rated Saturday Night Live of the 2001-02 season.
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Director, producer and screenplay credits.
Ray is directed by acclaimed filmmaker Taylor Hackford (An Officer and a Gentleman); screenplay by James L White, from a story by Hackford and White; and produced by Hackford, Stuart Benjamin, Howard Baldwin and Karen Baldwin.
Link to full biographies.
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Twenty testimonials to Ray Charles by his peers.
"...The only genius in our business."Frank Sinatra.
"In a time where racism was at a premium high, he brought together country music rhythm and blues."Stevie Wonder.
"Ray was always positive about what he was doing, and I admire him most for that. I tell you one thing: He could see a lot better than those eyes"James Brown.
"I have grown up with Ray Charles' music and I have always thought of him as the quintessential Soul Man - the flip side of Nat King Cole, if you will. Ray is a musical genius on piano and in voice. The consistency and substance of his work and his career is something for any musical artist to aspire to. His arrangements are always rich, soulful but elegant, and he knows how to have fun. Anyone who can turn the National Anthem into the anthem of all times is an artist to be reckoned with. I am proud to have worked with him on this endeavour."Natalie Cole.
"the voice of a lifetime."Aretha Franklin.
"When people mention Ray Charles, I just smile. That grin, that voice, his music is so joyous. He had an enormous effect on my career. Anything he put out, I bought. He has one of the greatest voices of all time."Elton John.
"When he started singing, that was it. Everyone else was playing for second."Bruce Hornsby.
"Ray Charles was a true American original who many artists tried to emulate - among them, myself, Rod Stewart, Joe Cocker, Steve Winwood and countless others. Ray Charles defined rhythm and blues, soul and authentic rock and roll. I am eternally grateful to him...Billy Joel.
"I just love everything about Ray Charles. He could sing any song, and it sounds like Ray Charles and it sounds amazing. There's nothing I could say to do him justice. I love him so much. He is as big an influence on me as you can get."Norah Jones.
"There will never be another musician who did as much to break down the perceived walls of musical genres as much as Ray Charles did."Quincy Jones.
"Brother Ray is so good. It was great to have the opportunity to work with long-time friends like him and Billy Preston. We were a sight; three old timers burning through this historic blues track. I cannot express how much it meant to me to sing alongside Ray on on e of his hits from his early career."BB King.
"When recording or performing with Ray I always knew I was in presence of greatness. A true legend in his time and mine..."Gladys Knight.
"I was so nervous to be in the same studio as Ray Charles. He is not just an ordinary singer, musician or icon. He's the best of the best. It was a highlight of my life."Johnny Mathis.
"To be singing with Ray Charles, two feet away from him live with an orchestra was pretty unbelievable. "Hey Girl" is the ingredient that makes the moment even more special to me because I know how much Ray loves that song."Michael McDonald.
"His sound was stunning - it was blues, it was R&B, it was gospel, it was swing - it was all the stuff I was listening to before that but rolled into one amazing, soulful thing."Van Morrison.
"A lot of folks want to pay tribute to Ray Charles, and I'm glad a lot of us are getting the opportunity to do that. Ray and I are very good friends and there's no one any better, as far as I'm concerned, at what we do. Recording with Ray was an extraordinary experience. Who would have thought that guys like us would still be out there recording and doing stuff. That's what makes it special."Willie Nelson.
"There was music before Ray Charles, and there's music after Ray Charles. It's that stark a difference... I got to record with him for his duets project... He was very kind and generous and appreciative - very present. And when I heard that voice and that piano coming out of the headphones, well, that was the pinnacle of my career..."Bonnie Raitt.
"It's a special privilege to say you've recorded with Ray Charles. Being immersed in and around his musicality is always a learning experience. He set the pace for all of us."Phil Ramone.
"It was all music to Ray. He was the first true crossover artist... But Ray was Rock & Roll. He was Rhythm & Blue. He was Jazz. He was country. He had such reach - and far-reaching effect."Keith Richards
"Ray Charles has made the greatest individual contribution to American music in my lifetime... He was a genius. He was the one."James Taylor.
Back to contents.
Links to more Ray Charles websites:
Link to official U.K. website.
Link to official U.S. website.
Link to U.S. website.
Link to Ray Charles fan club website.
The latest news on Ray Charles.
Back to contents.
Content copyright Universal Studios 2004. Website link.
Accessible website by 'your local cinema dot com'.
Website link. Email: ad@yourlocalcinema.com Telephone: 0845 056 9824.
Audio described trailer courtesy of I.T.F.C., London.
Website link. Email: info@itfc.com Telephone: 020 8752 0352.
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Helen Mirren & Taylor Hackford are here to bring you the laughs you need today. Watch them announce their #AFIMovieClub pick, then go to...
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Helen Mirren & Taylor Hackford are here to bring you the laughs you need today. Watch them announce their #AFIMovieClub pick, then go to...
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/AmericanFilmInstitute/videos/helen-mirren-taylor-hackford-are-here-to-bring-you-the-laughs-you-need-today-wat/237878050739851/
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https://www.loc.gov/item/jots.200021719/
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THE DEVIL'S ADVOCATE
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motion picture | Feature film (over 60 minutes). "Days of wine and roses", "Moment to moment" by Henry Mancini, Johnny Mercer, "It's easy to say" by Henry Mancini, Robert Wells, performed by Michael Lang; "Romanza", "Rendezvous" by and performed by Michael Lang. (Songs). Inc: Malcolm McNab, trumpet; Jim Thatcher, French horn; James Walker, flute; Tom Boyd, oboe; Michael Lang, piano; Emil Richards, percussion. (Soundtrack Personnel). Motion Picture (Form).
|
en
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The Library of Congress
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https://www.loc.gov/item/jots.200021719/
|
More about Copyright and other Restrictions
For guidance about compiling full citations consult Citing Primary Sources.
Citations are generated automatically from bibliographic data as a convenience, and may not be complete or accurate.
Chicago citation style:
Taylor Hackford, James Newton Howard, Artie Kane, and Brad Dechter James Newton Howard. THE DEVIL'S ADVOCATE. USA, 1997.
APA citation style:
Taylor Hackford, James Newton Howard, Artie Kane & James Newton Howard, B. D. (1997) THE DEVIL'S ADVOCATE. USA.
MLA citation style:
Taylor Hackford, et al. THE DEVIL'S ADVOCATE. USA, 1997.
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https://www.usmagazine.com/celebrity-news/pictures/helen-mirren-and-taylor-hackfords-relationship-timeline/
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Helen Mirren and Taylor Hackford’s Relationship Timeline
|
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[
"Eliza Thompson"
] |
2022-12-18T17:00:15+00:00
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Helen Mirren and husband Taylor Hackford started dating in 1986 after meeting on the set of 'White Nights' — see their relationship timeline
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/wp-content/uploads/2020/05/cropped-us-logo.png?w=32&quality=86&strip=all
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Us Weekly
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https://www.usmagazine.com/celebrity-news/pictures/helen-mirren-and-taylor-hackfords-relationship-timeline/
|
A romance with a rocky start. Helen Mirren and Taylor Hackford have been together for more than 30 years, but their first encounter didn’t go smoothly.
The Oscar winner and the Ray director met in 1985 while Hackford was working on the movie White Nights, but Mirren wasn’t impressed when her future husband kept her waiting for an audition. “It was a strange way to meet Helen, because she is a lovely person,” the California native told AARP The Magazine in September 2006. “But she didn’t hold back her fury.”
After they got to know each other, however, the Queen actress came around, in part because of how Hackford interacted with his sons. “I have to say that the thing I loved most about Taylor was his absolute, total commitment to his children,” the Emmy winner told the outlet. The Bukowski writer shares son Rio (born in 1970) with first wife Georgie Lowres and son Alexander (born in 1979) with second wife Lynne Littmann.
Mirren, for her part, has said that she never wanted her own biological children. “It was not my destiny,” she told British Vogue in February 2013. “I kept thinking it would be, waiting for it to happen, but I never did, and I didn’t care what people thought.”
The U.K. native also wasn’t totally sold on marriage in her younger years, but meeting Hackford changed her mind. “We got married in the end because we realized that we were going to be together forever,” Mirren told AARP The Magazine in November 2016. “We got married, ultimately, for legal reasons more than anything else. Estate planning and other complicated things like that. And our families, we sensed, wanted us to be married. I always said I have nothing against marriage; it just wasn’t to my taste, like turnips. It took me a very long time to come around to acquiring the taste. I just had to meet the right turnip.”
In December 2022, the Tony Award winner revealed that her relationship helped inspire her portrayal of Cara in the Yellowstone spinoff 1923, in which she’s married to a man named Jacob Dutton (Harrison Ford). “I may be the boss, but he’s the leader. It’s an equal partnership and I know from being with my husband,” she told Entertainment Tonight at the time. “But if you manage to stay together through love, you come to this very beautiful place where it is this equal partnership, and I think that’s where Cara and Jacob are.”
Keep scrolling for Mirren and Hackford’s complete relationship timeline:
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https://observer.com/2004/11/give-the-man-an-oscar-jamie-foxxs-pitchperfect-ray/
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Give the Man an Oscar: Jamie Foxx’s Pitch-Perfect Ray
|
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[
"Andrew Sarris",
"observer.com",
"andrew-sarris"
] |
2004-11-08T05:00:00
|
Taylor Hackford's Ray , from a screenplay by James L. White, based on a story by Mr. Hackford and Mr. White, turned out to be even better than everyone said it was, and I write this as one who has never regarded the music of Ray Charles as a cultural priority.
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Observer
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https://observer.com/2004/11/give-the-man-an-oscar-jamie-foxxs-pitchperfect-ray/
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Taylor Hackford’s Ray , from a screenplay by James L. White, based on a story by Mr. Hackford and Mr. White, turned out to be even better than everyone said it was, and I write this as one who has never regarded the music of Ray Charles as a cultural priority. Not that I wish to strike a pose as some kind of musical elitist; rather, I want to assure readers as indifferent to most music as I am that Ray is eminently worth seeing and hearing for its brilliantly integrated fusion of story and song.
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The film expertly dramatizes the personal and professional life of Ray Charles Robinson, who was born on Sept. 23, 1930, in Albany, Ga., and died on June 10, 2004, at the age of 73. He dropped the “Robinson” at an early stage of his career because the championship boxer Sugar Ray Robinson had pre-empted the name “Robinson” in the public mind. Blind since the age of 7, Ray Charles had to overcome the additional handicaps of being born poor and African-American in the segregated South.
One would think that Hollywood decision makers would’ve jumped at the chance to film a life story so chock-full of inspirational human-interest themes, including the ever-timely civil-rights struggle. Such was not the case, however. Mr. Hackford, the director, co-writer and co-producer of Ray , met Ray Charles for the first time in 1987 while trying to secure rights to his life story, and their collaboration over the next 15 years left a lasting impression on the filmmaker, as he describes in the production notes: “To really understand Ray Charles, the music is important, but there is so much more to the man. When I first heard the stories of his life, I thought, ‘My God, I never had any idea.’ I did not realize how he came up, how he went blind, how he traveled on a Greyhound bus from Northern Florida to Seattle, how he got off that bus as a blind man on his own, experienced discrimination, addiction and sorrow-and yet found his way to become an incomparable artist, an incredible businessman and an American icon. I thought, ‘This man’s story must be told.'”
Of the man himself, Mr. Hackford observed: “He was a very gracious man, yet also very, tough. He was one of the smartest people I’ve ever met and he was also very, very candid. Of course, he was not an easy person, but nobody that accomplished is easy. Having overcome the monumental obstacles he’d faced in his life, Ray exuded a confidence that can only come from being a self-made man. He was also a perfectionist who demanded total concentration and dedication from others. And it was impossible not to be inspired by him.”
After Mr. Hackford and his co-producer, Stuart Benjamin, secured the rights to Charles’ life, they were surprised to discover such a lack of interest in Hollywood that it would take more than a decade to get the project off the ground. As it turned out, this long delay meant that Charles never lived long enough to see the movie on which he’d labored so tirelessly.
On the more positive side, an earlier green light on the project might have meant that Jamie Foxx would not have been considered for the part of the famous musician. And let’s make no bones about it: Mr. Foxx comes as close to reincarnating Ray Charles as any mere mortal could be expected to come. After all, who could have thought in advance that Mr. Foxx, in addition to being a skillful stand-up comedian on television and a persuasive actor in Oliver Stone’s Any Given Sunday (1999) and Michael Mann’s Ali (2001) and Collateral (2004), also possessed musical talent of his own, and had learned to play the piano at 3? This ensures a confidence at the keyboard and a facial accompaniment to the vocals that never betray the original.
Indeed, so many things went right with this ambitious production-and particularly with Mr. Foxx’s amazingly and uncannily charismatic performance-that a mere Oscar seems grossly inadequate compensation. The casting and performances of the women alone contribute to the gravitational pull of the increasingly sensual Jamie Foxx–Ray Charles persona. Kerry Washington as Charles’ gospel-singer wife, Della Bea Robinson, is counterposed with the sassy, angry, heroin-addicted singer-temptress, Margie Hendricks (Regina King), and the proud soloist Mary Ann Fisher (Aunjanue Ellis), who walks in and walks out of the Ray Charles orbit; all enhance the film with their womanly graces and their rhythmically compelling voices.
As little Ray’s thin-boned, iron-willed mother, Sharon Warren’s Aretha Robinson provides the tough love needed to lead a blind child away from the path of charity-seeking dependency and onto the open road of brave independence. Mr. Foxx has noted that he was seeking the “nuances” in Charles’ character, though he would seem to have his hands full as a sighted actor conveying the infinite darkness of a blind musician. Mr. Hackford has adjusted his camera setups so that Charles seems to come lurching from out of the darkness, and sets up scenes in which his acute hearing is demonstrated; and the director is not afraid to illustrate Charles’ hallucinatory delusions with lurid sensory shocks.
The heroin addiction that resulted in Charles’ two well-publicized brushes with the law may have given pause to the Hollywood honchos during the decade they hemmed and hawed about the project. Mr. Hackford doesn’t break any new ground in this area, although a couple of hard-edged rehab scenes with Patrick Bauchau’s no-nonsense Dr. Hacker makes the addict’s final recovery seem plausible. After all, his heroic mother had instilled in him a capacity to confront crises head-on.
The drowning of his beloved younger brother in a grotesque accident in a small outdoor tub sets off a cycle of loss, grief, guilt and the onset of blindness that a child might well interpret as divine punishment for his failure to save his brother. I must confess at this point that the death of my brother in a sky-diving accident when he was 28 years old and I was 32 has never left me entirely free of guilt for having survived, and so I completely identified with the dramatization of this fraternal trauma. But where the film scored an emotional knockout for me was the drug-withdrawal-induced hallucinatory images of Ray’s dead brother flying into his loving arms while Ray’s mother, also long dead, beams approval of the brotherly reunion.
Charles’ early experiences as a saloon musician are shown in slightly raucous fashion as occasions for having his blindness exploited, both by his own people and his white employers-to the point that Charles demands his paltry wages be paid in dollar bills so he can count his earnings out with his sightless but tactile fingers. As his earnings multiplied exponentially, Charles relied on a succession of assistants and business managers to protect his interests against the notorious predators in the music business. Sometimes the transition in his fortunes took an ugly turn, most notably when he replaced longtime driver and road manager Jeff Brown (Clifton Powell) and accused him of stealing. The film doesn’t soft-soap this Trumpish change in Charles as the megabucks kept pouring into his coffers. Similarly, his frequent infidelities on the road are viewed through the eyes of his humiliated wife.
The singer’s career-making association with Atlantic Records, personified by the Turkish-American Ahmet Ertegun (Curtis Armstrong) and the Jewish-American Jerry Wexler (Richard Schiff), was later jettisoned for the sake of an irresistible deal with ABC-Paramount; under this new deal, Charles was allowed to keep ownership of his master tapes, a concession that no previous musician-not even Sinatra-had ever been granted by a record company. In the movie, Mr. Ertegun remains friendly with Charles after the break, but Mr. Wexler is completely outraged by Ray’s ingratitude and disloyalty, although in real life Charles eventually returned to Atlantic Records.
Then there are the songs themselves, a few sung by Mr. Foxx but most by Ray Charles-14 of them written by Ray himself, twice as many written by other people but transformed by the artist into personal anthems, most notably Hoagy Carmichael and Stuart Gorrell’s “Georgia On My Mind,” Percy Mayfield’s “Hit the Road Jack” (sung in the film by both Charles and Mr. Foxx), and Ahmet Ertegun’s “Mess Around,” which got Charles through a temporary crisis in his recording career. Some reviewers have complained that there aren’t enough completed songs in the mix, but with more than 40 separate pieces of music to create as many separate moods, it’s hard to see what, besides a plotless Ray Charles concert film, would fully satisfy these critics. For my own admittedly tin ear in this realm, the songs were just right, and never too much.
Ray Charles entered the civil-rights struggle in the 60’s and subsequently became an influential force in the cause. His refusal to perform in a segregated hall in Augusta, Ga., led to a lifelong ban in that state; in 1979, the state rescinded that decision with a formal apology to Charles and proclaimed “Georgia on My Mind” the official state song.
Mr. Hackford seems to have slipped off everyone’s directorial radar after his deserved success in 1982 with An Officer and a Gentleman as well as his role as producer of the excellent feature documentary When We Were Kings (1996), on the Ali-Foreman title fight in Zaire. After Ray , however, Mr. Hackford has earned the right to a complete re-evaluation of his work.
Li’l Lili
Claude Miller’s La Petite Lili , from a screenplay by Julien Boivent and Mr. Miller, is ostensibly based-though admittedly loosely-on Chekhov’s The Seagull . But it’s also influenced just as much or more by Luigi Pirandello’s Six Characters in Search of an Author . In fact, Mr. Miller confesses a divided authorship for La Petite Lili by crediting Mr. Boivent entirely for the second part of the film, with his separate screenplay for Mr. Miller’s anti-Chekhovian “fourth act.”
In an interview, Mr. Miller reveals the genesis of his film: “About ten years ago, I reread The Seagull . Even though the play is set in the 19th century in a world of theater and literature, I found so many similarities with our lives as filmmakers and movie actors that I wanted to do a screen adaptation of it to show how contemporary and universal the characters are. All the characters in the play are the heroes of the film. Nina is Lili (Ludivine Sagnier), who dreamt of becoming an actress. Treplev has become Julien (Robinson Stevenin), an intransigent young filmmaker. Arkadina, his mother, is Mado (Nicole Garcia), a talented actress. Trigorin is Brice (Bernard Giraudeau), a successful director and Mado’s lover. Masha is Jeanne-Marie (Julie Depardieu), who Julien doesn’t realized is in love with him, and Sorin is Simon (Jean-Pierre Marielle).
“So, The Seagull was the starting point for La Petite Lili , except for the fact that I felt that Act IV wouldn’t work with young people in this day and age. My adaptation moves toward a different denouément.”
In addition to variants of Chekhov and Pirandello (and Miller and Boivent), there is a bit of contemporary French-pastry oo-la-la with Ms. Sagnier at the outset of the film. Still, at the very heart of the drama is a curiously judgmental puritanism at work in the treatment of her character. After deserting a young idealist to run off with an older pragmatist and further her film career, Lili is shown regretting her choice when she sees that her ex-lover is now happily married, with a child, and is a successful filmmaker besides. In this new context, Lili is closer to a female Alfie than a character out of Chekhov.
The rest of the French cast is more than adequate, though most of the parallels between Chekhov’s turn-of-the-century worlds of theater and literature and the contemporary world of autobiographical cinema seem forced and arbitrary. But the biggest problem is Lili herself: Having seen Vanessa Redgrave’s Nina onscreen, as well as a Nina-like character that she played in an Ibsen play onstage, I have to say that Ms. Sagnier is decidedly lightweight by comparison. Think of Audrey Hepburn and Leslie Caron in their prime, or Nicole Berger in Claude Autant-Lara’s Game of Love , or Simon Simone in Jean Renoir’s La Bête Humaine , and you get a sense of the range of magical possibilities.
There is one startling twist in the film-within-a-film that takes up much of the new fourth act, but you have to be especially alert to catch it. Overall, La Petite Lili is a modest entertainment for hard-core Francophiles like me.
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Charles and I
|
[
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[
"Paul Hamilos",
"www.theguardian.com"
] |
2005-06-06T00:00:00
|
<p>Taylor Hackford, director of Ray, talks to Paul Hamilos
about censorship, the pitfalls of a white man
making a film about a black hero, and why
his acclaimed biopic was 15 years in the making .</p>
|
en
|
the Guardian
|
https://www.theguardian.com/film/2005/jun/06/features.paulhamilos
|
Biographers are notorious for falling out of love with their subjects as they spend weeks, months, years, researching every small detail of their lives, only to discover that the person they once idolised was as prone to human frailties as the rest of us. You couldn't blame Taylor Hackford, director of Ray, if he ended up feeling the same, having spent a good part of the last 15 years trying to get the life story of Ray Charles onto the big screen.
But Hackford already knew all about the dark side of Charles's life before he started the project; his 20-year heroin addiction, serial womanising and the stories of his mistreatment of colleagues, friends and fellow musicians are well known. And anyway, Charles's life was so extraordinary, and his talents so beguiling, that he could easily be forgiven a few lapses in his personal life. Charles's last album before his death in 2004, Genius Loves Company, was pretty apt - he certainly did enjoy company, not all of it good.
Despite the obvious appeal of the narrative arc of Charles's life - from grinding poverty in the Deep South to international superstardom, with blindness, drugs and plenty of sex thrown in - studio executives weren't overly keen on the idea of a biopic. As Hackford says: "You have to understand I heard everything, from 'nobody remembers Ray Charles,' to 'young people aren't interested,' 'African-American films don't sell overseas,' and 'biopics belong on television'." The director has every reason to feel a little smug about his perseverance: "After having been told no, and having all these people say it wouldn't work, Ray is now the third-highest DVD in sales in the US this year." Given that the two films ahead of it, The Incredibles and Shark Tale, are both children's movies, which traditionally do well on DVD, the success of Ray is all the more impressive.
The making of the film is almost as intriguing as the story itself. Having thought that he would have to give up entirely, a saviour appeared from the unlikeliest of sources. Billionaire Philip Anschutz, a long-time fan of Ray Charles's music, offered to fund the project, with just a few conditions: as a religious conservative he didn't want any sex or swearing. Hackford initially said no, reasoning, "you can make PG-13 films on any subject, but this is a man who was a heroin addict for 20 years and slept with a different women every night. It's the wrong subject".
"I walked away from the project not once but twice," adds Hackford, "because he [Anschutz] now had the rights and he was determined to make sure that it couldn't be an R-rated movie. I make R-rated movies, so I left.
"The person who made me come back was Ray Charles. He said, 'Taylor, you're a fool. You struggled for 13 years and I stayed with you and now you're walking away from this film? This guy wants to make the film ... and, hey man, I never said fuck in the 50s. I do now. I didn't then'."
Hackford convinced himself that artists "have been censored for centuries and still were able to communicate sex and everything else," and decided to take Anschutz's money. He delivered a film that expresses the highs and lows of Charles's heroin use, his womanising and the rough-and-ready feel of the clubs where he learned his trade, but without graphic sex scenes or Pulp Fiction-style drug-taking.
"It is ironic that a film like this should have been funded by a moral conservative. But, he was straight about his beliefs and, once we agreed, he left me alone. That's much better than having somebody who believes they've got an artistic point of view, who tries to meddle with you," says Hackford. And, in the end, "it's a sexy film and a tough film".
That's not to say the film hasn't had its critics. When it was released in the cinema last year, David Ritz, co-author of Charles's autobiography, accused Hackford and his writer James L White of sentimentalising the story and ignoring some of the more unsavoury aspects of his life. It's not an accusation that bothers the director, though he suggests that some of the scenes, which are available on the DVD, should have been in the cinema: "I think this is more of a definitive version. The additional scenes are darker, more complex explorations of the character of Ray Charles."
And, of course, there's the film's real draw: Jamie Foxx's Oscar-winning performance as the main man. Here, Hackford struck gold; Foxx doesn't just capture the musician's rolling gait and vocal mannerisms, he really seems to be Ray Charles. And, luckily for Hackford, Foxx was classically trained as a pianist, so you have none of those awful cut-away shots so typical of musical biopics, where you know the hands playing the piano don't belong to the actor. Indeed, Hackford seems to relish showing that Foxx is actually playing the right notes, even if the music is taken from old recordings. So good is Foxx as Ray Charles that you can be forgiven for thinking you're watching a documentary.
This is less surprising when you consider Hackford's own career. Best known for blockbuster thrillers The Devil's Advocate and Proof of Life, Hackford began as a documentary-maker for public TV in Los Angeles. This grounding in factual film-making has informed his work in the movies. "Because of where I started and because of what I care about, when I'm making a film I take a huge amount of effort to [get the details right] ... whether the audience knows the difference or not, I know the difference. And, to me, one of the things I'm most proud of in Ray is those early club scenes. I looked at old photographs and visited some of the clubs.
"This wasn't a concert hall where you appreciated the art. You had to get people out of their seats dancing. They had to work out their demons, they had to sweat and have a great time because they had to get up to these bone-crushing jobs the next day." To get the feel of these clubs, "the people, the extras, the costumes, the look, the dancing had as much to do with it as the music because you understand how the music works by seeing the people moving and I think those were things that ... give a great deal of credence to what the scenes are about."
Hackford was sensitive to the fact that he had to get this right, because of the potential pitfalls when a white man directs the life story of a black hero. "Jamie was my partner on this. I had an entirely African-American cast and I chose an African-American writer. I wrote the story, but Jimmy White wrote the dialogue and the script. I listened to those people and tried to capture the African-American ethos. That was really important to me.
"I know, because the film was really embraced by the black audience, that we succeeded. That was my goal - I wanted the general audience to see it, but mostly I was looking to have the African-American audience to embrace this as a true evocation of the black experience."
Now that his mission to bring Ray Charles to the big screen is well and truly past him, Hackford is lining up his next project. "I'm working on a contemporary adaptation of Carmen," he says. "Not the Bizet opera, but a contemporary thing in the Latino barrios of New York and Puerto Rico." I ask him what stage it's at. "Well, it took 15 years to do Ray, so ... but I've got a script I've turned in, and I'm hoping they say yes." Perhaps there's a certain moral conservative he might end up receiving a call from.
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Taylor Hackford
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Taylor Edwin Hackford (born December 31, 1944 in Santa Barbara, CA) is an American film director and producer. He is best known for his work on films such as "An Officer and a Gentleman" (1982), "The Devil's Advocate" (1997) and "Proof of Life" (2000), and for directing Jamie Foxx to an Academy Award for Best Actor in "Ray" (2004). Hackford served as president of the Directors Guild of America from 2009 to 2013.
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The Movie Database
|
https://www.themoviedb.org/person/18596-taylor-hackford
|
Taylor Edwin Hackford (born December 31, 1944 in Santa Barbara, CA) is an American film director and producer. He is best known for his work on films such as "An Officer and a Gentleman" (1982), "The Devil's Advocate" (1997) and "Proof of Life" (2000), and for directing Jamie Foxx to an Academy Award for Best Actor in "Ray" (2004). Hackford served as president of the Directors Guild of America from 2009 to 2013.
Taylor Edwin Hackford (born December 31, 1944 in Santa Barbara, CA) is an American film director and producer. He is best known for his work on films such as "An Officer and a Gentleman" (1982), "The Devil's Advocate" (1997) and "Proof of Life" (2000), and for directing Jamie Foxx to an Academy Award for Best Actor in "Ray" (2004). Hackford served as president of the Directors Guild of America from 2009 to 2013.
|