Word: casted
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Dates: during 1970-1979
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Paisley is optimistic about S.C.O.R.E., far beyond the skeptical car owner's inclination to agree. "You're not seeing cast iron out there," Paisley says, nodding toward the tarmac. "You're seeing aluminum. You're not seeing eight-cylinder engines. You're seeing four and even two. You look at some of these drive trains and you can put them in a bushel basket - that's how small they are. That's an indication of the cars of the future...
...discrimination, a continuity of surface tone that are essentially lyric. But by middle age, Adams' work began to shift. In the darkroom, he was conducting from the negative's score?pushing the image to its tonal limit, infusing it with a Wagnerian moodiness. The late prints are public declamations, cast in an epic mode. To Adams, change is simply a matter of knowing more. The later the print, in his eyes, the better. "I like my prints full of beans now," he says. "I guess I get more belligerent as I get older...
...just about every actor, extra, grip and gaffer on Heaven's Gate. Cimino, a short (5 ft. 6 in.), shy, plump New Yorker, gets the most out of his cast and crew. A scene in which Kristofferson lashes out at a crowd with a bullwhip had to be shot 53 times. Says Walken, who won an Oscar for The Deer Hunter: "There are extraordinary moments with him. He takes you to places that make the whole event special...
...film has some assets: attractive Upper West Side locations, a fine cast of New York stage actors and a smattering of clever lines. The basic premise is sound too: When School Chums Jamie and Franny get sick of their respective bickering parents, they run away to spend an illicit weekend acting out the fantasies of romance, something that is absent in their homes. While this plot offers plenty of opportunities for big laughs and emotional ironies, the film rarely mines them. Most of Rich Kids consists of mild scenes that sound better in principle than they play onscreen...
...brought more new ideas to the stage than any other contemporary director, his film-making skills remain primitive; even his adaptations of his own brilliant theater productions (King Lear, Marat/Sade) have been flat. Here he is hobbled by lapses in continuity, fake-looking studio sets and a multinational cast. The scenery, much of it shot in Afghanistan, is breathtaking, but the photography is routine. What is needed is some sort of theatricality-if not the forthright vulgarity of DeMille, then at least the romanticism of David Lean. With its incongruous mix of radical content and stodgy style, Remarkable...