Word: palmas
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...client Larry J. Parker is satisfied with IOU. "They pick you up pat you on the back; you find it in yourself to go out and get on your feet."EDWARD DE PALMA...
When the remake is as enchanting as E.T., no one can complain. But a prodigiously gifted film maker like Spielberg might hold even his youthful fans if he were to expand his range and make other kinds of movies-as Lucas and John Carpenter and Brian De Palma might. The stray adventurous mogul might be persuaded to finance their ventures into the adult world. And the baby-boom audience, just now approaching early middle age, might follow them. All this could happen tomorrow, and nobody could guarantee that the movie industry would break another box-office record. But the eager...
...problem, as Spielberg sees it, is the ambition for megabucks: "Everybody is aiming for the rightfield stands." But hatching a blockbuster may be the only way for a film maker to outsmart the deal makers running the big studios. Spielberg and Director Brian De Palma (Carrie, Dressed to Kill) recently haggled with two major studios over the rights to Michael Crichton's bestselling novel Congo. "A deal is a work of science fiction," Spielberg says. "I wasted three months learning how not to make one. Eventually, Brian and I walked away. The whole 'movie game' is just...
...Nivens, Ted and Georgette Baxter-came back one last time for reminiscence and rue. As clusters of the faithful were doing in living rooms and the classier pubs across the country, the WJM team had assembled to lament the untimely passing of some fine old friends: Louie De Palma, Doctor Johnny Fever, Detective Harris, Mork from Ork. With a few swipes of TV executives' pens, four of the best comedy series of the late 1970s-Taxi, WKRP in Cincinnati, Barney Miller, Mork & Mindy-had been erased from the prime-time schedule. Their ghosts would haunt reruns, but the message...
...movie's stronger elements fail too to counteract the weakness of characters and plot The camera with in The Tragedy of a Ridiculous Man emerges as surprisingly playful as Carlo Di Palma's lens follows Primo's bicycle through a car windshield and later lingers on the ham-eating lips of the wealthy. The ideas, it seems, is to play with the viewer's perceptions of really, making him connection through cinematography of his own limited vision But where the plot should continue this theme and reinforce it, confusion wells up instead. Cancelling any possible effectiveness...