Word: spielbergisms
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Dates: during 1980-1989
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Like any Hollywood animal, Olmos thinks on a grand scale, in broad, confident strokes. It is not inconceivable that he might play Hamlet or Kowalski. Or he might take on heroes like Coriolanus or Willy Loman. But consider this option: suppose he decided to develop a movie, Spielberg-style, about a Hispanic family in the suburbs, coping the American way. Instead of a tragic figure, he would be playing Eddie Average. (Then perhaps Eddie II and III). It would be Close Encounters of a fresh new kind, and the vast audience watching the melodrama might also start to recognize...
...this elaborate new blend of animation and live action co-produced by Disney and Steven Spielberg, the "cartoon before the movie" is how the movie begins. As you settle into your seat, the Maroon cartoon studio logo flares onto the screen, announcing Who Framed Roger Rabbit, starring Baby Herman and Roger Rabbit. For a few minutes of inventive mayhem, the infant crawls toward every lethal kitchen appliance while his harried hare of a baby-sitter works frantically to keep things from blowing up. It's the comedy of anticipated disaster -- the nightmare anxiety that propelled so many of Avery...
...zillion simoleons (well, $35 million) and carries a humongous 739 names on the credits (not including Kathleen Turner, who lends her voice to Jessica). Something got lost in the move from storyboard to screen, and in the stretch from seven minutes to 103. From sad experience, Disney and Spielberg should know the perils of paying huge homage to modest genres, yet Roger Rabbit has the odor of a Toontown Tron, a 1941 for 1988. Zemeckis deserves credit for his will and wit, but he must have been handcuffed by the size of both the film and his ambitions...
Major creative talents are starting to take notice. Steven Spielberg, Michael Mann (Miami Vice) and John Hughes (The Breakfast Club) were among a group of Hollywood producers who appeared before a convention of cable executives in Los Angeles this month to avow their interest in producing shows for cable. Martin Sheen has formed a production company to develop shows exclusively for cable. So has Shelley Duvall, a cable pioneer with her Faerie Tale Theatre series on Showtime. "In terms of creative freedom, cable television today is where broadcast television was in the 1950s," says Duvall. "Producers have...
...movie history -- were closer to the cartoon classics than the late-'70s Disney product was. Without its founder, the studio floundered, producing modest cartoons, lame sequels and sci-fi thrillers without art or heart. However conscientiously Ron Miller ran the shop, he was no match for Lucas and Spielberg. As if by osmosis, these young outsiders had learned the master's lessons of film artistry and audience manipulation. Miller was Disney's son-in-law, but Lucas and Spielberg were Walt's true heirs...