Word: wooings
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...likely also-rans--Paramount, Warner, Universal and the rest--have begun courting Lucas, who remains holed up at his Marin County office. "He ain't easy to woo," laments a studio chairman. "He's not easy to get to." Handicappers say Lucas talks first to Fox, which has shown its good faith by lavishing millions on the video boxed set and on redoing the original trilogy for theaters. Fox also has a big bargaining chip: Lucas owns the copyrights to the Empire and Jedi installments, but Star Wars belongs to Fox. A friend says Lucas wants to complete his collection...
...Friday night, and Alexis Rosen was about to leave work when one of his computers sent him a piece of E-mail. If this had been the movies, the message would have been presaged by something dramatic--the woo-ga sound of a submarine diving into combat, say. But of course it wasn't. This was a line of dry text automatically generated by one of the machines that guard his network. It said simply, "The mail servers are down." The alert told Rosen that his 6,000 clients were now unable to receive E-mail...
...this, the dawn of the v-chip age, it is hard to understand how John Woo has found a place on prime-time network television. As you may already know if you are on the cutting edge of moviegoing, Woo is one of the pre-eminent auteurs of Hong Kong filmmaking, a master of somber, lyrical and unrelentingly bloody action films. He had his first U.S. hit earlier this year with Broken Arrow, and breaks new American ground this month with his first-ever made-for-TV movie, John Woo's Once a Thief (Fox, Sept...
Clearly a project for which Jane Seymour was not approached, Once a Thief is nevertheless a perfectly viable movie-of-the-week, one in which Woo has tempered his darker instincts. Present are his trademark slow-motion shots, ingeniously choreographed fisticuffs and gunplay--yet nary a visible drop of blood is shed...
Western viewers expecting the delicate art films of Satyajit Ray will be in for a pleasant shock. Most Indian films are closer to the populist energy and intimate audience connection of Hong Kong films. And like John Woo's and Jackie Chan's action thrillers, Indian cinema exotically evokes the complex pleasures of Golden Age Hollywood, with its glamour and verve, its strict codes (India's censors typically allow no explicit violence, nudity or even kissing) and the cunning, seductive way it subverts these taboos...