#veteran-actors

#veteran-actors

In early 1991, the composer Alan Menken took a keyboard to St Vincent's hospital in New York to visit his friend and creative partner, the lyricist Howard Ashman. Ashman was in the final stages of Aids-related illness, but was determined to finish his work on Disney's Aladdin.

I knew he was a legendary director and he was giving me a list of his movies like Raging Bull, Taxi Driver. Then he was like, 'You probably can't watch any of those quite yet, but there is this one movie I directed called Hugo.' A couple days later, in the mail, I received a copy of Hugo on Blu-ray from his office, which is really crazy.

"Cinematic Immunity" offers a workers'-eye view of Hollywood on the Hudson, revealing the intricate dynamics of filmmaking in New York City from 1954 to 9/11.

Jack Black stated, "It would be, like, too easy to make them into great movies," expressing his belief that the cinematic nature of the games lends itself well to film adaptations.

He was the actor I wanted to play this role. It was very much designed around him. It drew on his Native American heritage and his ties to and love of the Southwest. Voorhees emphasized that Kilmer had really wanted to participate in the filming, but was just going through a really, really tough time medically, and he couldn't do it.

If we're talking cinema (not marketing campaigns or merch drops, however captivating), then Josh Safdie has created a movie that has captured something of the world in 2026. Set as it may be in the 1950s, Marty Supreme could only have been made now. If we want to celebrate art that reflects the world we live in, then this is the one.

In a big studio-backed awards season, it's rare to see much overlap between the Film Independent Spirit Awards and the Oscars. A west coast cousin of sorts to the Gotham Awards, the Indie Spirits often celebrate the movies that the Academy skipped over with its nominations. The ceremony itself is also more fun (there's some day-drinking involved) than the more staid guild awards that dot the homestretch ahead of the similarly serious Academy Awards.

Casting as an artistic discipline has been around in its current form for decades, despite the proliferation of Zoom and self-tapes. Meticulous research, intuition, collaboration, and creative ability to expand on the filmmakers' vision all go into the casting process. We see no reason IndieWire can't retroactively reward that effort - albeit with no statues or acceptance speeches, unfortunately - to build a sense of what could have been a list of the Best Casting Award Winners for the first quarter of the 21st Century.

In fact, I've made a conscious habit of seeking out successful individuals so I can learn from their experiences. But the man often nicknamed the "King of the Hollywood Blockbuster" continues to elude me. And yet, despite never meeting face to face, Spielberg taught me one of the most important lessons of my entire career. It's a lesson I've learned through engaging with his work.

It's nice that you are asking about props, because they're not really acknowledged, says Jode Mann, a TV prop master in Los Angeles. When Mann worked on the children's comedy show Pee-wee's Playhouse in the 1980s, she got a call from its star, Paul Reubens, who said he was nominating her for an Emmy. It was only after Mann told her mother and promised to thank her if she won that Reubens called back to say he couldn't nominate her because there's no category for you.

The Welsh-born actor had spent much of the decade living in the United States, where he split his time between the stage and the screen, building an utterly respectable career. He had played a compassionate doctor in David Lynch's The Elephant Man, a murderous ventriloquist in the cult thriller Magic, and the real-life convicted child murderer Bruno Hauptmann in the TV movie The Lindbergh Kidnapping Case, for which he had won his first Emmy.