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DRAMATURGY Bart Van Den Eynde SET & LIGHTING DESIGN Jan Versweyveld SOUND Timo Merkies TEXTS TRANSLATION IN ARABIC Tayseer Nasr. Jan and Dean, in their Bermuda shorts, brought about pandemonium. have been right at home at Dean's Kittyhawk Graphics firm a few years later. .. Recording-wise, you could get the official DC Comics Batman art for the cover of Jan & Dean Meet Batman, but you . propagacni.info I had been interested in Jan & Dean since the first airing of As the years went by, I could never find much about them in published form. The best to present an accurate layout, as described by law enforcement. .. Mark Moore ~ As Dave Marsh has noted, the Batman concept was Powered by Blogger.
Douglas, a fluent French speaker,  plays a sympathetic French officer during World War I who tries to save three soldiers from the firing squad.
Oh no, there's been an error
Before production of the film began, however, Douglas and Kubrick had to work out some major issues, one of which was Kubrick's rewriting the screenplay without informing Douglas first. It led to their first major argument: I hit the ceiling. I called him every four-letter word I could think of We shot the original script.Batman Theme from Jan and Dean Meet Batman
I think the movie is a classic, one of the most important pictures—possibly the most important picture—Stanley Kubrick has ever made. Douglas was noted not only for the veracity of van Gogh's appearance but for how he conveyed the painter's internal turmoil.
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Some reviewers consider it the most famous example of the "tortured artist" who seeks solace from life's pain through his work. He adds that Minnelli had his "richest, most impressive collaborations" with Douglas, and for Minnelli, no other actor portrayed his level of "cool": He turned it into a play in in which he starred, and it ran on Broadway for five months.
Douglas retained the movie rights, but after a decade of being unable to find a producer, gave the rights to his son, Michael. Inthe film version was produced by Michael Douglas and Saul Zaentzand starred Jack Nicholsonas Douglas was then considered too old to play the character as written.
I Walk AloneGunfight at the O. Douglas was always second-billed under Lancaster in these movies but, with the exception of I Walk Alone, in which Douglas played a villain, their roles were more or less the same size. Both actors arrived in Hollywood at the same time, and first appeared together in the fourth film for each, albeit with Douglas in a supporting role.
They both became actor-producers who sought out independent Hollywood careers. However Douglas thought Lancaster would fit the part and "begged me to reconsider," said Frankenheimer, and he then gave Lancaster the most colorful role. The film did poorly at the box office, receiving mostly negative reviews, while Dunaway felt many of the reviews were unfair, writing in her biography, "I can't understand it when people knock Kirk's performance, because I think he's terrific in the picture," adding that "he's as bright a person as I've met in the acting profession.
He starred in a western, There Was a Crooked Man The film was produced and directed by Joseph L. Inhe directed his first film, Scalawag. Also inDouglas appeared in a made-for-TV musical version of Dr. Inhe starred in The Final Countdownplaying the commanding officer of the aircraft carrier USS Nimitzwhich travels through time to the day before the attack on Pearl Harbor.
It was produced by his son Peter Douglas. Inhe starred in The Man from Snowy Riveran Australian film which received critical acclaim and numerous awards.
It marked the final collaboration between Douglas and Lancaster, completing a partnership of more than 40 years.
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The symphony was conducted by Zubin Mehta. The film won two Emmy Awards. In the s, Douglas continued starring in various features. Among them was The Secret ina television movie about a grandfather and his grandson who both struggle with dyslexia. That same year, he played the uncle of Michael J. Fox in a comedy, Greedy. Inafter suffering a severe stroke which impaired his ability to speak, Douglas still wanted to make movies.
He underwent years of voice therapy and made Diamonds inin which he played an old prizefighter who was recovering from a stroke. It costarred his longtime friend from his early years, Lauren Bacall.
InMichael and Joel Douglas produced It Runs in the Familywhich along with Kirk starred various family members, including Michael, Michael's son, and his wife from 50 years earlier, Diana Dillplaying his wife. The four performances were filmed and turned into a documentary that was first screened in January See Wikipedia's guide to writing better articles for suggestions.
December Learn how and when to remove this template message Kirk is one of a kind. He has an overpowering physical presence, which is why on a large movie screen he looms over the audience like a tidal wave in full flood. Globally revered, he is now the last living screen legend of those who vaulted to stardom at the war's end, that special breed of movie idol instantly recognizable anywhere, whose luminous on-screen characters are forever memorable.
But an actor also needs great good luck. I have had that luck. Many people fall by the wayside because they don't have the energy to sustain their talent. From that one role, writes biographer John Parker, he went from stardom and entered the "superleague," where his style was in "marked contrast to Hollywood's other leading men at the time. He virtually ignored interventionist directors. He prepared himself privately for each role he played, so that when the cameras were ready to roll he was suitably, and some would say egotistically and even selfishly, inspired to steal every scene in a manner comparable in modern times to Jack Nicholson's modus operandi.
As such, he was typically demanding and direct in his dealing with people who worked on his projects, with his intensity spilling over into all elements of his film-making. Kirk Douglas was intelligent. When discussing a script with actors, I have always found it necessary to remember that they never read the other actors' lines, so their concept of the story is somewhat hazy.
Kirk had not only read the lines of everyone in the picture, he had also read the stage directions Kirk, I was to discover, always read every word, discussed every word, always argued every scene, until he was convinced of its correctness. He listened, so it was necessary to fight every minute. Much of that vitality he attributes to his childhood and pre-acting years: It's a constant fight, and it's tough.
He was reared by his mother and his sisters and as a schoolboy he had to work to help support the family. I think part of Kirk's life has been a monstrous effort to prove himself and gain recognition in the eyes of his father Not even four years of psychoanalysis could alter the drives that began as a desire to prove himself.
Douglas realized that his intense style of acting was something of a shield: Surf culture was deeply ingrained in Southern California by that time, and even got its own media coverage.
John Van Hamersveld joined the staff as art editor. The Surf aesthetic collided with pop culture in a big way and quickly spread beyond the confines of Southern California. The undercurrent finally starts becoming some rideable waves, well worth the wait.
Additional design work and alterations were handled by Alfred S. Welcome to West L. Unfortunately there were only two surf vocal songs that existed, so filling up a whole album with great surf vocal songs was impossible at this particular time. It would be at least a year in the future when there might be enough surf vocal songs to fill a whole album. I would have preferred a photo of a Hawaiian surfer girl. A little cartoony for my taste. A cartoon was a little lazy.
By this time in our music careers, we were getting a lot more control over our packaging. We told them what we wanted to do and they did the best they could at making it happen. It helped that the Beach Boys were also upgrading their packaging so the competition between the art departments became a real positive for us. The Drag City album was a real breakthrough for us, our first total concept album, both visually and musically.
It should have featured something more than just a photo of you and Jan. At the very least it suggests that Studio Five had custom designers on hand, or possibly sub-contracted the work. As with the Surf craze, songs about cars and drag racing were not created in a vacuum.
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Drag racing had been an organized sport in California since the mids. Yes, a lot of work, especially when you are going to college five days a week, but we had friends that could have helped us pull it off.
In Dumb Angel No. The style gave viewers a lot more detail to focus on, as opposed to a larger single image. I came up with that font and the ampersand. Because we were helping promote the movie Ride the Wild Surf, we were asked to feature all those movie stills. I am a one-picture guy. And one of the things that drew his attention was the album covers. Liberty president Al Bennett candidly explained that the 50 cents had no relation to the actual cost of the album cover.
Instead it was a flat deduction the label thought reasonable in light of promotional and overhead costs. Jan had a major problem with this and used his attorney to question the accountings. Was this level of deduction standard practice for the industry, or do you agree it was excessive?
I would say it was excessive, considering that the company would do the bare minimum amount of promotion and their overhead, in my humble opinion, was their problem. It suggests that you and Jan suggested changes that were accepted, but were then charged for the overage. It sounds like internal fuck-ups to me. We very rarely got to see color separation or press proofs.
So they would be the ones to catch a typo, or catch a mechanical problem. On the issue of charging against royalties, I should point out that there was an interesting hierarchy there. Jan was notorious for going over budget. He did what was convenient for him, to fit his hectic schedule. Exceeding allotted studio time, scheduling unusual hours after midnight or on Sunday, meal penalties for the engineers—all of these were commonplace for Jan, and his pay was docked accordingly.
His employer Screen Gems had a system for these charges. So Jan had money to burn beyond the artist contract, and was comfortable with the financial consequences. Even within a strict corporate structure, he operated on his own terms. We were not your average recording artists.
We both had full daytime schedules, five days a week and no cell phones. Those Dodge commercials were hilarious and one of them won a Clio Award.
That was a mutually beneficial tie-in. And she really ran with the whole campaign, attending big-name drag races, public events, and engaging with the media. She even pitched Cragar mag wheels at one point.
It was a perfect partnership. The only thing better would have been getting the corporate backing. We had assumed that she had the corporate backing, only to find out that those commercials were done by the Southern California Dodge Dealers, and not by the national ad agency McCann—Ericson, as I remember. Corporate never got involved in a national campaign at all. Can you imagine that, a national company not taking advantage of a top ten record?
The center photo shows you springing one of your custom skateboards from a guitar case. Was that your design? What happened with that whole effort?
Were the boards widely distributed? It never got past the prototype. Jan crashed and it all went away. Bruce Brown filmed the Hobie Skateboard Team wearing them, and you see those shirts in other surfing and skateboarding footage from the era. Was that style popular before ?
I did see a single stripe from time to time. The reverse side showed Jan holding a severed head in a basket in front of a guillotine. The imagery juxtaposed a Top love ballad featuring a deep musical arrangement against. By this time, they had no control over us at all.
I was happy to lampoon the sappy ballad. Speaking of picture sleeves. Jan was seriously injured, and consequently was late in delivering the next single and album to Liberty. He got his attorney involved. When record buyers sifted through the 45 bins in their local record stores, the picture sleeves were an important part of the marketing.