China shop bull biography of christopher walken
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‘The Sheer Excitement of Being an Artist’
In an article on André Derain in How to See, his first collection of art writings, the painter David Salle says that, as “a former enfant terrible myself,” he has been drawn to the French artist’s story—that of a figure who was crucially a part of the beginnings of modern art and then notably came to reject the modern spirit. Salle’s point isn’t exactly that, like Derain, he was a pathbreaking painter who has become a traditionalist. Salle would seem to mean by “enfant terrible” (a term with which he refers to himself elsewhere in these pages) more that, as Webster’s Collegiate defines it, he was once a “young and successful person who is strikingly unorthodox, innovative, or avant-garde.”
This would fit Salle, who by the beginning of the 1980s, as he was turning thirty (he was born in 1952), was making some of the most powerful of the new works that were dramatically altering the art scene. Of course, many of the arriving artists of the time were to a degree enfants terribles in the sense that they were young troublemakers. Whether they were painters and included, along with Salle, Julian Schnabel, Eric Fischl, Terry Winters, Carroll Dunham, and Jean-Michel
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Hancock
United States, 2008
Directed By: Peter Berg
Written By: Vincent Ngo & Vince Gilligan
Starring: Will Metalworker, Jason Bateman, Charlize Theron
Running Time: 92 minutes
Rated PG-13 for a few intense sequences of sci-fi action don violence, stomach language
3 manipulation of 5 stars
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Heaven’s Gate: From Hollywood disaster to masterpiece
Features correspondent
Critics thought the Western was Hollywood’s biggest disaster ever when released in 1980. But some today think it’s a masterpiece – and incredibly relevant – writes Nicholas Barber.
Two-and-a-half hours into Michael Cimino’s epic Western, Heaven’s Gate, a band of townsfolk bustles into a hotel room to wake up a dead-drunk federal marshal (Kris Kristofferson). The marshal is so shocked that he kicks one of his visitors away, and then drives the others back with the crack of a bull-whip. It’s a short, simple sequence – and Cimino filmed it 52 times. “That’s all we shot that day,” groans Sandra Jordan, the key costumer, in a documentary about the production. “And it went on and on and on and on.”
It is thanks to Cimino’s perfectionism that Heaven’s Gate is now feted as a masterpiece. There are five-star reviews all over the DVD box, and the film was ranked at number 98 in BBC Culture’s poll of the 100 greatest American films. But the director’s painstaking methods also explain why the film went four times over budget and a year behind schedule. When it finally premiered, 35 years ago, its soundtra