tagged w/ Samantha Morton
The Kills just celebrated their ten-year anniversary as a band, but it feels like they’re just getting started. Singer Alison Mosshart and guitarist Jamie Hince have taken their time on their rise from anonymous newcomers to veritable rock stars. Last year they put out their fourth album, “Blood Pressures,” and played some of the biggest venues of their career. Now, on September 4th, they’ll release a book of photographs, “Dream and Drive,” taken by their longtime friend Kenneth Cappello.
Photographer Cappello has gotten to know Mosshart and Hince pretty well over the last 10 years. Through lonely deserts and stages crawling with fans and sweat, Cappello captured many of the band’s most public and private moments. “He’s seen it all, the good and the bad, the broken down and the weird,” says Mosshart in the forward to “Dream and Drive,” Cappello’s collection of photographs of life on the road with The Kills.
This piece includes a number of photographs, a photo-gallery and two music videos.
http://disembedded.wordpress.com/2012/08/20/on-the-road-with-the-kills-dream-and-drive/The Kills just celebrated their ten-year anniversary as a band, but it feels like... more
“The Last Goodbye” is a powerfully emotive music video portrait of the rock duo Alison Mosshart and Jamie Hince, directed by the Oscar nominated actress Samantha Morton. The Kills celebrate ten years of musical partnership with this poignant and captivating video. The melancholic song “The Last Goodbye” offsets the usually hard-edged sound that Alison Mosshart and Jamie Hince are known for, with haunting vocals and a nostalgic piano loop.
Shot in monochrome on crisp, silvery 35mm film, the video reflects the beautiful simplicity of the track, while using an old-school photo-booth to provide an intimate backdrop for Mosshart’s intense and heart-warming opening performance. Her introduction is followed by a series of touching poses that casts a tender light on the musicians’ longstanding and spirited friendship, as Mosshart and Hince share memories of their first meeting and a decade of collaboration.
This piece includes black-and-white photographs and the heart-warming music video.
http://disembedded.wordpress.com/2012/01/28/the-kills-the-last-goodbye/“The Last Goodbye” is a powerfully emotive music video portrait of the... more
"FROM the tattoo on Diablo Cody’s bicep to Lone Scherfig’s leopard-spot pumps, it was impossible not to notice: The 34th Toronto International Film Festival opened on Thursday with the women in charge.
While still struggling to find their place in the movie industry at large — the number of directors at American studios remains well over 90 percent male — female filmmakers have managed to occupy some of this 10-day festival’s most valuable slots: those showcase screenings and press conferences in the first couple of days, when everyone is still paying attention.
Thursday’s most raucous event was almost certain to be the 11:59 p.m. red-carpet debut of 20th Century Fox’s “Jennifer’s Body,” directed by Karyn Kusama (“Girlfight”) from a script by Ms. Cody (“Juno”), in which Megan Fox plays a high school sex bomb who, quite literally, turns into a man-eater.
According to Natalie Johnson, a spokeswoman for Fox, tickets to the midnight show at the landmark Ryerson Theater, which seats more than 1,200, were gone within two hours of going on sale last week. (“Hell is a teenage girl,” runs a theme-setting line from the film.)
“Jennifer’s Body,” which opens in commercial theaters next Friday, got its first festival screening at noon on Thursday. Several hundred press and film industry types, normally a jaded bunch, were lined up for a look at the Kusama-Cody-Fox combination’s take on female vengeance.
The audience was laughing in all the right places, a good sign for the film, which is walking a fine line between comedy, horror and a postpunk feminism that is telegraphed by the title’s cute pink script in the opening credits.
But the deeper question is whether the Toronto festival’s first couple of days might help propel a clutch of female directors to the front of Hollywood’s award race.
Something like that happened in 2003, when a Toronto screening of “Lost in Translation” put Sofia Coppola on the path to a best-director Oscar nomination. She is one of only three women ever to earn that distinction, the others being Lina Wertmüller for “Seven Beauties” and Jane Campion for “The Piano.”
None of them won the directing Oscar. But 2003 became known as a good year for women, as Niki Caro, directing “Whale Rider”; Catherine Hardwicke, directing “Thirteen”; Patty Jenkins, with “Monster”; and Shari Springer Berman, with “American Splendor,” all joined Ms. Coppola in making a strong impression.
Ms. Campion is back in contention for prizes this year with “Bright Star,” a romance about the poet John Keats and his muse Fanny Brawne, from the new film company Apparition. The film began screening here Thursday, as Ms. Campion and her team, including the actors Ben Whishaw and Abbie Cornish, gathered in advance of a Friday night presentation ahead of its commercial opening next week.
By Thursday morning Ms. Scherfig, a Danish director, was already in motion. Preparing for a 6 p.m. screening of “An Education,” her offbeat romance from Sony Pictures Classics, Ms. Scherfig was at the Four Seasons Hotel, doing the occasional press interview and getting ready for a reunion with her cast members, who include Peter Sarsgaard and Carey Mulligan.
“For me it was never an issue to project anything that had to do with gender,” Ms. Scherfig said of her own take on filmmaker demographics. “All my films have had men in their late 30s in the lead.”
This stop was not Ms. Scherfig’s first — she and the film had just dropped in from a festival in Telluride, Colo., and had made a splash at the Sundance festival in January in Park City, Utah — nor the last, as she was planning to head for yet another festival appearance in London.
Ms. Caro was also expected in Toronto with her latest film, “The Vintner’s Luck,” which was to be toasted at a New Zealand film cocktail party Friday, ahead of a weekend screening. Other women with films in the Toronto festival include Rebecca Miller..." more @ link
part of Movie News:
http://current.com/groups/movie-news/"FROM the tattoo on Diablo Cody’s bicep to Lone Scherfig’s... more
Ioan Gruffudd is set to star a bio pic about the author of Wind In The Willows Kenneth Grahame. The film titled Banking on Mr. Toad has also Samantha Morton in discussions to play the author's wife Elspeth.
Bruce Beresford is to direct the project, which shows Grahame's journey from his job as the secretary of the Bank of England during the end of the 19th century through to his writing of "The Wind in the Willows."
The film will also explore Grahame's relationship with his autistic son. Filming is scheduled to begin in Ireland later this year.Ioan Gruffudd is set to star a bio pic about the author of Wind In The Willows Kenneth... more