“My original reason for going into films was that I had gotten tired of seeing
Blacks portrayed in an image that I didn’t agree with. And so I said, gee, I can do better than that.
And if you don’t control your images, then you don’t have a base for controlling your destiny.
So I wanted to control how I was perceived. And therefore, I went into films.”
“All I wanted to do was to act with John, for the rest of my life. He was my acting partner.”
– Al Pacino
From the New York Times archive, a classic review of John Huston’s UNDER THE VOLCANO.
This is a digitized version of an article from The Times’s print archive,
before the start of online publication in 1996.
From narrative films like ”Selma“ to eye-opening documentaries like ”MLK/FBI“
Poitier, who won the Best Actor Oscar in 1964 for Lilies of the Field, plays magazine reporter Ben Munceford in The Bedford Incident. The Cold War thriller isn’t as well-known as Stanley Kubrick’s Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb or Sidney Lumet’s Fail-Safe, but it is as chilling as any apocalyptic vision ever put on screen.
“Just because you’re paranoid doesn’t mean they aren’t after you.”
“This book revisits all da werk I’ve put in to build my body of work.
Film is a visual art form and that sense of my storytelling has been somewhat overlooked.
Why now, after all these years? Folks be forgetting.”
– Spike Lee
The spirits of Maria and Antonio Ricci — and perhaps especially of the impish, vulnerable Bruno — live on in the work of Satyajit Ray in Bengal in the late 1950s, in the Brazilian Cinema Novo in the 1960s, in Iran in the 1990s and the United States in the first decade of this century. Films like Ramin Bahrani’s “Chop Shop” and Kelly Reichardt’s “Wendy and Lucy,” which tally the moral and existential costs of economic precariousness, have a clear affinity with “Bicycle Thieves.” -The New York Times
The Academy Museum’s inaugural temporary exhibition, marks the first North American museum retrospective dedicated to the work of its namesake: the internationally celebrated artist and filmmaker Hayao Miyazaki.
“… then I did Blade Runner and that was a disaster. Then I did Legend with a 20-year-old Tom Cruise… and that was a failure. Then somebody said to me “why don’t you do films about normal people, normal subjects.” I said “Shit you might be right.” That’s when I did Black Rain, White Squall and then I gradually started to climb back up and made Thelma & Louise”.