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Collaborating with James Baldwin on a Screenplay of Giovanni’s Room
Michael Raeburn

The author discusses his personal relationship with James Baldwin, recounting their collaboration on a film script for an adaptation of Giovanni’s Room.

James Baldwin Review
Serge Sur

) 66 Questions Internationales 115–21. 3 The Godfather (Francis Ford Coppola, USA, 1972) based on a novel by Mario Puzo, featuring Marlon Brando, Al Pacino, James Caan, Robert Duvall, Diane Keaton; The Godfather: Part II (Francis Ford Coppola, USA, 1974), same cast except Marlon Brando, also featuring Robert de Niro; The Godfather: Part III (Francis Ford Coppola, USA,1990) same cast without Robert Duvall and Robert de Niro, also featuring Andy Garcia. Nino Rota composed the score of all three instalments. 4 The Bridge on the River Kwai (David Lean, UK

in Cinematic perspectives on international law
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Another cinema – a project in time
Joseph Mai

durable project following its own inner logic, one that gives his cinema its particular shape. There are, of course, other cinematic practices that cover long periods of time:  Richard Linklater’s Boyhood (2014), filmed over a twelve-​year period of a boy’s life, comes to mind, as does Michael Apted’s Up series. Linklater’s ‘before/​after’ trilogy is another interesting experiment in time. There are also many long-​term collaborations between directors and actors: François Truffaut and Jean-​Pierre Léaud, John Ford and John Wayne and Martin Scorsese and Robert De Niro

in Robert Guédiguian
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Performance in the contemporary biopic
Dennis Bingham

research more obviously than does any other genre. Examples of such research are legion, for instance Robert De Niro’s learning to box for RagingBull (1980) with the man he was playing, Jake La Motta, as his sparring partner. However, a performance made up only of researched physical traits, skills and habits, looks and characteristics at certain historical points would be mechanical and empty; there has to be embodiment there, a

in Genre and performance
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Screening capital and culture in Airbag and Smoking Room
William J. Nichols

hablan’ (Who wants to go to Hollywood anyway? These guys don’t have a fucking idea who they’re talking to) ( 2003 : 74). Ironically, before the suggestion to test the film, Gual and others involved in the film had jokingly toyed with the idea of a possible Hollywood remake of their independent, guerrilla film, ‘El tema del remake con Robert De Niro, Kevin Spacey, Al Pacino y Ed

in Contemporary Spanish cinema and genre
A rejected score’s place in a discography
Gergely Hubai

Black was merely an EP, containing a fraction of the music (1967: United Artists 36.122 UAE). Finally, the album for Herrmann’s ultimate score (Taxi Driver) was more like a jazz concept album using his themes interspersed with Robert de Niro’s dialogue –​basically nothing from the film cues made it to the soundtrack album (1976: Arista Records AB/​ AL-​4079). From the latter scores, only Obsession (recorded in London) had a sort of proper release, with thirty-​eight minutes of music (1976: London/​Decca SPC 21160). At the time of Herrmann’s death, his discography of

in Partners in suspense
Reckless opportunists gain control
Aeron Davis

and a popular figure in the Treasury, was whacked less than six months after being appointed. Rishi Sunak, then just another unknown Goldman Sachs graduate, fell into line. Dominic Cummings, Johnson's whacker-in-chief, was set on ejecting many senior mandarins, with Tom Scholar, the Treasury permanent secretary, at the top of his list. Then, just as Cummings was preparing the hits, Johnson, in true Robert De Niro (or perhaps Michael Gove) style, clipped Cummings instead. Surprisingly, once he was secure as PM, Johnson dropped his attacks on anti-Brexiteers and

in Bankruptcy, bubbles and bailouts
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Oversized male bodies in recent Spanish cinema
Santiago Fouz-Hernández

example, the process might have resulted in an actor achieving a remarkable resemblance to the real-​life character she or he is impersonating –​the classic example is Robert De Niro, who gained around 30 kilograms to portray the older version of boxer Jake LaMotta in Scorsese’s Raging Bull (1980). In an action movie, in an epic or a superhero film, physical changes usually involve packing up a lot of muscle bulk in a short period of time, such as Chris Hemsworth’s recent transformation for his role in for Thor (Kenneth Branagh, 2011). Some roles require actors to lose

in Performance and Spanish film
Deborah Shaw

De Niro, among others. This may have seemed like a dream for a director with the type of global ambitions mentioned above; however, the freedoms that the director had with his first Mexican film were seriously curtailed. Cuarón has commented on the difficulties experienced with Great Expectations, and, as is the case with all directors with auteurist ambitions, the main gripe was with the lack of creative control. As he tells George Krassakopoulos (2007): ‘it was a very difficult experience because I didn’t like the interference of the studio; the studio was

in The three amigos
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The performance of Basqueness by Carmelo Gómez and Silvia Munt
Rob Stone

Lee Strasberg and Stella Adler.2 Method acting in American cinema was popularised by the emotional, sensorial and psychological performances of actors such as Marlon Brando and James Dean, but it was the angry young men of 1970s American cinema who wielded more direct influence on Gómez’s generation. The spectacular examples on screen of a simmering or fit-​to-​burst Al Pacino, Dustin Hoffman or Robert De Niro prompted a psychological and physical commitment to a role that could dominate a stage but be ill served by blocking, cutting and retaking single shots for a

in Performance and Spanish film