STAR TREK: THE MOTION PICTURE at the Egyptian

DeForest Kelley, William Shatner, Stephen Collins, Leonard Nimoy in Star Trek: The Motion Picture

The director’s cut of Star Trek: The Motion Picture will be screened at the American Cinematheque’s Egyptian Theatre on Sunday, Sept. 27, at 5:30 pm. Pre-show elements begin at 5 pm.
As per the Cinematheque’s press release, "this program will review the full spectrum of Star Trek’s visual achievements and its contributions to the art of narrative design for science fiction. Production Designers John Jefferies, Joseph R. Jennings, Herman Zimmerman and Scott Chambliss, along with moderator and VFX artist Darin R. Dochterman, will take us on a journey using visual clip pods based on design themes such as the ships, the bridge, alien worlds, gadgets & gizmos, and [...]

THE LIMEY II – Terence Stamp

THE LIMEY – Part I
Aside from memory, there are superbly rendered details that distill the characters: Wilson radiates affection for Eduardo’s help in tracking down Valentine by fondly calling him Sancho (as in Panza). All of these things — along with Eduardo’s and Elaine’s motivations, and the portrayal of the relationship between the hitmen — work well. In fact, they work so well precisely because there are no specifics, but generalities sharply etched so that the viewer ‘feels,’ as well as understands, the motivations and relationships. That allows the viewer to feel what goes on inside Wilson, thus creating a stronger identification with him than would be gotten were all things laid [...]

Robert Mitchum Interviewed by Roger Ebert

Robert Mitchum in Charles Laughton’s The Night of the Hunter

Via Rogerebert.com:
"He [Robert Mitchum] was my favorite movie star, and my favorite interview. He would tell you anything. He fearlessly maligned his directors, co-stars, even actors he had never worked with. ([Steve] McQueen? ‘He doesn’t bring much to the party.’) He was once called ‘the embodiment of film noir,’ and that was about right.
"In ‘From the Archives’ this week, I’m reprinting four of the seven or eight interviews I did with Mitch. The first three take place between 1969 and 1971, during and after he made Ryan’s Daughter. The fourth is at a tribute some 20 years later. You get a sense of his irreverence, his refusal to take himself seriously, [...]