Tuesday, 22 May 2018

The Upsetters: Return of Django / Eastwood Rides Again, 2 Original LP's on 1 CD


This month, Doctor Bird Records (via Cherry Red Records) released a superb twofer CD featuring 2 album reissues from The Upsetters – Return of Django & Eastwood Rides Again.
The 2 albums (from 1969/1970) were a featured part of the whole subculture linked to Eastwood’s Dollar trilogy, predominantly within the UK. The albums were originally released by the famous Trojan Records, a British label (founded in 1968) which specialises in ska, reggae and dub music. For those with a full on interest in the whole Dollar mythology, this release will certainly be welcomed. I certainly didn’t hesitate in adding it to my collection.
Compiled and annotated by leading Lee ‘Scratch’ Perry biographer, David Katz. Perry still regularly performing live in the UK and Europe A year after embarking on a career as an independent producer in 1968, Lee ‘Scratch’ Perry hit the big time when the mesmeric sax-led rock steady instrumental, ‘Return Of Django’ made number 5 in the UK charts.

Soon after, Trojan released a hugely popular collection of the producer’s finest instrumentals to date, suitably titled after the best-selling single.
Perry remained at the cutting edge of the reggae scene throughout the months that immediately followed, with tracks by the Upsetters (essentially the name given any set of musicians employed for his recording sessions) proving particularly popular among both Jamaican and British music fans.
In response, Trojan issued a second Spaghetti Western theme instrumental-based album comprising the enigmatic Jamaican’s work which further demonstrated his increasingly bold and innovative approach to music making.
Now, almost 50 years after the original release of these historically important long-players, they have been brought together to form this immensely fascinating and hugely enjoyable CD collection.
Annotated by Lee ‘Scratch’ Perry biographer, David Katz, this is a must for all fans of both the producer and vintage reggae sounds.
To find out more and order press HERE

Monday, 21 May 2018

Bill Gold, Whose posters captured movie magic, dies aged 97


"With Bill, I knew he would bring great ideas, and the poster he created would be one less thing we had to think about," Eastwood writes in the introduction to the 2010 book Bill Gold PosterWorks (left). "He respected the film, he respected the story, and he always respected what we were trying to accomplish”
Bill Gold, who created posters for Casablanca, A Streetcar Named Desire, Dirty Harry, Alien, Mystic River and hundreds of other films with an artistry that captured the intrigue, romance and drama of Hollywood for nearly 70 years, died on Sunday in Greenwich, Conn. He was 97. Mr. Gold’s wife, Susan, said he died at Greenwich Hospital from complications of Alzheimer’s disease. In the niche of poster art for films, Mr. Gold was a behind-the-scenes superstar whose work, mostly for Warner Bros. and Clint Eastwood’s Malpaso Productions, was displayed at theaters and in promotional campaigns across America from 1942 to 2011. While he was largely uncredited until the internet age, his posters offered millions of moviegoers tantalizing glimpses of the raptures waiting in the cinema darkness.
Long before poster artists turned to photography and computer-generated images in the 1980s and ’90s, illustrators like Mr. Gold billboarded movies with freehand drawings, based on scripts and first screen prints, that hinted at plots and moods and mysteries, without giving away too much — priming audiences for love, betrayal, jealousy, murder.
 Bill Gold at home and with his wife Susan
Mr. Gold comfortably spanned the years from paperboard to the computer era, and many of his posters became nearly as famous as the movies they promoted. Some won design awards; many were coveted by film buffs, sold at auctions or collected in expensively bound art books. The best originals came to be considered rare and costly classics of the genre.

For Michael Curtiz’s “Casablanca” (1942), Mr. Gold’s second assignment, he drew Humphrey Bogart in trench coat and fedora, dominant in the foreground, with a constellation of co-stars — Ingrid Bergman, Paul Henreid and others — in the airport fog behind him. To raise the drama, Mr. Gold put a pistol in Mr. Bogart’s hand. And he put fear and regret, not love, in Ms. Bergman’s eyes, to avoid stepping on his last lines.
“What I’ve got to do, you can’t be any part of,” Mr. Bogart’s Rick says as Ms. Bergman’s Ilsa sobs and the brutal airplane engines whine on the tarmac. “I’m no good at being noble, but it doesn’t take much to see that the problems of three little people don’t amount to a hill of beans in this crazy world. Someday you’ll understand that.” The poster, like the film, came to embody an age of wartime sacrifice. “Classic movie posters are memorable; they are held in as much affection as the movies themselves,” Lars Trodson wrote on the film website The Roundtable in 2009. “When a classic movie is matched by a classic poster, you’re held in the thrall of a distinct and pleasurable memory. The poster image becomes part of the movie experience, and is, in the end, another of the reasons why movies are so essential to us.”
Mr. Gold caught the steamy languor of Elia Kazan’s “A Streetcar Named Desire” (1951), with portraits of Marlon Brando’s crudely menacing Stanley Kowalski and Vivien Leigh’s birdlike Blanche Dubois thrown together in the mad cacophony of a dilapidated New Orleans tenement at the end of the Desire line.
For Ridley Scott’s terrifying 1979 interplanetary space thriller, “Alien,” Mr. Gold skipped the slathering title monster for something less obvious and more foreboding: a single large, dark egg, cracked and oozing a molten yellow light, hovering out in the galactic night. 
And for Mr. Eastwood’s “Mystic River” (2003), a dark tragedy of child molestation and murder linking three men, friends since childhood in Irish Catholic Boston, who are haunted by secrets of grief and vengeance, Mr. Gold pared complexities to a penetrating simplicity. He depicted upside-down reflections of the three enigmatic men walking on water. “We bury our sins,” the caption says. “We wash them clean.”
Mr. Gold worked with many leading directors, including Vincente Minnelli, John Ford and John Huston. But his longest collaboration was with Mr. Eastwood. Gold's fruitful relationship with Eastwood began with Dirty Harry (1971), and he gave the actor a gun or a gritty countenance on posters for such films The Enforcer (1976), The Outlaw Josey Wales (1976), Pale Rider (1985) and Unforgiven (1992). “Dirty Harry” was the first of a series about a police detective whose gun, in the artist’s perspective, was bigger than he was. The poster placed Harry and the gun behind shattered glass, with the caption “Detective Harry Callahan. He doesn’t break murder cases. He smashes them.”                            
The Gold-Eastwood collaboration lasted four decades, with more than 30 posters for films that Mr. Eastwood produced, directed or starred in. Many used photographs or computer-generated images as poster art turned increasingly to technology. Mr. Gold’s poster for the killing-and-revenge western “Unforgiven” (1992), often called his most compelling Eastwood portrait, was a computerised composite. It showed the back of the antihero, William Munny, in shadows, clad in a long coat, his head turned left for a partial profile of a man waiting to kill or be killed. Behind him, he grasps an astonishingly long-barrelled revolver. There are no words.
“I don’t know what it is that first causes a person to become interested in a film — whether it’s the cast, or whether it’s the title, or whether it’s that first image,” Mr. Eastwood said in presenting The Hollywood Reporter’s lifetime achievement award to Mr. Gold in 1994. “I believe it is a combination of all of these. That’s the creative part of poster work — that image and what it does and how it affects an audience.”
William Gold, who always went by Bill, was born in Brooklyn on Jan. 3, 1921, the middle of three sons of Paul and Rose (Sachs) Gold. His father sold insurance. Bill and his brothers, Charles and Howard, attended public schools. 
Left:
Bill Gold (far right), his brother Charlie (middle) and Clint Eastwood during the production of The Enforcer (1976).
Bill loved to draw and copied illustrations from magazines. At Samuel J. Tilden High School, from which he graduated in 1939, he won art prizes and a scholarship to Pratt Institute, where he studied advertising and illustration and earned a certificate in advertising design in 1940.

Mr. Gold married Pearl Tamases in 1941. The couple had two children and later divorced. In 1989 he married Susan Cornfield. Besides her, Mr. Gold is survived by his children, Robert and Marcy Gold, and two grandchildren.
In 1942, when New York was still a movie town with studios and front offices, he joined the Warner Bros. art department in Manhattan. His first assignment was a poster for “Yankee Doodle Dandy,” a tribute to the Broadway song and dance man George M. Cohan. He drew the star, Jimmy Cagney, saluting under a stars-and-stripes top hat and American flags, with stars shimmering like fireworks.
 From sketch to finished poster design, The Enforcer 1976
After his next poster, for “Casablanca,” Mr. Gold was drafted into the Army. He produced training films for World War II aircraft maintenance. Discharged in 1946, he resumed poster work for Warner Bros. and in 1947 was named art director. In the ’50s he made posters for “Strangers on a Train,” “Dial M for Murder,” “East of Eden,” “Giant” and many other films.
In the early ’60s, after Warner Bros. closed its New York advertising unit, he founded Bill Gold Advertising, with the studio as a principal client.

Mr. Gold often collaborated with illustrators on posters for which credit, if assigned at all, was blurred. One of his stars, Bob Peak, drew the poster for George Cukor’s “My Fair Lady,” (1964), but Mr. Gold took credit for the overall concept: a pink montage of turn-of-the-century London, with Rex Harrison as Henry Higgins and Audrey Hepburn as Eliza Doolittle under her picture hat and frilly umbrella.

The walls of Mr. Gold’s home in Old Greenwich, Conn., were lined with his posters for films including “Bonnie and Clyde” (1967), “A Clockwork Orange” (1971), “The Exorcist” (1973), “The Sting” (1973), “Platoon” (1986) and “The Untouchables” (1987). He retired in 2003 but continued to design posters. His last, in 2011, was for “J. Edgar,” Mr. Eastwood’s biopic of the long-time F.B.I. director, using Leonardo DiCaprio’s angry face for a likeness (right). 
Thank You Bill, RIP sir. 
Our thoughts and condolences go out to his wife Susan and Bill's family.



Saturday, 19 May 2018

Bradley Cooper rumoured to star with Clint in The Mule

Eastwood and Cooper last worked together on the 2014 box office smash American Sniper. 
Various sources have reported that Bradley Cooper, 43, is in talks to reunite with the Academy Award winning drama's director Clint Eastwood, 87, on his new film titled The Mule. The movie is about a 90-year-old drug courier and a younger DEA agent on his tail.  
The film is a co-production between Warner Bros. and Imperative Entertainment, and will mark Eastwood’s first acting job since the 2012 baseball drama “Trouble with the Curve.” This could also be one of his final on-screen appearances.
The movie is based on a 2014 New York Times Magazine feature by Sam Dolnick and follows Earl Stone (Eastwood), a man in his 80s who is broke, alone, and facing foreclosure of his business when he is offered a job that simply requires him to drive — easy enough. But unbeknown to Earl, he’s signed on as a drug courier for a Mexican cartel, and also hit the radar of hard-charging DEA agent Colin Bates (Cooper).
Eastwood will also produce via his Malpaso banner, along with Imperative’s Dan Friedkin and Bradley Thomas. Ruben Fleischer, David Bernad, and Todd Hoffman are exec producing. Cooper has been busy putting the finishing touches on his directorial debut, “A Star Is Born,” but sources say he has also been looking for his next project. He will next helm and star in the Leonard Bernstein biopic Bernstein.
Cooper had been linked to “The Mule” for some time as Eastwood is a big fan of his after working together on 2014’s Oscar-nominated “American Sniper.”

Wednesday, 16 May 2018

The 15:17 to Paris Blu-ray release

The 15:17 to Paris Blu-ray will be released in the U.S. next week on May 22nd and in the U.K. on June 4th. There doesn’t appear to be any difference between the two in terms of contents, except that the U.S. edition also contains a second disc in the shape of a DVD edition. There appears to be the same two featurettes on both versions, The 15:17 to Paris: Making Every Second Count and The 15:17 to Paris: Portrait of Courage. However, the packaging doesn’t seem to suggest any inclusion of an Original Trailer or any TV spots. I’m really quite tired of banging on about this – but how about a simple Trailer Warner Bros? Does anybody care anymore?
             


Tuesday, 15 May 2018

Now casting: Clint Eastwood’s film The Mule – extras needed!


Mary Caldwell of The Atlanta Journal-Constitution reports:
ATLANTA - Are you interested in being an extra in a Clint Eastwood film? Now's your chance! Clint Eastwood is set to produce, direct and star in "The Mule," a Warner Bros. film, according to The Playlist. It's based on a true story about 90-year-old World War II veteran and horticulturalist Leo Sharp, who became a drug mule for a Mexican cartel. Eastwood previously worked on Trouble with the Curve in Atlanta.
What are they looking for? The following roles will be cast for all ethnicities:

Featured Asian family – age 18-60
Horticulture convention goers – age 45-75
Hotel staff (front desk, valets, bellhops) – age 21-50
Beauty school graduate types – age 20-30
Wedding partygoers – age 18-75
Bridesmaids and groomsmen – 18-35
Real DJ with equipment – age 25-50
People with cars – age 18 and over and with cars from 1995-2005
People with cars – age 18 and over with cars from current years

When are they filming?
Filming will be in Augusta from June 4-12 with no weekend filming. All of the roles will work for one of the work dates, which will be approximately 10-12 hours long. You'll need to have your work date completely open.

How do I submit?
Send an email to projects2@tscasting.com and put "AUGUSTA" in the subject line.
Include current, clear nonprofessional photos – one from the chest up and one from the knees up (fully body). Look the part of the role you're submitting for and include one smiling and one non-smiling (with a pleasant or intelligent expression) photo. Selfies are OK, but don't show just your head or take them from a strange angle.
List your first and last name, phone number(s), city and state where you live, email address, age, ethnicity, height and weight. Also include your sizes (men: jacket, neck, sleeve, waist, inseam and shoe; women: dress, bust/bra/cup, waist and shoe).
Include your car's year, color, make and model. If you have experience on set or acting, include details or attach a resume. It's not required but is helpful to know.
If you don't live in the Augusta area and are willing to work there as a local hire (no gas bump, etc.), put "AUGUSTA OK" under your stats. You must be local to the greater Augusta area or willing to work as a local hire.

Monday, 7 May 2018

Augusta possible site for Clint Eastwood's movie ‘The Mule’

Well it certainly looks as if The Mule is more than likely to become Clint’s next movie. A couple of news stories have surfaced in the last few day, as well as some hard proof evidence from the scouting team working on Clint’s behalf.
Augusta is in the running as the site location for a major motion picture Clint Eastwood is directing, producing and starring in.
Brad Owens, president of the Augusta Regional Film Office, confirmed Wednesday that flyers circulating around town (left) about the movie are legitimate. Augusta is being scouted as the site for the Warner Bros. movie “The Mule”. Given the level of interest, Owens said he is optimistic Augusta will be the front runner. “It’s a fantastic opportunity and it’s what we have been working toward,” Owens said. If fortunate enough to land the production, Owens said his office will do everything possible to make sure the filming is successful. The movie is about Leo Sharp, who in 2011 at the age of 87 was caught on Interstate 94 in Michigan with 104 kilograms of cocaine, according to news accounts. Sharp admitted to making seven trips from Mexico to Detroit for El Chapo’s drug cartel. Sharp was a World War II veteran and a world renowned daylily expert who had never been arrested before. He was sentenced to three years in prison in 2014, but released in 2015 because he was terminally ill. He died in December 2016. According to Commissioner Sean Frantom, filming is to begin June 4. 

CSRA News Channel 6 also ran with the story
Legendary actor and director Clint Eastwood is looking to continue his filmmaking career in Augusta. Production crews are already scouting locations around town including homes in between Central Avenue and Wrightsboro Road for Eastwood’s new move called The Mule
Jennifer Bowen  of the  Convention and Visitors Bureau,  serves as Augusta's Film Liaison, and says the upcoming  shoot is something she can-not  comment on at this time. 
"We have to honor some confidentiality in order to bring them here, we have to honour their requests they're very sensitive in the film industry that word of mouth travels very fast, and so it's important that we maintain a real good relationship with specific projects so they'll continue to consider Augusta," said Bowen.
The Georgia Film Office said it has no information on the movie but neighbours where advance teams have scouted say filming should begin in June.

…and of course, all things considered - Augusta National Golf Club isn’t a bad little place for Clint to spend time between filming!  

Saturday, 5 May 2018

Clint Eastwood’s £150K Pink Cadillac that’s used as a shopping run-around in Conwy



The eye-catching convertible will be the start-turn at this year's Bryn y Maen Exhibition. Wherever he goes in North Wales, Dave Neil turns heads. “The first time I went to my local Asda , I couldn’t get into the shop for the number of people wanting photographs,” he said.  It is not Neil, a 71-year-old mechanic and scrapyard operator, who attracts so much attention, but his car, a 1959 pink Cadillac Deville convertible. This is definitely a vehicle you can’t miss when Dave takes it for a spin through the Conwy Valley from his home near Trofarth. Neither is it a “trailer queen” – a car wrapped in cotton wool and only taken out for public appearances on a low-loader. “I go everywhere in it,” said Dave. “I do my shopping in it, I collect the grandkids from school in it. I use it for the odd prom night too. And I always get asked for photos!”
This is not any old Cadillac. It was the star of 1989 film “Pink Cadillac”, starring Clint Eastwood: the car still has the under-chassis camera mountings to prove it. “It’s still got the small tears in the hood which you can see in the film when it goes through a car wash. The same crack in the window is still there too,” said Dave. “I’ve got a new hood, and a new window, but I can’t bear to replace the old parts because I want to keep it as authentic as possible.” So how did a scrapyard dealer come to own a candyfloss pink car with swept-back wings and chrome fenders? “Since I was a kid I’ve always wanted a car with big wings on the back,” he said. “Five years ago the opportunity came up and I grabbed it.” Dave exchanged it with a fellow collector for a V12 E-type Jaguar that his late wife was struggling to get in and out of.
The Cadillac was originally picked as the “back-up” car used by Clint Eastwood in his film, to be used in case of a problem with the first-choice car. As it happened, the first-choice failed to start and the back-up took over for all “moving” scenes. It still appeals to Clint fans. “A few weeks ago I was asked as a favour to take an elderly lady for a meal in Rhos-on-Sea to celebrate her 90th birthday,” said Dave. “Apparently she’s Clint-mad – she’s even got posters of my car in her house. When I arrived to collect her, she came out with her Zimmer frame and her mouth was going from side to side – she was absolutely made-up!” Both of Clint’s film pinks were originally bought by an Irish dentist. One found its way to England, and now Wales; the other was last sold at auction in France for £65,000, and recently changed hands in the US for $200,000. Two years ago Dave was offered £100,000 but he turned it down flat. “There’s no way I’d ever part with it,” he said. “I’ll die before I let it go. Some things are worth more than money.”
Dave Neil’s Cadillac will be the star turn at this month’s Bryn y Maen Exhibition, near Colwyn Bay. It will be sharing the billing with some other old girls, including a 99-year-old Waterloo Boy tractor. The tractor, made by John Deere, will be among more than 50 at the event, along with vintage cars, motorbikes, farm memorabilia and scale models. The show, on Saturday, May 12th, 10am-5pm, is being sponsored by North Wales Honda, Llandudno. It’s on a field off the B5113 (LL28 5ES). This year’s show beneficiary is Ty Croeso Dawn Elizabeth House. Admission is £5 for adults, U15s free.