Refresh for latest…: Hollywood and international industry figures and groups are reacting to the news that two-time Oscar winning Czech/American director Milos Forman has died at the age of 86. The helmer of One Flew Over The Cuckoos Nest, Amadeus, Hair, Valmont, The People Vs Larry Flynt, Ragtime, Man On The Moon and many more was “truly one of ours. A filmmaker, artist and champion of artists rights,” said DGA President Thomas Schlamme on behalf of the guild this morning (full text below).
Others including Judd Apatow, James Mangold, the BFI, Tribeca and former Cannes Film Festival President Gilles Jacob have weighed in. The news of Formans passing emerged in the wee hours of Saturday morning stateside, so check back for more reactions as they are updated.
Another great one passes through the doorway. Milos Foreman. What a force. A lovely man. Im glad we got to play together. It was a monumental experience. ;^) pic.twitter.com/wzgmOibDHs
— Jim Carrey (@JimCarrey) April 14, 2018
“Cinéma vérité taught me that it's not a question of having a main character, a great actor, and the rest is unimportant. Every detail, every face in the crowd is important.” — Miloš Forman #RIPpic.twitter.com/lUc4INqRu8
— Tribeca (@Tribeca) April 14, 2018
Two amazing movies. Sorry for your loss. Its a big loss for the world. We were so lucky to have all experienced his brilliant work. https://t.co/cGssBdMhGW
— Judd Apatow (@JuddApatow) April 14, 2018
Crushed tonight to learn of the passing of one of the great teachers in my life, Milos Foreman. He leaves behind a beautiful and moving and artistically daring collection of films and also many other students touched by his generosity, charm and brilliance. RIP.
— Mangold (@mang0ld) April 14, 2018
Franco/German arts network ARTE has scheduled Cuckoos Nest to air Sunday night, followed by a tribute to the director who, as former Cannes Film Festival President Jacob describes below, wanted to open the 1979 festival with Hair because it was the first time he was returning to Czechoslovakia and was counting on Jacob to come to his rescue if the authorities detained him:
Je ne comprenais pas pourquoi Forman voulait à tt prix faire l'ouverture de Cannes 79 avec Hair. "C parce que je retourne pour la 1ère fois dans mon pays (Tchécoslovaquie). Je sais que si les autorités me retiennent tu viendras me chercher. Et, aidé de Cl Berri, je l'aurais fait!
— gilles jacob (@jajacobbi) April 14, 2018
Forman, le seul réalisateur à être passé de la nouvelle vague tchèque (L'as de pique) aux grands films d'auteur populaire américain couverts d'Oscars (Amadeus).Oeuvre immense. Il aimait la bière, le tennis, Cannes il disait dites la vérité c tout. Milos restera cher à mon coeur.
— gilles jacob (@jajacobbi) April 14, 2018
Just learned the sad new about #milosforman whos movies are among some of my favorites of all time. A resume that produces both “One Flew Over the Cuckoo's Nest and “Amadeus” deserves to be up there alongside the greats. Good bye to an icon. And Bravo. pic.twitter.com/tnNHrEgw8H
— Josh Gad (@joshgad) April 14, 2018
I experienced Amadeus when I was 10 in Mexico and it affected me in countless ways. To witness the rebellious triumph and heartfelt tragedies in the lives of artists like this convinced me I wanted to be one. Or die trying. Gracias, maestro Milos Forman. Your legacy is forever. pic.twitter.com/E01nWjInyX
— Jorge R. Gutierrez (@mexopolis) April 14, 2018
In 2013, Forman became the 34th recipient of the DGAs Lifetime Achievement Award. He was also recognized with the honor in 2008, and with the John Huston Award for Artists Rights in 1997. He twice won the DGA Outstanding Directorial Achievement in Feature Film Awards: for Cuckoos Nest and Amadeus. Forman joined the DGA in 1970 and served two terms on the National Board. He was a Charter Benefactor of the Artists Rights Foundation, a Governor of the Artists Rights Education and Legal Defense Fund Council at The Film Foundation, and a member of the DGA Presidents Committee on Film Preservation.
Heres the full DGA statement from Schlamme:
“Miloš was truly one of ours. A filmmaker, artist, and champion of artists rights. His contribution to the craft of directing has been an undeniable source of inspiration for generations of filmmakers. His directorial vision deftly brought together provocative subject matter, stellar performances and haunting images to tell the stories of the universal struggle for free expression and self-determination that informed so much of his work and his life.
“A member of the DGAs National Board and a recipient of the DGAs highest honor, the Lifetime Achievement Award, Miloš actively championed artists rights throughout his career, speaking multiple times before Congress and world audiences about the importance of creative rights and artists protections against the violation of those rights. He stood up on behalf of his beloved fellow filmmakers time and again, and he believed with all his heart that creativity and artistic freedom could make a difference in the world. Now its up to us to prove him right. We will miss him.”
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.