Tag Archives: director

Revelation about ‘Last Tango in Paris’ rape scene sparks outrage

Last Tango in Paris is making headlines again 44 years after the controversial film came out. A recently unearthed video interview with Italian director Bernardo Bertolucci from 2013 has renewed interest, and outrage, over what happened to actress Maria Schneider on set during the infamous butter rape scene.

Bertolucci said neither he nor Marlon Brando told Schneider of their plans to use the stick of butter during the simulated rape scene — a concept they came up with the morning of the shoot — because he wanted her to react “as a girl not as an actress.” He wanted her, he said, to feel “the rage and the humiliation.”

Schneider, who died in 2011 at age 58 after a lengthy illness, spoke a number of times about the scene between her, then aged 19, and Marlon Brando, then 48, even saying in a 2007 Daily Mail interview that she “felt a little raped” by her co-star and director.

“They only told me about it before we had to film the scene, and I was so angry,” Schneider said. “I should have called my agent or had my lawyer come to the set because you can’t force someone to do something that isn’t in the script. But at the time, I didn’t know that.”

Outrage today

But despite Schneider’s past comments, the video interview with Bertolucci struck a chord this weekend as it circulated on social media that the director was admitting the scene was non-consensual.

Actress Jessica Chastain wrote on Twitter that she felt “sick” over the revelation that “the director planned her attack.”

Filmmaker Ava DuVernay called it “inexcusable.”

“As a director, I can barely fathom this. As a woman, I am horrified, disgusted and enraged by it,” DuVernay wrote.

Chris Evans also expressed his rage and said it was “beyond disgusting,” while Anna Kendrick weighed in that she “used to get eye-rolls” when she brought the incident up to people previously and that she was “glad at least it will be taken seriously now.”

Some, like actress Jenna Fischer, took a more extreme stance, writing that “all copies of this film should be destroyed immediately.”

Schneider, a relative unknown when she was cast in the film, said that the “whole circus” of suddenly being famous made her turn to drugs and she even attempted suicide a few times.

She stayed friends with Brando until his death in 2004, but she said that “for a while we couldn’t talk about the movie.”

Bertolucci, however, did not maintain a relationship with Schneider. He said he knew she hated him for life in that interview two years after her death.

And while he doesn’t regret the scene, he said he does feel guilty about it.

Garry Marshall dies at 81

Director, producer and writer Garry Marshall, who was responsible for creating sitcom hits such as “The Odd Couple,” “Happy Days,” “Laverne & Shirley” and directed hit movies “Pretty Woman” and “The Princess Diaries,” died on July 19.

He was 81.

Marshall died at 5 p.m. local time in Burbank, California, from complications of pneumonia after a stroke, his representative Michelle Bega told USA Today.

“The Odd Couple,” a hit sitcom created and produced by Marshall, began a five-year run on ABC in 1970. The show, starring Jack Klugman and Tony Randall, received Emmy nominations and wins for the comedy series based on Neil Simon’s play about two divorced men with different lifestyles who are forced to share an apartment.

Marshall’s “Happy Days” debuted as a television series on ABC in 1974, starting a 10-year run that saw Henry Winkler’s “the Fonz” become what Variety described as a cultural touchstone.

“Garry Marshall Rest In Peace. Thank you for my professional life. Thank you for your loyalty, friendship and generosity,” Winkler said on Twitter.

Marshall was the older brother of Penny Marshall, who played the unrefined but lovable Laverne DeFazio on “Laverne & Shirley,” a “Happy Days” sequel he co-created that ran on the ABC network from 1976 to 1983. It followed the lives of two single women and their nutty friends in 1950s and ’60s Milwaukee.

He also directed “Pretty Woman,” a big screen blockbuster in 1990 starring Julia Roberts and Richard Gere that grossed $463 million worldwide. Roberts earned an Oscar nomination for best actress and the film was nominated for a Golden Globe for best comedy/musical.

“The Princess Diaries,” “Beaches” and “The Flamingo Kid,” were among other popular films Marshall had a hand in putting on the big screen.



Will women see a break in Hollywood’s ‘celluloid ceiling’?

“Well, the time has come,” announced presenter Barbra Streisand at the 2010 Oscars, revealing that Kathryn Bigelow had won the best director prize for “The Hurt Locker” — the first woman in history to win the award.

It was a watershed moment in Hollywood, and many were hopeful — if not certain — that it would usher in an era of increased opportunity for women directors.

Six years later, though, the slate of best-director nominees is all male, as it has been every year since Bigelow won.

In fact, women have been nominated only four times in the Oscars’ 88-year history.

“Of course, the ‘Bigelow effect’ never materialized,” says Martha Lauzen, executive director of the Center for the Study of Women in Television and Film at San Diego State University. The Center’s latest annual study found that women comprised just 9 percent of directors on the top 250 films in 2015, the same as in 1998. Studies have shown similar disproportion for women in other key behind-the-camera roles.

But is the tide turning?

While recent attention has focused intensely on the #OscarsSoWhite campaign sparked by the lack of racial diversity in the Oscar nominations, some women in Hollywood are heartened — albeit cautiously — by recent developments that should benefit women and minorities, both behind the camera and in front.

“What we’re seeing is an undercurrent of anger over the lack of inclusion in Hollywood,” says Janice Min, a veteran industry observer who oversees both The Hollywood Reporter and Billboard. “That conversation can only have beneficial effects on women.”

Min notes that the recent focus on unequal pay for women — sparked by Patricia Arquette’s fiery Oscar speech last year, then intensified by high-profile comments from Jennifer Lawrence  — has for the moment receded from the spotlight amid questions of racial diversity. But it’s all part of the larger picture. “Yes, there will be some parts of the issue that will be resolved first, and some later,” she says. “But the fact that discussion is happening at all is stunning. It’s a real revolution in Hollywood.”

A few recent developments have provided cause for some hope. The first, of course, is the pledge by the Academy of Motion Picture Arts and Sciences to double the number of women and people of color among its membership ranks by 2020. There is also an EEOC investigation under way into possible discriminatory hiring practices of women directors, prompted by the American Civil Liberties Union.

More recently, Ryan Murphy, one of the more powerful figures in television, said he aims to have 50 percent of all director slots on his shows filled by women, people of color and members of the LGBT community. “I personally can do better,” he told the Hollywood Reporter.

Still, cautions Lauzen, there is a huge gap between talk and action.

“While it appears to be a step in the right direction, at this point it is just a promise,” she says of the Academy’s move. And of the EEOC investigation, she says, “any hiring goals that may result will need to be mandatory, and there will need to be significant oversight. That would be a tall order and a move without precedent in the film industry.”

Lauzen’s report, “The Celluloid Ceiling,” found that in 2015, women comprised 19 percent of all directors, writers, producers, executive producers, editors, and cinematographers on the top 250 domestic grossing films — an increase of 2 percentage points from last year, and the same as in 2001.

It also found that women in certain roles more traditionally identified with males — such as directors and cinematographers _ increased steadily as more films (the top 500, say, instead of the top 100) were examined, suggesting that on the biggest-budget films, “hiring decisions for these roles may be most susceptible to mainstream film industry biases.”

A bright spot, Lauzen notes, is that films with at least one woman director also employ greater percentages of women in other roles. “On films with at least one female director, women comprised 53 percent of writers,” Lauzen says. On films with male directors, women accounted for only 10 percent of writers. Films with female directors and writers also tend to have higher percentages of female characters, and especially female protagonists. 

Some high-profile Hollywood actresses have found they needed to become producers themselves to get the substantive roles they desired. “I was seeing a deficit in leading roles for women,” Reese Witherspoon told The Associated Press in a 2014 interview. “It was just the lack of complex characters, of interesting, dynamic women onscreen.” Witherspoon has produced both “Gone Girl” and, starring herself, “Wild,” both films with complex female protagonists.

And Halle Berry said recently that she’d set up her own production company in 2014 partly because she had found it difficult, since becoming the first black best-actress Oscar winner in 2002, to find the right substantive roles.

Actresses of color face a tougher climb than anyone, says Chris Rock, who will host the Oscars on Sunday. “Black women get paid less than everybody in Hollywood,” he recently told Essence magazine. “Everybody’s talking about Jennifer Lawrence. Talk to Gabrielle Union … talk to Nia Long. Talk to Kerry Washington. They would love to get to Jennifer Lawrence’s place, or just be treated with the same amount of respect.”

What will it take to change?

Lauzen says the issue is the mindset at the top. “Many of those with the power to shift the gender ratios — executives at the film studios, and leaders at the academy and at guilds — have not perceived women’s under-employment as a problem. In other words, there has been little real will to change.”

Attorney Melissa Goodman of the ACLU of Southern California, which last May asked the EEOC to investigate studios’ “systemic failure to hire women directors,” says she is hopeful for change.

“I’m optimistic that with time, our most important cultural product — our films and television shows — will increasingly come to reflect the diversity and diversity in viewpoints in our society,” she says. “In the meantime, Hollywood decision-makers must remember that they do not get a free pass to discriminate and violate civil rights laws.”

As for Min, she notes that despite some evidence of “diversity fatigue” — people at lunches and dinners who are saying, “enough with all this already” — she still thinks things are looking up.  “In a world where it’s always been all talk and no action, it’s pretty stunning to see action being taken.”

Besides, even where intentions aren’t the best, there’s always the fear of shame to get things moving.

“One of the things you can count on in Hollywood is a climate of fear,” Min says. “People will be motivated by fear of being shamed.”

Iconic filmmaker John Waters to receive honorary degree

When the Rhode Island School of Design offered iconic filmmaker John Waters an honorary degree, he was surprised. After all, he got thrown out of every school he ever went to.

Known for quirky films that push the boundaries of good taste, including 1972’s outrageous cult classic “Pink Flamingos,” Waters is the keynote speaker at the prestigious art school’s commencement this next weekend.

Waters will also receive an honorary Doctor of Fine Arts degree; recipients are chosen by the RISD community, and nominations are reviewed by a committee of students, faculty and staff.

“I don’t even know if I got a high school diploma. It’s very peculiar. I feel very flattered,” said Waters, who attended New York University briefly in the 1960s before getting kicked out for smoking marijuana on campus. “I feel like the scarecrow in the ‘Wizard of Oz’ when they give him a brain.”

RISD’s 2015 Honorary Degree Committee cited Waters’ body of films as an “enduring inspiration for RISD students seeking to break boundaries, challenge conventions, and define an expressive style,” said RISD President Rosanne Somerson.

“In the words of one nominator, he ‘embodies the RISD ‘tude galore’,” Somerson said.

Waters will share a stage with three members of the band Talking Heads — two are RISD alumni — and New Yorker staff writer Adam Gopnik.

Waters has written and directed more than a dozen films over his decades-long career, many of them low-budget movies featuring a cadre of unconventional characters, including drag queen Divine, Waters’ longtime friend and muse. Waters saw mainstream success with 1988’s “Hairspray,” another cult classic that was adapted into a Broadway musical in 2002. He is also a published author and photographer.

“I shouldn’t have been in school. You go to school to figure out what you wanted to do. I knew what I wanted to do,” Waters said. “I wish I had gone to RISD. They would have encouraged my ideas. I could have made ‘Pink Flamingos.””

Waters does more writing these days than filmmaking: The paperback of his 2014 memoir “Carsick: John Waters Hitchhikes Across America” debuts this month. Waters said he was inspired to hitchhike from his native Baltimore to San Francisco because his life is so scheduled and controlled.

“My inspiration has always been the same, which is human behavior I can’t understand, which is always my interest, always has been,” Waters said.

The filmmaker is looking forward to accepting his honorary degree, “Without irony, for one of the few times in my life.”

Mark Hamill: ‘Drafted’ for ‘Star Wars: The Force Awakens’

Mark Hamill knew he had to say yes when George Lucas told him about the plans to move forward with a new “Star Wars” trilogy.

“It’s not like a choice. It’s like I was drafted,” Hamill told a massive crowd over the weekend at Star Wars Celebration of his decision to reprise his role as Luke Skywalker in the “Star Wars: The Force Awakens.”

“Could you imagine if for some reason I said ‘I don’t think I want to do it?’ I would have all of you surrounding my house like villagers, angry villagers with lightsabers instead of torches,” joked the 63-year-old “Star Wars” veteran.

Hamill admitted he was caught off guard when Lucas invited him to lunch. When Hamill’s wife surmised that perhaps there was a new film in the works, Hamill laughed. Lucas had told him specifically that he was done making “Star Wars” movies after the prequels.

He assumed Lucas was going to announce a 3-D release or roll out another box set of the films, laughing about the number of versions that have been made available.

Still, his interest was piqued when Lucas disinvited Hamill’s daughter. He knew that meant it must be big.

When things started coming together, Hamill said he was cautiously optimistic about J.J. Abrams, the chosen director for “The Force Awakens.”

“I was a little suspicious because he was a ‘Star Trek’ guy,” said Hamill, laughing.

The actor quickly clarified that he likes “Star Trek.”

“It just seems odd,” he said. 

He went on to compliment Abrams for his inclusiveness. Abrams, Hamill noted, is also the first “Star Wars” director to be borne out of true fandom of the original films.

“He feels the way you feel in terms of wanting practical effects. Real sets,” he said.

Keeping in line with the secrecy surrounding “The Force Awakens,” which opens on Dec. 18, Hamill said he is always worried about leaking information. He claims he even learned the subtitle of the seventh film on the Internet.

“They’re so secretive these days,” said Hamill. “When we did the first one no one cared.”

Hamill was “cleared” to tell the packed house that he did record a voiceover specifically for the new teaser trailer, which debuted last week during the Celebration kick-off panel.

In the teaser, we hear Luke’s voice saying a familiar, but slightly altered line from “Return of the Jedi”: “The force is strong in my family. My father has it. I have it. My sister has it. You have that power too.”

He laughed and said that he kept messing up and saying: “My father had it.”

The end result is a combination of the original recording and Hamill’s new session, the actor said.

After playing the trailer once more in the large arena, Hamill marveled that there is “so much information there for you to speculate about” embedded in the footage.

“It implies so much that’s gone on from ‘Jedi’ till now,” he said.

“They don’t call it a teaser for nothing. They want to tease you.”

On the Web…

Online: http://www.starwars.com

Review: Michael Keaton soars in bracing ‘Birdman’

When we first see Michael Keaton in “Birdman,” Alejandro G. Inarritu’s bracingly inventive and accomplished new film about fame, relevance, self-worth and lots of other intense stuff, he’s sitting in his white undies, in the middle of a dressing room.

No, really in the middle. Like, in the air. He’s levitating.

Of course you think, “How’d he DO that?” Turns out that’s an apt metaphor, intentional or not, for Inarritu’s entire achievement here. Fast forward to film’s end, and we’ll bet the very same words will be on your lips: “How’d they DO that?”

Still, it’s best not to spend too much time thinking about the technical virtuosity of “Birdman,” most importantly how it creates the impression, thanks to master cinematographer Emmanuel Lubezki, that it’s all one continuous shot. Remember Lubezki’s 13-minute opening in “Gravity”? Merely an appetizer, it turns out. But the best thing about his work here is that it serves the narrative so well, you hardly notice.

Keaton, in a wonderfully raw, dark and vulnerable performance, plays aging actor Riggan Thomson, who earned fame and wealth decades ago playing a superhero, Birdman. His fans want more; he’s moved on. (Any parallels here with Keaton, star of two “Batman” films a quarter-century ago, are purely intentional.)

In a bid to restore his sense of self-worth, and perhaps to exorcise the demon of Birdman _ a tall order, since, uh, the superhero still regularly speaks to him in his head _ Riggan’s putting on a show. It’s a Broadway adaptation of a Raymond Carver tale, which Riggan himself has written, is starring in and directing. Your basic movie-star vanity project, only you get the sense Riggan’s very life — or at least his sanity — depends on it.

The fodder for industry jokes is endless. When a key actor is suddenly incapacitated, Riggan ponders possible replacements with his friend and attorney, Jake (Zach Galifianakis, exercising admirable comic restraint). Woody Harrelson? He’s doing the next “Hunger Games.” Robert Downey Jr.? Nah, “Avengers.” That other guy? He’s doing the prequel to the prequel.

Luck strikes like a thunderbolt when Mike Shiner (Edward Norton, superb) shows up to read for the part. Mike may be an entitled jerk, but he’s a bankable star. The scenes between Keaton and Norton as they rehearse, compete and occasionally brawl like testosterone-fueled youngsters are simply dynamite, two actors firing on all cylinders.

Then there’s Sam, Riggan’s daughter, fresh from rehab and working as Dad’s assistant. It’s fun to see Emma Stone play a more troubled, unstable character here; her eyeliner-rimmed eyes seem to contain both love and loathing for her father. Making things even more precarious, Sam’s embarking on a dangerous flirtation with Mike, who’s ostensibly the boyfriend of co-star Lesley (an excellent Naomi Watts).

The movie was filmed almost entirely inside Broadway’s St. James Theater, giving all these relationships an extremely claustrophobic feel, as must happen in real life with a theater company. (We also get a fascinating inside view of how a Broadway show operates.)

Looming over everything is opening night, when one particular theater critic will, with the strike of a pen, make or break the show: the acid-tongued Tabitha (Lindsay Duncan), who despises Riggan and his movie-star ilk for polluting the theater. “I will destroy your play,” she hisses to him, acknowledging that she doesn’t even plan to see it first. Not to overly defend critics, but let’s just say that this melodramatic plotline feels like a rare false note in the script.

Other flaws: Watts’ character seems to drop prematurely from view, as do some tantalizing relationships that we really wanted to know more about.

But there’s so much that IS there. “Birdman,” more than most, seems a film that deserves a second viewing, not only to admire the work of Keaton and his co-stars, but to delve into its many layers. And perhaps to pursue an answer to that question: “How’d they DO that?”

“Birdman (or The Unexpected Virtue of Ignorance),” a 20th Century Fox release, is rated R by the Motion Picture Association of America “for language throughout, some sexual content and brief violence.” Running time: 119 minutes. Three and a half stars out of four.

Review: Woody Allen’s sweet, sugary ‘Magic in the Moonlight’

Woody Allen’s late period has been defined by a quality you wouldn’t have expected from the man who produced the inspired chaos of “Bananas” or the Fellini-esque carnival of “Stardust Memories”: tidiness.

For years now, Allen’s films have been light farces (“Midnight in Paris,” “Vicky Cristina Barcelona”) or neatly structured parables (“Match Point,” “Blue Jasmine”). They breeze in innocuously in the summer, promising pleasant entertainment and not much more.

“Like drinking lemonade” is how Allen has described his escapist aims for his movies. His “Magic in the Moonlight,” a romantic comedy bathed in the sunset glow of the French Riviera and starring two of the more effervescent faces in movies — Colin Firth and Emma Stone — is, no doubt, sweetly sugary — if ultimately flat — stuff.

The film begins in 1928 Berlin with the chaotic backstage life of a haughty, grouchy Chinese illusionist, Wei Ling Soo, played by the magician Stanley Crawford (Firth). It’s a promising start: Here is Firth, in regal, oriental garb and long mustache, disparaging autographs as “for mental defectives.”

More of this, and “Magic in the Moonlight” could have been a very funny movie. But Wei Ling Soo doesn’t again perform, and instead the rest of the film feels oddly missing the jokes it seems built to convey. Crawford — a self-described “rational man” who believes in his art, not in actual magic — sets off to the South of France to unmask a medium, Sophie Baker (Stone), gaining renown for her prescient “mental impressions.”

They meet at the sumptuous Cote d’Azur home of the Catledge family, whose rich bachelor Brice (Hamish Linklater) swoons unapologetically for Sophie. A dance of distrust begins between the cocksure Crawford and the lithe, charming Sophie across a vivid, widescreen backdrop of cars, clothes and coastline.

Crawford, whose fiancee hasn’t joined him on the trip, is both supremely confident in his realistic worldview (Nietzsche, he says, resolved “the God problem rather convincingly”) and abundantly unhappy. Audiences will surely see where the film is going as it sets up a quite rigidly explored dichotomy between blithe believing and scientific certainty.

It’s an argument for illusion in our lives, no matter how fraudulent; for love, no matter how illogical. “Magic in the Moonlight” is a disbeliever’s earnest plea to believe. 

These are, of course, ideas Allen has long explored, and “Magic in the Moonlight” often feels like the kind of tidy New Yorker humor story the filmmaker might pen. Even with bright performances and lively chemistry between Stone and Firth, the movie is stale with the fixed rhythm of the written word, not alive to its images, despite the rich setting. (A quick aside: Is it possible to not have good on-screen chemistry with Stone? From Ryan Gosling to Spider-Man, she bewitches everyone.)

Allen is in complete control of the film, both its comic pacing and its philosophical quandary. But perhaps that’s the problem: Like Crawford, “Magic in the Moonlight” needs to be less in control of itself. The film doesn’t believe in magic enough.

“Magic in the Moonlight,” a Sony Pictures Classics release, is rated R by the Motion Picture Association of America for “a brief suggestive comment, and smoking throughout.” Running time: 100 minutes. Two and a half stars out of four.  

MPAA definition of PG-13: Parents strongly cautioned. Some material may be inappropriate for children under 13. 

‘X-Men’ director: Abuse suit a shakedown

The director of the upcoming “X-Men” film has denied allegations contained in a lawsuit that he raped an aspiring actor and model in 1999 and called the claims a shakedown.

Bryan Singer wrote in a statement released Thursday that he was avoiding promotional events for his upcoming film “X-Men: Days of Future Past” to avoid distracting from the movie and the work of its actors and crew.

“The allegations against me are outrageous, vicious and completely false,” Singer wrote. “I do not want these fictitious claims to divert any attention from `X-Men: Days of Future Past.’ “

The statement was released a week after Singer was sued in Hawaii by Michael Egan III, a former aspiring model and actor, who claims the director sexually abused him during a trip in Hawaii in 1999. Egan has said Singer abused him when he was as young as 15 years old at a home in Los Angeles, but his case only focused on the alleged abuse in Hawaii.

Singer’s attorney Marty Singer has said the director wasn’t in Hawaii when Egan claims he was abused.

“I promise when this situation is over, the facts will show this to be the sick twisted shakedown it is,” Bryan Singer wrote in his statement.

Egan’s attorney Jeff Herman said Singer’s denials would not affect his pursuit of the case. “We have a good-faith belief in the allegations, and we will litigate this,” Herman said.

Egan has also sued three other entertainment industry figures — two former television executives and a theater producer — for substantially similar claims.

“None of the defendants in Michael Egan’s cases have admitted to abusing him,” Herman said. “I’ve gotten other threats from the other lawyers, which I find interesting. I’m not deterred from bringing these cases forward.”

The lawsuits were filed in Hawaii under a law that temporarily suspends the statute of limitations in civil sex-abuse cases. None of the men has been criminally charged, and the statute of limitations for any such charges has passed.

In order to file the cases, Egan had to be evaluated by a psychologist who signed a notarized “Certificate of Merit” that includes facts and opinions supporting an opinion that he was sexually abused and had a psychological or physical injury. The certificate detailing Egan’s allegations against Singer has been filed under seal.

Egan claims he was lured into a sex ring run by a former digital entertainment company executive with promises of auditions for acting, modeling and commercial jobs. He was put on the company’s payroll as an actor and forced to have sex with adult men at parties within Hollywood’s entertainment industry, he says.

The Associated Press does not typically name victims of sex abuse, but it is naming Egan because he is speaking publicly about his allegations.


‘Citizen Kane’ camera, other Orson Welles’ items up for auction

The youngest daughter of director and writer Orson Welles is giving film buffs a chance to buy some of his personal possessions, including a camera, scripts and photos from the set of “Citizen Kane.”

Beatrice Welles discovered the relics last year in boxes and trunks and decided to put them up for auction. She said her father would have preferred making the memorabilia available to film buffs and fans as opposed to sending them to a museum.

“It’s about the last thing he would’ve wanted. He just did not believe in schooling, he did not believe in academic things,” Beatrice Welles said in a telephone interview from her Arizona home. “And museums kind of have that connotation and I thought ‘No, this is not right for him.’”

In all, she is handing more than 70 items over to Heritage Auctions, which will stage the auction on April 26.

Margaret Barrett, director of entertainment-related auctions, declined to speculate on any possible bidding amounts but said she expects all the lots to fetch decent bids.

“People are still talking about him decades after his death,” Barrett said. “One of the enduring signs of fame is when young people know who someone is — someone who might have passed away decades ago.”

Barrett said she thinks Welles’ old Bell & Howell movie camera will be one of the bigger sellers. According to his daughter, he used the camera for home movies. In fact, one of the photos in another lot shows Welles using the camera to record a bullfight in Spain.

Other items are reminders of Welles’ more painful Hollywood experiences. Two scripts for “The Magnificent Ambersons,” a 1942 film he wrote and directed, reveal two different endings Welles had in mind; neither ended up in the film. The movie, which centers on a spoiled heir’s attempt to keep his mother from marrying her first love, was famously re-edited by someone else.

“They kept on changing his pictures around and not letting him finish them. That hurt him,” Beatrice Welles said. “The only one he was allowed to do completely from start to end was ‘Citizen Kane.’”

Long considered Welles’ masterpiece for its innovations in editing and cinematography, the 1941 “Citizen Kane” follows the lonely life of wealthy publishing magnate Charles Foster Kane.

Not among the auction cache is any Rosebud-type childhood memento of Welles’. Rosebud was the name of the sled mourned by the titular character in “Kane” that burns at the end of the film. According to Beatrice Welles, director Steven Spielberg bought a version of the sled in 1982, also at auction, and was later teased by her father about its authenticity.

“My father and Steven were having lunch and my father said ‘I hate to tell you something, but there was only one sled in Citizen Kane. Do you remember the ending?’”

Nearly 30 years after Welles’ 1985 death, Beatrice Welles said she was finally emotionally strong enough to sift through boxes of her famous father’s possessions. Her mother, Italian actress Paola Mori, died less than year after Welles. The double loss was devastating.

“When they died … I just couldn’t even look at the stuff,” she said.

Celebrity interactions and globe-trotting made up Beatrice Welles’ unconventional upbringing, where her father’s “Moviola editing machine was like part of our luggage.”

By the age of 3, Beatrice Welles was getting an education any film student would have loved. She often sat on her father’s lap while he cut movies in the editing room. As she got older, she even pitched in.

“I’d get the two pieces of whatever celluloid film it is on the machine. … He would tell me where to cut and I would cut and do it for him,” Beatrice Welles said.

Her father wasn’t always comfortable with being revered as a film genius, she said.

“He would say, ‘There are only probably three geniuses ever that existed, one of them being Einstein. I don’t put myself in that category.’”

And the nominees for Oscars are …

And the nominees for Oscars are …

Academy of Motion Picture Arts and Sciences president Cheryl Boone Isaacs and actor Chris Hemsworth announced this year’s Oscar nominations on Jan. 16 at 8:38 a.m. EST in the Academy’s Samuel Goldwyn Theater in Beverly Hills, Calif.


American Hustle

Captain Phillips

Dallas Buyers Club





12 Years A Slave

The Wolf Of Wall Street


Christian Bale, American Hustle

Bruce Dern, Nebraska

Leonardo Dicaprio, The Wolf Of Wall Street

Chiwetel Ejiofor, 12 Years A Slave

Matthew Mcconaughey, Dallas Buyers Club


Barkhad Abdi, Captain Phillips

Bradley Cooper, American Hustle

Michael Fassbender, 12 Years A Slave

Jonah Hill, The Wolf Of Wall Street

Jared Leto, Dallas Buyers Club


Amy Adams, American Hustle

Cate Blanchett, Blue Jasmine

Sandra Bullock, Gravity

Judi Dench, Philomena

Meryl Streep, August: Osage County


Sally Hawkins, Blue Jasmine

Jennifer Lawrence, American Hustle

Lupita Nyong’o, 12 Years A Slave

Julia Roberts, August: Osage County

June Squibb, Nebraska


The Croods

Despicable Me 2

Ernest & Celestine


The Wind Rises


The Grandmaster


Inside Llewyn Davis




American Hustle

The Grandmaster

The Great Gatsby

The Invisible Woman

12 Years A Slave


American Hustle, David O. Russell

Gravity, Alfonso Cuarón

Nebraska, Alexander Payne

12 Years A Slave, Steve Mcqueen

The Wolf Of Wall Street, Martin Scorsese


The Act Of Killing

Cutie And The Boxer

Dirty Wars

The Square

20 Feet From Stardom



Facing Fear

Karama Has No Walls

The Lady In Number 6: Music Saved My Life

Prison Terminal: The Last Days Of Private


American Hustle

Captain Phillips

Dallas Buyers Club


12 Years A Slave


Broken Circle Breakdown, Belgium

The Great Beauty, Italy

The Hunt, Denmark

The Missing Picture, Cambodia

Omar, Palestine


Dallas Buyers Club

Jackass Presents: BAD Grandpa

The Lone Ranger


The Book Thief




Saving Mr. Banks


Alone Yet Not Alone, Music By Bruce Broughton, Lyric By Dennis Spiegel

Happy, DESPICABLE ME 2, Music And Lyric By Pharrell Williams

Let It Go, FROZEN, Music And Lyric By Kristen Anderson-Lopez And Robert Lopez

The Moon Song, HER, Music By Karen O Lyric By Karen O And Spike Jonze

Ordinary Love, MANDELA: LONG WALK TO FREEDOM, Music By Paul Hewson, Dave Evans, Adam Clayton And Larry Mullen, Lyric By Paul Hewson


American Hustle


The Great Gatsby


12 Years A Slave



Get A Horse!

Mr. Hublot


Room On The Broom


Aquel No Era Yo (That Wasn’t Me)

Avant Que De Tout Perdre (Just Before  Losing Everything)


Pitääkö Mun Kaikki Hoitaa? (Do I Have To Take Care Of Everything?)

The Voorman Problem


All Is Lost

Captain Phillips


The Hobbit: The Desolation Of Smaug

Lone Survivor


Captain Phillips


The Hobbit: The Desolation Of Smaug

Inside Llewyn Davis

Lone Survivor



The Hobbit: The Desolation Of Smaug

Iron Man 3

The Lone Ranger

Star Trek Into Darkness


Before Midnight

Captain Phillips


12 Years A Slave

The Wolf Of Wall Street


American Hustle

Blue Jasmine

Dallas Buyers Club



The Oscars air on March 2 at 7 p.m. EST.