Hollywood
Documentary on Francois Truffaut’s ‘Cinema according to Hitchcock’ to be produced
NEW DELHI: A feature documentary is set to be produced based on the recordings that led to fame of filmmaker Francois Truffaut’s internationally acclaimed 1966 book ‘Cinema according to Hitchcock.’
Cohen Media Group, Artline Films and Arte have partnered to produce Hitchcock/Truffaut, to be directed by Kent Jones (A Letter to Elia, Director of the New York Film Festival) and co-written by Jones and Serge Toubiana (Director of Cinematheque Francaise). An American-French co-production, it will be released in the spring of 2015. Cohen Media Group will handle world-wide sales.
The film will journey through the extensive series of conversations between master filmmaker of mystery and horror films Alfred Hitchcock and Truffaut, illustrating their love for filmmaking and demonstrating their impact on modern world cinema.
Legendary scenes from Hitchcock’s films intercut with comment and opinion from contemporary filmmakers will reinforce his iconic stature as one of the most influential directors of our time.
“For me, in many ways, cinema began with Francois Truffaut’s book about Alfred Hitchcock,” said Jones. “For me, and for many others, the book was more than formative – it was essential and direct. I was so excited when I was offered the chance to make this film, an inquiry into the adventure and excitement of directing films, of translating felt emotions into moving images.”
Since its publication, the book has been dubbed the “Bible of cinema” by many international filmmakers. The film will feature interviews and accounts from some of the most prominent and influential directors in the world of cinema including Martin Scorsese, Steven Spielberg, James Gray, Brian De Palma, Wes Anderson, Richard Linklater, Luc and Jean-Pierre Dardenne, Olivier Assayas, Arnaud Desplechin and David Fincher. These directors will share how “Hitchcock/Truffaut” shaped their careers, transformed cinema and introduced the French New Wave and “New Hollywood” to the world.
Segments from the 1962 original recordings between the two filmmakers will also feature, allowing audiences to hear candid discussions between Hitchcock and Truffaut and to witness, first- hand, this quintessential moment in cinematic history.
Hollywood
Did the ballet and opera controversy cost Timothée Chalamet his Oscar?
The actor’s ‘dying art forms’ comments may have danced away his Oscar chances.
LOS ANGELES: Last night, the 98th Academy Awards delivered a performance that wasn’t in the script, as Michael B. Jordan clinched the Best Actor statue, leaving Timothée Chalamet’s widely predicted win to pirouette away into the night. While Chalamet was long considered the frontrunner for his starring turn in Marty Supreme, many are whispering that a singular, ill-timed performance, not on screen but on the campaign trail, may have rewritten the finale.
For months, the narrative surrounding the race had a singular star, Chalamet, the critics’ darling and the bookies’ bet. However, the closing numbers saw a dramatic plot twist. Chalamet found himself upstaged not just by his fellow nominees but by the ghost of public opinion, following remarks he made during a Variety and CNN actor-on-actor conversation in February.
What started as a breezy discussion turned distinctly frosty when Chalamet, the conversation’s designated trendsetter, took aim at some classical institutions. “I don’t want to be working in ballet or opera, where no one is interested anymore,” he said, before branding them “dying art forms.”
The backlash was swift and, unfortunately for Chalamet’s campaign, star-studded. For the film industry, an establishment that often fancies itself as the glamorous custodian of the high arts, the actor’s comments didn’t just strike a bum note. They sounded like a discordant symphony. Academy heavyweights, including Jamie Lee Curtis, Whoopi Goldberg and Steven Spielberg, publicly voiced their disapproval. Spielberg himself countered that the “cinematic experience” and classical performance are bound by a similar dedication to audience engagement, effectively suggesting that Chalamet’s view was perhaps a bit too modern for its own good.
The conversation quickly became a media maelstrom. In a masterstroke of high-culture clapback, renowned ballerina Misty Copeland didn’t just issue a statement. The Academy even choreographed a surprise performance by her for the ceremony itself, a powerful, wordless rebuttal that many saw as a direct riposte to Chalamet’s dismissive claims. Even regional arts institutions joined the choreography. The Seattle Opera offered a cheeky “TIMOTHEE” discount, granting a 14 percent markdown to prove that people do, in fact, care.
Did this cultural counterpoint truly cost Chalamet his win? While some industry insiders argue that Michael B. Jordan’s complex dual performance in Sinners, a performance that also swept the SAG Awards, had simply built up too much momentum, the timing of Chalamet’s comments was undeniably poor. Coming as final Oscar voting began, they arguably soured his narrative and made a vote for him feel, to some, like a vote against artistic unity.
Even the ceremony itself wasn’t finished with the narrative. Host Conan O’Brien, whose sharp tongue is a celebrated feature of these galas, didn’t miss a beat. “Security is extremely tight tonight,” O’Brien jibed during his opening monologue, glancing toward the front row. “I’m told there are concerns about attacks from both the opera and ballet communities. They’re just mad you left out jazz!”
The laughter that followed was pointed, a final public curtain call for a controversy that Chalamet likely wished had closed weeks ago. Whether it was a case of genuine peer disapproval, a sudden surge in support for Jordan’s powerhouse performance, or simply a case of poor footwork on the campaign stage, the ballet and opera debacle has now cemented its place in Oscar history. Chalamet’s experience serves as a clear memo to future contenders. Even when you are the headline act, a solo performance can still fall flat if you forget to play to the entire house.
