...Caption on black screen:
LYTTON AND CARRINGTON 1915
LEWES STATION. DAY
The hiss and clatter of a steam train.
A small, dirty engine pulls its train into the deserted station, shabby from wartime neglect. One door opens and a man steps...
...Merteuil’s Dressing Room. Day
The gilt frame around the mirror on the Marquise de Merteuil’s dressing table encloses the reflection of her beautiful face. For a moment she examines herself; critically, but not without satisfaction. Another...
...SYRACUSE, NY, MAY 7, 1959
VANN HOUSE IN SYRACUSE. DAY
Fade up on a drowsy suburban afternoon: a battered green Ford pulls up in front of a large red-brick house.
John Paul Vann jumps out of the car. He’s a man in the uniform...
...BEDROOM IN THE STENTORIAN HOTEL, NEW YORK. EVENING
It’s just over a hundred years ago; and the occupant of the pretty white-and-gold room, with sea-green panels and a rose-coloured carpet, stands, in her elaborate and decorous underwear...
...RIVER THAMES. DAWN
In the grey pre-dawn light, the camera moves, fast and low, following the curves of the river, not more than a few inches above its turbid, brownish surface, under bridges, past moored boats, unstable pontoons and long...
Christopher Meir is a UC3M CONEX Fellow in the Department of Journalism and Audiovisual Communication at the University of Carlos III Madrid, Spain. He is the author of Scottish Cinema: Texts and Contexts (2014) and co-editor of Beyond the Bottom Line: The Producer in Film and Television Studies (2014). He has also published numerous articles and book chapters on industrial issues in Film and Television Studies. Author affiliation details are correct at time of print publication.
Mass Producing European Cinema: Studiocanal and Its Works
Bloomsbury Academic, 2019
... in global European cinema as seen throughout this chapter. These included Elizabeth (Shekar Kapur, 1997), Jude (Michael Winterbottom, 1996), and Carrington (ChristopherHampton, 1995). Finally, the company worked in films with broad genre appeal...
After dropping out of school at 15, Christopher Bray worked for eight years as a typesetter and designer, before resuming his studies in the University of Warwick's department of Film and Literature. He has since written on movies, books, music and paintings for the Daily Telegraph, the Sunday Times, the TLS, Literary Review, the New York Times, the New Statesman and The Word. The author of Michael Caine: A Class Act, a book the renowned film critic David Thomson described as “Excellent… Bray has thought hard about this man, and he has a fascinating story to tell”, he lives in south-east London. Author affiliation details are correct at time of print publication.
... Connery bought up the film rights, he also had other movie commitments which necessarily took precedence. Still, he was instrumental in having the play translated into English (by ChristopherHampton), and bringing it first to his home...
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