Marcel Ophuls, the Oscar-winning filmmaker who forced France to face its WWII past, is dead at 97
The German-born filmmaker, who was the son of legendary filmmaker Max Ophuls, died Saturday at his home in southwest France of natural causes, his grandson Andreas-Benjamin Seyfert told The Hollywood Reporter.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Vogue
2 hours ago
- Vogue
Emma Stone and Nicolas Ghesquière's Real-Life Friendship Takes Center Stage in Vogue's September Issue
What better time to try something larger than life than the September issue? For Nicolas Ghesquière, that meant creating a miniature Louis Vuitton collection of couture-like caliber, exclusively for Vogue. And who better to wear these one-of-a-kind garments than our cover star, and the designer's longtime friend, Emma Stone? 'Whatever he does is special and surprising and exquisite,' Grace Coddington, the shoot's fashion editor, says of Ghesquière, 'but this was somewhat on another level because it was couture, which is something he hasn't tried before.' While Ghesquière worked closely with Vogue to bring the looks to life for Stone's Avignon shoot, the looks came, as Coddington puts it, from 'him and a dream.' Ghesquière created six distinct, handcrafted looks for Stone's cover shoot—six different characters for her to embody. 'Who will this be?' asks Stone, dressed in a beaded, high-neck dress with draped, wing-like sleeves. 'The idea was to imagine she was a charismatic leader of a ballet academy,' Ghesquière says of the dress, aptly dubbed 'The Ballerina.' 'She is a great dancer,' he adds of Stone, 'I wanted to express that in the movement.' Also among the duo's roster of characters: 'The Driver,' a leather jumpsuit meant for boundary-breakers, which Stone wore to galivant on the roof of the Palais des Papes; 'The Innocent,' a knit jumpsuit with tiers of ruffles, represents Stone's open-hearted approach to acting, namely her Oscar-winning role as Bella in in Poor Things; 'The Host' a black playsuit with a sculptural sweetheart bust, casts the actor as the host of an imaginary cabaret, inspired by Ghesquière and Stone's real-life friendship. For the pair, the shoot is a full-circle moment, another chapter in their long history. 'The things that he's designed took me through my wedding day, took me through big moments in my life,' Stone says of her long friendship with Ghesquière. 'It feels like I always get to have a piece of him with me.' Watch on as we go behind the scenes of Emma Stone's September cover shoot. Director: Nikki Petersen Interviewer: Chioma Nnadi Directors of Photography: Louise Bernard Pallas, Fyras Slaiman Editors: Katie Wolford, Evan Allan Creative Producer: Gabrielle Reich Associate Producer: Lea Donenberg Associate Producers, On Set: Megan Sinanis, Virginie Kateeb Gaffer: Sylvain Gabayet Audio: David Amsalem Albertini Production Coordinator: Tanía Jones Production Manager: Kristen Helmick Line Producer: Natasha Soto-Albors Assistant Editor: Andy Morell Post Production Coordinator: Holly Frew Colorist: Oliver Eid Supervising Editor: Kameron Key Post Production Supervisor: Alexa Deutsch Entertainment Director: Sergio Kletnoy Executive Producer: Rahel Gebreyes Senior Director, Video: Romy van den Broeke Senior Director, Programming: Linda Gittleson VP, Video Programming: Thespena Guatieri Images Courtesy Of: Joan Marcus, Irving Penn Cover Photography By: Jamie Hawkesworth
Yahoo
3 hours ago
- Yahoo
How Martin Scorsese almost took drastic action to protect 'Taxi Driver': 'I was going to do it'
That time when the director almost went full Travis Bickle on the MPAA. There's identifying with your lead character, and then there's this! Apple TV+ released a clip promoting their forthcoming five-part documentary series Mr. Scorsese — the one that has every cinephile on the globe salivating. Director Rebecca Miller has gotten her hands on a ton of terrific archival footage, as well as secured interviews with a slew of director Martin Scorsese's colleagues and associates, like Steven Spielberg, Robert De Niro, Leonardo DiCaprio, Spike Lee, Sharon Stone, Margot Robbie, Brian De Palma, Thelma Schoonmaker, Mick Jagger (!), Paul Schrader, Jodie Foster, and, before he passed away, Robbie Robertson. Miller also got the two-time Scorsese leading man (and infrequent public speaker) Daniel Day-Lewis on camera, which isn't as much of a surprise as you might think, as he is, indeed, the director's husband. The first clip of the series revisits a story many fans of his work already know — that both the MPAA and Columbia Pictures gave him a hard time about the initial cut of Taxi Driver, the revolutionary film he released in 1976, which won the Palme d'Or at Cannes and cemented him as a major cinematic force. What Mr. Scorsese does is get to the bottom of just how far the quintessential New York filmmaker was willing to go to save his project. "Marty was very upset," Scorsese's pal Steven Spielberg explained in the clip. "I get a call at the office, and he said, 'Steve, Steve, this is Marty. Can you come over to the house? They want me to cut all the blood spurting, they want me to cut the guy who loses his hand!'" Scorsese was, of course, describing the big conclusion to Taxi Driver in which Robert De Niro's Travis Bickle character descends to the darkest recesses of Hell (today an exclusive neighborhood with New York University student housing) to rescue Jodie Foster's character from, as Bickle puts it, "the scum, the filth, the dogs" plus some other terms we've decided to edit out. "He was going crazy, there were stories he wanted to kill the head of the studio," fellow director Brian De Palma chimed in. That's when Miller can be heard asking the now cuddly Instagram-friendly auteur, "You had a gun?" Rolling his eyes, the Killers of the Flower Moon director corrected, "I was gonna get one," then, with a chuckle, added, "but I wasn't gonna get it." When pressed, he confessed, "I was angry, I was gonna threaten them, I said I was gonna' shoot or some[thing] — I have no idea, I was [just] threatening." A little more seriously, and perhaps recognizing how much this tall tale was sounding like the ending of Taxi Driver, he said, "What I wanted to do — but not with a gun — I would go in, find out where the rough cut is, and break the windows and take it away. They were gonna destroy the film anyway, so let me destroy it. I'll destroy it. But before destroying it, I'm gonna steal it." Funnily enough, a scenario just like this did eventually get realized on film. You can watch Blake Edwards' 1981 movie S.O.B. for more. Luckily, Spielberg and others calmed Scorsese down, even though he said, "The more they said no, the more I said I was going to do it." In time, someone had the brilliant idea that, as Spielberg said, "mollified the MPAA." They took the final sequence and tinted the color a little. By reducing the garish red and making it, as Scorsese described, "feel more like a tabloid, mak[ing] it grainy," they were able to keep the ending. "It saved the movie," a triumphant Spielberg recalled. "He didn't have to cut any of the violence; he just had to take the color red down to a kind of brown." "It saved the movie," a triumphant Spielberg recalled. "He didn't have to cut any of the violence; he just had to take the color red down to a kind of brown." Now, as to whether Travis Bickle was a villain or hero, or, as some people think, actually died in the big climax, making the final sequence a death vision, that's something only you can decide for Scorsese will debut on Apple TV+ on October 17. Read the original article on Entertainment Weekly
Forbes
5 hours ago
- Forbes
Linkin Park's Debut Album Is Back In A Big Way
Linkin Park's music is surging once again in the United Kingdom, which happens regularly. The band is in the middle of its From Zero World Tour, which recently wrapped a European leg that included stops in Germany, France, and England. Several of the Grammy winner's projects are climbing the charts, with fans in the United Kingdom focusing on Hybrid Theory, as the group's debut full-length mounts an impressive comeback. Hybrid Theory Returns to Three Charts This week, Hybrid Theory appears on six different U.K. albums rankings. The project returns to half of them, doubling the number of charts where it's found. It's a top 40 seller again on the Official Vinyl Albums chart, reentering at No. 37. The set also returns to both the Official Album Downloads and Official Albums rankings, landing at Nos. 65 and 87, respectively. Linkin Park Surges Into the Top 10 At the same time it reappears on those three tallies, Hybrid Theory jumps on the other three it already occupied last frame. The set breaks back into the top 10 on the Official Rock and Metal Albums chart, climbing from No. 11 to No. 6. It also reaches the top 40 on both the Official Album Sales and Official Physical Albums lists, improving by more than 10 spaces on each to Nos. 36 and 39, respectively. Hybrid Theory Has Hit the Top 10 Everywhere In the past, Hybrid Theory has reached the top 10 on every U.K. chart it's touched, though it has only managed to lead one: the Official Rock and Metal Albums list. Its lowest peak remains the No. 6 position, where it stalled on the Official Vinyl Albums roster. The album's chart longevity varies widely from list to list. It has only just passed the half-year mark on the Official Vinyl Albums chart, where it is now up to 27 weeks. On the Official Rock and Metal Albums chart, however, it has logged more than 1,000 frames and is almost always present somewhere on the tally. Four Linkin Park Albums Chart Together Hybrid Theory is one of four Linkin Park releases that are currently charting in the U.K. The band's comeback set From Zero, which arrived less than a year ago, reenters three lists and rises on the Official Rock and Metal Albums chart, where Meteora can also be found. Papercuts, a compilation of many of its biggest hits from before the group's most recent era, is also climbing on several rankings at the same time.
