‘Rust' armorer convicted in cinematographer's death released from prison
SANTA FE, N.M. (KRQE) – Hannah Gutierrez-Reed, the armorer on the set of 'Rust' who was convicted of involuntary manslaughter, has been released from prison.
In April 2024, Gutierrez-Reed was sentenced to 18 months for the involuntary manslaughter of cinematographer Halyna Hutchins.
Hutchins was shot and killed by actor Alec Baldwin on the set of 'Rust' in October 2021. A jury determined that Gutierrez-Reed recklessly handled ammunition on set, leading to the accidental death.
The New Mexico Department of Corrections confirmed Gutierrez was released on Friday and is serving her probation in Arizona.
Gutierrez-Reed also is being supervised under terms of probation after pleading guilty to a separate charge of unlawfully carrying a gun into a licensed liquor establishment.
Baldwin, the lead actor and coproducer for 'Rust,' was pointing a gun at Hutchins during a rehearsal on a movie set outside Santa Fe when the revolver went off, killing Hutchins and wounding director Joel Souza.
Gutierrez-Reed has an appeal of the conviction pending in a higher court. Jurors acquitted her of allegations she tampered with evidence in the 'Rust' investigation.
Prosecutors blamed Gutierrez-Reed for unwittingly bringing live ammunition onto the set of 'Rust' and for failing to follow basic gun safety protocols.
Gutierrez-Reed carried a gun into a downtown Santa Fe bar where firearms are prohibited weeks before 'Rust' began filming.
The terms of parole include mental health assessments and a prohibition on firearms ownership and possession.
An involuntary manslaughter charge against Baldwin was dismissed at trial last year on allegations that police and prosecutors withheld evidence from the defense.
The filming of 'Rust' was completed in Montana. The Western was released in theaters this month.
The Associated Press contributed to this report.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
38 minutes ago
Dakota Johnson and Celine Song on love, dating and ‘Materialists'
Before Celine Song was an Oscar-nominated filmmaker, she was a playwright in New York who needed day jobs to pay rent. That's how she found herself as a professional matchmaker. What may have begun as a purely transactional gig, a way for her to keep making her art in an expensive city, taught her more about people's wants and needs and the true contents of their hearts than she could have ever imagined. 'I always wanted to write something about it because there seemed to be a story in it that is massive and very epic in proportion,' Song said. 'It affects every human being on Earth." And while waiting for her breakout film 'Past Lives' to debut, she did. That film is 'Materialists,' a modern-day New York love story starring Dakota Johnson, Pedro Pascal and Chris Evans that's heading to theaters this weekend. Johnson is the matchmaker presented with two different types of men for herself — one a poor struggling actor and ex-boyfriend, the other a wealthy 'unicorn' — and the internet has already been drawing battle lines. But, like 'Past Lives' wasn't really about a love triangle, 'Materialists' is about something more than the question of which guy is the 'correct' choice. Song and Johnson spoke with The Associated Press about the film, falling in love and the modern marketplace of dating. Remarks have been edited for clarity and brevity. SONG: We met up thinking that we were just going to get to know each other and be friends and I walked away from that conversation — this is just from my perspective — but I think I was still sitting there when I texted my producers and the studio being like, 'I think I've found my Lucy.' That's how casting works for me, it's always about falling in love. It's very connected to what we talk about in the film. Like, there's no mathematical anything. It just the feeling that you get talking to someone and you're like, oh I just know. JOHNSON: I knew you had this movie that you were about to start making. I was basically told it was too late. I was like, but I really want to meet her because she's so smart, and I've seen interviews and obviously had seen 'Past Lives.' I just wanted talk and get to know her as an artist and a person and so I went into this being like there's no chance that I'll be in this movie, but maybe she'll make another one. We just had such a good time talking, I didn't even know that I was someone she was thinking about. A few weeks later we spoke. It was very romantic. JOHNSON: She's sort of at the top of her game in her work and is very disconnected from her heart and focused on being a perfectionist and getting people to get married. On the surface, you see her as a very transactional person and not really invested in people's souls, but she actually is and really does want the best for them. She's also on her own journey of trying to figure out what it is she wants for herself in this life, and, essentially, do you fight for the thing that you think you want, or do you fight for that thing that you know you need? Is that right, Celine? SONG: That's so good. SONG: It was never going to be a conversation about which flavor of a person. It's actually so much more about this marketplace of dating that all of us live in if you're single, and also the marketplace that Dakota's character is navigating. She knows the math better than anyone else in the film. She's an excellent matchmaker. Pedro plays somebody who is probably, in straight dating, someone of the highest possible value. Chris' character, in the spectrum in the marketplace of values of dating, is someone who is of the lowest value possible. I find them to be such adorable characters, very worthy of an adoration. Lucy knows exactly where they fall in the in the stock market of men. It's actually about the way that the math around that is going to blow up. JOHNSON: Celine speaks so eloquently about the marketplace of dating and I glitch at those words because I'm like, you can't explain love that way. But that's actually how people are. Marriage used to be a business deal. It was like, my father wants your cows and my mother needs your wheat and whatever. It was a trade-off. But now there's all these books about how we expect our partner to fulfill every single aspect of our needs. And the world being dominated by social media, people don't meet in real life anymore. They don't behave normally in public. People are in a very strange place in evolution, and I think the difference between these two characters and these two men, sure they are different ends of the spectrum in terms of like technical value, materialistic value. But also each of them have the opposite in terms of psycho-spiritual value and emotional value and what they can offer the other person in terms of soul evolution and growth. Perhaps because she works in this world of trying to understand people and what they want, she's forced to go more inward and really interrogate herself and say, what do I really want and what is actually important in this life? Is it how much money I have or is it how truly loved I am? SONG: To me, it's about this contradiction, right? It's this thing of how we talk about what we want in our partner, when we're asked to use language to describe it, and how we literally, spiritually fall in love. The gap between those two things is terrifyingly big. To me, that's where the mystery of the film is. This story first ran May 1, 2025, as part of AP's summer movie preview package. It has been updated ahead of the film's release in theaters.
Los Angeles Times
an hour ago
- Los Angeles Times
Russia launches another large-scale drone and missile attack on Ukraine, killing 3 and wounding 13
KYIV, Ukraine — Russia attacked two Ukrainian cities with waves of drones and missiles early Tuesday, killing three people and wounding at least 13 in what President Volodymyr Zelensky called 'one of the biggest' strikes in the 3-year-old war. The attack struck Kyiv and the southern port city of Odesa. In an online statement, Zelensky said that Moscow's forces fired over 315 drones, most of them Shaheds, and seven missiles overnight. 'Russian missile and Shahed strikes are louder than the efforts of the United States and others around the world to force Russia into peace,' Zelensky wrote, urging 'concrete action' from the U.S. and Europe in response to the attack. A maternity hospital and residential buildings in the southern port of Odesa were damaged in the attack, regional head Oleh Kiper said. Two people were killed and nine injured, according to the regional prosecutor's office. Another person was killed in Kyiv's Obolonskyi district, regional head Tymur Tkachenko wrote on Telegram. 'Russian strikes are once again hitting not military targets but the lives of ordinary people. This once again shows the true nature of what we are dealing with,' he said. Explosions and the buzzing of drones were heard around the city for hours. The fresh attacks came a day after Moscow launched almost 500 drones at Ukraine in the biggest overnight drone bombardment of the war. Ukrainian and Western officials have been anticipating Moscow's response to Kyiv's audacious June 1 drone attack on distant Russian air bases. Russia has been launching a record number of drones and missiles in recent days, despite both sides trading memoranda at direct peace talks in Istanbul on June 2 that set out conditions for a potential ceasefire. However, the inclusion of clauses that both sides see as nonstarters make any quick deal unlikely, and a ceasefire, long sought by Kyiv, remains elusive. The only tangible outcome of the talks has been the exchange of prisoners of war, with a swap that began Monday for soldiers aged between 18 and 25. Russia's Defense Ministry said Tuesday it had received a second group of exchanged soldiers as part of the deal. Amina Ivanchenko was reunited Monday with her husband, a POW for 18 months, in the release of an initial group of Ukrainian soldiers. She said was grateful to Ukrainian officials for supporting her. 'My struggle was much easier thanks to them. Our country will definitely return everyone. Glory to Ukraine! Thank you!' Anastasia Nahorna waited in the Chernyhiv region to see if her husband, who has been missing for eight months, was among those being released in the latest swap. 'This pain is more unbearable every day,' she said. 'I really want to hear some news, because since the moment of his disappearance, unfortunately, there has been no information. Is he alive? or maybe in captivity? Has someone seen him?' she asked. Anna Rodionova, the wife of another Ukrainian POW, also was waiting. 'I just want him to come back soon and for this to all be over,' she said. 'We are tired of waiting, we come every exchange and he is not there.' A similar exchange was announced for the bodies of fallen soldiers held by both sides, although no schedule has been released. Asked to comment on the exchange of dead, Kremlin spokesman Dmitry Peskov said it was unclear when it could take place and how many bodies Ukraine would hand over. He again accused Kyiv of dragging its feet on the exchange. 'There is one unarguable fact, we have had trucks with bodies standing ready for it on the border for several days,' he told reporters. Plumes of smoke rose in Kyiv as air defense forces worked to shoot down drones and missiles Tuesday. Viktoriia Melnyk, 30, vented her anger at the Russians after her building in the Obolonskyi district was struck by a drone. 'I want them to leave our territory, to leave us alone, to leave our families alone,' she said. 'Small children are dying. This is not normal. It's not normal that (the world) is turning away. This is not normal for the 21st century.' Mariia Pachapynska, the 26-year-old manager at a T-shirt company in the Obolonskiy district that produces T-shirts, decried that her facility was struck. 'There were military facilities here,' she said, noting that 'everything and half of me, half of my soul, burned down.' Seven out of 10 districts were damaged in the attack, according to Maryna Kotsupii of the State Emergency Service of Ukraine, adding that 16-story and 25-story residential buildings were hit. Residents took shelter and slept in metro stations during the long attack, including Nina Nosivets, 32, and her 8-month-old son, Levko. 'I just try not to think about all this, silently curled up like a mouse, wait until it all passes, the attacks. Distract the child somehow because it's probably the hardest thing for him to bear,' she said. Krystyna Semak, 37, said she was scared by the explosions and ran to the metro at 2 a.m., carrying a rug. Fires broke out in at least four Kyiv districts after debris from downed drones fell onto residential buildings and warehouses, according to the Kyiv City Military Administration. 'I was lying in bed, as always hoping that these Shaheds would fly past me, and I heard that Shahed (that hit the house),' said Vasyl Pesenko, 25, standing in his damaged kitchen. 'I thought that it would fly away, but it flew closer and closer and everything blew away.' The attack sparked 19 fires across Ukraine, Interior Minister Ihor Klymenko wrote on Telegram. 'Russia must answer for every crime it commits. Until there is justice, there will be no security. For Ukraine. And for the world,' he said. The Russian Defense Ministry said an attack early Tuesday targeted arms plants in Kyiv, as well as military headquarters, troop locations, air bases and arms depots across Ukraine. 'The goals of the strikes have been achieved, all the designated targets have been hit,' it said in a statement. The death toll rose Tuesday from previous Russian strikes. In Kharkiv, rescuers found a body in the rubble of a building that was hit Saturday, Mayor Ihor Terekhov wrote on Telegram. The discovery brought the number of dead there to five, with five others potentially under the debris, Terekhov said. In the northern city of Sumy, a 17-year-old boy died of his injuries Tuesday after a June 3 attack, acting Mayor Artem Kobzar wrote on Telegram, bringing the number killed to six. The Russian Defense Ministry reported downing 102 Ukrainian drones over Russian regions and Crimea, the Black Sea peninsula Moscow illegally annexed from Kyiv in 2014. The drones were downed both over regions on the border and deeper inside Russia, including central Moscow and Leningrad regions, according to the Defense Ministry. Flights were temporarily restricted at multiple Russian airports, including all four in Moscow and the Pulkovo airport in St. Petersburg, the country's second-largest city. Stepanenko and Kullab write for the Associated Press. AP Journalist Illia Novikov contributed to this report.
Yahoo
an hour ago
- Yahoo
Studio Ghibli at 40: Can an Ethical Animation Studio Still Exist, or Even Survive?
Studio Ghibli's prestigious reputation consists of truths and exaggerations. The company has spent 40 years as a world leader in quality animation while independently funding projects based on prior successes — until their sale to Nippon TV in 2023. Behind every great library of art is a machine that needs to sell it, and Ghibli, which turns 40 this June, is no different. As much as we laud the altruistic, ethical enterprise established by Toshio Suzuki, Isao Takahata, and Hayao Miyazaki, Ghibli can be just as cynical as its Western counterparts. More from IndieWire 'Eddington' Trailer: Ari Aster's Western of Pandemic Paranoia Hits Theaters After Dividing Cannes Pedro Almodóvar's Next Movie 'Bitter Christmas' Set for Spanish Theaters and Streamer Movistar Plus+ Ghibli's branding as an ethical animation studio isn't unfounded. Rayna Denison, author of 'Studio Ghibli: An Industrial History,' has admired the thoughtful way Suzuki, Takahata, and Miyazaki constructed the studio. 'They put deep thought into what they wanted to do with their studio before they founded it,' Denison told IndieWire. 'You get early interviews with Miyazaki saying things like, 'If you're only hiring people on temporary contracts, then they're not really your employees, so you can't expect much from them.' He makes jokes about how if he has to turn his air conditioning off to save money to pay people's salaries, he's willing to sweat through the entire summer for the sake of animation. Miyazaki came out of a left-leaning union movement in the 1960s, so I think he had started thinking about a better way to make animation. That's why Ghibli has a creche, and there are places to put your bicycle, all these little touches that are very Miyazaki.' For Michael Leader, co-host of the 'Ghibliotheque' podcast and co-author of 'Ghibliverse' and 'The Animation Atlas,' the works of Studio Ghibli rise above the conversation about animation being a kids' medium. 'They go all the way back to the basic idea of storytelling,' Leader said. 'If you think about when storytelling was just people around a campfire, it would be aimed at whoever was there. They never said, 'This is a story for kids.' It's how they made sense of the world. But then these folk tales become fairy tales, which become bedtime stories for kids, and then they're turned into something for Disney, and suddenly it's just kids stuff. But actually, when it's done well, it's wise, it's got life lessons, it's got a worldview. Miyazaki and Takahata mostly made work for younger audiences, but it has the wisdom and worldview and craft and skill of any sort of story.' The miracle of Miyazaki's movies is that he's able to make such thoughtful art while setting box office records. 1997's 'Princess Mononoke' was the highest-grossing release of all time in Japan until 'Titanic' arrived that same year. His mentor/older-brother-figure, Isao Takahata, had some successes but ultimately different goals. 'The difference between Miyazaki and Takahata is that Takahata tried to push the envelope of what animation can do and who it is for,' said Denison. 'When they released [1991's] 'Only Yesterday,' the promotional magazines for it had interviews with adult professional women from across Japan. It was aimed squarely at women who were in their 20s and 30s. It was a really risky thing for him to do, but this is what Takahata did at Ghibli. They gave him the freedom to experiment and to push the limits of Japanese animation.' Not only were Takahata's films more experimental than Miyazaki's, but he also had a less conventional way of working. 'You always take [studio CEO] Suzuki's stories with a grain of salt, because he loves to tell a story,' said Leader. 'But he claims that after Miyazaki made loads of money from 'Nausicaä of the Valley of the Wind,' he said to Takahata, 'I'd like to fund you to make another film. I've been to this area of the country where there's a beautiful canal system where you could maybe set an animated film.' Takahata comes back with a three-hour documentary. It's really slow and goes way over budget, meaning Miyazaki had to make another sweeping adventure film, and that's where 'Castle in the Sky' came from.' Even Takahata's 'Grave of the Fireflies,' widely regarded as a masterpiece, was mired by the director's approach to his work. 'Takahata missed the deadline [for 'Grave'],' said Leader. 'It was released unfinished, which was professionally embarrassing. No one would fund another Takahata project because he blows budgets, misses deadlines, and delivers a film unfinished. So Miyazaki really put himself on the line to get 'Only Yesterday' made.' For Leader, this hammers home the unreality of a studio without an intense marketing machine around it. 'You need your films to be bought and watched, because that's how they become embedded in the culture, how they pass between generations. No animation studio in the world has that freedom to completely self-finance based on the legacy of what they've done, unless your dad owns Nike.' One of the main ways Ghibli finances its work is through merchandise, an industrial complex unto itself. 'Initially, Toshio Suzuki agreed to put a cap on merchandising profits, so they weren't looking to massively exploit what was available to them,' said Denison. 'But when they briefly shut the studio in 2014, they really shifted modes, and we've seen an explosion in Ghibli merchandising. It was also really important to the early life of the studio, and it allowed the studio to become a permanent enterprise. The success of Totoro and then Jiji merchandise mattered when they were trying to build their own studio in the early 1990s and have a permanent home for Studio Ghibli.' Then, 1989 proved to be a pivotal year for the studio. 'My Neighbor Totoro' first showed on TV and launched a demand for plushies, while Ghibli found their first theatrical hit in 'Kiki's Delivery Service.' That's also when Ghibli began telling stories about women. 'When they're promoting 'Kiki's Delivery Service,' it's seen as another girl-focused movie, following on from 'My Neighbor Totoro,' so they're becoming known for Shoujo animation,' said Denison. ''Kiki' was also sold on the idea of how one overcomes depression. I find that fascinating from a relatively young studio, in what should just be a girl's adventure movie, to be dealing with psychological blocks and maturity and becoming a mature version of yourself and finding your power again as a woman.' Spin is key to Ghibli's success, being able to market themselves as blockbuster filmmakers in Japan and as prestigious 'world cinema' filmmakers elsewhere. The person chiefly tasked with finding a marketing spin on Hayao Miyazaki's and Takahata's work is Toshio Suzuki, a man described by Goro Miyazaki as 'a dark wizard who makes me do things I don't want to.' As much as he's a master marketer, Suzuki is also an incredibly talented producer, constantly getting the best from his directors. 'He's trying to bring these generational talents together and make them play off each other, do some behind-the-scenes wrangling and ego management to make them do something great,' said Leader. What Suzuki most notably helped realize was Ghibli's sheen of prestige. 'They became known as the anti-Disney,' said Leader. 'Disney sold out years ago. They became about selling theme parks and cruises and characters in suits and Disney adults and being emblematic of American imperialism. Ghibli was seen as something of substance, something handcrafted and beautiful, which plays into orientalist tropes about Japan.' Miyazaki being pushed to the forefront, mostly due to the way audiences respond to his movies, risks diminishing the work of everyone else at the studio. 'We haven't talked about Yoshifumi Kondo, Hiromasa Yonebayashi or Goro Miyazaki, these other directors who are doing interesting works,' said Denison. 'I feel so sorry for Goro Miyazaki. He's set up to fail from the very beginning by Suzuki who invites him in to do the work [for 2006's 'Tales from Earthsea'] and then creates a narrative of discord between Goro and his father.' Hayao Miyazaki's ubiquity comes with other problematic elements. 'What Miyazaki means as a buzzword that can now be boiled down to an aesthetic, a vibe, or an AI filter,' said Leader. 'The real person that is existing right now in Japan isn't the Miyazaki fans know. Instead, Miyazaki is the meme of him saying [of artificial intelligence animation], 'It's an insult to life itself.' It happens with any creator. They get flattened once 1000s around the world are tattooing them onto their body. Steven Spielberg fought for many years against being the guy who makes films where a kid looks up at the sky, or the Scorsese thing where he only makes films about gangsters. Miyazaki has reached that level.' 'I feel like the boy in the Heron is very interesting,' said Denison. 'A lot of people have been commenting about the fact that it's not as original as some of his other films. I think that's because it's that much more personal. This is a master animator looking back over his career, over his relationships, and what people in his life have meant to him, and building a story around that it is just that much more personal for him.' Leader points out how Miyazaki's work has evolved since the early '90s. 'The Balkan conflicts with Yugoslavia radicalized him and changed his view of the world. Then, you see that happen again in the early 2000s with the war on terror and post-911 American imperialist stuff in the Middle East. You do see his worldview change through the films. Also in his old age, his films become about him again.' There have been times when the image Ghibli sells directly conflicts with its actions. 'There are these women behind the scenes that you keep seeing in all these documentaries whose names are never listed, who don't get a lot of credit for the work they do,' said Denison. 'That was one of the things that drew me to write the book. I wanted to think about how the studio with this stellar reputation for making feminist animated heroines relegates all these women to the backgrounds. 'In the early days of Japanese animation at places like Toei Animation, where Takahata and Miyazaki trained, women weren't allowed to train as directors. It used to be the case that women retired after they got married as an expected part of the industry. It's also the case that women have been at the bottom lines of the industry and been very exploited. The practice of working from home and being paid by the cell is something that applied more to women across the decades.' Though Ghibli did a lot of work to improve working conditions, the studio has never promoted a woman to direct a film. ''Porco Rosso' is the only movie where women got promoted to big roles,' added Denison. 'Everybody was busy working on 'Only Yesterday,' so Miyazaki's usual team wasn't available to him, and so he looked around the studio and elevated the seven people he felt deserved elevation, and apparently they all just happened to be women.' The idea of succession and promoting talent has been a stumbling block for Ghibli, putting the future of the studio beyond Takahata, Miyazaki, and Suzuki into doubt. 'I don't think without the three of them, there's a reason to keep it going,' said Denison. 'I don't think there's the impetus behind it, but it's also a brand name that Nippon TV [which acquired Ghibli in 2023] bought into so they could use the intellectual properties and extrapolate them and keep the theme parks going. They could import directors like Yonebayashi back in and do new films with new directors, but I don't know if I see that happening.' Leader believes that the era of the studio actively making things is over, allowing us to look back on their unique place in the cinematic landscape. 'They were able to create the sense that the studio was having this huge cultural impact, but they weren't a Disney-level operation. Also, other auteurs that we would put Miyazaki alongside, their access to their art is dictated by bigger studios. The Christopher Nolan story is whether he's working with Warner Bros. or Universal, Scorsese has to go to Netflix or Apple to get funding. Ghibli managed to do it in a way that was relatively independent and unsullied of that business. You wouldn't have Miyazaki trying to pitch a Kool-Aid movie.' Best of IndieWire The Best Thrillers Streaming on Netflix in June, from 'Vertigo' and 'Rear Window' to 'Emily the Criminal' All 12 Wes Anderson Movies, Ranked, from 'Bottle Rocket' to 'The Phoenician Scheme' Nightmare Film Shoots: The 38 Most Grueling Films Ever Made, from 'Deliverance' to 'The Wages of Fear'
