Nicole Rocklin , Blye Pagon Faust - 9th Annual Women In Film Pre-Oscar Cocktail Party Presented By Max Mara, BMW, M-A-C Cosmetics And Perrier-Jouet at HYDE Sunset: Kitchen + Cocktails - West Hollywood, California, United States - Friday 26th February 2016
Guest , Blye Pagon Faust - 9th Annual Women in Film Pre-Oscar Cocktail Party at Hyde Sunset Kitchen + Cocktails - Arrivals at HYDE Sunset: Kitchen + Cocktails - Los Angeles, California, United States - Friday 26th February 2016
Peter Plate, Ulf Leo Sommer , Daniel Faust - Premiere of 'Bibi & Tina - Girls against Boys' ('Maedchen Gegen Jungs') by DCM in Prenzlauer Berg at Kulturbrauerei Berlin - Berlin, Germany - Saturday 16th January 2016
The opera star, who recently performed at the Winter Olympics Opening Ceremony in Sochi, Russia, has been rehearsing to play Marguerite in a revival of Charles Gounod's show in preparation of April's (13) opening.
However, the singer has since stepped down from the job and apologised for her withdrawal.
Continue reading: Soprano Anna Netrebko Pulls Out Of Royal Opera House Show
Opera singer Wendy White has been released from hospital after falling onstage during a performance of Faust in New York on Saturday night (17Dec11).
The mezzo-soprano was injured after plummeting about eight feet (2.4 metres) from a platform to the stage at New York's Metropolitan Opera.
She was taken by ambulance to St. Luke's-Roosevelt Hospital Center as a precaution, but reportedly only suffered bruising and was allowed home to recuperate on Sunday (18Dec11).
Saturday's show continued 30 minutes after the accident with an understudy performing in White's place.
Continue reading: Opera Star Wendy White Released From Hospital After Stage Fall
Lynne Ramsay's We Need to Talk about Kevin , has been named best picture at the BFI London Film Festival. The film, which received much praise when it debuted at Cannes in May, was described by BFI jury chairman John Madden as "a sublime, uncompromising tale of the torment that can stand in the place of love." The film features Tilda Swinton as the mother of a teenage son who engages in a shooting massacre at his high school. It was only the third time that the 55-year-old London festival had staged a competition for best film, an apparent effort to compete for industry recognition with other film festivals that do so. Nine films were among the finalists, including Aleksandr Sokurov's Faust, which won the Golden Bear at the Venice Film Festival this year, and director Steve McQueen's soon-to-be-release NC-17 drama Shame .
Continue reading: We Need To Talk About Kevin Winner At London Fest
'We Need to Talk About Kevin' won the Best Film accolade at the BFI London Film Festival awards ceremony in London last night (27.10.11).
'We Need to Talk About Kevin' has won the Best Film accolade at the BFI London Film Festival awards ceremony.
The movie - which stars Tilda Swinton and John C. Reilly - beat off competition from eight other nominees at the showcase in London last night (26.10.11) including 'Faust' and 'The Descendants' - and chair of the judging panel John Madden said the jury were "bowled over" by the motion picture.
John - who presented the gong with fellow judge and 'X-FILES' actress Gillian Anderson - said: "In the end, we were simply bowled over by one film, a sublime, uncompromising tale of the torment that can stand in the place of love.
Continue reading: Kevin Wins Best Film At Bfi Awards
Ralph Fiennes will receive a British Film Institute Fellowship at the London Film Festival later this month.
Ralph Fiennes is to receive a British Film Institute Fellowship.
The British actor - whose new movie 'Coriolanus' has been selected for a Gala screening at this year's London Film Festival - has been bestowed with the accolade, previously given to Ridley Scott, Sir Michael Caine, Danny Boyle and Clint Eastwood, among others, in a move he is "delighted" by.
He said: "I'm extremely honoured and delighted to be given this fellowship by the BFI."
Continue reading: Ralph Fiennes Awarded Bfi Fellowship
Russian Prime Minister Vladimir Putin stepped in to help director Alexander Sokurov finance his critically-acclaimed Faust.
The Russian project, based on Johann Wolfgang von Goethe's play about a scholar who sells his soul to the devil, won over the jury at the Venice Film Festival in Italy and earned Sokurov the prestigious Golden Lion prize on Saturday (10Sep11), but the director admits Faust would never have been made if Putin had not offered his assistance following the global economic crisis of 2009.
The pair met to discuss the plans for the movie and Sokurov was shocked to receive an offer of $10.9 million (£6.8 million) from officials at the Fund for the Support of the Development of Mass Media just a month after their chat.
The filmmaker tells Afp, "The film would not have seen the light if Putin had not found the funding.
Continue reading: Vladimir Putin Helped To Source Funding For Alexander Sokurov's Faust
Russian director Alexsander Sokurov's Faust , described by one critic as "a high-art dark comedy" but by Sokurov himself as "too serious," took the Venice Film Festival's Golden Lion award for best film, while the best actor award went to Michael Fassbender for his performance in Steve McQueen's NC-17-rated Shame and the best actress award went to Deanie Yip for her performance in Hong Kong director Ann Hui's A Simple Life. In presenting the Golden Lion to Sokurov, the jury president, director Darren Aronofsky, said, "Some films make you dream, some make you cry, some make you laugh, some change you forever after seeing them." Referring to the members of jury, he added, "We are from different corners of the planet but we unanimously chose this film." The runner-up Silver Lion award went to People Mountain People Sea from Chinese director Cai Shangjun. The film was a last-minute "surprise" entry in the festival's competition. The jury called it a film "that keeps us from closing our eyes."
Continue reading: Russian Director Wins Top Prize At Venice Film Festival
Terry Gilliam worries that one day he will make a ''Faustian'' deal in Hollywood, where he says he has seen many successful people who have ''lost their soul''.
Terry Gilliam worries about losing his soul to Hollywood.
The 'Imaginarium of Doctor Parnassus' director gets concerned that money-driven studios could sap the integrity from his work and has compared his experience of arguing with film bosses over the release his 1984 movie 'Brazil' to that of the fictional character Dr Faustus, who sold his soul to the devil.
Back then Terry famously took out a full-page advertisement in Variety magazine asking when the dystopian dark comedy would be available to see in cinemas after waiting six months for a release date.
Continue reading: Terry Gilliam Has Hollywood Worries
Cave's latest musical creation will be heard when the production opens at London's Young Vic this weekend (25Sep10).
Prince of Persia: The Sands of Time star Garoarsson, the director of the piece, says, "It was really inspiring working with Nick Cave and his violinist Warren Ellis and seeing how they work. They are the perfect recipe for this play because it's so rock 'n' roll and the music is very theatrical."
The production marks the third time the trio have worked together - Cave and Ellis also scored the soundtrack to Garoarsson's plays Metamorphosis and Woyzeck.
Continue reading: Cave Creates Score For London's New Faust
Last time we met Hans Joachim Irmler he was providing some deft motorik touches on To Rococo Rot's Speculation album, but here he's returned into the belly of what in the kaftan era was described as an artist's collective. Faust's history extends way beyond what modern day rock stars would regard as outrageous, a chequered past that began in practically inventing krautrock up to their eventual fragmentation into two separate acts, each bearing the same name. Confused? Of course you are.
This incarnation's first release in a decade, Faust is Last is apparently the final spasm of contrarianism from the Irmler camp; recorded over three years in Spain, Austria and Germany, it's a double album of music realised from a devoutly leftfield perspective.
Despite the history, the first episode mainly stays constricted by the rigours of almost normal time signatures and structure, with works consisting either of darkly episodic instrumentals that are countered by what most people would recognise as a traditional song. The former are largely driven on without mercy by what sounds like a nine-foot snare drum, with the industrial grind of Feed The Greed and the stripped back techno throb of X-Ray proving that even after 40 years Irmler & co. can reprise the genres they helped create to fascinating effect. The latter are in the minority but no less impressively kick-ass, Hit Me culling all the urban rage of early Stooges, I Don't Buy Your Shit No More recalling Mick and Keith at their ancient best, whilst the naked piano of closer Day Out brings everything to an almost majestic close.
In many respects this conventionality (?) is almost abstract in itself given what's gone before, but a sprawling companion CD of looser, more improvised pieces serves to remind the listener of the group's roots on the very outer fringes of the avant garde. Like something being imagined by David Lynch, In But Out as an example circles the edges of what could be regarded as music, a screaming vocal just about surviving an unholy wedding with keyboards that sound like the invention of an undead Rick Wakeman. Little of the rest is any more accessible.
In many ways Faust is Last is a truly remarkable record, located totally within its own creative context, living in total rejection of the artistic status quo respected by people who care about the ideals of making music anyone else might like. Whether the fact that is the last of its kind is a cause for regret is open to debate, but the overwhelming dark spaces are moments that need to be respected as well as feared.