Fred Gallo, who served as an assistant director on films including the Oscar best picture winners The Godfather, Rocky and Annie Hall before becoming a top production executive at Paramount Pictures, has died. He was 78.
Gallo died Sept. 7 after a long illness at his home in the Santa Ynez Valley, his family announced.
Gallo also earned producing credits on Floyd Mutrux’s American Hot Wax (1978), Martin Brest’s Going in Style (1979), James Caan’s Hide in Plain Sight (1980) and Lawrence Kasdan’s Body Heat (1981).
After a run as a production vice president at Warner Bros., Gallo joined Paramount in 1993. He was promoted to executive vp feature production management in 1996 and worldwide president of features production management in 2001, overseeing day-to-day physical production for the studio through his retirement in 2005.
“Fred was a singular force in the industry,” Lee Rosenthal, president of worldwide physical production for Paramount Pictures and Nickelodeon, said in a statement.
Gallo died Sept. 7 after a long illness at his home in the Santa Ynez Valley, his family announced.
Gallo also earned producing credits on Floyd Mutrux’s American Hot Wax (1978), Martin Brest’s Going in Style (1979), James Caan’s Hide in Plain Sight (1980) and Lawrence Kasdan’s Body Heat (1981).
After a run as a production vice president at Warner Bros., Gallo joined Paramount in 1993. He was promoted to executive vp feature production management in 1996 and worldwide president of features production management in 2001, overseeing day-to-day physical production for the studio through his retirement in 2005.
“Fred was a singular force in the industry,” Lee Rosenthal, president of worldwide physical production for Paramount Pictures and Nickelodeon, said in a statement.
- 9/20/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
Here’s how one pushed the limits of good taste in 1974. James Caan and Alan Arkin run the gamut of racist, raunchy, sexist & homophobic jokes as bad boy cops breaking the rules, and director Richard Rush delivers some impressive, expensive action stunts on location in San Francisco. Does it get a pass because it’s ‘outrageous?’ The public surely thought so. If the star chemistry works the excess won’t matter. With Valerie Harper, Loretta Swit and Jack Kruschen.
Freebie and the Bean
Blu-ray
Warner Archive Collection
1974 / Color / 2:40 widescreen / 113 min. / Street Date August 8, 2017 / available through the WBshop / 21.99
Starring: Alan Arkin, James Caan, Valerie Harper, Loretta Swit, Jack Kruschen, Mike Kellin, Paul Koslo, Linda Marsh, Alex Rocco.
Cinematography: Laszlo Kovacs
Film Editors: Michael MacLean, Fredric Steinkamp
Original Music: Dominic Frontiere
Written by Robert Kaufman, Floyd Mutrux
Produced and Directed by Richard Rush
‘Buddy’ pictures have been around forever, but I...
Freebie and the Bean
Blu-ray
Warner Archive Collection
1974 / Color / 2:40 widescreen / 113 min. / Street Date August 8, 2017 / available through the WBshop / 21.99
Starring: Alan Arkin, James Caan, Valerie Harper, Loretta Swit, Jack Kruschen, Mike Kellin, Paul Koslo, Linda Marsh, Alex Rocco.
Cinematography: Laszlo Kovacs
Film Editors: Michael MacLean, Fredric Steinkamp
Original Music: Dominic Frontiere
Written by Robert Kaufman, Floyd Mutrux
Produced and Directed by Richard Rush
‘Buddy’ pictures have been around forever, but I...
- 8/8/2017
- by Glenn Erickson
- Trailers from Hell
We are knee-deep into a summer of dreary sequels, kids’ fare, and a few whip-smart outliers. If you’ve already seen the likes of The Beguiled and Baby Driver, perhaps staying home with a book is a better idea than trekking to the cinema. Let’s dive into some worthy film-centric reads.
Wonder Woman: The Art and Making of the Film by Sharon Gosling (Titan Books)
Patty Jenkins’ Wonder Woman is one of the biggest superhero success stories, and it deserves that designation. The classification makes reading a book like Wonder Woman: The Art and Making of the Film feel like a celebratory affair. After a brief account of the character’s comics history, we delve into designs for Themyscira, concept art of Dr. Maru’s laboratory, and somber depictions of battle. What stands out, however, are drawings and photographs showing the film’s winning costume designs. It is illuminating,...
Wonder Woman: The Art and Making of the Film by Sharon Gosling (Titan Books)
Patty Jenkins’ Wonder Woman is one of the biggest superhero success stories, and it deserves that designation. The classification makes reading a book like Wonder Woman: The Art and Making of the Film feel like a celebratory affair. After a brief account of the character’s comics history, we delve into designs for Themyscira, concept art of Dr. Maru’s laboratory, and somber depictions of battle. What stands out, however, are drawings and photographs showing the film’s winning costume designs. It is illuminating,...
- 7/10/2017
- by Christopher Schobert
- The Film Stage
Paper Mill Playhouse, recipient of the 2016 Regional Theatre Tony Award, presents the smash hit musical Million Dollar Quartet with book by Colin Escott and Floyd Mutrux, original concept by Mr. Mutrux, inspired by Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins. Performances will run now through Sunday, April 23, 2017 at Paper Mill Playhouse 22 Brookside Drive in Millburn, NJ. Check out highlights from the show below...
- 3/30/2017
- by BWW News Desk
- BroadwayWorld.com
Exclusive: I’m hearing that Warner Brothers Theatrical Ventures is in for a major shakeup, one that will put former studio chief Alan Horn atop the studio’s theatricals division. I’ve heard that Gregg Mayday, who has long headed the studio’s stage ventures, is being let go, and that Raymond Wu will be elevated to the top slot. Word is that he might share the top job with another executive, and that a top candidate is Mark Kaufman. He’s the former New Line executive who moved with Bob Shaye and Michael Lynne when they started the production company Unique Features. But Kaufman was also the hands-on exec in the movie transfer of the hit stage musical Hairspray and the stage transfer of Elf, hatched from the hit New Line movie. I hear all this is imminent. Both execs will report to Horn, who retired as studio chairman last spring.
- 9/7/2011
- by MIKE FLEMING
- Deadline
Joan Jett may have loved rock'n'roll but it almost killed her former band, the Runaways. John Patterson thinks it's time we faced the music
There are some rock'n'roll movies, like Floyd Mutrux's American Hot Wax and Bob Zemeckis's I Wanna Hold Your Hand, that manage to convey the palpable sense – palpable, that is, to a hormone-wracked teenager – that rock'n'roll can literally save your life. A particularly wrenching scene in the former has its lead character, a teenage Brill Building songwriter, sobbing with gratitude backstage at one of DJ Alan Freed's early Moondog Matinee rock'n'roll revues in 1955, as she gratefully acknowledges that this music came along for her at exactly the right moment in her life, and that said life would be empty and pointless for her without it. That scene always destroys me.
The Runaways has a little of this feeling, but given the already ruined lives of...
There are some rock'n'roll movies, like Floyd Mutrux's American Hot Wax and Bob Zemeckis's I Wanna Hold Your Hand, that manage to convey the palpable sense – palpable, that is, to a hormone-wracked teenager – that rock'n'roll can literally save your life. A particularly wrenching scene in the former has its lead character, a teenage Brill Building songwriter, sobbing with gratitude backstage at one of DJ Alan Freed's early Moondog Matinee rock'n'roll revues in 1955, as she gratefully acknowledges that this music came along for her at exactly the right moment in her life, and that said life would be empty and pointless for her without it. That scene always destroys me.
The Runaways has a little of this feeling, but given the already ruined lives of...
- 8/27/2010
- by John Patterson
- The Guardian - Film News
Making for quite the glamorous evening in the Big Apple, the stars gathered together at Radio City Music Hall for the 2010 Tony Awards on Sunday night (June 13).
With Sean Hayes acting as the evening's host, big names such as Katie Holmes, Daniel Radcliffe, Beyonce and Jay-z, and Lea Michele all turned up for the annual Broadway event.
During the course of the evening, big winners included the lovely Scarlett Johansson as Best Performance by a Featured Actress in a Play for her work in "A View From a Bridge," as well as Denzel Washington as Best Performance by a Leading Actor in a Play for his stage duties in "Fences".
Also taking home trophies were Catherine Zeta Jones as Best Performance by a Leading Actress in a Musical for "A Little Night Music," along with "Red," which received the best play prize and five other trophies.
The complete list of...
With Sean Hayes acting as the evening's host, big names such as Katie Holmes, Daniel Radcliffe, Beyonce and Jay-z, and Lea Michele all turned up for the annual Broadway event.
During the course of the evening, big winners included the lovely Scarlett Johansson as Best Performance by a Featured Actress in a Play for her work in "A View From a Bridge," as well as Denzel Washington as Best Performance by a Leading Actor in a Play for his stage duties in "Fences".
Also taking home trophies were Catherine Zeta Jones as Best Performance by a Leading Actress in a Musical for "A Little Night Music," along with "Red," which received the best play prize and five other trophies.
The complete list of...
- 6/14/2010
- GossipCenter
Kelsey Grammer and Douglas Hodge's "La Cage aux Folles" musical and Broadway show "Fela!" are leading the way at this year's Tony Awards after scooping 11 nominations each. "Fela!", about the life of revered African world music star Fela Kuti, will go up against Green Day's "American Idiot", "Memphis", and "Million Dollar Quartet" in the coveted Best Musical category at the 64th annual prizegiving, which honors the best on Broadway.
Meanwhile, Grammer and Hodge, who star as a camp gay couple in "La Cage", will compete against Sean Hayes ("Promises, Promises"), Chad Kimball ("Memphis)" and Sahr Ngaujah ("Fela!") for Best Performance by a Leading Actor in a Musical. The evening is sure to be a star-studded event, with Hollywood actors Jude Law ("Hamlet"), Alfred Molina ("Red"), Liev Schreiber ("A View From the Bridge"), Christopher Walken ("A Behanding in Spokane") and Denzel Washington ("Fences") pitted against each other for the...
Meanwhile, Grammer and Hodge, who star as a camp gay couple in "La Cage", will compete against Sean Hayes ("Promises, Promises"), Chad Kimball ("Memphis)" and Sahr Ngaujah ("Fela!") for Best Performance by a Leading Actor in a Musical. The evening is sure to be a star-studded event, with Hollywood actors Jude Law ("Hamlet"), Alfred Molina ("Red"), Liev Schreiber ("A View From the Bridge"), Christopher Walken ("A Behanding in Spokane") and Denzel Washington ("Fences") pitted against each other for the...
- 5/5/2010
- by AceShowbiz.com
- Aceshowbiz
Broadway hit it big this season with even bigger stars that included marquee names like High Jackman, Daniel Craig, Scarlett Johansson, Denzel Washington, Catherine Zeta-Jones and much more.
The nominations for the Tony awards were narrowed down on Tuesday morning (May 4) by the American Theatre Wing that began with Fela!, about Nigerian Afrobeat legend Fela Anikulapo Kutie, as well as La Cage Aux Folles, that included Kelsey Grammer and Douglas Hodge, which had 11 nominations.
Also taking bids for awards was August Wilson’s Fences, which starred Denzel Washington and Viola Davis, and received 10 nominations.
In leading actor in play, Lieve Schriber in A View from the Bride and Christopher Walken in Martin McDonaugh’s A Behanding in Spokane square off for top honors.
In leading actresses, Viola Davis, Valerie Harper, Linda Lavin, Laura Lenney and Jan Maxwell were all nominated. Best play nominations went to In the Next Room, Next Fall,...
The nominations for the Tony awards were narrowed down on Tuesday morning (May 4) by the American Theatre Wing that began with Fela!, about Nigerian Afrobeat legend Fela Anikulapo Kutie, as well as La Cage Aux Folles, that included Kelsey Grammer and Douglas Hodge, which had 11 nominations.
Also taking bids for awards was August Wilson’s Fences, which starred Denzel Washington and Viola Davis, and received 10 nominations.
In leading actor in play, Lieve Schriber in A View from the Bride and Christopher Walken in Martin McDonaugh’s A Behanding in Spokane square off for top honors.
In leading actresses, Viola Davis, Valerie Harper, Linda Lavin, Laura Lenney and Jan Maxwell were all nominated. Best play nominations went to In the Next Room, Next Fall,...
- 5/4/2010
- GossipCenter
One has to hand it to the Tony nominators: They didn't follow conventional wisdom nor did they particularly pay heed to commercial considerations.
Indeed, some of the biggest noms went to shows that are either long gone ("Ragtime," "Finian's Rainbow," "In the Next Room, or the Vibrator Play," "Time Stands Still") or lagging at the boxoffice ("Fela!" "Memphis," "Next Fall," "Million Dollar Quartet").
The biggest surprises Tuesday were the omissions.
"The Addams Family," the most successful new musical of the season, was thoroughly dissed, failing to get noms for best musical, for its stars Nathan Lane or Bebe Neuwirth, or even for its production design. And though it did get one for original score, that's not exactly a coup in a season in which only one other musical, "Memphis," even had one. The category had to be embarrassingly filled out with the forgettable music from "Enron" and Branford Marsalis' incidental music for "Fences.
Indeed, some of the biggest noms went to shows that are either long gone ("Ragtime," "Finian's Rainbow," "In the Next Room, or the Vibrator Play," "Time Stands Still") or lagging at the boxoffice ("Fela!" "Memphis," "Next Fall," "Million Dollar Quartet").
The biggest surprises Tuesday were the omissions.
"The Addams Family," the most successful new musical of the season, was thoroughly dissed, failing to get noms for best musical, for its stars Nathan Lane or Bebe Neuwirth, or even for its production design. And though it did get one for original score, that's not exactly a coup in a season in which only one other musical, "Memphis," even had one. The category had to be embarrassingly filled out with the forgettable music from "Enron" and Branford Marsalis' incidental music for "Fences.
- 5/4/2010
- by By Frank Scheck
- The Hollywood Reporter - Movie News
Kelsey Grammer and Douglas Hodge's La Cage Aux Folles musical and Broadway show Fela! are leading the way at this year's Tony Awards after scooping 11 nominations each.
Fela!, about the life of revered African world music star Fela Kuti, will go up against Green Day's American Idiot, Memphis, and Million Dollar Quartet in the coveted Best Musical category at the 64th annual prizegiving, which honours the best on Broadway.
Meanwhile, Grammer and Hodge, who star as a camp gay couple in La Cage, will compete against Sean Hayes (Promises, Promises), Chad Kimball (Memphis) and Sahr Ngaujah (Fela!) for Best Performance by a Leading Actor in a Musical.
The evening is sure to be a star-studded event, with Hollywood actors Jude Law (Hamlet), Alfred Molina (Red), Liev Schreiber (A View from the Bridge), Christopher Walken (A Behanding in Spokane) and Denzel Washington (Fences) pitted against each other for the Best Performance by a Leading Actor in a Play award.
Washington's co-star Viola Davis will battle it out in the category for Best Performance by a Leading Actress in a Play, against Valerie Harper (Looped), Linda Lavin (Collected Stories), Laura Linney (Time Stands Still) and Jan Maxwell (The Royal Family).
Catherine Zeta-Jones (A Little Night Music), Kate Baldwin (Finian's Rainbow), Sherie Rene Scott (Everyday Rapture), Montego Glover (Memphis) and Christiane Noll (Ragtime) received nods for Best Performance by a Leading Actress in a Musical, and Scarlett Johansson's Broadway debut in A View from the Bridge has earned her a nomination for Best Performance by a Featured Actress in a Play.
Nominations for Best Play include In the Next Room (or The Vibrator Play), Next Fall, Red and Time Stands Still.
The winners will be announced on 13 June at Radio City Music Hall in New York City.
The main list of nominees is as follows:
Best Play:
In the Next Room (or The Vibrator Play)
Next Fall
Red
Time Stands Still
Best Musical:
American Idiot
Fela!
Memphis
Million Dollar Quartet
Best Book of a Musical:
Everyday Rapture - Dick Scanlan and Sherie Rene Scott
Fela! - Jim Lewis & Bill T. Jones
Memphis - Joe Dipietro
Million Dollar Quartet - Colin Escott and Floyd Mutrux
Best Original Score (Music and/or Lyrics) Written for the Theatre:
The Addams Family - Music & Lyrics: Andrew Lippa
Enron - Music: Adam Cork, Lyrics: Lucy Prebble
Fences - Music: Branford Marsalis
Memphis - Music: David Bryan, Lyrics: Joe Dipietro, David Bryan
Best Revival of a Play:
Fences
Lend Me a Tenor
The Royal Family
A View from the Bridge
Best Revival of a Musical:
Finian's Rainbow
La Cage aux Folles
A Little Night Music
Ragtime
Best Performance by a Leading Actor in a Play:
Jude Law - Hamlet
Alfred Molina - Red
Liev Schreiber - A View from the Bridge
Christopher Walken - A Behanding in Spokane
Denzel Washington - Fences
Best Performance by a Leading Actress in a Play:
Viola Davis - Fences
Valerie Harper - Looped
Linda Lavin - Collected Stories
Laura Linney - Time Stands Still
Jan Maxwell - The Royal Family
Best Performance by a Leading Actor in a Musical:
Kelsey Grammer - La Cage aux Folles
Sean Hayes - Promises, Promises
Douglas Hodge - La Cage aux Folles
Chad Kimball - Memphis
Sahr Ngaujah - Fela!
Best Performance by a Leading Actress in a Musical:
Kate Baldwin - Finian's Rainbow
Sherie Rene Scott - Everyday Rapture
Montego Glover - Memphis
Christiane Noll - Ragtime
Catherine Zeta-Jones - A Little Night Music
Best Performance by a Featured Actor in a Play:
David Alan Grier - Race
Stephen McKinley Henderson - Fences
Jon Michael Hill - Superior Donuts
Stephen Kunken - Enron
Eddie Redmayne - Red
Best Performance by a Featured Actress in a Play:
Maria Dizzia - In the Next Room (or The Vibrator Play)
Rosemary Harris - The Royal Family
Jessica Hecht - A View from the Bridge
Scarlett Johansson - A View from the Bridge
Jan Maxwell - Lend Me a Tenor
Best Performance by a Featured Actor in a Musical:
Kevin Chamberlin - The Addams Family
Robin De Jesus - La Cage aux Folles
Christopher Fitzgerald - Finian's Rainbow
Levi Kreis - Million Dollar Quartet
Bobby Steggert - Ragtime
Best Performance by a Featured Actress in a Musical:
Barbara Cook - Sondheim on Sondheim
Katie Finneran - Promises, Promises
Angela Lansbury - A Little Night Music
Karine Plantadit - Come Fly Away
Lillias White - Fela!
Best Direction of a Play:
Michael Grandage - Red
Sheryl Kaller - Next Fall
Kenny Leon - Fences
Gregory Mosher - A View from the Bridge
Best Direction of a Musical:
Christopher Ashley - Memphis
Marcia Milgrom Dodge - Ragtime
Terry Johnson - La Cage aux Folles
Bill T. Jones - Fela!
Best Choreography
Rob Ashford - Promises, Promises
Bill T. Jones - Fela!
Lynne Page - La Cage aux Folles
Twyla Tharp - Come Fly Away
Best Orchestrations:
Jason Carr - La Cage aux Folles
Aaron Johnson - Fela!
Jonathan Tunick - Promises, Promises
Daryl Waters & David Bryan - Memphis
Best Scenic Design of a Play
John Lee Beatty - The Royal Family
Alexander Dodge - Present Laughter
Santo Loquasto - Fences
Christopher Oram - Red
Best Scenic Design of a Musical:
Marina Draghici - Fela!
Christine Jones - American Idiot
Derek McLane - Ragtime
Tim Shortall - La Cage aux Folles
Best Costume Design of a Play:
Martin Pakledinaz - Lend Me a Tenor
Constanza Romero - Fences
David Zinn - In the Next Room (or The Vibrator Play)
Catherine Zuber - The Royal Family
Best Costume Design of a Musical:
Marina Draghici - Fela!
Santo Loquasto - Ragtime
Paul Tazewell - Memphis
Matthew Wright - La Cage aux Folles
Best Lighting Design of a Play:
Neil Austin - Hamlet
Neil Austin - Red
Mark Henderson - Enron
Brian MacDevitt - Fences
Best Lighting Design of a Musical:
Kevin Adams - American Idiot
Donald Holder - Ragtime
Nick Richings - La Cage aux Folles
Robert Wierzel - Fela!
Best Sound Design of a Play:
Acme Sound Partners - Fences
Adam Cork - Enron
Adam Cork - Red
Scott Lehrer - A View from the Bridge
Best Sound Design of a Musical:
Jonathan Deans - La Cage aux Folles
Robert Kaplowitz - Fela!
Dan Moses Schreier and Gareth Owen - A Little Night Music
Dan Moses Schreier - Sondheim on Sondheim
Special Tony Award for Lifetime Achievement in the Theatre:
Alan Ayckbourn
Marian Seldes
Regional Theatre Tony Award:
The Eugene O'Neill Theater Center, Waterford, Connecticut
Isabelle Stevenson Award:
David Hyde Pierce
Tony Honors for Excellence in the Theatre:
Alliance of Resident Theatres/New York
B.H. Barry
Tom Viola...
Fela!, about the life of revered African world music star Fela Kuti, will go up against Green Day's American Idiot, Memphis, and Million Dollar Quartet in the coveted Best Musical category at the 64th annual prizegiving, which honours the best on Broadway.
Meanwhile, Grammer and Hodge, who star as a camp gay couple in La Cage, will compete against Sean Hayes (Promises, Promises), Chad Kimball (Memphis) and Sahr Ngaujah (Fela!) for Best Performance by a Leading Actor in a Musical.
The evening is sure to be a star-studded event, with Hollywood actors Jude Law (Hamlet), Alfred Molina (Red), Liev Schreiber (A View from the Bridge), Christopher Walken (A Behanding in Spokane) and Denzel Washington (Fences) pitted against each other for the Best Performance by a Leading Actor in a Play award.
Washington's co-star Viola Davis will battle it out in the category for Best Performance by a Leading Actress in a Play, against Valerie Harper (Looped), Linda Lavin (Collected Stories), Laura Linney (Time Stands Still) and Jan Maxwell (The Royal Family).
Catherine Zeta-Jones (A Little Night Music), Kate Baldwin (Finian's Rainbow), Sherie Rene Scott (Everyday Rapture), Montego Glover (Memphis) and Christiane Noll (Ragtime) received nods for Best Performance by a Leading Actress in a Musical, and Scarlett Johansson's Broadway debut in A View from the Bridge has earned her a nomination for Best Performance by a Featured Actress in a Play.
Nominations for Best Play include In the Next Room (or The Vibrator Play), Next Fall, Red and Time Stands Still.
The winners will be announced on 13 June at Radio City Music Hall in New York City.
The main list of nominees is as follows:
Best Play:
In the Next Room (or The Vibrator Play)
Next Fall
Red
Time Stands Still
Best Musical:
American Idiot
Fela!
Memphis
Million Dollar Quartet
Best Book of a Musical:
Everyday Rapture - Dick Scanlan and Sherie Rene Scott
Fela! - Jim Lewis & Bill T. Jones
Memphis - Joe Dipietro
Million Dollar Quartet - Colin Escott and Floyd Mutrux
Best Original Score (Music and/or Lyrics) Written for the Theatre:
The Addams Family - Music & Lyrics: Andrew Lippa
Enron - Music: Adam Cork, Lyrics: Lucy Prebble
Fences - Music: Branford Marsalis
Memphis - Music: David Bryan, Lyrics: Joe Dipietro, David Bryan
Best Revival of a Play:
Fences
Lend Me a Tenor
The Royal Family
A View from the Bridge
Best Revival of a Musical:
Finian's Rainbow
La Cage aux Folles
A Little Night Music
Ragtime
Best Performance by a Leading Actor in a Play:
Jude Law - Hamlet
Alfred Molina - Red
Liev Schreiber - A View from the Bridge
Christopher Walken - A Behanding in Spokane
Denzel Washington - Fences
Best Performance by a Leading Actress in a Play:
Viola Davis - Fences
Valerie Harper - Looped
Linda Lavin - Collected Stories
Laura Linney - Time Stands Still
Jan Maxwell - The Royal Family
Best Performance by a Leading Actor in a Musical:
Kelsey Grammer - La Cage aux Folles
Sean Hayes - Promises, Promises
Douglas Hodge - La Cage aux Folles
Chad Kimball - Memphis
Sahr Ngaujah - Fela!
Best Performance by a Leading Actress in a Musical:
Kate Baldwin - Finian's Rainbow
Sherie Rene Scott - Everyday Rapture
Montego Glover - Memphis
Christiane Noll - Ragtime
Catherine Zeta-Jones - A Little Night Music
Best Performance by a Featured Actor in a Play:
David Alan Grier - Race
Stephen McKinley Henderson - Fences
Jon Michael Hill - Superior Donuts
Stephen Kunken - Enron
Eddie Redmayne - Red
Best Performance by a Featured Actress in a Play:
Maria Dizzia - In the Next Room (or The Vibrator Play)
Rosemary Harris - The Royal Family
Jessica Hecht - A View from the Bridge
Scarlett Johansson - A View from the Bridge
Jan Maxwell - Lend Me a Tenor
Best Performance by a Featured Actor in a Musical:
Kevin Chamberlin - The Addams Family
Robin De Jesus - La Cage aux Folles
Christopher Fitzgerald - Finian's Rainbow
Levi Kreis - Million Dollar Quartet
Bobby Steggert - Ragtime
Best Performance by a Featured Actress in a Musical:
Barbara Cook - Sondheim on Sondheim
Katie Finneran - Promises, Promises
Angela Lansbury - A Little Night Music
Karine Plantadit - Come Fly Away
Lillias White - Fela!
Best Direction of a Play:
Michael Grandage - Red
Sheryl Kaller - Next Fall
Kenny Leon - Fences
Gregory Mosher - A View from the Bridge
Best Direction of a Musical:
Christopher Ashley - Memphis
Marcia Milgrom Dodge - Ragtime
Terry Johnson - La Cage aux Folles
Bill T. Jones - Fela!
Best Choreography
Rob Ashford - Promises, Promises
Bill T. Jones - Fela!
Lynne Page - La Cage aux Folles
Twyla Tharp - Come Fly Away
Best Orchestrations:
Jason Carr - La Cage aux Folles
Aaron Johnson - Fela!
Jonathan Tunick - Promises, Promises
Daryl Waters & David Bryan - Memphis
Best Scenic Design of a Play
John Lee Beatty - The Royal Family
Alexander Dodge - Present Laughter
Santo Loquasto - Fences
Christopher Oram - Red
Best Scenic Design of a Musical:
Marina Draghici - Fela!
Christine Jones - American Idiot
Derek McLane - Ragtime
Tim Shortall - La Cage aux Folles
Best Costume Design of a Play:
Martin Pakledinaz - Lend Me a Tenor
Constanza Romero - Fences
David Zinn - In the Next Room (or The Vibrator Play)
Catherine Zuber - The Royal Family
Best Costume Design of a Musical:
Marina Draghici - Fela!
Santo Loquasto - Ragtime
Paul Tazewell - Memphis
Matthew Wright - La Cage aux Folles
Best Lighting Design of a Play:
Neil Austin - Hamlet
Neil Austin - Red
Mark Henderson - Enron
Brian MacDevitt - Fences
Best Lighting Design of a Musical:
Kevin Adams - American Idiot
Donald Holder - Ragtime
Nick Richings - La Cage aux Folles
Robert Wierzel - Fela!
Best Sound Design of a Play:
Acme Sound Partners - Fences
Adam Cork - Enron
Adam Cork - Red
Scott Lehrer - A View from the Bridge
Best Sound Design of a Musical:
Jonathan Deans - La Cage aux Folles
Robert Kaplowitz - Fela!
Dan Moses Schreier and Gareth Owen - A Little Night Music
Dan Moses Schreier - Sondheim on Sondheim
Special Tony Award for Lifetime Achievement in the Theatre:
Alan Ayckbourn
Marian Seldes
Regional Theatre Tony Award:
The Eugene O'Neill Theater Center, Waterford, Connecticut
Isabelle Stevenson Award:
David Hyde Pierce
Tony Honors for Excellence in the Theatre:
Alliance of Resident Theatres/New York
B.H. Barry
Tom Viola...
- 5/4/2010
- WENN
(Director, writer, and filmmaker Floyd Mutrux, above.)
By Terry Keefe
It was the 1960s and a foursome took over the popular music charts in America, but they didn’t wear mop-tops. Right before the British Invasion, the girl group known as the Shirelles soared with hits such as “Dedicated to the One I Love,” “Soldier Boy,” “Will You Still Me Tomorrow,” and “Baby It’s You,” amongst many others. The Shirelles were discovered by Florence Greenberg, an ambitious and very prescient New Jersey housewife who founded Scepter Records, and consequently changed the face of popular music forever. In her business life, Greenberg was a woman who dove right into the middle of a male-dominated record industry and created one of the most successful independent labels of the time, and on the personal side, she left her first marriage for a union with African-American songwriter Luther Dixon. The story of Greenberg,...
By Terry Keefe
It was the 1960s and a foursome took over the popular music charts in America, but they didn’t wear mop-tops. Right before the British Invasion, the girl group known as the Shirelles soared with hits such as “Dedicated to the One I Love,” “Soldier Boy,” “Will You Still Me Tomorrow,” and “Baby It’s You,” amongst many others. The Shirelles were discovered by Florence Greenberg, an ambitious and very prescient New Jersey housewife who founded Scepter Records, and consequently changed the face of popular music forever. In her business life, Greenberg was a woman who dove right into the middle of a male-dominated record industry and created one of the most successful independent labels of the time, and on the personal side, she left her first marriage for a union with African-American songwriter Luther Dixon. The story of Greenberg,...
- 12/3/2009
- by The Hollywood Interview.com
- The Hollywood Interview
Baby It's You!, a new musical, will have its world premiere at The Coast Playhouse (8325 Santa Monica Blvd. in West Hollywood) with performances from July 18 ? August 30. American Pop Anthology (co-producers of the musical Million Dollar Quartet, still running in Chicago after nine months, and heading for Broadway) will present the new musical written by Colin Escott (Million Dollar Quartet) and Floyd Mutrux (Million Dollar Quartet and the award-winning film American Hot Wax). Directed by Mutrux, Baby It's You! is about the passion and determination of New Jersey housewife Florence Greenberg, who in the 1960?s built one of the most successful-ever independent record companies with such discoveries like The Shirelles and found forbidden love.
- 7/11/2009
- BroadwayWorld.com
"Sunset Strip" is a winning comic drama that is getting a sure-to-fail release from 20th Century Fox. A glance back at an irrecoverably innocent past and the music that galvanized a generation, "Sunset" opens today in Los Angeles and New York with nearly no marketing. It's a pity because, while clearly not an easy sell, this amiable film has the makings of a cult favorite.
"Sunset" was produced by Art Linson and John Linson, and the film is somewhat reminiscent of one of Art's earliest films, "American Hot Wax". Where that film's director, Floyd Mutrux, went for high-energy B-movie sizzle in his encapsulation of 1950s rock 'n' roll, in "Sunset", tyro director Adam Collis takes a more mellow look at the 1970s rock milieu.
Collis and screenwriters Randall Jahnson ("The Doors") and Russell Degrazier freeze-frame a 24-hour period along the fabled Sunset Strip during the summer of 1972, which allows them to sketch miniportraits of several characters in the music scene.
Fashion designer Tammy (Anna Friel) has a clothing store across the street from the famed Whisky-a-Go-Go (as the nightclub was then called). She and photographer Michael (Simon Baker) are scheduled to do an album-cover shoot with flavor-of-the-month rocker Glen (Jared Leto).
A band led by Hendrix-obsessed guitarist Zach (Nick Stahl) is opening that night at the Whisky for the latest British sensation, Duncan (Tommy J. Flanagan). Hyperkinetic peacenik Shapiro (Adam Goldberg) is a talent manager on the prowl for clients. And pianist-songwriter Felix (Rory Cochrane), a kind of latter-day Oscar Levant, fights off depression with a nearly lethal combination of drugs and booze.
Production designer Cynthia Charette and costumer Ha Nguyen have masterfully re-
created the rock scene of 1972. More crucially, Collis and his writers perfectly capture that era's attitudes -- the open approach to sex, drugs, relationships and, pivotally, music. Suddenly, a whole generation was exploring new freedoms in all areas of life. Our own hindsight at the fads and indulgences of 1972 makes us realize how awfully naive we all were.
Tammy has sex with two rockers -- she has a thing for guitar players -- and winds up with a third man, all within 24 hours. A dose of syphilis gets passed around through these romantic interludes without causing much concern to anyone. How many light-years are we removed from that scene.
There is also a good deal of naivete about the music with which the characters' lives are absolutely intertwined. But in those days, music was still a business and not yet an industry. All the characters are earnest about their professions; their true-believer fervor is refreshing. But looking back from 2000, we realize that those days when rock was going to rule the world are gone forever.
The era, of course, produced charismatic, larger-than-life rock legends. But the movie's lively, likable characters are the guys in the trenches, those who create the ambiance from which great stars emerge. The Jimi Hendrixes and Jim Morrisons serve as inspiration and fuel the creativity of those on the fringes of rock.
There is superb behind-the-scenes work here. Executive soundtrack producer Robbie Robertson and composer Stewart Copeland hatch a kick-ass soundtrack. Toni Basil supplies the Richard Lester-inspired choreography. And cinematographer Ron Fortunato gets the true grit of 1972 Los Angeles just right.
One minor caveat: The film's emulation of "American Graffiti"'s concluding update of the characters' destinies cuts against the snapshot quality that "Sunset" strives so hard to establish. We really don't want to know how these people ended up.
SUNSET STRIP
20th Century Fox
2000 Pictures presents
a Linson Films production
Producers: Art Linson, John Linson
Director: Adam Collis
Screenwriters: Randall Jahnson,
Russell Degrazier
Executive producer: James Dodson
Director of photography: Ron Fortunato
Production designer: Cynthia Charette
Music: Stewart Copeland
Costume designer: Ha Nguyen
Editor: Bruce Cannon
Color/stereo
Cast:
Michael: Simon Baker
Tammy: Anna Friel
Zach: Nick Stahl
Felix: Rory Cochrane
Shapiro: Adam Goldberg
Glen: Jared Leto
Duncan: Tommy J. Flanagan
Running time - 90 minutes
MPAA rating: R...
"Sunset" was produced by Art Linson and John Linson, and the film is somewhat reminiscent of one of Art's earliest films, "American Hot Wax". Where that film's director, Floyd Mutrux, went for high-energy B-movie sizzle in his encapsulation of 1950s rock 'n' roll, in "Sunset", tyro director Adam Collis takes a more mellow look at the 1970s rock milieu.
Collis and screenwriters Randall Jahnson ("The Doors") and Russell Degrazier freeze-frame a 24-hour period along the fabled Sunset Strip during the summer of 1972, which allows them to sketch miniportraits of several characters in the music scene.
Fashion designer Tammy (Anna Friel) has a clothing store across the street from the famed Whisky-a-Go-Go (as the nightclub was then called). She and photographer Michael (Simon Baker) are scheduled to do an album-cover shoot with flavor-of-the-month rocker Glen (Jared Leto).
A band led by Hendrix-obsessed guitarist Zach (Nick Stahl) is opening that night at the Whisky for the latest British sensation, Duncan (Tommy J. Flanagan). Hyperkinetic peacenik Shapiro (Adam Goldberg) is a talent manager on the prowl for clients. And pianist-songwriter Felix (Rory Cochrane), a kind of latter-day Oscar Levant, fights off depression with a nearly lethal combination of drugs and booze.
Production designer Cynthia Charette and costumer Ha Nguyen have masterfully re-
created the rock scene of 1972. More crucially, Collis and his writers perfectly capture that era's attitudes -- the open approach to sex, drugs, relationships and, pivotally, music. Suddenly, a whole generation was exploring new freedoms in all areas of life. Our own hindsight at the fads and indulgences of 1972 makes us realize how awfully naive we all were.
Tammy has sex with two rockers -- she has a thing for guitar players -- and winds up with a third man, all within 24 hours. A dose of syphilis gets passed around through these romantic interludes without causing much concern to anyone. How many light-years are we removed from that scene.
There is also a good deal of naivete about the music with which the characters' lives are absolutely intertwined. But in those days, music was still a business and not yet an industry. All the characters are earnest about their professions; their true-believer fervor is refreshing. But looking back from 2000, we realize that those days when rock was going to rule the world are gone forever.
The era, of course, produced charismatic, larger-than-life rock legends. But the movie's lively, likable characters are the guys in the trenches, those who create the ambiance from which great stars emerge. The Jimi Hendrixes and Jim Morrisons serve as inspiration and fuel the creativity of those on the fringes of rock.
There is superb behind-the-scenes work here. Executive soundtrack producer Robbie Robertson and composer Stewart Copeland hatch a kick-ass soundtrack. Toni Basil supplies the Richard Lester-inspired choreography. And cinematographer Ron Fortunato gets the true grit of 1972 Los Angeles just right.
One minor caveat: The film's emulation of "American Graffiti"'s concluding update of the characters' destinies cuts against the snapshot quality that "Sunset" strives so hard to establish. We really don't want to know how these people ended up.
SUNSET STRIP
20th Century Fox
2000 Pictures presents
a Linson Films production
Producers: Art Linson, John Linson
Director: Adam Collis
Screenwriters: Randall Jahnson,
Russell Degrazier
Executive producer: James Dodson
Director of photography: Ron Fortunato
Production designer: Cynthia Charette
Music: Stewart Copeland
Costume designer: Ha Nguyen
Editor: Bruce Cannon
Color/stereo
Cast:
Michael: Simon Baker
Tammy: Anna Friel
Zach: Nick Stahl
Felix: Rory Cochrane
Shapiro: Adam Goldberg
Glen: Jared Leto
Duncan: Tommy J. Flanagan
Running time - 90 minutes
MPAA rating: R...
- 8/11/2000
- The Hollywood Reporter - Movie News
CAMP NOWHERE
Buena Vista
Sneaking in under the wire, Hollywood Pictures' seasonal ''Camp Nowhere'' pits yet another gang of clever kids (this time bored with parent-approved summer camps) against stupid adults in a wish-fulfillment comedy. With its target audience largely back in school, the routine effort has almost no chance of making an impact at the boxoffice.
First-time director Jonathan Prince and writers Andrew Kurtzman and Eliot Wald shoot for easygoing laughs and harmless family fun, but ''Camp Nowhere'' has little to distinguish it from similar fare released over the years. Kids will warm up to their energetic contemporaries on screen, but adults will nod off en masse.
Well-cast but not offering anything new, the film has Christopher Lloyd making funny faces as the burnt-out benefactor who helps set up a secret, kids-only camp for the principal scammers -- Spanky-inspired ''Mud'' (Jonathan Jackson), tough guy Zack (Andrew Keegan), airhead Trish (Marne Patterson) and cutie pie Gaby (Melody Kay).
Other adults, good and menacing, figure in the farce that finds the kids auspiciously occupying an old hippie hangout in the woods (HR 8/26-28).-- David Hunter
THERE GOES MY BABY
Orion
An ''American Graffiti''-ish take on the personal and social upheavals surrounding Westwood High's 1965 graduating class, ''There Goes My Baby'' is U.S. social history as writ by the jukebox. Featuring a venerable slew of Golden Oldies from the '50s and '60s, this long-shelved Orion release cruises best during its tune times but stumbles when the narrative spins onto the scene.
The imminent demise of Westwood High School's popular burger hangout, which is to be torn down and replaced by a shopping mall, is the Joni Mitchell-ish metaphor for this story of change.
Indeed, writer-director Floyd Mutrux's central thesis focuses on the growing pains between the Age of Eisenhower and the Age of Aquarius. In his 45-rpm-deep scenario, the central characters are a representative stockpot of Westwood High graduating seniors.
As far as recapturing the days when the '50s met the '60s, ''There Goes My Baby'' succeeds about as well as those '50s-themed franchise burger joints succeed in recalling the era -- all the right sounds but a synthetic feel (HR 8/26-28).-- Duane Byrge
WAGONS EAST!
TriStar
This season's western crop hasn't exactly been burning any holes in the boxoffice. With the exception of ''Maverick, '' the other oaters, including those Kevin Costner, Billy Crystal and Woody Harrelson-Kiefer Sutherland vehicles, fell considerably short of expectations.
Which is reason enough to hold out little hope for ''Wagons East!, '' a slapstick take on the Old West that arrives with the built-in notoriety of being the film that John Candy had almost completed at his untimely death.
Given that the finished product is often tasteless and remarkably unfunny, making little use of Candy's comic genius, it is a milestone best left forgotten.
Matthew Carlson's first feature screenplay wants very much to be another ''Blazing Saddles, '' but
the crass, half-baked result can't hold a candle to vintage Mel Brooks.
Director Peter Markle does little to improve the situation, letting things run their predictable course (HR 8/24).-- Michael Rechtshaffen
Other reviews
Also reviewed last week were the films ''A Simple Twist of Fate'' (HR 8/29), ''Princess Caraboo'' (8/29), ''Kabloonak'' (8/29) and ''Mustang: The Hidden Kingdom'' (8/29).
(c) The Hollywood Reporter...
Buena Vista
Sneaking in under the wire, Hollywood Pictures' seasonal ''Camp Nowhere'' pits yet another gang of clever kids (this time bored with parent-approved summer camps) against stupid adults in a wish-fulfillment comedy. With its target audience largely back in school, the routine effort has almost no chance of making an impact at the boxoffice.
First-time director Jonathan Prince and writers Andrew Kurtzman and Eliot Wald shoot for easygoing laughs and harmless family fun, but ''Camp Nowhere'' has little to distinguish it from similar fare released over the years. Kids will warm up to their energetic contemporaries on screen, but adults will nod off en masse.
Well-cast but not offering anything new, the film has Christopher Lloyd making funny faces as the burnt-out benefactor who helps set up a secret, kids-only camp for the principal scammers -- Spanky-inspired ''Mud'' (Jonathan Jackson), tough guy Zack (Andrew Keegan), airhead Trish (Marne Patterson) and cutie pie Gaby (Melody Kay).
Other adults, good and menacing, figure in the farce that finds the kids auspiciously occupying an old hippie hangout in the woods (HR 8/26-28).-- David Hunter
THERE GOES MY BABY
Orion
An ''American Graffiti''-ish take on the personal and social upheavals surrounding Westwood High's 1965 graduating class, ''There Goes My Baby'' is U.S. social history as writ by the jukebox. Featuring a venerable slew of Golden Oldies from the '50s and '60s, this long-shelved Orion release cruises best during its tune times but stumbles when the narrative spins onto the scene.
The imminent demise of Westwood High School's popular burger hangout, which is to be torn down and replaced by a shopping mall, is the Joni Mitchell-ish metaphor for this story of change.
Indeed, writer-director Floyd Mutrux's central thesis focuses on the growing pains between the Age of Eisenhower and the Age of Aquarius. In his 45-rpm-deep scenario, the central characters are a representative stockpot of Westwood High graduating seniors.
As far as recapturing the days when the '50s met the '60s, ''There Goes My Baby'' succeeds about as well as those '50s-themed franchise burger joints succeed in recalling the era -- all the right sounds but a synthetic feel (HR 8/26-28).-- Duane Byrge
WAGONS EAST!
TriStar
This season's western crop hasn't exactly been burning any holes in the boxoffice. With the exception of ''Maverick, '' the other oaters, including those Kevin Costner, Billy Crystal and Woody Harrelson-Kiefer Sutherland vehicles, fell considerably short of expectations.
Which is reason enough to hold out little hope for ''Wagons East!, '' a slapstick take on the Old West that arrives with the built-in notoriety of being the film that John Candy had almost completed at his untimely death.
Given that the finished product is often tasteless and remarkably unfunny, making little use of Candy's comic genius, it is a milestone best left forgotten.
Matthew Carlson's first feature screenplay wants very much to be another ''Blazing Saddles, '' but
the crass, half-baked result can't hold a candle to vintage Mel Brooks.
Director Peter Markle does little to improve the situation, letting things run their predictable course (HR 8/24).-- Michael Rechtshaffen
Other reviews
Also reviewed last week were the films ''A Simple Twist of Fate'' (HR 8/29), ''Princess Caraboo'' (8/29), ''Kabloonak'' (8/29) and ''Mustang: The Hidden Kingdom'' (8/29).
(c) The Hollywood Reporter...
- 8/30/1994
- The Hollywood Reporter - Movie News
In ''American Me'' Edward James Olmos has achieved several important goals, but one outweighs the rest: he has made a film that will scare the hell out of any inner-city youth not already lost to the hopelessness of gangs, drugs and prison.
While cineastes might argue that Olmos overexplains his characters and their motives, the director-star is clearly aiming his message at young audiences. He doesn't want to be subtle; he wants to be brutally frank about what lies ahead when a child signs on with a gang.
''American Me'' has considerable crossover potential. As ''JFK'' has proven, when a film's theme and concerns move off the entertainment pages into the news and opinion sections, public interest is heightened.
Olmos' other achievements, not so incidently, include a brilliant directorial debut and, arguably, his best screen performance to date.
Floyd Mutrux's script -- rewritten by Desmond Nakano -- fleshes out the story of the Mexican Mafia, a vicious California prison gang. Feeding off a flawed penal system, its power reaches back to the Latino communities, controlling drugs and extortion.
Olmos plays Santana, its ruthless boss who in a perspicacious moment upon his return to prison, thinks back on the emptiness of his life.
In flashback, beginning with the Zoot Suit riots in 1943, the film recounts the saga of three generations of his family and of his life with homeboys who serve him in prison and out.
The tragic cycle of violence grows out of upside-down values where ''respect'' is achieved through fear and ''class'' is established through murder.
The tattoos of gang members symbolize an even more deeply imprinted vision of life where gang affiliations is all one can aspire to -- a perverse American dream.
Santana, in a brief relationship outside prison with a single mother, Julie (Evelina Fernandez), is momentarily freed from the gang's death grip and suddenly sees how a people can destroy themselves and their culture.
In stark contrast to ''Stand and Deliver, '' Olmos has made a film with little hope. Only in Julie does he suggest that a person can turn her back on gang life and educate herself. That tiny ray of hope is enough.
In playing a character who has lost all feelings of human compassion, Olmos projects a dignity and sense of a warmth that still might be reclaimed were he not to meet a tragic end. The other actors, especially William Forsythe, Pepe Serna, Danny De La Paz and Daniel Villarreal, are outstanding.
Reynaldo Villalobos' icy, nearly black-and-white cinematography makes Folsom Prison a treacherous landscape and gives colorful East L.A. a shadowy, film-noir look.
AMERICAN ME
Universal Pictures
Producers Sean Daniel, Robert M. Young, Edward James Olmos
Director Edward James Olmos
Writers Floyd Mutrux, Desmond Nakano
Executive producers Irwin Young, Floyd Mutrux, Lou Adler
Director of photography Reynaldo Villalobos
Production designer Joe Aubel
Music Dennis Lambert, Claude Gaudette
Editor Arthur R. Coburn, Richard Candib
Costume designer Sylvia Vega-Vasquez
Color/Stereo
Cast:
Santana Edward James Olmos
JD William Forsythe
Mundo Pepe Serna
Julie Evelina Fernandez
Puppet Danny De La Paz
Pedro Sal Lopez
Little Puppet Daniel Villarreal
Pie Face Domingo Ambriz
El Japo Cary-Hiroyuki Tagawa
Running time -- 126 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
While cineastes might argue that Olmos overexplains his characters and their motives, the director-star is clearly aiming his message at young audiences. He doesn't want to be subtle; he wants to be brutally frank about what lies ahead when a child signs on with a gang.
''American Me'' has considerable crossover potential. As ''JFK'' has proven, when a film's theme and concerns move off the entertainment pages into the news and opinion sections, public interest is heightened.
Olmos' other achievements, not so incidently, include a brilliant directorial debut and, arguably, his best screen performance to date.
Floyd Mutrux's script -- rewritten by Desmond Nakano -- fleshes out the story of the Mexican Mafia, a vicious California prison gang. Feeding off a flawed penal system, its power reaches back to the Latino communities, controlling drugs and extortion.
Olmos plays Santana, its ruthless boss who in a perspicacious moment upon his return to prison, thinks back on the emptiness of his life.
In flashback, beginning with the Zoot Suit riots in 1943, the film recounts the saga of three generations of his family and of his life with homeboys who serve him in prison and out.
The tragic cycle of violence grows out of upside-down values where ''respect'' is achieved through fear and ''class'' is established through murder.
The tattoos of gang members symbolize an even more deeply imprinted vision of life where gang affiliations is all one can aspire to -- a perverse American dream.
Santana, in a brief relationship outside prison with a single mother, Julie (Evelina Fernandez), is momentarily freed from the gang's death grip and suddenly sees how a people can destroy themselves and their culture.
In stark contrast to ''Stand and Deliver, '' Olmos has made a film with little hope. Only in Julie does he suggest that a person can turn her back on gang life and educate herself. That tiny ray of hope is enough.
In playing a character who has lost all feelings of human compassion, Olmos projects a dignity and sense of a warmth that still might be reclaimed were he not to meet a tragic end. The other actors, especially William Forsythe, Pepe Serna, Danny De La Paz and Daniel Villarreal, are outstanding.
Reynaldo Villalobos' icy, nearly black-and-white cinematography makes Folsom Prison a treacherous landscape and gives colorful East L.A. a shadowy, film-noir look.
AMERICAN ME
Universal Pictures
Producers Sean Daniel, Robert M. Young, Edward James Olmos
Director Edward James Olmos
Writers Floyd Mutrux, Desmond Nakano
Executive producers Irwin Young, Floyd Mutrux, Lou Adler
Director of photography Reynaldo Villalobos
Production designer Joe Aubel
Music Dennis Lambert, Claude Gaudette
Editor Arthur R. Coburn, Richard Candib
Costume designer Sylvia Vega-Vasquez
Color/Stereo
Cast:
Santana Edward James Olmos
JD William Forsythe
Mundo Pepe Serna
Julie Evelina Fernandez
Puppet Danny De La Paz
Pedro Sal Lopez
Little Puppet Daniel Villarreal
Pie Face Domingo Ambriz
El Japo Cary-Hiroyuki Tagawa
Running time -- 126 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
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