Social justice has always been the bailiwick of documentary filmmakers, but the late Diane Weyermann was the woman who gave it the financing and clout it deserved. From the Sundance Institute to Participant Media, she passionately supported documentaries that might not otherwise exist. She made them better, found their audiences, and elevated what was once considered a low-budget sideline. Her projects received 10 Oscar nominations and four wins.
However, to sum up her impact in the language of credits and awards would an injustice of its own. Weyermann was one of those people who had the privilege of being genuinely beloved. She was dedicated to her work as chief content officer at Participant Media, but the filmmakers she worked with knew her as a fiercely intelligent champion, guide, and most of all a friend.
After losing her long battle with cancer last week, Weyermann’s friends in the documentary community sent IndieWire a flood of tributes.
However, to sum up her impact in the language of credits and awards would an injustice of its own. Weyermann was one of those people who had the privilege of being genuinely beloved. She was dedicated to her work as chief content officer at Participant Media, but the filmmakers she worked with knew her as a fiercely intelligent champion, guide, and most of all a friend.
After losing her long battle with cancer last week, Weyermann’s friends in the documentary community sent IndieWire a flood of tributes.
- 10/19/2021
- by Anne Thompson
- Indiewire
Social justice has always been the bailiwick of documentary filmmakers, but the late Diane Weyermann was the woman who gave it the financing and clout it deserved. From the Sundance Institute to Participant Media, she passionately supported documentaries that might not otherwise exist. She made them better, found their audiences, and elevated what was once considered a low-budget sideline. Her projects received 10 Oscar nominations and four wins.
However, to sum up her impact in the language of credits and awards would an injustice of its own. Weyermann was one of those people who had the privilege of being genuinely beloved. She was dedicated to her work as chief content officer at Participant Media, but the filmmakers she worked with knew her as a fiercely intelligent champion, guide, and most of all a friend.
After losing her long battle with cancer last week, Weyermann’s friends in the documentary community sent IndieWire a flood of tributes.
However, to sum up her impact in the language of credits and awards would an injustice of its own. Weyermann was one of those people who had the privilege of being genuinely beloved. She was dedicated to her work as chief content officer at Participant Media, but the filmmakers she worked with knew her as a fiercely intelligent champion, guide, and most of all a friend.
After losing her long battle with cancer last week, Weyermann’s friends in the documentary community sent IndieWire a flood of tributes.
- 10/19/2021
- by Anne Thompson
- Thompson on Hollywood
Louie Psihoyos, the Oscar-winning director of The Cove, returns to the Sundance Film Festival with The Game Changers, his new documentary on the health and environmental impacts of plant-based diets. Psihoyos premiered his previous doc, Racing Extinction, at the festival in 2015. To edit Game Changers, Psihoyos hired seasoned doc editor Dan Swietlik (An Inconvenient Truth, Sick0) to cut the film. He soon brought on a second editor, Stephanie Mechura (The Price of Sex), to help finish the job. Below, Swietlik and Mechura share their experiences on cutting The Game Changers. Filmmaker: How and why did you wind up being […]...
- 1/29/2018
- by Filmmaker Staff
- Filmmaker Magazine - Blog
Director, actor and former Bill & Ted star talks about his latest film, Grand Piano, his documentary Deep Web, and lots more...
Although perhaps best known for his roles in two Bill & Ted films and The Lost Boys, Alex Winter is equally at home behind the camera, having spent the last two decades working predominantly as a director – from the cult classic Freaked, through various music videos, adverts and movies, up to his recent documentary Downloaded (which tells the story of Shawn Fanning and Napster) and the upcoming, Kickstarted-funded Deep Web.
Recently, however, he’s taken a rare step back into acting, appearing alongside Elijah Wood and John Cusack as a villainous usher in Eugenio Mira’s stylish thriller Grand Piano. We caught up with Alex down the line from his new home base in La, to discuss his work on both sides of the actor-director divide.
So I guess the first question,...
Although perhaps best known for his roles in two Bill & Ted films and The Lost Boys, Alex Winter is equally at home behind the camera, having spent the last two decades working predominantly as a director – from the cult classic Freaked, through various music videos, adverts and movies, up to his recent documentary Downloaded (which tells the story of Shawn Fanning and Napster) and the upcoming, Kickstarted-funded Deep Web.
Recently, however, he’s taken a rare step back into acting, appearing alongside Elijah Wood and John Cusack as a villainous usher in Eugenio Mira’s stylish thriller Grand Piano. We caught up with Alex down the line from his new home base in La, to discuss his work on both sides of the actor-director divide.
So I guess the first question,...
- 9/29/2014
- by ryanlambie
- Den of Geek
American Cinema Editors have announced 10 feature film nominations for the 58th annual ACE Eddie Awards, set for Feb. 16 at the Beverly Hilton.
Christopher Rouse for The Bourne Ultimatum, Jay Cassidy for Into the Wild, John Gilroy for Michael Clayton, Roderick Jaynes for No Country for Old Men and Dylan Tichenor for There Will Be Blood will compete for best edited dramatic feature.
Nominees for best edited feature, comedy or musical are Michael Tronick for Hairspray, Dana E. Glauberman for Juno, Craig Wood and Stephen Rivkin for Pirates of the Caribbean: At World's End, Darren Holmes for Ratatouille and Chris Lebenzon for Sweeney Todd: The Demon Barber of Fleet Street.
Two-thirds of the films that won Eddies during the past 15 years have also been best picture nominees.
Competing in the documentary category are Edgar Burcksen & Leonard Feinstein for Darfur Now, Leslie Iwerks & Stephen Myers for The Pixar Story and Geoffrey Richman, Chris Seward & Dan Swietlik for Sicko.
In television, the nominees for half-hour series are Ken Eluto for 30 Rock (The C Word episode), Shannon Mitchell for Californication (Hell-A Woman) and Grady Cooper for Curb Your Enthusiasm (The Bat Mitzvah). Contenders for their work on one-hour series for commercial TV are Norman Buckley for Chuck (Pilot), Malcolm Jamieson for Damages (Pilot) and Karen Stern for Law & Order: SVU (Paternity).
Stewart Schill for Dexter (It's Alive), David Siegel for Rome (De Patre Vostro) and Sidney Wolinsky for The Sopranos (Made in America) are nominated for one-hour series for non-commercial TV.
Christopher Rouse for The Bourne Ultimatum, Jay Cassidy for Into the Wild, John Gilroy for Michael Clayton, Roderick Jaynes for No Country for Old Men and Dylan Tichenor for There Will Be Blood will compete for best edited dramatic feature.
Nominees for best edited feature, comedy or musical are Michael Tronick for Hairspray, Dana E. Glauberman for Juno, Craig Wood and Stephen Rivkin for Pirates of the Caribbean: At World's End, Darren Holmes for Ratatouille and Chris Lebenzon for Sweeney Todd: The Demon Barber of Fleet Street.
Two-thirds of the films that won Eddies during the past 15 years have also been best picture nominees.
Competing in the documentary category are Edgar Burcksen & Leonard Feinstein for Darfur Now, Leslie Iwerks & Stephen Myers for The Pixar Story and Geoffrey Richman, Chris Seward & Dan Swietlik for Sicko.
In television, the nominees for half-hour series are Ken Eluto for 30 Rock (The C Word episode), Shannon Mitchell for Californication (Hell-A Woman) and Grady Cooper for Curb Your Enthusiasm (The Bat Mitzvah). Contenders for their work on one-hour series for commercial TV are Norman Buckley for Chuck (Pilot), Malcolm Jamieson for Damages (Pilot) and Karen Stern for Law & Order: SVU (Paternity).
Stewart Schill for Dexter (It's Alive), David Siegel for Rome (De Patre Vostro) and Sidney Wolinsky for The Sopranos (Made in America) are nominated for one-hour series for non-commercial TV.
- 1/12/2008
- The Hollywood Reporter - Movie News
This was written for the festival screening of "Sicko".CANNES -- This is the movie where Michael Moore gets a few Michael Moore haters off his back. "Sicko" posits an uncontroversial, if not incontrovertible, proposition: The health care system in the U.S. is sick. Even a right-wing Republican, when denied care by his HMO or stuck with an astronomical bill, is going to agree. Disagreement may come over the prescription Dr. Moore suggests. But he makes so much damn sense in his arguments that the discussion could be civilized except for the heat coming from the health care industry, with billions of dollars in profits at stake, and certain politicians whose pockets are lined with industry campaign donations.
Not that "Sicko", which screened Out of Competition, avoids Moore's usual oversimplification and cute stunts. But the gist of his arguments is sound, and only a wealthy HMO executive would claim no problems exists in American medical care. "Sicko" will undoubtedly follow his previous docus in attracting wide viewership from audiences normally not attuned to the documentary experience so boxoffice should be considerable in North America. While the discussion is, as always with Moore, a uniquely American one, audiences in Europe and other markets will want to eavesdrop for the sheer fun of seeing Americans wallow in problems they solved years ago. The movie begins with horror stories. So much so that Moore is not always able to lighten things up with his usual brand of comedy. But he does manage some sick humor as he recounts not only the travails of the 47 million uninsured Americans, but of those who think they have health insurance, paid for with years of premiums, only to be denied a medical procedure they desperately need.
He traces this tragic situation back to an Oval Office deal cooked up by President Nixon -- caught on the infamous White House tapes -- to foist managed health care on the unsuspecting public. Nixon loves it because it's not some do-good government program. "It's for profit," he enthuses.
Indeed it is. The tales unravel about how a successful medical claim is called a "medical loss" by the insurance industry and how denying claims can lead to promotions in that industry. The film details how the health industry spent more than $100 million to defeat President Clinton's universal health care package and currently maintains four D.C. lobbyists for every member of Congress.
Most of the rhetoric against having universal health care focuses on the words "socialized medicine." The question Moore has is this: While a policeman coming to your rescue or a fireman answering an alarm does not ask for payment and therefore represents government assistance, why do Americans place their crucial health care needs in the hands of for-profit insurance companies?
Those countries that have tried "socialized medicine" have seen patients suffer long waits and bureaucratic interference in doctors' decisions, according to politicians opposed to universal health care. "Just ask a Canadian!" thunders the previous President Bush, referring to that county's health system.
Moore takes up the challenge, going not only to Canada but to Britain and France to ask. In Canada he encounters a man who caught a hockey puck the wrong way and sliced off all the fingers on his hand. "Socialized medicine" put the fingers back. By contrast, an American who sliced off only two fingertips was told one tip would cost $60,000 to repair but the other only $12,000. He chose the $12,000 operation.
In a London hospital, Moore milks the no-cost system for all the humor it's worth as he desperately searches the facility for any sign of a billing department. He finds none. Finally, he spots a cashier sign. But he is dumbfounded to learn this is where people who paid for transit to the hospital can get reimbursed for that cost.
In France, the search for pre-existing conditions has dramatically different implications than in the U.S.: Whereas American insurance companies scrutinize enrollment forms for signs of a pre-existing condition that wasn't disclosed so as to deny a claim, in France it is to determine potentially better or even preventative treatment.
Why do even conservative citizens of these countries want universal health care? How did this all come about? "It all begins with democracy", says a former British MP. In Britain, where the National Health Service was founded in 1948, any attempt to dismantle the system would spark genuine revolution, he says.
The MP's opinion that some in the U.S. government want citizens to have poor health and education so they remain "scared and demoralized" and unwilling to vote may strike some as extreme. But when Moore turns his camera back on the U.S., where private hospitals in Los Angeles have taken to dumping destitute patients at homeless shelters on skid row, it is clear that this industry needs regulation.
Moore's final trip abroad is the one that made headlines recently with the news that the U.S. Treasury Department is investigating him for possible violations of the U.S. trade embargo restricting travel to Cuba. Yes, Moore did take several of the sick people he visited earlier in the film to Cuba, including rescue workers suffering from the effects of working at Ground Zero yet denied necessary care by the government. And in the poverty stricken land of Fidel, they get state-of-the-art diagnostic services, treatment programs and, in one case, a five-cent drug that would cost $120 in the States.
Sure, this is a stunt and fails to deal with the chronic unemployment and economic malaise of that communist state. But if you can get that quality of health care in Cuba, why not in Nebraska? It all begins with democracy.SICKO
The Weinstein Co./Lionsgate
Dog Eat Dog Films
Credits:
Screenwriter-director: Michael Moore
Executive producers: Bob Weinstein, Harvey Weinstein, Kathleen Glynn
Producers: Meghan O'Hara, Anne Moore
Editor: Christian Sweitlik, Dan Swietlik, Geoffrey Richman
Running time 124 minutes
MPAA rating: PG-13...
Not that "Sicko", which screened Out of Competition, avoids Moore's usual oversimplification and cute stunts. But the gist of his arguments is sound, and only a wealthy HMO executive would claim no problems exists in American medical care. "Sicko" will undoubtedly follow his previous docus in attracting wide viewership from audiences normally not attuned to the documentary experience so boxoffice should be considerable in North America. While the discussion is, as always with Moore, a uniquely American one, audiences in Europe and other markets will want to eavesdrop for the sheer fun of seeing Americans wallow in problems they solved years ago. The movie begins with horror stories. So much so that Moore is not always able to lighten things up with his usual brand of comedy. But he does manage some sick humor as he recounts not only the travails of the 47 million uninsured Americans, but of those who think they have health insurance, paid for with years of premiums, only to be denied a medical procedure they desperately need.
He traces this tragic situation back to an Oval Office deal cooked up by President Nixon -- caught on the infamous White House tapes -- to foist managed health care on the unsuspecting public. Nixon loves it because it's not some do-good government program. "It's for profit," he enthuses.
Indeed it is. The tales unravel about how a successful medical claim is called a "medical loss" by the insurance industry and how denying claims can lead to promotions in that industry. The film details how the health industry spent more than $100 million to defeat President Clinton's universal health care package and currently maintains four D.C. lobbyists for every member of Congress.
Most of the rhetoric against having universal health care focuses on the words "socialized medicine." The question Moore has is this: While a policeman coming to your rescue or a fireman answering an alarm does not ask for payment and therefore represents government assistance, why do Americans place their crucial health care needs in the hands of for-profit insurance companies?
Those countries that have tried "socialized medicine" have seen patients suffer long waits and bureaucratic interference in doctors' decisions, according to politicians opposed to universal health care. "Just ask a Canadian!" thunders the previous President Bush, referring to that county's health system.
Moore takes up the challenge, going not only to Canada but to Britain and France to ask. In Canada he encounters a man who caught a hockey puck the wrong way and sliced off all the fingers on his hand. "Socialized medicine" put the fingers back. By contrast, an American who sliced off only two fingertips was told one tip would cost $60,000 to repair but the other only $12,000. He chose the $12,000 operation.
In a London hospital, Moore milks the no-cost system for all the humor it's worth as he desperately searches the facility for any sign of a billing department. He finds none. Finally, he spots a cashier sign. But he is dumbfounded to learn this is where people who paid for transit to the hospital can get reimbursed for that cost.
In France, the search for pre-existing conditions has dramatically different implications than in the U.S.: Whereas American insurance companies scrutinize enrollment forms for signs of a pre-existing condition that wasn't disclosed so as to deny a claim, in France it is to determine potentially better or even preventative treatment.
Why do even conservative citizens of these countries want universal health care? How did this all come about? "It all begins with democracy", says a former British MP. In Britain, where the National Health Service was founded in 1948, any attempt to dismantle the system would spark genuine revolution, he says.
The MP's opinion that some in the U.S. government want citizens to have poor health and education so they remain "scared and demoralized" and unwilling to vote may strike some as extreme. But when Moore turns his camera back on the U.S., where private hospitals in Los Angeles have taken to dumping destitute patients at homeless shelters on skid row, it is clear that this industry needs regulation.
Moore's final trip abroad is the one that made headlines recently with the news that the U.S. Treasury Department is investigating him for possible violations of the U.S. trade embargo restricting travel to Cuba. Yes, Moore did take several of the sick people he visited earlier in the film to Cuba, including rescue workers suffering from the effects of working at Ground Zero yet denied necessary care by the government. And in the poverty stricken land of Fidel, they get state-of-the-art diagnostic services, treatment programs and, in one case, a five-cent drug that would cost $120 in the States.
Sure, this is a stunt and fails to deal with the chronic unemployment and economic malaise of that communist state. But if you can get that quality of health care in Cuba, why not in Nebraska? It all begins with democracy.SICKO
The Weinstein Co./Lionsgate
Dog Eat Dog Films
Credits:
Screenwriter-director: Michael Moore
Executive producers: Bob Weinstein, Harvey Weinstein, Kathleen Glynn
Producers: Meghan O'Hara, Anne Moore
Editor: Christian Sweitlik, Dan Swietlik, Geoffrey Richman
Running time 124 minutes
MPAA rating: PG-13...
- 5/19/2007
- The Hollywood Reporter - Movie News
CANNES -- This is the movie where Michael Moore gets a few Michael Moore haters off his back. "Sicko" posits an uncontroversial, if not incontrovertible, proposition: The health care system in the U.S. is sick. Even a right-wing Republican, when denied care by his HMO or stuck with an astronomical bill, is going to agree. Disagreement may come over the prescription Dr. Moore suggests. But he makes so much damn sense in his arguments that the discussion could be civilized except for the heat coming from the health care industry, with billions of dollars in profits at stake, and certain politicians whose pockets are lined with industry campaign donations.
Not that "Sicko", which screened Out of Competition, avoids Moore's usual oversimplification and cute stunts. But the gist of his arguments is sound, and only a wealthy HMO executive would claim no problems exists in American medical care. "Sicko" will undoubtedly follow his previous docus in attracting wide viewership from audiences normally not attuned to the documentary experience so boxoffice should be considerable in North America. While the discussion is, as always with Moore, a uniquely American one, audiences in Europe and other markets will want to eavesdrop for the sheer fun of seeing Americans wallow in problems they solved years ago. The movie begins with horror stories. So much so that Moore is not always able to lighten things up with his usual brand of comedy. But he does manage some sick humor as he recounts not only the travails of the 47 million uninsured Americans, but of those who think they have health insurance, paid for with years of premiums, only to be denied a medical procedure they desperately need.
He traces this tragic situation back to an Oval Office deal cooked up by President Nixon -- caught on the infamous White House tapes -- to foist managed health care on the unsuspecting public. Nixon loves it because it's not some do-good government program. "It's for profit," he enthuses.
Indeed it is. The tales unravel about how a successful medical claim is called a "medical loss" by the insurance industry and how denying claims can lead to promotions in that industry. The film details how the health industry spent more than $100 million to defeat President Clinton's universal health care package and currently maintains four D.C. lobbyists for every member of Congress.
Most of the rhetoric against having universal health care focuses on the words "socialized medicine." The question Moore has is this: While a policeman coming to your rescue or a fireman answering an alarm does not ask for payment and therefore represents government assistance, why do Americans place their crucial health care needs in the hands of for-profit insurance companies?
Those countries that have tried "socialized medicine" have seen patients suffer long waits and bureaucratic interference in doctors' decisions, according to politicians opposed to universal health care. "Just ask a Canadian!" thunders the previous President Bush, referring to that county's health system.
Moore takes up the challenge, going not only to Canada but to Britain and France to ask. In Canada he encounters a man who caught a hockey puck the wrong way and sliced off all the fingers on his hand. "Socialized medicine" put the fingers back. By contrast, an American who sliced off only two fingertips was told one tip would cost $60,000 to repair but the other only $12,000. He chose the $12,000 operation.
In a London hospital, Moore milks the no-cost system for all the humor it's worth as he desperately searches the facility for any sign of a billing department. He finds none. Finally, he spots a cashier sign. But he is dumbfounded to learn this is where people who paid for transit to the hospital can get reimbursed for that cost.
In France, the search for pre-existing conditions has dramatically different implications than in the U.S.: Whereas American insurance companies scrutinize enrollment forms for signs of a pre-existing condition that wasn't disclosed so as to deny a claim, in France it is to determine potentially better or even preventative treatment.
Why do even conservative citizens of these countries want universal health care? How did this all come about? "It all begins with democracy", says a former British MP. In Britain, where the National Health Service was founded in 1948, any attempt to dismantle the system would spark genuine revolution, he says.
The MP's opinion that some in the U.S. government want citizens to have poor health and education so they remain "scared and demoralized" and unwilling to vote may strike some as extreme. But when Moore turns his camera back on the U.S., where private hospitals in Los Angeles have taken to dumping destitute patients at homeless shelters on skid row, it is clear that this industry needs regulation.
Moore's final trip abroad is the one that made headlines recently with the news that the U.S. Treasury Department is investigating him for possible violations of the U.S. trade embargo restricting travel to Cuba. Yes, Moore did take several of the sick people he visited earlier in the film to Cuba, including rescue workers suffering from the effects of working at Ground Zero yet denied necessary care by the government. And in the poverty stricken land of Fidel, they get state-of-the-art diagnostic services, treatment programs and, in one case, a five-cent drug that would cost $120 in the States.
Sure, this is a stunt and fails to deal with the chronic unemployment and economic malaise of that communist state. But if you can get that quality of health care in Cuba, why not in Nebraska? It all begins with democracy.SICKO
The Weinstein Co./Lionsgate
Dog Eat Dog Films
Credits:
Screenwriter-director: Michael Moore
Executive producers: Bob Weinstein, Harvey Weinstein, Kathleen Glynn
Producers: Meghan O'Hara, Anne Moore
Editor: Christian Sweitlik, Dan Swietlik, Geoffrey Richman
Running time 124 minutes
MPAA rating: PG-13...
Not that "Sicko", which screened Out of Competition, avoids Moore's usual oversimplification and cute stunts. But the gist of his arguments is sound, and only a wealthy HMO executive would claim no problems exists in American medical care. "Sicko" will undoubtedly follow his previous docus in attracting wide viewership from audiences normally not attuned to the documentary experience so boxoffice should be considerable in North America. While the discussion is, as always with Moore, a uniquely American one, audiences in Europe and other markets will want to eavesdrop for the sheer fun of seeing Americans wallow in problems they solved years ago. The movie begins with horror stories. So much so that Moore is not always able to lighten things up with his usual brand of comedy. But he does manage some sick humor as he recounts not only the travails of the 47 million uninsured Americans, but of those who think they have health insurance, paid for with years of premiums, only to be denied a medical procedure they desperately need.
He traces this tragic situation back to an Oval Office deal cooked up by President Nixon -- caught on the infamous White House tapes -- to foist managed health care on the unsuspecting public. Nixon loves it because it's not some do-good government program. "It's for profit," he enthuses.
Indeed it is. The tales unravel about how a successful medical claim is called a "medical loss" by the insurance industry and how denying claims can lead to promotions in that industry. The film details how the health industry spent more than $100 million to defeat President Clinton's universal health care package and currently maintains four D.C. lobbyists for every member of Congress.
Most of the rhetoric against having universal health care focuses on the words "socialized medicine." The question Moore has is this: While a policeman coming to your rescue or a fireman answering an alarm does not ask for payment and therefore represents government assistance, why do Americans place their crucial health care needs in the hands of for-profit insurance companies?
Those countries that have tried "socialized medicine" have seen patients suffer long waits and bureaucratic interference in doctors' decisions, according to politicians opposed to universal health care. "Just ask a Canadian!" thunders the previous President Bush, referring to that county's health system.
Moore takes up the challenge, going not only to Canada but to Britain and France to ask. In Canada he encounters a man who caught a hockey puck the wrong way and sliced off all the fingers on his hand. "Socialized medicine" put the fingers back. By contrast, an American who sliced off only two fingertips was told one tip would cost $60,000 to repair but the other only $12,000. He chose the $12,000 operation.
In a London hospital, Moore milks the no-cost system for all the humor it's worth as he desperately searches the facility for any sign of a billing department. He finds none. Finally, he spots a cashier sign. But he is dumbfounded to learn this is where people who paid for transit to the hospital can get reimbursed for that cost.
In France, the search for pre-existing conditions has dramatically different implications than in the U.S.: Whereas American insurance companies scrutinize enrollment forms for signs of a pre-existing condition that wasn't disclosed so as to deny a claim, in France it is to determine potentially better or even preventative treatment.
Why do even conservative citizens of these countries want universal health care? How did this all come about? "It all begins with democracy", says a former British MP. In Britain, where the National Health Service was founded in 1948, any attempt to dismantle the system would spark genuine revolution, he says.
The MP's opinion that some in the U.S. government want citizens to have poor health and education so they remain "scared and demoralized" and unwilling to vote may strike some as extreme. But when Moore turns his camera back on the U.S., where private hospitals in Los Angeles have taken to dumping destitute patients at homeless shelters on skid row, it is clear that this industry needs regulation.
Moore's final trip abroad is the one that made headlines recently with the news that the U.S. Treasury Department is investigating him for possible violations of the U.S. trade embargo restricting travel to Cuba. Yes, Moore did take several of the sick people he visited earlier in the film to Cuba, including rescue workers suffering from the effects of working at Ground Zero yet denied necessary care by the government. And in the poverty stricken land of Fidel, they get state-of-the-art diagnostic services, treatment programs and, in one case, a five-cent drug that would cost $120 in the States.
Sure, this is a stunt and fails to deal with the chronic unemployment and economic malaise of that communist state. But if you can get that quality of health care in Cuba, why not in Nebraska? It all begins with democracy.SICKO
The Weinstein Co./Lionsgate
Dog Eat Dog Films
Credits:
Screenwriter-director: Michael Moore
Executive producers: Bob Weinstein, Harvey Weinstein, Kathleen Glynn
Producers: Meghan O'Hara, Anne Moore
Editor: Christian Sweitlik, Dan Swietlik, Geoffrey Richman
Running time 124 minutes
MPAA rating: PG-13...
- 5/19/2007
- The Hollywood Reporter - Movie News
"Babel" and "The Departed" were both named best edited feature film, drama, at the 57th Annual ACE Eddie Awards, held Sunday night at the Beverly Hilton Hotel. It was only the second tie in the history of the awards, presented by the American Cinema Editors.
The previous tie occurred in 1989 when "Rain Man" tied with "Mississippi Burning".
"Babel" was edited by Stephen Mirrione and Douglas Crise, while "The Departed" was edited by Thelma Schoonmaker.
The best edited feature film, comedy or musical, winner was Virginia Katz for "Dreamgirls".
"An Inconvenient Truth", edited by Jay Cassidy and Dan Sweitlik, took best edited documentary honors.
Television winners included Dean Holland and David Rogers for "The Office"; Kate Sanford for "The Wire"; Conrad Gonzalez, Keith Henderson and Stephen Michael for "Friday Night Lights"; Trevor Waite for "Prime Suspect 7: The Final Act, Part 1" and Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman, and Mitchell Danton for "The Path to 9/11: Part 2."
The Student Editing Competition winner was Alex Lamb of Chapman University.
Director Quentin Tarantino received the ACE Golden Eddie Filmmaker of the Year honor presented to him by Daryl Hannah.
The previous tie occurred in 1989 when "Rain Man" tied with "Mississippi Burning".
"Babel" was edited by Stephen Mirrione and Douglas Crise, while "The Departed" was edited by Thelma Schoonmaker.
The best edited feature film, comedy or musical, winner was Virginia Katz for "Dreamgirls".
"An Inconvenient Truth", edited by Jay Cassidy and Dan Sweitlik, took best edited documentary honors.
Television winners included Dean Holland and David Rogers for "The Office"; Kate Sanford for "The Wire"; Conrad Gonzalez, Keith Henderson and Stephen Michael for "Friday Night Lights"; Trevor Waite for "Prime Suspect 7: The Final Act, Part 1" and Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman, and Mitchell Danton for "The Path to 9/11: Part 2."
The Student Editing Competition winner was Alex Lamb of Chapman University.
Director Quentin Tarantino received the ACE Golden Eddie Filmmaker of the Year honor presented to him by Daryl Hannah.
- 2/19/2007
- The Hollywood Reporter - Movie News
Members of the American Cinema Editors have cut together an assembly of 10 nominees in two film categories for next month's 2007 Eddie Awards recognizing outstanding editing.
Making the dramatic feature film cut are Stephen Mirrione and Douglas Crise for Babel, Stuart Baird for Casino Royale, Thelma Schoonmaker for The Departed, Lucia Zucchetti for The Queen and the triumvirate of Clare Douglas, Christopher Rouse and Richard Pearson for United 93.
In the comedy feature heat, the nominees are Mark Livolsi for The Devil Wears Prada, Virginia Katz for Dreamgirls, Pamela Martin for Little Miss Sunshine, Craig Wood and Stephen Rivkin for "Pirates of the Caribbean: Dead Man's Chest," and Dana Glauberman for Thank You for Smoking.
In the documentary competition, the nominees are Jay Cassidy and Dan Swietlik for An Inconvenient Truth, Patrick McMahon and Carrie Goldman for Baghdad ER and Samuel D. Pollard for Part 1 of Spike Lee's "When the Levees Broke: A Requiem in Four Acts."
The nominees for miniseries or motion picture for noncommercial television are Beverley Mills for HBO's Elizabeth I, Part 1, Curtiss Clayton and Lee Percy for HBO's Mrs. Harris, and Trevor Waite for A&E's "Prime Suspect 7: The Final Act, Part 1."
Best-edited miniseries or motion picture for commercial television earned nominations for Sue Blainey, Sarah Boyd and Stephen Semel for ABC's Lost: Live Together, Die Alone, Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman and Mitchell Danton for ABC's "The Path to 9/11, Part Two," and Heather Persons for TNT's The Ron Clark Story.
In the half-hour series for television race, the contenders are Jon Corn for HBO's Entourage: Sorry Ari, Lance Luckey for NBC's My Name Is Earl: Number One, and Dean Holland and David Rogers for NBC's The Office: Casino Nights.
The one-hour series nominees for commercial television are Leon Ortiz-Gil for Fox's 24: 7:00 PM to 8:00 PM, Conrad Gonzalez, Keith Henderson and Steve Michael for NBC's Friday Night Lights: Pilot, and Edward Ornelas for ABC's "Grey's Anatomy: It's the End of the World."
All eight film, television and documentary category winners will be disclosed during the editors' 57th annual awards ceremony Feb.
Making the dramatic feature film cut are Stephen Mirrione and Douglas Crise for Babel, Stuart Baird for Casino Royale, Thelma Schoonmaker for The Departed, Lucia Zucchetti for The Queen and the triumvirate of Clare Douglas, Christopher Rouse and Richard Pearson for United 93.
In the comedy feature heat, the nominees are Mark Livolsi for The Devil Wears Prada, Virginia Katz for Dreamgirls, Pamela Martin for Little Miss Sunshine, Craig Wood and Stephen Rivkin for "Pirates of the Caribbean: Dead Man's Chest," and Dana Glauberman for Thank You for Smoking.
In the documentary competition, the nominees are Jay Cassidy and Dan Swietlik for An Inconvenient Truth, Patrick McMahon and Carrie Goldman for Baghdad ER and Samuel D. Pollard for Part 1 of Spike Lee's "When the Levees Broke: A Requiem in Four Acts."
The nominees for miniseries or motion picture for noncommercial television are Beverley Mills for HBO's Elizabeth I, Part 1, Curtiss Clayton and Lee Percy for HBO's Mrs. Harris, and Trevor Waite for A&E's "Prime Suspect 7: The Final Act, Part 1."
Best-edited miniseries or motion picture for commercial television earned nominations for Sue Blainey, Sarah Boyd and Stephen Semel for ABC's Lost: Live Together, Die Alone, Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman and Mitchell Danton for ABC's "The Path to 9/11, Part Two," and Heather Persons for TNT's The Ron Clark Story.
In the half-hour series for television race, the contenders are Jon Corn for HBO's Entourage: Sorry Ari, Lance Luckey for NBC's My Name Is Earl: Number One, and Dean Holland and David Rogers for NBC's The Office: Casino Nights.
The one-hour series nominees for commercial television are Leon Ortiz-Gil for Fox's 24: 7:00 PM to 8:00 PM, Conrad Gonzalez, Keith Henderson and Steve Michael for NBC's Friday Night Lights: Pilot, and Edward Ornelas for ABC's "Grey's Anatomy: It's the End of the World."
All eight film, television and documentary category winners will be disclosed during the editors' 57th annual awards ceremony Feb.
- 1/16/2007
- The Hollywood Reporter - Movie News
Members of the American Cinema Editors have cut together an assembly of 10 nominees in two film categories for next month's 2007 Eddie Awards recognizing outstanding editing.
Making the dramatic feature film cut are Stephen Mirrione and Douglas Crise for Babel, Stuart Baird for Casino Royale, Thelma Schoonmaker for The Departed, Lucia Zucchetti for The Queen and the triumvirate of Clare Douglas, Christopher Rouse and Richard Pearson for United 93.
In the comedy feature heat, the nominees are Mark Livolsi for The Devil Wears Prada, Virginia Katz for Dreamgirls, Pamela Martin for Little Miss Sunshine, Craig Wood and Stephen Rivkin for "Pirates of the Caribbean: Dead Man's Chest," and Dana Glauberman for Thank You for Smoking.
In the documentary competition, the nominees are Jay Cassidy and Dan Swietlik for An Inconvenient Truth, Patrick McMahon and Carrie Goldman for Baghdad ER and Samuel D. Pollard for Part 1 of Spike Lee's "When the Levees Broke: A Requiem in Four Acts."
The nominees for miniseries or motion picture for noncommercial television are Beverley Mills for HBO's Elizabeth I, Part 1, Curtiss Clayton and Lee Percy for HBO's Mrs. Harris, and Trevor Waite for A&E's "Prime Suspect 7: The Final Act, Part 1."
Best-edited miniseries or motion picture for commercial television earned nominations for Sue Blainey, Sarah Boyd and Stephen Semel for ABC's Lost: Live Together, Die Alone, Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman and Mitchell Danton for ABC's "The Path to 9/11, Part Two," and Heather Persons for TNT's The Ron Clark Story.
In the half-hour series for television race, the contenders are Jon Corn for HBO's Entourage: Sorry Ari, Lance Luckey for NBC's My Name Is Earl: Number One, and Dean Holland and David Rogers for NBC's The Office: Casino Nights.
The one-hour series nominees for commercial television are Leon Ortiz-Gil for Fox's 24: 7:00 PM to 8:00 PM, Conrad Gonzalez, Keith Henderson and Steve Michael for NBC's Friday Night Lights: Pilot, and Edward Ornelas for ABC's "Grey's Anatomy: It's the End of the World."
All eight film, television and documentary category winners will be disclosed during the editors' 57th annual awards ceremony Feb.
Making the dramatic feature film cut are Stephen Mirrione and Douglas Crise for Babel, Stuart Baird for Casino Royale, Thelma Schoonmaker for The Departed, Lucia Zucchetti for The Queen and the triumvirate of Clare Douglas, Christopher Rouse and Richard Pearson for United 93.
In the comedy feature heat, the nominees are Mark Livolsi for The Devil Wears Prada, Virginia Katz for Dreamgirls, Pamela Martin for Little Miss Sunshine, Craig Wood and Stephen Rivkin for "Pirates of the Caribbean: Dead Man's Chest," and Dana Glauberman for Thank You for Smoking.
In the documentary competition, the nominees are Jay Cassidy and Dan Swietlik for An Inconvenient Truth, Patrick McMahon and Carrie Goldman for Baghdad ER and Samuel D. Pollard for Part 1 of Spike Lee's "When the Levees Broke: A Requiem in Four Acts."
The nominees for miniseries or motion picture for noncommercial television are Beverley Mills for HBO's Elizabeth I, Part 1, Curtiss Clayton and Lee Percy for HBO's Mrs. Harris, and Trevor Waite for A&E's "Prime Suspect 7: The Final Act, Part 1."
Best-edited miniseries or motion picture for commercial television earned nominations for Sue Blainey, Sarah Boyd and Stephen Semel for ABC's Lost: Live Together, Die Alone, Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman and Mitchell Danton for ABC's "The Path to 9/11, Part Two," and Heather Persons for TNT's The Ron Clark Story.
In the half-hour series for television race, the contenders are Jon Corn for HBO's Entourage: Sorry Ari, Lance Luckey for NBC's My Name Is Earl: Number One, and Dean Holland and David Rogers for NBC's The Office: Casino Nights.
The one-hour series nominees for commercial television are Leon Ortiz-Gil for Fox's 24: 7:00 PM to 8:00 PM, Conrad Gonzalez, Keith Henderson and Steve Michael for NBC's Friday Night Lights: Pilot, and Edward Ornelas for ABC's "Grey's Anatomy: It's the End of the World."
All eight film, television and documentary category winners will be disclosed during the editors' 57th annual awards ceremony Feb.
- 1/12/2007
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.