Pierre Rissient, Great Mover And Shaker Of French And World Cinema, Dead At 81

“Type multi-hatted Rissient’s name into online cinema database IMDb, and barely a dozen credits appear. Behind the scenes, however, Rissient was a legendary figure in the film world at home and internationally, respected for his deep knowledge of cinema, his nose for talented directors, and his ability to promote them and forge connections on their behalf. The Cannes Film Festival once described him as ‘a figure who cannot be categorised’, while Clint Eastwood, who is one of the many stars and directors whom Rissient nurtured and supported over the years, nicknamed him ‘Mister Everywhere.'”

Ermanno Olmi, Director Of ‘Tree Of Wooden Clogs’, Dead At 86

“As he typically explored spiritual conflicts within families, the director Ermanno Olmi … was something of an outsider in his native Italy, where orthodox Catholics thought him too progressive and militant communists considered him too much of a reactionary Catholic. Only after his most acclaimed film, L’Albero degli Zoccoli (The Tree of Wooden Clogs, 1978) won him the Palme d’Or at Cannes did Olmi get recognition at home as well as abroad.”

What David Hockney Learned Painting 82 Portraits

From 2013 on, prominent cultural figures joined Hockney friends and family as portrait sitters at the artist’s brightly colored Hollywood Hills home and studio. There are portraits of his studio assistants, massage therapist, housekeeper and cook. Others depict Hockney’s siblings, the children and grandchildren of his friends, and art dealers such as London-based David Juda, New York-based Larry Gagosian, L.A. Louver’s Peter Goulds and the Ferus Gallery’s Irving Blum. So how did the pictures turn out? Very few sitters are smiling — it’s hard to smile for 20 hours — and Hockney says he has no idea of how they felt about their portraits.

Kanye West Is Starting An Architecture Company

Or rather, it’s a new vertical in his Yeezy company – called “Yeezy home,” he tweeted. “He has expressed an interest in architecture before, saying in a 2013 interview: ‘I want to do product, I am a product person. … I make music but I shouldn’t be limited to once place of creativity.”

David Henry Hwang Is (Still) Changing American Theatre

His revised M. Butterfly closed early after getting uneven reviews, and he has a new, very ambitious musical in the works. How has the 60-year-old playwright kept powering through? Maybe part of it is to get back at certain publications: “I think it’s kind of cool I can go for 21 years without a good review in The New York Times and I can still have a career.”