Robert MacNaughton Interview.
TCM Big Screen Classics series brings old faves to Tinseltown
"E. T. the Extra-Terrestrial" (1982): Young Elliott (Henry Thomas), with the help of his brother Michael (Robert MacNaughton) and sister Gertie (Drew Barrymore), risks everything to protect a gentle and stranded alien, who soon falls ill and must get
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Relive the adventure and magic in one of the most beloved motion pictures of all-time, E.T. The Extra-Terrestrial, from Academy Award-winning director Steven Spielberg. Captivating audiences of all ages, this timeless story follows the unforgettable journey of a lost alien and the 10-year-old boy he befriends. Join Elliot (Henry Thomas), Gertie (Drew Barrymore) and Michael (Robert MacNaughton) as they come together to help E.T. find his way back home. Now digitally remastered with enhanced picture and sound for its 30th Anniversary, E.T. The Extra-Terrestrial is one of the great American films (Leonard Maltin) that forever belongs in the hearts and minds of audiences everywhere.
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Relive the adventure and magic in one of the most beloved motion pictures of all-time, E.T. The Extra-Terrestrial, from Academy Award-winning director Steven Spielberg. Captivating audiences of all ages, this timeless story follows the unforgettable journey of a lost alien and the 10-year-old boy he befriends. Join Elliot (Henry Thomas), Gertie (Drew Barrymore) and Michael (Robert MacNaughton) as they come together to help E.T. find his way back home. Now digitally remastered with enhanced picture and sound for its 30th Anniversary, E.T. The Extra-Terrestrial is one of the great American films (Leonard Maltin) that forever belongs in the hearts and minds of audiences everywhere. Digitally Remastered From High Resolution 35MM Original Film Elements to Get the Most From Your HDTVCombo Pack Includes Blu-ray + DVD + Digital Copy + UltraViolet (redeem by 4/30/17)Exciting New Bonus FeaturesThe E.T. Journals: Featuring behind the scenes footage from the filming of the movie, this featurette gives viewers a unique feeling of being on-set and living the excitement of what it was like to make E.T. (Blu-ray Exclusive)Steven Spielberg & E.T.: The director reflects back on the film and discusses his experience working with children as well as his overall and current perspective on E.T. BD-Live, My Scenes, Pocket Blu App (Blu-ray Exclusive)Deleted ScenesA Look Back: A special insiders look into the making of E.T. featuring interviews with Steven Spielberg, the cast, and others intimately involved with the film. The Evolution and Creation of E.T.: From idea to screenplay, through casting and making the film. The E.T. Reunion: The cast and filmmaker reunite to discuss their thoughts on the impact of the film. The Music of E.T. A Discussion with John Williams: Interviews and footage of the long-standing relat
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ven at its liveliest, cinema can only ever be a refrigerated medium, relaying images to us that were shot months, years even decades earlier. Woody Harrelson’s directorial debut, Lost in London , was broadcast live to more than 500 cinemas in the US, and one in the UK, as it was being filmed on the streets of the capital at 2am on Friday. As if that were not impressive enough, the picture was shot in a single unbroken 100-minute take with a cast of 30 (plus hundreds of extras) in 14 locations, two black cabs, one police vehicle and a VW camper van festooned with fairy lights. Actors who try their hand as a director typically start off with something small-scale – a sensitive coming-of-age story, say, such as Jodie Foster’s Little Man Tate or Robert De Niro’s A Bronx Tale. With Lost in London, Harrelson went as far in the opposite direction as one can imagine. This was edge-of-the-seat, seat-of-the-pants film-making. Other movies have been completed in a single take, most recently Sebastian Schipper’s Victoria , but the live component added a unique suspense. The audience at the Picturehouse Central in Piccadilly Circus had the extra thrill of knowing that what they were watching was happening right outside at that very moment, on streets and sets only minutes from the cinema. That the finished film was also a larky, freewheeling jab at celebrity culture rather than simply a virtuoso experiment is down to Harrelson, who also wrote the screenplay. The film follows Harrelson in a comic restaging of a night in 2002 when he ran amok in London and was arrested on suspicion of causing criminal damage. (An opening title card reads “Too much of this is true”, while a key scene is set in a restaurant called La Petite Vérité. ) It begins with Harrelson coming off stage after a poorly received theatre performance and cursing himself for taking on another dramatic role. One tells him she misses Cheers while another asks: “When are you gonna make us laugh again. It’s the least of his woes. After a tabloid splash on his infidelities prompts a bust-up with his wife, Laura (the excellent Eleanor Matsuura), he takes refuge in a club with his best friend, Owen Wilson. Only Wilson lets slip that his best pal will always be Wes Anderson. A crestfallen Harrelson harrumphs that Anderson “hasn’t made a decent movie since Bottle Rocket – and come to that, neither have you”. Wilson disparages The People vs Larry Flynt only to have his performance in Marley and Me roundly mocked (“You were out-acted by a dog”). It’s a glorious celebrity slanging match, like The Trip with added fisticuffs, and the one scene that reaches euphoric comic heights. Harrelson is an affectionate director, finding memorable bits for performers all across the cast list, and his writing is peppered with arresting phrases. It was like the cab’s appendix. ” When Wilson asks dreamily, “Can a police car pull over another police car. But then the film is suffused with spirituality, from the mystical cabbie who accepts payment in the form of a poem to the fleeting appearance by Willie Nelson, “the Texan Dalai Lama”, who materialises when Harrelson is at his lowest ebb. Only once he is truly humbled can the actor make amends for his sins. He tells a friend at the start of the night that Hollywood is “like royalty without borders” but the film cuts him down to size repeatedly. He tries to convince bouncers of his fame by singing the Cheers theme song only to be sent to the back of the queue. a police detective mocks his career choices (“Money Train. he is reduced to grabbing money from the hands of a disabled homeless man. No one values his celebrity currency. Bumps and wrinkles in the film would doubtless have been remedied with the luxury of reshoots. The difficulty of lighting so many locations meant the image was sometimes muddy and indistinct, which was a particular shame in the nightclub scenes, where Sophie Becher’s plush production design deserved a better showing. The encounter with a belligerent cabbie was shrill and needed finessing. There were also a few inconsistencies, such as a morning scene that occurred in the dead of night. Post-production may correct these elements for a DVD release. Nothing, though, will quite match the sensation of having watched the messy but miraculous birth of a genuine oddity: part celebrity satire, part mea.
Sauce Robert For Grilled Or Roasted Pork Recipe (powdered sugar, onions, demi glace, white wine, butter, mustard powder, beef bouillon granules)
Robert Redford Cake (butter, powdered sugar, flour, milk, walnut)
Next-Best-Thing-To-Robert-Redford Pie (butter, flour, milk, semisweet chocolate, walnut, sugar)
Robert Linxe's Chocolate Truffles (heavy cream, cacao, cocoa powder)
Robert MacNaughton - IMDb
Robert MacNaughton, Actor: E.T. the Extra-Terrestrial. Robert MacNaughton was born on December 19, 1966 in New York City, New York, USA. He is an actor, known for E.T ...
Robert MacNaughton - Wikipedia
Born: Robert MacNaughton (1966-12-19) December 19, 1966 (age 50) New York, New York, US: Occupation: Actor: Years active: 1980-2014: Spouse(s) Bianca Hunter (m.
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