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...process energized Spielberg, who "felt liberated for the first time in my career." He was finally realizing a dream he first entertained more than a decade ago and delayed while awaiting both the script he wanted (it was provided by Steven Zaillian, writer-director of Searching for Bobby Fischer) and the maturity in himself he felt he needed. Onlookers say he never sat down, never retreated to his trailer, and that he one day made an astonishing 51 setups. Yet always he moved in an aura of "austere calm . . . a man at peace with himself," in the words...

Author: /time Magazine | Title: Heart of Darkness | 12/13/1993 | See Source »

...blame for this production ultimately lies with director Bill Tomlinson. Why he attempted to do a rendition of a Dracula this hackneyed will remain a mystery, especially when a campy approach still lay open to him. Even had the Royal Shakespeare Company made a serious attempt to perform this script, the result could be nothing less than hysterical...

Author: By Jeannette A. Vargas, | Title: A Bloodless Dracula | 12/9/1993 | See Source »

...producers profess only delight. Says Rocco Landesman, president of the Jujamcyn theater-ownership group that is co-financing and housing Millennium and Perestroika: "When we look back on this in five or 10 years, we are not going to remember our exasperation at the script coming in late or how much money it cost. We are going to remember that we are the producers of Angels in America, the most important play in a generation...

Author: /time Magazine | Title: Angels of No Mercy | 12/6/1993 | See Source »

...rage that his face keeps turning purple and his eyeballs all but explode. Lane evokes Jackie Gleason more than Caesar as he bellows and punches through walls. The difference, as Simon knows from having served both, is that Caesar huddled with his writers while Gleason demanded that the finished script just be slipped under the door...

Author: /time Magazine | Title: Punch Lines, But Little Punch | 12/6/1993 | See Source »

...limited space, Jarman has created a film that verges on the theatrical in appearance, but is absolutely filmic in its quirky, fragmented narration and smugly post-modern sensibility. The directing, considering the circumstances, is skillful and delightful, albeit somewhat coy. It's also interesting to remember that the script itself was cowritten by Jarman, Terry Eagleton (the literary critic), and Ken Butler. They have succeeded in writing dialogue that can be too self-consciously witty at times, but in general is extremely effective in relating the story of this philosopher's life, and a complicated life at that, in about...

Author: By Ann M. Mikkelsen, | Title: Wunderkind in Jarman's Wonderland | 12/2/1993 | See Source »

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