Portal:Film

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Mumbai
Lage Raho Munna Bhai is a 2006 Indian musical comedy directed by Rajkumar Hirani and produced by Vidhu Vinod Chopra. It is the first Hindi film to be shown in the United Nations and is the second film in the popular Munna Bhai series of Bollywood. Sanjay Dutt stars in this film as Munna Bhai, a Mumbai underworld don, who begins to see the spirit of Mahatma Gandhi. Through his interactions with the image of Gandhi, Munna Bhai begins to practice what he calls Gandhigiri (Satyagraha, non-violence, and truth) to help ordinary people solve their problems. His sidekick, Circuit, is portrayed by Arshad Warsi. Lage Raho Munna Bhai has had a strong cultural impact in India, popularising Gandhism under Munna Bhai's notion of Gandhigiri. It was praised by the Prime Minister of India, Manmohan Singh, who stated (using Gandhi's nickname, "Bapu" or father) that the movie "captures Bapu's message about the power of truth and humanism". The film was generally well received by critics and at the 2007 Cannes Film Festival, declared a "blockbuster", and was the recipient of a number of awards.

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Credit: E. J. Meeker

Interior of the kinetographic theater, also known as Edison's Black Maria, Thomas Edison's movie production studio in West Orange, New Jersey.

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Anthony Michael Hall at Creation Grand Slam XII
Michael Anthony Thomas Charles Hall (born April 14, 1968), known professionally as Anthony Michael Hall, is an American actor, producer and director who achieved stardom in several successful teen-oriented films of the 1980s. Hall began his career in commercials and on stage as a child, and made his screen debut in 1980. His films with director-screenwriter John Hughes, beginning with the popular 1984 coming-of-age comedy Sixteen Candles, shaped his early career. Hall's next movies with Hughes were the teen classics The Breakfast Club and Weird Science, both in 1985. His performances as lovable geeks in these three films connected his name and face with the stereotype for an entire generation. Hall diversified his roles to avoid becoming typecast as his "geek" persona, joining the cast of Saturday Night Live (1985–1986) and starring in films such as Out Of Bounds (1986), Johnny Be Good (1988), Edward Scissorhands (1990) and Six Degrees of Separation (1993). After a series of minor roles in the 1990s, his performance as Microsoft’s Bill Gates in the Emmy-nominated 1999 film Pirates of Silicon Valley put him back in the spotlight. He is now starring in the popular USA Network series The Dead Zone, which has aired since 2002.

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Vittorio Storaro
Vittorio Storaro is an Academy Award-winning Italian cinematographer, and member of the American Society of Cinematographers (ASC) and Italian Society of Cinematographers (AIC). Storaro's early films were made in his homeland of Italy, where he began early collaborations with Italian director Bernardo Bertolucci, with whom he has continued to collaborate with throughout his career. Storaro and Bertolucci's first major project was the 1970 film The Conformist, based on the Italian novel of the same name. Storaro's first American film was Apocalypse Now, directed by Francis Ford Coppola. Storaro won an Academy Award for his work on the film, followed by two more Oscars for his work on Reds and The Last Emperor, and a nomination for Dick Tracy. Storaro also acted as cinematographer on films such as Last Tango in Paris, Ishtar, Bulworth, and Exorcist: The Beginning. In addition to Bertolucci and Copolla, Storaro has worked with directors such as Richard Donner, Warren Beatty, and Carlos Saura. Throughout his career, Storaro has been nominated for and won many awards for his work as a cinematographer, including a Lifetime Achievement Award from the American Society of Cinematographers.

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Orson Welles
It seems to me that the great gift of the film form, to the director, is that we are not forced to think of the audience. In fact, it is impossible to think of our audience. If I write a play, I must inevitably be thinking in terms of Broadway or the West End. In other words, I must visualize the audience that will come in; its social class, its prejudices and so on. But with a film, we never think of the public at all, we simply make the film the same way you sit down and write a book, and hope that they will like it.

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