The Suez Canal Authority had earlier said in a statement that tugging operations to free the ship had resumed.
The Suez Canal Authority had earlier said in a statement that tugging operations to free the ship had resumed.
U.S. President Joe Biden's administration has told Congress it is proceeding with more than $23 billion in weapons sales to the United Arab Emirates, including advanced F-35 aircraft, armed drones and other equipment, congressional aides said on Tuesday. A State Department spokesperson said the administration would move forward with the proposed sales to the UAE, "even as we continue reviewing details and consulting with Emirati officials" related to the use of the weapons. The Democratic president's administration had paused the deals agreed to by former Republican President Donald Trump in order to review them.
Anathan "ana" Pham looked every bit like the legendary carry player that helped his team to back-to-back TI championships.
Greyssi Venegas devours her first meal in three days at a Mexican shelter near the railroad where migrants risk their lives clinging to freight trains on their grueling journey north to the United States.
U.S. climate envoy John Kerry is heading to China for talks between the world's two biggest carbon emitters ahead of President Joe Biden's climate summit of world leaders. Kerry will travel to Shanghai and Seoul, from Wednesday to Saturday, the State Department said in a statement Tuesday. The former secretary of state has been expected to talk with China's top climate negotiator, fellow veteran diplomat Xie Zhenhua.
Baseball's connection with Gen Z may be worse than we thought.
‘Ma Rainey’s Black Bottom’ and “Mulan” led the 23rd annual Costume Designers Guild Awards. In the Excellence in Period Film category, Oscar nominee Ann Roth won for her work on ‘Ma Rainey’s Black Bottom.’ Bina Daigeler, who is also an Oscar nominee was recognized for her work on “Mulan,” winning the Excellence in Sci-Fi / […]
“Ma Rainey’s Black Bottom,” “Mulan” and “Promising Young Woman” have been named the best-dressed films of 2020 at the Costume Designers Guild Awards, which were presented in a virtual ceremony on Tuesday evening. Ann Roth won for “Ma Rainey” in the Excellence in Period Film category, the CDGA category that most closely corresponds to the Oscar for Best Costume Design. Bina Daigeler won for “Mulan” and Nancy Steiner for “Promising Young Woman” in the Excellence in Sci-Fi/Fantasy Film and Excellence in Contemporary Film categories, respectively. Over the last 20 years, one of the CDGA winners has gone on to win the Oscar for Best Costume Design 10 times, though the two shows have agreed just once in the last four years. The Oscar winner comes most often from the CDGA’s period category, which has produced seven winners, followed by the sci-fi/fantasy category, with three. “Ma Rainey” and “Mulan” are both nominated for costume-design Oscars, along with “Emma,” “Mank” and “Pinocchio,” all of which were also CDGA nominees. Also Read: Why 'Mank' Costume Designer's Phone Was a Secret Weapon on Set (Exclusive Video) In the television categories, “Westworld” won the award for sci-fi/fantasy TV, “The Queen’s Gambit” won for period TV and “Schitt’s Creek” won for contemporary TV. “Hamilton” won the award for variety television. The short-form award went to Damien Chazelle’s iPhone short “The Stunt Double.” Actress Lana Condor hosted the brisk 45-minute ceremony, which streamed live on Twitter and on the Costume Designers Guild website. Presenters included Rose Byrne, Andra Day, Carey Mulligan and Emerald Fennell, Amanda Seyfried, Regina King and Leslie Odom Jr. Shonda Rhimes and Betsy Beers were given the Distinguished Collaborator Award. The winners: Excellence in Sci-Fi / Fantasy Film: “Mulan” – Bina DaigelerExcellence in Contemporary Film: “Promising Young Woman” – Nancy SteinerExcellence in Period Film: “Ma Rainey’s Black Bottom” – Ann Roth Excellence in Sci-Fi / Fantasy Television: “Westworld”: “Parce Domine” – Shay CunliffeExcellence in Contemporary Television: “Schitt’s Creek”: “Happy Ending” – Debra HansonExcellence in Period Television: “The Queen’s Gambit”: “End Game” – Gabriele BinderExcellence in Variety, Reality-Competition, Live Television: “Hamilton” – Paul Tazewell Excellence in Short Form Design: Apple: Shot on iPhone by Damien Chazelle – Vertical Cinema “The Stunt Double” short film – April Napier Read original story ‘Ma Rainey,’ ‘Mulan,’ ‘Promising Young Woman’ Win Costume Designers Guild Awards At TheWrap
In a video posted to YouTube, TikTok star Justine Paradise accused boxer Jake Paul of sexually assaulting her in 2019.
NBA Fearless Forecast Weekly Rank: 100
NBA Fearless Forecast Weekly Rank: 98
When Japan won the bid to host the Olympic Games eight years ago, it billed Tokyo as a reliable and secure location, contrasting it with rivals struggling with finances and political instability. But 100 days before the start of the Olympics, the organisers face a deluge of challenges and growing uncertainty as the pandemic rages around the world, affecting decisions on everything from athlete safety to spectator numbers to ticket sales. The biggest headache is the resurgent coronavirus, with countries like India and Brazil battling new variants and a fresh rise in cases.
Tribe has also attracted new strategic investments from international VCs and added Pfizer as a network partner.
NBA Fearless Forecast Weekly Rank: 99
Roma are hoping to reach the semi-finals of a European competition for the second time in four seasons as they host continental heavyweights Ajax, while Arsenal hope to avoid humiliation at the hands of Slavia Prague and Manchester United look set for the last four.
NBA Fearless Forecast Weekly Rank: 95
NBA Fearless Forecast Weekly Rank: 96
Cyclists held a protest ride in New York City on April 13, calling for justice over the death of Daunte Wright in Minnesota.“Today we ride to honor the life of a young black man, Daunte Wright, who was taken by a racist system that does not care about people of color,” Riders for Black Lives wrote in a Twitter post about the protest.Footage taken by Andrew Ratto shows bike riders rolling through Brooklyn together while chanting Wright’s name. Credit: Andy Ratto via Storyful
NBA Fearless Forecast Weekly Rank: 94
Though he’s been active in the industry for nearly two decades, cinematographer Erik Messerschmidt made his feature film debut last year with David Fincher’s silvery period drama “Mank.” Messerschmidt credits include television work in projects as diverse as “Everybody Hates Chris,” Ridley Scott’s “Raised by Wolves,” and Fincher’s “Mindhunter.” Fincher, in fact, had hired Messerschmidt three years earlier to lens his sequel to “World War Z,” but after that project was cancelled in early 2019, the director called the cinematographer with a different proposal. “David called me and said, ‘I’ve got this black and white movie I’m thinking about. Do you want to do it?” Messerschmidt recalled to TheWrap. “He’s kind of coy like that. So I didn’t really know anything about what the film was. But I said, ‘Sure.’ The film, of course, was Fincher’s biopic of “Citizen Kane” screenwriter Herman Mankiewicz (played by Gary Oldman), and this year it led the pack in terms of total Oscar nominations with 10, including one for the 40-year-old Messerschmidt. The cinematography category is ripe with fresh talent this year. Messerschmidt, Dariusz Wolski (“News of the World”), Joshua James Richards (“Nomadland”) and Sean Bobbitt (“Judas and the Black Messiah”) are all first-time nominees. Only Phedon Papamichael (“The Trial of the Chicago 7”) has ever been nominated before. For context, at the previous Oscars, two nominees (Robert Richardson and eventual winner Roger Deakins) had a total of 25 nominations between them. Also Read: The Design of 'Mank': How Costumes and Sets Energized David Fincher's Homage to Old Hollywood Messerschmidt is currently working in Georgia on the upcoming Korean War drama “Devotion.” We caught up with him to talk about his work on “Mank” after a long week of night shoots. “If my answers are incoherent,” he said with a laugh, “just ask me to clarify.” With “Mank,” what was your first instinct in terms of your research? Did you watch movies of the same time period as “Citizen Kane”? Feeling like a classic cinematographer, I had initially compiled striking black and white images that I loved. I grabbed a lot of noir stuff, Philip Marlowe detective story stuff, the touchstones of black and white cinema, with very high contrast photography. The things that us cinematographers are attracted to when we hear the words “black and white.” I was letting myself get romanced by the idea of it. But that was foolish, because I hadn’t read the script. And after you read the script?Then I realized that was the wrong approach. I was missing the context. “Mank” isn’t meant to fetishize the contrast. So I reworked and re-compiled the images and sent them to David (Fincher). And that’s how we began our conversations. Also Read: Why 'Mank' Sound Designer Booked an Empty Movie Theater to Make the Film 'Sound Old' (Exclusive Video) So “Citizen Kane” itself wasn’t a huge reference point for you? Not in an overt way. Actually, a film like (1940’s) “The Grapes of Wrath,” which (“Citizen Kane” cinematographer) Gregg Toland also shot, turned out to be a much bigger visual reference for us. In “Grapes of Wrath,” there’s quite a bit of realism in the photography. It’s not as stylized as “Kane.” Our movie has moments of stylized lighting but it’s generally based in reality, at least from where we started each shot. But where was the line drawn by you and Fincher, regarding how far you would go stylistically? That right there is the elemental discussion between a director and a cinematographer. Where is the line? It involves being critical of your own taste and carefully gauging where you are. At times I was very concerned. I just wanted the film to be totally cohesive in its look. Do you think it was the black and white that was making you worried? Well, I had remembered an interview with (cinematographer) Vilmos Zsigmond. He was talking about “McCabe & Mrs. Miller,” where he and (director) Robert Altman had decided to “flash” the film negative so that it would have a misty, muddy look. And about halfway through the movie, Zsigmond said, he had all this anxiety that they’d made the wrong choice. But in the end, it’s one of the things that make that movie so memorable. Do you think risks are important to make something memorable? I’ve always noticed that when I’m the most confident about my work, that’s when it’s turned out the worst. So yeah. There are stories about Gordon Willis, who shot the “Godfather” films and many others, of getting in trouble for his dim lighting scheme.Oh, Gordon Willis is a hero of mine. Shooting darker has become more in vogue lately, especially on television, where we can get away with more. But you look at Willis’s work, it was never dark for dark’s sake. Look at “Klute,” which has all these beautiful moments of contrast. Look at “All the Presidents’ Men,” with those fluorescent-lit overheads. Harris Savides (the late cinematographer of Fincher’s “Zodiac”) was another huge influence for me. He was also famous for soft, top-lit, low contrast look in a lot of his movies. I have this tongue-in-cheek joke whenever we’re talking about low lighting. We don’t say anything’s dark, we say it’s rich. Especially when producers or studio people are around: “No, no, no, it’s not dark, we promise! It’s rich!” Did you and Fincher want the cinematography in “Mank” to be a big tool for telling the story? Absolutely. But David and I are very cautious of the use of the camera. For example, David wanted the sequences in San Simeon to feel musty. It’s challenging to light a big space with a lot of people and get it to feel dark and musty. It’s all soft light coming right from above. But David also thinks of the camera as a window for the audience to see into the world being created. So we used a lot of deep focus, so as an audience member you get to decide what you want to look at. Also Read: 'Mank' Costume Designer Trish Summerville Draped a Sheet Between Banana Trees to Screen the Film Can you explain what the term “deep focus” means? A lot of people have heard of it but don’t know how it’s defined.The layman explanation is that the foreground, middle ground, and background are all in crisp focus. Photographers like Ansel Adams and his Group f/64 were advocating for this in their large format work. We achieve it by closing the iris on the camera lens, which is similar to how the human eye sees the world. Gregg Toland and Orson Welles liked the philosophical idea of it for “Citizen Kane.” The technique is in practice quite a bit in “Mank,” right? Yes. David and I felt that black and white looks better in deep focus. In color photography, particularly in modern cinema, it’s common to get very sharp focus in the foreground, while the background is out of focus. It’s a way to separate the characters from the background. But when you do that in black and white, the background looks muddy and gray. We liked at the Louis B. Mayer birthday party, for example, to make the whole large room in focus. It’s very sharp. How do you think making “Mank” has changed you as a craftsman?Oh, this was a major life experience for me. After “Mank,” I definitely started to be more aggressive and gestured with my lighting than I had been in the past. And what’s interesting is that if I think back to the experience of making “Mank,” my memories are all in black and white. I don’t have any memories that are in color. I don’t remember what the sets looked like in color or what the costumes looked like. Couldn’t tell you. But I kind of like that. I feel like the finished film is a big part of my experience. Read original story ‘Mank’ Cinematographer: ‘My Memories of Making the Film Are All in Black and White’ At TheWrap
The board of Toshiba Corp. is meeting Wednesday, amid Japanese media reports that the president is stepping down as the technology conglomerate studies an acquisition proposal from a global fund where he previously worked. Toshiba said decisions on directors will be discussed at the board meeting, and an announcement will be made, but declined to comment on the resignation. Nobuaki Kurumatani was the head of the Japan operations of CVC Capital Partners, which proposed the acquisition last week, before taking his post as chief executive of Toshiba in 2018.