The Sundance Institute “denounces” behavior by Sundance Film Festival co-founder Sterling Van Wagenen after Utah authorities said he had been charged with felony aggravated sexual abuse.
“Recent reports in the press have made us aware of allegations of sexual abuse by Sterling Van Wagenen, who played a role in founding both the Festival and the Institute,” a Sundance Institute spokesperson told TheWrap. “He has no current connection to either entity, and hasn’t since he left our Utah Advisory Board in 1993. Sundance Institute categorically denounces his behavior as described in recent reports, and we stand in solidarity with those whose brave truth-telling shines light on abusive behavior.”
A spokesperson for the Salt Lake County District Attorney’s Office told TheWrap that Van Wagenen was charged April 2 with felony aggravated sexual abuse, but was released on $75,000 bail.
See Video: 'Leaving Neverland' Director: 'This Isn't a Film About Michael Jackson'
Van...
“Recent reports in the press have made us aware of allegations of sexual abuse by Sterling Van Wagenen, who played a role in founding both the Festival and the Institute,” a Sundance Institute spokesperson told TheWrap. “He has no current connection to either entity, and hasn’t since he left our Utah Advisory Board in 1993. Sundance Institute categorically denounces his behavior as described in recent reports, and we stand in solidarity with those whose brave truth-telling shines light on abusive behavior.”
A spokesperson for the Salt Lake County District Attorney’s Office told TheWrap that Van Wagenen was charged April 2 with felony aggravated sexual abuse, but was released on $75,000 bail.
See Video: 'Leaving Neverland' Director: 'This Isn't a Film About Michael Jackson'
Van...
- 4/11/2019
- by Beatrice Verhoeven
- The Wrap
Xan Brooks reveals the second of seven films to be offered for free to Guardian Extra members through Curzon on Demand.
Julian Schnabel's film of a 2006 performance of Lou Reed's 10-song tragedy captures all the greatness of this bleak and beautiful album
• Click here for details on the Curzon on Demand streaming scheme
• Sign in to Guardian Extra to get the promotional code and watch Lou Reed's Berlin on Curzon on Demand
Was there ever a more deliriously miserable album than Berlin, Lou Reed's anguished 10-song tragedy about two star-crossed junkies and what became of them? Recorded in 1973, when the singer was on the cusp of mainstream stardom following Walk on the Wild Side, it was the record that almost broke him. Berlin was a financial flop and a critical calamity; dismissed as "a disaster" by Rolling Stone magazine. Three decades on, the same publication was hailing...
Julian Schnabel's film of a 2006 performance of Lou Reed's 10-song tragedy captures all the greatness of this bleak and beautiful album
• Click here for details on the Curzon on Demand streaming scheme
• Sign in to Guardian Extra to get the promotional code and watch Lou Reed's Berlin on Curzon on Demand
Was there ever a more deliriously miserable album than Berlin, Lou Reed's anguished 10-song tragedy about two star-crossed junkies and what became of them? Recorded in 1973, when the singer was on the cusp of mainstream stardom following Walk on the Wild Side, it was the record that almost broke him. Berlin was a financial flop and a critical calamity; dismissed as "a disaster" by Rolling Stone magazine. Three decades on, the same publication was hailing...
- 4/14/2012
- by Xan Brooks
- The Guardian - Film News
Were it not for their previous, successful collaborations on the 1996 biopic Basquiat and 2008's Lou Reed's Berlin, I would pay top freaking dollar for a ringside seat to watch Julian Schnabel and Harvey Weinstein battle over Miral, the Schnabel drama acquired Monday by the Weinstein Company. Never mind the likely editing-suite drama or the marketing meltdowns sure to follow Harvey's modest entreaty, "Frieda Pinto. Wild Wild Girls. Think about it." This time it's allll about the Holy Land.
- 6/8/2010
- Movieline
From the East Village to Astoria, this week's Price of a Movie will have you exploring art, film, and the city's largest swimming pool. Grab your Metrocard and about 10 bucks and we've got you covered with activities this week. Lou Reed's Berlin: Socrates Sculpture Park The indomitable musician played his unjustly neglected (and now critically re-evaluated) 1973 concept album about love, loss and Deutschland from start to finish in Brooklyn in 2006. Thankfully, filmmaker Julian Schnabel (The Diving Bell and the Butterfly) was on hand to capture the event, which premiered at Tff 2008. While concert films can be hit or miss, this one is definitely a hit. And the park's not half bad either. While you're there, wander around and enjoy the State Fair exhibits, curated by Alyson Baker, Mark Dion, and Marichris Ty. Feed your childhood nostalgia with this group exhibition themed around American rural life using the traditional state...
- 7/29/2009
- TribecaFilm.com
Mike Skinner has revealed that his next LP has a "rave" vibe and has been influenced by a visit to Berlin. The Streets rapper wrote on his MySpace blog that the follow-up to Everything Is Borrowed will "bludgeon listeners over the head". Skinner wrote: "The album doesn't sound like Lou Reed's Berlin because I never said Lou Reed, I only said 'Berlin'. Incorporating some kind of post-modernist arthouse Bauhaus row with foul mouths. But it's (more)...
- 2/20/2009
- by By Sarah Rollo
- Digital Spy
The New York Film Festival has a new, temporary home. Most of the prestigious event usually un reels at Lincoln Center's Alice Tully Hall, but it is shut for renovations. So movies that would nor mally run there will be at the Ziegfeld, on West 54th Street.
One of the city's few remaining single-screen movie houses, it is named for Florenz Ziegfeld, the flamboyant Broadway impresario portrayed by William Powell in the 1936 Hollywood musical "The Great Ziegfeld."
The theater has 1,100 seats, about the same number as Alice Tully. (Last year, the smaller Rose Hall,...
One of the city's few remaining single-screen movie houses, it is named for Florenz Ziegfeld, the flamboyant Broadway impresario portrayed by William Powell in the 1936 Hollywood musical "The Great Ziegfeld."
The theater has 1,100 seats, about the same number as Alice Tully. (Last year, the smaller Rose Hall,...
- 7/20/2008
- NYPost.com
Lou Reed dusts off his 1973 orchestral record "Berlin," about mangled love in a divided city, in a concert film directed by the painter and filmmaker Julian Schnabel.
Reed performed the whole downbeat album (and some other songs) with a craftsman's dedication at St. Ann's Warehouse in Brooklyn in 2006. The film of the performance is a testament to Reed's smoldering concentration and disdain for the commercial. Your enjoyment will hinge entirely on whether you think the album is a masterpiece or a bore.
Schnabel interjects images from a short film (shot by his...
Reed performed the whole downbeat album (and some other songs) with a craftsman's dedication at St. Ann's Warehouse in Brooklyn in 2006. The film of the performance is a testament to Reed's smoldering concentration and disdain for the commercial. Your enjoyment will hinge entirely on whether you think the album is a masterpiece or a bore.
Schnabel interjects images from a short film (shot by his...
- 7/18/2008
- by By KYLE SMITH
- NYPost.com
Lou Reed's solo albums each have their proponents and opponents, with fans standing up for everything from the avant-noise experiment Metal Machine Music to the post-Springsteen mainstream-rock push Coney Island Baby. Reed's 1973 concept album Berlin is especially controversial among Reed-ophiles, both for its prog-rock pretensions—it's a song cycle about a drug-addicted German prostitute and her children, with contributing performances by the likes of Steve Winwood and Jack Bruce—and for its fashionable nihilism. Lester Bangs dubbed it "a gargantuan slab of maggoty rancor," and those who enjoyed the more pop-minded Transformer by and large failed to follow Reed on his journey into the colossally morose. Even Berlin's devotees have complained over the years about the record's relatively punchless sound. If nothing else, Julian Schnabel's concert film Lou Reed's Berlin presents the album's 10 songs with a force they've rarely shown before. Filmed over five nights in New York,...
- 7/17/2008
- by Noel Murray
- avclub.com
By Neil Pedley
This week sees the opening of "The Dark Knight." Advance marketing and coverage might have you believe that that, apparently, is all, but there are other films coming out this week well worth your time. (Besides, "The Dark Knight" is totally going to be sold out.)
"A Very British Gangster"
With Britain in the midst of a youth crime epidemic, Irish investigative reporter Donald McIntyre takes an unflinching look at Dominic Noonan, a granddad of the English gangland who's spent over half his life behind bars. Having legally changed his name to Lattlay Fottfoy (an acronym of the Noonan motto . "Look After Those That Look After You; Fuck Off Those That Fuck Off You"), the openly gay head of Manchester's most notorious crime family shows off his gentler side as a man who uses his reputation to position himself as a "problem solver" more concerned with the...
This week sees the opening of "The Dark Knight." Advance marketing and coverage might have you believe that that, apparently, is all, but there are other films coming out this week well worth your time. (Besides, "The Dark Knight" is totally going to be sold out.)
"A Very British Gangster"
With Britain in the midst of a youth crime epidemic, Irish investigative reporter Donald McIntyre takes an unflinching look at Dominic Noonan, a granddad of the English gangland who's spent over half his life behind bars. Having legally changed his name to Lattlay Fottfoy (an acronym of the Noonan motto . "Look After Those That Look After You; Fuck Off Those That Fuck Off You"), the openly gay head of Manchester's most notorious crime family shows off his gentler side as a man who uses his reputation to position himself as a "problem solver" more concerned with the...
- 7/15/2008
- by Neil Pedley
- ifc.com
- Rock snobs, rejoice. Lou Reed's Berlin, Julian Schnabel's is no longer waiting for its man. The documentary of the infamous doom-and-gloom rock opera, is a couple of weeks from receiving its theatrical premiere. The film follows the December 2006 performance of Reed's rock opera Berlin at St. Ann's Warehouse in Brooklyn. The struggle behind the musical is perfectly cinematic: the album Berlin, Reed's third solo release, was a flop when released in 1973, and it went unperformed for 33 years. However, the album has since come to be regarded as some of Reed's greatest work. Today, after numerous popular films about addiction -- Trainspotting and Blow, to name just two -- Reed's drug-and-depression opera finally has commercial appeal. The music is set to a 35-piece ensemble which includes Steve Hunter (guitar) and Antony (vocals, Antony and the Johnsons). The documentary has already been acclaimed at various international film festivals, including Toronto,
- 7/9/2008
- IONCINEMA.com
Lou Reed's Berlin
South by Southwest
AUSTIN -- A basically straight concert film offering an exceptionally strong performance and just enough formal adornment to hold a movie audience's attention, Lou Reed's Berlin is satisfying for devoted fans and might even win a convert or two. Commercial prospects are strongest on the small screen, but a round on the specialty theatrical circuit should draw modest crowds.
What seems at first like a liability -- the former Velvet Underground leader won't be doing "I'm Waiting for the Man" or Walk on the Wild Side and is instead presenting a start-to-finish reading of his 1973 flop Berlin -- proves to be a strength: Rather than see him trot out hits (Reed does offer a fine take on Sweet Jane over the closing credits), we watch as he performs music he never got a chance to share with a crowd. The singer's assured, emotionally steady delivery sounds like that of a man who has had three decades to sing these songs to himself, assuring himself of their worth even as music lovers took years to warm up to them.
Reed could hardly wish for a better band to put this song cycle across. The ensemble adds a punchy horn section, some strings and even a robed choir to the usual rock instrumentation, and the pieces click perfectly -- even when that choir has to segue from intelligible lyrics into sliding tones that resemble whales' songs.
Director Julian Schnabel adorns the live staging with music-video-like film clips projected behind the band and sometimes cross-faded into the film itself. The material ranges from the literal (the album's character Caroline is embodied by Emmanuelle Seigner, from Schnabel's "The Diving Bell and the Butterfly") to the abstract, with the latter (like a haunting episode in which dollhouse furniture tumbles around underwater) being the most effective.
Art-film elements aside, the performance is straightforward, with no banter or hoopla but consistently engaging cinematography by Ellen Kuras. After devoting just more than an hour to the album, Reed's encore features one spot-on guest appearance: Antony, of Antony and the Johnsons, contributes a crystal vocal to Candy Says, reminding us how far Reed's influence stretches into today's music world.
LOU REED'S BERLIN
A Waterboy and Jon Kilik presentation of a Grandview Pictures/LM Media GMbH production
Credits:
Director: Julian Schnabel
Producers: Jon Kilik, Tom Sarig
Executive producers: Stanley F. Buchthal, Maya Hoffman
Director of photography: Ellen Kuras
Music: Lou Reed
Co-producer: Ann Ruark
Editor: Benjamin Flaherty
Running time -- 81 minutes
No MPAA rating...
AUSTIN -- A basically straight concert film offering an exceptionally strong performance and just enough formal adornment to hold a movie audience's attention, Lou Reed's Berlin is satisfying for devoted fans and might even win a convert or two. Commercial prospects are strongest on the small screen, but a round on the specialty theatrical circuit should draw modest crowds.
What seems at first like a liability -- the former Velvet Underground leader won't be doing "I'm Waiting for the Man" or Walk on the Wild Side and is instead presenting a start-to-finish reading of his 1973 flop Berlin -- proves to be a strength: Rather than see him trot out hits (Reed does offer a fine take on Sweet Jane over the closing credits), we watch as he performs music he never got a chance to share with a crowd. The singer's assured, emotionally steady delivery sounds like that of a man who has had three decades to sing these songs to himself, assuring himself of their worth even as music lovers took years to warm up to them.
Reed could hardly wish for a better band to put this song cycle across. The ensemble adds a punchy horn section, some strings and even a robed choir to the usual rock instrumentation, and the pieces click perfectly -- even when that choir has to segue from intelligible lyrics into sliding tones that resemble whales' songs.
Director Julian Schnabel adorns the live staging with music-video-like film clips projected behind the band and sometimes cross-faded into the film itself. The material ranges from the literal (the album's character Caroline is embodied by Emmanuelle Seigner, from Schnabel's "The Diving Bell and the Butterfly") to the abstract, with the latter (like a haunting episode in which dollhouse furniture tumbles around underwater) being the most effective.
Art-film elements aside, the performance is straightforward, with no banter or hoopla but consistently engaging cinematography by Ellen Kuras. After devoting just more than an hour to the album, Reed's encore features one spot-on guest appearance: Antony, of Antony and the Johnsons, contributes a crystal vocal to Candy Says, reminding us how far Reed's influence stretches into today's music world.
LOU REED'S BERLIN
A Waterboy and Jon Kilik presentation of a Grandview Pictures/LM Media GMbH production
Credits:
Director: Julian Schnabel
Producers: Jon Kilik, Tom Sarig
Executive producers: Stanley F. Buchthal, Maya Hoffman
Director of photography: Ellen Kuras
Music: Lou Reed
Co-producer: Ann Ruark
Editor: Benjamin Flaherty
Running time -- 81 minutes
No MPAA rating...
- 3/19/2008
- The Hollywood Reporter - Movie News
Reed: 'Fans Should Demand Better Quality Downloads'
Lou Reed is urging all music fans to demand better quality sound from downloads because he fears modern technology is "taking us backwards".
In a keynote address at the South By Southwest Festival in Texas on Thursday, Reed insisted Internet technology is not good for music.
He said, "You have a lot available to you and it sounds bad. People have got to demand a higher standard.
"People who like good sound are gonna be looked at like some kind of zoo animal. It's like technology is taking us backwards."
Reed kicked off the 22nd annual Sxsw festival with his speech. He is also screening concert movie Lou Reed's Berlin, which was directed by 2008 Oscar nominee Julian Schnabel.
In a keynote address at the South By Southwest Festival in Texas on Thursday, Reed insisted Internet technology is not good for music.
He said, "You have a lot available to you and it sounds bad. People have got to demand a higher standard.
"People who like good sound are gonna be looked at like some kind of zoo animal. It's like technology is taking us backwards."
Reed kicked off the 22nd annual Sxsw festival with his speech. He is also screening concert movie Lou Reed's Berlin, which was directed by 2008 Oscar nominee Julian Schnabel.
- 3/14/2008
- WENN
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