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The film and television producer, who works with the British Consulate, is also committed to saving small-town movie theaters in the United States.Last month in New York City, the outpouring of grief over Queen Elizabeth II’s death mostly happened in a handful of English specialty shops and inside many, many apartments. But there was at least one public memorial service, which took place at the Queen Elizabeth II Garden in Lower Manhattan.“Long live the king,” proclaimed Luke Parker Bowles, a film and television producer and one of a few individuals who helped create the garden in 2005 to honor members of Commonwealth nations who died on Sept. 11.As a New Jersey resident and the nephew of Camilla Parker Bowles, Mr. Parker Bowles suddenly finds himself a diplomat, of sorts, for the crown in the metropolitan area. “I do like being an ambassador for her and His Majesty in New York,” he said. “I am the Parker Bowles who is here.”Besides his day job — he works with the British Consulate to promote British talent and owns a film-production company, Odd Sausage — he and Patrick Wilson, the actor, started and now help to run Cinema Lab, an initiative that rescues struggling small-town movie theaters and turns them into sophisticated venues for eating, drinking and taking in the latest blockbuster. The group currently owns five theaters, including several in New Jersey and one in New Canaan, Conn. “These theaters are metaphorically and literally the heart beats of certain towns,” Mr. Parker Bowles said.Mr. Parker Bowles, 44, lives with his wife Daniela Parker Bowles, 47, and their three children in Montclair, where he helps oversee the town’s film festival, scheduled this year for Oct. 21-30.Ahead of the Montclair Film Festival, Mr. Parker Bowles spoke with The New York Times about his work and mission. The following interview has been edited and condensed.What inspired you to move to New York?I was visiting New York City from London for a long weekend with two friends. We went to this club named Spa that was located right next to Union Square. That night P. Diddy jumped onstage and started playing this impromptu performance. I thought this is just how New York is and this happens every night.Some Key Moments in Queen Elizabeth’s ReignCard 1 of 9Becoming queen. More

Emma Rice’s glorious stage adaptation of Emily Brontë’s novel is a feat of storytelling, with a singing and dancing chorus embodying the moors.With a whip in one hand and a wind-bent tree in the other, the barefoot girl makes a taunting entrance, radiating caprice like some malicious sprite. This is Catherine Earnshaw, wild thing of Wuthering Heights, and if she is faintly ridiculous in her menace, it is menace nonetheless.Landing a first impression that distills the essence of a character is a rare art, and one of many things that the quick-witted, nimble-bodied company of Wise Children’s wondrous “Wuthering Heights” does exceptionally well. Adapted by the British director Emma Rice from Emily Brontë’s 19th-century novel, this music-filled version is an embrace, an envelopment: a feat of storytelling that wraps itself around the audience, pulling us into its silliness and sorrow.As besotted with the gale-tossed Yorkshire moors as Catherine and her tormented Heathcliff ever were, it makes that landscape a playground of the imagination, pausing every so often to ensure — in a friendly, tongue-in-cheek fashion — that we’re following along. Because as a baffled stranger says, when he bumbles into this multi-household, multigenerational saga, “Everyone’s related, all the names sound the same.”Well, yes, but this is a show so devoted to clarity that it helps us keep track of each fresh death (and goodness, these people die at an alarming rate) by chalking that character’s name on a blackboard the size of a small tombstone and walking it slowly across the stage. That’s also our clue that the next time we see the actor whose character has died, that cast member will most likely be playing someone else — possibly the dead person’s child.Also, the moors in this production at St. Ann’s Warehouse, performed last winter at the National Theater in London, are not just the locale, which Vicki Mortimer’s rough wooden set suggests mainly with the low gray clouds moving past on an upstage screen. (Video design is by Simon Baker.) The moors are embodied, too, by a chorus that sings, dances and possesses opinions — particularly the Leader of the Yorkshire Moors (a wonderful Nandi Bhebhe), who wears a headdress of brambly magnificence and takes on some of the vital background-providing function that the old family retainer Ellen has in the novel.Anyway, no need to brush up on your Brontë. You’ll be fine.Foreground from left: Liam Tamne, Tama Phethean and McCormick.Sara Krulwich/The New York TimesAt the heart of it all are Catherine and Heathcliff, two halves of the same soul who are just scamps when her father finds little Heathcliff parentless on the Liverpool docks and brings him home to join the family at Wuthering Heights. Catherine’s older brother, Hindley, takes an instant loathing to the newcomer and treats him viciously, feeling his birthright threatened by the presence of this boy whose skin is darker than his.“Gypsy,” Hindley calls Heathcliff, and pummels him whenever he gets the chance.For Catherine, Heathcliff is a best friend and partner in mischief. Their youngest selves are played initially by puppets, then seamlessly succeeded by the adult actors Lucy McCormick and Liam Tamne, who bring a roiling chemistry to what will become Catherine and Heathcliff’s desperate mutual obsession. But as they gambol about the moors in those early years, it’s the joy they take in each other, and the freedom they feel together, that forms a bond so unbreakable it transcends death.Like the other inhabitants of Wuthering Heights and the neighboring estate Thrushcross Grange — home of the laughably effete Linton siblings, Edgar (Sam Archer) and Isabella (Katy Owen, the show’s brilliant comic powerhouse) — Catherine and Heathcliff are formed and deformed by their environment, a place where it’s easy to be solitary, to nurse a grudge, to wreak revenge.As beastly as Catherine generally is, and as enormous as her eventual betrayal of Heathcliff is, it’s the men who, beginning as boys, do great violence to one another, both physical and psychic, and spend their lives perpetuating it. Heathcliff, of course, is the prime example, growing from an ingenuous child into a glowering adult who spins all the considerable evil ever done to him — much of it based on race and class — into justification for his long game of retribution.From left: McCormick, Tamne, Phethean and Katy Owen, a font of mirth in a variety of characters.Sara Krulwich/The New York TimesYet Rice — a longtime St. Ann’s favorite for productions including “Brief Encounter” and “Tristan & Yseult” — makes certain that this beguiling “Wuthering Heights” is no carnival of gloom. Owen, especially, is a font of mirth, not only as Isabella but also as her extravagantly spoiled son, Little Linton, a creature so enfeebled by his cosseted upbringing that he’s practically boneless. Frances (Eleanor Sutton), the fragile nitwit who has the poor taste to marry Catherine’s brother, Hindley (Tama Phethean), is also a delicious source of comedy — as are assorted bitey dogs: puppets made of skulls on scythes.Hindley has kindness solely for Frances, and when she dies he crumbles squalidly. Yet as cruel and falling-down drunk as Phethean is as Hindley, he is equally gentle — which is not to say saintly — as Hindley’s son, Hareton, who has been beaten down by both his father and Heathcliff, but chooses not to emulate them by targeting victims of his own. It is a gorgeous performance, its agility and tenderness of a piece with this production’s.Stalked by Catherine’s perambulating ghost, and infused with live music by Ian Ross that feels somehow like earth and air, this is a show with a gloriously untamed spirit. On this first stop on its American tour, it is better — deeper and sexier — than the excellent version I saw in London early this year.At nearly three hours, including the intermission, it asks an investment of time that’s absolutely worth it. I, for one, want to go again.Wuthering HeightsThrough Nov. 6 at St. Ann’s Warehouse, Brooklyn; stannswarehouse.org. Running time: 2 hours 50 minutes. More

Netflix, which has about 223 million subscribers worldwide, will soon introduce a lower-priced service with ads in a bid to attract more customers.Netflix said Tuesday that it added more than 2.4 million subscribers in the third quarter — mainly from outside the United States — snapping a streak of customer losses this year that spurred unease among investors and questions about how much more the streaming business could grow.The streaming giant said it now has 223 million subscribers worldwide, after beating its earlier forecast of about one million additions for the quarter. Netflix lost 200,000 subscribers in the first quarter, and nearly one million in the second.“After a challenging first half, we believe we’re on a path to re-accelerate growth,” Netflix said in its quarterly letter to shareholders. “The key is pleasing members.”Netflix is preparing to introduce advertising on its service on Nov. 3, part of a bid to attract more customers with a lower-cost subscription. The advertising-supported tier, priced at $6.99 a month in the United States, will show subscribers four to five minutes of ads per hour of content they watch.Netflix generated about $7.9 billion in revenue in the third quarter, a nearly 6 percent increase from the same period last year. The company generated about $1.4 billion in profit, a 3 percent decrease from a year earlier.The Race to Rule Streaming TVNetflix Ads: The streaming company said it will soon offer a cheaper ad-supported subscription, which will show people four to five minutes of ads per hour of content they watch.Late-Night Talk Shows: TV executives are mulling the future of the genre, which is struggling to make the leap to the streaming world.Apple’s Will Smith Movie: After a long discussion, Apple said it will release the film “Emancipation” — the actor’s first since his infamous slap at the Oscars — in December.Cable Cowboy: The media mogul John Malone opened up about the streaming wars, the fast-changing news business and his own future.Netflix shares were up more than 10 percent in after-hours trading.Netflix said in its letter to shareholders that it expected to add 4.5 million subscribers in the fourth quarter, a 46 percent decrease from the 8.3 million subscribers it added during the same period last year. Netflix also said it would stop providing guidance to investors on its projected subscriber count beginning next quarter.Rich Greenfield, an analyst for Lightshed Partners, said the results indicated that Netflix would flourish as competitors continue to lag behind.“I think the reports of streaming’s death or maturity have been greatly exaggerated,” Mr. Greenfield said.The decision to introduce an advertising option on Netflix was an about-face for the company, which for years had highlighted its ad-free experience as a selling point for customers. But this year, after announcing subscriber losses on the company’s first-quarter earnings call, the co-chief executive Reed Hastings reversed course, saying that an advertising-supported plan would allow customers to choose their experience.Streaming has become an increasingly competitive industry in recent years. Disney, for instance, reported in August that it had about 221 million subscriptions across its bundle of services. It will start offering a lower-priced advertising tier for Disney+ in December.Mr. Hastings expressed relief about the company’s financial results during a video interview conducted by an analyst that was posted by Netflix on Tuesday evening.“Well, thank God we’re done with shrinking quarters,” Mr. Hastings said, laughing.Netflix is breaking with convention in other ways this fall. The company plans to release “Glass Onion: A Knives Out Mystery” in 600 theaters across the United States for one week beginning on Nov. 23 ahead of its streaming debut, the first time the company has struck a deal with the nation’s largest theater chains at once. The movie, written and directed by Rian Johnson, is the anticipated follow-up to the 2019 hit starring Daniel Craig as the Delphic detective Benoit Blanc.Netflix told employees this year that it was also planning to crack down on password sharing, which allows users to watch content without paying for a subscription. The research firm MoffettNathanson estimates that 16 percent of Netflix users share passwords, more than any other major U.S. streaming service. Netflix said in April that passwords were being shared with an additional 100 million households, according to its estimate.The company has also cracked down on costs. In May, Netflix laid off about 150 workers across the company, primarily in the United States, or about 2 percent of its total work force. Netflix said in a statement that the cuts had been spurred by the company’s slower revenue growth.Despite the changes, Netflix hasn’t yet been able to reverse a precipitous decline in its share price. The company’s stock has tumbled more than 60 percent over the last year amid a broader market slump, as investors and analysts grapple with the economics of streaming video.During the third quarter, Netflix released a mix of films and TV shows, including “The Gray Man,” a big-budget action film starring Ryan Gosling and Chris Evans and directed by Joe and Anthony Russo, the sibling filmmakers behind “Avengers: Infinity War.” Other popular titles included the serial killer show “Monster: The Jeffrey Dahmer Story”; the romantic drama “Purple Hearts”; and “Stranger Things,” which released the second half of Season 4 near the end of last quarter. More

The film that kicked off the West’s J-horror fascination was made in the shadow of 9/11. Its influence can be seen in “Smile,” “It Follows” and more.If you remember anything about Gore Verbinski’s cursed-videotape chiller, “The Ring,” released 20 years ago Tuesday, it’s probably the whispered threat: seven days.Or maybe it’s the eyes of a creepy little girl, peering out from behind a curtain of stringy black hair; or the uncanny images — a flaming-red tree, dead horses scattered along a seashore, a finger pushed through a rusty nail — that made up the film-within-the-film. In “The Ring,” any unlucky soul who watches this bizarre videotape receives a menacing phone call as soon as it cuts to static, and in a week they’re kaput at the hands of a soggy ghoul who crawls out of a TV.“The Ring,” based on the wildly successful Japanese novel by Koji Suzuki as well as the 1998 film adaptation by Hideo Nakata, doesn’t rely on a high body count, or much in the form of blood and guts, for scares. Yet for a generation of horror-lovers, it taps into a familiar feeling of ambient anxiety and inexplicable unease that remains omnipresent to this day.In fact, it’s surprisingly restrained, unfolding like a waking dream shot through with dread. Set in Seattle and doused in eerie teals and grays, the movie follows Rachel (Naomi Watts), a journalist and single mother tasked with uncovering the truth behind the sudden death of her teenage niece, Katie (Amber Tamblyn), who is found with her face terrifyingly warped, frozen in anguish like “The Scream.” When Katie’s classmates suggest a haunted video is to blame, Rachel tracks it down and watches it, beginning the countdown to her own demise. Through Rachel’s detective work, the story of Samara, that creepy girl, a kind of vengeful spirit, comes to light, but these revelations do nothing to break the curse; only showing the tape to another person can liberate the condemned.Audiences at the time proved eager to see the tape for themselves. “The Ring” went on to become a sleeper hit, ultimately taking in nearly $130 million domestically and kicking off a string of American remakes of Japanese horror movies, a trend that is among the most distinct and representative of Hollywood in the aughts. Along with the 1999 hits “The Sixth Sense” and “The Blair Witch Project,” the popularity of “The Ring” represented a shift from the fascination with teen-slasher fare that had dominated the previous three decades.Naomi Watts played a journalist who tracks down the deadly video. At the time, she was a relative unknown.Merrick Morton/DreamWorks PicturesWhen Verbinski was approached by DreamWorks with the idea of remaking the Japanese film, he was in the middle of reading “The Wind-Up Bird Chronicle,” the surreal epic novel by Haruki Murakami. By the end of the ’90s, Japanese pop culture had made major inroads in the United States — think of the rise of Nintendo and the Pokémon craze. No wonder Hollywood executives pounced on the opportunity to rework “Ring,” then the highest-grossing horror film ever released in Japan, for an American audience. “Ring” was one of the key properties credited with unleashing J-horror, the Western term for the ensuing cycle of Japanese horror films characterized, in part, by a connection between the demons and spirits of traditional folklore and the technologies of the new millennium.“The original is beautifully abstract and moody, but American audiences demand some sort of resolution or straight path,” Verbinski said in an interview. “They’re motivated to follow bread crumbs, so we created a more linear story. The advantage is, we’re able to mess with those expectations.”Other remakes of J-horror sensations, like “The Grudge” (2004) and “Dark Waters” (2005), followed, but none achieved comparable success or the same level of cultural impact.“The Ring” might even be considered a classic of millennial horror. Elder millennials born in the ’80s were teenagers then, while younger ones turned to video stores or hung on the words of older siblings who had lived to tell the tale. Not that kids at the time would have been prohibited from entering the theater. “The Ring” was rated PG-13, though its portentous atmosphere, abrupt sonic shifts from loud to quiet, and sinister Hans Zimmer score make it perhaps more effectively spooky than other films that abound in spectacular violence.The enthusiasm around J-horror remakes may have been short-lived, but the core of what made “The Ring” so frightening in 2002 — and what made the novel and original film such disturbing portraits of societal collapse in ’90s Japan — is the transferable nature of the death sentence, which makes even the victims complicit. Several American horror movies since “The Ring” have employed a similar formula to critical acclaim and commercially fruitful results. In David Robert Mitchell’s 2015 “It Follows,” a teenager maneuvers to offload her supernatural STD on a sexual partner, who, upon consummation, takes on the spell and is relentlessly followed by a murderous undead entity. “Smile,” the current box-office heavyweight, tracks even closer to “The Ring” by taking the perspective of a cursed woman desperate to find a solution before time — she’s told at most a week — runs out and a spirit that feeds off trauma manipulates her into committing an extravagantly bloody suicide. There’s only one way out for this curse, too: Kill someone else.As in “The Ring,” “Smile” featured a woman (Sosie Bacon) hunting down a curse. Paramount PicturesLast October, Cristina Cacioppo, the director of programming for the Nitehawk Cinema in Brooklyn, screened “The Ring” as part of a series dedicated to horror remakes of the 2000s. “There can sometimes be a stigma around remakes,” she said. With “The Ring,” she recalled, “I was very dismissive of it when it came out and thought it’d be this Hollywood version that stripped away everything that made the original interesting. When I finally watched it, I realized it’s very much its own thing — it’s good!”She also credits the performance by Naomi Watts with elevating the film. At the time, she was a relative unknown who had just broken out in David Lynch’s “Mulholland Drive.”And, of course, there’s the videotape, which almost resembles an experimental short. Early in the film, we watch it in its entirety through Rachel’s eyes, and, depending on your mood, it might play like a silly student-film provocation: Initially, the killer tape is treated like a high school urban legend. Not being able to tell if the threat is legitimate or not is part of what makes the videotape so indelible.“We wanted it to be haunting but also slightly dismissible,” Verbinski told me. “We degraded the images until it felt like it was shot on a Super 8 camera by an amateur. At the same time, things from the film start appearing as Rachel moves through the real world. Kind of like having a dream where you go to a bar and get a pack of matches, but then you wake up and see the matches on your table.”For Verbinski, the film’s appeal is closely tied to the zeitgeist. Though it was released in 2002, the director and his crew were in preproduction when the events of 9/11 took place, forcing them to move the shoot from the East Coast to the Pacific Northwest.“There’s a random element to the film, a loss of control and disruption of balance that makes it work,” he said. “There’s no moral explanation or sense of one person deserving it over another. It’s scary when a belief system collapses, it leaves you in this existential free-fall.” The film is obviously not a direct result of 9/11, but it makes “palpable a similar crisis,” he added, “that whatever meaning you create from the videotape, whatever progress or discovery you think you’re making, none of that will make you whole.”Maybe that’s why “The Ring” — even if its legacy includes some truly horrendous sequels and the deflating, if affectionate, parody “Scary Movie 3” — lingers in the mind, especially for those of us who remember its now distant-seeming world of landlines and cassette players.“2002 was the beginning of that feeling of loss and meaning slipping away,” Verbinski said. “There was a real sense of before and after, but now everything is blurred and we’re swimming in that crisis daily, alone, but still looking for something to share.” More

In this documentary, the Oscar-winning screenwriter Dustin Lance Black looks at how his relationship with his mother motivated his L.G.B.T.Q. activism.Dustin Lance Black’s acceptance speech for best original screenplay at the 2009 Academy Awards is featured twice in “Mama’s Boy,” the new HBO documentary about Black and his mother, Anne. It’s no wonder that the writer, who won his Oscar for “Milk” (2008), the biopic of the L.G.B.T.Q. rights activist Harvey Milk, ended up in Hollywood on that podium: He’s a commanding and affecting speaker. Even when Black’s voice wavers onstage or during interviews for this film, his belief in storytelling as a tool for empathy and activism pours from each word. That stalwart belief has its advantages and disadvantages.Adapted from Black’s memoir, the film has him tracing the life of his mother chronologically, from her childhood in small-town Louisiana and her unwillingness to surrender to polio to her gradual acceptance of her son’s gay identity. Black’s childhood memories, and how his life was irrevocably shaped by both his mother’s conservatism and her resilience, appear to be the backbone of Laurent Bouzereau’s film. Anecdotes about their intimate bond, such as Christmas traditions, give texture to the film’s thesis.Yet “Mama’s Boy” lands as somewhat naïve in the contemporary climate of L.G.B.T.Q. rights. That the screenwriter’s mother was changed by her empathy for people different than her is an admirable value to have. But the film takes a somewhat myopic approach to Black’s reach-across-the-aisle activism philosophy, focusing primarily on his work toward marriage equality. It doesn’t consider how political polarization can make the strategy of sharing space with others, as his mother did, difficult to execute when many places go out of their way to bar those different from them from even entering in the first place.Mama’s BoyNot rated. Running time: 1 hour 42 minutes. Watch on HBO Max. More

The actor recently donated hundreds of boxes of scripts, props, notes and other objects from his work on “Raging Bull,” “Taxi Driver” and more. We dived in.AUSTIN, Texas — When Robert De Niro heard that Marlon Brando’s personal, annotated “Godfather” script was for sale on eBay, he was not too happy. How could such an important cultural artifact, created by an acting icon, a true artist, be as easy to bid on as an old pinball machine, or a Las Vegas coffee mug?This was around 2006, and De Niro had been looking for a place to donate the extensive collection of props, costumes, scripts, letters and mementos he had accumulated throughout his six-decade career. He did not want his “Taxi Driver” script notes to wind up deteriorating in a stranger’s closet in Des Moines, so he sought out a place where the archivists and staff would care for and preserve each piece, including the red boxing gloves and leopard-print robe he wore as Jake LaMotta in “Raging Bull” and the pages of letters he and his “Last Tycoon” director Elia Kazan wrote each other. “I wanted to keep it for my kids and I wanted to keep it all together,” De Niro told me just after he viewed an exhibition at the Harry Ransom Center at the University of Texas in Austin showcasing part of his archives. He was in town last month for the show, and for a gala celebrating the Ransom Center’s 65th anniversary. Leonard Maltin served as the master of ceremonies, and Meryl Streep hopped over to Texas to honor her longtime friend and colleague with a speech.“I don’t know, if you’re spelunking around in there, if you’re going to be able to find the secret of his power and what he does,” Streep said in her speech. “His strength comes from what he doesn’t say.”Texas might seem like an odd home for De Niro’s two Academy Awards and personal photos, but he wanted an institution that would provide easy access to students, researchers and cinephiles from around the world. As he said in his own speech that night: “I had accumulated an appalling amount of stuff. It was going to be either the Ransom Center or an episode of ‘Hoarders.’”The center houses the papers of the acting teacher Stella Adler, Samuel Beckett, T.S. Eliot, Tom Stoppard, Tennessee Williams and Frida Kahlo, to name a few. In his speech, De Niro said he chose the center because of the company his archive would be in. “I imagine my papers talking to their papers, or trying to anyway, and their papers asking my papers, ‘What the hell are you doing here?’”The “Robert De Niro Papers” show runs through January and features a portion of the 537 boxes, 601 bound volumes and 147 folders of items De Niro donated. Here are a few treasures on display, with insights from De Niro and the curator of film, Steve Wilson.Early Headshot and Résumévia Harry Ransom Centervia Harry Ransom CenterThe black-and-white photo of a very clean-cut-looking young De Niro is accompanied by one of his early acting résumés, back when his film roles had names like Friend of Lead. De Niro said he remembered typing those résumés, and when I asked him if he maybe, possibly exaggerated anything, he said, “I think I may have. Maybe I said I was in a play or had a role in a play, and I’d just done a scene.” Wilson said the résumés helped the archivists date some of the items from early in his career, like his old makeup kit, which holds used brushes, tubes and cosmetic sticks that helped De Niro get into character during his early years as a student, before he went to work onstage and in dinner theater. “The existence of these résumés was really interesting to me,” Wilson said. “It does look like he was probably padding résumés. For example, he might say he was in a touring play, but we know he performed a scene at Stella Adler or something.”Fedora From ‘Mean Streets’via Harry Ransom CenterWarner Bros.The hat, and the role, marked the start of one of cinema’s most enduring and powerful collaborations, between De Niro and the director Martin Scorsese. When the actor wore this brown fedora to read for the role of Johnny Boy, the neighborhood punk, Scorsese knew De Niro was his guy, he told New York magazine a few years later. In Vincent Canby’s 1973 review of the film for The Times, he wrote, “The look, language and performances are so accurate, so unselfconscious, so directly evocative.” De Niro’s performance (opposite Harvey Keitel, above left, and David Proval) and that now iconic hat helped create the visceral realism that still manages to feel in-your-face and raw, almost five decades later. “I wore that hat as a kid,” De Niro told me when I asked where it came from. “I just liked it.” When it came time to audition for Johnny Boy, he said, he felt that it fit the character. “He had been keeping wardrobe items that he would use for auditions, like hats and glasses, for a long time,” Wilson said. “It was kind of an arsenal.”License From ‘Taxi Driver’via Harry Ransom CenterTo prepare for his 1976 role as Travis Bickle, a haunted, lonely Vietnam veteran turned New York cabby, De Niro spent a little over a week actually driving a taxi. This was just after he had won an Academy Award for “The Godfather Part II,” and one passenger recognized him and commented that things must be especially tough for actors if an Oscar winner was trying to earn money driving a cab. The license is another piece of the collection that illuminates his dedication to character and the lengths he goes to fully inhabit another life.The exhibition also includes one of De Niro’s annotated “Taxi Driver” scripts, opened to a page where Bickle stares into the mirror. The action simply reads: “His eyes are glazed with introspection. He sees nothing but himself.” Just below that, in blue ink, De Niro wrote, “Mirror thing here?” That “mirror thing,” of course, became “You talking to me?” It’s an improvised moment that has become a hallmark of his career. College-age kids still yell that line to De Niro sometimes when he’s out in public. As for the license, as soon as Wilson saw it for the first time, he “knew immediately that it was the image of the archive. It speaks to his process and says it all. It’s a great piece.”Military Dog Tags From ‘The Deer Hunter’via Harry Ransom Center“I can’t remember if I wore those through the whole production; it was a long time ago,” De Niro said of the ID his character, Mike, wore in Michael Cimino’s 1978 film about a group of friends from a Pennsylvania steel town whose lives are forever scarred by their experiences in Vietnam. Besides the dog tags, the archive displays De Niro’s prep work, including medical records from actual Vietnam veterans, articles about “returning vet syndrome” (now known as PTSD), and detailed notes he took on the dialect of the specific area of Pennsylvania his character hailed from. (Sample: “these ones” and “those ones” can be used interchangeably.)“I think this is where the archive really starts,” Wilson said. “There is a giant uptick in the amount of research material that we have for any particular film once we get to ‘Deer Hunter’ and beyond. Sometime around 1979 or 1980 is when he really got serious about keeping things.” When the dog tags arrived, Wilson noticed they were covered in plastic, as they would have been in real life to keep the metal from making noise and alerting the enemy. By the time the dog tags reached Austin, the plastic was yellowed and leaching liquid, so the archivists removed the decaying material and had them encased again, to stay true to the object’s original form.‘Raging Bull’ Annotated Scriptvia Harry Ransom CenterLike most of the screenplays in the collection, De Niro’s “Raging Bull” draft, dated “2-1-79” and revised by “M.S. and R.D.N.” (the director and actor), is covered in handwritten notes. The hefty version is enclosed in a brown leather folder. Wilson said several of the scripts “seemed to have a personality of their own,” and that there were notes in the pockets of the folder, including one to De Niro from Vikki LaMotta, the real-life wife of De Niro’s character.The script is displayed in a glass case next to the writer Paul Schrader’s handwritten scene outline, scribbled on a yellow legal pad. Several writers were credited in the film, but De Niro and Scorsese went away for a few days together to work on a final draft before production began. De Niro said they headed to the Caribbean because “it just seemed like a nice place to go. We worked on the script and on getting it to a good place. We worked on the character.”The notes across the script pages are tough to decipher. When De Niro stepped away for a moment, I overheard his young daughter telling Wilson that her father had horrible handwriting, so bad that she didn’t even think he used the same alphabet as everyone else. That hard-to-decipher handwriting will probably not stop film lovers and researchers from traveling to the Ransom Center in their quest to decode De Niro’s career, his technique and the mystery of his process, one script note, costume choice and scribbled-on napkin at a time. More

The veteran Scottish actor and comedian also played a gambling-addicted psychologist in the 1990s crime series “Cracker.”Robbie Coltrane, the veteran Scottish actor who played the beloved half-giant Rubeus Hagrid in the “Harry Potter” films and starred in the cult British crime series “Cracker,” died on Friday in Larbert, Scotland. He was 72.His death, in a hospital, was confirmed by Belinda Wright, his British agent. Ms. Wright said that Mr. Coltrane’s family had not disclosed a cause, but that he had been “unwell for some time.”Mr. Coltrane veered from the comic to the gritty in a 40-year career in film and television, with turns as an antihero detective in “Cracker” (1993-96), a K.G.B. agent turned ally to James Bond and a gangster who disguises himself as a nun after betraying his fellow criminals in “Nuns on the Run” (1990).But those roles did little to prepare Mr. Coltrane to play Hagrid, a fan favorite from the “Harry Potter” books whose transition to the big screen would face the sky-high expectations of millions of young readers.Mr. Coltrane successfully embodied the 8-foot-6 half-giant. He appeared in all eight “Harry Potter” films, infusing the franchise with warmth even as he towered over the young witches and wizards at the center of the series who were embroiled in a fight against evil.The first film, “Harry Potter and the Sorcerer’s Stone,” opened in November 2001 and went on to gross more than $1 billion worldwide, building on the already fervent global fan base of J.K. Rowling’s book series.Ms. Wright, Mr. Coltrane’s agent of 40 years, said the role was the reason he received a “stream of fan letters every week for over 20 years.”Fiercely protective of his privacy, Mr. Coltrane gave few interviews and could be hard-edged with reporters. But he said he had to cast that gruffness aside when he was embraced by a legion of young “Harry Potter” fans.“Kids come up to you and they go, ‘Would you like to sign my book?’ with those big doe-eyes,” he told The Guardian in 2012. “And it’s a serious responsibility.”Mr. Coltrane was born Anthony Robert McMillan on March 30, 1950, in Rutherglen, Scotland, outside Glasgow. His father, Ian Baxter McMillan, was a doctor; his mother, Jean Ross Howie, was a teacher.He grew up on the outskirts of Glasgow and enrolled in Glasgow School of Art, where he studied drawing and painting but struggled to capture his ideas on canvas.“I wanted to paint like the painters who really moved me, who made me want to weep about humanity,” he told The Herald, a Scottish newspaper, in 2014. “Titian. Rembrandt. But I looked at my diploma show and felt a terrible disappointment when I realized all the things that were in my head were not on the canvas.”As the prospect of a future as a painter dimmed, he was encouraged by a drama teacher who told him that he had acting talent after he appeared in a staging of Harold Pinter’s one-act play “The Dumb Waiter,” The Herald reported.After adopting his stage name as a tribute to the great jazz saxophonist John Coltrane, Mr. Coltrane found steadier footing when he moved to London. He worked as a stand-up comedian and actor, picking up theater roles and small parts in television and film productions.He attracted critical acclaim as Dr. Edward Fitzgerald, known as Fitz, the chain-smoking criminal psychologist in the hit series “Cracker,” whose alcohol addiction echoed Mr. Coltrane’s own issues with drinking. The role earned him the BAFTA award for best TV actor in 1994, 1995 and 1996.A turn as Valentin Zukovsky, a former K.G.B. agent turned Russian mafia kingpin, in the James Bond films “GoldenEye” (1995) and “The World is Not Enough” (1999) exposed Mr. Coltrane to a broader audience, particularly in the United States.There was nothing, however, that could compete with the global fame he found after he was cast as Rubeus Hagrid in the “Harry Potter” series. With his bushy beard and growling voice, Mr. Coltrane brought the beloved character to life. Mr. Coltrane, center, as Rubeus Hagrid in “Harry Potter and the Half-Blood Prince” (2009), with Jim Broadbent, left, as Professor Horace Slughorn, and Daniel Radcliffe as Harry Potter.Alex Bailey/Warner Brothers PicturesThe young actors who grew up on the sets of the “Harry Potter” films fondly remembered Mr. Coltrane as someone they could count on to lift their spirits with a joke or a word of encouragement.Daniel Radcliffe, who played Harry Potter, said on Friday that Mr. Coltrane “used to keep us laughing constantly as kids.”“I’ve especially fond memories of him keeping our spirits up on ‘Prisoner of Azkaban,’” Mr. Radcliffe said in a statement, “when we were all hiding from the torrential rain for hours in Hagrid’s hut and he was telling stories and cracking jokes to keep morale up.” James Phelps, who played Fred Weasley in the series, wrote on Twitter that when he was 14 years old and nervous on his first day on the set, Mr. Coltrane came over and said, “Enjoy it, you’ll be great.”Mr. Coltrane is survived by his children, Spencer and Alice, and a sister, Annie Rae. In the HBO Max retrospective “Harry Potter 20th Anniversary: Return to Hogwarts,” which premiered on Jan. 1, Mr. Coltrane reflected on the role that introduced him to a new generation of fans.“The legacy of the movies is that my children’s generation will show them to their children,” he said. “So you could be watching it in 50 years’ time, easy. I’ll not be here, sadly, but Hagrid will, yes.” More

Halloween is around the corner, which means the annual scary film dump-a-thon is on. But don’t fear: These frightening treats will do the trick.‘Watcher’Stream it on Shudder.My pick for the scariest movie of the year is Chloe Okuno’s nerve-shredding feature debut about a young woman who swears she’s being watched and stalked by a man in an apartment building across from hers.The setting is Bucharest, where Julia (Maika Monroe, so good) has moved with her husband, Francis (Karl Glusman), after he gets a promotion. A killer is on the loose, so it makes sense that Julia has her suspicions about the creep she sees standing at a window seemingly observing her, the same guy she thinks followed her around a supermarket. Is she right? Or paranoid?Boldly feminist and intensely chilling, “Watcher” is a Halloween movie for people who think they don’t like horror but want to give a really scary and (mostly) gore-free horror movie a shot. (Watch it during the day if you’re antsy.) Okuno dishes out the heebie-jeebies with ruthless precision — watching is like being on a roller-coaster incline and seeing the tracks ahead splinter. Be warned: You may never look at grocery bags the same way again.‘Here Before’Stream it on Hulu.Laura (Andrea Riseborough) lives with her husband and teenage son on a quiet street in a small town in Northern Ireland. There’s a new family next door: Marie, her husband and their young daughter, Megan, who reminds Laura of her own little girl, who died in a car crash.When Marie fails to pick Megan up from school one day, Laura gives her a ride home. But on the way, Megan (Niamh Dornan) asks Laura if she remembers a cemetery — a bizarre question, one of many to come, that makes Laura start to wonder if Megan might be her own daughter reincarnated. Laura loses her grip on reality as she obsesses about who or what is possessing Megan, until a final, jolting twist torpedoes reality.Stacey Gregg’s feature debut, which she also wrote, is an intimate psychological thriller that relies not on mayhem but on moments so delicately icy, they should be stamped as fragile. A scene at a playground with tiny feet dangling in the air had my nerves on edge — one of many small but shattering moments that make this film an affecting and effective scare. Chloë Thomson’s cinematography is strange and spectral.‘Nocturna: Side A — The Great Old Man’s Night’Stream it on Shudder.Ulysses (Pepe Soriano) is old, and he’s feeling it. He gets lost in the building where he lives with his nagging wife, Dalia (Marilú Marini), and he can’t remember their estranged daughter’s name.Late one night, their neighbor Elena (Desirée Salgueiro) frantically bangs on their door with pleas for unspecified help. They refuse, terrified that if outsiders see the condition of their home, they’ll be one step closer to eviction. When Elena winds up dead, Ulysses wonders if she might have been a scared, lost ghost in need. The answer — depicted in touching flashbacks and distorted supernatural flourishes — is heartbreaking.The writer-director Gonzalo Calzada skillfully weaves together dread and sadness in his haunting Spanish-language ghost story that’s as much about forgiveness and regret as it is about the terrors of aging and our fear of death. (He also directed a shorter companion film subtitled “Where the Elephants Go to Die.”) With one finger, he plucks your nerves and with another he tugs at your heartstrings, which makes this a movie for a great scare and a good cry.‘Spirit Halloween: The Movie’Rent or buy it on Amazon.It’s not in the same league as KFC’s meta-camp holiday romance about Colonel Sanders. But this family-friendly horror comedy, made in collaboration with the Spirit Halloween retail chain, is delightful.The film starts in the 1940s when a witch (Michelle Civile) curses and kills an evil codger (Christopher Lloyd!) who wants to take over an orphanage. Fast forward to the present, when his spirit has made its way into the hulking animatronic characters at a Halloween store where middle school friends Jake (Donovan Colan), Bo (Jaiden J. Smith) and Carson (Dylan Martin Frankel) have secretly camped for the night. The kids battle a possessed teddy bear and other monsters until dawn, when Bo’s grandmother (Marla Gibbs!) reveals a prophetic secret.The director David Poag has said that for his feature debut he wanted to explore what was “most terrifying to our 10-year-old minds.” He nailed it, combining a heartfelt message about the tough transition from tween to teen with the us-versus-aliens spirit of “Stranger Things” and the trapped-in-a-store thrills of “The Mist.” Horror-curious kids 8 to 13 will get a kick out of it.‘Trick or Treat Scooby-Doo!’Rent or buy it on most major platforms.This new animated film made news recently for speaking out loud that which discerning Scooby-Doo fans have known since the series’s first episode aired in 1969: Velma likes girls. The young woman who makes the nerdy sleuth’s glasses melt is the evil-chic Coco Diablo, the exacting head of a Halloween costume crime syndicate.If you’re a longtime queer fan of the Scooby-Doo franchise, or animation at all, this exchange between Velma (played by Kate Micucci) and Daphne (Grey DeLisle) will be lesbian music to your ears:“Who am I kidding?” Velma asks, her voice desperate with puppy love. “I’m crushing big time, Daphne. What do I do? What do I say?”“Just be yourself,” Daphne replies.Beyond its queer significance, Audie Harrison’s film is my pick for young kids, as long as they won’t be too scared by cackling ghouls, and for nostalgic adults who want to introduce their kids to “The Ballroom Blitz.” Put it on with the family while you’re carving pumpkins or gorging on Halloween’s candy windfall. Or invite friends over for cocktails and homemade Scooby snacks and debate what Velma and Coco would wear at their wedding. More