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      Gérard Depardieu Punches the ‘King of Paparazzi’ Outside Rome Cafe

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      Mr. Depardieu, 75, was seen striking the 79-year-old photographer Rino Barillari on the Via Veneto.The French film star Gérard Depardieu repeatedly punched Rino Barillari, known as the “king of paparazzi,” on Tuesday at Harry’s Bar on the Via Veneto, the grand hotel and cafe-lined avenue that was a lively haunt for celebrity-hunting paparazzi decades ago, according to the photographer and a journalist who witnessed the altercation.It could have been a scene straight out of “La Dolce Vita,” Federico Fellini’s early 1960s film that introduced the character of an annoying and eccentric photographer who hounded the movie stars that swelled the casts of Cinecittà film studios when Rome was known as “Hollywood on the Tiber.”Seeing Mr. Depardieu, 75, and Mr. Barillari, 79, on the Via Veneto was like “a time machine,” said Gianni Riotta, a columnist for the newspaper La Repubblica who said he saw the attack while he was having coffee at Harry’s Bar.Mr. Riotta said that Mr. Barillari had repeatedly been asked to stop taking photographs, and that when he turned to leave he was followed into the street by a shouting woman who had been sitting with Mr. Depardieu. The actor reached the photographer “and hit him, hit him, hit him,” Mr. Riotta recalled, speaking in Italian.“There was a lot of blood,” he said.Mr. Riotta said he gave a witness statement to the police when they arrived on the scene. It was unclear whether Mr. Barillari, who was taken by ambulance to a downtown hospital, would press charges.Lawyers for Mr. Depardieu did not immediately respond to a request for comment.Delphine Meillet, a lawyer for the woman who had been sitting with Mr. Depardieu, Magda Vavrusova, said in a statement that Mr. Barillari had “violently pushed” her, touching her chest with his arm. She said that when Mr. Depardieu intervened, he had “fallen and slid onto” the photographer. Ms. Vavrusova was taken to a hospital and planned to sue Mr. Barillari, the lawyer said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      Lily Gladstone in the Spotlight at the Kering Women in Motion Dinner

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      The juror found herself at the center of the Kering Women in Motion dinner, a year after she was a little-known guest for “Killers of the Flower Moon.”At the Cannes Film Festival, much is made of the standing ovation. Every round of applause earns breathless headlines, with outlets racing to report which movie received the most prolonged cheers.But sometimes at Cannes, where you sit is just as important as when you leap to your feet.This is something Lily Gladstone found out Sunday night at Kering’s annual Women in Motion dinner, a star-studded bash that drew the likes of Michelle Yeoh, Julianne Moore, Isabelle Huppert and the jury president, Greta Gerwig. As one of Gerwig’s fellow jurors, Gladstone will help decide the winner of the Palme d’Or. It’s a prestigious position that also represents a full-circle moment for the actress, whose profile was turbocharged last year when “Killers of the Flower Moon” debuted at Cannes.The day after that premiere last May, Gladstone found herself at the Women in Motion dinner. At one point, she made her way to the party’s center table to greet her co-star Leonardo DiCaprio and perched next to him on an empty chair reserved for the festival’s president, Iris Knobloch.Recounting the story to me on Sunday, Gladstone grinned. “Iris and I were just laughing about that, that she had to kick me out of her chair last year and now I’m sitting next to her,” she said. In fact, this year Gladstone had been assigned what could be considered the party’s most prestigious spot, the chair between Knobloch and the Cannes artistic director, Thierry Frémaux.“I’m the Leo this year!” Gladstone said, chuckling. “I’m totally in his seat.”At this point in the festival, Gladstone and her fellow jurors have seen almost half the films in competition. “Last year, I only had to be concerned with one film,” Gladstone said. “This year, it’s 22.” And her jury experience comes after several months spent on the awards circuit for “Killers of the Flower Moon,” which earned her a best actress Oscar nomination.But though Gladstone’s dance card is full — she’ll soon star in “The Memory Police,” a sci-fi film scripted by Charlie Kaufman, as well as a remake of Ang Lee’s “The Wedding Banquet” that will co-star Bowen Yang — she said that taking time out for Cannes has recharged her artistic battery.“I’m ready to get back to work and shift that gear, and immersing yourself in other people’s creativity is a great way to kick-start it again for yourself,” she said. “So I’m enjoying the hell out of it.” More

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      Emma Stone, Jesse Plemons and Willem Dafoe on Yorgos Lanthimos’s New Film

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      In the new Yorgos Lanthimos film “Kinds of Kindness,” a character played by Emma Stone recounts a dream in which she was the denizen of a bizarre world. “There, dogs were in charge,” she murmurs. “People were animals, animals were people.” But being brought to heel by their canine masters wasn’t as bad as it sounds, she says: “I must admit, they treated us pretty well.”Compared with how the human beings treat each other in “Kinds of Kindness,” a dark new comedy that just premiered at the Cannes Film Festival and is in theaters June 21, the dogs would surely be an improvement.Comprised of three separate stories with the cast members recurring in different roles, “Kinds of Kindness” begins with the tale of Robert (Jesse Plemons), a corporate underling whose every interaction in life — including what to eat, how to speak or even who to marry — is controlled by a boss (Willem Dafoe) whose decisions send poor Robert into a tailspin. The second story follows Daniel (Plemons again), who becomes convinced that his wife (Stone) is not who she claims to be and coaxes her into insane tasks to prove herself.And in the third sequence, cult members played by Stone and Plemons search for a woman able to wake the dead, though the whims of their guru (Dafoe) dictate that this mysterious woman also be a certain height and weight and have an identical twin. (Even when it comes to awesome supernatural powers, there are dealbreakers.)Dafaoe and Stone worked on Lanthimos’s “Poor Things” together, for which she won the best actress Oscar. “I still don’t know what that was,” Stone said. “That was cuckoo bananas.”Sam Hellmann for The New York TimesOn Saturday afternoon in a hotel here in Cannes, I met with Stone, Plemons and Dafoe to try to make sense of this triptych. According to the actors, Lanthimos isn’t keen to give too much away. “Yorgos says he likes it when people have different takes on the movie,” Dafoe said. “I think that’s the strength of it.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      Dolores Rosedale, Sidekick on ‘Beat the Clock,’ Dies at 95

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      The model and actress, who went by Roxanne, had a modest role on the game show, appeared on numerous magazine covers and inspired the creation of a doll.Dolores Rosedale, a model known as Roxanne whose burst of fame in the early 1950s as the hostess of the wacky game show “Beat the Clock” led to the creation of a doll in her image and to appearances on the covers of magazines like Life and TV Guide, died on May 2 in Spring Park, Minn., near Minneapolis. She was 95.Her daughter Ann Roddy confirmed the death, at an assisted living facility.Roxanne joined “Beat the Clock” in 1950 when it made its transition to television from radio. Bud Collyer, the host, presided over the weekly program, in which contestants raced to finish stunts against time limits.Roxanne’s role didn’t require her to say much at first. She posed with the prizes and took pictures of contestants as they carried out their stunts. She later gave introductions of the contestants.Ms. Rosedale, second from left, with Bud Collyer, left, the host of “Beat the Clock.” On the show, she posed with prizes, took pictures of contestants and gave introductions.CBS, via Everett CollectionBut her poise and glamour — and, perhaps, the polka-dot ballet costume she sometimes wore — helped her break out.In 1951, she donned a costume for a Life magazine cover story about chorus girls. Inside, a photograph that identified her as the show’s “stunt mistress” showed her guiding a blindfolded Boy Scout as he tried to identify an elephant.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      Dabney Coleman, Actor Audiences Loved to Hate, Is Dead at 92

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      In movies like “9 to 5” and “Tootsie” and on TV shows like “Buffalo Bill,” he turned the portrayal of egomaniacal louts into a fine art.Dabney Coleman, an award-winning television and movie actor best known for his over-the-top portrayals of garrulous, egomaniacal characters, died on Thursday at his home in Santa Monica, Calif. He was 92.His daughter Quincy Coleman confirmed the death to The New York Times but did not cite the cause.Mr. Coleman was equally adept at comedy and drama, but he received his greatest acclaim for his comic work — notably in the 1980 movie “9 to 5,” in which he played a thoroughly despicable boss, and the 1983-84 NBC sitcom “Buffalo Bill,” in which he starred as the unscrupulous host of a television talk show in Buffalo.At a time when antiheroic leads, with the outsize exception of Carroll O’Connor’s Archie Bunker, were a rarity on television comedies, Mr. Coleman’s distinctly unlikable Bill Bittinger on “Buffalo Bill” was an exception. A profile of Mr. Coleman in Rolling Stone called Bill “a rapscallion for our times, a playfully wicked combination of G. Gordon Liddy and Groucho Marx.” (“He has to do something terrible,” Bill’s station manager said of him in one episode. “It’s in his blood.”)Mr. Coleman’s manically acerbic performance was widely praised and gained him Emmy Award nominations as best actor in a comedy in 1983 and 1984. Reviewing “Buffalo Bill” in The Times, John J. O’Connor said Mr. Coleman “manages to bring an array of unexpected colors to his performance” and called him “the kind of gifted actor who always seems to be teetering on the verge of becoming a star.” But the ratings were disappointing, and “Buffalo Bill” ran for only 26 episodes.Mr. Coleman with his co-star Geena Davis in a scene from the 1983-84 NBC sitcom “Buffalo Bill,” in which he played the unscrupulous host of a television talk show in Buffalo.Frank Connor/Stampede Productions, via Everett CollectionMr. Coleman revisited the formula in 1987 with the ABC sitcom “The ‘Slap’ Maxwell Story,” in which he played a similar character, this time an outspoken sportswriter for a struggling newspaper. He garnered another Emmy nomination for his performance and won a Golden Globe. But low ratings, this time combined with friction between Mr. Coleman and the producer Jay Tarses (who, with Tom Patchett, had created “Buffalo Bill”), led to its demise after just one season.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      Sutton Foster to Star in ‘Once Upon a Mattress’ on Broadway

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      The revival, which had an earlier run at New York City Center, is scheduled to open in August and close in November, followed by a run in Los Angeles.Sutton Foster, a classic Broadway triple threat beloved for her comedic skills and her big belt, will star this summer and fall in a Broadway revival of “Once Upon a Mattress.”The production had a brief and exuberantly received run earlier this year as part of the Encores! program at New York City Center, where the critic Elisabeth Vincentelli, writing for The New York Times, said Foster “makes a banquet of the material” and added that “Foster’s glee in taking possession of the stage creates an all-encompassing manic energy that both the audience and her scene partners feed off.”The musical, first staged in 1959, is loosely based on “The Princess and the Pea” fairy tale; Foster plays Princess Winnifred, a graceless minor royal who is a possible bride for a local prince. The role is a fun one for comedically gifted actresses — it was first played on Broadway by Carol Burnett, and then, in a 1996 revival, by Sarah Jessica Parker.The show features music by Mary Rodgers and lyrics by Marshall Barer. The original book was by Jay Thompson, Dean Fuller and Barer; the current revival is a new adaptation by Amy Sherman-Palladino (“The Marvelous Mrs. Maisel”).The revival is being directed by Lear deBessonet, who is the artistic director of the Encores! program. It is to begin previews July 31 and to open Aug. 12 at the Hudson Theater. The run is scheduled to end Nov. 30, and then to transfer to Los Angeles, where Foster will star in a four-week run, beginning Dec. 10, at Center Theater Group’s Ahmanson Theater.Foster, a two-time Tony Award winner, for “Thoroughly Modern Millie” and a revival of “Anything Goes,” just wrapped up a three-month run in a revival of “Sweeney Todd” that she began five days after ending her two-week City Center run in “Mattress.”The “Mattress” revival is being produced by Seaview (Greg Nobile and Jana Shea) and Creative Partners Productions (C. Graham Berwind III and Eleni Gianulis-Vermeer). More

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      in Theater

      Samm-Art Williams, Playwright, Producer and Actor, Dies at 78

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      He challenged racial barriers in Hollywood, was a producer of “The Fresh Prince of Bel-Air” and earned a Tony nomination for “Home,” a paean to his Southern roots.Samm-Art Williams, who made his mark in several fields — as an executive producer of the sitcom “The Fresh Prince of Bel-Air,” as an actor on both stage and screen and as a Tony-nominated playwright for “Home,” died on Monday in Burgaw, N.C. He was 78.His death was confirmed by his cousin Carol Brown. She did not cite a cause.An imposing 6-foot-8 (a lefty, he once served as a sparring partner to Muhammad Ali), Mr. Williams appeared in films including Brian De Palma’s Hitchcock homage, “Dressed to Kill” (1980), and the Coen brothers’ neo-noir, “Blood Simple” (1984). He had a memorable turn as Jim in the 1986 adaptation of “Adventures of Huckleberry Finn,” part of PBS’s “American Playhouse” series.Mr. Williams as Jim with Patrick Day in the 1986 television version of “Adventures of Huckleberry Finn.”Everett CollectionCommitted to expanding the Black presence in Hollywood, he was both a writer and an executive producer on “Fresh Prince,” the hit 1990s NBC comedy starring Will Smith as a street-smart teenager from West Philadelphia who moves in with his aunt and uncle in the moneyed hills of Los Angeles.He also served as a writer and a producer on the television shows “Martin” and “Frank’s Place.” He was nominated for two Emmy Awards — for his work as a writer on “Motown Returns to the Apollo” in 1985 and a producer of “Frank’s Place” in 1988.Raised in Burgaw, a former railroad town north of Wilmington, N.C., he moved to New York in 1973 to pursue a career in acting. It was his wistfulness for his small Southern hometown that inspired “Home,” a production of the celebrated Negro Ensemble Company that opened at the St. Marks Playhouse in Manhattan six years later before moving to Broadway.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      How ‘Back to Black’ Recreated Amy Winehouse’s Look

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      In the biopic “Back to Black,” Marisa Abela wears some of the singer’s actual clothes, but the hair and makeup team chose to tone the signature beehive down.Few looks are as distinctive as Amy Winehouse’s was. The singer’s sweeping eyeliner, tottering heels and disheveled beehive are still instantly recognizable, 13 years after her death.In the new biopic “Back to Black,” Marisa Abela plays the star from the beginning of her music career until her final days. She wears mini skirts with girlish ruffles and small kitten heels to begin with, before adopting her distinctive pinup aesthetic as she dives deeper into the music industry and her self-destructive habits.Peta Dunstall, left, the makeup and hair designer for “Back to Black,” working on Abela’s hair on set. Dean Rogers/Focus FeaturesThe film takes its title from Winehouse’s second album, and “when we get to ‘Back to Black’ Amy, it’s more sexy,” the film’s costume designer, PC Williams, said. “There was a big change in the way she presented.”To recreate this, the production team studied many real-life images of Winehouse. But there were also some intentional changes: They were making “a piece of cinema as opposed to creating a documentary,” Williams said. Here is a closer look at the process.Towering HairAbela as Amy Winehouse in “Back to Black.”Dean Rogers/Focus FeaturesThe real Amy Winehouse performing at the Riverside Studios in London 2008.Peter Macdiarmid/Getty Images for NARASWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More