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      George Shapiro, Talent Manager Who Pushed for ‘Seinfeld,’ Dies at 91

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      He left his job as an agent in the 1970s to guide the careers of Jerry Seinfeld, Carl Reiner and other comics.George Shapiro, an ebullient Hollywood talent manager who nurtured and oversaw the careers of comic personalities like Jerry Seinfeld, Andy Kaufman and Carl Reiner, died on May 26 at his home in the Beverly Hills section of Los Angeles. He was 91.His family announced the death in a statement.Mr. Shapiro was most closely associated with Mr. Seinfeld, whom he signed as a client soon after watching him perform at the Comedy Store in Los Angeles in 1980. He lobbied NBC to build a series around him and was an executive producer of the hugely popular “Seinfeld” sitcom.“He was the only person to read every draft of every episode of the series and was very critical as they went from first draft to shooting draft,” Mr. Seinfeld said in a phone interview. “He was the only one who really knew what we were doing.”He added: “The bond between George and I was, we thought show business was the greatest thing invented by man, and we couldn’t get enough.”Mr. Shapiro was also an executive producer of Mr. Seinfeld’s Netflix series, “Comedians in Cars Getting Coffee,” which is on hiatus.A schmoozer who loved to be on sets, Mr. Shapiro was a partner for more than 40 years with his childhood friend Howard West in their talent management firm Shapiro/West & Associates.As managers, they oversaw and protected their clients interests by being executive producers of various projects, including “The Last Remake of Beau Geste” (1977), starring and co-written by Marty Feldman; “Summer Rental” (1985) and “Sibling Rivalry” (1990), which Mr. Reiner directed; and two TV specials starring Mr. Kaufman.Mr. Shapiro first watched Mr. Kaufman perform at the Improv comedy club in Los Angeles in 1975 and was impressed by his bizarre, idiosyncratic act. He soon signed him and persuaded him to join the cast of the sitcom “Taxi” in 1978, despite the comedian’s reluctance.“They already had the character of Latka. And, of course, Andy did this Foreign Man character, so it was a perfect match,” Mr. Shapiro told Newsday in 1999. “Taxi,” too, was a hit.Mr. Shapiro and Mr. West were executive producers of “Man on the Moon” (1999), which starred Jim Carrey as Mr. Kaufman. (Mr. Kaufman died in 1984 at 35.) Danny DeVito, a producer of the film, played Mr. Shapiro, and Mr. Shapiro had a role as a club owner who had once fired Mr. Kaufman.Early in the film, Mr. DeVito tells Mr. Carrey, “You’re insane, but you also may be brilliant.”Mr. Shapiro’s other clients included Robert Wuhl and the producer and writer Bill Lawrence, who is known for the TV series “Spin City” and “Scrubs.”George Larry Shapiro was born on May 18, 1932, in the Bronx. His father, Ira, was a furrier. his mother, Sylvia (Lebost) Shapiro, was a social activist. George’s time at P.S. 80 in the Bronx, where he met Mr. West, was the subject of two documentaries, “The Bronx Boys,” in 2003, and “The Bronx Boys Still Playing at 80,” 10 years later.As a youngster, he loved comedies, including those made by Laurel and Hardy and Abbott and Costello. “I sat in the theater and felt like someone was tickling me,” Mr. Shapiro said in a Television Academy interview in 2007.He got a stronger whiff of show business as a teenager while working as a summer lifeguard at the Tamiment, a resort in the Poconos, where writers like Neil Simon; actors like Dick Shawn, Carol Burnett and Pat Carroll; and the director and choreographer Herb Ross created revues and other shows. Agents traveled from Manhattan to scout talent on weekends — the sort of future that appealed to Mr. Shapiro.“I said, ‘This is your job?” he said in the Television Academy interview. “To watch the show, to have a nice dinner, to come to a resort with a lake? I have to look into that.”After graduating in 1953 with a bachelor’s degree from what is now New York University’s College of Business and Public Administration, Mr. Shapiro served in the Army for two years. He considered a career in social work and sales — his older brother, Don, was a salesman in Texas and offered him a job — but got a mailroom position at the William Morris Agency in Manhattan with help from Mr. Reiner, his uncle.He was soon promoted to agent, with a salary of $38 a week, before eventually moving to the company’s Los Angeles office, where he specialized in packaging mid-1960s TV series like “Gomer Pyle — USMC” and “That Girl” with the actors, writer and directors represented by William Morris.But Mr. Shapiro disliked being responsible for so many clients, and so in 1973 he started his own management firm to focus on a few preferred ones. Mr. West, with whom he had worked at William Morris, soon joined him, and they ran Shapiro/West & Associates until Mr. West’s death in 2015.To push for a sitcom for Mr. Seinfeld, Mr. Shapiro sent numerous letters to Brandon Tartikoff, the president of NBC Entertainment. The nudging eventually led to a meeting with Mr. Tartikoff and other network executives at which Mr. Seinfeld laid down a firm rule.“Jerry made one thing clear,” Mr. Shapiro told the Television Academy. “He said, ‘I’m not going to play a shoe salesman or an accountant or a father with a job.’ And he came up with the premise of the series, that he would play himself.”In recent years, Mr. Shapiro produced “If You’re Not in the Obit, Eat Breakfast” (2017), a documentary in which Mr. Reiner talked to nonagenarians like Betty White and Dick Van Dyke, and “The Super Bob Einstein Movie” (2021), about the comic actor and writer known for his ongoing television portrayal of Super Dave Osborne, a hapless parody of a daredevil.Mr. Shapiro is survived by his former wife, Melody (Sherr) Shapiro, from whom he was divorced; his daughters, Carrie Shapiro Fuentes and Stefanie Shapiro; a son, Danny; five grandchildren; and his brother. His marriage to Diane Barnett ended with her death in 2005.Mr. Reiner’s son Rob Reiner, the actor and director, said Mr. Shapiro had been a nurturer, professionally and personally.“He loved my dad, he looked up to him — he was like a father to him,” said Mr. Reiner, whose company, Castle Rock Entertainment, produced “Seinfeld.” “George loved being around my dad, and when he started getting older, he’d come over to the house and walk him around the block. That’s the thing you need to know about George: He took care of everybody.” More

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      KK, Bollywood Singer of ’90s Hits, Dies at 53 After a Concert

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      He had just concluded a performance when he was stricken. Nicknamed “the Mesmerizer,” he recorded hundreds of songs for some of India’s biggest movie stars.NEW DELHI — Krishna Kumar Kunnath, popularly known as KK, whose mellifluous voice gave India some of Bollywood’s biggest hit songs of the 1990s and 2000s, died on Tuesday after a performance in Kolkata. He was 53.The death was confirmed by his publicist.KK had been performing in an auditorium packed with college students when, after singing his last song of the evening, cameras caught him wiping his brow as he was led offstage in a hurry.He was declared dead at a hospital soon after. The cause was not yet known, his publicist said.Krishna Kumar Kunnath was born in 1968 in Delhi into a Malayali family — a people of mixed ethnic heritage from southern India. His parents were C.S. Nair and Kunnath Kanakavalli.In college he took to rock and was a fan of Kishore Kumar, a well known Bollywood playback singer — a vocalist who dubs the songs for a movie’s lead character.After a brief stint as a marketing executive, KK, as he was called, decided to follow his passion for music. With no mentor in the competitive recording industry, he initially struggled to make a name for himself, resorting to singing at hotels to make ends meet. He broke into Bollywood in 1996 with the movie “Maachis” (“Matchstick”), about the rise of the Sikh insurgency in Punjab.As a playback singer, KK became the voice of Bollywood stars like Shah Rukh Khan, Ranbir Kapoor and Salman Khan. He recorded about 3,500 jingles in 11 languages, mostly in Hindi, and released popular albums like “Pal” (“Moment”) in 1999 and “Humsafar” (“Co-Traveler”) in 2008.With his shock of black hair and a boyish charm, KK earned the nickname “The Mesmerizer” for the way he could hold an audience under his sway with his smooth voice and easy demeanor.“When I go to a concert, I am an underdog,” he told Indian news media in 2015, “but when I walk out, I am a prince.”He sang of everything from heartbreak and sadness to love and friendship in songs like “Tadap Tadap Ke Is Dil Se Aah” (“Pining, This Heart Kept Crying Out for You”) “Bas Ek Pal” (“Just This Moment”) and “Aankhon Mein Teri” (“In Your Eyes”).Millions of young Indians took to social media after his death in an outpouring of grief.“There are some people who we have never met personally but somehow they have become an inseparable part of our lives,” one fan wrote. “KK was one such.”Cricket players, politicians, Bollywood actors, playback singers and India’s prime minister, Narendra Modi, all paid tribute on social media, and the state government of West Bengal honored KK with a gun salute.He had been singing fewer Bollywood numbers in recent years because, he said, he wanted to “rediscover” himself, telling The Times of India in 2018 that he missed “the freedom to create your own songs and music.”He is survived by his wife, Jyothi, whom he married in 1991; and two children, Nakul and Tamara.Before his performance on Tuesday, KK posted a photo on his Facebook page showing him with arms outstretched toward the audience. “Pulsating gig tonight at Nazrul Mancha. Vivekananda College!!” he wrote. “Love you all.”Dressed in jeans and a collared T-shirt and appearing much younger than his years, he shouted to the audience, “Sing along!” Waving their cellphones with the flashlights on, the audience swayed to the music.His final song was “Pyaar ke Pal” (“Moments of Love”), a favorite from the album “Pal.” The lyrics seemed prophetic:We may or may not be around, these moments will be remembered.Moments, these are moments of love, come, come along with me.Come, what are you thinking, it’s a short life.If you get tomorrow, that would be good fortune. More

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      in Television

      Marvin Josephson, Who Scored Big Deals for Stars, Dies at 95

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      He started small as a talent agent in 1955, with an unknown kiddie TV performer who would soon become Captain Kangaroo.Marvin Josephson’s beginnings as a talent agent in the mid-1950s were humble, to say the least. His main client — practically his only client then, in fact — was Bob Keeshan, the children’s television performer who, with Mr. Josephson’s help, would become known far and wide as Captain Kangaroo.It wasn’t much of a foothold, but it was enough to start a career that would make Mr. Josephson a major behind-the-scenes force representing actors, directors, authors and more. In 1977, 22 years after he started his personal management agency and two years after his thriving company established a subsidiary called International Creative Management, which became an industry giant, a newspaper headline neatly summed up his reach: “Want to Make a Million? Hire Marvin Josephson.”He died at 95 on May 17 at his home in Manhattan. His daughter Nancy Josephson said the cause was complications of pneumonia.In a field where Michael Ovitz and other super-agents became almost as famous as the people they represented, Mr. Josephson kept an aggressively low profile. In 1991, when Newsday published a profile of him, he agreed to provide a photograph to go with it only if the article specified that he had declined to be interviewed in depth for the piece.“I am not someone who believes that an agent should get lots of publicity,” he told the newspaper, about the only thing he did tell it. “As a general rule, I believe the clients deserve the attention.”As his business grew, Mr. Josephson negotiated personally on behalf of only a select few of those clients, although he was adept at doing so. The “Want to Make a Million?” article in 1977 was occasioned by an estimated $5 million deal he had just struck on behalf of Henry A. Kissinger for his memoirs. He also personally handled deals for Steve McQueen, Gen. H. Norman Schwarzkopf, Colin Powell, Margaret Thatcher and others.Mr. Josephson was equally adept at acquiring other firms, some of them much larger than his own.“He’s more sponge than agent,” a 1969 article in The Los Angeles Times began, reporting about Mr. Josephson’s acquisition of the Ashley-Famous Agency — “a case of an ant eating a lion,” as the article said.He was also skilled at anticipating public tastes. Josephson Associates, his umbrella company, represented the producers, the director (Steven Spielberg), the writer and the screenwriter of “Jaws,” the top-grossing film of 1975. And, as The New York Times reported in June 1977, the firm had high hopes for another movie, released weeks earlier, that had been written and directed by another Josephson client, George Lucas. The movie was “Star Wars.”“Marvin is clearly one of the most important people in American entertainment,” the publisher Peter Osnos told Newsday in an interview for that 1991 profile, “but unlike many of the great powers, he has managed to protect his privacy.”Marvin Josephson was born on March 6, 1927, in Atlantic City, N.J. His parents, Joseph and Eva Rivka (Rounick) Josephson, ran a dress shop.He graduated from high school in Atlantic City, served in the Navy at the close of World War II, earned a bachelor’s degree at Cornell University and, in 1952, obtained a law degree at New York University. He went on to work in the legal department at CBS.“Three years of writing contracts convinced him that the pickings would be greener if he represented talent,” as Newsday put it, and in 1955 Mr. Josephson started his own personal management company. One potential source of business, he thought, might be the broadcast journalists he had come to know at CBS: When walking in Manhattan with one or another of them, passers-by would often stop to say hello and sometimes ask for an autograph.“They thought of themselves as newsmen,” he told The Miami Herald in 1984, “but they were becoming celebrities, or stars.”Charles Collingwood, the CBS newsman, became his first client, and others followed, including Chet Huntley and, years later, Barbara Walters. Then there was his other foundational client, Mr. Keeshan.At the time, 1955, Mr. Keeshan was on a local kiddie show, “Tinker’s Workshop,” on WABC-TV in New York. Mr. Josephson wanted to move him and the show to CBS, but WABC argued that the station, not Mr. Keeshan, owned the program.“Marvin went and saw the station manager and played him beautifully,” Mr. Keeshan, who died in 2004, told Newsday in 1991. “He said to him, ‘You know that the talent isn’t important, so what if Keeshan gives you the rights to “Tinker’s Workshop” and you let him go?’ The station manager said, ‘Gee, do you think Keeshan will go for that?,’ and Marvin said, ‘Maybe.’”The deal was struck, and “Tinker’s Workshop” was soon a footnote. At CBS in October 1955, Mr. Keeshan started “Captain Kangaroo,” which became the touchstone children’s program of generations.Marvin Josephson Associates, as Mr. Josephson’s company came to be called, didn’t stop growing for decades. In 1971 the company went public and was renamed Josephson International Inc. In 1975 it established ICM Artists to represent classical musicians; Yo-Yo Ma and Itzhak Perlman were among its clients.Mr. Josephson took the company private again in 1988, and through the 1990s his subsidiaries represented countless A-list actors and writers. In the 1990s, he handed off many of his management duties to others, including his daughter Nancy. A controlling interest in the company was sold in 2005 to a private investor, Suhail Rizvi.Mr. Josephson married Ingrid Bergh in 1950. They divorced in 1970. In 1973 he married Tina Chen, who survives him. In addition to her and his daughter Nancy, who is from his first marriage, he is also survived by two other children from that marriage, Celia Josephson and Claire Josephson; two children from his marriage to Ms. Chen, YiLing Chen-Josephson and YiPei Chen-Josephson; a brother, Jack; 16 grandchildren; and two great-grandchildren. Another son, Joseph, from his first marriage, died. More

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      in Music

      Ronnie Hawkins, Rockabilly Road Warrior, Is Dead at 87

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      Besides performing, he mentored other musicians, including stars like Robbie Robertson, Levon Helm and Rick Danko, who went on to form the Band.Ronnie Hawkins, who combined the gregarious stage presence of a natural showman and a commitment to turbocharged rockabilly music in a rowdy career that spanned more than a half-century, died on Sunday. He was 87.His daughter Leah confirmed his death. She did not specify where he died or the cause, though she said he had been quite ill.Mr. Hawkins started performing in his native Arkansas in the late 1950s and became a legendary roadhouse entertainer based in Canada in the 1960s, his music forever rooted in the primal rock ‘n’ roll rhythms of Bo Diddley and Chuck Berry.For all of his success, his biggest claim to fame was not the music he produced but the musicians he attracted and mentored. His backup musicians of the early 1960s, Levon Helm, Robbie Robertson, Garth Hudson, Richard Manuel and Rick Danko, went on to form the Band, which backed Bob Dylan and became one of the most admired and influential bands in rock history.But those musicians, like many of Mr. Hawkins’s fans, never lost their reverence for the man known as the Hawk.“Ronnie’s whole style,” Mr. Robertson once said, was for he and his band to play “faster and more violent and explosive than anyone had ever heard before.”Ronald Cornett Hawkins was born on Jan. 10, 1935, two days after Elvis Presley, in Huntsville, Ark. When he was 9, his family moved to nearby Fayetteville, where his father, Jasper, opened a barbershop and his mother, Flora, taught school. His musical education began at the barbershop where a shoeshine boy named Buddy Hayes had a blues band that rehearsed with a piano player named Little Joe.It was there that he began to imbibe the crazy quilt music of the South, with blues and jazz filtered through snatches of country and the minstrel and medicine shows that traveled through town. Before long, something new was added, the beginnings of rock ‘n’ roll, which was percolating out of Sam Phillips’s Sun Records studio in Memphis.Mr. Hawkins brought to all that an element of danger — as a teenager, he had driven a souped-up Model A Ford running bootleg whiskey from Missouri to the dry counties of Oklahoma, making as much as $300 a day.He put together bands, enrolled in and dropped out of the University of Arkansas, joined the Army in 1957 and then quit the same year, intent on making it in the music business. While in the Army, he fronted a rock ‘n’ roll band, the Black Hawks, made up of African American musicians, a daring and usually welcome effort in the segregated South.Demos he recorded at Sun after he left the Army fell flat, but he and the guitarist on his Sun session, Luke Paulman, put together a band with Mr. Hawkins as the athletic frontman given to backflips and handstands. Over the years, his trademark became the camel walk, an early version of what became Michael Jackson’s moonwalk decades later.In 1958, the country music singer Conway Twitty said American rock ‘n’ roll bands could make a killing in Canada. Heeding that advice, Mr. Hawkins moved to a place he once said was “as cold as an accountant’s heart.” Toronto and other places in Ontario turned into his home base for the rest of his career.Mr. Hawkins in the 1970s. While he was known for performing in roadhouses, he also appeared in movies, including the disastrous 1980 western “Heaven’s Gate.”Michael Ochs Archives/Getty ImagesMr. Hawkins liked to talk, perhaps with some embellishment, about regular parties, brawling, sex and drinking that, as he put it, “Nero would have been ashamed of.” But there was nothing glamorous about being a rock ‘n’ roll musician playing nonstop in bars and roadhouses on a circuit centered on Ontario, Quebec and U.S. cities like Buffalo, Detroit and Cleveland.“When I started playing rock ‘n’ roll,” he said, “you were two pay grades below a prisoner of war.”He built up a loyal following based on his magnetic stage presence, the proficiency of his bands and the raw energy of his music. He had modest hits with “Forty Days,” his revised version of Chuck Berry’s “Thirty Days,” and “Mary Lou,” a Top 30 hit on the U.S. charts.Later successful recordings include “Who Do You Love?” and “Hey Bo Diddley.”Morris Levy of Mr. Hawkins’s label, Roulette Records, billed him as someone who “moved better than Elvis, he looked better than Elvis and he sang better than Elvis.” He saw a vacuum he thought Mr. Hawkins could fill as the original rockabilly artists slowed down or flamed out. But Mr. Hawkins was not so sure, as he watched clean-cut teen idols like Frankie Avalon, Fabian and Bobby Rydell take over from their more rough-hewed progenitors.To Mr. Levy’s chagrin, Mr. Hawkins opted to own the road in Canada rather than to swing for the fences as a recording star in the U.S., building up a remunerative career working nonstop, even though he never built an epic recording career. He also became known as a one-of-a-kind character and raconteur.“The Hawk had been to college and could quote Shakespeare when he was in the mood,” Mr. Helm wrote in his autobiography, “This Wheel’s on Fire.” “He was also the most vulgar and outrageous rockabilly character I’ve ever met in my life. He’d say and do anything to shock you.”Mr. Hawkins was more than just the consummate rockabilly road warrior. In 1969, he hosted John Lennon and Yoko Ono at his ranch outside Toronto during their world tour to promote world peace as the Plastic Ono Band. Bob Dylan was a longtime fan who in 1975 cast Mr. Hawkins to play the role of “Bob Dylan” in his experimental and largely panned movie “Renaldo and Clara.”Mr. Hawkins in an undated photo. He started performing in his native Arkansas in the late 1950s before settling in Canada in the 1960s.Michael Ochs Archives / StringerHe also appeared in Martin Scorsese’s 1978 concert film “The Last Waltz,” as one of the invited stars who joined the Band in the final performance of the original group at Winterland Ballroom in San Francisco on Thanksgiving Day in 1976. (The Band later reunited without Mr. Robertson.)Mr. Hawkins growled and hollered his way through a memorable performance of “Who Do You Love” with the Band, good-naturedly fanning Mr. Robertson’s guitar with his cowboy hat as if cooling it off after a particularly torrid solo.And he became a friend of his fellow Arkansan Bill Clinton when he was governor, as well as a conspicuous part of the Arkansas entourage during President Clinton’s Inaugural in 1992. Mr. Clinton also paid tribute to Mr. Hawkins in a 2004 documentary titled “Ronnie Hawkins Still Alive and Kickin’.’’Mr. Hawkins did other acting, including a supporting role in Michael Cimino’s disastrous 1980 western “Heaven’s Gate,” and he morphed into a respected elder statesman of Canadian music. He invested wisely, lived like a country squire in a sprawling lakefront estate and owned several businesses.Still, he was a master of honing his bad-boy image and playing to type, including in his 1989 autobiography, “Last of the Good Ol’ Boys.”“Ninety percent of what I made went to women, whiskey, drugs and cars,” he said. “I guess I just wasted the other 10 percent.”Besides his daughter Leah, survivors include his wife, Wanda, and two other children, Ronnie Jr. and Robin, and four grandchildren.Livia Albeck-Ripka contributed reporting. More

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      Heddy Honigmann, Whose Films Told of Loss and Love, Dies at 70

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      A documentarian, she liked to engage her subjects — Parisian subway buskers, Peruvian taxi drivers, survivors of genocide — in conversations.Heddy Honigmann, the Peruvian-born Dutch filmmaker whose humane and gently paced documentaries of Parisian subway buskers, Peruvian taxi drivers, disabled people and their service dogs, Dutch peacekeepers and the widows of men who had been murdered in a tiny village near Sarajevo, were stories of loss, trauma and exile — and the sustaining forces of art and love — died on May 21 at her home in Amsterdam. She was 70.Jannet Honigmann, her sister, confirmed the death. She said Ms. Honigmann had been ill with cancer and multiple sclerosis.In the economic chaos of Peru in the 1990s, when the government nearly bankrupted the country and inflation soared, many middle-class people began moonlighting as taxi drivers, slapping a “Taxi” sticker on their Volkswagen Beetles or battered Nissans to signal that they were on call.Ms. Honigmann collected their histories in the 1995 film “Metal and Melancholy,” riding in the back seat of more than a dozen cabs whose drivers included a teacher, a police officer, an actor and an employee at the Ministry of Justice. (She took more than 120 taxi rides to find her subjects.)The stories that unspooled included a devastating tale from a man whose 5-year-old daughter had leukemia and who was driving to pay for her costly medical care. When he tells Ms. Honigmann that he encourages his daughter, whom he describes as a fighter, by saying “Life is hard, but beautiful,” it’s a maxim not just for this film but for all of Ms. Honigmann’s work.In “The Underground Orchestra” (1999), musicians busking in the Paris metro — including a disc jockey from Zaire who has escaped a forced labor camp and an Argentine pianist whose torture at the hands of his government nearly destroyed his hands — describe the refugee odysseys that have brought them there. Stephen Holden of The New York Times called it “an open-ended celebration of human tenacity and life force that builds up a compelling personal vision in an offhanded, roundabout way.”Ms. Honigmann rode in the back seat of more than a dozen cabs to collect the stories of cabdrivers in Lima, Peru, for her film “Metal and Melancholy” (1995).Icarus FilmsDespite stories of terrible trauma, the movie is also a celebration of the culture these artists have left behind — a “world-music primer,” as Mr. Holden put it, “featuring some astonishingly beautiful sounds.”The cultural critic Wesley Morris, in his Times review of “Buddy,” Ms. Honigmann’s 2019 film about people with disabilities and their service dogs, called Ms. Honigmann a humanist who “listens to the ignored, sympathizes with the lonely and can ask questions so leading that when her subjects give her a skeptical look before trying to answer, she has to laugh, almost out of embarrassment.”But she was more of a gentle interlocutor than an insistent interrogator. There were no narrators in her films, no propulsive music or quick cuts to tell viewers how to experience what they were seeing. Her pacing was almost languid; she allowed her subjects to tell their stories in their own way and in their own time. And she hated the word “interview.”“‘Interviews were for subjects,’ she would say,” said Ester Gould, who was a co-writer, researcher and assistant producer on many of Ms. Honigmann’s films. “‘I have conversations with people.’”In an interview at the Walker Art Center in Minneapolis in 2002, Ms. Honigmann said: “I think the only rule for me is that when I hear the stories, if they keep my attention, they will also keep the attention of the spectators.” She added: “I lost myself in conversations. And conversations, if they are interesting, they are never boring.”Ms. Honigmann was primarily a documentarian, but she also made narrative films — notably “Goodbye” (1995), about the doomed, highly charged affair between a young preschool teacher and a married man.In “O Amor Natural” (1997), Ms Honigmann invited older Brazilians to read aloud the erotic poetry of the Brazilian poet Carlos Drummond de Andrade, all of which had been published after his death in 1987 because he worried that they would be seen as pornographic. Ms. Honigmann’s readers took to their roles with gusto and often confided their own erotic histories. Graphic, sensual, tender and at times very funny, the film is a rumination on desire, memory and age.In “O Amor Natural” (1997), Ms Honigmann invited older Brazilians to read aloud the erotic poetry of the Brazilian poet Carlos Drummond de Andrade.Film ForumMs. Honigmann’s films have won awards at film festivals all over the world and been shown in retrospectives at the Walker Art Center, the Museum of Modern Art in New York City and the Paris Film Festival, among other venues.In 2013 she was given the Living Legend Award at the International Documentary Film Festival Amsterdam. Yet she may be the most famous filmmaker Americans have never heard of, according to Karen Cooper, the longtime director of Film Forum in New York, which has presented the premieres of many of Ms. Honigmann’s movies.“As Americans, we live in a bubble in terms of film, because Hollywood is so dominant that documentary filmmakers don’t get the same kind of attention that narrative fiction film receives,” Ms. Cooper said in an interview. “In this country, among documentary filmmakers, Heddy was a star. In Europe, she was a superstar. In the Netherlands, she’s a national treasure.”Heddy Ena Honigmann Pach was born on Oct. 1, 1951, in Lima, Peru. Her parents were European Jewish refugees.Her father, Witold Honigmann Weiss, an artist and illustrator who created a popular comic strip, was born in Vienna and had been interned at the Mauthausen concentration camp in Austria before he escaped in 1942, making his way to Peru by way of Russia and Italy. Her mother, Sarah Pach Miller, an actress and homemaker, had left Poland with her family for Peru in 1939. (In Peru, it is the custom to use the surnames of both parents. Heddy dropped the name Pach as a filmmaker.)Heddy studied biology and literature at the Pontificia Universidad Católica del Perú in Lima. Her father wanted her to be a doctor. She first wanted to be a poet — she loved Emily Dickinson — but decided filmmaking was a better medium for her. She left Peru to study at the Centro Sperimentale di Cinematografia in Rome, and she did not return to her home country for nearly two decades.An early marriage in Lima to Gustavo Riofrio ended in divorce. In the 1970s she married Frans van de Staak, a Dutch filmmaker she met in Rome, and the couple moved to Amsterdam; she became a Dutch citizen in 1978. Their marriage also ended in divorce.In addition to her sister, she is survived by her son, Stefan van de Staak; her husband, Henk Timmermans; and her stepson, Jaap Timmermans.Ms. Honigmann’s film “Good Husband, Dear Son” (2001), told of the women left behind in the village of Ahatovici, just outside Sarajevo, after Bosnian Serb forces killed the men there. Pieter Van Huystee FilmOne of Ms. Honigmann’s most harrowing films was “Good Husband, Dear Son” (2001), about the women left behind in the village of Ahatovici, just outside Sarajevo, after Bosnian Serb forces had murdered the men and burned the place to the ground in 1992. Ms. Honigmann captured the women’s loss by drawing out their memories of their loved ones, and by showing the photographs and belongings the women had saved as mementos.She said she tried to show that the most terrible thing about war is not the numbers of the dead, which she called an abstraction: “The catastrophe is, for instance, seeing that a whole town has lost all the craftsmen, that people who were in love were separated forever, that children who loved to play football and loved music cannot hear it anymore.”“When you are born from immigrants you are educated in melancholy,” Ms. Honigmann said in her 2002 talk at the Walker Center. “You hear all the time of stories of people leaving. That’s in my films. People are left, or they are leaving, or losing their memory.”When Michael Tortorello, her interviewer, asked her what her life might have been like if she had stayed in Peru, she answered promptly: “I would have a been a taxi driver.” More

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      Alan White, Who Drummed With Yes and Ex-Beatles, Dies at 72

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      The invitation to perform with John Lennon, which he thought was a joke, led to almost 50 years with one of progressive rock’s foremost bands.Alan White, a seasoned rock drummer who had worked with two former Beatles by the time he turned 21, but who was best known for his long tenure with the pioneering British progressive-rock band Yes, died on Thursday at his home in the Seattle area. He was 72.His death was announced by his family. The announcement did not specify a cause, saying only that he died “after a brief illness.”News of Mr. White’s death came just days after Yes announced that he would not be taking part in the band’s upcoming tour of Britain, which begins on June 13. He had been a member of Yes since 1972, but, the band noted in a statement, “a number of health setbacks” had restricted his time onstage since 2016, with Jay Schellen doing most of the drumming and Mr. White joining the band late in each set.Alan White was born in Pelton, County Durham, England, on June 14, 1949, to Raymond and May (Thrower) White. He began playing the drums when he was 12. He first played professionally the next year, and went on to work with a number of British groups throughout the 1960s.In September 1969, John Lennon, who had heard him with one of those groups, called Mr. White and asked him to join the band he was putting together for a concert in Toronto.As Mr. White told interviewers over the years, he assumed the call was a prank and hung up. Lennon called back, Mr. White was convinced he was who he said he was and he was soon on his way to Canada as a member of the Plastic Ono Band, which also included Yoko Ono, Eric Clapton and Klaus Voormann.The Toronto concert, one of only two that the band would play (the second was a charity concert in London that December), was a memorable one, marking Lennon’s return to the stage after a long absence and yielding the hit album “Live Peace in Toronto.” Mr. White subsequently recorded with Lennon on the single “Instant Karma” and on several tracks of the album “Imagine,” including the title cut, which, like “Instant Karma,” was a Top 10 hit.Mr. White also recorded with another former Beatle, George Harrison, on sessions for Harrison’s first solo album, “All Things Must Pass.”Following those recordings, as well as work backing Joe Cocker and others and a brief stint as one of several percussionists with his fellow drummer Ginger Baker’s band, he was invited in 1972 to join Yes after the band’s original drummer, Bill Bruford, left to join another leading progressive-rock band, King Crimson.Mr. White worked with two former Beatles, John Lennon and George Harrison, before he was 21.Dean Rutz/The Seattle Times, via Associated PressYes’s music, like that of other bands in the so-called prog-rock movement, was more complex and challenging than standard rock ’n’ roll. But Mr. White had only three days to learn the band’s repertoire before a concert in Dallas — and, he later recalled, when he met with the band’s singer, Jon Anderson, and its bassist, Chris Squire, they told him that if he didn’t agree to join the band “they were going to throw me out the third-story window.” He agreed, he learned the music and his long association with Yes began.Yes underwent numerous changes in both personnel and style over the years, notably adopting a more straightforward pop sound for the album “90125” and the single “Owner of a Lonely Heart,” which became a No. 1 hit in 1983. Mr. White and Mr. Squire were the band’s only constant presences until Mr. Squire’s death in 2015.Mr. White performing with Yes at Madison Square Garden in 1978. He was on every one of the band’s albums from 1973 until last year.Michael Putland/Getty ImagesMr. White, who also helped write a number of the band’s songs, was first heard with Yes on a few tracks of the live album “Yessongs” (1973) and, a year later, on the studio album “Tales From Topographic Oceans.” He was on every subsequent album through “The Quest,” released last year.Yes was inducted into the Rock & Roll Hall of Fame in 2017.Mr. White is survived by his wife of 40 years, Rogena (Walberg) White; a son, Jesse; a daughter, Cassi; and two grandchildren. More

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      Andy Fletcher, a Founder of Depeche Mode, Dies at 60

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      With three others, he created the band in 1980 and rode its synthesizer-driven music to worldwide fame.Andy Fletcher, who played synthesizers in Depeche Mode, the electronics-heavy British band that developed a huge fan following and sold millions of records in the 1980s and ’90s, has died. He was 60.The band announced his death on Thursday on Twitter. The announcement did not specify where he died or give a cause. An unidentified source close to the band told The Associated Press that he died on Thursday at his home in Britain.Mr. Fletcher formed Depeche Mode in 1980 in Basildon, east of London, with his fellow synthesizer players Vince Clarke and Martin Gore and the vocalist Dave Gahan. Mr. Clarke left after the group’s first album, “Speak & Spell,” was released in 1981, Alan Wilder filled the spot, and Mr. Gore took over from Mr. Clarke as the group’s main songwriter. The band started to veer away from pop and toward the darker, more serious music that it rode to worldwide fame over the next two decades.Critics at first often didn’t fully appreciate the appeal of the synthesizer-dominated act.“Consisting of four young men, three synthesizers and a tape recorder playing prerecorded rhythm tracks, Depeche Mode makes gloomy merry-go-round music with a danceable beat,” Stephen Holden wrote in an unenthusiastic review in The New York Times of a 1982 performance at the Ritz in New York.Fans, though, latched on, and by the end of the 1990s the group had landed dozens of singles on the British charts — “People Are People” (1984) and “Personal Jesus” (1989) were among the more successful, also charting in the United States — and it was filling big arenas.Onstage, Mr. Fletcher was the least flashy member of the group. And he was self-deprecating about his role.“Martin’s the songwriter, Alan’s the good musician, Dave’s the vocalist, and I bum around,” he said in “Depeche Mode: 101,” a 1989 documentary.But Michael Pagnotta, a SiriusXM Volume host who for much of the 1990s was the band’s publicist, said that offstage, Mr. Fletcher was the glue that held the band together, eager to promote it, keeping track of business and financial matters and often serving as the first point of contact when a tour brought it to a new city.“Andy Fletcher was the heart of Depeche Mode,” Mr. Pagnotta said in a statement. “A true believer in the band and their music. His keen musical and business instincts helped Depeche become one of the most popular and influential bands of their generation and helped carry them all the way to the Rock & Roll Hall of Fame. Not bad for a boy from Basildon.”Depeche Mode, with David Gahan on vocals and Mr. Fletcher on keyboards, at Madison Square Garden in New York in 2005. The least flashy member of the group, Mr. Fletcher once said on his three bandmates, “Martin’s the songwriter, Alan’s the good musician, Dave’s the vocalist, and I bum around.”Judith Levitt for The New York TimesThat Hall of Fame induction came in 2020, the band having first been nominated in 2017 — a nomination that Mr. Fletcher never expected, since an electronic band didn’t fit the guitar-and-drums model that traditionally defined rock ’n’ roll.“To be honest, we were surprised,” he said of the initial nomination in a 2017 interview with The Associated Press. “We never aimed to be in it. We think, ‘An electronic band in the rock ‘n’ roll hall?’”Andrew Fletcher was born on July 8, 1961, in Nottingham, England, and, like the band’s other founders, grew up in a working-class family in Basildon. He and Mr. Clarke met when both were in the Boys’ Brigade, a Christian youth organization. They formed a band, Composition of Sound, in 1980 and soon invited another acquaintance, Mr. Gore, to join because, as Mr. Gore put it later, he was “one of the few people in Basildon who had a synthesizer.”Later that year Mr. Gahan joined as featured vocalist, bringing a sense of style and a new name, Depeche Mode. Daniel Miller of Mute Records signed the group, and its popularity began to grow, not only in England but also in East and West Germany and other countries.“Violator,” one of the band’s most successful albums, came out in 1989, and, riding its popularity, Depeche Mode played Radio City Music Hall in Manhattan the next year.“The band’s music, made by synthesizers, is loud washes of sound driven by a dance beat,” Peter Watrous wrote in The Times. “Jet engines roar. Cliffs collapse, dams break. An occasional guitar peeps out from behind the wreckage. All is magnified, and the dance beat, occasionally influenced by house music and hip-hop, continues.“At Radio City, the audience stood during the whole show and constantly had to be kept from dancing in the aisles.”In 2017 the group released its 14th studio album, “Spirit.”Mr. Fletcher’s survivors include his wife, Gráinne Mullan, and their children, Megan and Joe. More

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      Colin Cantwell, ‘Star Wars’ Spacecraft Designer, Dies at 90

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      He created the look of the X-wing and the Death Star; he also worked on “2001: A Space Odyssey,” “Close Encounters of the Third Kind” and “WarGames.”Colin Cantwell, an animator, conceptual artist and computer expert who played significant production roles in seminal science fiction films like “2001: A Space Odyssey, “Star Wars” and “WarGames,” died on May 21 at his home in Colorado Springs, Colo. He was 90.His partner, Sierra Dall, said the cause was dementia.Mr. Cantwell’s work on several influential movies reached its peak with “Star Wars,” George Lucas’s hugely successful space opera. To impress Mr. Lucas, Mr. Cantwell built two elaborate steampunk-like spacecraft models from parts he had culled from dozens of hobbyist’s kits. He got the job before Mr. Lucas had found a studio.Mr. Cantwell produced the original designs for spacecraft familiar to fans of “Star Wars” (later retitled “Star Wars, Episode IV — A New Hope”): the X-wing, the Rebel Alliance’s starfighter; the TIE fighter, part of the Galactic Empire’s imperial fleet; the wedge-shaped Imperial Star Destroyer; the cockpit for the Millennium Falcon; and the Death Star, the Empire’s enormous battle station, with a weapon capable of destroying a planet.“Colin’s imagination and creativity were apparent from the get-go,” Mr. Lucas said in a tribute on a Lucasfilm “Star Wars” website, adding, “His artistry helped me build out the visual foundation for so many ships that are instantly recognizable today.”Describing the design of the X-wing, Mr. Cantwell said in an interview on Reddit in 2016: “It had to be ultracool and different from all the other associations with aircraft, etc. In other words, it had to be alien and fit in with the rest of the story.” He got the original concept, he said, from “a dart being thrown at a target in a British pub.”His original design of the Death Star did not include the meridian trench. But as he created the model, he realized that it would be easier to include it. And it turned out to be critical to the design: In the film, the trench contains a thermal exhaust port that proves to be the source of the Death Star’s destruction.Gene Kozicki, a visual effects historian and archivist, said that Mr. Cantwell was most likely the first person Mr. Lucas hired to design the spaceships.“George had some rough shapes in mind for the ships that would make you know these are the good guys and these are the bad guys, but the details were left to Colin to work out,” he said in a phone interview. “All his designs evolved; it was all a group effort, but Colin was the godfather of the models.”In an interview with the Original Prop Blog in 2014, Mr. Cantwell described his interplay with Mr. Lucas.“He would say, ‘Oh, I want an Imperial battle cruiser,’ and I’d say, ‘What scenes do you want to shoot with it and how big is it?’” Mr. Cantwell said. “He said, ‘Really big,’ and I’d say, ‘Is it bigger than Burbank?’”An X-wing starfighter, one of the spacecraft Mr. Cantwell designed for “Star Wars,” on display at the California Science Center in Los Angeles.Stephen Osman/Los Angeles Times via Getty ImagesColin James Cantwell was born on April 3, 1932, in San Francisco. His father, James, was a graphic artist, and his mother, Fanny (Hanula) Cantwell, was a riveter during World War II.As a child, Colin was fascinated by outer space but could not go anywhere for two years: After he was diagnosed with tuberculosis, his treatment involved being forced to sit immobilized in a dark room with a heavy vest across his chest to prevent coughing fits.“Suffice to say, nothing could slow me down after that!” he wrote on Reddit.He studied animation at the University of California, Los Angeles, where he received a bachelor’s degree in applied arts in 1957. A love of architecture led him to create building designs that he personally showed to Frank Lloyd Wright, who was impressed enough that Mr. Cantwell was invited to study at Wright’s school of architecture in Arizona. Mr. Cantwell was accepted, but when Wright died in 1959, he decided not to proceed.“Colin had no interest in working with any other architect,” Ms. Dall said in a phone interview, “so that ended his architectural career.”In the 1960s, Mr. Cantwell was a contract worker for NASA’s Jet Propulsion Laboratory, developing programs to educate the public about early space missions, and for Graphic Films in Los Angeles, which made live-action and animated films for NASA, the U.S. Air Force and industry clients. Douglas Trumbull, who died this year, had worked at Graphic Films before being hired by the director Stanley Kubrick for “2001.”Mr. Trumbull became a special photographic effects supervisor on “2001,” and Mr. Cantwell joined the crew from Graphic Films in 1967, during the last six months of its production. He organized 24-hour shifts of animation to complete the film’s animation, according to “Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece” (2018), by Michael Benson. Mr. Cantwell also produced some of the movie’s space sequences, suggested different camera angles to depict the arrival of a shuttle on the film’s space station, and worked with Mr. Trumbull to depict Jupiter’s moons.And, Mr. Benson wrote, Mr. Cantwell’s conversations with Kubrick about Ingmar Bergman’s filmmaking led Mr. Cantwell to produce a tightly symmetrical animated shot that appeared in the “Dawn of Man” sequence early in the film: a low-angle view of the mysterious black monolith on Earth, with clouds beyond it, the sun rising and a crescent moon above.For “Close Encounters of the Third Kind” (1977), Mr. Cantwell contributed technical dialogue and created early computer-generated imagery of unidentified flying objects strafing the landing site at Devils Tower in Wyoming, for a sequence late in the film. His U.F.O. imagery did not make it into the film — Steven Spielberg, the director, relied instead on old-fashioned special effects technology created by Mr. Trumbull — but the subject of U.F.O.s intrigued Mr. Cantwell, who claimed to have once been part of a group that witnessed a mysterious object in the night sky.In a provenance letter for an auction of his artifacts and memorabilia in 2014, he described the experience: “A silent intense light rose in the east, climbing to our zenith where, instantly doubling in brightness, it launched straight upward.”Mr. Cantwell worked on two other movie projects after “Close Encounters” and “Star Wars”: “Buck Rogers in the 25th Century” (1979) and “WarGames” (1983). For “Buck Rogers,” he created a system that let animators simulate spacecraft movements as they designed space battles.“Colin’s imagination and creativity were apparent from the get-go,” George Lucas said of Mr. Cantwell.Sierra DallHe also worked as a computer consultant for Hewlett-Packard, where he helped develop the first color display systems for desktop computers. He and a team working on “WarGames” used the company’s computers to create the graphics — projected on giant screens at the North American Aerospace Defense Command facility — that appeared to show a massive nuclear attack by the Soviet Union against the United States.Mr. Cantwell also wrote two science fiction books, “CoreFires” (2016) and “CoreFires2” (2018), about what happens to humanity after it has colonized the galaxy.Ms. Dall is his only immediate survivor.A year after the release of “2001,” Mr. Cantwell played a role in the reality of space exploration. As a liaison between NASA and CBS News, he sat a few feet from the anchorman Walter Cronkite, feeding him information, during the moon landing of Apollo 11 on July 20, 1969.“Halfway through the final descent, I alerted Walter to my detection of an orbit change that would consume more fuel, but allow coasting a little further than the planned target,” Mr. Cantwell told Reddit. “When the other TV stations had the ship landed according to their NASA manual, I determined that the Apollo had not yet landed. This was later confirmed that I had the accurate version of landing.” More