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    Brandon Lee and Other Deaths on Set

    Accidents on sets have resulted in numerous deaths and injuries over the years, some bringing about lawsuits or changes in safety guidelines.Behind the magic of movies and television are actors and props, crew members, stunt performers and a sometimes dangerous set of circumstances for the people filming scenes.On Thursday, the potential danger on some sets made news around the world, after the actor Alec Baldwin discharged a gun that was used as a prop on the set of a western in New Mexico, killing the film’s director of photography and wounding the movie’s director.The authorities said the shooting took place in the middle of a scene that was either being rehearsed or filmed. Many other details of what happened remained unclear on Friday.Accidents on movie and television sets, like stuntmen and stuntwomen being injured during action sequences or actors getting killed when props malfunction, have occurred with some regularity over the last several decades. There have been at least 194 serious television- and film-set accidents in the United States from 1990 to 2014, and at least 43 deaths, according to The Associated Press.Here’s a partial list of set accidents from recent history.‘Twilight Zone: The Movie’The actor Vic Morrow on the set of the ABC series “Combat!”Moviestore Collection Ltd / Alamy Stock PhotoA helicopter crash on the Los Angeles set of the “Twilight Zone” movie killed the actor Vic Morrow and two child actors, Renee Shinn Chen and My-ca Dinh Lee, in July 1982.The tail rotor of the helicopter was hit by debris from explosives detonated in a scene depicting the Vietnam War. The main rotor of the helicopter struck and killed Mr. Morrow and the children as the aircraft pitched into a river on the set.The film’s director, John Landis, was charged with involuntary manslaughter in connection with the deaths, as were with four other members of the film crew, including the helicopter pilot. After a trial that lasted nearly a year and nine days of deliberation by a jury, all five were acquitted in May 1987. In the aftermath of the accident, the Directors Guild of America created a safety committee to put in place safety guidelines.‘Cover Up’Jon-Erik Hexum in “Cover Up,” a CBS detective action television series, in 1984.CBS, via Getty ImagesThe actor Jon-Erik Hexum accidentally shot himself in the head while playing Russian roulette on the set of the television series “Cover Up” in October 1984.Mr. Hexum, 26, had loaded three empty cartridges and two gunpowder-filled blanks into a high-powered handgun before firing the gun, according to a detective on the case.Mr. Hexum sustained a fractured skull and underwent five hours of surgery. He died several days later. The police ruled the shooting an accident.‘The Crow’Brandon Lee in “The Crow.”Allstar Picture Library Ltd. / Alamy Stock PhotoBrandon Lee, an actor and the son of the martial-arts star Bruce Lee, died in March 1993 during the filming of “The Crow,” after being shot at with a gun that was supposed to fire blank cartridges.The tip of a .44-caliber bullet had become lodged in the gun’s barrel in filming a close-up scene, and dislodged when a blank cartridge was fired. The bullet pierced Mr. Lee’s abdomen, damaging several organs and lodging in his spine.Mr. Lee, 28, was the star of the film, about a rock musician who is killed by a street gang and then comes back to life with supernatural powers.An executive producer of the movie said at the time that when a blank is fired, a piece of soft wadding normally comes out of the gun, but in this instance, a metallic projectile came out. A police investigation into the shooting found no evidence of criminal wrongdoing and no charges were filed.‘Midnight Rider’Richard and Elizabeth Jones at a memorial for their daughter, Sarah Jones, who was killed in 2014 by a train while shooting the film “Midnight Rider.”David Mcnew/Getty ImagesSarah Jones, a camera assistant, died on the set of the independent film “Midnight Rider,” about the musician Gregg Allman, in Georgia in February 2014. Ms. Jones was killed while helping prepare a shot that involved placing a bed across the tracks of a CSX railroad line.After two trains passed, crew members on the film believed they would have a safe interval to get the shot, part of a planned dream sequence. But a third train appeared, moving at high speed through the set, killing Ms. Jones and injuring others.Later that year, the family of Ms. Jones reached a settlement with 11 defendants in a lawsuit over her death. The terms of the settlement were not disclosed. In 2015, the film’s director, Randall Miller, pleaded guilty to involuntary manslaughter and served a year in jail. He was also sentenced to 10 years of probation.‘Resident Evil: The Final Chapter’Olivia Jackson, a stuntwoman for the actor Milla Jovovich, was severely injured while filming a sequence for “Resident Evil: The Final Chapter” in South Africa in September 2015. While riding a motorcycle, Ms. Jackson collided with a piece of camera equipment, according to Deadline.The accident nearly killed Ms. Jackson, leaving her with multiple injuries including disfigurement, several nerves torn out of her spinal cord and a partly amputated left arm.In April 2020, the High Court in South Africa ruled in favor of Ms. Jackson and against a company involved in the movie.Two months after Ms. Jackson was injured, another crew member, Ricardo Cornelius, died after a Humvee slid off a rotating platform and crushed him against a wall, Deadline reported.‘The Walking Dead’A scene from “The Walking Dead” featuring, from left, Andrew Lincoln, Danai Gurira and Melissa Ponzio.Gene Page/AMC , via Associated PressJohn Bernecker, a stuntman for AMC’s “The Walking Dead,” died in July 2017 after falling on a balcony set in Georgia.Mr. Bernecker, who had been an active stuntman since at least 2009 and had appeared in films such as “Get Out” and “The Fate of the Furious,” died of blunt-force trauma, a coroner said. Production of the show’s eighth season was temporarily shut down after the accident.Mr. Bernecker’s family filed a wrongful-death lawsuit in early 2018 against AMC Networks, the production company Stalwart Films and other parties in Georgia, claiming they had failed to make the show with appropriate safety measures. The suit claimed that some fall protection was in place but that airbags and spotters were not used, and that the padding did not fully cover the area below the fall. Mr. Bernecker landed on his head or shoulder area.In December 2019, a jury found AMC Networks not to be negligent but awarded more than $8 million in civil damages. The Georgia Court of Appeals overturned the decision in March 2021.‘Deadpool 2’A woman was killed while attempting a stunt on a motorcycle on the set of “Deadpool 2” in Vancouver, British Columbia, in August 2017. The woman, Joi Harris, was acting in her first film as a stuntwoman, according to Deadline.Ms. Harris, 40, had worked as a motorcycle racer before joining the crew of the film, and was serving as a stunt double for the actor Zazie Beetz. More

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    How Hans Zimmer Conjured the Otherworldly Sounds of ‘Dune’

    The composer worked with a far-flung “band” of collaborators who sung, scraped metal, invented instruments and more for the score.When the composer Hans Zimmer was approached to score “Dune,” the new movie adaptation of Frank Herbert’s epic sci-fi novel, he knew one thing absolutely: It would not sound like “Star Wars.” Musically, those films drew on influences that ranged from Holst and Stravinsky to classic movie scores of the ’30s and ’40s. Even the rollicking tune performed by the bug-eyed creatures in the Cantina was inspired by Benny Goodman.For “Dune,” by contrast, Zimmer wanted to conjure sounds that nobody had ever heard before.“I felt like there was a freedom to get away from a Western orchestra,” he said recently, speaking in the Warner Bros. offices overlooking Hudson Yards in New York. “I can spend days making up sounds.”The resulting soundtrack might be one of Zimmer’s most unorthodox and most provocative. Along with synthesizers, you can hear scraping metal, Indian bamboo flutes, Irish whistles, a juddering drum phrase that Zimmer calls an “anti-groove,” seismic rumbles of distorted guitar, a war horn that is actually a cello and singing that defies Western musical notation — just to name a few of its disparate elements.The score combines the gigantic, chest-thumping sound of Zimmer’s best known work of the last decade with the spirit of radical sonic experimentation. The weirdness is entirely befitting the saga of a futuristic, intergalactic civilization whose denizens are stalked by giant sandworms and revere a hallucinogenic substance called spice.Timothée Chalamet stars in the latest film version of ‘Dune,’ directed by Denis Villeneuve.Warner Bros.No hallucinogens were imbibed as part of the composing process though: “Weirdly, I’m the only rock ’n’ roller who never did any drugs,” said Zimmer, who has a wide, boyish grin that belies his 64 years, particularly when discussing his more outrageous musical endeavors.Some time after his stint with the band the Buggles, the German-born, California-based composer made his name with scores for “Rain Man,” “The Lion King” and “The Thin Red Line.” More recently he scored the latest Bond outing, “No Time to Die.” But to many he is perhaps best known for his work on Christopher Nolan movies, including “Interstellar,” “Inception” and his Batman series.In fact, Zimmer turned down an offer to work on Nolan’s last film, “Tenet,” to focus his energies on “Dune.” In a way, the composer said, he has been working on this soundtrack ever since he first read the novel as a teenager. “I’ve been thinking about ‘Dune’ for nearly 50 years. So I took it very seriously.” He avoided seeing the 1984 movie adaptation, directed by David Lynch — featuring music by Toto — to preserve the vision of the movie in his head.As part of his creative process, Zimmer spent a week in Utah tuning in to the sound of the desert. “I wanted to hear the wind howling,” he said.Zimmer’s score is so prominent in “Dune” that at times the movie feels like an otherworldly equivalent of a “Planet Earth”-style nature spectacular. “‘Dune’ is by far my most musical film,” said the director Denis Villeneuve, who also hired Zimmer for “Blade Runner 2049.” “The score is almost ubiquitous, participating directly in the narrative of the film. It’s spiritual.”In fact, Zimmer wrote more music than could fit in the film. In addition to the original soundtrack, there’s “The Dune Sketchbook (Music From the Soundtrack),” comprising extended sonic explorations, and “The Art and Soul of Dune,” a companion soundtrack to the book of the same title that goes behind the scenes of the film. (There’s still more written for the hoped-for sequel.)It’s Zimmer’s name in the credits and on the soundtrack releases, but he prefers to think of himself as a member of an unusual band that includes a select group of composer-collaborators: “If someone has a great idea, I’m the first one to say, yes. Let’s go on that adventure.”The composer David Fleming, who gets an “additional music” credit for his contributions to the score, explained, “We create and collaborate on ideas, experimenting as long as the filmmakers will allow us to before we finally start applying those ideas to picture.” He described “band meetings” as an open forum, adding, “More than anyone else, you can count on Hans to push a bold idea one step further than you think it could possibly go, and then push some more.”Guthrie Govan, a slide guitarist whom Zimmer discovered on YouTube, described the process: “He’ll outline the desired end result rather than prescribing a specific means of getting there. For one cue, he just said, ‘This needs to sound like sand.’”To create the unorthodox score, Zimmer gave his collaborators cues like “This needs to sound like sand.”Warner Bros.Entirely new instruments ended up being created from scratch. (With pandemic-era travel restrictions in place, many of these elements were recorded separately in different parts of the world.) Winds player Pedro Eustache built a 21-foot horn and a “contrabass duduk,” a supersized version of the ancient Armenian woodwind instrument. Chas Smith, working in isolation in his barn in rural California, struck, scraped and scratched various metallic instruments of his own invention, including one made from springs and saw blades, and another made of Inconel 718, a superalloy used in cryogenic storage tanks and SpaceX engines. In the film, Smith’s complex, resonant tonal textures accompany visuals of desert sands and windblown spice.One of the major and more surprising musical moments in “Dune” occurs during a ceremonious arrival on the desert planet Arrakis. The scene is announced with the portentous drone of bagpipes, an aural assault generated by a battalion of 30 highland pipers playing in a converted church in Scotland. Ear protection had to be worn: the volume reached 130 decibels, the equivalent of an air-raid siren..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-16ed7iq{width:100%;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;-webkit-box-pack:center;-webkit-justify-content:center;-ms-flex-pack:center;justify-content:center;padding:10px 0;background-color:white;}.css-pmm6ed{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;}.css-pmm6ed > :not(:first-child){margin-left:5px;}.css-5gimkt{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:0.8125rem;font-weight:700;-webkit-letter-spacing:0.03em;-moz-letter-spacing:0.03em;-ms-letter-spacing:0.03em;letter-spacing:0.03em;text-transform:uppercase;color:#333;}.css-5gimkt:after{content:’Collapse’;}.css-rdoyk0{-webkit-transition:all 0.5s ease;transition:all 0.5s ease;-webkit-transform:rotate(180deg);-ms-transform:rotate(180deg);transform:rotate(180deg);}.css-eb027h{max-height:5000px;-webkit-transition:max-height 0.5s ease;transition:max-height 0.5s ease;}.css-6mllg9{-webkit-transition:all 0.5s ease;transition:all 0.5s ease;position:relative;opacity:0;}.css-6mllg9:before{content:”;background-image:linear-gradient(180deg,transparent,#ffffff);background-image:-webkit-linear-gradient(270deg,rgba(255,255,255,0),#ffffff);height:80px;width:100%;position:absolute;bottom:0px;pointer-events:none;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}That unholy din in particular permeated Zimmer’s home during his late-night work sessions. “My daughter told me the other day she has bagpipe PTSD.”But perhaps the most mystical presence in the score is a choir of female voices, singing, whispering and chanting in an invented language. “The true driving force of this novel is always the female characters,” Zimmer said. “It’s really the women that craft the destiny of everybody.”One arresting voice comes through like a war cry, all ancient, melismatic syllables in unsettled rhythms. These vocals were recorded in a closet in Brooklyn, the makeshift studio of the music therapist and singer Loire Cotler. In that space, sitting on the floor, with clothes dangling above her head and her laptop perched on a cardboard box, Cotler sang for hours a day, emerging when it was dark. “It became a sacred musical laboratory,” Cotler told me.Stylistically, Cotler drew on everything from Jewish niggun (wordless song) to South Indian vocal percussion, Celtic lament to Tuvan overtone singing. Even the sound of John Coltrane’s saxophone was an influence, she said. “When you start to hybridize these far-flung influences and techniques, interesting sounds start to happen,” she said. “It’s a vocal technique called ‘Hans Zimmer.’”Villeneuve has made headlines for insisting that “Dune” is the kind of multisensory experience that demands to be seen on a big screen in a cinema. In the same way, Zimmer’s score is one that demands to be experienced via a good cinema sound system.“I write in surround sound — but it’s not just about the big sound and big screen,” Zimmer said. “It’s about sharing something together. Shared dreaming.” More

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    Indian Film Is Being Adapted Into a Broadway Musical

    “Dilwale Dulhania Le Jayenge,” a popular Hindi-language movie from 1995, will debut during the 2022-23 season.Bollywood is coming to Broadway.“Come Fall in Love — The DDLJ Musical,” based on the Indian filmmaker Aditya Chopra’s 1995 hit “Dilwale Dulhania Le Jayenge,” which has become a cultural touchstone of contemporary Bollywood, will open during the 2022-23 season, producers announced on Friday.The film, which was Chopra’s directorial debut at age 23, is a romantic comedy that tells the story of Simran, a young Indian American woman who is arranged to be married to a family friend who convinces her strict father that she should have a summer adventure in Europe first. (A charming American throws a wrench into her logical plans.)Chopra, who also wrote the movie, commonly referred to as “DDLJ” and whose title is translated as “The Braveheart Will Take the Bride,” said in a statement on Friday that he was excited to marry the worlds of theater and film in the project, which he will direct.“Twenty-six years later, I’m going back to my original vision of the story of ‘DDLJ,’” he said, “a love story of two cultures … two worlds.” He added, “I’m terribly nervous and incredibly excited.”The show will be produced by Yash Raj Films, India’s largest film studio, and it will be a collaboration between an American and Indian creative team. Nell Benjamin (“Legally Blonde,” “Mean Girls”) will write the book and lyrics, and the Indian songwriters Vishal Dadlani and Shekhar Ravjiani will compose the music. Choreography will be by Rob Ashford, who won a Tony Award for “Thoroughly Modern Millie,” and Derek McLane (“Moulin Rouge!,” “Hairspray Live!”) will design the set.The musical will have its world premiere at the Old Globe Theater in San Diego in September 2022, with Broadway dates to be announced later.“DDLJ,” one of the highest-grossing Indian movies of all time, was a success with critics as well as at the box office and placed 12th on the British Film Institute’s list of the top Indian films of all time.Writing for RogerEbert.com in 2012, Omer M. Mozaffar characterized the film as a Bollywood version of a Disney princess story, with a young woman “feeling trapped by the traditional patriarchy, seeking freedom through discovering the world, but finally finding it through silent, but inappropriate love.”A global casting search is underway. More

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    ‘Dune’ | Anatomy of a Scene

    Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera. More

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    Halyna Hutchins, Cinematographer of 'Rust,' Was Talented and Spirited

    Halyna Hutchins, the director of photography for the film “Rust,” was killed when the actor Alec Baldwin discharged a firearm being used as a prop.Shortly before the cinematographer Halyna Hutchins was fatally shot on a film set in the foothills of New Mexico, she smiled at the camera as she recorded herself riding a chestnut horse through the desert brush.“One of the perks of shooting a western is you get to ride horses on your day off,” Ms. Hutchins wrote this week in an Instagram post.On Thursday, Ms. Hutchins, 42, was killed when the actor Alec Baldwin discharged a firearm being used as a prop on the set of “Rust,” a western about a teenage boy who goes on the run with his grandfather after the accidental killing of a local rancher. Ms. Hutchins, the film’s director of photography, died after being flown to the University of New Mexico Hospital in Albuquerque. The film’s director, Joel Souza, was injured in the shooting and was released from a hospital.Friends in Ukraine, where Ms. Hutchins is originally from, described her as spirited, and said she never forgot her home. She was proud of her heritage.Instagram/Halynahutchins/@Halynahutchins Via ReutersFriends in Ukraine, where Ms. Hutchins is originally from, described her as spirited, someone whose talents had propelled her from that country to success in Hollywood but who never forgot her home. She was proud of her heritage, they said, and returned regularly to visit.Yana Nestoliy, a friend from college, described her as an ambitious, focused woman with intelligent eyes and a sincere smile.“She could have been among the top Hollywood stars on camera, not behind it,” Ms. Nestoliy said.Ms. Hutchins grew up on a Soviet military base in the Arctic Circle, where, according to her personal website, she was “surrounded by reindeer and nuclear submarines.” She studied economics at the Agrarian University in Ukraine before switching to a journalism program at Kyiv National University. She later attended the American Film Institute Conservatory in Los Angeles.Andriy Semenyuk, a friend and fellow Ukrainian cinematographer, said in an interview with Detector Media, a media organization in Ukraine, that even as her career blossomed in Hollywood, she made a point of embracing her background, making an effort to help fellow Ukrainians in California. He called her death a “stupid, shocking loss.”The Ukrainian Foreign Ministry said on Friday that the country’s consulate in Los Angeles was trying to contact Ms. Hutchins’s relatives.Also on Friday, Mr. Baldwin released a statement on social media saying, “There are no words to convey my shock and sadness regarding the tragic accident that took the life of Halyna Hutchins, a wife, mother and deeply admired colleague of ours.” He said that he is in contact with Ms. Hutchins’s husband, adding, “My heart is broken for her husband, their son, and all who knew and loved Halyna.”Among filmmakers in the United States, Ms. Hutchins was remembered as a skilled cinematographer with an artistic vision who was deeply committed to her work.Adam Egypt Mortimer, the director of a 2020 superhero action movie “Archenemy,” on which Ms. Hutchins worked as director of photography, wrote on Twitter that Ms. Hutchins was a “brilliant talent,” pointing to a series of posts he made last year about Ms. Hutchins’s work. He had written that Ms. Hutchins’s “tastes and sensibility of what is cinematic were a huge asset for executing our style” and that she had been visually inspired by Jim Steranko comics.“She was a true wartime sister,” Mr. Mortimer wrote, “fighting the battles to make this thing look amazing despite the unrelenting limitations and catastrophes.” More

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    Alec Baldwin Fatally Shoots Crew Member on 'Rust' Set, Authorities Say

    The movie’s director of photography was killed and the director was injured on the set of “Rust,” a Western, a sheriff’s office in New Mexico said.Santa Fe County sheriff’s deputies investigated the set of “Rust” in New Mexico after the actor discharged a prop firearm, killing the film’s director of photography and wounding the director.Angela Weiss/Agence France-Presse — Getty ImagesAlec Baldwin discharged a prop firearm on the set of a Western he was making in New Mexico on Thursday, killing the film’s director of photography and wounding the movie’s director, the authorities said.The cinematographer, Halyna Hutchins, 42, was killed, and the director, Joel Souza, 48, was injured around 1:50 p.m. on the set of “Rust,” which is being filmed in Santa Fe County, said Juan Rios, a spokesman for the Santa Fe County Sheriff’s Office. The circumstances of the shooting are under investigation.Mr. Rios said the shooting at Bonanza Creek Ranch happened in the middle of a scene that was either being rehearsed or filmed. He said the Sheriff’s Office was interviewing people on the set to determine how the two had been shot.“We’re trying to determine right now how and what type of projectile was used in the firearm,” he said.Halyna Hutchins was killed and the director Joel Souza was injured on set of the movie “Rust” in Santa Fe on Thursday.Fred Hayes/Getty Images For SAGIndieMr. Rios said on Thursday night that the Sheriff’s Office had not filed charges against anyone in connection with the shooting.Ms. Hutchins was flown to the University of New Mexico Hospital in Albuquerque, where she later died, Mr. Rios said. Mr. Souza was taken to Christus St. Vincent Regional Medical Center in Santa Fe. Mr. Souza’s condition was not immediately available.The film’s producers and a representative for Mr. Baldwin, 63, did not immediately respond to emails or phone calls on Thursday night.In a statement, the movie’s production company, Rust Movie Productions LLC, said: “The entire cast and crew has been absolutely devastated by today’s tragedy, and we send our deepest condolences to Halyna’s family and loved ones. We have halted production on the film for an undetermined period of time and are fully cooperating with the Santa Fe Police Department’s investigation. We will be providing counseling services to everyone connected to the film as we work to process this awful event.”On Thursday morning, Mr. Baldwin posted a photo on Instagram in his film costume, which included what appeared to be a prosthetic wound on his torso.According to Ms. Hutchins’s website, she was originally from Ukraine and grew up on a Soviet military base in the Arctic Circle. She studied journalism in Ukraine and film in Los Angeles.She called herself a “restless dreamer” and an “adrenaline junkie” on her Instagram profile. She posted multiple images this month from the set of “Rust,” including a video on Tuesday of her riding a horse on her day off.In a statement, John Lindley, the national president of the International Cinematographers Guild, and Rebecca Rhine, the organization’s national executive director, called Ms. Hutchins’s death “devastating news.”“The details are unclear at this moment, but we are working to learn more, and we support a full investigation into this tragic event,” their statement said. “This is a terrible loss, and we mourn the passing of a member of our Guild’s family.”A statement from the New Mexico Film Office on Oct. 6 said Rust Movie Productions would employ 75 crew members, 22 actors and 230 “background talent.”Santa Fe County sheriff’s deputies responding to the scene of a fatal shooting on a movie set at the Bonanza Creek Ranch in Santa Fe County, N.M., on Thursday.KOAT 7 News, via Associated Press“Rust” is a movie about a 13-year-old boy who goes on the run with his estranged grandfather after the accidental killing of a local rancher, according to IMDb. The movie, which was set to be filmed this month and next month, is directed by Mr. Souza and stars Frances Fisher and Mr. Baldwin, who is also producing the film.The shooting echoed an accident on a movie set in 1993 in which the actor Brandon Lee, Bruce Lee’s son, was shot and killed during a scene when a bullet that was lodged in the barrel of a gun was discharged along with a blank cartridge. “Our hearts go out to the family of Halyna Hutchins and to Joel Souza,” Brandon Lee’s sister Shannon Lee tweeted late Thursday.In 1984, the actor Jon-Erik Hexum accidentally shot himself in the head and died when he was playing Russian roulette on set.Mr. Baldwin, an Emmy Award-winning actor, has had a long career in movies, plays and television. In one of his best known roles, he played Jack Donaghy, an oblivious, domineering TV executive on the sitcom “30 Rock,” which ran on NBC from 2006 to 2013.He also portrayed Donald J. Trump on “Saturday Night Live” with a custom-made wig, glued-on eyebrows and puckered lips. He and Mr. Trump sometimes sparred on social media.Mr. Baldwin also has a history of run-ins with the police.In 2014, he was arrested after he rode his bicycle the wrong way on Fifth Avenue near 16th Street in Manhattan. Officers charged him with disorderly conduct after they said he became belligerent.In 2019, Mr. Baldwin pleaded guilty to harassment in Manhattan Criminal Court and agreed to take an anger management course in a deal with prosecutors to dispose of charges that he had assaulted a man during a dispute over a parking spot.Nicole Sperling More

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    Renato Casaro’s Posters Capture Films’ Essential Moments

    Renato Casaro’s hand-drawn art has hooked movie audiences around the world since the 1950s. Tarantino and Stallone are big fans. One secret to his success? “You can’t cheat.”TREVISO, Italy — Renato Casaro was taking a trip down memory lane, a long journey in a career that extends from the 1950s, when Rome was known as Hollywood on the Tiber, to the last decade when Quentin Tarantino asked for his help on the 2019 film “Once Upon a Time … in Hollywood.”“I constantly adapted,” said Mr. Casaro, who is a few days short of his 86th birthday. “That’s why I kept working when others stopped.”Over more than six decades, his hand-drawn movie posters have hooked audiences into theaters, acting as abridged portends of the delights to come.“The important thing was to capture the essential: that moment, that glance, that attitude, that movement that says everything and condenses the entire story. That’s the hard part,” Mr. Casaro said, adding an admonishment: “You can’t cheat. You can’t promise something that isn’t there.”The essential might translate into the tender embrace he depicted on the poster for a 1955 Russian ballet version of “Romeo and Juliet.” Or it could be a terrified eye lit by a candle for the 1969 thriller “The Haunted House of Horror.” Or maybe an impossibly brawny Arnold Schwarzenegger brandishing a sword as “Conan the Barbarian” in 1982.Although his art has been seen by untold millions, Mr. Casaro himself is mostly invisible, his work largely uncredited (save for his neatly printed signature discreetly tucked in a margin). He is known primarily to collectors, and to the many producers and directors who sought him out to plug their pictures.The Santa Caterina complex in Treviso, one of the venues for the exhibition of Mr. Casaro’s work.Alessandro Grassani for The New York Times“It’s a bit of a sore spot,” Mr. Casaro said during a recent interview in Treviso, the northeastern Italian city where he was born and where he returned to live a few years ago. As far as he knew, he said, he’d been credited in the end titles just once, in 1984, by Sergio Leone for his work on “Once Upon a Time in America.”But now Mr. Casaro is getting his moment in the limelight as Treviso celebrates his art through an ambitious retrospective: “Renato Casaro. Cinema’s Last Poster Designer. Treviso, Rome, Hollywood.”“We’re very proud to celebrate the maestro who gave emotions to so many people,” said Treviso’s mayor, Mario Conte. Many of Mr. Casaro’s posters had become icons, “forever lodged in our memories,” he said.The show’s title traces the trajectory of Mr. Casaro’s career — from crafting movie posters as a teenager in exchange for free tickets to Treviso’s Garibaldi Theater, to the days when extravagant sword-and-sandal films set in ancient Rome were shot in the modern Italian capital, to his brushes with A-list Hollywood actors.Mr. Casaro said he’d been “born with a paintbrush in my hand,” a natural talent who got better “with a lot of experience.”He moved to Rome in 1954, just as it was becoming a favorite of international filmmakers, who took advantage of the city for its unparalleled setting, the production expertise at Cinecittà Studios and the allure of rising local stars like Sophia Loren.He found work at a well-known advertising design studio specializing in movie posters.Mr. Casaro, who is about to turn 86, working in his studio this month in Treviso.Alessandro Grassani for The New York Times“You learn on the job,” said Mr. Casaro, who eventually went out on his own. “You have to be able to draw everything, from a portrait to a horse to a lion.”It really was la dolce vita, he recalled.“We’d come out of the trauma of the war, and Rome was full of life,” he said, with movie stars and tourists swelling the swanky restaurants of Via Veneto. He was out of that league, but he tried to sneak into the hottest places.“We lived on the margins, but come on, it was marvelous to be young and go to Rome and discover this world,” he said in the deconsecrated church of Santa Margherita, one of the venues for his exhibition. His mother, he noted, was less thrilled with his vocation and location. Growing up in provincial Treviso, Rome might as well have been on another planet. “She thought Rome was the city of perdition,” he said. “She cried, she fretted, ‘I’ve lost my son.’”In Rome, he worked constantly. Roberto Festi, the curator of the exhibition, estimated that during this first phase of his career, he was making about 100 posters a year.To better understand the mood of a film, Mr. Casaro often went on the set. Sergio Leone wanted him in New York to witness a key moment in “Once Upon a Time in America.”“They were filming the scene where the youngest boy gets killed,” Mr. Casaro recalled, an image that eventually evolved into the movie poster. “It was stunning, and the highlight of the first part of the film.”At the exhibition in Treviso. Conan and Bond were among Mr. Casaro’s subjects. Alessandro Grassani for The New York TimesThe turning point in his career, which brought attention outside Italy, came when Dino De Laurentiis hired him to make the poster for the 1966 blockbuster “The Bible: In the Beginning…” It was the start of a long-lasting collaboration with Mr. De Laurentiis, and the friendship helped put him in Hollywood’s sights.Mr. Casaro drew the posters for the Conan trilogy, breakthrough films for Mr. Schwarzenegger, who in 1982 was known mostly as a bodybuilder. For the first film, Mr. De Laurentiis, one of the producers, told Mr. Casaro to focus on the actor’s face, not just his muscles. “Dino wanted to launch him,” Mr. Casaro said. “He knew that Schwarzenegger would explode as an actor.”Another big star of the day, Sylvester Stallone, loved how Mr. Casaro had depicted him in his role as the troubled Vietnam vet Rambo. “Stallone said that I had entered into his soul,” Mr. Casaro said.Mr. Casaro’s early style, which he described as “impressionistic,” became increasingly realistic in the 1980s when he began using an airbrush. That made his technique more photographic but also “more magical,” he said.A poster for Rambo III. Mr. Casaro said Sylvester Stallone told him he had “entered into his soul.”Alessandro Grassani for The New York Times“When he began working in hyper-realism, that was the big change,” said Nicoletta Pacini, the head of posters and movie memorabilia at Italy’s National Museum of Cinema. “That was pure Casaro, and others began to copy him.”The artist isn’t sure how many movie posters he created in total but estimates it’s close to 2,000.“He always understood the spirit of the film” creating images that were “special and distinctive,” said Carlo Verdone, one of Italy’s most famous comedic actors and directors who hired Mr. Casaro to make posters for several films. Mr. Casaro stopped making posters in 1998, when the taste for hand-drawn images had waned in favor of digital and photoshopped renderings. Not for him, he said.He shifted his focus to African wildlife drawings — and elaborate re-workings of famous Renaissance paintings populated with movie stars.In a reimagining of Michelangelo’s “Last Judgment,” Marilyn Monroe holds court. “She’s always been the ultimate myth for me,” Mr. Casaro said. “With all her weaknesses, she still represents a special moment in the history of cinema.”Mr. Casaro showing a drawing of Marilyn Monroe. “With all her weaknesses, she still represents a special moment in the history of cinema,” he said of her.Alessandro Grassani for The New York TimesThen, out of the blue, Mr. Tarantino called, asking for posters in a vintage spaghetti-western style for “Once Upon a Time … in Hollywood,” the director’s love letter to 1960s Los Angeles.He designed two posters featuring Leonardo DiCaprio, who plays an on-the-way-out actor who goes to Italy to make spaghetti westerns and revive his career. One of the posters is for a fictional film called “Kill Me Now Ringo, Said the Gringo.”“Those films always had incredible titles,” Mr. Casaro laughed.Mr. Tarantino sent him a signed photo of Mr. DiCaprio posing for the poster with a message that reads: “Thanks so much for your art gracing my picture. You’ve always been my favorite.”For Mr. Casaro’s admirers, the Treviso exhibition is long overdue.“The history of art has tended to marginalize posters because they were conceived for the masses, and the illustrators were seen more as craftsmen,” said Walter Bencini, who made a documentary about Mr. Casaro. “But movie posters can be popular art in the true sense of the word, because they’re part of the collective imagination but also evoke so many personal feelings tied to specific moments.”The feelings evoked in his poster for “The Sheltering Sky,” lushly filmed by Bernardo Bertolucci in 1990, make it one of Mr. Casaro’s personal favorites. “It captures the mystery,” he said, “the notion of immersing oneself in the desert.”If movies are primarily about entertainment, then Mr. Casaro’s summary of his career is apt.“I had fun,” he said. “A lot of fun.”Mr. Casaro in his studio. “I constantly adapted,” he said of his long career.Alessandro Grassani for The New York Times More

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    ‘Minyan’ Review: Cruising Delancey

    This queer and Jewish coming-of-age drama builds up a vision of neighbors who speak through gestures of care and affection.The subtle coming-of-age drama “Minyan” creates a version of 1980s New York where whole neighborhoods have built up around the grief that’s carried by those who live there. The film observes as older Jewish men in Brooklyn recall rebuilding their lives after the Holocaust. In very different places of congregation, young gay men navigate death and persecution as a result of the AIDS epidemic. The hero of this film, David (Samuel H. Levine), is a novice in both worlds.When the movie begins, David is a disaffected youth who starts fights at the Brighton Beach yeshiva his mother forces him to attend. Discomfort has made him a quiet, if beautiful young man with haunted, watchful eyes. When he lets his gaze wander, other men look back, and they invite.David finds freedom when he moves in with his grandfather, Josef (Ron Rifkin). Josef’s landlord wants the building to have a minyan, the quorum of 10 people required by Jewish law for communal prayer. Here, encouraged by his grandfather and their new neighbors, David completes the minyan. Bolstered by the security of a safe home, David wanders into an East Village gay bar called Nowhere. He connects with a laconic bartender, and they begin an affair.The director Eric Steel follows the lead of his introverted protagonist and takes an understated approach to the story. The dialogue is spoken in hushed tones, and Ole Bratt Birkeland’s cinematography is trained to catch glances in rearview mirrors, knees that touch on park benches. The film allows its societies to speak through gestures, whether it is the passing of personal possessions after a death or the brush of bodies behind a bar, and its portrait of both Jewishness and queerness is richer for it.MinyanNot rated. In English, Hebrew, Yiddish and Russian, with subtitles. Running time: 1 hour 58 minutes. In theaters. More