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; year: 2018; Director: Mark Bozek; Duration: 74 Min; countries: USA; A new feature film documentary about legendary NYTimes photographer Bill Cunningham.

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“He was one of those lucky individuals whod discovered the secret of a happy existence: If you love what you do and do what you love, youll never work a day in your life. ” Back in 1994, fashion industry veteran Mark Bozek interviewed the legendary New York photographer Bill Cunningham in what was intended to be a brief chat. But an effervescent Cunningham ended up talking for hours, with a particular focus on his love of fashion. He refers to himself as, first and foremost, a ‘fashion historian, and recalls witnessing the resurgence of the fashion industry in Paris after the second world war. He discusses collaborating with designers, including creating hats for Balenciaga, before remembering the devastation in the creative community wrought by HIV/AIDS in the early 90s. In 2016, Bozek recovered the videotapes of the remarkable interview from his garage and began weaving this intimate and fascinating documentary. Sarah Jessica Parker narrates. Australian premiere Please join us after the screening on Sat 9 Mar for a very special discussion with director Mark Bozek. All cinema-goers will go into the running to win a copy of ' Fashion Climbing: A New York Life ' by Bill Cunningham, thanks to our friends at Penguin Random House.

That's not true. People wear coats and jackets when it's cold. I'm just saying, the guys around here aren't ultra stylish. Bill Cunningham in Paris in 1970. The late  Bill Cunningham was not a divisive person in the fashion world. Commonly regarded as the grandfather of street style photography, he was not mired in controversy like so many of his industry peers, nor was he publicly political. He could be called fashion's Mr. Rogers, although his time was spent largely behind a camera rather than in front of it. It's for this reason that watching Cunningham choke back tears during a 1994 interview is so striking. His emotion is prompted by a discussion of the AIDS crisis that cut short the lives of many of his friends and contemporaries in New York City, and it's clear that Cunningham was consumed by grief, like so many around him at the time. The clip, which appears in a new documentary about his life, serves as a rare moment of darkness in what is otherwise a bright retelling of a man's life and career, much in his own words. The film, The Times of Bill Cunningham.   follows another Cunningham documentary released in 2010, while he was still alive, as well as a number of other projects which commemorated the longtime New Yorker (including a memoir discovered posthumously. The new film is the first Cunningham-related project from Mark Bozek, the director who also conducted the 1994 interview with Cunningham which comprises much of the film and features previously unreleased photographs from Cunningham's vast archive. Related Stories: Inside the Intimate New Exhibition Celebrating the Life of Bull Cunningham Fashion Photography Has a Real Gender Equality Problem 16 Up-And-Coming Photographers Whose Names You Should Know "What stuck out to me the most about Bill. was his incredible passion and humility, something that isn't always apparent in the world of fashion. Bozek says. "There's nobody that exists who lived in a cave and slept on a foam mattress atop his pictures and shared a bathroom. but then [would] go out and shoot pictures of Jackie Kennedy and Randolph Hearst on the same night. Bozek adds.  He's referring to the small studio inside Carnegie Hall where Cunningham lived among other bohemian tenants (a remnant of old New York, much like the artist apartments inside the Chelsea Hotel, you'd be hard pressed to find in the city today. The documentary chronicles Cunningham's start as a milliner in France during the Korean War, his proximity to Jacqueline Kennedy Onassis  and his four decades spent working for the New York Times. Most of those details are already known to those who know anything about Cunningham — they were recounted in the 2011 documentary, as well as an exhibit at the New York Historical Society in 2018.  The finer memories of Cunningham's entry into fashion and New York society, however, are what give the film its meat. While he served in the army, he would attend fashion shows in Paris during his "leave. and send  Balenciaga dresses through the army mail to dressmakers in New York who were keen on copying the trend-setting French designs while bypassing U. S. Customs. He worked with two women at Chez Ninon to help outfit New York socialites and Hollywood actresses, Ginger Rogers and Joan Crawford among them.  "They were wonderful and charming, but. they didn't mean anything to me because they didn't have style. Cunningham says in the film. Bill Cunningham in Paris in 1971. Photo: Harold Chapman, Courtesy of Greenwich Entertainment Another Cunningham trivia nugget: he reveals how he purchased a piece of art from friend Antonio Lopez for 130, 000 so Lopez could use the money to pay for his medical treatment. Cunningham then returned the painting to Lopez, without taking the money back, so Lopez could sell it again.  While the fact of his monk-like existence is well known, his assumed wealth is not oft discussed after his death — this is despite his friends in New York society gifting him countless pieces of artwork and clothing which would be considered highly valuable today. Perhaps most striking about this latest Cunningham documentary is that there is nothing evidently dark or complicated about his story (save the grief he expressed over his friends lost to AIDS. The idea that a good man can live modestly and devote himself to his work, with little expectation for recognition or praise, seems so strange in today's world. Yet Cunningham remains as relevant as ever, having influenced some of the most well-known street style photographers like Tommy Ton and The Sartorialist and inspiring an altogether new crop of talent. "The Times of Bill Cunningham" premieres Friday, Feb. 14 in New York City and will be distributed nationally in theaters after that. Never miss the latest fashion industry news. Sign up for the Fashionista daily newsletter.

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“The only way to last is never to let anyone really know you, ” photographer Bill Cunningham wrote at the end of his memoir “Fashion Climbing, ” published posthumously after his death in 2016. There was a documentary made about Cunningham in 2010 called “Bill Cunningham New York, ” which followed him as he took street fashion photos for The New York Times, and now we get this new film from director Mark Bozek, which is centered on an interview Bozek did with Cunningham in 1994. Cunningham remains elusive in both of these films and in his book, and the reason for that feels fairly obvious. Asked about romantic relationships in “Bill Cunningham New York, ” Cunningham replied, “Do you want to know if Im gay? ” He deflected this question, saying it “never occurred to me. ” In “The Times of Bill Cunningham, ” he speaks briefly about his conservative upbringing in Boston and how his parents disapproved of his entering the fashion world as a young man. But in his memoir, he told a far more revealing story about the time his mother “beat the hell” out of him after she found him wearing his sisters prettiest dress and she “threatened every bone in my uninhibited body if I wore girls clothes again. ” In the interview portions of “The Times of Bill Cunningham, ” which take up most of its brief 74-minute running time, Cunningham addresses Bozeks camera with a good cheer so insistent and so extreme that it feels “please like me! ” protective. Though he was in his 60s when he did the interview in this movie, Cunningham still feels boyish — and there are a few photographs of him shown here as a younger man where he looks boyishly naughty — but this is only a hint of who he might have been. Also Read: Bill Cunningham, Legendary Fashion Photographer, Dies at 87 The timeline here jumps all over the place, and the narration read by Sarah Jessica Parker can barely keep us apprised of where we are in Cunninghams life. We are told about a photo he took of an elderly Greta Garbo on the street in 1978, which first made his name, and there is a brief, very jumbled section about his life in his small, crammed, monastic studio apartment in Carnegie Hall, where he lived for decades among celebrities and friends and shared a bathroom down the hall. Cunningham was old-school Boston in many ways, and this includes traces of a Boston accent. He was very frugal and barely ever bought clothes for himself; he was obsessed about clothes on other people, mainly women. He is consistently and cheerfully dismissive of his work in this movie, calling himself a “zero” and wondering why Bozek is wasting his time on him. “I have no talent, ” he says toward the end of the film and calls himself “a lightweight. ” Also Read: Sundance 2020: Streamers Spent Big and Documentaries Are All the Rage Cunningham took his Garbo photo not because he recognized her but because he was taken by the cut of the nutria coat she was wearing. When Bozek asks him about the film stars he knew, Cunningham is also dismissive, saying that only Gloria Swanson approached the style in life that she had on the screen. He was much more interested in society women like Babe Paley and what women like her were wearing; practically everything to him was clothes, at the highest level of style. He made hats for a living in the 1950s until “hats were out” in the 1960s. During this period, he was residing with an uncle and aunt in Manhattan, but when it became clear to his family that he was going to continue to make his living in or around fashion, he had trouble with them, and he eventually moved in with his employers, Sophie Shonnard and Nona Parks, who ran a dressmaking establishment called Chez Ninon. (At one point, Cunningham says that Chez Ninon “discouraged” Elizabeth Taylor from wearing their clothes. ) Also Read: SeaWorld Pays 65 Million to Settle 'Blackfish' Related Lawsuit Cunningham does not speak about the problems with his family in detail, preferring to enthuse very intensely on the life he found once he was given an inexpensive camera in 1967 and began becoming a “fashion historian” of the streets. But there comes a time during the interview when he is overcome with emotion as he talks about being shy; he hangs his head and waits for the emotion to pass. Toward the end of this movie, Cunningham breaks down in tears twice. He speaks about the toll that AIDS has had on the life of the city, and he seems to want to speak more about this, but Bozek, in an attempt to be comforting, tells him he doesnt need to continue. “The Times of Bill Cunningham” is more frustrating than Cunninghams memoir and the earlier movie about him because it feels like he might want to talk somewhat more directly about his life experience, but the old-time prison of the closet is allowed to win out in the end, and what were left with here is choppy and insubstantial. Look Inside the Academy Museum of Motion Pictures: How Finished Is It? Photos) A tour of the building shows no exhibits but lots of almost-completed spaces The Academy said that it will announce an opening date for its long-awaited, much-delayed Academy Museum of Motion Pictures “very, very soon. ” (During the Oscars show, perhaps. In the meantime, it invited the press to tour the building on Friday, where we saw a lot of almost-finished spaces that will eventually contain exhibits relating to film history. Heres what it looks like now, along with some plans and renderings of what it will look like then.

The Times of Bill Cunningham movie reviews. Wth... why stressing so much for them. I'm always super anxious while watching this show 😓. The Times of Bill Cunningham movie. Ooou intrigued. ooou the song at the end, what is it. The Times of Bill Cunningham movie maker. You are the baby daddy 😂😂😂. Imagine an 80-year-old man with more stamina than two men almost half his age. One night while shooting Bill Cunningham New York, Richard Press, the director, and Tony Cenicola, the cameraman, followed the octogenarian in question riding his bicycle around Manhattan on a typical evening's round of parties. The filmmakers were shooting their moving target from an adult-size tricycle jury-rigged for the occasion. By 11 p. m., after following him to events downtown, midtown, and across Central Park, the two filmmakers were exhausted while Cunningham was still going. The next day, Bill was gleeful in recounting how he ran Richard and Tony ragged. Of course, he was at an advantage because he rides his bike from one party to another almost every night of the week. Bill Cunningham is known for his two weekly photographic columns in The New York Times: On the Street. in which he identifies fashion trends as he spots them emerging on the street; and "Evening Hours. his coverage of the social whirl of charities that benefit the cultural life of the city. The fashion world considers him a kind of deity; his zeitgeist antenna is so finely tuned that designers, retailers, and fashion editors scrutinize his pages religiously. As Anna Wintour says in our movie: We all get dressed for Bill. In 2008, he was made an Officer in the Order of The Arts and Letters of the Ministry of Culture in France. His reputation clearly extends beyond New York. Still, Cunningham's resistance to attention is legendary. It took seven years for Richard Press and me to convince the most reluctant man-about-town in New York to be the subject of our film (which opens March 18 at the Film Forum in New York. He has consistently refused overtures from most every writer, editor, curator, or impresario to do a book or an exhibition or to give a public talk, but it isn't condescension with which he invariably demurs. It is profound humility. As Anna Wintour says in our movie: “We all get dressed for Bill. ” "I'm just a hack. he says, sincerely, although I believe his self-effacement doubles as a cover. By dismissing everyone's lofty conclusions about his unique contribution to fashion, he protects his independence. He wants nothing more than to be able to stand on the street and wait to be thrilled by what someone is wearing. Period. At the same time, he is deeply circumspect—he did drop out of Harvard—and he regards his two columns in the Times in the larger context of the paper's news coverage. By his own estimation, compared to the weight of ongoing global problems, he rates his obsession with clothes as nothing but a hobby. Bill is quick to tell you that he is a fraud. He doesn't really consider himself a photographer and, here, I tend to agree with him. While he uses a camera to identify fashion trends and to document evening events, the photographic image is not what he cares about; it's the clothes. His love of fabric, line, cut, shape and, ultimately, original style has propelled him day in and day out over 50 years to look at what people are wearing—on the street, at the fashion shows, and at the parties for which people get dressed up. His daunting accomplishment is that he transformed an obsession with clothes into an exacting chronicle of the intersection of fashion and society in New York over half a century. It's not what he set out to do when he picked up a camera in the mid-1960s. Still, given his strict work ethic, passion for clothes, and native scholarly approach to the history of fashion, what he leaves in his trail is pure cultural anthropology. Bill is the most unencumbered person I know. "Money is the cheapest thing. he says. "Liberty is the most expensive. Blithely, he conducts his life with an absence of material possessions. He has lived in the same tiny apartment at the Carnegie Hall studios for half a century. There is no room for furniture—no chair or table or dresser. Instead, old file cabinets stacked side by side leave barely enough room for his single mattress over a flat board. You would think it's a derelict storage facility. Breakfast for him is a quick in and out at a local deli and dinner is usually Chinese takeout before he launches into an evening's slate of parties. His only form of transportation is a bicycle. His signature blue jacket is a Parisian street sweeper's smock purchased on his semi-annual trips to Paris. "They're practical. he claims, because the fabric withstands his cameras rubbing against it and multiple pockets hold his rolls of film. Everything in his life is pared down to the essential structure of his work. No one assigns Bill to go out and find women on the street wearing pink scarves, say. The endless trends he spots—whether leopard patterned bags or backless summer dresses or white leather boots—come from what he, alone, observes. He is the master of his own columns. I have known Bill for almost 20 years. As a former picture editor at the Times, I used to watch him quietly slip into the old Times building, wait for the lab to process his film, select his pictures on contact sheets, and take the prints to the art department, where he would sit with an art director to design his pages. He is a very cheerful presence as long as no one encroaches on his independence. He is both aware of and immune to the subtle divisions of rank within the politicized hierarchy of the Times. He talks as respectfully with the mailroom clerk as with the editor of the Culture desk. His biggest fights always have been with art directors, who think of his pictures as graphic elements to be arranged in an easily readable page design. Of course, Bill knows better than anyone how his pictures should be put together to make his point. As a young man in New York in the 1950s, Bill made woman's hats. His salon in the Carnegie Hall studios was a destination for women in the know. The Actors' Studio resided at Carnegie Hall, as well, and he remembers Ginger Rogers, Joan Crawford, and Marilyn Monroe coming in from time to time to look at his hats. "But I wasn't interested in them. he recalls. "They weren't stylish. In the 1950s, Bill also worked for Chez Ninon, a couture salon owned by the socially well-connected Nona Park and Sophie Shonnard. They made legitimate copies of the European designers such as Chanel, Givenchy, and Dior. Jacqueline Kennedy was a regular client. When President Kennedy was assassinated, she flew the red Balenciaga suit she had bought at Chez Ninon up to New York for Bill to dye black. That's what she wore to the historic funeral. That said, Bill is not interested in celebrities or in the status of labels. During Fashion Week in Paris two years ago, we filmed him outside the Yves Saint Laurent show at the Grande Palais. All of a sudden a swarm of photographers surrounded Catherine Deneuve as she strolled toward her waiting car. Bill turned to us and rolled his eyes. "Look at all the paparazzi going wild. he said, and cupped his hand to his mouth. "Over Catherine Deneuve. As if she were an unworthy subject. He acknowledged that everyone must think he is crazy not to photograph her. "But she isn't wearing anything interesting. he explained. And there you have it. Filming Bill was not an easy process. Aside from his allergic reaction to the spotlight in general, our significant hurdle was navigating his coveted independence. We were given a cubicle next to Bill's at the Times during the filming of the movie. We would sit there for weeks at a time sensing and anticipating his moods before broaching a cinematic need to follow him on an evening's round of parties, for example, or to interview him in his apartment, or to ask him for archival pictures. It was fine for us to film him as long as we were spontaneous about it and it did not interrupt the organic flow of his routine. If we asked him when he was going out to shoot on the street, he would deflect the question and later slip out when we weren't looking. But if we simply appeared on the street with our cameras, he would reward us with his cooperation. Over the course of filming, we developed a lovely relationship of mutual ambivalences. There were times when Bill would freely drag us to meet his neighbors or invite us to film him while having breakfast at the local deli. But, then, he wouldn't talk to us for a week at a time because we asked for his cooperation at the wrong moment. Still, he is deeply charming and inspiring and we came away from the process adoring him even more than when we began. As for Bill's feelings for us, well, long ago he began to call us Philippe and Richarde, and, to this day, we aren't sure if he does so with mockery as much as affection. Philip Gefter writes about photography for The Daily Beast. He previously wrote about the subject for The New York Times. His book of essays, Photography After Frank, was recently published by Aperture. He produced the feature-length documentary, Bill Cunningham New York, and is at work on a biography of Sam Wagstaff.

Bill Cunningham, the New York fashion photographer known for his shots of emerging trends on the streets of New York City, died on Saturday at age of 87 after being hospitalized for a stroke, the New York Times  reported. Cunningham worked for the New York Times for nearly 40 years, operating 'as a dedicated chronicler of fashion and as an unlikely cultural anthropologist. the newspaper said. He was known for wearing his trademark blue jacket and riding around in his bicycle with a small camera bag strapped to his waist. After serving in the Army, Cunningham wrote fashion pieces for the Chicago Tribune and started taking photographs of people on the streets. Scroll down for video  Bill Cunningham (pictured in July last year) had worked for the New York Times for almost 40 years as a fashion and street photographer. He died on Saturday aged 87 Cunningham (pictured with Anna Wintour at the Donna Karan show during Fashion Week in September 2012) was a 'dedicated chronicler of fashion and as an unlikely cultural anthropologist' the newspaper said After serving in the Army, Cunningham (pictured at New York Fashion Week in February 2015) wrote fashion pieces for the Chicago Tribune and started taking photographs of people on the streets The photographer (pictured with Wintour in April 2012) chronicled decades of changing trends on the streets of New York City throughout his career A chance photograph of Greta Garbo got the attention of the New York Times and in 1978 he began publishing a regular series of photographs in the paper - eventually becoming one of the most influential figures in the fashion world. 'I've said many times that we all get dressed for Bill. Vogue editor-in-chief Anna Wintour said in a 2010 documentary dedicated to Cunningham, called Cunningham New York. Wintour and Cunningham were photographed together when he received the Carnegie Hall Medal of Excellence at the Waldorf Astoria in New York four years ago. Cunningham operated with the conviction that fashion shows didn't happen on runways but on the street - and his essays in the New York Times documented decades of evolving trends on the New York pavements. His keen eyes spotted popular items of clothing ranging from the elegant to the tacky, and his lens capture 'fanny packs Birkin bags, gingham shirts and fluorescent biker shorts' the New York Times said in an obituary of Cunningham Saturday. 'I'm not interested in celebrities with their free dresses. I'm interested in clothes. Cunningham said about his own work in the 2010 documentary. Cunningham may have been known to every important figure of his industry, but his own life was a model of asceticism, the New York Times reported. He had breakfast every day at the same deli - Stage Star Deli on West 55th Street, and usually purchased a sausage and egg sandwich and a cup of coffee for less than 3. Cunningham did not have a television, did not go the the movie theater, and until 2010 lived in the same studio where he kept his negatives. His single bed was pictured in the 2010 documentary among rows and rows of file cabinets. 'If you don't take money, it can't tell you what to do. Cunningham, who also appeared at a launderette, said. Cunningham was born in March 1929 in Boston in an Irish-Catholic family and was the second of four children, the New York Times wrote. Cunningham (pictured in 1989) received a scholarship to go to Harvard but dropped out after only a couple of months. He said people there 'thought [he] was illiterate' when he was, in fact, a visual person According to Cunningham (pictured in September 2012 during New York Fashion Week) fashion shows didn't happen on runways but actually took place on the streets Cunningham (pictured in February 2015 at a Jeremy Scott fashion show) said he wasn't interested in celebrities who wore 'free dresses' but that he actually cared about clothes His first career was making hats, which he began to do in middle school after collecting bits of fabric at a dime store. Cunningham received a scholarship to go to Harvard but dropped out after only two months. 'They thought I was an illiterate. Cunningham said according to the New York Times. 'I was hopeless - but I was a visual person. Then, he moved in with his uncle in New York and lived with him until the man told him to 'quit making hats or get out of [his] apartment. Cunningham moved into his own apartment on East 52nd Street, and used it to showcase his creations. At the same time, he began writing a freelance column in Women's Wear Daily as a way to make a bit more money - but quit early in the 1960s after a disagreement with his publisher regarding the comparative merits of designers Andre Courrege and Yves Saint Laurent. Evolving trends meant women were wearing fewer and fewer hats, and Cunningham could tell he would soon have to find a new career, the New York Times reported. He picked up his first camera around 1967 and took photos of the Summer Of Love on the streets.  Cunningham got a few jobs at the Daily News and at the Chicago Tribune before becoming a regular addition to the New York Times in the late 1970s. Editors offered him a staff position repeatedly over the next 20 years, but Cunningham declined, saying: Once people own you, they can tell you what to do. So don't let 'em. '   He eventually accepted the offer after getting hit by a truck while on his bicycle in 1994, explaining he needed the position to have health insurance. Cunningham never reported having a romantic relationship. When Richard Press, who directed the documentary dedicated to Cunningham, asked him about his personal life, the photographer replied: Do you want to know if I'm gay? Isn't that a riot. No, I haven't. It never occurred to me. the New York Magazine reported. The fashion world paid tribute to Cunningham's talent - and his unusual character - after the news of his death broke on Saturday.  'His company was sought after by the fashion world's rich and powerful, yet he remained one of the kindest, most gentle and humble people I have ever met. New York Times publisher and chairman Arthur Ochs Sulzberger Jr said. 'We have lost a legend, and I am personally heartbroken to have lost a friend. Many shared pictures and drawings of Cunningham in his blue jacket and next to his bike on social media. Those who had seen him at a fashion show recounted their encounters and spoke fondly of Cunningham's manners. Lena Dunham wrote on Instagram: Saw Bill out and about doing his thing for the first time when I was seven - I didn't know who he was but I knew he made everyone important stop and adjust. 'It was the exact same vibe when I saw him a month ago, fancy people suddenly unsure in the presence of this special eccentric. He was powerful but he was gentle and kind. He had vision and he will be missed. French fashion blogger Garance Dore, who lives in New York City, also wrote on Instagram: Some legends walk by you and you hardly notice them because that's exactly what they want. 'Bill Cunningham was like this, and all his life he was able to keep that fire and the perfect distance from his subject, distance that allowed him to do the work that he did. 'He was always going, going, going, rain, snow, heat, always smiling. Wearing a blue jacket and riding a bike became two of Cunningham's trademarks and reflected his stubbornly modest lifestyle. He is pictured in New York City in April this year Cunningham (pictured in July 2014) once said: If you don't take money, it can't tell you what to do. He had breakfast at the same deli every day and usually bought an egg sandwich and a coffee for less than 3 After getting hit by a truck while riding his bicycle in 1994, Cunningham (pictured right in 2010) finally accepted a staff position at the New York Times, explaining he needed it for health insurance Cunningham (pictured in May this year in New York City) did not have a television, did not go the the movie theater, and until 2010 lived in the same studio where he kept his negatives.

 

I do so Mr. Bill Cunningham, that laugh was really contagious. The times of bill cunningham film. The times of bill cunningham movie. @zimmawoman - Well, I think that I shall ! And I think I'll start today too. Opens February 14, 2020 1 hr 14 min Documentary Tell us where you are Looking for movie tickets? Enter your location to see which movie theaters are playing The Times of Bill Cunningham near you. ENTER CITY, STATE OR ZIP CODE GO This movie releases on February 14, 2020. Sign up for a FANALERT and be the first to know when tickets and other exclusives are available in your area. Also sign me up for FanMail to get updates on all things movies: tickets, special offers, screenings + more. The Times of Bill Cunningham Synopsis Bill Cunningham, the legendary New York Times photographer and fashion historian, shares his life story in his own words and photographs from his remarkable archive of over 3 million images. Read Full Synopsis Movie Reviews Presented by Rotten Tomatoes.

Whos here just for the comments. EXCLUSIVE: Greenwich Entertainment has acquired North American distribution rights to The Times of Bill Cunningham, a documentary about the famed street and fashion photographer that is narrated by Sarah Jessica Parker. The Mark Bozek-directed film, which premiered at last years New York Film Festival, will now hit theaters in February 2020. The movie features photographs chosen from more than 3 million previously unpublicized images and is told in Cunninghams own words, culled from an unearthed 1994 interview, about a life that included living in France during the Korean War, his unique relationship with Jackie Kennedy and his four decades at the New York Times. Cunningham was also the subject of the 2010 documentary Bill Cunningham: New York, directed by Richard Press. “There are not many people whose lives and personality can sustain two very different but both thoroughly compelling documentaries, ” said Greenwichs Ed Arentz. “Bill Cunningham is one of those rare individuals. ” Live Rockets Bozek and Russell Nuce are producers. The deal was negotiated by Arentz and Submarines Dan Braun, also an executive producer on the film.

The Times of Bill Cunningham. October 12, 2018 6:50PM PT The celebrated New York Times on-the-street fashion photographer gets a documentary portrait that movingly captures what made him unique. In “ The Times of Bill Cunningham, ” the late New York Times fashion photographer Bill Cunningham appears before us as a blissed-out aging choirboy. He sits in his small apartment, surrounded by file cabinets jammed with his work, a geek in his element, with a shock of gray hair and two jutting front teeth that give him a big rabbity smile so eager its giddy — and the thing is, he means it. That antic grin lights up the room. “The Times of Bill Cunningham” is the second documentary to be made about the Times legendary on-the-street photographer and shutterbug of society, and it contains a revealing story about the first, “Bill Cunningham New York. ” That film was released in 2011, when Cunningham was in his early eighties (he died in 2016) and it was a profile made with his ardent approval and cooperation. So youd assume that he might have wanted to attend the New York premiere of it. But no. He skipped the premiere, and for good measure never bothered to see the movie. Instead, when the early spring evening that should have been his red-carpet moment was happening, Cunningham was out doing what he always did: gliding through the New York streets on his trademark bicycle, looking for ordinary people to photograph — and not-so-ordinary people, though the beauty of Cunninghams work is that he never made the distinction. He didnt see it, so he didnt make it. In one of his typical Sunday photo collages, you might encounter five different images of women on the street, each photographed wearing the same dress, all looking quite different in it, next to a shot of a celebrity strolling along in that same dress. But youd always have to do a double take before you said, “Oh, look, its Claire Danes, ” because Cunningham lent each figure the graceful mystery and radiance of a celebrity. On his weekly page, everybody was a star. Cunningham himself became a star, though only reluctantly, in the most head-ducking and self-effacing way. He thrived on being behind the camera and behind the scenes, as he had since the 1940s, when he arrived in New York from his native Boston to work at Bonwit Teller. Theres now a full-scale genre of fashion-world documentaries, a category that found its commercial niche around a decade ago, with the release of “Valentino: The Last Emperor. ” But something that has struck me over the last year is that theres a special, intoxicating quality to movies that excavate the fashion demimonde prior to the 1960s — in other words, the “Phantom Thread” era or before. It might be Warhol doing his shoe drawings in the 50s, or Cecil Beaton inventing the 30s fairy-tale kingdom according to Vogue, or (in this case) Bill Cunningham, a sharply grinning young man of the most innocent flamboyance, from a conservative working-class Irish Catholic family, coming to New York and deciding to become a milliner, all because he thought that womens hats could be like something out of a dream. “The Times of Bill Cunningham” is built around an extended interview Cunningham gave in 1994 to a reporter named Mark Bozek (whos the director of the film. The interview was supposed to be 10 minutes long, but Cunningham, then 65, just kept talking. He was one of those lucky individuals whod discovered the secret of a happy existence: If you love what you do and do what you love, youll never work a day in your life. The Cunningham we meet took this ethos to a purified Buddhist extreme. He went out to shoot pictures every day, reveling in the discovery of each moment, and he got invited to some very fancy parties, but apart from that he led a spartan existence. In the 50s, he moved into one of the fabled studios above Carnegie Hall and occupied that privileged but monastic space until the day he died. It was like a highbrow version of the Chelsea Hotel, and we hear great stories about how Marlon Brando, who also had a studio there, would hide out in Cunninghams to get away from all the girls who were mobbing him, or how Cunningham rubbed shoulders with figures from Martha Graham to a naked house-guesting Norman Mailer. Cunningham speaks neurotically quickly, still with a trace of his Boston accent, and the quality he communicates is an openness to any inspiration. The secret of his photography, he says, wasnt aesthetic talent; it was closer to having a detectives eye. Thats why, on the sidewalk, he was always able to spot people like Boy George or — in a historic moment — the aging reclusive Greta Garbo, who hadnt been photographed for decades. He was a man of the moment. When Bozek asks Cunningham, late in the film, if he is ever sad about anything, without saying a word he puts his head down and silently begins to weep. Just like that. A little later, he tells us that hes thinking of all the friends he lost to AIDS. Cunningham found a place in the fashion world, working for the designers who dressed Jackie Kennedy, but it wasnt until someone gave him a camera that he found his calling. He had the talent to be a designer, but by temperament he was an observer. He first demonstrated that in his fashion-world commentary for Womens Wear Daily, which read like gossip written by someone without a catty bone in his body; it was dish served by a man who loved life. He preserved that voice in the short passages he wrote alongside the weekly street gallery that became one of the most popular and iconic destinations in the Sunday New York Times. The movie is filled with his images, many never published in the Times, and you can feel the pleasure he took in shooting each one of them. “The Times of Bill Cunningham” is only 74 minutes long, yet its a snapshot of a life that leaves you grateful for having encountered it. Cunningham insists he wasnt an artist, and in a way the movie recognizes that he was right. He was a natural photographer who anticipated the digital era, but his gift wasnt so much for crafting impeccable images. It was a talent for living that he expressed through his lens. He was a reporter who forged his own unique beat: the beauty of other people. Scarlett Johansson and Florence Pugh take center stage in the new “Black Widow” trailer that dropped at the 54th Super Bowl. Details are scarce on the next Marvel movie, directed by Cate Shortland, but new footage shows Black Widows life before she was an Avenger. Diving into the back story of Johanssons character Natasha Romanoff. Tom Cruise has made an enemy in the newest “Top Gun: Maverick” trailer, which premiered during the 54th annual Super Bowl on Sunday. “My Dad believed in you, Im not going to make the same mistake, ” says Miles Teller who is playing Bradley “Rooster” Bradshaw, son of Nick “Goose” Bradshaw, deceased wingman to Cruises character. The Sundance Film Festival is fighting a battle thats been building for several years, and what its fighting for can be summed up in one word: relevance. What makes a Sundance movie relevant? In a sense, the old criteria still hold. Its some combination of box-office performance, awards cachet, and that buzzy, you-know-it-when-you-see-it thing of. When Tim Bell died in London last summer, the media response was largely, somewhat sheepishly, polite: It was hard not to envision the ruthless political spin doctor still massaging his legacy from beyond the grave. “Irrepressible” was the first adjective chosen in the New York Times obituary. “He had far too few scruples about who he. After three weeks in theaters, Sonys “Bad Boys for Life” is officially the highest-grossing installment in the action-comedy series. The Will Smith and Martin Lawrence-led threequel has made 291 million globally to date, pushing it past previous franchise record holder, 2003s “Bad Boys II” and its 271 million haul. The first entry, 1995s “Bad Boys, ”. World War I story “1917” dominated the BAFTA film awards, which were awarded Sunday evening at Londons Royal Albert Hall with Graham Norton hosting. The wins for “1917” included best film, best director for Sam Mendes and outstanding British film. The awards are broadcast on the BBC in the United Kingdom and at 5 p. m. ] “1917, ” Sam Mendes World War I survival thriller, dominated at the 73rd British Academy of Film and Televisions Film Awards with seven wins including best film and best director. “Joker, ” meanwhile, which went into the BAFTAs with the most nominations, 11, won three awards including best actor for Joaquin Phoenix. “Parasite” picked up two awards.

To commemorate THE TIMES OF BILL CUNNINGHAM, a documentary profiling the iconic fashion photographer, were proud to present a line of apparel with designs by Ruben Toledo. For every purchase, 1 will be donated to Gods Love We Deliver which provides meals for people living with severe illness in the New York metro area. Gods Love We Deliver is the New York metro areas leading provider of life-sustaining meals and nutrition counseling for people living with severe illness. They employ a team of registered dietitians who individually tailor meals to each client's specific medical requirements. All of the agencys services are provided free to clients and full of love. Since 1985, Gods Love has cooked and home-delivered over 21 million meals, and has never had a waiting list.

Komplette Handlung und Informationen zu The Times of Bill Cunningham Die Dokumentation The Times of Bill Cunningham rückt den gleichnamigen legendären Fotografen in den Mittelpunkt, der im Laufe seiner Karriere beispielsweise große Erfolge mit der New York Times feiern konnte. (SR) Deine Bewertung Bewerte diesen Film Schaue jetzt The Times of Bill Cunningham The Times of Bill Cunningham ist derzeit nirgendwo zum Anschauen verfügbar. Merke dir den Film vor, damit du erfährst, wenn The Times of Bill Cunningham verfügbar wird. 0 Videos & 2 Bilder zu The Times of Bill Cunningham Statistiken Das sagen die Nutzer zu The Times of Bill Cunningham 0. 0 / 10 Bisher hat noch kein Nutzer diesen Film bewertet. Nutzer sagen Lieblings-Film Nutzer haben sich diesen Film vorgemerkt Filter: Alle Freunde Kritiker Ich von AlexX2, vor wenigen Sekunden.

Will never watch this because of my anxiety but glad this was made. Do you see him lick his lips and smile when he mentions josh... I can't figure who can replace her as Vogue's matriarch when she retires. The Times of Bill Cunningham movie database. Do you mind If I add this to my blog. The Times of Bill Cunningham movie page. Wow. This was a great video. Fantastic! Might be my favorite on YouTube and trust me Ive seen thousands.

This one truly pissed me off I bet you just like the girls said the grandmother is Prejudiced and so is the father but I bet you he didn't make that white woman take a DNA test and the mother got some nerve looking like the mother from Good Times and got the nerve to be prejudiced when you blacker than black and I'm not Prejudice cuz I'm biracial my daddy is white and my mother is Native American show and I'm a woman of color. But like I said I bet you that black I did not make that white woman take a DNA test cuz that's how some black people are and Men especially but he sit up here and made that woman of color go take a DNA test for them kids knowing them kids was his you lay down there and made them you have a problem with that like I said this one pissed me off and a mother needs to mind her business cuz they had nothing to do with her.

 

 

 

 

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