1993
Suchergebnisse
Suchergebnisse:
Vor 5 Tagen · FACTORY ROLL CALL. MARY WORONOV (1943 - ) In cultivating and curating the menagerie of “Superstars” that coalesced around his Factory in the mid- to late 1960s, Andy Warhol was fortunate, among the array of vapid pretty boys and striking but essentially talentless young women within his entourage, to occasionally draw in an individual of genuine, unmistakable gifts.
13. Mai 2024 · Festival FIC. Mary Woronov, de la Factory de Warhol a romper los tópicos de la serie B. Las memorias de la intérprete de culto, que dio sus primeros pasos en la Factory de Warhol y actuó en ...
19. Mai 2024 · EPI also included screenings of Warhol’s films, dancing and performances by regulars of Warhol’s Factory, especially Mary Woronov an actress, writer, and figurative painter, and Gerard Malanga a photographer and a poet. The EPI first started in an event staged on January 13, 1966, at a dinner for the New York Society for Clinical ...
7. Mai 2024 · Modern-day interviews are confined solely to the people who were part of the scene, including surviving band members Cale and Tucker as well as avant-garde musicians La Monte Young and Henry Flynt, actress and Warhol superstar Mary Woronov, filmmaker Jonas Mekas, and VU superfan Jonathan Richman.
13. Mai 2024 · “Roger came down to the set because Stallone wouldn’t do that scene,” Death Race co-star, Mary Woronov, would remember. “Roger said, “I am doing a t___ and ass movie. “They compromised ...
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- Ed Power
Vor 5 Tagen · Add in Corman’s work with Warhol Factory faces such as Paul Bartel and Mary Woronov (both appeared in Rock ’n’ Roll High School), John Cale’s soundtrack for Demme’s Caged Heat, and Arkush’s then-fondness for all-things Velvets (“I remember seeing Chelsea Girls with Nico”), and Arkush piles connection upon connection ...
Vor 5 Tagen · Mary Woronov, known for her transgressive roles in cult films, eventually transitioned to mainstream films. She was expected to recreate the transgressive elements of her cult films within the confines of mainstream cinema. Instead of the complex gender deconstructions of her
