Great mention of a scene featuring Frank Harts: “…The greatest passages come from Paterson’s driving scenes, when he eavesdrops on random exchanges about topics ranging from anarchy to social outings that wouldn’t feel out of in his vignette-driven ‘Coffee and Cigarettes…'”
In Jarmusch’s PATERSON, receiving rave reviews from Cannes!
Fresh off its Tribeca Film Festival premiere, Jason Bateman’s The Family Fang, starring himself along with Christopher Walken and Nicole Kidman, begins its theatrical run. This is Bateman’s second directorial feature, following his 2014 debut, Bad Words.
Two performance works about bodies, landscape and memory, presented at Abrons Arts Center. Both have original music and some of it is played live, beautifully.
Jim Findlay and Frank Harts are the actors.
EMPATHY SCHOOL was made for Jim Findlay, literally. I wrote this while I was living in Illinois and riding the bus a lot (long story). I thought, Jim can make harrowing so warm and delightful. He does. We first performed Empathy School on a bus upstate in 2014.
LOVE STORY is performed by Frank Harts. In 2007, this piece was made of cassette tape, photographs, an audio walk, and some writing I put together for Fusebox. Now it’s Frank, an actor who can make the smallest move or gesture seem epic. He plays the grid-walking sympathetic stalker of this little big city.
PLEASE JOIN US.
These performances are supported by the Howard Gilman Foundation, The Barbara Bell Cummings Memorial Fund, Princeton University, and individual donors. Love Story was previously presented at ASU Gammage. Empathy School was commissioned by EMPAC, funded by MAP and developed at The Orchard Project. Aaron Landsman is a playwright-in-residence at Abrons. Thanks and praise be.
From HULU: “The Path explores the unknown and mysterious world of the cult-like Meyerist Movement in upstate New York. At the center of the movement lies Eddie (Aaron Paul), a conflicted husband; Sarah (Michelle Monaghan), his devoted wife; and Cal (Hugh Dancy), an ambitious leader. We follow each as they contend with deep issues involving relationships, faith, and power. The series takes an in-depth look at the gravitational pull of belief and what it means to choose between the life we live and the life we want.”
BILLIONS (SHOWTIME) EPISODE 5. THE GOOD LIFE (2-14-16
There’s a funny bit where Dale (Frank Harts), the newbie on the U.S. Attorney team gets admonished for using the term “dude” in a meeting. He’s fresh from a more bro-y law firm but quickly gets told that the vibe in this office is “serious but serious.” Later, Rhoades himself tells Dale, “Somewhere between ‘sir’ and ‘dude.’” Watching Dale adjust to his new office throughout the episode is a small but worthy delight. -EW
HOME finds Distribution via eOne Home in theaters starting on Friday, November 22nd, 2013 at The Quad Cinema in New York and The Arena Theater in Los Angeles for a limited (one week) run, with more theaters and cities possibly to follow. Complete release information will be available and updated on http://www.HomeTheFilm.com and on our Facebook page at facebook.com/HomeTheFilmNYC
FRANK HARTS!!!!!! HBO’s Leftovers has cast Chris Zylkaa as the son of Justin Theroux and Amy Brenneman’s characters in the pilot scripted by Damon Lindelof (Prometheus) from the novel by Tom Perrotta, reports The Hollywood Reporter.
Also in the cast of the show executive-produced by Albert Berger, Ron Yerxa and Perrotta, are Liv Tyler, Christopher Eccleston, Ann Dowd, Amanda Mason Warren, Carrie Coon, Margaret Qualley and Frank Harts.
Pretty sure if you see Frank Harts in LUCK OF THE IRISH you will hope you have a role you can offer him this pilot season
LCT3 in previews now:
by Kirsten Greenidge
LUCK OF THE IRISH really began as a way for me to explore the subject of ghost buying, which was a term my mother used often to describe how my grandparents bought their house in Arlington, Massachusetts, in the mid 1950s. The story I grew up with was that my grandparents had enrolled my mother in convent school in predominantly white Arlington when they were still living in the more-black-than the-suburbs South End of Boston. It was a long drive each day in to Arlington, and while the nuns were happy to keep my mom (who was the youngest student there) during the week, my grandparents wanted to move closer to my mother’s school.
They decided on renting in Newton but when their prospective neighbors realized they were black, my grandparents were asked not to make the move. Only sometimes did my mother, when telling the story, mention the threat of violence. She didn’t want to frighten us.
The next time they planned to move, they decided on Arlington itself. First they rented in a neighborhood with at least one Italian family and very quickly another black family, The Franklins, with whom my family is still close with today. Integration! That neighborhood, however, was torn down when the Turnpike was built, and my grandparents chose a house further in to the town, a section called Arlington Heights. My grandparents found out the house was up for sale and had a family friend go with my grandmother to meet the owner and see inside. They both dressed up, and revealed very little to the seller when they visited. From afar they looked like a housewife and her housekeeper going to look at future homes. My grandmother was extremely charming and beyond well mannered. She was really good at changing subjects on you, of having a conversation swirl back to how she wanted it to work, so if the owner cared who he was selling to-and by all indications, he didn’t– one conversation with my grandmother and he would probably offered the house as well as his supper to her. The house was in horrible shape and from what I understand he was really ready to sell quickly-he didn’t let on in that initial meeting that he was worried about how my family would be perceived. My mom is very quick to tell me, since this play’s been workshopped and produced, that nothing overtly illegal took place. “Back then,” she explains, “it was a handshake, nothing preapproved, nothing signed in advance. There was no lying on paper.”