Robert Leacock

Blurring the line between fiction and reality, aspiring fashion photographer Shawn Regruto--obsessed with documenting every part of his life--assembles his personal and professional home-video footage into a feature film. Ironically, amidst this fast-paced environment of New York's nightlife scene, is the purest of love stories between Shawn and Athena, an accomplished model in her own right, who becomes the focus of Shawn's story. As the tale unfolds, the chronicle reveals the darker side of a world where young people are exposed to glamour and fortune at an early age, in ways that often lead them down a path of self-destruction. Part documentary, part autobiography, part reality TV, Shawn's film serves as a behind-the-scenes exploration of the glamorous, reckless life of Manhattan's young and beautiful, caught up in a metropolis of drugs, clubs, and fashion models.

Ａ・パチーノの初監督作品。シェイクスピア作品では難解とされる、『リチャード三世』の映像化をめぐるドキュメンタリー。彼は主演の他、製作とナレーション台本も共同で担当している。出演者はみな俳優である自分自身として登場し、映画化のためのディスカッションやリハーサルに加え、実際に扮装、演技までする。これに街頭でのインタヴューやシェイクスピアの生家の探訪、シェイクスピア作品ゆかりの俳優のインタヴューが挿入される。これらは『リチャード三世』のストーリーに沿って展開されるが、前記の模様が様々にモンタージュされ、配役や作品の解釈は言うに及ばず、シェイクスピアやその作品の解釈、それに取り組む様を浮き彫りにしていく。単なるメイキングにとどまらず、演じる様子だけでなく、映像化された画面や、映像化に向けての様々なアプローチを取り入れることにより、親しみのある作品に仕上がっている。劇中インタヴュー出演はＪ・ギールガッド、Ｋ・ブラナー、Ｖ・レッドグレイヴ、Ｄ・ジャコビ、Ｊ・Ｒ・ジョーンズ、Ｋ・クライン。全米監督組合でドキュメンタリー部門の監督賞を受賞。

A documentary following Christy Turlington and other models during spring fashion week in Milan, Paris and New York.

Isaac Mizrahi, one of the most successful designers in high fashion, plans his fall 1994 collection.

A pioneer in the world of rock-'n'-roll guitar, Chuck Berry has created a legacy that spans decades. Berry performs some of his greatest hits and all-time favorites in this concert video that was filmed on September 13, 1969 at 'Toronto Rock'n'Roll Revival.' The Concert includes the songs "Rock and Roll Music," "Long Live Rock and Roll," "Johnny B. Goode," "Promised Land," "Carol," "Hoochie Koochie Man," "Maybellene," "Too Much Monkey Business," "Reelin' and Rockin'," "Sweet Little Sixteen" and "In the Wee, Wee Hours."

From the rains of Japan, through threats of arrest for 'public indecency' in Canada, and a birthday tribute to her father in Detroit, this documentary follows Madonna on her 1990 'Blond Ambition' concert tour. Filmed in black and white, with the concert pieces in glittering MTV color, it is an intimate look at the work of the icon, from a prayer circle before each performance to bed games with the dance troupe afterwards.

A humourous telling of the history of the comic book superhero.

Penn & Teller's Cruel Tricks for Dear Friends is a straight-to-video release by magicians Penn & Teller on Lorimar Home Video in 1987. The tape features seven different swindles or tricks that the home viewer can use to fool their friends. The tape was a companion piece to their best selling book of the same name. All of the tricks involve using a portion of the videotape.

Documentary about the famed Hollywood director.

The Concert in Central Park is a live album by Simon & Garfunkel. On September 19, 1981 the folk-rock duo reunited for a free concert on the Great Lawn of New York's Central Park attended by more than 500,000 people. They released a live album from the concert the following March (Warner Brothers LP 2BSK 3654; CD 3654). It was arranged by Paul Simon and Dave Grusin, and produced by Paul Simon, Art Garfunkel, Phil Ramone and Roy Halee. The concert was also shot on videotape, televised by HBO in 1982, and subsequently released on various home video formats. The VHS and DVD contain two songs that were omitted from the live album: "The Late Great Johnny Ace" and "Late in the Evening (Reprise)". "Johnny Ace" was disrupted by a fan rushing the stage who came very close to attacking Paul. This incident was both frightening and coincidental, as the song is an elegy upon the murder of John Lennon just one year earlier.

In 1970, right after the triumphant premiere of Stephen Sondheim’s groundbreaking concept musical Company, the renowned composer and lyricist, his director Harold Prince, the show’s stars, and a large pit orchestra all went into a Manhattan recording studio as part of a time-honored Broadway tradition: the making of the original cast album. What ensued was a marathon session in which, with the pressures of posterity and the coolly exacting Sondheim’s perfectionism hanging over them, all involved pushed themselves to the limit.