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country: USA / Rating: 18 vote / runtime: 74 Minutes / 
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Wow! This is fantastic! Thank you. This video is everything. The Times of illusion. He should wore his hats in both woman he would been in this situation. 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 it’s 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 you’d 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 Cunningham’s work is that he never made the distinction. He didn’t see it, so he didn’t 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 you’d always have to do a double take before you said, “Oh, look, it’s 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. There’s 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 there’s 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 women’s 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 (who’s 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 who’d discovered the secret of a happy existence: If you love what you do and do what you love, you’ll 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 Cunningham’s 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, wasn’t aesthetic talent; it was closer to having a detective’s eye. That’s 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 hadn’t 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 he’s 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 wasn’t 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 Women’s 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 it’s a snapshot of a life that leaves you grateful for having encountered it. Cunningham insists he wasn’t 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 wasn’t 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 Widow’s life before she was an Avenger. Diving into the back story of Johansson’s 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, I’m not going to make the same mistake, ” says Miles Teller who is playing Bradley “Rooster” Bradshaw, son of Nick “Goose” Bradshaw, deceased wingman to Cruise’s character. [... ] The Sundance Film Festival is fighting a battle that’s been building for several years, and what it’s fighting for can be summed up in one word: relevance. What makes a Sundance movie relevant? In a sense, the old criteria still hold. It’s 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, Sony’s “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, 2003’s “Bad Boys II” and its $271 million haul. The first entry, 1995’s “Bad Boys, ” [... ] World War I story “1917” dominated the BAFTA film awards, which were awarded Sunday evening at London’s 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 Television’s 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, [... ].
Damn you kids. Cool, I guess Bill didn't go to Italy with all the other street style people. Carley Lanich Updated 10 hrs ago Ethan Radaza is representing the Region every day as he studies at The Chicago Academy for the Arts. Paul Oren Times Correspondent Updated 1 hr ago Chesterton and Valparaiso used a third-quarter runs to advance in the opening round of IHSAA sectionals. Rose Fuentes' hot start helped Bishop Noll roll past Lake Station in a Class 2A Whiting Sectional opener. Sarah Reese Updated 3 hrs ago The man testified that after he and his then-fiance were arrested, a detective told him his fiance would remain in custody unless he spoke wit… Macy's won't say whether its stores at the Southlake Mall and River Oaks Center will make the cut. Dan Carden Hoosier senators have scrapped a controversial proposal to deploy speed enforcement cameras in Indiana highway work zones. Before Ultimate Auto Sale would be allowed to transform its abandoned railroad property into a vehicle storage lot, it must first consider add… Students, teachers and alumni spoke out in a Tuesday night public hearing moving the Gary Community School Corp. one step closer to closing th… Anna Ortiz Updated 2 hrs ago The stabbing occurred after two waitresses were told to go home because of a scheduling issue, records said. Get a recap of Tuesday's local news stories from The Times. State senators agreed Tuesday to make up to $43. 5 million available over the next 10 years to demolish abandoned school buildings in Gary and … The Indiana Senate wants women completing a pill-induced abortion to collect the fetal remains and bring them to a clinic or hospital for buri….
What a brilliant, creepy trailer. Amazing work. What's the first song? Do you know. Critics Consensus No consensus yet. Tomatometer Not Yet Available TOMATOMETER Total Count: N/A Coming soon Release date: Feb 14, 2020 Audience Score Ratings: Not yet available The Times of Bill Cunningham Ratings & Reviews Explanation The Times of Bill Cunningham Photos Movie Info Told in Bill Cunningham's own words from a recently unearthed six-hour 1994 interview, the iconic street photographer and fashion historian chronicles, in his customarily cheerful and plainspoken manner, moonlighting as a milliner in France during the Korean War, his unique relationship with First Lady Jackie Kennedy, his four decades at The New York Times and his democratic view of fashion and society. Narrated by Sarah Jessica Parker, The Times of Bill Cunningham features incredible photographs chosen from over 3 million previously unpublicized images and documents from Cunningham. Rating: NR Genre: Directed By: Written By: In Theaters: Feb 14, 2020 limited Runtime: 74 minutes Studio: Greenwich Entertainment Cast Critic Reviews for The Times of Bill Cunningham Audience Reviews for The Times of Bill Cunningham There are no featured reviews for The Times of Bill Cunningham because the movie has not released yet (Feb 14, 2020). See Movies in Theaters The Times of Bill Cunningham Quotes News & Features.
The thousand year old egg is actually really decent though. That lie detector test has been rigged lmao. I'm a 70s kid When I was a teen Linda was America's sweetheart and ruled the airwaves I owned several of her albums and still have them to this day They are in pristine condition I might add I would lock myself in my room and listen to every phrase and nuance She was wholsome yet sexy a total feminine package I loved her fashion sense I still wear a flower in my hair Todays so called artists with their vulgarities could learn a thing or 2 from this marvelous lady Viva Linda💝.
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The Times of bill of rights. Hi thanks 😊 again, Colin 2020 visionary bring the reality matrix reset, rmr. No tengo ni la mas pálida idea., de que trata la pelicula 👻. The times of bill cunninham. THAT WOMAN WOULD BE A FOOOOOOL TO MARRY JOESY. As my Grand mother says, does not matter which age or time you are. be a good man and wear simple clothes and everything will past. The 80's were the funniest thing ever.
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I can't wait for the whole docu
The Times of xillia. Amazing. The times of bill cunningham where to watch. Simply the Best female singer you can't pin her to any type of music she sang it all. The Times of bill clinton. The Times of bill gates. What a fascinating, delightful and upwards of charming individual. Loved the documentary. Loved Iris.
‘They have such an overdeveloped sense of importance
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GREAT VIDEO. Thanks for sharing us a little bit of Tatsuo vision and work in Germany. The times of bill cunningham movie. The times of bill cunningham watch online. The times of bill cunningham. The city still feels empty without him. Famed streetwear photographer Bill Cunningham was everywhere, particularly at every fashion show in New York, Paris, and Milan. If there had been a bridge over the ocean he would have hopped on his bicycle to cross it. When Cunningham prowled the city for his New York Times columns “On the Street” and “Evening Hours” he would watch the crowd with the intensity of a forensic scientist, pouncing — with his camera — when he saw what he wanted. Omnipotent as Cunningham seemed (he was even the subject of a 2010 film, Bill Cunningham New York) there’s more to know about him — as evidenced by a new documentary called The Times of Bill, coming next year. Born and raised in Boston, Cunningham earned a scholarship to Harvard, but left after two months. He came to New York City in 1948 to pursue an interest in fashion, and opened his successful millinery shop under his own label, William J in 1949. He closed his business in 1962, when hats started going out of fashion, and began working for WWD as a fashion reporter. When that was not enough to satisfy his artistic curiosity, Cunningham picked up camera. He did so for the first time in 1967. He was also a relentless cultural and fashion historian, as his 1978 book Facades illustrates. For that project, Cunningham spent eight years collecting clothing and accessories from thrift shops, street fairs, and auctions in order to photograph a model dressed in these period costumes, in front of buildings from that same era. The gregarious and opinionated photographer Editta Sherman modeled for him. She lived down the hall from Bill in Carnegie Hall. Sherman (known as the Duchess of Carnegie Hall) moved with her family into her studio in 1949, and took portraits of well-known personalities to make a living. Carnegie Hall was not only built to be a great concert hall in 1894; it was also designed with sky-lit studio spaces on the top floor in order to accommodate artists — like Leonard Bernstein, Marlon Brando, Agnes de Mille, and Isaac Stern — who needed space to live and create. This community of artists disbanded in 2010 after an epic struggle to remain in their unique spaces. Photographer Josef Astor also lived in Carnegie Hall for decades, was a close friend of both Cunningham and Sherman, and had privileged access like no one else. He took photographs of each of their studios, as well as his own. Along with Lost Bohemia, his extraordinary documentary about the life at Carnegie Hall, he took hundreds of photographs of the artistic community in its heyday. In 2018, Times of Bill director Mark Bozek will debut a new documentary featuring interview footage of Cunningham, on the occasion of the photographer receiving the Media Award from the Council of Fashion Designers of America in 1993. This is the first time that Astor has allowed his photographs of Cunningham’s personal space in Carnegie Hall to be seen. Inside the World of Bill Cunningham.
The life and times of bill regas. Where can I watch this movie. The times of bill cunningham shirt. 24 years old with baby number 5 on the way, damn. Why the keep walking up on that pregnant female for. You cant sleep with your step brother. That means yall parents are married to each other. If yall parents are married to each other and have a child then the child you have with your step brother becomes siblings with the child yall parents have together. That's nasty.
Billy paul the times of our lives. Even those of us who used to await and savor Bill Cunningham’s street-fashion photochronicle every week in the New York Times —where his work appeared from 1978 to 2016—probably had no idea how precious, in time, those photographs would come to be. Cunningham had two beats: society parties and, better yet, the polychrome cavalcade of fashion as seen on the streets of Paris and, most frequently, New York. His “On the Street” column, which featured candid pictures of individuals arranged into themes—men and women all wearing yellow coats, for example—was an anthropological study in the making. In Mark Bozek’s marvelously intimate documentary The Times of Bill Cunningham, Cunningham himself says—in an on-camera interview Bozek conducted in 1994—that he was hardly a photographer at all. He considered himself a “fashion historian. ” Cunningham was easily both, and Bozek’s film—narrated by Sarah Jessica Parker—captures both his artistry and his fizzy, elfin charm. You might wonder why we need another Cunningham documentary. Didn’t Richard Press’ superb 2010 Bill Cunningham: New York cover it all? Bozek’s film is a more personalized work, with that 1994 interview as its backbone. It’s something of a companion piece to Cunningham’s delightful memoir, Fashion Climbing, published posthumously in 2018. (Cunningham died in 2016, at age 87, though you could catch him wheeling through the streets of New York on his bicycle almost until the end. ) Cunningham tells some of the same stories in Bozek’s film, but it’s wonderful to see and hear them tumble forth, punctuated by an impetuous grin here or an animated cackle there. Cunningham was born in Boston and moved to New York as a teenager to work at the ultra-elegant Bonwit Teller department store. In time he began designing hats under the name William J. (he didn’t want to use his full name, lest he embarrass his discreet Bostonian family), eventually opening his own studio, though he had to work as a janitor in the building to make that happen. His hats were inventive and fanciful, concoctions that might feature octopus arms pretzeled flirtatiously around the wearer’s eyes, or mini-fountains of feathery plumage. (They were worn by socialites, but also by Joan Crawford, Ginger Rogers and Marilyn Monroe. ) He did a stint in the Army during the Korean War, and later worked as a fashion columnist for Women’s Wear Daily. But when the great fashion illustrator and bon vivant Antonio Lopez gave him a camera as a gift, in 1967, instructing him to use it as he would a notebook, Cunningham found his most joyful means of self-expression, taking pleasure daily in capturing the way men and women around him used clothes to write their own mini-autobiographies. Bozek includes examples of Cunningham’s thrilling on-the-street work—club kids swaggering around in 1980s big-shouldered jackets, socialites swaddled in cashmere as they pick their way around New York City’s humbling, egalitarian puddles—and makes a lively dash through Cunningham’s life and career. He suffered a serious bicycle accident in 1993 (though that hardly stopped him from hopping on again, once he’d recovered from his bruises and broken collar bone). In 2008, the French Ministry of Culture awarded him he Legion of Honor for his longtime coverage of Paris fashion. Bozek’s interviews capture Cunningham’s crackling joyousness, but occasionally his subject will stop, mid-sentence, and look down, shielding himself from the camera. Cunningham’s embrace of the world was warm and rapturous, but his sensitivity and shyness was part of that, too. The AIDS epidemic, and its decimation of the New York artistic community, hit him particularly hard. Bozek’s film includes a story even devoted Cunningham lovers may not know: When Lopez became ill and had no insurance for treatment, Cunningham, who notoriously led a rather monastic, nonmaterialistic life, bought a painting from him for $130, 000—and then returned it so the artist could sell it again. All lives are made of shadow and light, and The Times of Bill Cunningham acknowledges that. But through it all, spending time in Cunningham’s presence is bliss. At one point Bozek, who is always off-camera, asks his subject, “What’s the hardest thing? ” “Spelling! ” Cunningham answers, without even having to think about it. And he flashes that broad, guileless smile, knowing, probably, that putting letters in the correct order on a page could fail any of us in the face of great everyday beauty. The language of clothes, and the way people wear them, needs no words. Contact us at.
Man, that girl could sing. Peerless voice and no one wore cut-offs like LINDA. Be still my heart... One of a kind; and an inspiration to us all. 5-star documentary. The times of bill documentary. The Times of lille.
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OMG! Material possessions! Sparkly dresses and shoes! YEY! Let's spend time and money on a documentary about a cause it matters.
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