Their love scene is lavishly romantic, backed by the gentlest of soft-rock chords, but it’s also naked and graphic and orgasmic. The two are staying in Venice while Sutherland’s character, an art restorer, renovates an old church. The film’s two stars, Donald Sutherland and Julie Christie, were both considered deliriously sexy at the time, though if you watch the movie today they look more or less like what they were playing — a handsome but ordinary middle-class couple still reeling in grief from the accidental death of their young daughter. (Today, it’s hard to believe that rumors about whether the two actors were doing something more than acting weren’t further exploited for publicity purposes; but no, the two were simply treated like actors playing roles.)
The tale of survival and cross-cultural friendship was conventional, yet Roeg’s images lent a certain depth to its humanity. The movie indicated that Roeg could take on almost any subject and infuse it with his sensibility. In between "Performance" and "Don’t Look Now," Roeg made what you might almost call his idiosyncratic version of a Disney film: "Walkabout" (1971), which was set in the Australian outback and chronicled the connection between a wandering aborigine (David Gulpilil) and two stranded siblings (Jenny Agutter and Luc Roeg, the director’s son).
Yet the thing about "Performance" is that it doesn’t have to. In 1968, Roeg finally got a chance to co-direct (with Donald Cammell) his own concoction: "Performance," a London-set gangster-hides-out-with-rock-star psychodrama that paired the elegant James Fox and the lurid Mick Jagger. But those were very much their own directors’ films. It has a menacing atmosphere of underworld cult griminess you can’t shake — sordid and foreboding, as if circling around an abyss, and it all comes together when Jagger sings "Memo from Turner," a scene hypnotic enough to suggest what "A Clockwork Orange" would have looked like with Mick as Alex. They recut it (and didn’t release it until 1970), which may be one reason the movie doesn’t entirely make sense. The film was so ominously elliptical that its studio, Warner Bros., didn’t know what to make of it.
It was the cinema’s first modern gothic, the first tale of a ghost world that seemed to be unfolding in a place where such things were too corny to exist. "Don’t Look Now," based on a Daphne du Maurier novel, was full of disturbing cuts and sinister portents, all driven by Roeg’s visionary skill as a cinematic manipulator of time and memory. "Don’t Look Now" was about something more than scaring you (though it did that just fine, especially when a mysterious small figure in a red hood showed up); it was about a tear in the cosmic fabric. It was a prismatic poem of fear that made it seem as if the nightmare was cracking open inside your head. In 1973, the movie had the shock of the new, and in a way it's never lost that. No film has ever let you taste the grandeur and rot, or the vertiginous anxiety, that arises out of the ancient maze of Venice the way "Don’t Look Now" does.
For all its voluptuous daring, what truly made this a Nicolas Roeg scene was its audacious structural gambit: Roeg intercut the sex with shots of the couple getting dressed after they’d finished, looking as humdrum as they’d been ecstatic a few minutes before. It said: This may look like a wild thing, but don’t let that fool you — it’s just life. That sly piece of editing, which was partly a way of trying to calm the censors, transformed the meaning of the scene's passion.
Yet his heyday as a filmmaker didn’t last long (though it should, by all rights, have lasted longer). He worked on David Lean’s "Lawrence of Arabia," then fought with Lean on "Doctor Zhivago," finding his own vision with the Thomas Hardy-on-sedatives gauziness of his camerawork for "Far from the Madding Crowd" (1967) and the fashion-forward Godard-meets-Carnaby-St. vibe of "Petulia" (1968). Born in London, he joined the British film industry 23 years before he ever directed a movie, first chiseling out a career as a cinematographer. In a handful of movies, Nicolas Roeg was a major film artist, revered for the hallucinatory pull of his images, the sinister power of his perception, and a kind of erotic obsessional quality that marked his best work.
The scene also said what all of Nicolas Roeg’s films do: that past is present, climax is prelude, and even the most elemental acts belong to a circle of fate.
There are fans (though not me) of "The Witches," Roeg's 1990 Roald Dahl adaptation, which never found its intended audience. But the truth that can haunt you about Nicolas Roeg’s career after 1980 doesn’t just come down to the insignificance of the movies he made. I liked one or two of his trifles, like "Insignificance" (1985), a whirling brainpan comedy that throws together a klatsch of 20th-century icons (Michael Emil as Albert Einstein, Theresa Russell as Marilyn Monroe, who in the film actually does an effective job of explaining Einsteinian physics). It’s the alternative universe — quite easy to envision — of the films he might have made, had he fused his techniques with the machinery of escapism.
The movie stars Art Garfunkel, in an occasionally awkward but daring performance, as a psychiatrist who falls for an emotionally broken femme fatale, played with great force by Theresa Russell (the actress who became Roeg’s wife). "Bad Timing: A Sensual Obsession," released in 1980, is the last "classic" Nicolas Roeg film — the last to be rooted in a fractured mind-game aesthetic of time and imagery that feels hypnotic in its command. Yet hardly anyone saw it. The subject? And I say that as someone who's actually a major fan of his next movie. Male toxicity, in the extreme. And the rest of Roeg’s career became a footnote. When the two break up, the Garfunkel character, through a combination of desperation and retaliation, commits an act so hideous that the movie feels like it should be a scandal. His career flamed out, though, never to re-ignite in any impactful way.
Okay, that’s only one possible route. Yet it’s not as if "Don’t Look Now" was so arty or highbrow (it was a horror film), and one can imagine, say, the sort of elegantly tricky espionage thriller that Roeg might have created. Yet thinking back on their wide-awake sensuality and snakiness, and their indelible images (Mick Jagger with his greased-back hair, the demon in the red hood, Donald Sutherland hanging from a broken church scaffold, David Bowie channel-gawking), I now want to go back and watch them all, to live in that place where people fall to earth and, simultaneously, seek in every way to escape its confines.” /> Starting with "Performance," he made a total of four (or maybe five) films that really mattered.
The 1970s were the heyday of what was still known, with Victorian understatement, as the love scene: those writhing arenas of nude intimacy, which moviegoers experienced with a touch of voyeuristic awe, to the point that the scenes were talked about for years, or even decades. And except for the clashing close encounters in "Last Tango in Paris," no love scene of the '70s was as celebrated, as talked about, or as swooned over as the one that appeared a year later in "Don’t Look Now," the splendidly creepy 1973 chiller that’s arguably the greatest movie directed by Nicolas Roeg, who died Friday at 90.
Yet he wanted a wide audience, and in 1976, the year before "Star Wars," he made one of the last vastly scaled science-fiction films to use futuristic imagery to tell a haunting tale of this world. "The Man Who Fell to Earth" is, in a way, an early cousin to "Blade Runner" — it's another a movie of textures that asks you to experience it as a dark dream, with Bowie cast as a languidly ghoulish sci-fi Christ figure. He becomes a corporate entrepreneur, an alabaster-skinned addict, and a listless creature of earthbound appetite who watches several television sets at once: as prophetic an image of the place we were headed as anything in ‘70s movies. But it’s his destiny to be fatally sucked into the place he’s visiting. It remains a thriving cult film and should have established Roeg, who was then 48, as one of our reigning creators of fantasy. "The Man Who Fell to Earth" was the first movie, and still the most resonant, to tap the silky-decadent otherworldly mystique of David Bowie, who plays an alien who lands on earth, searching for water for his own parched planet.

He took home a $9 million purse, and he raised $400,000 for various charities through side bets with Woods. Mickelson prevailed in the made-for-TV event staged at Las Vegas' Shadow Creek golf course.
https://twitter.com/notmichael5cott/status/1066473958365630464″ />
Instead, some viewers were irritated by the technical issues and the fact that they paid for a program that wound up airing for free. Turner had hoped to use the event as a platform to promote Bleacher Report as an outlet for live streaming coverage of sports news and events.
“ 'The Match' was an historic event, from Tiger’s opening tee shot to Phil’s final putt. Prior to the start of the event, we experienced a technical issue with the B/R Live paywall page that we tried to quickly resolve. Unfortunately, the pre-match technical issue did occur, and we will offer fans who purchased the event on B/R Live a refund." "This did not impact the live streaming of the competition and fans were treated to an event that was both engaging and memorable. We decided to take down the paywall to ensure that fans who already purchased the event would not miss any action," a Turner spokesman said in a statement issued Saturday.
On Friday, Comcast said it would offer a $19.99 credit to customers who paid for "The Match" through its Xfinity platform. But Turner may face additional pressure to offer more refunds to customers who paid for the event via traditional TV distributors such as its AT&T corporate sibling DirecTV and Comcast. Turner said on Friday that there were no technical problems with the linear telecast of the event. Turner's statement specified that refunds would be offered to those customers who purchased the event directly through Bleacher Report.
The company said a glitch with the purchasing infrastructure on its Bleacher Report Live page threatened to keep some customers from watching the event. The need to issue refunds adds to the embarrassment for Turner. Rather than have fans angry at missing what proved to be a 22-hole shootout between the golf legends, Turner made the call to take down the paywall and make the live stream available to all for free.
Turner will issue refunds to some customers who shelled out $20 for Friday's pay per view golf match featuring Tiger Woods and Phil Mickelson after a technical problem forced the company to make the event available free via a live stream.

The Kingsleys were producers on the 2012 feature film “Dredd,” and the hard-hitting lawman will return in TV series “Judge Dredd: Mega-City One.” That will be produced by Rebellion Studios, which, with pilot script in hand, is talking to potential broadcast and platform partners. The Rogue Trooper film features the titular blue-skinned, genetically engineered super-soldier, and is being developed in partnership with Duncan Jones and Stuart Finnegan, who are directing and producing, respectively.
Part of the reason for setting up the new studio, which sits near Rebellion's Oxford base, was a lack of space to pursue these new projects, Kingsley said.
“I think we are pretty good at creating content in all different types, screen content and interactive games and all sorts of stuff, and I’m hoping we’re going to be equally good at making TV and film,” he said. Jason Kingsley told Variety that the barriers between different types of screen-based entertainment and storytelling are falling away.
Chris Kingsley noted that the growth in the demand for content from the likes of Netflix and Amazon is an opportunity, but has also presented a challenge in terms of space and facilities. “This is very exciting for the domestic and global film industries, but it’s also meant that our infrastructure is under increasing pressure.” “We’re seeing more big players wanting to get in on the action,” he said.
With large soundproofed spaces already in place, parts of the facility will be ready for use within weeks, without the need to go through the lengthy planning permission process. The site in Didcot, about 50 miles west of London, was previously a printing press for the Daily Mail newspaper.
In the gaming world, Rebellion is known for the "Sniper Elite" series and such recent releases as "Strange Brigade." It has acquired a raft of comic book IP, having bought "2000 AD" from Egmont and, two years ago, the Fleetway and IPC Youth Group archives from the same seller, a deal that handed it titles and characters including “Battle,” “Action” and “Roy of the Rovers.”
He said the site and stages are valued at $100 million. Jason Kingsley, who founded Rebellion with his brother Chris, said the site would be used as a location as well as a studio. The company expects to create up to 500 new jobs as the new studio gets up and running.
Judge Dredd and Rogue Trooper are shooting into action near Oxford, England.
Video-game company Rebellion, which is moving into film and TV, has bought a large former print works that will be converted into studio space for its highly anticipated Judge Dredd TV series, "Judge Dredd: Mega-City One," and its Rogue Trooper film, directed by Duncan Jones ("Source Code"). Both projects feature characters from the legendary British comic book series "2000 AD," which Rebellion bought, appropriately enough, in 2000.
to talk to the people who are the routes to market,” Jason Kingsley said.” /> “We have plans, we have a lot of scripts in development, we have got a lot of scripts written, we have pilots that are looking for people to work with, we have people going out to the U.S.
As well as servicing Rebellion’s burgeoning slate of film and TV projects, the studio will also be made available to third parties in a boost for the entertainment industry in Britain, where demand for space is outstripping supply.
It boasts an overall area of 220,000 square feet, including a 25,000-square-foot sound stage. But with its proximity to production bases in London and Bristol, the new Rebellion Studios will provide much-needed additional space now. Major expansions are underway at Pinewood, Shepperton, Church Fenton and other studios, and there are plans to build new facilities in Liverpool, East London and Leeds.
There is a whole bunch of interesting stuff, but you do need the craft skills and you need facilities…and it is hard to find them. We were looking and couldn’t find anywhere to shoot the stuff we have ambitions to do.” “We make computer games. VFX is an area we are looking at as well. “We’ve got a huge library of good stories, and we’ll do original stuff as well,” Kingsley said.
Through its acquisition of the TI Media library, it has an archive stretching back 130 years that includes “Comic Cuts,” which dates back to 1888 and is arguably where the term “comic” originated. The Rebellion library covers superheroes but also touches on other genres.

He appeared in several David Mamet movies, including "House of Games," "The Spanish Prisoner," "Things Change," "Redbelt" and "State and Main."
In the 1997 James Bond film "Tomorrow Never Dies," Jay played a cyber-terrorist to Pierce Brosnan's Bond.
With Weber, he created the Deceptive Practices company, which provided solutions to movies and TV productions such as the wheelchair that hid Gary Sinise's legs in "Forrest Gump." They also worked on films including "The Prestige," "The Illusionist" and "Oceans Thirteen."
A New Yorker profile called him "the most gifted sleight of hand artist alive," and Jay was also known for his card tricks and memory feats.
He also provided the narration for movies such as Paul Thomas Anderson's "Magnolia." His one-man Broadway show directed by Mamet, "Ricky Jay and His 52 Assistants," was recorded for an HBO special in 1996.
LADY GAGA COVERS VARIETY: 
A documentary about his life, "Deceptive Practice: The Mysteries and Mentors of Ricky Jay," was released in 2012.
In "Deadwood," he played card sharp Eddie Sawyer during the first season, and also wrote for the show.
He’s expertly able to perform and yet he knows the theory, history, literature of the field." Steve Martin, with whom he appeared in "The Spanish Prisoner," described Jay in the New Yorker profile, “I sort of think of Ricky as the intellectual élite of magicians.
Jay's manager, Winston Simone, said he died of natural causes, adding, "He was one of a kind. We will never see the likes of him again."
Ricky Jay, a master magician who also acted in films and TV shows such as "Boogie Nights," "House of Games" and "Deadwood," died Saturday in Los Angeles. He was 72.
A student of all facets of magic, prestidigitation and trickery, he maintained a large library of historic works and wrote two books, as well as numerous articles for the New Yorker; he also frequently lectured at museums and universities.
Jay first worked in film with on Caleb Deschanel's "The Escape Artist." Jay, who was born Richard Jay Potash in Brooklyn, was introduced to magic by his grandfather. He began performing in New York, opening for rock bands.
His partner in the Deceptive Practices company, Michael Weber, tweeted, "I am sorry to share that my remarkable friend, teacher, collaborator and co-conspirator is gone." His attorney Stan Coleman confirmed his death.
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Prateek Vats’ “Eeb Allay Ooo!” won the Facebook award for best film at the Bazaar’s work in progress lab. The lab also features awards from Prasad Labs that offers free digital intermediate process for winning films, free mastering of DCI compliant DCPs from Moviebuff, and $3000 worth of trailer promotion in 300 Qube cinemas. Saurav Rai’s “Nimtoh” (“Invitation”) and Jadab Mahanta’s “Rukuni Koina” (“The Holy Bride”) won these awards.
A further Prasad/Moviebuff/Qube award went to Kislay’s “Ajeeb Budhee Aurat” (“Strange Old Lady”) from Film Bazaaar Recommends. It concluded Nov. 24.” /> India’s National Film Development Corporation operates the Film Bazaar.
Bhaskar Hazarika’s "Ravening" (“Aamis”) won the Facebook award for the project with the most buzz at the Film Bazaar Recommends strand at the annual Film Bazaar in Goa, India. The project gets $10,000 worth of advertising on Facebook. The award is calculated on audience votes and number of visits to the film at the Bazaar’s viewing room.
“Aamis” previously featured in the 2017 Asian Project Market at Busan. Hazarika’s debut “The River of Fables” had considerable festival play in 2015, including Busan, London and Gothenburg.

The drama about an impoverished family living on the margins took home the Palme d’Or at Cannes and is Japan’s entry for best foreign language film at the Academy Awards. Also at the specialty box office, Magnolia's "Shoplifters" opened in five locations where it made $88,000, for a per-screen average of $17,600.
That brings its domestic tally to $116.5 million. Warner Bros.' "Fantastic Beasts: The Crimes of Grindelwald" picked up $43.3 million for the five-day outing and $29.2 million its sophomore frame. As new releases swarmed multiplexes, a number of holdovers still managed to draw crowds.
Unfortunately, it's not all holiday cheer at the box office. Lionsgate's "Robin Hood" pocketed an tepid $14.2 million at 2,715 venues for the five-day period and $9 million for the weekend, a potentially disastrous result given the live-action adventure's roughly $100 million production budget. Taron Egerton and Jamie Foxx lead "Robin Hood" in the latest rendition of the swashbuckling bandit.
This five-day outing surpassed $314 million, exceeding the record set in 2013 with $294 million. The crowded Turkey Day didn't just bring back solid receipts; it set a new record, according to Comscore.
Set in the early 18th century, it centers on the drama between two cousins (Rachel Weisz and Emma Stone) jockeying to be court favourites during the reign of Queen Anne (Olivia Colman). In limited release, Fox Searchlight's "The Favourite" bowed in four theaters in New York and Los Angeles, earning $420,000. That averages out to $105,500 per location, marking the best theater average of the year. Yorgos Lanthimos directed "The Favourite," an absurdist period drama that's seen as a solid Oscar contender.
That marks the best debut for a live-action film during the holiday frame. Sylvester Stallone returns as Rocky Balboa. MGM and New Line's "Creed II" was a knockout as the boxing drama earned $55 million from 3,350 venues over the five days and $34 million for the weekend. Jordan as Donnie Creed, the son of heavyweight champ Apollo Creed. "Ralph" wasn't the only sequel to thrive this weekend. Those numbers also top the start of "Creed," which launched with $29 million over the three-day frame. "Creed II" stars Michael B.
Universal's domestic distribution chief Jim Orr stressed that word of mouth will be exceptionally important for "Green Book's" life at the box office.
Reilly and Sarah Silverman reprise their roles from "Wreck It Ralph" as the video game villain and his best friend navigate the internet. "Ralph Breaks the Internet" carries a hefty $175 million production budget, so it will need to keep up momentum worldwide to turn a profit. The original film picked up $49 million over its first three days of release. "Ralph Breaks the Internet" sees John C. Propelled by solid word of mouth, the Disney animated sequel now ranks as the second-best Thanksgiving debut ever, behind another Disney title, "Frozen," which earned $93.6 million during its first five days.
"We think it's going to be in theaters and an awards darling for quite some time." "It's definitely going to be a marathon, not a sprint," Orr said.
Netflix's awards bait film "Roma" debuted in three theaters in New York and Los Angeles, though the streaming service does not report box office numbers. Alfonso Cuaron directed the semi-autobiographical drama that hits Netflix on Dec. 14.” />
Disney's "Ralph Breaks the Internet" dominated the Thanksgiving box office, generating a massive $84.6 million at 4,017 locations over the five-day holiday period and $56 million for the weekend.
"There is so much competition in the overall marketplace, but it shows there's room for other movies," said Frank Rodriguez, Fox Searchlight's head of distribution. "Thank god for exhibitors knowing their audience was passionate about seeing the film."
It moved into 1,063 theaters and made $5.4 million for the weekend and a lackluster $7.4 million during the five-day frame. Viggo Mortensen, who drew controversy after using of the N-word at a screening, co-stars alongside Mahershala Ali in the comedic drama that centers on a renowned black pianist's tour through the Deep South during the Jim Crow era. Universal is distributing "Green Book," which was co-produced by DreamWorks and Participant. Meanwhile, awards hopeful "Green Book" had a disappointing expansion.
Rounding out the top five is Fox's "Bohemian Rhapsody." The Queen biopic drummed up another $19 million during the five-day holiday, bringing its North American total to $151 million.
Universal's "The Grinch" is still doing formidable business in its third week of release, and the family-friendly film will duke it out with the "Fantastic Beasts" sequel for third and fourth place once final numbers come in Monday. Seuss holiday classic stole another $42 million for a stateside haul of $180 million. The animated adaptation of the Dr.
"It’s a thrill to see both its legacy and new generation of audiences continue to respond to Rocky Balboa and Adonis Creed in this time when we need uplifting stories," said Joanthan Glickman, president of MGM's motion picture group.
"The filmmakers built this world out with such attention to detail that people were ready to come back and enjoy these characters. We're really excited about the momentum as we head into the holidays." "Whenever we look at sequels, they have to be additive," Cathleen Taff, Disney's president of global distribution, said of "Ralph Breaks the Internet's" impressive opening.

Thank god for exhibitors knowing their audience was passionate about seeing the film." "It's way beyond our expectations," said Frank Rodriguez, Fox Searchlight's head of distribution. "There is so much competition in the overall marketplace, but it shows there's room for other movies.
Set in the early 18th century, it centers on the drama between two cousins (Rachel Weisz and Emma Stone) jockeying to be court favourites during the reign of Queen Anne (Olivia Colman). Yorgos Lanthimos directed "The Favourite," an absurdist period drama that's seen as a solid Oscar contender.
There's a new favourite at the specialty box office.
That showing marks one of the strongest openings in Fox Searchlight history, behind just Wes Anderson's "The Grand Budapest Hotel," which generated $202,000 per screen in 2014 and "Birdman," Alejandro Inarritu's best picture winning black comedy that picked up $106,000 per location the same year.
It generated $179,806 when it debuted in two locations, translating to an impressive $89,903 per venue. Prior to "The Favourite," the best screen average of 2018 belonged to "Suspiria," Guadagnino's gory arthouse remake of the 1977 Italian supernatural thriller.
14. The studio plans to expand "The Favourite" next weekend to around 30 locations in seven markets including San Francisco, Dallas, Austin, Washington D.C., Boston, Chicago, and Phoenix. Fox Searchlight will continue to slowly grow its theater count and hopes to get to its widest reach, around 600 theaters, by Dec.
Other notable screen averages this year include National Geographic's documentary "Free Solo" with $75,201 per location, Bo Burnham's coming-of-age drama "Eighth Grade" with $63,071 per venue, and Anderson’s stop-motion animation “Isle of Dogs” with $60,011 per screen.” />
Fox Searchlight's "The Favourite" bowed in four venues in New York and Los Angeles, generating a hefty $420,000. That averages out to $105,500 per location, ranking as the best theater average since "La La Land" ($176,221) almost two years ago. "The Favourite" now holds the biggest screen average since Luca Guadagnino's "Call Me By Your Name" ($103,233) in 2017.

Meanwhile, Fox's "Bohemian Rhapsody" is still rocking, drumming up another $38 million internationally. The Queen biopic has made $320 million overseas and $472 million globally in four weeks of release.
Directed by Xiaozhi Rao, the comedic drama has made $50 million to date.” /> China's "A Cool Fish" rounded out the top five with $25 million.
In the United Kingdom, "Crimes of Grindelwald" brought in $7.2 million, taking its total in that market to $28.3 million.   That ranks as the biggest opening this year for a Warner Bros. The magical action adventure had a particularly strong showing in Japan, where it debuted this weekend with $13 million on 1,008 screens. film in that territory. Germany also saw solid returns, pocketing $7.5 million this weekend for a cume of $23.2 million.
Warner Bros., the studio behind the wizarding world films, anticipated that, like all prior "Harry Potter" movies, more than half of its box office revenues would come from international markets. The spinoff sequel has now crossed $439.7 million globally, with $116 million of that total coming from North America.
Other top territories include Mexico ($6.3 million) and Russia ($5.7 million). John C. It has already out-grossed the entire run of "Wreck It Ralph" in the Middle Kingdom. Reilly and Sarah Silverman reprise their roles as a video game villain and his best friend in the follow-up, which had a huge opening in China with $19.5 million for the three-day frame.
"Venom" has seen the biggest returns in China, where it has made $242.9 million, followed by North America with $211 million. The second "Fantastic Beasts" entry wasn't the only film to hit a major milestone this weekend. Sony's "Venom" has crossed $800 million worldwide, ranking as the second biggest superhero origin story of all time behind just "Black Panther." Its global haul currently stands at $822.5 million, officially surpassing the box office receipts of "Wonder Woman," "Spider-Man," and "Deadpool." This weekend, the Marvel antihero action film amassed $21.3 million in 63 markets for an international tally of $610.8 million.
That brings "Ralph's" worldwide cume to $126 million. Stateside, the animated sequel became the second-best Thanksgiving opening ever with a massive $84.6 million over the five-day holiday period and $56 million for the weekend. Among new offerings, Disney's "Ralph Breaks the Internet" got off to a strong start overseas, earning $41.5 million when it launched in 18 international territories.
"Fantastic Beasts: The Crimes of Grindelwald" had another magical weekend at the foreign box office, generating $83.7 million for an international haul of $322.6 million.

Its safe to say it would not be the same scene without him." "Mission Impossible" director Christopher McQuarrie expressed appreciation for Jay's input as a consultant on "Rogue Nation": "An off-handed comment he made inspired the climax of the opera sequence.
See more reactions below.


Michael McKean called him "one of a kind."


Master magician Ricky Jay, who had several ties to Hollywood from both his appearances in films and TV and his company Deceptive Practices, died Saturday in Los Angeles at 72.


https://twitter.com/stephenfry/status/1066626855812374528″ />
My friend Ricky Jay is gone." Filmmaker Errol Morris simply wrote, "Oh no.


Neil Patrick Harris lauded Jay's skill: "The breadth of his knowledge and appreciation for magic and the allied arts was truly remarkable. Such sad news, such a profound loss."
"Criminal Minds" star Joe Mantegna tweeted that "the world has truly lost a little of its magic today."


I will miss you, xo, your pal, Louis." "Rest In Peace, Ricky Jay," wrote "Veep's" Julia Louis-Dreyfus. "You were an unsurpassed artist and an exceptionally kind soul.
Author Neil Gaiman recounted seeing Jay for the first time: "It was a remarkable night, as fascinating for the stories told as for the magic."
Several recounted working with Jay in film or TV.
https://twitter.com/chrismcquarrie/status/1066511133895315456


"Twin Peaks" co-creator Mark Frost, who described Jay as his friend and neighbor for 30 years, wrote that "a irreplaceable world of arcane history, theatrical passion, and his particular, singular performing genius passes with him."


Many Hollywood denizens count themselves among his fans and were quick to pay tribute to him on social media.


Jim Beaver remembered working with Jay on Paul Thomas Anderson's "Magnolia" and HBO's "Deadwood." "I got to see his amazing prestidigital talents at close hand as his character Eddie…"
"The X-Files" executive producer Frank Spotnitz explained that the show creators "wrote 'The Amazing Maleeni' expressly for him, fans eager to share his sleight of hand with @TheXFiles audience."

But it was the unique unease of avant-garde composers György Ligeti and Krzysztof Penderecki that really electrified the evening and captured the genius of Kubrick’s approach to “scoring” terror with existing modern music.
Occasionally the film dialogue wasn’t discernable over the orchestra’s volume, but that was okay. Kubrick’s supreme gift was visual anyway — and, as this “Sound Odyssey” proved, for marrying his images to the perfect classical counterpart in a way that would link the two forever after.” />
Of course, most of the actor’s tales were from his “Clockwork” days, when he was “a very young 25, quite immature.” He recalled how Kubrick liked to eat dessert alongside his meals (“This is the way Napoleon ate,” the master explained), and the response McDowell got when he asked Kubrick about his approach to directing actors: “I don’t know what I want, but I do know what I don’t want.”
The L.A. Philharmonic returned the favor over the weekend, by smuggling the director’s films into the concert hall. Plenty of people have heard 20th century concert music solely because Stanley Kubrick smuggled it into his movies.
That 1971 film’s scenes of home invasion and jubilant assault are still as disturbing today, ironically juxtaposed against the old-world glee of Rossini. It was quite a sight to see the white-haired thespian on stage in a suit, then immediately see him onscreen minus 50 years in nothing but tight-whities.
The ghostly chorus of Ligeti’s Requiem haunted every corner of the hall, accompanying the still-stunning imagery of the “2001” monolith. Kubrick stacked multiple Penderecki pieces on top of each other for “The Shining,” and that cacophonic nightmare was recreated to chilling effect, complete with demonic hissing and chanting by the Master Chorale — the musical equivalent of feeling fatally, terrifyingly trapped.
The Phil, energetically led by Australian conductor Jessica Cottis, brought life and heft to Kubrick’s inspired mixtape of classical repertoire — from the majesty of “Also sprach Zarathustra” (the bone-deep growl of Disney Hall’s pipe organ always gives bang for the buck) to the triumphant strains of Beethoven’s Ninth. A small chamber group broke off for the genteel grace of Schubert’s Piano Trio in E-flat, which underscored a scene of sizzling sexual tension in “Barry Lyndon.”
“Stanley Kubrick’s Sound Odyssey” took the Phil, along with the Los Angeles Master Chorale, on a musical voyage through five chapters in the filmmaker’s diverse canon: “2001: A Space Odyssey,” “The Shining,” “Barry Lyndon,” “Eyes Wide Shut” and “A Clockwork Orange.” Selected excerpts of classical works he used in those films’ soundtracks accompanied their attendant scenes on a large screen above the Disney Hall stage.
Kubrick was hell-bent on finding an actual amputee double for Ryan O’Neal for the scene where his character’s leg is removed. Before the “Barry Lyndon” segment, McDowell relayed a story he heard from one of the film’s assistant directors. The director took one look at the man, then walked away and muttered, “Wrong leg.” After an exhaustive international search, word came of a striking doppelganger in a circus in Belgium, who was summoned to the set.
Malcolm McDowell, who played the amoral lad Alex in “Clockwork,” hosted the evening. Noting how “2001” struggled to find an audience until someone in marketing realized it was the counterculture — potheads — who first really got it, McDowell confessed, “I don’t think I saw the movie straight the first time.”  He seemed a little stiff when reading the boilerplate script, but far more at ease when he segued into telling ad lib anecdotes.
Twentieth century concert music was made for horror movies (some might add “and nothing else”), and it was the right choice to pair these selections with the clips of little Danny Torrance incessantly croaking “Redrum” and an ax-wielding Jack Nicholson terrorizing his family in “The Shining’s” snowbound hotel from hell.