And he was pretty sure that his relatives also suffered a form of what he calls "Rossellinitis." The Rossellini family also comprises the revered maestro's Rome-based grandson Alessandro (pictured as a child behind the camera) who is a former photographer and also a recovering drug addict. After gaining his sobriety, Alessandro felt he had not lived up to the expectations — and also the burden — of his family name.
The 100th anniversary of Ingrid Bergman is coming up, we have plenty of material in our archives: why don’t you do a montage?' So I walked into the meeting with what was to become 'The Rossellini’s' and I walked out with [the short doc] 'Viva Ingrid!' which went to Venice. So I went to [then Luce-Cinecittà chief] Roberto Cicutto and I told him my idea. And he told me, 'Forget it, you are going to get into fights with everyone in your family!
Aside from the funeral footage there is a wealth of wonderful visual material. Was it easy to get?
Roberto Rossellini, besides being Italian Neorealism’s most acclaimed film director, was also the father of a nonconformist, cosmopolitan and slightly crazy family that includes Hollywood stars such as Isabella Rossellini, another daughter who converted to Islam, and a son who has chosen to live on a desert island in Sweden.
In a way, it's like the the culprit in the film is Roberto Rossellini. That's where all your problems started.
Some of us are more aware of this than others. The cure always comes from awareness. It’s obvious that all of us [Rossellinis] are very conditioned by our [family] history. To be able to ask those questions, and get some answers, clarified things for me.
"The Rossellinis" was produced by Rome's B&B Film in co-production with RAI Cinema and Istituto Luce and VFS in Lettonia.
From there on out I started being taken seriously on this project…Then roughly four years ago I met producer Raffaele Brunetti who tirelessly helped me focus on it and bring it to the screen. Initially with help from Angelica Grizi, I started assembling some bits. Cut to many years later. What helped me bring things forward is a montage I did with footage from my grandfather’s funeral — which is at the beginning of the film — and that elicited interest from just about everyone. That was the game changer.
They provided a backbone and it was a huge help. Well there are his [Roberto Rossellini's] movies, there is material from the RAI and Luce archives. But more importantly, 10 wonderful DVDs that Isabella gave me, which contain 10 years of Ingrid Bergman’s life with my grandfather. Home movies where, at times, Ingrid would pass the camera to those next to her, who could be Fellini or my grandfather, or Jean Renoir. Private and personal Bergman family material, that I was free to use. You see Isabella, Ingrid and Robertino grow up. It’s amazing material.
Partly in an effort to improve his dwindling finances, at age 55, Alessandro Rossellini decided to visit his extended family around the globe, and force everyone to undergo a "family therapy" of sorts "under the scrutiny of an unforgiving lens," as promotional materials put it.
How did this amusing and also powerful project originate?
And I kept thinking: 'What can I do to raise some quick cash?' I had this epiphany: I thought once again about my family, about all my uncles, aunts and my father: all children of Roberto Rossellini and their peculiarities. I was living at a friend’s house. I knew this was great material. I have a daughter and a son; I had been forced to leave the apartment where I was living because I couldn’t afford the rent. It originated at a time, a few years ago, when I had become clean from doing drugs, but I was broke.
My impression is that your family helped you a lot to get this film made, and that you served the purpose of keeping the family united.
That all comes from my grandfather. If you think of Italian comedy — which he was not directly a part of — still, it’s right there in our DNA, being Romans and Italians. We all inherited that totally from him.” /> Yes, but actually there is lots of positivity that also comes from him. This double register, which is dramatic and comic at the same time. That thing of reacting to something dramatic with a cynical joke. His way of being totally honest in saying things; the type of irony that we all have.
So on the one hand there is this sort of ‘hustle’ aspect of 'how can I make some money with my family name?' But on the other I feel that it’s a very sincere and personal film.
His creative doc, "The Rossellinis," launched with a splash from Venice last September, has since won Italy's prestigious Nastro d'Argento prize and is also nominated for the country's upcoming David di Donatello Awards.
It helped me confront my fears. It helped me look at the mirror and see things more clearly. But I’m sure that ‘The Rossellinis’ took away a filter from my eyes. I think I undertook a positive journey, which I don’t think is completed.
Well, in parallel, I was undergoing my therapeutic journey, with self-help groups, 12-step programs, etc. Because finally I was confronting my family demons, and this could help set me free, and maybe change my role a little within my family and make me feel more secure about my identity. So while I was doing the doc, I realized that personally this work could be highly therapeutic.
Alessandro Rossellini spoke to Variety about the combination of hustle and catharsis that went into getting the film made.
Did making this film help you therapeutically with your ‘Rossellinitis,’ as you call it?
Sales company Cinephil has closed several initial sales on the doc, which has gone to Movistar (Spain), Channel 8 (Israel), LTV (Lettonia), SVT (Sweden), YLE (Finland) and RTVSLO (Slovenia). It launched on the international fest circuit at Switzerland's Visions du Réel and Moscow, and is now at Hot Docs in Toronto, among other upcoming events.
So at first there was some resentment towards me. For Isabella and Ingrid, it’s been more difficult because they realized I was posing some uncomfortable questions. I didn’t want to make a hagiographic movie. Some immediate, others later. My father is now enthusiastic, because he values success a lot, and it’s doing quite well. I wanted to touch some of the things that were left unsaid. So I’ve been absolved. Robertino was always quite happy to do it. There’s been a whole range of reactions. So he’s proud of me. But the truth is that, aside from the fact that we have this family bond, we all really love each other.

Among the few skeptics included, a neuroscientist scoffs that all this is “pie in the sky,” the human brain being “the most complex structure in the universe.” He says every individual’s memories are so nuanced and ever-changing that they cannot possibly be simply “replicated” in artificial form.
At the end, Shin muses, ”Life is so fleeting. Of course, she’s already achieved a form of immortality by placing her incessantly-onscreen self at the center of a movie that had no particular need for a forced autobiographical hook. I wonder if AI will ever be able to capture that," capping this tech travelogue on a suitably trite note.
The documentary doesn’t even touch on some basic ethical issues, like the fact that these technologies are very likely to benefit (and economically milk) only the most privileged, wealthy First Worlders — becoming a final frontier in luxury items. Shin is told the goal is that future generations “benefit from your wisdom.” But can’t that ego balm be equally sated by a video, journal or other less-elaborate (or creepy) record left behind? We also hear from technology developers, media theorist Douglas Rushkoff, and BINA48, a robotic android with a human-like face that can hold simple conversations. But what exactly is “immortal” about a programmed artificial “mind” divorced from the original consciousness it has lifted select reminiscences, opinions and personality quirks from?
Featured as Hot Docs’ opening night selection, this Canadian documentary from director Ann Shin presents once-fantastical ideas now edging toward reality in a form palatable to broadcast viewers looking more for casual entertainment value than weighty investigation. But the film is weakened by its gratuitously first-person perspective, chosen for no obvious reason beyond the director evidently wanting to “star” in her own movie. “A.rtificial I.mmortality” provides a diverting if superficial survey of how fast-evolving technology might be able to extend our lives — or at least some of our memories and characteristics.
“A.rtificial I.mmortality” is briskly paced and slickly assembled, with animation deployed to illustrate some of its more challenging concepts, plus clips from “Blade Runner” and “2001” to remind us of AI’s familiar, menacing form in popular fiction. But ultimately it seems too glib to override the thought that people so concerned with chasing immortality ought better to concern themselves with actually getting the most out of their mortal lives.” />
After an opening quote from Seneca, Shin takes center stage and stays there, as introduced at her 52nd birthday party, then perusing old family photos with two daughters. Her own mother has died, and her 78-year-old father is in a retirement home with dementia. But what if her own existence could somehow be elongated so that one day her grandchildren’s grandchildren could know her?
Shin visits participants in the Transhumanist movement, some of whom are Christians who believe God surely meant for humans to eventually “make death optional,” turning life as immortal as the soul is said to be. The rest of the film is a sampler of current innovation, insights and sometimes sheer yearning related to such desires. (Much later we meet a cleric who takes great offense at this, noting that traditional theology already has that “afterlife” thing all worked out.)
Soon Shin is compiling her own images and intel toward the same ends. Interviewee Deepak Chopra already has just such a “clone of himself,” which has absorbed his nearly 100 books and stiltedly interacts with others from that knowledge database. When she shares a preliminary result with her kids, however, they treat the awkward screen demi-Mom as a sort of novelty toy — not unlike a trained talking parrot — which seems just about right. At a consumer electronics show in Vegas, AI avatars are glimpsed, into which may be digitally uploaded “mind files” comprised of one’s archived memories and mannerisms.

It was important for her to see how an Arab city would react to Kurdish forces coming in and taking control. The PYD claims it wants to create a democratic confederacy inside the state of Syria that would recognize all ethnicities and religions, Kilian says. Nevertheless, the more territory the PYD and its Syrian Democratic Forces took over from ISIS, the more Arab women and men joined their ranks, she adds.
Rojava's young female guerrillas have made headlines around the globe for their part in the fight against ISIS, so much so that even Hillary Clinton is developing a TV series about them via her HiddenLight production company, a project based on Gayle Tzemach Lemmon's book "The Daughters of Kobani: A Story of Rebellion, Courage, and Justice."
It was in Minbij that Kilian met Hala, a young Arab woman who had fled her conservative family and the prospects of a forced marriage and found safety and emancipation at a Rojavan military academy, where she trained to become a soldier in the Women’s Protection Units (YPJ) — part of the Syrian Democratic Forces controlled by the Kurdish Democratic Union Party (PYD).
As a feminist filmmaker, Antonia Kilian was inspired to travel to northern Syria after forces of the Kurdish autonomous region known as Rojava liberated the city of Minbij from ISIS militants.
Kilian says it was important for her "to try to understand the situation there through the eyes of a woman who is joining them and through the people living there, to see the options they have and what it means for them."
Like Hala, other young women from the area eagerly joined the Rojavan forces. Women had been in a precarious situation in the city under three years of ISIS rule and now some felt empowered and welcomed the idea of having a gun in their hands to protect themselves.
Whether Clinton's TV series delves into that history remains to be seen.
Via her Kassel-based production company Pink Shadow Films, she is producing and serving as DOP on Bahar Bektas' "What Happened," about a Kurdish woman in Germany dealing with the question of exile and racism. Kilian is currently working on two other observational documentaries about women and the immigrant experience.
"The Kurdish people in Rojava are familiar with this concept of radical feminism in a military framework." The PKK itself emerged from the revolutionary left in Turkey in the 1970s and female fighters have been part of the guerilla movement since the early 1990s, she adds.
The house she stayed in and where the family had lived their whole lives was burned to the ground by the Turkish military after the U.S. She lived for a year with a family in the city of Serekaniye, located on the border with Turkey. withdrew its troops from the region, she says. In making the film, Kilian traveled twice to northern Syria.
"I am wondering if Hillary Clinton wants to include this part in her [project] about female Kurdish fighters."
"It's an Arab city and my film is about an Arab girl joining a Kurdish army, so it's also about this." Kilian depicts the culture clash that takes place in Minbij between the liberated Kurdish women and the more traditional Arab women of the city.
While Hala became the focus of the film, Kilian also explores aspects of Rojavan culture and life in Minbij, which in 2016 became the first major city liberated by PYD forces outside of its core Kurdish region.
Kilian has also criticized the decision by the Danish government to revoke the residency permits of hundreds of Syrian refugees, who will likely be repatriated to the war-torn nation. "Syria is dangerous for everyone, not only for international filmmakers going there."
She is also shooting "Familiar Places," a documentary by director Mala Reinhardt and an all-female crew about a young German-Ghanaian woman and her life and family between Germany and Ghana. After lensing in Germany, the production will head to Accra this summer for further shooting.” />
Kilian points out that using women's weaknesses to recruit more fighters for an army can be seen critically, but adds that it's a complex situation.
Indeed, Kilian notes that the whole concept of a self-organized Kurdish region is based on the political ideology of Abdullah Öcalan, the Kurdish nationalist and founding member of the militant Kurdistan Workers' Party (PKK), who has been imprisoned in Turkey since 1999.
Speaking to Variety, Kilian says she was familiar with the ideological background of the Rojava autonomous region, but was interested to see how it actually operated in practice. "It was really important for me to see how this theoretical concept of grassroots democracy and feminist revolution would look like in reality."
Hala is the subject of Kilian's film "The Other Side of the River," which is screening at Danish doc fest CPH:DOX and also unspools at next month’s DOK.fest München.

Although he never completed the book, which would have looked back from the future to the present day, Willemsen nevertheless included some of its key elements in what came to be known as his "Future Speech," which he gave at his final public appearance in February 2016. Bauder was already at work on his film when he came across Willemsen's writings. The film took its name from a planned book by acclaimed German writer and TV presenter Roger Willemsen, who died before completing it. It was a passionate appeal to the next generation not to accept things as they currently are. Bauder paired the text with his own work in making the film, which includes Willemsen's observations throughout.
It was Gerst, however, who Bauder first had in mind when he started work on the project, the director says. "You have to leave your daily routine to reflect from outside," an overview akin to the perspective of an astronaut, he recalls thinking.
Berlin-based Films Boutique is handling "Who We Were" internationally. "Who We Were" brings together six leading intellectual figures, among them German astronaut Alexander Gerst and American oceanographer Sylvia Earle, to discuss the grave problems facing humanity, and Planet Earth as a whole, and their possible solutions.
To that end, Bauder also recruited leading economist Dennis Snower, French Buddhist monk Matthieu Ricard, Senegalese philosopher Felwine Sarr and Janina Loh, a leading German researcher in the field of critical posthumanism.
"This was the starting point for me. It's very interesting how a person is thinking and trying to keep part of the past present in another country, reinventing themselves in the '50s and '60s. "He was dancing as his sister on stage in West Germany to bring her to life or be close to her," says Bauder. This is the main goal of the film."
It was at the Russian launch site in Baikonur, where Gerst's mission began, that Bauder met a writer for German magazine Geo and told him about his film project. The writer suggested Earle, who has been active in the field of oceanography for more than 65 years. Bauder commented that humans know more about space than they do about the ocean and that he was looking for an expert on the subject.
I wanted to span the status of the world and reflect it from different angles." "People always look at the problems of the world in a monothematic manner," says Bauder. "I wanted to make a film of multiple perspectives," one that illustrated "the connectivity of all our actions.
Sylvin Rubinstein was also the subject of a 2004 documentary by Marian Czura and Kuno Kruse, "Er tanzte das Leben."
Gerst's mission to space and return to Earth also paralleled the journey of discovery and rethinking daily life presented in the film.
"Dolores" will be a major shift from Bauder's most recent work, "Who We Were," which premiered this year in Berlin.
Marc Bauder, whose documentary "Who We Were," a visually stunning cinematic search for solutions to the increasingly dire problems facing Planet Earth, unspools at Copenhagen's CPH:DOX, is going in a very different direction on his next project — a narrative feature film about a cross-dressing flamenco dancer and Jewish resistance fighter who killed Nazis in occupied Poland.
"Dolores" will tell the true story of Sylvin Rubinstein, whose Russian mother was forced to moved with him and his twin sister Maria to Poland in 1917. Initially poor, he and his sister shot to fame in the 1930s, becoming flamenco superstars as the dancing act Imperio y Dolores and touring Europe and the world, including shows in London, New York and Melbourne.
Bauder has the script ready and hopes to begin financing the film this year.
Back in Poland when the Germans invaded, they were forced into the Warsaw Ghetto, but Sylvin managed to escape. He eventually became a resistance fighter, dressing as Dolores, the elegant persona of his lost sister, and a skillful assassin. After the war he remained in West Germany, where he continued his successful career as Dolores, albeit strictly in music halls.  
The connection led to one of the film's most visually ambitious arcs, taking viewers into the far reaches of space and into the depths of the planet itself — a planet, Earle argues, that should not be called Earth, but rather Ocean.” />

Late on Friday, he got on the phone with Variety to talk about the decision, its reasoning and ramifications, and what’s coming at the Academy’s main board meetings next month — where a new president/CEO is likely to be decided. That move will mark the end of a tumultuous and transformative stint for Mason, who unexpectedly took on the role, in addition to his role as chair of the board of trustees, after his predecessor, Deborah Dugan was controversially ousted after just eight months on the job. While the Weeknd controversy almost unquestionably played a role in the decision — which was decided by 44 members of the Academy’s board of trustees — interim Recording Academy president/CEO Harvey Mason jr. says the process had actually been in the works for many months. Mason not only has steered the Academy through two Grammy Awards shows, but the coronavirus epidemic — which has seen MusiCares, the Academy’s charitable wing, distribute more than $22 million in Covid relief to the music community — efforts toward increased diversity, and now, not least, the elimination of the nomination review committees.
And broadly speaking, what’s the criteria for requalifying?
MusiCares gave out so much Covid relief money to the community last year, it feels important to ask for any updates there?
Who are the 5%? Why are 95% of the members being requalified?
Finally, these new rule changes obviously make it more important that Recording Academy voting members actually vote, yes?
There’s been such a change in tone from the Academy over the past year — it was very combative and defensive around the time of Deborah Dugan’s ouster, and now it isn’t. What’s happened?
Remember, the organization is totally driven by its members — these decisions aren’t made in a vacuum. I think everything that happens during the calendar year influences the way the membership and the trustees vote. I can’t speculate, but I know the goal is to remain relevant and to be on the leading edge of music. Did the Weeknd impact someone into thinking this is definitely something that needs to change?
Will there be a new president-CEO chosen at next month’s meeting?
How did it come about? A lot of people were surprised by the decision to eliminate the committees.
The committees (which worked from a shortlist from the main body of approximately 12,000 voting members) were comprised of industry executives and experts whose names were not publicly revealed. (Nominating committees remain in place for several specialized “Craft” categories, such as producer, packaging and liner notes; head here for more detail on the announcements.) They came under fierce criticism before the 2021 Grammys when the Weeknd, who had one of the most critically and commercially successful recordings in years with his “After Hours” album and “Blinding Lights” single, did not receive a single nomination; the Weeknd later said he would boycott the Grammys due to the committees.
Yes, the ultimate decision falls on thousands of people rather than the nomination review committees.
 ” />
I think it was a landslide.
You have to have released music and had a certain number of credits within the last five calendar years.
But do you think the Weeknd situation influenced this decision, not that it is a reaction to it?
Do you think the Weeknd receiving no nominations in 2021 influenced that decision?
It used to be that if you paid your dues every year you could keep voting, and we did an accelerated requalification program to make sure that the people who are voting are experts — not hobbyists, not people who hadn’t released music for 20 years, that’s over. I think that, more than anything, influenced the decision of the trustees. We feel we have the most qualified voting body we’ve ever had in the history of the Academy. One thing that’s important to understand is that this happened in conjunction and in concert with changes to our membership, and I don’t think we would have been ready or able to eliminate the nomination review committees if we didn’t feel as confident about our membership and having qualified voting members — and we are requalifying our voting members, by the end of this year 95% of our voting members will be requalified. The committees served us well in certain ways and in others, they needed to be changed, and now felt like the right time.
So that cuts down the number of votes to whoever feels they are experts in that field: say pop, R&B and hip-hop, or whatever. So the number is going to continue to decease based on the number of categories you choose to vote in, and that was done specifically to stop “vote grazing” or people following their favorite artist into genres that they don’t really know, like if the biggest pop artist in the world made, say, a folk album. Then outside of the General Field, you’ve got three fields to choose from, and in those fields you can vote in 10 categories. That means everybody can vote in the general field — out of around 12,000 voters, a certain percentage will vote, and that percentage will directly decide who the nominees are in the general field.
I don’t know specifically, but I imagine they would have been members for less than five years, because right now you have to requalify every five years.
So now, the number of people deciding the final nominee lists for the categories that used to be determined by the review committees is expanding from one or two dozen people to thousands?
Will there still be two stages of voting for nominees, a sort of run-off and a final selection? How is the new system going to work?
It’s something we’ve been working on since at least June [2019], when I was named chair, and about eight months ago we started a subcommittee that I charged with looking into what it would mean to eliminate nomination review committees and how we would structure the voting and change the process. I just felt that our voters had evolved and the voting body had kind of graduated to the point where we didn’t need that extra layer. When I decided to run for chair, I just thought that, even with all of the amazing work that we’d done, we can do better, improve and transform — and one of those things was improving our voting and doing away with nomination review. They came back with a recommendation a couple of months ago, that went to the A&N committee, which really liked the solution and voted to pass it, and today we took it to the trustee room, which passed it in exciting fashion (laughs).
["To ensure music creators are voting in the categories in which they are most knowledgeable and qualified, the number of specific genre field categories in which Grammy Award Voters may vote has been reduced from 15 to 10. It’s hard to predict how many people will be determining the nominations because of the "10-3" voting change. There will still be two stages of voting. Additionally, those 10 categories must be within no more than three Fields. All voters are permitted to vote in the four General Field categories (Record Of The Year, Album Of The Year, Song Of The Year, and Best New Artist)."]
How big was the victory?
It’s safe to say that the music industry was stunned on Friday when the Recording Academy almost completely eliminated the controversial “secret” committees that for decades have decided the final list of Grammy nominees in most categories, including the “Big Four” General field of Album, Song, Record of the Year and Best New Artist.
But the biggest reason was we had finished the Awards & Nominations committee meetings and wanted to make sure this got to our trustees as quickly as possible so we could continue to make this process, and also to notify labels. It also gave us the ability to extend our eligibility period another month [Sept. One, the trustee meeting in May is so dense, there’s so much material we have to cover — plus being virtual and spread out over a few days. This meeting made some historic changes to the Academy. There are two answers. 1, 2020 through Sept. 30, 2021; the previous year it ran from Sept. 31, 2020], which I felt was important with Covid. 1, 2019, to Aug. I didn’t think an abbreviated eligibility was fair or made sense, I didn’t want to shorten this awards season and have artists have to cram their releases into a 10-11-month cycle.
the Academy is of course going to be affected by that, and want to work to make things better. I think the sentiment around the Academy has been evolving over the last 12 months, I think momentum has been picking up from the end of last year’s show, and we’ve been changing so much. The discussions about possibly removing nominations review started long ago and the real work of putting together a subcommittee to get this right started about eight or nine months ago, so, this isn’t a direct “reaction” to that situation. That said, any time an artist, especially one of that stature, calls our process into question or thinks something is unfair…
I believe the answer is yes. The search firm has narrowed down the candidates to… let’s say less than a handful. The candidates are going to meet the trustees this month, and I believe the decision will be made by the end of May or the first week of June.
I don’t want to steal the show from Laura [Segura, new MusiCares director], but I’m excited and optimistic about the things they’re working on, They’ve been working closely with the Black Music Action Committee and trying to be as diverse with our service as possible — I think they’ve passed the $30 million mark [in distributing aid money to music people] over the past year, which is around ten times what they usually do per year.
Some good things have happened and we also feel there’s a lot more to do. The time had come for the Academy to be more self-aware and better partners to the industry and work had to be done to earn the trust and respect of the music community, and I think the transformation began around a year ago. I think it’s been a very conscious decision that everyone’s made.
Why did you have this special meeting and announce the elimination of the committees before the main meeting?
We have heard complaints in the past about who votes or doesn’t vote and who wins or doesn’t — now is the chance to put all that to the side and all come to the table. Oh, so much. We’re working hard to raise awareness about the importance of voting — you get to pick the world’s most impressive peer-voted award for music, and especially with nomination review being eliminated, it’s so important that we get the membership involved, and from different communities and genres. If the country or classical or rap communities don’t show up to vote, that has an impact.

According to the BBC, an anonymous third party report can't be investigated by police; however, it can be used as intelligence for cross-referencing against other reports against the same individual.
The actor released a fresh statement on Friday, noting that he’s seeking professional help. However, he “vehemently” denies any sexual misconduct or criminal wrongdoing.
All3Media, the super-indie backers of Clarke’s production company Unstoppable Film and Television, also suspended the actor and his business partner Jason Maza.” />
It's still unclear who made the initial report to police.
A statement shared with Variety reads: "On Wednesday, 21 April, police received a third party report relating to allegations of sexual offenses allegedly committed by a male over a period of time."
We have worked hard to build up an environment at LSDA which is a safe space for all our students to learn and develop as both actors and individuals." "We would like to stress that it is never appropriate to ask students to remove their clothes nor is it acceptable to suggest that there is any sort of obligation to do so in order to advance your career," reads the statement. "This is not what LSDA stands for.
Clarke, the org said, hasn't been active with the LSDA since 2015 and the relationship has ended.
Met Police confirmed that they received a third party report on April 21 relating to allegations of sexual offenses by a man. Police are assessing the information, but an investigation is not currently underway.
Late on Friday, it emerged that Clarke, a former board member for the London School of Dramatic Art, had conducted an unsupervised Q&A session with students that he turned into a practical acting workshop.
network The CW cut ties with the series; and his co-star and close friend Ashley Walters spoke out against him. In the course of just one day, the 45-year-old actor-producer was dropped from his management and suspended by BAFTA; production on the latest season of his police procedural show “Bulletproof” was halted; U.S.
Clarke denies all allegations except for one: he has admitted to repeatedly making inappropriate comments about one woman’s body, Helen Atherton, and later apologizing.
A report has been filed with London's Met Police relating to sexual misconduct allegations against British actor Noel Clarke.
"Our response was to no longer schedule Noel to take unsupervised sessions with immediate effect." "We were informed that in this unsanctioned class he set up improvisation exercises in which the students were told they had to get undressed and get ready for bed," reads a statement from Jake Taylor, principal of the LSDA, that was posted to social media on Friday.
The revelations emerged as part of an extensive investigation by The Guardian, published on April 29. The embattled Clarke is facing numerous sexual misconduct, harassment and bullying allegations from at least 20 women who worked with the actor-producer in a professional setting.

He served as the narrator for Tau's "Nathan Jung v. Bruce Lee," a documentary short that recounts his crazy and hilarious meeting with Bruce Lee on "Here Comes the Brides." Jung's filmography also includes "Kentucky Fried Movie," "Big Trouble in Little China, "Black Rain," "American Yakuza," "Beverly Hills Ninja," "Darkman," "The Shadow" and "Longshot." He also played Leslie Nielsen's right-hand man in the 1993 comedy "Surf Ninjas." Outside of the blockbuster realm, Jung appeared in independent Asian American films such as Justin Lin's "Finishing the Game" and Juwan Chung's "Baby." In his final role in 2016, Jung reflected on a highlight of his career.
Jung was among the few actors to work alongside both Bruce Lee and his son, Brandon Lee. Opposite Bruce, Jung appeared on a 1969 episode of "Here Comes the Brides." With Brandon, Jung played a gunman in movie "Rapid Fire" (1992) and the Bonsai Club manager in "Showdown in Little Tokyo" (1991), which featured him speaking a line of Japanese dialogue to Brandon and Dolph Lundgren.
Jung died on April 24, his close friend and attorney, Timothy Tau, confirmed to Variety. The cause of death has not been disclosed.
Jung is survived by his nephew, Keith Jung.” />
In the '90s, he had stints on "Lois & Clark: The New Adventures of Superman," "Martial Law" and "Burke's Law." Jung kicked off his acting career in 1969 with his role as Ghengis Khan in "The Savage Curtain" episode of "Star Trek: The Original Series." From there, taking advantage of his tall stature, his television resume exploded with roles on the biggest shows from the 1970s and '80s. Jung appeared on "M*A*S*H*," "Starsky & Hutch," "CHiPs," "General Hospital," "Manimal," "Riptide" and "Hunter." He also held roles in "Sanford and Son," in which he played Helen Funai's cousin, Saburyo, and "Kung Fu," in which he plaed the Dark Rider.
Nathan Jung, the actor who appeared in "Star Trek: The Original Series," "The A-Team" and "Kung Fu," has died. He was 74.

Her TV work included playing Anna Madrigal, the flamboyant matriarch presiding over an apartment house in San Francisco, in HBO's 1993 "Armistead Maupin's Tales of the City" and the 1998 sequel "Armistead Maupin's More Tales of the City," for which she drew an Emmy nomination; and 2001's third entry "Further Tales of the City."
Dukakis, who also did a lot of television work, was thrice Oscar nominated, first for the 1991 TV movie "Lucky Day," the second time for "Armistead Maupin's More Tales of the City" in 1998 and the third time in 1999 for the miniseries "Joan of Arc."
Olympia Dukakis, a character actress best known for her Oscar-winning supporting turn in Norman Jewison's "Moonstruck" and for her role as the wealthy widow in "Steel Magnolias," has died. She was 89.
Among the many TV movies in which Dukakis appeared was HBO and BBC's "The Last of the Blonde Bombshells" (2000), starring with Judi Dench and Ian Holm and focusing on a reunion of a group of women who formed an orchestra in London during WWII.
Born in Lowell, Massachusetts, Dukakis graduated from Boston University and studied acting with Peter Kass in Boston.
Probably made before her Oscar changed her fortunes, Mike Nichol's "Working Girl" returned Dukakis to the sort of role she had had on a regular basis for much of her career: She was 12th credited for her role as the personnel director.
Kildare" the same year. She made her television debut in 1962 on an episode of "The Doctors and the Nurses," also guesting on "Dr. The actress made her bigscreen debut in the 1964 film short "Twice a Man." Over the next 10 years she had a number of small, often uncredited, roles in films including "Death Wish." In the Peter Yates' 1969 film "John and Mary," starring Dustin Hoffman and Mia Farrow, Dukakis played the Hoffman character's mother; she also had a supporting role in 1971's "Made for Each Other," starring Renee Taylor and Joseph Bologna.
In 2006, Dukakis was part of the ensemble cast of "The Great New Wonderful," a series of vignettes about life in New York City a year after the 9/11 attacks, and she did excellent work in Sarah Polley's Alzheimer's drama "Away From Her," starring Julie Christie, in which Dukakis' character reveals an unwaveringly realistic view of a difficult situation — her husband is an Alzheimer's patient as well.
Dukakis' first experience on Broadway was as an understudy in 1962 on the original play "The Aspern Papers," written by Michael Redgrave based on a story by Henry James and starring Maurice Evans and Wendy Hiller. In 2000 she starred on Broadway in the one-woman show "Rose," in which she played an 80-year-old Jewish woman in Miami Beach who talks to the audience of her life, including her experiences in the Holocaust. Much more successful was her 1986-87 run in Andrew Bergman's "Social Security," directed by Mike Nichols and also starring Ron Silver, Marlo Thomas and Joanna Gleason. Dukakis won an Obie in 1963 for her work Off Broadway in Bertolt Brechlt's "Man Equals Man." She hit the stage in 1964 in the one-nighter "Abraham Cochrane." She returned to Broadway in 1974 in Peter Ustinov's "Who's Who in Hell," but its run proved brief as well.
Variety said, "Dukakis outdoes even her most memorable earlier turns as Stella, the irrepressible old dame determined to spring her lover free." She played a senile grandmother in Jon Kasdan's "In the Land of Women," starring Adam Brody, Kristen Stewart and Meg Ryan. But much more interesting was writer-director Thomas Fitzgerald's 2011 film "Cloudburst," in which Dukakis starred with Brenda Fricker as a lesbian couple who travel to Canada in order to get married.
Holland's Opus," and as the mother of a gay man in the AIDS drama "Jeffrey." Dukakis was part of the Greek chorus that was either a charming conceit or an ungainly one, depending on whom you ask, in Woody Allen's 1995 romantic comedy "Mighty Aphrodite," in which the chorus comments on the Allen character's infidelity. Also that year she appeared as the skeptical, hard-nosed principal in sentimental Richard Dreyfuss vehicle "Mr.
By the next year, however, she was third-billed, behind John Travolta and Kirstie Alley, in baby comedy "Look Who's Talking," in which she played the pregnant Alley's mother in a manner reminiscent of her work in "Moonstruck." She returned for the 1990 sequel.
The next year she had a small role in Danish auteur Bille August's spiritually based period film "Jerusalem." The actress also had a small but powerful role in the 2005 father-son road movie "The Thing About My Folks," starring Peter Falk and Paul Reiser.
Dukakis' brother, Apollo Dukakis, announced her death in a Facebook post, writing: "My beloved sister, Olympia Dukakis, passed away this morning in New York City. After many months of failing health she is finally at peace and with her Louis." Dukakis' agent, Allison Levy, later confirmed the news to the Associated Press.
Dukakis was a series regular on the brief 2004 CBS sitcom "Center of the Universe," starring John Goodman and Jean Smart. She also guested on numerous TV series, providing voices on "Frasier" and "The Simpsons" and appearing on "Numbers"; "Law & Order: SVU," as a defense attorney; and HBO detective comedy "Bored to Death."
and elsewhere. In July 2020, a documentary feature about her life, titled "Olympia," was released in the U.S. Much later, Dukakis taught master classes in acting throughout the U.S.
She is survived by daughter Christina Zorich, an actress; and sons Peter and Stefan Zorich.” /> Dukakis is predeceased by her husband, actor Louis Zorich, who died in 2018.
The actress was 56 when she came to prominence overnight thanks to her Oscar-winning turn in "Moonstruck," in which she played, with an extraordinary comic ethnic gusto characteristic of the movie as a whole, the mother of Cher's character. The Washington Post singled out Dukakis for praise: Cher and Nicolas Cage are "backed by an equally quirky cast of marvelous supporting players — especially Olympia Dukakis, whose role as Loretta's world-weary mother Rose is expected to get Oscar's attention."
The actress starred with Diane Ladd and Ellen Burstyn in the Bill Duke-directed 1993 film "The Cemetery Club," about three Jewish women all of whom find themselves widowed over the course of a year and must reconstruct their lives, with Dukakis' character prickly and strong-willed.
She had supporting roles in Philip Kaufman's "The Wanderers" in 1979 and in Taylor Hackford's "The Idolmaker" in 1980. Dukakis was one of the stars of a 1974 political film by writer-director Jules Dassin called "The Rehearsal," concerning the massacre of students protesting the ruling junta in Greece; many famous people were involved with the film, including Laurence Olivier, Arthur Miller, Melina Mercouri, Maximilian Schell and Arthur Millet, but by the time the film was completed the junta fell and it was never publicly seen in this country until decades later. But despite years earning credits in film, on television and onstage, the actress did not break through until "Moonstruck" in 1987. In 1975, the actress appeared in a "Great Performances" presentation of a production of Chekhov's "The Seagull" that also starred Frank Langella, Blythe Danner and Lee Grant.
Herbert Ross' 1989 hit "Steel Magnolias," starring Julia Roberts, Sally Field, Sally Field, Dolly Parton, Shirley MacLaine and Dukakis, drew women of all ages with its effective sentimentality and even more effective one-liners, but Rolling Stone said, "For the real fun, stick with MacLaine as the town crank and Dukakis as the wealthy widow who goads her to distraction; they're priceless."

CNBC anchor Becky Quick moderated the session, fielding questions submitted from shareholders. Berkshire's annual shareholder's gathering is traditionally held as a festive affair (dubbed "Woodstock for capitalists") in Omaha, Neb., Berkshire's home base. But pandemic conditions forced this year's meeting to be held in virtual form, with Buffett, Munger and other Berkshire bigwigs at a dias addressing shareholders on a live stream originating from Los Angeles.
"They're huge and that's good for us."  "They’re a credit to the market, and a credit to our civilization," Munger said.
Buffett added, "The Googles and the Apples — they are incredible companies in terms of what they earn on capital. They gush out more money."
At present Berkshire owns about 5.3% Apple, after investing about $36 billion. Berkshire Hathaway has traditionally stayed away from high-flying tech firms; most of its profits come from railroads, insurance, utilities and energy businesses. But in 2016 Buffett began buying Apple shares.
"The product is an incredible product," he said. Buffett called Cook "one of the best managers in the world." He gushed about the role that Apple iPhones and other devices play in the lives of consumers.
(Pictured: Warren Buffett, Tim Cook) ” />
When asked to comment on Berkshire's investment in Apple, Buffett enthused about Cook's handling of the company that has reached unthinkable valuations.
He noted that Munger gave him a hard time about that as a bad call, as was the move to dump some shares in Costco. Buffett admitted he sold some of Berkshire's Apple holdings amid the turbulence of last year.
Warren Buffett gushed over the management and leadership skills of Apple CEO Tim Cook on Saturday as the renowned investor presided over Berkshire Hathaway's annual shareholders meeting.
"Charlie in his usual low-key way let me know he thought it was a mistake too," Buffett said.
Buffett compared Cook to legendary Apple co-founder Steve Jobs, noting that while Jobs was a tech and business visionary, Cook has had a huge impact on the company's climb to a $2 trillion-plus market valuation.
Berkshire vice chairman Charlie Munger, who has been Buffett's business partner for more than 60 years, expressed concern that the anti-trust regulatory push afoot in the U.S. Neither Buffett or Munger expressed concern that the giants of Silicon Valley have gotten too big, as regulators have asked of late. and Europe could retard the natural growth of the tech behemoths.
"He couldn't do what Steve Jobs could do in terms of creation, but Steve Jobs couldn't do what Tim Cook has done in many respects."  "He's handled that business so well," Buffett said of Cook, who took the reins of Apple after Jobs' death in 2011.

And it is. Amid the sweat and the angst, don't forget the fun. "Olympia Dukakis was a great actress who loved the work and loved the theatre. Actor Michael McKean also expressed his admiration for Dukakis and recalled the lessons he learned from her. Rest in peace, Olympia." She was the acting teacher who spoke to me (and many, many others) with clarity and humor and NO censor," he wrote. "She would tell us: don't forget that the reason you wanted to do this was that it looked like fun. Before appearing in "This is Spinal Tap," McKean studied acting under Dukakis at New York University.

See more reactions below from Viola Davis, Alex Winter and more.
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A true Steel Magnolia within a more common forest. Rest now among the heaves, Olympia." Ah, what a life force, her later years her best. "Olympia Dukakis has departed our company. We were Moonstruck by her, as she told us Great Tales of the City. Invoking titles from Dukakis' filmography, actor George Takei reflected on her talent.

"The West Wing" actor Bradley Whitford paid tribute to Dukakis, calling her a "brilliant, strong, hilarious soul. An actor's actor."

"After many months of failing health she is finally at peace and with her Louis," brother Apollo Dukakis wrote in Facebook post. With the news of Dukakis' death, Hollywood flocked to social media to express similar sentiments and pay their respects to the character actors' illustrious legacy. Dukakis died on Saturday at age 89 in New York City.

"I love you more than my luggage," Olympia Dukakis' Clairee Belcher says to Shirley MacLaine's Ouiser Boudreaux in the beloved 1989 movie "Steel Magnolias."