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Posted by / 02-Feb-2018 11:22

Her parents, incidentally, were two greats of the British screen: the ethereal Jean Simmons, and matinee idol Stewart Granger. Lost in translation Anders' one regret with the finished film is that she didn't subtitle the Spanish dialogue (though the Rivera sequences were subtitled when it screened on Channel 4, and I have the beaten-up pan-and-scan video to prove it).The reason, apparently, was money, and Anders' concern that audiences weren't used to watching subtitled films. After all these years, we FINALLY have an answer on the title. It has been recorded by several artists, most notably by Patsy Cline, whose version was a No. Partly due to the genre-blending nature of the song, it has been covered by dozens of artists in several genres over the years; nevertheless, the song remains inextricably linked with Cline.Nelson's own version appears on his 1962 debut album ...

Anders apologised for Knepper’s accent, but it’s actually pretty good. Balking at Barrymore Anders tested "every actor of that age who is now famous" for the part of Shade, including Drew Barrymore and Reese Witherspoon.

Learning on a Wim Anders was mentored by arthouse giant Wim Wenders, after a sustained campaign to win his favour that include writing him letters up to 30 pages long, and – with two of her friends – winning grants to study with him on the set of Paris, Texas, without asking him if it would be OK.

When she did, Wenders looked into the distance, and said: “Oh well, you better come along then.” Dean Lent, who went on to shoot Gas, Food Lodging, studied cinematographer Robby Müller obsessively on the set of Paris, Texas. His Universal deal in the mid-1990s included the capacity to produce five smaller-budget features.

Anders and her editor, Tracy Granger decided in the edit that it should be unresolved.

And Leitch, in his performance, had done the same thing.

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Anders wrote two drafts of the script, in the process scrapping the Chicago setting, streamlining Trudie’s character – “you can’t be both the town slut and the most popular girl in school”, adding a sex life for the mum (“a tired woman who just worked and raised the kids”) – and removing a third kid “because to be honest, [the mum] had enough to do”.

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  2. This is also reflected in various aspects of the album's instrumentation, with Prince fully embracing the gadgetry and sounds of emergent electro-funk and 1980s sequencing technology on tracks like "Let's Pretend We're Married" and "All the Critics Love U in New York", songs that widen his use of synthesizers and prominently feature the use of a Linn LM-1 drum machine.