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I suppose being intimidating could just mean having strong opinions and wanting a lot out of life. YouTube. I really really love watching these videos. This is Prada. YAS HONEY EDUCATE HIM. 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, [... ]. The Times of Bill download free software. Helloooo Anna Wintor. This is a iconic Steven Klein editorial waiting to happen. The times of bill download free games. 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. Wow Bill,i love you. The times of bill download free pdf The times of bill download free movie. Freddy, Elton, Linda et al. This new Hollywood genre beats the hell out of comic book characters. Bill Cunningham, the New York Times’ intrepid, bicycle-riding style photographer, was as much of a New York institution as the Empire State Building or Lady Liberty, at least among the fashion set. But while he seemed to know everyone and be everywhere at once, he revealed little about himself. Since Cunningham died at age 87 in 2016, several books have been published about him, one a posthumous memoir. On February 14, The Times of Bill Cunningham will premiere at the Angelika Film Center in Manhattan. A more perfect coda to New York Fashion Week cannot be imagined. (Considering how beloved Cunningham is, the synchronicity with Valentine’s Day is pretty great, too. ) Few people have ever been more passionate about and committed to fashion than Cunningham. Hollywood was never his focus, “I felt the dream factory was in fashion, ” he says in the film. Written and produced by Mark Bozek and narrated by Sarah Jessica Parker, The Times of Bill Cunningham is a remarkable, intimate document of a sensitive and talented man⁠ who had an extraordinary sense of empathy and who managed to retain through all of his years, a pure, childlike sense of wonder. Artist Ruben Toledo describes him as “one of our landmark guardian angels. ” Jospehine Baker and Marisa Berenson, 1973. Photo: Bill Cunningham / Licensed to The Times of Bill Cunningham from the Cunningham Estate In 1994 Bozek met up with Cunningham for what was supposed to be a 10-minute interview; it lasted until the tape ran out, four hours later. “I did not set out to make a ‘fashion documentary, ’ ” says Bozek. “I want people to recognize what an important and wildly passionate man [Bill] was about the city and its people he loved so fervently. ” The producer was encouraged in his efforts by Ruben Toledo and his late wife, Isabel, to whom the film is dedicated. Ruben and Isabel Toledo.  Photo: Lawrence K. Ho / Los Angeles Times via Getty Images The stylish lovebirds, who cherished Cunningham, first met the photographer when they were club-going teenagers and maintained a friendship with him for about 41 years. Who better, then, to talk about the man and the film, than Ruben? When did you first meet Bill? The very first time we met Bill was at Xenon, a dance-a-holic club—dancier than Studio 54 because there were much better DJs. We were just kids, about 14 or 15. We left the club at 3 or 4 in the morning and this long, thin man with a camera chased us out and ran after us down the street and into our car flashing his camera with a great big ear-to-ear smile on his face. Who else but Bill C. would chase some bridge-and-tunnel club kids to take pictures at that hour in the morning? The energy, the focus, the delight was extraordinary. He was captivated by Isabel’s dress, a silvery-white bubble of tulle held up with fishing wire for straps she had made the night before. Bill always had the finest-tuned fashion antenna. That was our very first Bill C. encounter; it was 1975 or 1976. How has fashion changed in the years Bill was capturing it? Fashion is always evolving and changing, but it was much more individualistic at that time; more radical and experiments were greatly welcomed. The whole city was that way, not just the fashion. Crossing borders was the norm and no invitations or need for approval was necessary. Fashion was an improvisational celebration, and Bill C. was very in tune with that vibe. How does Bill’s work relate to the street style phenomenon? He invented it. If not, he was certainly a central founding father. Bill was aware that fashion and street style are dancing partners, sometimes in harmony but usually not. Fashion loves a crowd and style is a loner, but they really need each other to create that dialogue, which makes each richer. How did you get involved in the film? Soon after the sad loss of Bill, while we were all missing him, Mark Bozek phoned us to let us know he had footage of Bill C. talking into the camera for an hour. Isabel and I understood immediately how rare it was for private Bill to speak to anyone about himself for that long. After Mark screened his raw footage for a group of Bill C. ’s old friends and colleagues, we felt this had to be shared in a bigger and deserving way. Bill was a living national treasure, and a document like this doesn’t happen often. What was Bill’s relationship with Isabel? They were birds of a feather: both contrarians, deep feeling, and difficult creators with a hidden sense of humor and the treasure of joy. They rarely agreed on anything but could talk for hours about the cut of a sleeve or the importance of balance. They both fiercely defended their privacy because they valued their independence, which afforded them their freedom. What does it mean to you that the film is dedicated to her? It is a beautiful and gentle tribute to two of the most intriguing, inspiring souls I have ever had the pleasure to know. I fancy them now laughing and dancing and crying together watching us all watch the film. Were you surprised by anything you saw in the film? The biggest surprise is how Bill opened up to Mark in such a personal way, how he revealed his life story and illustrated how he thinks he became the Bill Cunningham we know now from The Times. No one ever knew the complete Bill because he valued his freedom so very much. The more we got to know him through the decades, the more he revealed himself—like an onion, layer by layer—yet we are still surprised by the many sides of Bill. What special talent did Bill bring to his work? His firsthand knowledge. His love of social history. His ability to link genres, eras, and social movements. The humanity he brought to his work. Why do you think people should see the film? It’s a firsthand account of an artist’s life, spoken from the mouth of the artist himself without pretense or vanity, which is so very rare. There are no talking heads, just the voice of the source is the treasure. The brief tour of Bill’s vast photographic archive is a real treat to watch, even as a montage. The recent history we were all lucky enough to live through is passionately and lovingly documented. What is the film’s takeaway? How lucky we are to have an artist as curious and dedicated and focused and passionate as Bill, who left such a rich document of us all. Bill C. was an amazing example of a way of life that has disappeared, and this film is an amazing document of that, the life of a true bohemian creator who lived right at the core of the frantic action for many decades. This film demonstrates, by example, how precious life is, how we all weave together our past, present, and future and are constantly composing our lives. How everything, even the superficial and ethereal things that seem insignificant, have so much weight when they are sincere. The Times of Bill download free wallpaper. Look at D'wana and Baby-D from Friday. ROFLMBO. Maybe for the extra food stamps and section 8. What a unique perspective on fashion! it really impresses me the way i can relate to the fashion sensibility of someone from a different generation than my own. bill cunningham's perspective transcends the divisions within fashion and street style so we can all develop an appreciation of one another's style. The times of bill download free music. Bill is always Extra. since many years by bonntv. rest in peace. One word - galoshes. Tell me why javonte looks like Michael Vick. The Times of Bill download free ringtones Brittany run from that nasty mess. The times of bill download free youtube. 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 times of bill download free version. The Queen. Dying to see this. Cant believe Ive been listening to her music over 40 years This was a great film. I love how he lives. The times of bill download free video. Stop marketing fur. MY STOMACH TELLS ME THIS ONE IS GOING TO BE GOOD Good advice - be yourself and forget about what others are doing (or saying. I'm so lost with what's going on.☹. 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