Wednesday, November 6, 2024

RIP Rodrigo Bello

 

Rodrigo Bello, producer of the Mexican films 'A Woman Without a Filter' and 'Leap Year', dies; He was 43 years old

The Mexican Academy of Motion Picture Arts and Sciences confirmed the death of Rodrigo Bello.

Milenio

By Adriana Paez Coyotl

11/6/2024

 

Producer and assistant director Rodrigo Bello Noble died at the age of 43. The unfortunate news was confirmed by the Mexican Academy of Cinematographic Arts and Sciences (AMACC).

Through an emotional post on social networks, the AMACC mourned the death of the film director; it also sent a hug to his family and friends.

Rodrigo Bello Noble will be remembered for his work in the Mexican films Leap Year (2010), Que Pena Tu Vida (2016) and Sabrás que hacer conmigo (2015).

He also worked in the productions Delincuentes, Me vuelves loca, El habitante, Rumbos paralelos, Fachon Models, El mesero, En las buenas y en las malas, Ya vemos and Sacúdete las penas.

Bello Noble was born in Mexico City on September 17, 1981, his death was announced yesterday, November 5, 2024.

BELLO, Rodrigo

Born: 9/17/1981, Mexico City, Federal District, Mexico

Died: 11/5/2024, Mexico City, Federal District, Mexico

 

Rodrigo Bello’s western – assistant director:

Erase Una Vez en Durango – 2010

Monday, November 4, 2024

RIP Jonathan Haze

 

Jonathan Haze, Star of the Original ‘Little Shop of Horrors,’ Dies at 95 

A onetime stage manager for Josephine Baker, he did two dozen pictures with Roger Corman, also including 'Stakeout on Dope Street,' 'Not of This Earth' and 'The Terror.'

The Hollywood Reporter

By Mike Barnes

November 4, 2024

 

Jonathan Haze, who starred for Roger Corman as the flower shop assistant Seymour Krelborn in the original The Little Shop of Horrors, just one of two dozen films he made with the B-movie legend, has died. He was 95.

Haze died Saturday at his home in Los Angeles, his daughter, Rebecca Haze, told The Hollywood Reporter.

A cousin of drummer Buddy Rich, Haze was a valuable and versatile member of Corman’s repertory company from 1954 — when he acted in The Fast and the Furious and Monster From the Ocean Floor — until 1967, when he appeared in The St. Valentine’s Day Massacre and served as an assistant director on The Born Losers.

In one of his more noteworthy turns, Haze portrayed one of the three teenagers who stumble upon $250,000 worth of heroin and become dealers in Warner Bros. drama Stakeout on Dope Street (1958), the first feature directed by Irvin Kershner.

The Pittsburgh native also played a contaminated man in Day the World Ended (1955), an outlaw in Five Guns West (1955), a dimwitted bartender in Gunslinger (1956), a pickpocket in Swamp Women (1956) — he trained the actresses how to fight in that one, too — a Latino soldier in It Conquered the World (1956), a manservant working for an alien in Not of This Earth (1957) and a diminutive Viking in The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent (1957).

In Little Shop of Horrors (1960), produced and directed by Corman, Haze’s clumsy Seymour comes to realize that the sickly potted plant he grew from seeds procured from a Japanese gardener needs blood and human flesh to survive. (The film was originally titled The Passionate People Eater.)

In a memorable moment, he extracts a tooth or two from the mouth of undertaker Wilbur Force (Jack Nicholson).

“All the interior scenes in the movie were done in two days, they were like 20-hour days, and then we went out on the streets and did three nights with a second unit, with a totally different crew. It was insane,” Haze, who said he was paid $400 for the job, recalled in 2001. “We were shooting actually on Skid Row, using real bums as extras. We would pay them 10 cents a walk-through.”

In a 2011 post on Tumblr, Haze was described as “a small, slight man with boyish good looks, and it was a virtual certainty that he would never be a leading man, even in Corman’s universe. Instead, he devoted himself to playing an assortment of oddballs and losers.

“He maintained an overwhelming enthusiasm for whatever project he was working on, and, as it happens, he was a physical chameleon. He had one of those faces that seemed to change completely depending on what costume he wore, and he was willing to go for the gusto when it came to changing his posture and voice to create a new persona onscreen. From role to role, he almost unrecognizable.”

The son of a jeweler, Jack Aaron Schachter was born in Pittsburgh on April 1, 1929. He worked the stage for Rich and then served for two years as the stage manager for entertainer Josephine Baker.

After a summer acting in Connecticut, Schachter hitchhiked to Los Angeles and got a job pumping gas at the corner of Santa Monica Boulevard and North Vista Street when he met Wyott Ordung, a would-be director who introduced him to Corman.

“There’s a part for you, a Mexican,” Corman told him. “But you’ll have to grow a mustache. You’ll also have to bring your own costumes, do your own stunts, and you won’t be paid overtime. You still want it?”

He was billed as Jack Hayes in Monster From the Ocean Floor before settling on Jonathan Haze as his stage name. Meanwhile, he brought his friend, actor Dick Miller, to the filmmaker’s attention, and Miller would become a frequent co-star.

In an interview with Tom Weaver for his 1998 book, Science Fiction and Fantasy Film Flashbacks, actress Jackie Joseph, who played the salesgirl Audrey in Little Shop, said Haze “had practically all the pressure on him” during the making of the movie.

“I don’t think any of us would have been as successful if he hadn’t been on top of what he was doing,” she said. “It’s funny to think of ‘professionalism’ when you think of something as dopey as Little Shop, but there definitely were professionals on that stage.

In Apache Woman (1955), because it was cheaper for Corman to have actors change costumes instead of bringing in new actors, Haze and others played warriors on both sides of the battle. “There’s this scene where we’re having this big gunfight and we’re shooting at the Indians and here we are the Indians getting shot,” he recalled.

Haze’s other work for Corman included The Beast With a Million Eyes (1955), Carnival Rock (1957), Naked Paradise (1957), Teenage Cave Man (1958), The Premature Burial (1962), The Terror (1963) and X: The Man With the X-Ray Eyes (1963).

He shared a project with Corman one last time in 1999 when he had a cameo in the serial The Phantom Eye.

Haze also wrote the screenplay for Invasion of the Star Creatures (1962) and was a production manager on Haskell Wexler‘s Medium Cool (1969) and a producer (with Tom Smothers) on Another Nice Mess (1972). He then was the CEO of a company that created campaigns for such products as Kool-Aid and Schlitz Beer.

In addition to Rebecca, survivors include another daughter, Deedee; his grandchildren, Andre, Rocco and Ruby; and his great-grandson, Sonny. He was married to costume designer Roberta Keith, who died in September, from the mid-1960s until their 1981 divorce.

HAZE, Jonathan (Jack Aaron Schachter)

Born: 4/1/1929, Pittsburgh, Pennsylvania, U.S.A.

Died: 11/2/2024, Los Angeles, California, U.S.A.

 

Jonathan Haze’s westerns – actor:

Apache Woman – 1955 (Tom Chandler)

Five Guns West – 1955 (William Parcell ‘Billy’ Candy)

Flesh and Spur – 1956 (outlaw)

Gunslinger – 1956 (Jack Hayes)

The Oklahoma Woman - 1956 (Blackie Thompson)

Cimarron City (TV) – 1958 (Judd Budinger)

The Californians (TV) – 1959 (beggar)

Overland Trail (TV) – 1960 (Duke)

RIP Renato Serio

 

Music, composer and orchestrator Renato Serio dies

He has written music for films, collaborated with Zero and De Gregori

Askanews

November 4, 2024

 

The composer, arranger and conductor Renato Serio died this morning. This was announced by the family. Born in Lucca in 1947, Serio was the author of theme songs for television programs, including Ciao Darwin, and conductor of orchestras in television shows. He also wrote the music for the Forza Italia anthem. He has collaborated with several Italian singer-songwriters, such as Renato Zero, Amedeo Minghi and Francesco De Gregori and has also been involved in the orchestration of songs for other well-known artists, including Angelo Branduardi, Gianni Morandi, Mia Martini, Amii Stewart, Anna Oxa and Amedeo Minghi. In his career he has worked on the composition and arrangement of soundtracks for cinema, also collaborating with Armando Trovajoli (with whom he collaborated for fifteen years) and Riz Ortolani creating music for films such as Una giornata particolare by Ettore Scola or Profumo di donna by Dino Risi. In the theatrical field, he wrote the musical arrangements for the most successful comedies produced by the Sistina Theater such as Add a seat at the table, But fortunately there is music, Let's light the lamp, Beati voi, all under the direction of Pietro Garinei. He was musical director of the 2005 and 2006 editions of the Sanremo Festival. In 2006 he released the CD Journey into the kingdom of the Beatles, where he reworks the most successful songs of the British band in a symphonic key. To create this work he worked with the Innovative Syntphonic Orchestra, which he created, characterized by a successful mixture of acoustic and electronic instruments.

SERIO, Renato

Born: 10/5/1946, Lucca, Tuscany, Italy

Died: 11/4/2024, Rome, Lazio, Italy

 

Renato Serio’s western – composer:

Garden of Venus - 1979

RIP Quincy Jones

 

Quincy Jones, Grammy-Winning Producer for Michael Jackson and Film Composer, Dies at 91

Variety

By Chris Morris

November 4, 2024

 

Quincy Jones, who distinguished himself over the course of a 70-year career in music as an artist, bandleader, composer, arranger and producer, has died. He was 91.

Jones died Sunday night at his home in the Bel Air neighborhood of Los Angeles, according to a statement shared with Variety by his rep Arnold Robinson. A cause of death was not disclosed.

“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing. And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him,” the Jones family said in the statement. “He is truly one of a kind and we will miss him dearly; we take comfort and immense pride in knowing that the love and joy, that were the essence of his being, was shared with the world through all that he created. Through his music and his boundless love, Quincy Jones’ heart will beat for eternity.”

Jones’ eminence in the entertainment community was so great that he went by a one-letter handle: “Q.”

Bred in the world of jazz, Jones became one of pop music’s most formidable figures. He collected six of his 28 Grammy Awards for his 1990 album “Back on the Block” and was a three-time producer of the year honoree.

To many, he is probably best known for his production collaborations with Michael Jackson, which began in 1979 with the singer’s breakthrough solo album “Off the Wall,” which has sold an estimated 20 million copies internationally.

Its chart-topping sequel “Thriller” (1982) — for which Jones took album of the year honors, plus a record of the year trophy for the track “Billie Jean” — remains the bestselling album of all time, with worldwide sales estimated in excess of 110 million. Jones went on to work with Jackson on his No. 1 1987 release “Bad.”

In 1985, Jones made international headlines as the producer of USA for Africa’s “We Are the World,” the single devoted to African famine relief; Jackson co-authored the song with Lionel Richie and led its all-star cast of vocalists.

Jones was the first African American to pen the score for a major motion picture, 1964’s “The Pawnbroker,” and went on to receive seven Oscar nominations for best original score and song. In 1995, he received AMPAS’ Jean Hersholt Humanitarian Award, another first for a Black artist.

He made his mark on TV as executive producer of the ’90s NBC sitcom “The Fresh Prince of Bel-Air,” which brought rapper Will “Fresh Prince” Smith to prominence as an actor. In addition to the 2022 reboot of “Bel-Air,” he later exec produced the comedy skeins “In the House” and “MadTV”; the 10-hour 1995 documentary “The History of Rock ‘N’ Roll”; the 2014 documentary “Keep on Keepin’ On”; and the 2023 adaptation of “The Color Purple” directed by Blitz Bazawule.

Jones received a Tony Award nomination in 2006 as producer of the musical adaptation of “The Color Purple.”

In the publishing world, he founded the respected hip-hop magazine Vibe, which spawned a TV spinoff in 1997.

In recognition of the vast array of causes to which he contributed, Jones was named Variety’s philanthropist of the year in 2014.

He was born Quincy Delight Jones Jr. in Chicago. He took up the trumpet, his principal instrument, as a boy. At the age of 10, his family moved to Seattle; there, as a novice musician of 14, he met 17-year-old Ray Charles.

By 18, after studying at the Berklee School of Music in Boston, Jones was touring with Lionel Hampton’s big band in a trumpet section that included Art Farmer and Clifford Brown. In the early ’50s, he honed his arranging chops by writing charts for trumpeter Clark Terry (an important early mentor), Count Basie, Dinah Washington and many others. He made his debut as a leader in 1953 in an octet co-led by drummer Roy Haynes.

After serving as band director for Dizzy Gillespie’s State Dept.-sponsored big band and doing stints at ABC-Paramount and France’s Barclay Records, Jones assembled an in-house orchestra at Mercury Records. Though a subsequent touring group collapsed financially, the association led to an A&R position at Mercury; by 1964, Jones was a VP at the label, where he produced pop singer Leslie Gore’s major hits.

In 1959-60, he arranged a pair of Charles’ finest albums, “The Genius of Ray Charles” and “Genius + Soul Jazz.” He received his first Grammy in 1964 for his arrangement of “I Can’t Stop Loving You,” Charles’ hit version of Don Gibson’s country tune.

At the behest of Sidney Lumet, Jones wrote the score for the director’s 1964 drama “The Pawnbroker.” That assignment — the first for a Black musician — led to prestige composing jobs on such features as “In Cold Blood,” “In the Heat of the Night” (which featured a title song by Ray Charles), “The Italian Job,” “Bob and Carol and Ted and Alice” and “The Getaway.”

In the mid-’60s, Jones established a working relationship with Frank Sinatra. He arranged a pair of albums teaming the vocalist with Count Basie’s orchestra, “It Might as Well Be Swing” (1964) and the live “Sinatra at the Sands” (1966).

In 1969, Jones began a profitable association as an artist with A&M Records, for which he recorded nine studio albums. He reaped three Grammys for his jazz-pop work at the label; in 1974, the A&M album “Body Heat” became the highest-charting set of his career, peaking at No. 8. In 1977, he released an album of his soundtrack music for the top-rated ABC miniseries “Roots” on the label; it reached No. 21 on the pop album chart.

While Jones busied himself over the years as a producer for such artists as Aretha Franklin, the Brothers Johnson, George Benson and Chaka Khan, it was his work with Michael Jackson that thrust him into the most rarefied stratum of the music industry.

In 1978, Jones was working as music supervisor on director Lumet’s film adaptation of the Broadway hit “The Wiz,” featuring Jackson as the Scarecrow. While the picture was in production, Jackson — then newly signed as a solo artist to Epic Records — sought Jones’ advice about potential producers for his upcoming album. After supplying the singer with a list of prospects, Jones was enlisted by Jackson for the job.

The phenomenal decade-long Jones-Jackson partnership resulted in three multiplatinum albums (including the unprecedented and still unequalled worldwide smash “Thriller”), 18 top-10 pop hits (including 10 No. 1 singles) and four Grammy Awards for Jones.

At the apex of Jackson’s popularity in January 1985, Jones recorded “We Are the World” with a cast of soloists that also included Stevie Wonder, Bruce Springsteen, Bob Dylan, Willie Nelson, Diana Ross and Ray Charles. The benefit single sold an estimated 20 million copies worldwide and added an additional three Grammys, including one for record of the year, to Jones’ resume.

In 1980, Jones founded Qwest Records, a joint venture with Warner Bros. Records. The imprint released the Jones-penned soundtrack for Steven Spielberg’s “The Color Purple” and signed such artists as George Benson, Tevin Campbell, New Order and, briefly, Sinatra (whose 1984 album “L.A. Is My Lady” was arranged by Jones). But its chief executive became its most prominent act.

Jones’ 1989 Qwest album “Back on the Block” — an all-star affair pairing Jones with legends like Miles Davis, Ella Fitzgerald, Sarah Vaughan and Ray Charles and young bloods like Ice-T and Big Daddy Kane — captured a bounty of Grammys and peaked at No. 9 on the U.S. album chart.

In 1993, Warner Bros. released “Miles and Quincy Live at Montreux,” a 1991 live set by trumpeter Davis and Jones from the titular jazz festival in Switzerland on which Davis revisited compositions originally arranged in the ’50s by Gil Evans. It proved to be the jazz legend’s final recording and received a Grammy in 1994.

Jones’ latter-day solo releases were “Q’s Jook Joint” (1995) and “Q Soul Bossa Nostra” (2010). The former featured a host of seasoned R&B and jazz vets, young hip-hop stars and even a guest shot by Marlon Brando. The latter album, comprising new recordings of material associated with Jones, included appearances by such diverse artists as Jennifer Hudson, Amy Winehouse, Usher, Snoop Dogg, Wyclef Jean and Three 6 Mafia. In addition to appearing on The Weeknd’s 2022 album “Dawn FM” and in the music video for Travis Scott and Young Thug’s song “Out West,” Jones has only sporadically produced or performed as an artist. Upon the release of his self-titled 2018 documentary, Jones collaborated with producer Mark Ronson and vocalist Chaka Khan on the accompanying single “Keep Reachin’.”

His Global Gumbo Orchestra made appearances at the Hollywood Bowl in 2011 and at that venue’s Playboy Jazz Festival in 2012. The group released “Tomorrow,” a charity single featuring stars of several Arab nations and co-produced by Jones and RedOne, in late 2011. After appearing at the Hollywood Bowl in 2017 to perform selections from his A&M years, Jones commemorated his 90th birthday in July 2023 with a two-night celebration at the venue featuring past and present artists he worked with, from singer Patti Austin to songwriter and multi-instrumentalist Jacob Collier.

Jones received the Recording Academy’s Legend Award in 1991 and Trustees Award in 1989. He received the Kennedy Center Honors in 2001 and the National Medal of the Arts from President Obama in 2011. He was inducted into the Rock and Roll Hall of Fame in 2013 as the winner of the Ahmet Ertegun Award together with Lou Adler.

Jones released his autobiography “Q” in 2001; an audio version of the book received a Grammy as best spoken word album in 2002.

Married and divorced three times, he is survived by a brother, two sisters, six daughters including actor Rashida Jones, and a son.

JONES, Quincy (Quincy Delight Jones Jr.)

Born: 3/14/1933, Chicago, Illinois, U.S.A.

Died: 11/3/2024, Bel Air, California, U.S.A.

 

Quincy Jones’ westerns – composer:

Mackenna’s Gold – 1969 [composer, conductor]

Man and Boy – 1971 [music supervisor]

RIP Agnaldo Rayol

 

With a powerful baritone voice, Agnaldo Rayol echoed Italian singing in Brazil

Dead at the age of 86, the singer from Rio de Janeiro lived his peak in the 1960s and went through periods of low in the 1970s and 1980s until he was reborn in 1993 in the soundtracks of soap operas by his friend Benedito Ruy Barbosa.

 

Globo.com

By Mauro Ferreira

11/4/2024

A friend of Benedito Ruy Barbosa, Agnaldo Rayol was invited by the novelist in 1993 to record the song Em nome do amor (César Augusto and Piska) for the soundtrack of the soap opera Renascer, aired by TV Globo that year with great success.

Even though it did not impose itself on the soundtrack of Benedito Ruy Barbosa's rural plot, the recording of In the name of love promoted the artistic rebirth of Agnaldo Coniglio Rayol (May 3, 1938 – November 4, 2024), a singer, actor and presenter from Rio de Janeiro who had been successful in the 1960s, but who had been forgotten and, At that time, he had not released an album for seven years.

The invitation to the soundtrack of the soap opera Renascer injected encouragement into the artist's phonographic career – who, from then on, began to record better-kept albums such as Agnaldo Rayol (1994) and Todo o sentimento (1997) – and increased the concert schedule of this singer much loved by the public that likes grandiloquent interpreters.

Died in the early hours of today, at the age of 86, as a result of a fall suffered in the house where he lived in the city of São Paulo (SP), Agnaldo Rayol was one of the Brazilian symbols of bel canto, an Italian term that designates the singing of an operatic style, exacerbated, based on vocal technique.

Rayol's powerful baritone voice accredited the singer – of Italian descent on his mother's side – to face themes such as Mia Gioconda (Vicente Celestino, 1946), recorded by the artist with the duo Chrystian & Ralf for the soundtrack of the soap opera O rei do gado (Globo, 1996), another blockbuster plot by Benedito Ruy Barbosa.

Also through his novelist friend, Agnaldo Rayol experienced a peak of popularity when he recorded the then unreleased Italian theme Tormento d'amore (Luiz Schiavon, Marcelo Barbosa and Antônio Scarpellini, 1999) in duo with the Welsh singer Charlotte Church for the opening of the telenovela Terra nostra (1999).

At that moment, Rayol was heard again throughout Brazil almost with the same intensity with which he had been heard in the 1960s, the artist's golden decade

Agnaldo Rayol began singing in the late 1940s, as a teenager, at the Brazilian Post and Telegraph Company, in his hometown of Rio de Janeiro (RJ). But he had to wait for his baritone voice to gain muscle and reach adult form to release his first album, Agnaldo Rayol, released in 1958 with an old-fashioned romantic repertoire.

Oblivious to the bossa nova revolution in that same year of 1958, Rayol made a name for himself with a sentimental songbook, the keynote of albums such as Sonhos musicais (1959), Maior que a saudade (1960) and Se ela voltar (1961). The artist never abandoned this romantic repertoire that never goes out of style.

Parallel to his singing career, the artist began to act as a presenter – commanding programs on TV Record such as the Côrte Rayol Show (1965) with the comedian and writer Renato Côrte Real (1924 – 1982) – and as an actor in soap operas and films. However, for the Brazilian public, Agnaldo Rayol was above all a singer.

From the 2000s onwards, the singer's recording career again slowed down as in the 1970s and 1980s. However, the artist continued to play shows in Brazil until he began to become debilitated and develop Alzheimer's disease.

Agnaldo Rayol's last work was made in 2020 at the initiative of Thiago Marques Luiz's music producer. It is an audiovisual record of voice and piano of the Voices of the Best Age Festival.

In this recording, Rayol spoke a little about his artistic trajectory and gave voice to songs such as the song Chão de estrelas (Silvio Caldas and Orestes Barbosa, 1937) and the samba-song A noite do meu bem (Dolores Duran, 1958) in the tone that consecrated him as an opulent voice of bel canto, a style that echoed in Brazil with great pride.

RAYOL, Agnaldo (Agnaldo Coniglio Rayol)

Born: 5/3/1938, Niterol, Rio de Janeiro, Brazil

Died: 11/4/2024, São Paulo, Brazil

 

Agnaldo Rayol’s western – actor:

Pistoleiro Bossa Nova - 1959

Friday, November 1, 2024

RIP Greg Hildebrandt

 

Greg Hildebrandt, Famed ‘Star Wars,’ ‘Lord of the Rings’ and Marvel Artist, Dies at 85

He and his late twin brother, Tim, painted the famed “Style B” artwork for the U.K. release of the George Lucas classic.

The Hollywood Reporter

By Mike Barnes

November 1, 2024

 

Greg Hildebrandt, the admired artist and illustrator who created movie posters for the original Star Wars and Clash of the Titans, drew Marvel characters and designed iconic 1970s calendars that celebrated the Lord of the Rings trilogy, has died. He was 85.

Hildebrandt died in Denville, New Jersey, his son, Greg Jr., told The Hollywood Reporter. For the past five months, he had been dealing with a serious side effect from a heart medication.

The artist, who frequently partnered with his late twin brother, Tim Hildebrandt, also illustrated covers for DC Comics and trading cards for an epic 1994 Marvel Masterpieces set; painted artwork for Dungeons & Dragons calendars; and designed covers for the 1981 Black Sabbath album Mob Rules and many LPs from the Trans-Siberian Orchestra.

Without having access to film stills and publicity photos and given a very tight deadline by 20th Century Fox, the brothers painted the “Style B” poster for the U.K. release of Star Wars (1977), with Greg’s first wife, Diana Stankowski, serving as the model for Princess Leia.

“Incredibly, the first version of it — without the droids — was created in a feverish, nonstop effort over just 36 hours!” Greg told the Los Angeles Times in 2010. “George Lucas asked for the droids to be added and for our signatures to be larger. We made those changes at the ad agency, and off it went!”

A promotional poster for the U.S. release had already been created by Tom Jung, but execs thought it was too dark and asked the Hildebrandts for a revision.

Greg and Tim Hildebrandt were born in Detroit on Jan. 23, 1939. Their father, George, was a Chevrolet division chief, and their mother, Germaine, a homemaker. They started drawing comic books when they were 6.

“We had our own stories we would write,” Greg said in a 2017 interview. “Thankfully, our mother from an early age used to hammer into our heads that your imagination is the most valuable thing you have.”

They took a six-month class at the Meinzinger Art School in their hometown, began painting professionally in 1959 and worked for the Jam Handy Organization, an industrial film company in Detroit. There, they combined live-action and animation to tell the story of a medical relief ship in the award-winning film Technique for Life.

In 1963, the brothers moved to New York to work for Archbishop Fulton J. Sheen and made documentary films chronicling world hunger and created art for Sheen’s weekly TV series, Life Is Worth Living.

For the Tolkien Lord of the Rings trilogy calendars that were published by Ballantine Books from 1976-78, “Tim would do some thumbnails and I would do some thumbnails or we would do them together and talk over each other’s shoulders,” he explained. “Then we would end up with a final drawing set-up and composition. We would then do a photo shoot with models and costumes. Then we did the final sketching.

“Tim would probably start one and I would start another final sketch. Then when it came to the painting phase, we literally both sat together on two sides — he would sit on one side and I would sit on the other, and we would paint at the same time on the same painting.”

After their success with the calendars, with Star Wars and with their poster for Ray Harryhausen’s Clash of the Titans (1981), the brothers opted to work separately.

Greg illustrated his own 1984 book, Greg Hildebrandt’s Favorite Fairy Tales; worked on cover artwork for Heavy Metal magazine; and illustrated Wizard of Oz, Aladdin, Robin Hood, Edgar Allan Poe, Peter Pan, Alice in Wonderland, Dracula and Phantom of the Opera books.

In 1999, he began work on a series of 1940s-’50s-style pin-up paintings — think women in retro clothes and settings — that he dubbed “American Beauties.”

After more than a decade working independently, the brothers reunited and created the 158-card Marvel Masterpieces set that depicted heroes and villains of the Marvel Universe. They continued together until Tim’s death in June 2006 at age 67.

Greg also painted Deadpool, Captain America vs. Hitler, Black Panther, Thor and other characters for Marvel.

One of his biggest fans was Michael Jackson; he once spent two weeks with the singer at his Neverland Ranch.

Hildebrandt’s last commercial painting will be published in the program for the Trans-Siberian Orchestra’s upcoming winter tour. He served as TSO’s exclusive artist for its album covers, tour programs and merchandise since 2003.

In addition to his son, survivors include Jean Scrocco, his wife of 15 years and partner for 33 (she started out as his agent in 1979); his daughter, Mary; his daughter-in-law, Jane, and son-in-law, David; his sister, Jane; and his kittens, Bonnie, Clyde, Katie and Charlie.

Hildebrandt “led a life of creative discipline and was the consummate professional,” his family said in a statement. “Every job was treated with the same level of professionalism. Greg lived his life in the pursuit of ‘getting it right.’”

HILDEBRANDT, Greg (Gregory J. Hildebrandt)

Born: 1/23/1939, Detroit, Michigan, U.S.A

Died: 10/31/2024, Denville, New Jersey, U.S.A.

 

Greg Hildebrandt’s western – comic book artist:

Zorro - 2007

RIP Stephanie Collie

 

Stephanie Collie,‘Peaky Blinders’ Costume Designer, Dies at 60

Variety

By Andrés Buenahora

October 31, 2024

 

Stephanie Collie, the costume designer behind film and television projects such as “Peaky Blinders,” died of cancer on Oct. 26 at St Christopher’s Hospice in London.

Over the course of her career, Collie worked with talent including Michael Caine, Henry Cavill, Jessica Chastain, Daniel Craig, Penélope Cruz, Morgan Freeman, Samuel L. Jackson, Cillian Murphy, Gary Oldman, Ryan Reynolds and Michelle Williams.

Collie began her career in the sewing room of the BBC alongside costume designer Susan Coates. Following an introduction from Coates to David Parfitt, she worked as a wardrobe assistant to Branagh on “Much Ado About Nothing.” From there, Collie worked as a costume designer on “Peter’s Friends,” which was directed by Branagh.

In 1988, Collie had her work featured onscreen in Guy Ritchie’s crime comedy film “Lock, Stock and Two Smoking Barrels.”

Of her design for the film, Christopher Laverty said: “You could not pick up a men’s magazine of the time without seeing some guy in slim trousers and a jersey polo shirt. Stephanie Collie invented this look, thus providing one of the clearest examples of how costume design can transcend a movie and become something more. We would go so far as to say Stephanie Collie helped define an era.”

Collie later established herself as one of the world’s top costume designers through “Peaky Blinders,” winning a Royal Television Society Award for Best Costume Design for her work.

Some of her other credits include “Wrath of Man,” “Argylle,” “The Look of Love,” “London Has Fallen,” “Angel Has Fallen,” “The Hitman’s Bodyguard” and “Hitman’s Wife’s Bodyguard.”

Director Susanna White said of Collie: “Stephanie had a true originality about her sense of design – there was never anything received about what she did. Her work on Woman Walks Ahead was extraordinary – she went back to primary sources and found references for the clothing the Lakota people and Jessica Chastain wore which both made her costumes absolutely truthful to period detail yet gave the film a very contemporary spin. She told powerful stories through her work but like her personality her costumes never shouted “look at me” – she was always at pains to make sure that what she did fitted seamlessly into the aesthetic of the whole creative endeavour. No matter how stressful a day was she treated everything with her characteristic humour and grace. She will be greatly missed.”

Stephanie’s most recent project was the Amazon drama series “My Lady Jane.”

Cillian Murphy remembered her, saying, “Stephanie was a ferocious talent. She invented the ‘Peaky Blinders’ look and silhouette that has become iconic across the world.”

COLLIE, Stephanie

Born: 11/16/1963, Cheshire, England U.K.

Died: 10/26/2024, London, England, U.K.

 

Stephanie Collie’s western – costume designer:

Woman Walks Ahead - 2017