Experience one young man’s feel-good, coming-of-age transformation when Measure of a Man arrives on DVD, Digital, and On Demand August 7 from Lionsgate.
Experience one young man’s feel-good, coming-of-age transformation whenMeasure of a Man arrives on DVD, Digital, and On Demand August 7 from Lionsgate. Starring Primetime Emmy and Golden Globe winner Donald Sutherland, the film perfectly captures quintessential summer life in middle America through the lens of a fourteen-year-old boy on a torturous vacation with his parents. Based on the novel “One Fat Summer” by Robert Lipsyte, directed by Jim Loach, and written for the screen by David Scearce, Measure of a Man will be available on DVD for the suggested retail price of $19.98.
Fourteen-year-old Bobby (Blake Cooper) is enduring a torturous family vacation. His summer job is backbreaking, his parents appear on the verge of divorce, his sister is forcing him to keep her secrets, and his best friend is leaving.
Experience one young man’s feel-good, coming-of-age transformation whenMeasure of a Man arrives on DVD, Digital, and On Demand August 7 from Lionsgate. Starring Primetime Emmy and Golden Globe winner Donald Sutherland, the film perfectly captures quintessential summer life in middle America through the lens of a fourteen-year-old boy on a torturous vacation with his parents. Based on the novel “One Fat Summer” by Robert Lipsyte, directed by Jim Loach, and written for the screen by David Scearce, Measure of a Man will be available on DVD for the suggested retail price of $19.98.
Fourteen-year-old Bobby (Blake Cooper) is enduring a torturous family vacation. His summer job is backbreaking, his parents appear on the verge of divorce, his sister is forcing him to keep her secrets, and his best friend is leaving.
- 7/18/2018
- by Tom Stockman
- WeAreMovieGeeks.com
With apologies to Tolstoy: Each unhappy family may be unhappy in its own way, but miserable adolescents do tend to get repetitious. “Measure of a Man” is the latest among too many of what one might term “My Crappy but Formative Teenage Summer Vacation” movies. Worse, it’s a particularly generic one that brings no distinctive personality or plot angles to a very familiar set of misfit-hero woes and eventual, underwhelming triumphs. A first U.S. project for director Jim Loach, the primarily TV-trained son of Brit auteur Ken, this bland flashback lacks the cultural familiarity that boosted his Nottingham-set prior feature “Oranges and Sunshine.”
His voiceover narration just as pedestrian as everything else here, Bobby Marks (Blake Cooper from “The Maze Runner”) recounts how he dreaded his New York family’s summer forays to a lakeside cabin in small-town Rhode Island, where all the available outdoor activities seemed designed to humiliate his athletically challenged,...
His voiceover narration just as pedestrian as everything else here, Bobby Marks (Blake Cooper from “The Maze Runner”) recounts how he dreaded his New York family’s summer forays to a lakeside cabin in small-town Rhode Island, where all the available outdoor activities seemed designed to humiliate his athletically challenged,...
- 5/11/2018
- by Dennis Harvey
- Variety Film + TV
Less a coming-of-age tale than a story laying the foundation for that kind of change, Jim Loach's Measure of a Man looks at a few months in the life of a teen who is increasingly uncomfortable in the role of chubby misfit. Though set further back in time than summer-break fare of recent years like Adventureland, The Way Way Back, and Amazon's Red Oaks — this time we're in 1976, an update from Robert Lipsyte's novel One Fat Summer's 1942 setting — the pic's end-of-something vibe and identification with its young male protagonist inevitably recall them, reminding us that those...
- 5/10/2018
- by John DeFore
- The Hollywood Reporter - Movie News
The coming of age dramedy is a crowded genre with many seminal works established in the 70s and 80s. It’s tough to therefore see any entries without comparing them to what came first. Some can still find their niche and win audiences over before earning a place besides those former greats, but oftentimes they simply feel too familiar to necessitate a second look. The latter category is a shame because familiarity isn’t always synonymous with “bad.” Take Jim Loach’s Measure of a Man, for instance. Here’s a serviceable film adapted by David Scearce from sports writer Robert Lipsyte’s 1977 semi-autobiographical novel One Fat Summer that possesses many redeemable qualities including a worthwhile, body-positive message. It may objectively succeed in its narrative goal, but subjectively never sets itself apart.
There’s a Stand By Me voiceover looking back; parental relationship trouble on the fringes for additional dramatic tension a la The Way,...
There’s a Stand By Me voiceover looking back; parental relationship trouble on the fringes for additional dramatic tension a la The Way,...
- 5/9/2018
- by Jared Mobarak
- The Film Stage
Director Jim Loach's comedy feature "Measure of A Man", based on the novel "One Fat Summer" by Robert Lipsyte, stars Judy Greer, Donald Sutherland and Beau Knapp, opening May 11, 2018:
"...a bullied teen experiences a turning point one summer, when he finally learns to stand up for himself..."
Click the images to enlarge and Sneak Peek "Measure of A Man"...
"...a bullied teen experiences a turning point one summer, when he finally learns to stand up for himself..."
Click the images to enlarge and Sneak Peek "Measure of A Man"...
- 3/27/2018
- by Michael Stevens
- SneakPeek
In one of those strange confluences of life, death and documentary art, last week the world lost Muhammad Ali, humanitarian, devout Muslim and near inarguably the greatest boxer of all time (even if that assignation was initially self-proclaimed), just at the moment when the discussion about the life of yet another celebrity athlete, O.J. Simpson, is about to heat up yet again. Tonight ABC airs the first of the five-part documentary O.J.: Made in America, a seven-and-a-half hour undertaking commissioned for Espn’s 30-For-30 series that truly fulfills the expansive definition of an epic, and filmmaker Ezra Edelman makes every one of his documentary’s 450 minutes count.
The first two hours of O.J.: Made in America are devoted not just to Simpson’s formative life in the San Francisco projects and his rise to football stardom at USC, but also to painting a vivid picture of African-American life in Los Angeles in the days leading up to the Watts Riots of 1965, a detailed, frustrating and often agonizing portrait of a racial history that provides one aspect of the vast context in which the persona of O.J. Simpson was shaped. Edelman illuminates a crucial contrast between Simpson, the popular USC running back living it up on a primarily white, moneyed campus, and the reality of the more typical African-American experience in Los Angeles in the 1960s which was taking place only a few blocks from where Simpson was being groomed for NFL stardom. Economic and racial prejudice, police brutality during the William H. Parker era of the Los Angeles Police Department, and the scramble simply to maintain a modicum of dignity in the face of a dominant white social structure which regularly, violently insisted that none was deserved, was the reality faced by those who couldn’t gracefully scramble down a field and rack up record yardage for a storied university football program. (One of the saddest threads that emerges early on in the film is in accounting the degree to which African-Americans eagerly moved from strife-plagued areas of the South in the ‘50s and ‘60s to Los Angeles in search of the sort of racial and economic equanimity that eluded them in their home states, and how quickly that optimism was snuffed out.)
Yet O.J. Simpson emerged from being surrounded by it all (and deftly protected from it all), early on largely achieving acceptance in (white) world of celebrity. He was the first African-American advertising spokesman for a major company—Hertz rental cars—who was perceived as being effective not just with blacks but across the racial board. And he was liked by just about everybody he encountered, black or white, all of which was, of course, the underlying presumptive goal of his personal socio-philosophic mantra: “I’m not black, I’m not white. I’m O.J.” One of the most unsettling accounts of Simpson’s perspective occurs early on in the film, recalled on camera by New York Times sports reporter Robert Lipsyte, who remembers Simpson, not yet 22 and waiting to sign his rookie pro contract after leaving USC, hanging out in a Manhattan bar waiting to meet up with one of its owners, Joe Namath, the hero of the most recent Super Bowl. Lipsyte was one of a large entourage surrounding Simpson that night and talked to Simpson about his plans, including his negotiations with the Buffalo Bills, his upcoming entrance into the advertising world and his hopes for the TV and movie roles that would come as a result of his career as a football pro. At one point, in talking about the things he’d so far achieved in his young career, Simpson offered up with pride, “I was at a wedding, my wife and a few friends were the only Negroes there, and I overheard a lady say, ‘Look, there’s O.J. Simpson and some niggers.’” Lipsyte takes a breath on camera and says, “I knew right then he was fucked.”
The early sections of O.J.: Made in America make it clear just how separate Simpson intended to be from the black community which took such pride in his acceptance and achievements, and that separation went beyond securing a life of fame and riches with Hollywood always foremost in mind. Muhammad Ali’s refusal to be conscripted into the Vietnam War, and the nimbly articulated reasoning he offered, which was grounded deeply in not only his racial but also his religious experience (“The real enemy of my people is right here. I will not disgrace my religion, my people or myself by becoming a tool to enslave those who are fighting for their own justice, freedom and equality”), provides an illuminating contrast to Simpson’s refusal to politicize his image. While Ali took his controversial stand, which resulted in his arrest and conviction for draft evasion, the rescinding of his Olympic gold medal, the stripping of the heavyweight title he won by defeating Sonny Liston in 1964 and a three-year ban from professional fighting, Simpson refused to join other black athletes such as Bill Russell, Kareem Abdul-Jabbar and Jim Brown in public support of Ali’s decision. While he professed to understand the importance of Ali’s position and the need to provide support for everyone in the black community, Simpson continued to make it clear that their fight was not necessarily his fight: “What I’m doing is not for principles or for black people. I’m dealing first for O.J. Simpson, his wife and his baby.”
That, having heard such a philosophy expressed openly, blacks could have remained as supportive of O.J. Simpson as his life took an infamously surreal turn into ugly violence in Brentwood, California in June 1994, is one aspect of the mystery of O.J. Simpson upon which Edelman’s film, with its grounding in the racial inequity and violence at the hands of the Los Angeles Police Department, sheds plenty of welcome light. However obvious the evidence may have been against him, however bungled by prosecution the apparently slam-dunk case ended up being, the Simpson verdict was perceived by many blacks across the nation, according to the evidence and testimony accrued in Edelman’s film, as a huge emotional release, payback to a system that repeatedly failed to provide justice for the likes of Eula Love and Rodney King.
[caption id="attachment_25791" align="aligncenter" width="629"] Defendant Oj Simpson wearing one the blood stained gloves found by Los Angeles Police./caption]
And it’s to Edelman’s credit that a conclusion like that one has its place in the context of the larger conversation O.J.: Made in America engenders, neither summarily dismissed nor thoughtlessly endorsed but instead woven into the expressive, reverberating fabric of this unusually evocative, angering and enlightening work. If the movie never finds as much room for contextualizing Nicole Brown Simpson as someone other than a victim of an inevitable tide of domestic abuse in the way that Los Angeles’ racial history does for Simpson himself, then the humanizing empathy Edelman displays for her certainly suffices. (The awful finality of her fate and that of Ronald Goldman is displayed here in horrific crime scene photographs I’d spent 22 years avoiding.) O.J.: Made in America unfolds with masterful certainty and illuminating power, delineating the mind-boggling path toward a third act in the life of a man who many, even some of his staunchest supporters and friends, now believe must have commit those heinous murders, a third act which surreally nose-dives into Vegas decadence, petty crime and, yes, even perhaps one more dose of payback for crimes left unpunished.
[caption id="attachment_25790" align="aligncenter" width="640"] Nevada Department of Corrections via AP/caption]
Though it was conceived as a TV series, with the remaining four parts airing on Espn after tonight’s bow on ABC, I think of O.J.: Made in America as a movie because that’s the way I saw it. I was lucky enough to be able to attend the very last theatrical screening of a week-long, Oscar-qualifying engagement in Santa Monica a couple of weeks ago, and seeing it that way was one of the great movie-going experiences I’ve ever had. The auditorium where I saw it, with a capacity of 27 people, was about half full, and during the film’s two intermissions there was a palpable need for us all—the 14 or so of us in attendance were pretty closely divided between black and white-- to turn to each other and discuss what it was we were absorbing. (By the end of the movie’s second section, that screening had begun to take on the quality of a very lively town hall meeting.) Sometime during the first hour, immersed in the sort of rich detail and intelligent commentary that would be a hallmark of Edelman’s film, I felt energized, excited, relieved to be in the hands of a documentary so dedicated to taking its time and creating the proper context for understanding how the phenomenon, and then the tragedy of O.J. Simpson could have happened in the first place. Seeing it in one go in a theater was not unlike the way people now routinely binge-watch programming, documentary or otherwise, on Netflix or DVD in the media-saturated 21st century, only with fresh popcorn and the company of strangers, which definitely helped ameliorate the desperate sense of a hopelessly fragmented society that the film pointedly examines. If you can stand the wait and have the technology available, I recommend recording the entirety of the series over the next couple of weeks and saving it for a weekend afternoon when you can watch it all at once. But either taken all in one sitting or seen in segments, O.J.: Made in America is made to overwhelm you and invigorate you. It’s going to be hard to top this one for movie of the year, in whatever form it is seen.
The first two hours of O.J.: Made in America are devoted not just to Simpson’s formative life in the San Francisco projects and his rise to football stardom at USC, but also to painting a vivid picture of African-American life in Los Angeles in the days leading up to the Watts Riots of 1965, a detailed, frustrating and often agonizing portrait of a racial history that provides one aspect of the vast context in which the persona of O.J. Simpson was shaped. Edelman illuminates a crucial contrast between Simpson, the popular USC running back living it up on a primarily white, moneyed campus, and the reality of the more typical African-American experience in Los Angeles in the 1960s which was taking place only a few blocks from where Simpson was being groomed for NFL stardom. Economic and racial prejudice, police brutality during the William H. Parker era of the Los Angeles Police Department, and the scramble simply to maintain a modicum of dignity in the face of a dominant white social structure which regularly, violently insisted that none was deserved, was the reality faced by those who couldn’t gracefully scramble down a field and rack up record yardage for a storied university football program. (One of the saddest threads that emerges early on in the film is in accounting the degree to which African-Americans eagerly moved from strife-plagued areas of the South in the ‘50s and ‘60s to Los Angeles in search of the sort of racial and economic equanimity that eluded them in their home states, and how quickly that optimism was snuffed out.)
Yet O.J. Simpson emerged from being surrounded by it all (and deftly protected from it all), early on largely achieving acceptance in (white) world of celebrity. He was the first African-American advertising spokesman for a major company—Hertz rental cars—who was perceived as being effective not just with blacks but across the racial board. And he was liked by just about everybody he encountered, black or white, all of which was, of course, the underlying presumptive goal of his personal socio-philosophic mantra: “I’m not black, I’m not white. I’m O.J.” One of the most unsettling accounts of Simpson’s perspective occurs early on in the film, recalled on camera by New York Times sports reporter Robert Lipsyte, who remembers Simpson, not yet 22 and waiting to sign his rookie pro contract after leaving USC, hanging out in a Manhattan bar waiting to meet up with one of its owners, Joe Namath, the hero of the most recent Super Bowl. Lipsyte was one of a large entourage surrounding Simpson that night and talked to Simpson about his plans, including his negotiations with the Buffalo Bills, his upcoming entrance into the advertising world and his hopes for the TV and movie roles that would come as a result of his career as a football pro. At one point, in talking about the things he’d so far achieved in his young career, Simpson offered up with pride, “I was at a wedding, my wife and a few friends were the only Negroes there, and I overheard a lady say, ‘Look, there’s O.J. Simpson and some niggers.’” Lipsyte takes a breath on camera and says, “I knew right then he was fucked.”
The early sections of O.J.: Made in America make it clear just how separate Simpson intended to be from the black community which took such pride in his acceptance and achievements, and that separation went beyond securing a life of fame and riches with Hollywood always foremost in mind. Muhammad Ali’s refusal to be conscripted into the Vietnam War, and the nimbly articulated reasoning he offered, which was grounded deeply in not only his racial but also his religious experience (“The real enemy of my people is right here. I will not disgrace my religion, my people or myself by becoming a tool to enslave those who are fighting for their own justice, freedom and equality”), provides an illuminating contrast to Simpson’s refusal to politicize his image. While Ali took his controversial stand, which resulted in his arrest and conviction for draft evasion, the rescinding of his Olympic gold medal, the stripping of the heavyweight title he won by defeating Sonny Liston in 1964 and a three-year ban from professional fighting, Simpson refused to join other black athletes such as Bill Russell, Kareem Abdul-Jabbar and Jim Brown in public support of Ali’s decision. While he professed to understand the importance of Ali’s position and the need to provide support for everyone in the black community, Simpson continued to make it clear that their fight was not necessarily his fight: “What I’m doing is not for principles or for black people. I’m dealing first for O.J. Simpson, his wife and his baby.”
That, having heard such a philosophy expressed openly, blacks could have remained as supportive of O.J. Simpson as his life took an infamously surreal turn into ugly violence in Brentwood, California in June 1994, is one aspect of the mystery of O.J. Simpson upon which Edelman’s film, with its grounding in the racial inequity and violence at the hands of the Los Angeles Police Department, sheds plenty of welcome light. However obvious the evidence may have been against him, however bungled by prosecution the apparently slam-dunk case ended up being, the Simpson verdict was perceived by many blacks across the nation, according to the evidence and testimony accrued in Edelman’s film, as a huge emotional release, payback to a system that repeatedly failed to provide justice for the likes of Eula Love and Rodney King.
[caption id="attachment_25791" align="aligncenter" width="629"] Defendant Oj Simpson wearing one the blood stained gloves found by Los Angeles Police./caption]
And it’s to Edelman’s credit that a conclusion like that one has its place in the context of the larger conversation O.J.: Made in America engenders, neither summarily dismissed nor thoughtlessly endorsed but instead woven into the expressive, reverberating fabric of this unusually evocative, angering and enlightening work. If the movie never finds as much room for contextualizing Nicole Brown Simpson as someone other than a victim of an inevitable tide of domestic abuse in the way that Los Angeles’ racial history does for Simpson himself, then the humanizing empathy Edelman displays for her certainly suffices. (The awful finality of her fate and that of Ronald Goldman is displayed here in horrific crime scene photographs I’d spent 22 years avoiding.) O.J.: Made in America unfolds with masterful certainty and illuminating power, delineating the mind-boggling path toward a third act in the life of a man who many, even some of his staunchest supporters and friends, now believe must have commit those heinous murders, a third act which surreally nose-dives into Vegas decadence, petty crime and, yes, even perhaps one more dose of payback for crimes left unpunished.
[caption id="attachment_25790" align="aligncenter" width="640"] Nevada Department of Corrections via AP/caption]
Though it was conceived as a TV series, with the remaining four parts airing on Espn after tonight’s bow on ABC, I think of O.J.: Made in America as a movie because that’s the way I saw it. I was lucky enough to be able to attend the very last theatrical screening of a week-long, Oscar-qualifying engagement in Santa Monica a couple of weeks ago, and seeing it that way was one of the great movie-going experiences I’ve ever had. The auditorium where I saw it, with a capacity of 27 people, was about half full, and during the film’s two intermissions there was a palpable need for us all—the 14 or so of us in attendance were pretty closely divided between black and white-- to turn to each other and discuss what it was we were absorbing. (By the end of the movie’s second section, that screening had begun to take on the quality of a very lively town hall meeting.) Sometime during the first hour, immersed in the sort of rich detail and intelligent commentary that would be a hallmark of Edelman’s film, I felt energized, excited, relieved to be in the hands of a documentary so dedicated to taking its time and creating the proper context for understanding how the phenomenon, and then the tragedy of O.J. Simpson could have happened in the first place. Seeing it in one go in a theater was not unlike the way people now routinely binge-watch programming, documentary or otherwise, on Netflix or DVD in the media-saturated 21st century, only with fresh popcorn and the company of strangers, which definitely helped ameliorate the desperate sense of a hopelessly fragmented society that the film pointedly examines. If you can stand the wait and have the technology available, I recommend recording the entirety of the series over the next couple of weeks and saving it for a weekend afternoon when you can watch it all at once. But either taken all in one sitting or seen in segments, O.J.: Made in America is made to overwhelm you and invigorate you. It’s going to be hard to top this one for movie of the year, in whatever form it is seen.
- 6/11/2016
- by Dennis Cozzalio
- Trailers from Hell
The TV event of 2016 so far was surely FX's marvelous miniseries The People v. O.J. Simpson: American Crime Story, which turned the Trial of the (last) Century into 10 fascinating, funny, tragic hours of drama that shed new light on a case that most of its viewers thought they already knew by heart. Given the phenomenon of The People v. O.J., you would think a five-part, 7.5-hour (10 with commercials) documentary on the same subject would be redundant. Who needs to spend even more time watching a retelling of Simpson's trial for murdering ex-wife Nicole Brown Simpson and her friend Ronald Goldman? Instead, Espn's newest 30 for 30 film O.J. Simpson: Made in America(*) proves to not only be better than The People v. O.J. — and among the best things Espn has aired in its history — but a perfect complement to the FX show. Where People v. O.J. was...
- 6/9/2016
- by Alan Sepinwall
- Hitfix
Moving to another Ya adaptation following the Hunger Games films, Donald Sutherland is already part of the cast of Measure Of A Man. And he's now joined by Luke Wilson and Judy Greer. Jim Loach (son of Ken) is directing the film, based on the 1991 novel One Fat Summer by Robert Lipsyte.The Maze Runner's Blake Cooper leads the film - a 1970s coming-of-age drama - as Bobby Marks, an overweight kid struggling with summer camp and an ongoing saga involving a lawnmowing job. Wilson and Greer will be playing Bobby's less than helpful parents, with Liana Liberato his sister Michelle, and Sutherland as Dr. Kahn, owner of that troublesome lawn.Loach's last film was Oranges And Sunshine in 2010 (although his drama Chasing Satellites seems to be complete and awaiting a release). But he's been more prolific on television, clocking up the mini-series Life Of Crime, plus episodes of Dci Banks,...
- 10/6/2015
- EmpireOnline
Luke Wilson and Judy Greer have joined the cast of Measure Of A Man, the independent adaptation of Robert Lipsyte's Ya novel One Fat Summer. The project, which is now shooting in Rhode Island with Jim Loach directing, also stars Donald Sutherland, Blake Cooper, Liana Liberato, Beau Knapp, Danielle Rose Russell, Luke Benward, and Sam Keeley. The 1970's coming-of-age story was adapted by David Scearce (A Single Man). Wilson and Greer will play Cooper and Liberato's parents…...
- 10/5/2015
- Deadline
Exclusive: Donald Sutherland and The Maze Runner‘s Blake Cooper are starring in Measure Of A Man, with Jim Loach (Orange and Sunshine) directing a script by David Scearce (A Single Man). The pic, an adaptation of Robert Lipsyte’s Ya novel One Fat Summer, just got underway this week in Rhode Island. Christian Taylor is producing through Taylor Lane Productions with Weedon Media and Great Point Media, whose Jim Reeve and Robert Halmi are exec producing with Scearce and…...
- 9/23/2015
- Deadline
An August 6 TCA panel where Espn and Frontline touted their partnership on a concussion investigation proved to be the "catalyst" for the end of the high-profile collaboration, Espn president John Skipper told his network ombudsman. According to ombudsman Robert Lipsyte's report, the sports network exec relayed that he "hadn’t seen the trailer or approved its content, which included the Espn logo and a collaboration credit. He thought it was 'odd for me not to get a heads up,' and said it made him 'quite unhappy' to discover that Espn had no editorial control over the trailer. Upon
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- 8/25/2013
- by Erik Hayden
- The Hollywood Reporter - Movie News
"In the '60s and '70s, he was the most recognizable face in the world. We created a symbol. Muhammad Ali has long since been supplanted by what we believe he is. There's so many ways of looking at him that have only to do with us, and have nothing to do with him," New York Times writer Robert Lipsyte sagely observes in "The Trials Of Muhammad Ali." Far more than a boxer, Olympian, Muslim and father, it wouldn't be a stretch to call him the eighth wonder of the world, a distinction that his daughter Hana Ali half-jokingly admits would love to see bestowed on him. There have been countless films and documentaries about the man who was born Cassius Clay, but Bill Siegel's "The Trials Of Muhammad Ali" is a wholly illuminating look at Muhammad Ali in all his complexity, providing a surprisingly fresh and vivid...
- 8/22/2013
- by Kevin Jagernauth
- The Playlist
Christina Hendricks has signed on to join the cast of the upcoming Measure of a Man . Deadline reports that the "Mad Men" star will play mother to Riley Griffiths' leading character in the adaptation of the novel "One Fat Summer" by Robert Lipsyte, officially described as follows: For Bobby Marks, summer does not equal fun. While most people are happy to take off their heavy jackets and long pants, Bobby can't even button his jeans or reach over his belly to touch his toes. Spending the summer at Rumson Lake is sheer torture. This particular summer promises to be worse than usual. His parents can't stop fighting. His best friend, Joanie, goes home to New York City and won't tell him why. Dr. Kahn, a rich, stingy estate owner who hires him to manage an...
- 6/14/2013
- Comingsoon.net
Christina Hendricks has entered final negotiations for Measure of a Man.
The Mad Men star will appear alongside Riley Griffiths in director Terry Loane's drama, reports Deadline.
The adaptation of Robert Lipsyte's young adult novel One Fat Summer was written by A Single Man screenwriter David Scearce.
Set in the 1970s, Measure of a Man centres around a bullied teenager (Griffiths) who takes a summer job from his reclusive Wall Street mentor.
Hendricks will play the boy's mother, whose independence and new career path has been causing friction in her marriage.
Hendricks recently starred in indie comedy Struck by Lightning and will shortly reunite with Drive co-star Ryan Gosling for his directorial debut, How to Catch a Monster.
Measure of a Man will shoot this summer in New York and Connecticut.
The Mad Men star will appear alongside Riley Griffiths in director Terry Loane's drama, reports Deadline.
The adaptation of Robert Lipsyte's young adult novel One Fat Summer was written by A Single Man screenwriter David Scearce.
Set in the 1970s, Measure of a Man centres around a bullied teenager (Griffiths) who takes a summer job from his reclusive Wall Street mentor.
Hendricks will play the boy's mother, whose independence and new career path has been causing friction in her marriage.
Hendricks recently starred in indie comedy Struck by Lightning and will shortly reunite with Drive co-star Ryan Gosling for his directorial debut, How to Catch a Monster.
Measure of a Man will shoot this summer in New York and Connecticut.
- 6/14/2013
- Digital Spy
Christina Hendricks is nearing a deal to star in Measure of a Man, a seventies drama by A Single Man screenwriter David Scearce. Based on the young-adult novel One Fat Summer by Robert Lipsyte, Measure will focus on "a bullied teen negotiating the challenging path to manhood under the guidance of a reclusive Wall Street executive who gives him a summer job." Hendricks will play the teen's mother, "who is undergoing marital woes sparked by her fierce independence and a new career path."...
- 6/14/2013
- by Zach Dionne
- Vulture
Christina Hendricks ("Mad Men," "Drive") is in final negotiations to star in Terry Loane's coming-of-age drama "Measure Of A Man" at Taylor Lane Productions.
David Scearce ("A Single Man") penned the script which is based on Robert Lipsyte's young-adult novel "One Fat Summer".
Set in the 1970s, Riley Griffiths plays a bullied teen who receives guidance from a reclusive Wall Street executive who has given him a summer job.
Hendricks will play the boy’s mother, who is undergoing marital woes sparked by her fierce independence and a new career path.
Christian Taylor will produce, and shooting begins this summer in Connecticut and New York.
Source: Deadline...
David Scearce ("A Single Man") penned the script which is based on Robert Lipsyte's young-adult novel "One Fat Summer".
Set in the 1970s, Riley Griffiths plays a bullied teen who receives guidance from a reclusive Wall Street executive who has given him a summer job.
Hendricks will play the boy’s mother, who is undergoing marital woes sparked by her fierce independence and a new career path.
Christian Taylor will produce, and shooting begins this summer in Connecticut and New York.
Source: Deadline...
- 6/14/2013
- by Garth Franklin
- Dark Horizons
How Robert Lipsyte, author of the new memoir An Accidental Sportswriter, stood athwart the sports page yelling, "Stop!"
When a young man on the make tells me he wants to be a sportswriter, I tell him to read one book. It's called SportsWorld by Robert Lipsyte. Starting next month, I'll tell him to read another: An Accidental Sportswriter, which is functionally Lipsyte's sequel. In sportswriting's cosmic baseball card set-Jimmy Cannon! Dan Jenkins! Charlie Pierce!-you can find men who wrote as pretty as the former New York Times columnist. But Bob is the five-tool sportswriter. His beat is the ballpark, the '60s, African-American history, women's lib, Muslim theology, sports as metaphor, and-most interesting for you, young sportswriter-the craft of sportswriting itself.
Related story on The Daily Beast: Four Missing New York Times Journalists
Lipsyte is the guy who makes us ask the pencil-stopping question: Are sportswriters wasting their careers?...
When a young man on the make tells me he wants to be a sportswriter, I tell him to read one book. It's called SportsWorld by Robert Lipsyte. Starting next month, I'll tell him to read another: An Accidental Sportswriter, which is functionally Lipsyte's sequel. In sportswriting's cosmic baseball card set-Jimmy Cannon! Dan Jenkins! Charlie Pierce!-you can find men who wrote as pretty as the former New York Times columnist. But Bob is the five-tool sportswriter. His beat is the ballpark, the '60s, African-American history, women's lib, Muslim theology, sports as metaphor, and-most interesting for you, young sportswriter-the craft of sportswriting itself.
Related story on The Daily Beast: Four Missing New York Times Journalists
Lipsyte is the guy who makes us ask the pencil-stopping question: Are sportswriters wasting their careers?...
- 4/26/2011
- by Bryan Curtis
- The Daily Beast
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