Chris Chesser, the independent film and documentary producer whose credits include the hit Charlie Sheen 1989 comedy Major League, died suddenly at his home in Los Angeles on February 2. He was 74.
His death was announced today by his brothers Alan and Steve Chesser. A cause of death was not disclosed.
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Chesser began his film career in New York in 1974 as an executive in international sales for Columbia Pictures. He became General Manager of the American Film Institute in Los Angeles in 1976.
In 1978 he became executive assistant at the newly formed Orion Pictures to co-founder Mike Medavoy, and from 1980 to 1983 he served as Vice President of Production for Marble Arch Productions and...
His death was announced today by his brothers Alan and Steve Chesser. A cause of death was not disclosed.
Related Story Hollywood & Media Deaths In 2023: Photo Gallery & Obituaries Related Story Huey "Piano" Smith Dies: New Orleans Rocker Behind 'Rockin' Pneumonia And Boogie Woogie Flu', 'Sea Cruise' Was 89 Related Story Jansen Panettiere Dies: Actor, Brother Of Hayden Panettiere Was 28
Chesser began his film career in New York in 1974 as an executive in international sales for Columbia Pictures. He became General Manager of the American Film Institute in Los Angeles in 1976.
In 1978 he became executive assistant at the newly formed Orion Pictures to co-founder Mike Medavoy, and from 1980 to 1983 he served as Vice President of Production for Marble Arch Productions and...
- 2/21/2023
- by Greg Evans
- Deadline Film + TV
Veteran Hollywood star hails the Prince of Wales as 'incredible' at opening night in London
He received a ringing endorsement from Robert Redford that would swell the heads of most film-makers, but showcasing his new documentary last night the Prince of Wales merely hoped audiences "would stay awake for most of it".
The film, Harmony: A New Way of Looking At Our World, was being given its premiere at the opening night of Sundance London, the first non-us outing for Redford's successful film and music festival.
The prince said he was "enormously touched and honoured", not just because Redford had earlier hailed him as "incredible" and invited him to screen Harmony, but because he had brought Sundance to the UK capital. "I think we owe him a huge debt of gratitude for that," he said.
Harmony, narrated by and starring the prince, tells how he has worked with environmental campaigners,...
He received a ringing endorsement from Robert Redford that would swell the heads of most film-makers, but showcasing his new documentary last night the Prince of Wales merely hoped audiences "would stay awake for most of it".
The film, Harmony: A New Way of Looking At Our World, was being given its premiere at the opening night of Sundance London, the first non-us outing for Redford's successful film and music festival.
The prince said he was "enormously touched and honoured", not just because Redford had earlier hailed him as "incredible" and invited him to screen Harmony, but because he had brought Sundance to the UK capital. "I think we owe him a huge debt of gratitude for that," he said.
Harmony, narrated by and starring the prince, tells how he has worked with environmental campaigners,...
- 4/28/2012
- by Barry Neild
- The Guardian - Film News
Film review: 'G.I. Jane'
A Tom Cruise movie without Tom's magic smile, an Arnold Schwarzenegger adventure without the muscular machismo, Sharon Stone crossing her legs: Imagine more of the same, star vehicles with the star's best assets not used.
Thus marches out Hollywood Pictures' "G.I. Jane", Demi Moore as a Navy S.E.A.L. trainee with her head sheared bald and her body completely covered in military gear. Although there is novelty in seeing the one spot of Moore's anatomy we haven't been exposed to, this formulaic movie is not likely to detonate more than mediocre boxoffice for Buena Vista.
Basically "Top Gun" without the high-flying acrobatics and the good-old-boy charm, "G.I. Jane" is an ultra-serious tract about an underdog's battle against the big bad establishment, in this case, the first female Navy S.E.A.L. vs. the institutional harassment of the military machine.
In general, "G.I. Jane" marches out in predictable lockstep as screenwriters David Twohy and Danielle Alexandra chart a narrative mission for her filled with obstacles, both psychological and physical. As one would expect, there's plenty of bad blood between Jane and some of her macho superiors, and, to boot, some opposition from entrenched female establishment-types. But she's a gutty survivor and gives as good as she gets.
"G.I. Jane" is at its most exciting and involving during Jane's hellacious training regimen: The rigors are so exhausting and emotionally draining that one almost feels as if one is in boot camp with her. Credit to director Ridley Scott for generating some dynamic and powerful images: "Jane"'s action cadence, is, perhaps, the film's best asset.
Where it missteps is in its human dynamics; the dialogue is utterly shrill and emanates from a squadron of largely stereotypical characters. Unlike life, and detracting from its realism, is the story's general lack of surprises and predictable character etchings.
In the titular role, Moore's ferocious intensity and moxy are credible character ingredients, but despite the inherent compassion one might feel for "Jane" as an underdog, that feeling is missing owing to the character's grunty demeanor.
Overall, the players are well-selected, particularly Viggo Mortensen as Jane's chief tormentor, her merciless master chief. Anne Bancroft does a nice turn as a senator with a hidden agenda that can hit like a torpedo-load.
Technical contributions fit the bill, with special praise to cinematographer Hugh Johnson for the charged scopings and Trevor Jones for the ear-blasting score.
G.I. JANE
Buena Vista Pictures
Hollywood Pictures presents
in association with Scott Free
and Largo Entertainment
A Roger Birnbaum/Scott Free/
Moving Pictures production
A Ridley Scott Film
Producers Ridley Scott, Roger Birnbaum,
Demi Moore, Suzanne Todd
Director Ridley Scott
Screenwriters David Twohy, Danielle Alexandra
Story Danielle Alexandra
Executive producers Danielle Alexandra,
Julie Bergman Sender, Chris Zarpas
Co-producer Nigel Wooll
Director of photography Hugh Johnson
Production designer Arthur Max
Editor :Pietro Scalia
Costume designer Marilyn Vance
Music Trevor Jones
Casting Louis Di Giaimo, Brett Goldstein
Associate producers Terry Needham,
Diane Minter Lewis, Tim McBride
Special effects coordinator Steve Galich
Color/stereo
Cast:
Jordan Demi Moore
Master Chief Viggo Mortensen
Lillian DeHaven Anne Bancroft
Royce Jason Beghe
Theodore Hayes Daniel Von Bargen
Chief of Staff John Michael Higgins
Instructor Pyro Kevin Gage
Running time -- 112 minutes
MPAA rating: R...
Thus marches out Hollywood Pictures' "G.I. Jane", Demi Moore as a Navy S.E.A.L. trainee with her head sheared bald and her body completely covered in military gear. Although there is novelty in seeing the one spot of Moore's anatomy we haven't been exposed to, this formulaic movie is not likely to detonate more than mediocre boxoffice for Buena Vista.
Basically "Top Gun" without the high-flying acrobatics and the good-old-boy charm, "G.I. Jane" is an ultra-serious tract about an underdog's battle against the big bad establishment, in this case, the first female Navy S.E.A.L. vs. the institutional harassment of the military machine.
In general, "G.I. Jane" marches out in predictable lockstep as screenwriters David Twohy and Danielle Alexandra chart a narrative mission for her filled with obstacles, both psychological and physical. As one would expect, there's plenty of bad blood between Jane and some of her macho superiors, and, to boot, some opposition from entrenched female establishment-types. But she's a gutty survivor and gives as good as she gets.
"G.I. Jane" is at its most exciting and involving during Jane's hellacious training regimen: The rigors are so exhausting and emotionally draining that one almost feels as if one is in boot camp with her. Credit to director Ridley Scott for generating some dynamic and powerful images: "Jane"'s action cadence, is, perhaps, the film's best asset.
Where it missteps is in its human dynamics; the dialogue is utterly shrill and emanates from a squadron of largely stereotypical characters. Unlike life, and detracting from its realism, is the story's general lack of surprises and predictable character etchings.
In the titular role, Moore's ferocious intensity and moxy are credible character ingredients, but despite the inherent compassion one might feel for "Jane" as an underdog, that feeling is missing owing to the character's grunty demeanor.
Overall, the players are well-selected, particularly Viggo Mortensen as Jane's chief tormentor, her merciless master chief. Anne Bancroft does a nice turn as a senator with a hidden agenda that can hit like a torpedo-load.
Technical contributions fit the bill, with special praise to cinematographer Hugh Johnson for the charged scopings and Trevor Jones for the ear-blasting score.
G.I. JANE
Buena Vista Pictures
Hollywood Pictures presents
in association with Scott Free
and Largo Entertainment
A Roger Birnbaum/Scott Free/
Moving Pictures production
A Ridley Scott Film
Producers Ridley Scott, Roger Birnbaum,
Demi Moore, Suzanne Todd
Director Ridley Scott
Screenwriters David Twohy, Danielle Alexandra
Story Danielle Alexandra
Executive producers Danielle Alexandra,
Julie Bergman Sender, Chris Zarpas
Co-producer Nigel Wooll
Director of photography Hugh Johnson
Production designer Arthur Max
Editor :Pietro Scalia
Costume designer Marilyn Vance
Music Trevor Jones
Casting Louis Di Giaimo, Brett Goldstein
Associate producers Terry Needham,
Diane Minter Lewis, Tim McBride
Special effects coordinator Steve Galich
Color/stereo
Cast:
Jordan Demi Moore
Master Chief Viggo Mortensen
Lillian DeHaven Anne Bancroft
Royce Jason Beghe
Theodore Hayes Daniel Von Bargen
Chief of Staff John Michael Higgins
Instructor Pyro Kevin Gage
Running time -- 112 minutes
MPAA rating: R...
- 8/8/1997
- The Hollywood Reporter - Movie News
Film review: 'Gone Fishin'
In the absence of any appreciable chemistry between its two leads, "Gone Fishin'" turns to demolishing everything from boats to hotels to one's appetite for comedies about dumb buddies, at least when the result is so rotten.
Dumped on an unsuspecting public after moving its release date a few times, the Hollywood Pictures' film is rancid bait for those who like lead characters with no discernible intelligence but with lots of mayhem-causing bad luck. The production itself was none too lucky, with the death of stunt performer Janet Wilder and the injury of four others in an accident during filming in December 1995.
A pair of dimwitted dads from New Jersey, played by Joe Pesci and Danny Glover, head to Florida for their annual fishing excursion, a traditional getaway that dates back several decades. Their wives plead with them not to get arrested or land in the hospital and make them promise to return in a few days in time for Thanksgiving.
With a banter that shows these morons to be kids posing as adults, the leads are so fixated on fishing that the loss of their boat, car and an encounter with a murderer fail to shake their resolve. They have an annoying habit of bumping into levers and flipping switches for the hell of it, leaving a path of destruction and not thinking twice about running away from a potential long prison term.
Alas, watching the film is akin to being incarcerated for a crime one did not commit. The leads are so flat and unfunny that one welcomes the presence of Rosanna Arquette and Lynn Whitfield as ladies-of-the-road who are trailing the aforementioned murderer, also notorious for wooing and then robbing elderly women.
But the screenplay as such is concerned only with flogging to death the comrades-in-disaster angle and setting up the next round of sometimes spectacular but rather unengaging physical humor. Trains, planes and alligators are tossed into the blender, along with some uninspired peripheral characters.
Director Christopher Cain is almost as inept at finding some sparks in the material as the leads are at fishing -- no easy task. Pesci and Glover cast about for automatic laughs, but even with nonexistent expectations, one is appalled at the lackluster efforts of everyone involved.
GONE FISHIN'
Buena Vista Pictures Distribution
Hollywood Pictures presents
in association with Caravan Pictures
A Roger Birnbaum production
A Christopher Cain film
Director Christopher Cain
Producers Roger Birnbaum,
Julie Bergman Sender
Writers Jill Mazursky Cody, Jeffrey Abrams
Director of photography Dean Semler
Production designer Lawrence Miller
Editor Jack Hostra
Costume designer Lizzy Gardiner
Music Randy Edelman
Casting Rick Montgomery, Dan Parada
Color/stereo
Cast:
Joe Joe Pesci
Gus Danny Glover
Rita Rosanna Arquette
Angie Lynn Whitfield
Running time -- 93 minutes
MPAA rating: PG...
Dumped on an unsuspecting public after moving its release date a few times, the Hollywood Pictures' film is rancid bait for those who like lead characters with no discernible intelligence but with lots of mayhem-causing bad luck. The production itself was none too lucky, with the death of stunt performer Janet Wilder and the injury of four others in an accident during filming in December 1995.
A pair of dimwitted dads from New Jersey, played by Joe Pesci and Danny Glover, head to Florida for their annual fishing excursion, a traditional getaway that dates back several decades. Their wives plead with them not to get arrested or land in the hospital and make them promise to return in a few days in time for Thanksgiving.
With a banter that shows these morons to be kids posing as adults, the leads are so fixated on fishing that the loss of their boat, car and an encounter with a murderer fail to shake their resolve. They have an annoying habit of bumping into levers and flipping switches for the hell of it, leaving a path of destruction and not thinking twice about running away from a potential long prison term.
Alas, watching the film is akin to being incarcerated for a crime one did not commit. The leads are so flat and unfunny that one welcomes the presence of Rosanna Arquette and Lynn Whitfield as ladies-of-the-road who are trailing the aforementioned murderer, also notorious for wooing and then robbing elderly women.
But the screenplay as such is concerned only with flogging to death the comrades-in-disaster angle and setting up the next round of sometimes spectacular but rather unengaging physical humor. Trains, planes and alligators are tossed into the blender, along with some uninspired peripheral characters.
Director Christopher Cain is almost as inept at finding some sparks in the material as the leads are at fishing -- no easy task. Pesci and Glover cast about for automatic laughs, but even with nonexistent expectations, one is appalled at the lackluster efforts of everyone involved.
GONE FISHIN'
Buena Vista Pictures Distribution
Hollywood Pictures presents
in association with Caravan Pictures
A Roger Birnbaum production
A Christopher Cain film
Director Christopher Cain
Producers Roger Birnbaum,
Julie Bergman Sender
Writers Jill Mazursky Cody, Jeffrey Abrams
Director of photography Dean Semler
Production designer Lawrence Miller
Editor Jack Hostra
Costume designer Lizzy Gardiner
Music Randy Edelman
Casting Rick Montgomery, Dan Parada
Color/stereo
Cast:
Joe Joe Pesci
Gus Danny Glover
Rita Rosanna Arquette
Angie Lynn Whitfield
Running time -- 93 minutes
MPAA rating: PG...
- 6/2/1997
- The Hollywood Reporter - Movie News
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