Film
Lennon's first-ever tour in the spring of 1985 was documented as part of the film Stand By Me: A Portrait Of Julian Lennon — a film profile started by Sam Peckinpah, but completed by Martin Lewis after Peckinpah's death. Lennon has appeared in several other films including The Rolling Stones Rock and Roll Circus (1996, but shot in 1968), Cannes Man (1996), Imagine: John Lennon (1988), Chuck Berry: Hail! Hail! Rock 'n' Roll (1987) and a cameo in Leaving Las Vegas (1995) as a bartender. Julian provided the voice for the title role in the animated film David Copperfield. He was also the voice of the main character Toby the Teapot in the animated special The Real Story of I'm a Little Teapot (1990).
Julian Lennon is also the producer of the documentary called WhaleDreamers about an aboriginal tribe in Australia and its special relationship to whales. It also touches on many environmental issues. This film has received many awards and was shown at the 2007 Cannes Film Festival.
Read more about this topic: Julian Lennon
Famous quotes containing the word film:
“All the old supports going, gone, this man reaches out a hand to steady himself on a ledge of rough brick that is warm in the sun: his hand feeds him messages of solidity, but his mind messages of destruction, for this breathing substance, made of earth, will be a dance of atoms, he knows it, his intelligence tells him so: there will soon be war, he is in the middle of war, where he stands will be a waste, mounds of rubble, and this solid earthy substance will be a film of dust on ruins.”
—Doris Lessing (b. 1919)
“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
—David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)