By Jeffrey Overstreet
Cornelia Duryée Moore's story sounds like something from a fairy tale.
"I got hit in the head with my godmother's magic wand, and she said, 'Hello, Corrie—this is what you're going to do for the rest of your life!' So I said, 'Yes, please!'"
To be more specific, Moore's godmother—Madeleine L'Engle, author of science-fiction novels (including A Wrinkle in Time and her popular Time Quartet) and inspirational memoirs—bequeathed to her a remarkable gift: the rights to adapt twelve of her early stories into plays and movies. At the time, Moore was in her third year of seminary; she promptly quit in order to attend film school instead.
By Gianni Truzzi
In the Seattle International Film Festival premiere of Cornelia Moore's The Dark Horse, Seattle theater goers will recognize many faces, most prominently the film's lead, Carol Roscoe. The Seattle actor/director often is seen in plays at Intiman, Book-It Repertory and Seattle Children's Theatre.
Roscoe plays a ballet teacher returning to her parents' Orcas Island home, bridging family and crisis through a fiery Friesian horse. A locally produced effort, it also features veteran Seattle actors Seán Griffin and Kathryn Mesney.
By Bernard Weinraub
HOLLYWOOD— LARRY ESTES arrives for lunch at the trendy Melrose Avenue restaurant driving a distinctly untrendy 1988 Acura. No one's head turns when he enters. His table is hardly the best in the house.
But Mr. Estes, a low-key Georgian with a self-deprecating style and a faint smile that never quite vanishes, is one of the most influential, if unknown, players in town. The 38-year-old producer, a senior vice president of Columbia Tristar Home Video, has since 1987 financed nearly 60 films, most of them low budget ($1 million to $4 million). Some, particularly Sex, Lies, and Videotape, have become box-office hits. But Mr. Estes's true distinction has been in proving that thanks to the home-video market, a worthy film made at the right price can make a profit even if it never shows in a theater.