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writed by: Mark Bozek
ratings: 6,4 / 10 stars

Country: USA
Genre: Documentary
duration: 74 minutes
I remember when I was a small child and HP movies were the best thing we (children) could have. Btw, I watched this movie at thisisawesomemovie, cooom.

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The times of bill cunningham where to watch. Years ago, I was walking briskly towards a New York fashion show when an old man with a gentle smile ran after me to take my photograph. Embarrassed, I kept walking. He kept snapping. I kept walking. In those days, “street photography” was yet to mushroom into the multimillion-dollar industry that it is now; the only people who hung around outside the shows were fashion students, Japanese photographers and Bill. “Bill” is Bill Cunningham, and he is a legend. Although “legend” isn’t a pristine or shiny or special enough word for him; nor is “gentleman”, nor “genius”. Words pall in the face of his brilliance, but a new documentary, Bill Cunningham New York, captures it beautifully. Released last year in the US, it is.

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The interviewer is TERRIFIED. The times of bill cunningham showtimes. Bill Cunningham, the New York fashion photographer known for his shots of emerging trends on the streets of New York City, died on Saturday at age of 87 after being hospitalized for a stroke, the New York Times reported. Cunningham worked for the New York Times for nearly 40 years, operating 'as a dedicated chronicler of fashion and as an unlikely cultural anthropologist, ' the newspaper said. He was known for wearing his trademark blue jacket and riding around in his bicycle with a small camera bag strapped to his waist. After serving in the Army, Cunningham wrote fashion pieces for the Chicago Tribune and started taking photographs of people on the streets. Scroll down for video Bill Cunningham (pictured in July last year) had worked for the New York Times for almost 40 years as a fashion and street photographer. He died on Saturday aged 87 Cunningham (pictured with Anna Wintour at the Donna Karan show during Fashion Week in September 2012) was a 'dedicated chronicler of fashion and as an unlikely cultural anthropologist', the newspaper said After serving in the Army, Cunningham (pictured at New York Fashion Week in February 2015) wrote fashion pieces for the Chicago Tribune and started taking photographs of people on the streets The photographer (pictured with Wintour in April 2012) chronicled decades of changing trends on the streets of New York City throughout his career A chance photograph of Greta Garbo got the attention of the New York Times and in 1978 he began publishing a regular series of photographs in the paper - eventually becoming one of the most influential figures in the fashion world. 'I've said many times that we all get dressed for Bill, ' Vogue editor-in-chief Anna Wintour said in a 2010 documentary dedicated to Cunningham, called Cunningham New York. Wintour and Cunningham were photographed together when he received the Carnegie Hall Medal of Excellence at the Waldorf Astoria in New York four years ago. Cunningham operated with the conviction that fashion shows didn't happen on runways but on the street - and his essays in the New York Times documented decades of evolving trends on the New York pavements. His keen eyes spotted popular items of clothing ranging from the elegant to the tacky, and his lens capture 'fanny packs Birkin bags, gingham shirts and fluorescent biker shorts', the New York Times said in an obituary of Cunningham Saturday. 'I'm not interested in celebrities with their free dresses. I'm interested in clothes, ' Cunningham said about his own work in the 2010 documentary. Cunningham may have been known to every important figure of his industry, but his own life was a model of asceticism, the New York Times reported. He had breakfast every day at the same deli - Stage Star Deli on West 55th Street, and usually purchased a sausage and egg sandwich and a cup of coffee for less than $3. Cunningham did not have a television, did not go the the movie theater, and until 2010 lived in the same studio where he kept his negatives. His single bed was pictured in the 2010 documentary among rows and rows of file cabinets. 'If you don't take money, it can't tell you what to do, ' Cunningham, who also appeared at a launderette, said. Cunningham was born in March 1929 in Boston in an Irish-Catholic family and was the second of four children, the New York Times wrote. Cunningham (pictured in 1989) received a scholarship to go to Harvard but dropped out after only a couple of months. He said people there 'thought [he] was illiterate' when he was, in fact, a visual person According to Cunningham (pictured in September 2012 during New York Fashion Week), fashion shows didn't happen on runways but actually took place on the streets Cunningham (pictured in February 2015 at a Jeremy Scott fashion show) said he wasn't interested in celebrities who wore 'free dresses', but that he actually cared about clothes His first career was making hats, which he began to do in middle school after collecting bits of fabric at a dime store. Cunningham received a scholarship to go to Harvard but dropped out after only two months. 'They thought I was an illiterate, ' Cunningham said according to the New York Times. 'I was hopeless - but I was a visual person. ' Then, he moved in with his uncle in New York and lived with him until the man told him to 'quit making hats or get out of [his] apartment'. Cunningham moved into his own apartment on East 52nd Street, and used it to showcase his creations. At the same time, he began writing a freelance column in Women's Wear Daily as a way to make a bit more money - but quit early in the 1960s after a disagreement with his publisher regarding the comparative merits of designers Andre Courrege and Yves Saint Laurent. Evolving trends meant women were wearing fewer and fewer hats, and Cunningham could tell he would soon have to find a new career, the New York Times reported. He picked up his first camera around 1967 and took photos of the Summer Of Love on the streets. Cunningham got a few jobs at the Daily News and at the Chicago Tribune before becoming a regular addition to the New York Times in the late 1970s. Editors offered him a staff position repeatedly over the next 20 years, but Cunningham declined, saying: 'Once people own you, they can tell you what to do. So don't let 'em. ' He eventually accepted the offer after getting hit by a truck while on his bicycle in 1994, explaining he needed the position to have health insurance. Cunningham never reported having a romantic relationship. When Richard Press, who directed the documentary dedicated to Cunningham, asked him about his personal life, the photographer replied: 'Do you want to know if I'm gay? Isn't that a riot... No, I haven't... It never occurred to me, ' the New York Magazine reported. The fashion world paid tribute to Cunningham's talent - and his unusual character - after the news of his death broke on Saturday. 'His company was sought after by the fashion world's rich and powerful, yet he remained one of the kindest, most gentle and humble people I have ever met, ' New York Times publisher and chairman Arthur Ochs Sulzberger Jr said. 'We have lost a legend, and I am personally heartbroken to have lost a friend. ' Many shared pictures and drawings of Cunningham in his blue jacket and next to his bike on social media. Those who had seen him at a fashion show recounted their encounters and spoke fondly of Cunningham's manners. Lena Dunham wrote on Instagram: 'Saw Bill out and about doing his thing for the first time when I was seven - I didn't know who he was but I knew he made everyone important stop and adjust. 'It was the exact same vibe when I saw him a month ago, fancy people suddenly unsure in the presence of this special eccentric. He was powerful but he was gentle and kind. He had vision and he will be missed. ' French fashion blogger Garance Dore, who lives in New York City, also wrote on Instagram: 'Some legends walk by you and you hardly notice them because that's exactly what they want. 'Bill Cunningham was like this, and all his life he was able to keep that fire and the perfect distance from his subject, distance that allowed him to do the work that he did. 'He was always going, going, going, rain, snow, heat, always smiling. ' Wearing a blue jacket and riding a bike became two of Cunningham's trademarks and reflected his stubbornly modest lifestyle. He is pictured in New York City in April this year Cunningham (pictured in July 2014) once said: 'If you don't take money, it can't tell you what to do. ' He had breakfast at the same deli every day and usually bought an egg sandwich and a coffee for less than $3 After getting hit by a truck while riding his bicycle in 1994, Cunningham (pictured right in 2010) finally accepted a staff position at the New York Times, explaining he needed it for health insurance Cunningham (pictured in May this year in New York City) did not have a television, did not go the the movie theater, and until 2010 lived in the same studio where he kept his negatives.

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The times of bill cunningham imdb. Yes another great one gone. seen so many over the years that I studied in school almost a half a century ago. The Times of bill of rights. The times of bill documentary. The Times of bill gates. The Times of biology. The times of bill cunningham. Bill Cunningham, who turned fashion photography into his own branch of cultural anthropology on the streets of New York, chronicling an era’s ever-changing social scene for The New York Times by training his busily observant lens on what people wore — stylishly, flamboyantly or just plain sensibly — died on Saturday in Manhattan. He was 87. His death was confirmed by The Times. He had been hospitalized recently after having a stroke. Mr. Cunningham was such a singular presence in the city that, in 2009, he was designated a living landmark. And he was an easy one to spot, riding his bicycle through Midtown, where he did most of his field work: his bony-thin frame draped in his utilitarian blue French worker’s jacket, khaki pants and black sneakers (he himself was no one’s idea of a fashion plate), with his 35-millimeter camera slung around his neck, ever at the ready for the next fashion statement to come around the corner. Nothing escaped his notice: not the fanny packs, not the Birkin bags, not the gingham shirts, not the fluorescent biker shorts. In his nearly 40 years working for The Times, Mr. Cunningham snapped away at changing dress habits to chart the broader shift away from formality and toward something more diffuse and individualistic. At the Pierre hotel on the East Side of Manhattan, he pointed his camera at tweed-wearing blue-blood New Yorkers with names like Rockefeller and Vanderbilt. Downtown, by the piers, he clicked away at crop-top-wearing Voguers. Up in Harlem, he jumped off his bicycle — he rode more than 30 over the years, replacing one after another as they were wrecked or stolen — for B-boys in low-slung jeans. In the process, he turned into something of a celebrity himself. In 2008, Mr. Cunningham went to Paris, where the French government bestowed the Legion of Honor on him. In New York, he was celebrated at Bergdorf Goodman, where a life-size mannequin of him was installed in the window. It was the New York Landmarks Conservancy that made him a living landmark in 2009, the same year The New Yorker, in a profile, described his On the Street and Evening Hours columns as the city’s unofficial yearbook: “an exuberant, sometimes retroactively embarrassing chronicle of the way we looked. ” In 2010, a documentary, “ Bill Cunningham New York, ” premiered at the Museum of Modern Art to glowing reviews. Yet Mr. Cunningham told nearly anyone who asked about it that the attendant publicity was a total hassle, a reason for strangers to approach and bother him. He wanted to find subjects, not be the subject. He wanted to observe, rather than be observed. Asceticism was a hallmark of his brand. He didn’t go to the movies. He didn’t own a television. He ate breakfast nearly every day at the Stage Star Deli on West 55th Street, where a cup of coffee and a sausage, egg and cheese could be had, until very recently, for under $3. He lived until 2010 in a studio above Carnegie Hall amid rows and rows of file cabinets, where he kept all of his negatives. He slept on a single-size cot, showered in a shared bathroom and, when he was asked why he spent years ripping up checks from magazines like Details (which he helped Annie Flanders launch in 1982), he said: “Money’s the cheapest thing. Liberty and freedom is the most expensive. ” Although he sometimes photographed upward of 20 gala events a week, he never sat down for dinner at any of them and would wave away people who walked up to him to inquire whether he would at least like a glass of water. Instead, he stood off to the side photographing women like Annette de la Renta and Mercedes Bass in their beaded gowns and tweed suits. As Anna Wintour put it in the documentary about Mr. Cunningham, “I’ve said many times, ‘We all get dressed for Bill. ’” Mr. Cunningham’s position as a perennial outsider among a set of consummate insiders was part of what made him uniquely well suited to The Times. “His company was sought after by the fashion world’s rich and powerful, yet he remained one of the kindest, most gentle and humble people I have ever met, ” said Arthur Ochs Sulzberger Jr., The Times’s publisher and chairman. “We have lost a legend, and I am personally heartbroken to have lost a friend. ” Dean Baquet, The Times’s executive editor, said: “He was a hugely ethical journalist. And he was incredibly open-minded about fashion. To see a Bill Cunningham street spread was to see all of New York. Young people. Brown people. People who spent fortunes on fashion and people who just had a strut and knew how to put an outfit together out of what they had and what they found. ” Michele McNally, The Times’s director of photography, said: “Bill was an extraordinary man, his commitment and passion unparalleled, his gentleness and humility inspirational. Even though his talents were very well known, he preferred to be anonymous, something unachievable for such a superstar. I will miss him every day. ” Mr. Cunningham particularly loved eccentrics, whom he collected like precious seashells. Image Credit... Bill Cunningham One was Shail Upadhya, whose work as a Nepalese diplomat is perhaps less memorable than his penchant for polka dots, Pucci prints and other assorted peculiarities, like a self-designed floral-print coat made from his retired sofa. Another was Iris Apfel, a Palm Beach socialite who became the subject of Albert Maysles’s last documentary film only after Mr. Cunningham took pictures of her on the street in her shiny black saucerlike glasses and chunky costume jewelry. “Bill photographed me before anyone knew who I was, ” Ms. Apfel said. “At 94, I’ve become a cover girl, and he was very largely responsible for my ultimate success. Cunningham’s most frequent observation spot during the day was Fifth Avenue and 57th Street, where he became as much a part of the scenery as Tiffany & Company. His camera clicked constantly as he spotted fashions and moved with gazelle-like speed to record his subjects at just the right angle. “Everyone knew to leave him alone when he saw a sneaker he liked or a dress that caught his eye, ” said Harold Koda, the former curator in charge at the Metropolitan Museum of Art’s Costume Institute. “Because if you were in the way of someone he wanted to photograph, ” said Kim Hastreiter, the editor of Paper magazine and a friend of Mr. Cunningham’s, “he would climb over you to get it. He was like a war photographer that way, except that what he was photographing were clothes. Cunningham himself once said: “When I’m photographing, I look for the personal style with which something is worn — sometimes even how an umbrella is carried or how a coat is held closed. At parties, it’s important to be almost invisible, to catch people when they’re oblivious to the camera — to get the intensity of their speech, the gestures of their hands. I’m interested in capturing a moment with animation and spirit. ” His survivors include several nieces and nephews. William John Cunningham Jr. was born on March 13, 1929, in Boston, the second of four children in an Irish Catholic family. In middle school, he used bits of material he got from a dime store to put together hats, one of which he gave to his mother to wear to the New York World’s Fair in 1939. “She never wore it, ” Mr. Cunningham once said. “My family all thought I was a little nuts. ” As a teenager, he got a part-time job at the department store Bonwit Teller, then received a scholarship to Harvard, only to drop out after two months. “They thought I was an illiterate, ” he said. “I was hopeless, but I was a visual person. ” With nothing to do in Boston and his parents pressuring him to find some direction, he moved to New York, where he took a room with an uncle, Tom Harrington, who had an ownership stake in an advertising agency. “My family thought they could indoctrinate me in that business, that living with my uncle it would brush off, ” Mr. Cunningham said. “But it didn’t work. I had always been interested in fashion. ” So when Mr. Harrington issued his nephew an ultimatum — “Quit making hats or get out of my apartment” — Mr. Cunningham chose the latter, relocating to a ground-floor apartment on East 52nd Street that doubled as a showroom for his fox-edged fedoras and zebra-stenciled toques. To make extra money, Mr. Cunningham began freelancing for Women’s Wear Daily, then quit sometime in the early 1960s after getting into a feud with its publisher, John Fairchild, over who was a better designer: André Courrèges or Yves Saint Laurent. “John killed my story, ” Mr. Cunningham later recalled. “He said, ‘No, no, Saint Laurent is the one. ’ And that was it for me. When they wouldn’t publish the Courrèges article the way I saw it, I left. ” By then, feminism was on the ascent, and bell-bottoms paired with flouncy tops were replacing pink suits and pillbox hats. To Mr. Cunningham, it was becoming clear that his days as a milliner were numbered. Video transcript transcript Bill Cunningham | N. Y. Fashion Week Diversity in all its facets was vividly displayed on the guests attending New York Fashion Week. Diversity in all its facets was vividly displayed on the guests attending last week’s New York Fashion Week show. Diversity in all its facets was vividly displayed on the guests attending New York Fashion Week. Around 1967, he got his first camera and used it to take pictures of the “Summer of Love, ” when he realized the action was out on the street. He started taking assignments for The Daily News and The Chicago Tribune, and he became a regular contributor to The Times in the late 1970s. Over the next two decades, he declined repeated efforts by his editors to get him to take a staff position. “Once people own you, ” he would say, “they can tell you what to do. So don’t let ’em. ” That changed in 1994, after Mr. Cunningham was hit by a truck while riding his bicycle. Explaining why he had finally accepted The Times’s offer, he said, “It was a matter of health insurance. ” Occasionally, Mr. Cunningham allowed people to celebrate him in one way or another. For example, in 1993, he was honored by the Council of Fashion Designers of America and biked onto the stage to accept his award. But that was largely out of character. Later on, Mr. Koda approached him to see if he would be interested in curating a retrospective of his pictures at the Met. Cunningham turned him down. “He said to me, ‘I have a job I love, ’” Mr. Koda recalled. “He thought it would be a diversion. He did what he loved, and what he loved is documenting this very ephemeral world. ” Perhaps unsurprisingly, Mr. Cunningham was a reluctant participant in his own documentary. According to its director, Richard Press, Mr. Cunningham would agree to be interviewed, then spend months canceling or postponing shoots. Cunningham said until his death that he had not seen the film. “We tried to get him to go to the opening, ” Mr. Press said. “He just said: ‘Oh, kids, you made a movie. I’m too busy. ’ He came to our opening-night party and he photographed it. He put the directors from the festival in his column, but he didn’t even say why they were there or what they were celebrating. Cunningham also resisted the trends of celebrity dressing. He had seen actresses in their fishtail dresses preening and posing before the phalanxes of photographers at ceremonies like the Golden Globes and the Oscars. They were poised. They looked pretty. Yet he could not muster enthusiasm for them. It wasn’t simply that he was nostalgic for another time, back when famous women like Lauren Bacall and Brooke Astor actually dressed themselves. That era may have held a certain appeal for him, but even when he was in his 70s and 80s, he still had plenty of subjects he loved to shoot. One was Louise Doktor, an administrative assistant at a New York holding company who had a coat with four sleeves and a handbag made from a soccer ball. Another was Andre J., a bearded man with a taste for off-the-shoulder, ’70s-inspired dresses. “He had people who recurred in his columns, ” Mr. Koda said. “Most of them were not famous. They were working people he was interested in. His thing was personal style. Cunningham put it this way in an essay he wrote for The Times in 2002: “Fashion is as vital and as interesting today as ever. I know what people with a more formal attitude mean when they say they’re horrified by what they see on the street. But fashion is doing its job. It’s mirroring exactly our times. ”.

The times of bill. The Times of bill maher. Now after what she said at James last question I feel like the person on Anna's Dinner Party was Kanye West 😂. “He was one of those lucky individuals who’d discovered the secret of a happy existence: If you love what you do and do what you love, you’ll never work a day in your life. ” Back in 1994, fashion industry veteran Mark Bozek interviewed the legendary New York photographer Bill Cunningham in what was intended to be a brief chat. But an effervescent Cunningham ended up talking for hours, with a particular focus on his love of fashion. He refers to himself as, first and foremost, a ‘fashion historian’, and recalls witnessing the resurgence of the fashion industry in Paris after the second world war. He discusses collaborating with designers, including creating hats for Balenciaga, before remembering the devastation in the creative community wrought by HIV/AIDS in the early 90s. In 2016, Bozek recovered the videotapes of the remarkable interview from his garage and began weaving this intimate and fascinating documentary. Sarah Jessica Parker narrates. Australian premiere Please join us after the screening on Sat 9 Mar for a very special discussion with director Mark Bozek. All cinema-goers will go into the running to win a copy of ' Fashion Climbing: A New York Life ' by Bill Cunningham, thanks to our friends at Penguin Random House.

Billy paul the times of our lives. The times of bill cunningham movie. Q&As with Mark Bozek on October 11 & 14 Mark Bozek began work on this lovely and invigorating film about the now legendary street photographer on the day of Cunningham’s death in 2016 at the age of 87. Bozek is working with precious material, including a lengthy 1994 filmed interview with Cunningham (shot when he received a Media Award from the Council of Fashion Designers of America) and his subject’s earliest pre- New York Times photographs, long unseen. In his customarily cheerful and plainspoken manner, Cunningham takes us through his Irish Catholic upbringing in Boston, his army stint, his move to New York in 1948 (which was controversial for his straitlaced family), his days as a milliner, his close friendships with Nona Park and Sophie Shonnard of Chez Ninon, his beginnings as a photographer, and his liberated and wholly democratic view of fashion. Narrated by Sarah Jessica Parker.

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The Times of bill o. The Times of illinois at urbana. The times of bill cunningham documentary. The Times of biological. Each woman is beaming in her brilliantly creative costume! Hollywood red carpet events look boring by comparison.

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