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Old 06.09.2009., 22:04   #21
The Cutting Edge: The Magic of Movie Editing



The Cutting Edge: The Magic of Movie Editing is a 2004 documentary film directed by filmmaker Wendy Apple. The film is about the art of film editing. Clips are shown from many groundbreaking films with innovative editing styles.

Cast

Kathy Bates ... Narrator (voice)
Zach Staenberg ... Himself
Jodie Foster ... Herself
Michael Tronick ... Himself
Anthony Minghella ... Himself
Sean Penn ... Himself
Walter Murch ... Himself
Martin Scorsese ... Himself
Rob Cohen ... Himself
Quentin Tarantino ... Himself
Steven Spielberg ... Himself
George Lucas ... Himself
James Cameron ... Himself
Antony Gibbs ... Himself
Mark Goldblatt ... Himself
Sally Menke ... Herself


Montaža, SVE je u montaži... Kompletan dokumentarac by BBC možete pogledati ovdje.
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Old 07.09.2009., 00:57   #22
Au, prejaka tema

Evo moj mali doprinos. Moguće je da dosta vas zna za ovaj podatak, ali mene je iznenadio. Danas sam naletio na kratki interview iz 2007.g. s Kurtom Russellom u kojemu je otkrio da George P. Cosmatos uopće nije režirao Rambo II i Tombstone, samo je služio kao "ghost" redatelj - znači, bio je prisutan na setu i to je to. Pošto je Stallone bio zadovoljan sa Cosmatosom (a i kako ne bi kad je ovaj radio doslovce kako mu je Sly rekao da režira), savjetovao je Russellu da ga angažira za Tombstone.

Evo članak.
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Old 07.09.2009., 01:05   #23
In memoriam Vanja Drach



Jedan od najznačajnijih glumaca starije generacije, Vanja Drach, preminuo je u zagrebačkoj Klinici za plućne bolesti na Jordanovcu, u sedamdeset i sedmoj godini života.



H - 8, prva uloga na filmu Vanje Dracha.



Paulinovi/Familija d.o.o.; Završni casting; Castor Multimedia


Počivaj u miru, dragi Vanja... Vidimo se.
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Old 07.09.2009., 04:00   #24
The Coen Brothers Big Lebowski interview 1



The Coen Brothers Big Lebowski interview 2



The Coen Brothers Big Lebowski interview 3


Zadnje uređivanje La Familia : 07.09.2009. at 04:07.
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Old 07.09.2009., 12:39   #25
Za početak školske godine/Seize the day boys, make your lives extraordinary.

"They're not that different from you, are they? Same haircuts. Full of hormones, just like you. Invincible, just like you feel. The world is their oyster. They believe they're destined for great things, just like many of you, their eyes are full of hope, just like you. Did they wait until it was too late to make from their lives even one iota of what they were capable? Because, you see gentlemen, these boys are now fertilizing daffodils. But if you listen real close, you can hear them whisper their legacy to you. Go on, lean in. Listen, you hear it? - - Carpe - - hear it? - - Carpe, carpe diem, seize the day boys, make your lives extraordinary."

-- John Keating (Robin Williams), Dead Poets Society (1989), written by Tom Schulman





Munich - Spielberg speaks about movie




Interviews: Joel & Ethan Coen



Below are several written interviews with the Coen brothers, Ethan and Joel. Their writing credits include Blood Simple (1984), Raising Arizona (1987), Miller's Crossing (1990), Barton Fink (1991), The Hudsucker Proxy (1994), Fargo (1996), The Big Lebowski (1998), O Brother, Where Art Thou? (2000), The Man Who Wasn't There (2001), No Country for Old Men (2007), and Burn After Reading (2009).

That is one hell of a credit list. Now the interviews:

8/29/2008: NY Times: Burn After Reading

11/9/2007: IGN: No Country For Old Men

4/1998: Venice Magazine: The Big Lebowski

5/19/1996: Cannes Interview excerpted in "The Coen Brothers' Fargo"



Video Interview: Charles Kaufman (Synecdoche, New York)

In this WGA sponsored "Angle On" interview, screenwriter and now director Charlie Kaufman discusses his latest movie Synecdoche, New York.

Kaufman's screenwriting credits include Being John Malkovich (1999), Adaptation (2002), Confessions of a Dangerous Mind (2002), and Eternal Sunshine of the Spotless Mind (2004) for which Kaufman won an Academy Award (Best Writing, Original Screenplay) in 2005.

In this 6-minute interview, Kaufman talks about if directing a movie has affected his creative approach ("I don't want to incorporate that in my writing"), how being "truthful" necessarily involves incorporating "revelations" a writer discerns in the writing process, and how writers should always strive to "find their voice," a task Kaufman admits is an ongoing process for him as well.


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Old 07.09.2009., 13:51   #26
Quote:
Vajta kaže: Pogledaj post
Up - nakon ovog odgledanog filma imam samo reći sljedeće: u Pixaru ne rade ljudi, već neka potpuno druga bića koja su već sad na novoj razini evolucije.
Odlična definicija Pixara

Speaking of witch...


Andrew Stanton (PIXAR) - transcript - Keynote, Screenwriting Expo 5 (2006), "Understanding Story: or My Journey of Pain"





I'm fascinated by Pixar and how they consistently manage to harness their creativity and produce excellent stories. Each of these insights is pure gold and you can check out Rage Against The Page for more. And lay a lil' luv on Belzecue for taking the time to put together this transcript.



Additional links to explore:
Google Video - the original audio recording of Stanton's keynote
TAG Blog - Pixar Storytelling, Part 1


Summary of Stanton's key points on storycrafting:

-Storytelling is knowing your ending and then building the story towards that satisfying conclusion, like how a joke builds towards the punchline.

-The audience must like (empathize with) the main character, but this does not mean the main character must be a nice person.

-Opposing Goals, or 'unity of opposites': Set up directly opposing desires between the main characters (protag/antag).

-Be wrong as fast as you can, and persevere through the storycrafting process: writing is rewriting.

-Story Physics: Find the truth in your story and debate it, try to prove it wrong.

-Find your Key Image: the touchstone that epitomizes the emotional core of your story and keeps you on track.

-Ensure there are powerful reasons why the Protagonist cannot simply walk away from the Problem.

-The audience wants to know that they were right in their assumptions about the characters, but also they want to be surprised. They want to discover there is more than meets the eye.

-Stories are about caring and worrying about the characters. The story world must follow it's own rules -- if anything can happen at any time then the audience has no reason to care or worry.

-Story is anticipation mingled with uncertainty.

-The Unifying Theory of Two Plus Two: Don't give the audience the answer; give the audience the pieces and compel them to conclude the answer. --

-Audiences have an unconscious desire to work for their entertainment. They are rewarded with a sense of thrill and delight when they find the answers themselves.

-Appeal to the audience's sense of fun and wonder: fun in laughter and a cheerful reaction; wonder in the stimulation of the audience's imagination.
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Old 07.09.2009., 14:32   #27
Acting Lessons: Philip Seymour Hoffman



Today we feature Philip Seymour Hoffman, the focus of this great article ("A Higher Calling") in yesterday's New York Times Sunday magazine by Lynn Hirschberg. Few choice quotes:

Quote:
“In my mid-20s, an actor told me, ‘Acting ain’t no puzzle,’ ” Hoffman said, after returning to his seat. “I thought: ‘Ain’t no puzzle?!?’ You must be bad!” He laughed. “You must be really bad, because it is a puzzle. Creating anything is hard. It’s a cliché thing to say, but every time you start a job, you just don’t know anything. I mean, I can break something down, but ultimately I don’t know anything when I start work on a new movie. You start stabbing out, and you make a mistake, and it’s not right, and then you try again and again. The key is you have to commit. And that’s hard because you have to find what it is you are committing to.”


Quote:
“I remember seeing Philip in ‘The Talented Mr. Ripley,’ ” Streep told me. “He played a rich, spoiled snob, and I sat up straight in my seat and said, ‘Who is that?’ I thought to myself: My God, this actor is fearless. He’s done what we all strive for — he’s given this awful character the respect he deserves, and he’s made him fascinating.”


Quote:
“I knew that it would be great, but I still took the role kicking and screaming,” Hoffman said now, as he ordered sticky pudding for desert. “Playing Capote took a lot of concentration. I prepared for four and a half months. I read and listened to his voice and watched videos of him on TV. Sometimes being an actor is like being some kind of detective where you’re on the search for a secret that will unlock the character. With Capote, the part required me to be a little unbalanced, and that wasn’t really good for my mental health. It was also a technically difficult part. Because I was holding my body in a way it doesn’t want to be held and because I was speaking in a voice that my vocal cords did not want to do, I had to stay in character all day. Otherwise, I would give my body the chance to bail on me.”


Quote:
“I don’t know how he does it,” Mike Nichols, who has directed Hoffman on the stage (“The Seagull”) and in movies (“Charlie Wilson’s War”), told me later. “Again and again, he can truly become someone I’ve not seen before but can still instantly recognize. Sometimes Phil loses some weight, and he may dye his hair but, really, it’s just the same Phil, and yet, he’s never the same person from part to part. Last year, he did three films — ‘The Savages,’ ‘Charlie Wilson’s War’ and ‘Before the Devil Knows You’re Dead’ — and in each one he was a distinct and entirely different human. It’s that humanity that is so striking — when you watch Phil work, his entire constitution seems to change. He may look like Phil, but there’s something different in his eyes. And that means he’s reconstituted himself from within, willfully rearranging his molecules to become another human being.”
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Old 07.09.2009., 14:37   #28
First Clash of the Titans Remake Footage

Behind the scenes part 1

Behind the scenes part 2
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Old 07.09.2009., 17:35   #29
Film kojeg sam detaljno prostudirala bio je definitivno Leon The Profesional..Film me jednostavno oduševio da sam praktički postala opsjednuta njime..

1.) imala sam integralnu verziju snimljenu na VHS-u.. Pogledala sam je valjda 50ak puta..praktički sam dijaloge znala napamet..

2.) pogledala sam također i komercijalnu verziju, ali samo jednom ili dva put, pošto smatram grijehom koliko su taj film osakatili nepotrebnim cenzurama.. Film postaje nejasan, nedorečen i gubi svoju toplinu i toliku duboku emocijonalnost i uvrnutosti, a baš u tome je draž cijelog filma i baš zbog toga sam ga toliko zavoljela..

3.) osim što sam učila dijaloge napamet, neprestanim gledanjem toga filma počela sam likovno i ikonografski analizirati pojedine scene..
Inače su meni Bessonovi filmovi upečatljivi, između ostalog, baš po bojama.. U svakome prevladavaju određene boje i tonovi.. Tako Leona povezujem sa ugaslim žućkastim tonovima, Nikitu i Veliko plavetnilo sa plavom bojom, a Peti element mi je najšarenij, sav je nekako kričavo žut i narančast..

4.) naravno da sam prekopala cijeli net kako bih našla sve moguće i nemoguće podatke o filmu.. Našla sam snimke sa audicije za Mathildu..Ulogu je dobila tada četrnaestogodišnja Natalie Portman.. Roditelji su joj skoro zabranili da glumi u filmu nakon što su pročitali scenarij.. Ali Luc Besson je htio baš nju, te je malo ublažio scenarij..

Također, ne znam ni ja na koju foru, nekako sam uspjela iskopati prvotni, orginalni scenarij Luca Bessona.. Užasno mi je žao što ga sad ne mogu više naći nigdje..skinula sam taj scenarij..ali to je bilo davno..prije neke 4 godine..tako da na žalost više ne mogu doći do njega..
Naravno, pročitala sam cijeli scenarij...Ajmeee, da je to prošlo, bilo bi skandala.. Uglavnom, u orginalu Mathilda je zamišljena malo starijom (imala bi otprilike 14/15 godina, a ne 12/13 koliko ima u filmu ), malo bi više ubijala (u filmu nije ubijala nego je samo vježbala gađanje na živim metama i pomagala leonu na "poslu"), poševila bi Leona, a na kraju skupa s njim poginula..U filmu mu se samo ponudi, ali je on naravno odbije..na kraju samo spavaju skupa zagrljeni u krevetu (al mi ne znamo da li se leon tokom noći predomislio )..naravno, taj dio kad mu se nudi i kad spavaju u krevetu je u komercionalnoj verziji odrezan.. Kao i dio kad ga poljubi dok piju šampanjac i onaj legendarni dio kad Mathilda pomaže Leonu na "poslu"..
Također, u filmu je Mathilda pošteđena.. Pogiba samo Leon (koliko sam samo suza proplakala zbog toga.. )

Uspjela sam nekako doći do podatka o možebitnom snimanju drugog dijela..Ali ima vrlo malo podataka o tome tako da mi se čini da su to samo špekulacije..nažalost..

Pisalo je da Luc Besson ozbiljno razmišlja o snimanju nastavka.. Samo ne zna se u kojem bi smijeru išao taj film, budući da Leon pogiba u 1. dijelu.. Da li bi se desilo čudo pa se uspostavi da je Leon uspio preživjeti, ili bi 2. dio bio zapravo retrospektiva (o tome što se zapravo Leonu desilo i kako je postao profesionalni ubojica), a nekako je najprihvatljivija opcija da film bude snimljen o Mathildi.. Natalie je navodno rekla kako bi voljela glumiti u nastavku ukoliko bude dobar scenarij.. A navodno je Besson razmišljao da ulogu Mathilde udijeli i Angelini Jolie..
Na nekim forumima su fanovi ovog filma spekulirali i o tome kako Mathilda ostaje u drugom stanju one noći kad spava u krevetu skupa sa Leonom pa da će se o tome raditi u nastavku..

Eto, da sam na ovu temu naišla prije neke 4 godine kad me držala leonmanija, mogla bih još više toga napisati prikeljiti taj scenarij, linkati podatke.. Ovo pišem po sjećanju, a i dosta sam detalja lagano i zaboravila..
Ali ako nekog nešto slučajno zanima, samo me pitajte..

Eto..

Zadnje uređivanje Zbunjevita :) : 07.09.2009. at 17:41.
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Old 07.09.2009., 20:37   #30
Tko se boji scenarija još? (prvi dio)

Važna napomena: For education purposes only. Čitajući/skidajući navedene scenarije (za osobne potrebe) ne kršite autorska prava/pravila foruma. Molim moderatore da to uvaže - svi scenariji su "vani/online" uz znanje njihovih vlasnika/producenata. Samo ne u Hrvatskoj. Sramotna je činjenica da se scenariji svih naših produciranih filmova skrivaju ko zmija noge. Kritika prvenstveno ide na račun naših vrlih producenata/redatelja. Nije ni čudo da je scenaristika/kinematografija kod nas u takvome k****.











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Old 07.09.2009., 20:52   #31
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...a daaaaaaaaaaaajjjjj ovo dati meni je kao da si djetetu dao lizalicu veliku k'o kuća, i to baš prije ručka
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Old 07.09.2009., 21:09   #32
Odlican topic. Puno hvala na svim linkovima
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Old 07.09.2009., 22:42   #33
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xavierkat kaže: Pogledaj post
...a daaaaaaaaaaaajjjjj ovo dati meni je kao da si djetetu dao lizalicu veliku k'o kuća, i to baš prije ručka
Speechless, moj duboki naklon Kraljici Hm, bacila si me na sto muka - Philip Seymour Hoffman ili glumačke finese? Nema veze, sve za xavierkat...

Philip Seymour Hoffman Interview – THE SAVAGES

INTERVIEW: Philip Seymour Hoffman on "Capote"



Doubt: Meryl, Philip, Amy and Viola(HQ)





Btw, inače se ne obazirem na press junket intervjue, Hoffman doslovce briljira u svakom
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Old 07.09.2009., 23:11   #34
Video interview: Paul Thomas Anderson



This is pretty sweet: screenwriter-director Paul Thomas Anderson interviewed by screenwriter-director Mike Figgis.

Paul Thomas Anderson Interview - Part 1 of 3



Paul Thomas Anderson Interview - Part 2 of 3

Paul Thomas Anderson Interview - Part 3 of 3

p.s. zaboravih desert Meni jedan od najboljih scenarija ikad napisanih. O filmu da i ne govorim



Zadnje uređivanje La Familia : 07.09.2009. at 23:20.
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Old 08.09.2009., 01:03   #35
Michael Mann's The Insider -- Favourite scene -- Screenplay by Eric Roth -- Michael Mann Analysis -- The Insider - Soundtrack (prvi dio)





It is tough to pull out favourite scenes from any of Mann's movies, as there are so many sublime moments. But the following ranks very highly: What an awesome bit of movie making this is. It is the apex of The Insider, when each character reaches the climax of their respective dilemmas and find a commonality with each other, despite their different backgrounds and personalities. The beach images and atmosphere generated between these two contrasting locations (the hotel) are just superb. Pure genius.





SCREENPLAY:




Michael Mann Analysis:


Michael Mann's cinema of images





Against the Flow of Time: Michael Mann and Edward Hopper


An Analysis of Heat (1995)
Michael Mann Directs Al Pacino and Robert De Niro in Epic Crime Film



Sense of Cinema article on Michael Mann





Forgotten Video: Michael Mann In the 80s


The Insider - Soundtrack:


The Insider - Soundtrack - Track 2


Lisa Gerrard - Sacrifice from The Insider

The most powerful track from Mann's movie The Insider is that of Lisa Gerrard and Pieter Bourke's Sacrifice. It is so incredibly moving, and I admit to it bringing tears to my eyes on many occasion whilst listening to it. It is used powerfully in The Insider. The beautiful and the tragic are two themes Michael Mann seems to include in his movies, and I feel both these themes are contained in this piece of music too. The concept of sacrifice is often an alien one to our performance orientated, celebrity culture but is the ultimate demonstration of the depth of humanity. It is the concept of sacrifice that sets humanity apart from animals, and challenges the archaic notion of survival of the fittest. The Insider explores this to an extent. Sacrifice is tragic but also beautiful... beautiful because sacrifice is always in service to another but at a cost. What a meaningful end to the movie, when Wigand finally see's his children recognise their father being extolled on television. Dignity is restored after great indignity was suffered. His life finally meant something to him and his children. I would be interested to hear comments about how this track has touched your emotions. Here is Lisa Gerrard and Pieter Bourke playing Sacrifice:




Zadnje uređivanje La Familia : 08.09.2009. at 01:30.
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Old 08.09.2009., 03:26   #36
Ingmar Bergman - BBC Documentarie Interview








Ingmar Bergman - Interview (2/6)


Ingmar Bergman - Interview (3/6)


Ingmar Bergman - Interview (4/6)


Ingmar Bergman - Interview (5/6)


Ingmar Bergman - Interview (6/6)
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Old 08.09.2009., 12:42   #37
Great Scenes: "Sideways"





Written by Alexander Payne and Jim Taylor (based on the novel by Rex Pickett), it's a great script for many reasons, not the least of which is that Payne & Taylor make us care about Miles (Paul Giamatti), the story's largely unlikeable protagonist.

In this scene, Miles and Maya (Virginia Madsen) have been sharing a few moments alone together. Up to this point, there have been some indirect 'messages' each has sent to the other signaling perhaps a mutual romantic interest. And then Maya asks a question
:

MAYA
Why are you so into Pinot? It's like
a thing with you.

Miles laughs at first, then smiles wistfully at the question.
He searches for the answer in his glass and begins slowly.

MILES
I don't know. It's a hard grape to
grow. As you know. It's thin-skinned,
temperamental, ripens early. It's
not a survivor like Cabernet that
can grow anywhere and thrive even
when neglected. Pinot needs constant
care and attention and in fact can
only grow in specific little tucked-
away corners of the world. And only
the most patient and nurturing growers
can do it really, can tap into Pinot's
most fragile, delicate qualities.
Only when someone has taken the time
to truly understand its potential
can Pinot be coaxed into its fullest
expression. And when that happens,
its flavors are the most haunting
and brilliant and subtle and thrilling
and ancient on the planet.

Maya has found this answer revealing and moving.

MILES
I mean, Cabernets can be powerful
and exalting, but they seem prosaic
to me for some reason. By comparison.
How about you?

MAYA
What about me?

MILES
I don't know. Why are you into wine?

MAYA
I suppose I got really into wine
originally through my ex-husband. He
had a big, kind of show-off cellar.
But then I found out that I have a
really sharp palate, and the more I
drank, the more I liked what it made
me think about.

MILES
Yeah? Like what?

MAYA
Like what a fraud he was.

Miles laughs.

MAYA
No, but I do like to think about the
life of wine, how it's a living thing.
I like to think about what was going
on the year the grapes were growing,
how the sun was shining that summer
or if it rained... what the weather
was like. I think about all those
people who tended and picked the
grapes, and if it's an old wine, how
many of them must be dead by now. I
love how wine continues to evolve,
how every time I open a bottle it's
going to taste different than if I
had opened it on any other day.
Because a bottle of wine is actually
alive -- it's constantly evolving
and gaining complexity. That is,
until it peaks -- like your '61 --
and begins its steady, inevitable
decline. And it tastes so fucking
good.

Now it is Miles's turn to be swept away. Maya's face tells
us the moment is right, but Miles remains frozen. He needs
another sign, and Maya is bold enough to offer it: reaches
out and places one hand atop his.

MILES
(pointing)
Bathroom over there?

MAYA
Yeah.

Miles gets up and walks out. Maya sighs and gets and American
Spirit out of her purse.

So what is Miles really talking about? In the External World of this screenplay universe, he's talking about wine, but in the Internal World he's talking about -- himself. "Pinot needs constant care and attention... only the most patient and nurturing growers can do it... tap into Pinot's most fragile, delicate qualities... only when someone has taken the time to truly understand its potential... coaxed into its fullest expression... the most haunting and brilliant and subtle and thrilling and ancient." In that moment, this is Miles' beatific expression of his own self-image, a misunderstood person, unappreciated novelist, and an unrequited romantic.

Now let's look at Maya's monologue to see who she's really talking about: "It's a living thing... continues to evolve... actually alive... constantly evolving, gaining complexity." Again these words resonate about the speaker as Maya works as a waitress, however she's evolving by taking college courses, learning about wine, and has aspirations about taking that up as a career.

In dialogue, subtext is where characters talk about Subject A (in the External World), but mean something about Subject B (in the Internal World). If you find your characters' dialogue to be too 'on-the-nose' or play too much 'up top' in scenes, find something completely unrelated to what you want the characters to communicate -- washing dishes, changing the oil in the car, playing golf. Give them some bit of business to do - then see what your characters do with that to communicate what they really mean to talk about.



Sideways Screenplay:






FROM THE NEWS ARCHIVES OF CINEMA CONFIDENTIAL:

INTERVIEW: Director Alexander Payne on "Sideways"
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Old 08.09.2009., 13:18   #38
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Film kojeg sam detaljno prostudirala bio je definitivno Leon The Profesional..Film me jednostavno oduševio da sam praktički postala opsjednuta njime...
Hvala ti za ovaj memory lane, odličan post





Sve dodatne informacije:




Version 1 Script


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Nema na čemu, nadam se da sam od koristi...
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Old 08.09.2009., 15:02   #39
Luđaci koje volimo





For nearly a decade from the mid-80s to mid-90's, Joe Eszterhas was one of the hottest screenwriters in Hollywood, writing scripts for a number of movies including Flashdance (1983), Jagged Edge (1985), Music Box (1989), and Sliver (1993). Eszterhas has also been one of the most controversial screenwriters , due in part to movies like Basic Instinct (1992) -- remember Sharon Stone's famous police inquisition scene? -- and Showgirls (1995), which received the Golden Rasberry Award for worst screenplay of 1995.

But not many screenwriters have earned the likes of Eszterhas: $3M for Basic Instinct, $3.7M for Showgirls, and an astonishing $4M for a two-page treatment of One Night Stand. And so spend a few minutes in this interview from Fora TV with one of the most notable screenwriters in the last quarter-century.






Deda je dobro, vraća se big time...


Mračna strana slave - Mickey Rourke (s bloga druga Marka/Fulah folder)


Quote:
'The Dark Side of Fame' je show/mini-dokumentarni serijal kojeg uređuje i vodi Piers Morgan, a u ovoj epizodi odradio je najiskreniji intervju koji sam ikad gledao - spontan, iskren, brz i bez previše okolišanja. Skromni set smješten u birtiji Mickeyevog prijatelja skroz je pogođen ambijent za čašicu razgovora, a čim je Piers Rourkea u drugom pitanju upitao za teško, traumatično djetinjstvo u podlozi krene Portishead - 'Roads', a u zraku se stvorila vibra kako će ovo biti jedan vrlo poseban razgovor. Uglavnom, najdraži američki glumac se naučio primati direkte, konačno našao neki svoj mir i ponovno je u naponu snaga, ovaj put bez knock-downa, a i kažu da mu je 'Wrestler' uloga života. Ko što Alan Parker kaže - U Mickeyu leži jedna jako velika i bitna uloga, veća od života. Vjerujem da je na najboljem putu da nam to i dokaže. Potraži torrent jer ovo svako normalno ljudsko biće treba odgledati.




The dark side of fame- Mickey Rourke part 2


The dark side of fame- Mickey Rourke part 3


The dark side of fame- Mickey Rourke part 4
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Old 08.09.2009., 16:47   #40
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