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Κους-κους του σινεμά

ΔημοσίευσηΔημοσιεύτηκε: 24 Μαρ 2012, 11:32
από Shepard
Εικόνα

Εδώ θα μπορούμε να μιλάμε γενικώς για όλα τα τεκταινόμενα γύρω από την βιομηχανία του θεάματος!
Ότι έχει σχέση με τους ηθοποιούς, με τα σκηνικά, με τις διαφημίσεις, με τις τεχνολογίες που χρησιμοποιήθηκαν, τα φλερτ, για επερχόμενες ταινίες από τα αγαπημένα μας παιχνίδια... οτιδήποτε! :D

BioShock Movie Loses Director
http://www.gameinformer.com/b/news/archive/2012/03/23/bioshock-movie-loses-director.aspx

Εικόνα

Δεν ξέρω αν πρέπει να λυπηθώ ή να χαρώ! Αν είναι να σκοτώσουν άλλο ένα αγαπημένο IP μόνο και μόνο για να βγάλουν κάποια χρήματα, καλύτερα να μην γυριστεί!
Από την άλλη, έχω περιέργεια και πιστεύω πως με λίγο μεράκι, θα βγει μια πολύ καλή ταινία!
Άλλωστε το μόνο που έχουν να κάνουν, είναι να αντιγράψουν πλήρως το παιχνίδι! ;)

ΔημοσίευσηΔημοσιεύτηκε: 26 Απρ 2012, 18:12
από Shepard
Δείτε και ένα βιντεάκι με απόψεις των ηθοποιών για τον ΜΕΓΑ Ridley Scott...


ΔημοσίευσηΔημοσιεύτηκε: 28 Απρ 2012, 16:33
από Shepard
Star Wars Land Rumored To Open in Disneyland Paris in 2015
http://www.slashfilm.com/star-wars-land-rumored-open-disneyland-paris-2015/

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They already have the Eiffel Tower, Arc de Triomphe, Notre Dame Cathedral and now they might get their very own Mos Eisley Cantina. A rumor has begun to circle that Disney Imagineers are looking to convert a section of Disneyland Paris into a Star Wars themed land complete with updated Star Tours, new stores and Mos Eisley Cantina restaurant. Read more after the jump.

The rumor first sprouted up on some Disneyland Paris Forums and has now been written about in detail by the Disney and More Blog. That writer claims to have confirmation that the Imagineers are indeed working on a more expansive Star Wars experience to surround the new Star Tours including a Jedi Academy, and possibly an eatery that looks like Mos Eisley Cantina, just to start. This will all take place in the Discoverland section of the park, taking over the current Captain Eo theater and its surrounding areas.

(Note: The photo at the top, a concept sketch by Tim Delaney, imagines a full-size Millenium Falcon and Death Star makeover for Space Mountain, is not going to happen. It’s just awesome.)

Another clue reported on at Disney and More is that the CEO of Disneyland Paris, Philippe Gas, said a few years back that the Star Tours upgrade would be late coming to the park because of increased costs. This confused many fans at the time because all the other parks are getting it but, with these rumors, maybe a light has been shined on his true meaning.

Or maybe it’s all a total fan fabrication and really they’re just getting a new Star Wars store once the Star Tours upgrade comes in. As a Disney fan, though, it seems like a pretty symbiotic decision that could possibly spawn in future parks in future years.

ΔημοσίευσηΔημοσιεύτηκε: 28 Απρ 2012, 16:51
από Shepard
16 αποσπάσματα ταινιών από 16 μεγάλους σκηνοθέτες

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“I steal from every single movie ever made. I love it – if my work has anything it’s that I’m taking this from this and that from that and mixing them together. If people don’t like that, then tough titty, don’t go and see it, alright? I steal from everything. Great artists steal; they don’t do homages.” – Quentin Tarantino

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“Most directors make films with their eyes; I make films with my testicles.” – Alejandro Jodorowsky

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“Films are subjective-what you like, what you don’t like. But the thing for me that is absolutely unifying is the idea that every time I go to the cinema and pay my money and sit down and watch a film go up on-screen, I want to feel that the people who made that film think it’s the best movie in the world, that they poured everything into it and they really love it. Whether or not I agree with what they’ve done, I want that effort there-I want that sincerity. And when you don’t feel it, that’s the only time I feel like I’m wasting my time at the movies.” – Christopher Nolan

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“Art produces ugly things which frequently become more beautiful with time. Fashion, on the other hand, produces beautiful things that always become ugly with time.” – Jean Cocteau

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“I think of horror films as art, as films of confrontation. Films that make you confront aspects of your own life that are difficult to face. Just because you’re making a horror film doesn’t mean you can’t make an artful film.” – David Cronenberg

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“When I make a film I’m always in reality among the trees, and among the people like yourselves. There’s no symbolic or conventional filter between me and reality as there is in literature. The cinema is an explosion of my love for reality.” – Pier Paolo Pasolini

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“My distinguishing talent is the ability to put people under the microscope, perhaps to go one or two layers farther down than some other directors.” – David Lean

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“As if Japan weren’t small enough to begin with, I fail to understand why it is necessary to think of it in even smaller units. No matter where I go in the world, although I can’t speak any foreign language, I don’t feel out of place. I think of the earth as my home. If everyone thought this way, people might notice how foolish international friction is, and they would put an end to it. We are, after all, at a point where it is almost narrow-minded to think merely in geocentric terms. Human beings have launched satellites into outer space, and yet they still grovel on earth looking at their own feet like wild dogs. What is to become of our planet?” – Akira Kurosawa

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“My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.” – Robert Bresson

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“I know why I make films — partly because I want to describe female shame — but beyond that, cinema is a mode of expression that allows you to express all the nuances of a thing while including its opposites. These are things that can’t be quantified mentally; yet they can exist and be juxtaposed. That may seem very contradictory. Cinema allows you to film these contradictions.” – Catherine Breillat

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“An essential element of any art is risk. If you don’t take a risk then how are you going to make something really beautiful, that hasn’t been seen before?” – Francis Ford Coppola

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“When my films appeared, many regarded me as a perverse creation who, at the very least, slept in a coffin. You see, that is not true – I am an orthodox English bourgeois… There are two great surrealist artists – the Belgian Magritte and the Spaniard Dali. Dali put so much energy and fantasy into his life that they were obviously missing in his art. Magritte, on the other hand, unobtrusive, even unnoticeable in behaviour and appearance, created masterpieces of surrealism. I find Magritte’s model acceptable – I want to enjoy all the bourgeois benefits and in my art, to push back the generally accepted boundaries” – Peter Greenaway

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“Unlike all the other art forms, film is able to seize and render the passage of time, to stop it, almost to possess it in infinity. I’d say that film is the sculpting of time.” – Andrei Tarkovsky

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“I probably am a lazy artist and probably don’t control things as much as people would like — but that’s my business. And if my style is too loose or improvised for some people’s taste, that’s their problem — totally. The fact is, I’m not the greatest Hollywood director and all that bullshit, but I’m not the opposite, either. And I am not careless. I may be irresponsible, I may strive for things and not always succeed, but that’s never the result of sloppiness. Maybe it’s lack of judgment.” – Robert Altman

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The art of film can only really exist through a highly organized betrayal of reality.” – François Truffaut

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“I’m just a storyteller, and the cinema happens to be my medium. I like it because it re-creates life in movement, enlarges it, enhances it, distills it. For me, it’s far closer to the miraculous creation of life than, say, a painting or music or even literature. It’s not just an art form; it’s actually a new form of life, with its own rhythms, cadences, perspectives and transparencies. It’s my way of telling a story.” – Federico Fellini

http://www.tasteofcinema.com/2012/16-brilliant-movie-quotes-from-16-great-directors/

ΔημοσίευσηΔημοσιεύτηκε: 01 Μάιος 2012, 11:01
από Shepard
R.I.P. Joel Goldsmith

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Stargate and Star Trek composer Joel Goldsmith died on April 29 from cancer. Goldsmith was 54. A three-time Emmy nominee, Goldsmith composed music for over 330 episodes of the long running Stargate sci-fi franchise, created by Roland Emmerich and Dean Devlin. Goldsmith’s music appears in Stargate SG-1, Stargate: Atlantis and Stargate Universe, as well as two direct-to-DVD 2009 films, Stargate: The Ark of Truth and Continuum.The son of composer Jerry Goldsmith, who won an Academy Award in 1977 for his score of The Omen, Joel Goldsmith was nominated for Emmys for an episode of Stargate SG-1, as well as for the Stargate Atlantis theme and for an episode of that series. Goldsmith worked on several other TV series including the 1990’s The Outer Limits reboot. He also did the music for films such as Kull the Conqueror and 2006’s hugely successful Call of Duty 3 videogame. The younger Goldsmith and his father, who died in 2004, eventually worked together as composers for 1996’s Star Trek: First Contact, to which Joel contributed over 20 minutes of his own music.

ΔημοσίευσηΔημοσιεύτηκε: 26 Μάιος 2012, 12:56
από Shepard
THE AVENGERS Tops STAR WARS: THE PHANTOM MENACE As #4 Film Of All Time In US
Going in the fourth weekend with $476M, the Joss Whedon-directed superhero epic has now passed Star Wars: Episode I - The Phantom Menace and became the #4 highest-grossing film of all time domestically...

Εικόνα

Everyone knew that The Avengers will be big at the box office. Well, almost everyone. But no one knew it would be this big. It's a monster going towards every single film for the last three weeks and crushing them with ease. Rival studios are going crazy because the Joss Whedon-directed film became a four-quadrant movie and it received a rare A+ CinemaScore. Men In Black 3 might take the #1 spot this weekend, but one thig is for sure: The Avengers will break $500M mark by Monday. Today, the film has officially topped Star Wars: Episode I - The Phantom Menace, and became fourth highest-grossing film of all time in US.

Εικόνα

ΔημοσίευσηΔημοσιεύτηκε: 06 Ιουν 2012, 17:51
από Shepard

ΔημοσίευσηΔημοσιεύτηκε: 06 Ιουν 2012, 17:55
από LIONHEART
καλα το συγκεκρυμμενο με την πάπια που δειχνει σε μικρες ηλικιες (μιλαω για μενα) ειχε την πλάκα του τωρα απλα δεν βλεπετε.

ΔημοσίευσηΔημοσιεύτηκε: 09 Ιουν 2012, 09:39
από Shepard
32 Things We Learned From the ‘Alien’ Commentary

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Alien (2003 Director’s Cut, originally released in 1979)

commentators: Ridley Scott (director), Sigourney Weaver (actress), Ronald Shusett (executive producer/story by), John Hurt (actor), Dan O’Bannon (writer), Veronica Cartwright (actress), Tom Skerritt (actor), Harry Dean Stanton (actor), Terry Rawlings (editor)

- Scott begins the commentary praising Alan Ladd, Jr., producer and head of 20th Century Fox at the time Alien was made. The director recalls how successful Ladd was at that time having just got a little film called Star Wars made. Thanks, Laddie. He hates being called that.
- The initial idea for the opening credits was to have the title made up of bits of flesh and bone, which Shusett explains was far too gory. Scott recollects he saw the poster design for the film, and asked that the film’s title be used with the same font. He notes the title as its revealing itself looks like a hieroglyph.
- Much of the set of the Nostromo was made up of skeletons of old aircraft. Scott wanted to give the ship an aged look, as if it’s been bandied about space for, as Hurt calls it, “donkey’s years.”
- “If you think about it, it doesn’t quite make sense,” says Scott regarding cryogenic freezing and deep sleep for traveling in space. He’s unsure if the technology could ever exist, but he says it’s at least a long way off. James Cameron will figure it out.
- Scott recalls how determined he was about the casting being just right. The studio grew nervous with the production start date approaching, but Scott wasn’t ready until he was sure his Nostromo crew was perfect. The way he sees it, the right casting can solve 50-70% of the problems the film might run into.
- Jon Finch was originally cast as Kane, and came down with illness during the first day of filming. He was taken to the hospital where he learned he had diabetes. Scott had to decide who to recast over lunch that day and landed on John Hurt, who was performing a play in the area. Hurt was the original consideration for Kane, but couldn’t do Alien because of a schedule conflict that ended up not happening.
- Scott gets into the differences between the theatrical and director’s cut, which got a theatrical release in 2003. He notes the director’s cut is 12 minutes longer, and most of the moments and scenes that were taken out were done so because of structure or pacing. This may have been a form recording of what Scott says about all his director’s cuts, but there’s no evidence of this.
- “Nobody respects you later for having been a nice guy and giving up,” says Scott. Fine words, but he comes to this point from talking about how much he wanted the chairs to wobble when the Nostromo lands on the planetoid. For all we know, Ridley Scott is who we have to thank for D-Box.
- “He’s a Replicant, basically,” says Scott about Ash. Yes, we get it, Ridley. Decker is a Replicant. Ash is a Replicant. We’re all Replicants. You happy? He does point out Ash’s quick, little jog in place might be a clue to him being a robot, that maybe all robots get stiff and need to keep their joints active. Someone go see if Harrison Ford ever does that in Blade Runner.
- Hurt recalls how he and Cartwright were nearly poisoned while filming the exterior shots of the planetoid. At one point during shooting, tubes broke on their suits causing some kind of aerosol to leak into their helmets. They both struggled from fainting, but were assured it was all very safe. Hurt is less than convinced.
- One of the ways Scott created atmosphere on set and, as Shusett explains, captured the mood of H.R. Giger‘s original concept art works was by filling every set with a thin smoke, uniformly distributed throughout the set so no billowing clouds could be seen. You can’t see the smoke, as it’s everywhere in most shots, but it provides the resulting mood.
- “I figured the Space Jockey was somehow a pilot, and he’s part of a military operation, if that’s the word you wanna apply to his world, and therefore this is probably some kind of carrier, a weapon carrier, a biological or biomechanoid carrier of lethal eggs,” says Scott. And Prometheus is explained. Spoiler alert, dude.
- Scott does point out how the gestating alien picks up attributes from its host, an idea that many have assumed from things Scott and others involved in the film have said over the years but don’t fully get from Alien.
- The Facehugger seen moving while still in the egg is Scott’s gloved hands flicking about when the light hits them. The top of the egg was made with steel hydraulics. The Facehugger as seen in the opened egg is various bits of cow innards and probably other animals. The tail of the Facehugger is an intestine and a blast of air being pumped through it. The Facehugger dissection scene involved raw oysters in a plastic mold of the creature. Now go make your own Alien movie.
- The Facehugger was planned to be painted green, but O’Bannon, seeing the unpainted Facehugger on set and noting how inventive its human flesh-tone color was, argued for it to remain as is.
- During one take where Weaver is asking Harry Dean Stanton why he always says “Right” whenever Yaphet Kotto‘s Parker says anything, Stanton responded by improving the line “Why don’t you go fuck yourself?” It’s not that interesting, but it sure made Harry Dean Stanton laugh.
- Skerritt had seen some of the design work being done on John Hurt, but most of the actors didn’t know what exactly was going to happen during the famous Chestburster scene. Scott set up four cameras. They only did one take. The look on Cartwright’s face is absolutely genuine. “And I thought it was real,” says Stanton.
- According to Scott, O’Bannon’s lifelong dream would be to have been able to direct Alien. Scott was the fifth or sixth director chosen to direct it, and though he threatens to but doesn’t name names, he does say directors turned down the job.
- The room where Stanton’s Brett gets taken out by the Xenomorph was a point of contention between Scott and the producers. They didn’t understand why there would be water pouring or chains dangling in a ship such as this. Scott, feeling he needed the extra movement in the scene, stuck to his guns and got his chains.
- Scott got the hissing reaction from Jones the Cat by flashing a German Shepherd into the cat’s sight – a method still loads more humane than Milo & Otis.
- According to Shusett, part of Scott’s pitch for directing the film was he wanted Alien to be “the most straight-forward, unpretentious, riveting thriller like Psycho or Rosemary’s Baby or even the most brilliant B-level like Night of the Living Dead or Texas Chainsaw Massacre, but I want it to look, and I’m going to do this, like 2001.” That was when Shusett knew Scott had the right frame of mind to capture the film as it needed.
- It was concept artist Ron Cobb‘s idea to have the Facehugger and Xenomorph bleed acid. The idea came when O’Bannon ran into a wall with the screenplay in how to handle the last half of the movie. He needed a good reason for why the crew members don’t just shoot the damn thing and kill it but still not make it an indestructible monster that can’t be killed. The acid blood was the idea that solved this problem.
- There was discussion to include a gay relationship between Ripley and Lambert. Cartwright and Skerritt both joke that Lambert and Dallas were having an affair, which explains why she doesn’t want to abandon ship until after he’s dead. Basically all the characters in Alien are sleeping with all the other characters in Alien. Let your fan fiction pens do their work.
- The character of Ash, and subsequently an android character being introduced into the film, is what O’Bannon calls a “Russian spy,” someone on a mission who it is discovered intends to sabotage said mission. “If it wasn’t in there, what difference does it make?” the screenwriter asks. “I mean, who gives a rat’s ass? So somebody is a robot.” O’Bannon was annoyed by the character being added and calls it “an inferior idea from inferior minds well acted and well directed.”
- Before filming the scene where Ash shoves a rolled up magazine into Ripley’s mouth, Scott told Weaver actor Ian Holm was going to stick the magazine “up her hooter.” Of course, he is referring to her mouth, though Weaver was more than a little confused at the time, but Scott does mention shoving the magazine into Ripley’s mouth was a form of sexual release for the robot. That one’s for you fan fiction writers, as well.
- A different version of Ash explaining to the remaining crew what his mission was had much different dialogue. According to Cartwright, Ash originally asked them if they had tried to communicate with the Xenomorph yet. There was also dialogue about the alien being an experiment of some kind.
- “Would I go back for my dogs? Absolutely,” say Scott answering anyone who might question why Ripley would go back for Jones.
- The shot where the Xenomorph’s tail goes through Lambert’s legs and up her back was actually a shot taken from when Stanton’s character, Brett, is killed. If you look close, the pants and boots don’t fit what Lambert is wearing in the scene where she encounters the alien. Originally her character was to crawl away from the alien and essentially die from fright hiding in a locker, but this was never shot.
- It was also originally intended for the destruction of the Nostromo to be the finale of the film, that Ripley would record her sign-off just after this moment. However, Scott felt there needed to be an additional scene after this to show the death of the alien. He calls it the “fourth act” and notes how, up to that point, thrillers such as this didn’t have this final moment of suspense before the very end. After Alien, many screenplays picked up this element.
- There were intentions to shoot what Weaver calls a “quasi-sex scene” with Ripley and the Xenomorph in the final scene. The alien was to investigate her and be fascinated by her body compared to his/her/its/whatever’s. The production didn’t have time to film the scene. Sometimes there just isn’t time for sex.
- Weaver mentions the interest in making Alien 5 and how she would be interested in going back to this world. Scott mentions he’d be more interested to see where the Xenomorph came from and explore who the Space Jockey really is and what its ship is. Scott and Weaver bandy back and forth for a bit about possible Prometheus script ideas long before it was even Prometheus.
- It was Weaver’s idea to sing “You Are My Lucky Star” while preparing to get rid of the Xenomorph. Scott mentions how much flack he got from the production because of how expensive the rights to the song were.

Best in Commentary

“It’s Ten Little Indians in The Old Dark House.” – Ridley Scott

“When it comes to texturing a scene, texture, mood, subtlety of mood and feeling and atmosphere, he really is superb. Without it, it would have been a much lesser picture.” – O’Bannon about Scott’s direction

“There’s the value of novelty. If it’s new and you haven’t seen it before, it has impact.” – O’Bannon

“I was thinking about pussy the whole time.” – Harry Dean Stanton, and this goes without explanation. It’s best left ambiguous.

Final Thoughts

The Alien commentary, though loaded with bits of good information, actually suffers from having too many people contributing, especially when Scott and either O’Bannon or Weaver or all three of them would have been more than enough. The way it is, we don’t hear what Scott has to say from some key moments. We hear from Skerritt, Cartwright, and Stanton during the Chestburster scene, not even anything from Hurt, who is the focus of that scene.

Still, when Scott goes into the detail of every aspect of this film, whether it be the look of the ship or the look of the creatures or the way things move or how the ship sounds, you realize how determined he was to craft something novel as well as durable. But it’s not just insight into Alien we get from the director. There’s a long period where he discusses the horror movies of the ’70s and even giving good lip service to The Exorcist.

Though not everyone on this commentary has much to contribute – Hurt isn’t heard through the last 90 minutes of the film – and it would have added much overall if some of them had been cut, there is plenty to enjoy in this commentary. Scott is a very focused director who knows what he wants and won’t stop until he gets it. The passion he brought to Alien shines through in the way he talks about it.

ΔημοσίευσηΔημοσιεύτηκε: 10 Ιουν 2012, 17:53
από Shepard
New Return of the Jedi Footage emerges
Previously unseen footage from behind the scenes of Star War Episode VI: Return Of The Jedi has arrived online...

Some extraordinary and previously unseen behind-the-scenes footage of the second Star Wars sequel has emerged online. A documentary, at just over seven minutes long, has been released onto YouTube featuring the filming on Jabba's Sail Barge as seen in 1983's Return of the Jedi.

Jeff Broz managed to capture these incredible moments whilst George Lucas and the gang were making the final episode to the Skywalker saga in Buttercup Valley, California in 1982.

Lucasfilm can be a bit grabby when it comes to online footage so best catch this whilst you can. You can find the material, if all has gone to plan, below these very words...