Cinema | Discussão Geral

[Bashir]

NOVA SÉRIE DE DAVID FINCHER VAI SER GRAVADA COM UMA CÂMARA PROPOSITADAMENTE CRIADA PARA ELA

 

Depois de ser um dos produtores que ajudou a lançar a série House of Cards, David Fincher vai voltar a trabalhar numa série para a Netflix. MindHunter, baseada no livro “Mind Hunter: Inside the FBI’s Elite Serial Crime Unit” de John Douglas e Mark Olshaker, é um relato de Douglas, enquanto agente do FBI de técnicas desenvolvidas na captura de alguns serial killers.

 

 

Os direitos sobre o livro pertencem a Charlize Theron que será produtora-executiva nesta futura nova série criminal do Netflix, não se sabendo até à data se também a irá protagonizar ou se se ficará por ter o seu nome nos créditos.

 

Quem não deverá ser somente produtor é David Fincher que deve também ser parte activa na gravação da série. Para isso, o realizador americano mandou desenhar a RED Xenomorph. Farto dos braços extra e de cabos por todo o lado, Fincher idealizou e a RED Digital Cinema concedeu-lhe o pedido construindo uma one-of-a-kind camera, propositadamente para si.

 

A Xenomorph não vai ser um novo tipo de câmara disponível comercialmente pela RED. Se quiserem pegar numa terão mesmo de ser o David Fincher ou parte da sua equipa de realização em MindHunter, caso contrário nada feito. Sem data de estreia para a série ser lançada pelo Netflix, em termos dos meios técnicos de realização parecem não haver desculpas para o seu insucesso.

 

Abaixo fica a listagem das características conhecidas da RED Xenomorph:

 

RED Weapon Dragon 6K Sensor Technology

7.0″ LCD Touch

Paralinx wireless video

Extended WiFi/Foolcontrol antenna array

RT Motion Lens Motor Control

Zaxcom wireless audio and timecode

Anton Bauer Gold Mount

Shoulder Mount

Xenomorph-inspired brain design

 

shifter.pt

 

 

 

Tem o Irons? Pareceu me ser ele.

Sim.

[Keef]

‘Assassin’s Creed’: 35 Things to Know about the Ambitious Video Game Adaptation

[frnk th tnk]

20 Movies That Were Booed At The Cannes Film Festival

[frnk th tnk]

Why 87-Year-Old Alejandro Jodorowsky is at the Peak of His Career

 

The director of the cult classic "El Topo" is back and busier than ever. Here's what keeps him motivated.

 

 

Most artists reach a point in their careers where their productivity winds down. At 87, Alejandro Jodorowsky speaks as though he's just getting started. Three years ago, the Chilean-born director of the psychedelic cult hits "El Topo" and "The Holy Mountain," both released in the seventies, made a comeback with quite the double-whammy: he directed a surreal ode to his childhood, "The Dance of Reality," the same year that the documentary "Jodorowsky's Dune" chronicled his failed attempts to adapt Frank Herbert's sci-fi classic.

 

It turns out that wasn't Jodorowsky's last time in the spotlight: This year, he returns to the Cannes Film Festival with another personal effort, "Endless Poetry" — the second part of a proposed five-movie cycle — which chronicles his experiences as a young man. The result has him grinning like one himself.

 

"I am old on the surface," he said in a Skype conversation from his home in Paris before the festival. "When you're an artist, you have passion. I am doing what I want, and for that, I am happy. This picture is really what I want."

 

After "El Topo" and "The Holy Mountain" baffled audiences around the world and kickstarted the midnight movie phenomenon in the United States, Jodorowsky fell on rough times, struggling to get financing for his eccentric projects. As "Jodorowsky's Dune" shows, the director's grand vision was often out of sync with risk-averse producers. But that's hardly an issue now. For "Endless Poetry," the filmmaker leveraged more than a million Twitter followers and mounted a successful Indiegogo campaign to provide the bulk of the budget. He raised over $300,000 online last August. "I always planned to lose money to make art," he said. "I lost money on my last film, but I created an audience with it."

 

Jodorowsky's insistence on creative autonomy goes back to the era chronicled in his latest project. Picking up where "The Dance of Reality" left off, "Endless Poetry" finds Jodorowsky's son playing his father in 1940s-era Santiago, where he first discovered poetry and experiences a creative awakening alongside some of the major artistic figures of the time.

 

To shoot many of the scenes in the film, Jodorowsky returned to the same urban locations where he grew up under a dictatorship. "These were the streets where I lived," he said. "They were filled with drunks and prostitutes. I was returning to the place where I experienced my first sufferings in life." In doing so, he added, he exorcised his inner demons. "This life I had, which was very painful, I made beautiful," he said. "I colored it."

 

Working with his offspring to explore his past, Jodorwosky said, was "like therapy…I made the film for myself first. Secondly, I made it for my family. And finally, I made it for the public."

 

Whereas "The Dance of Reality" focused on a child's perspective, Jodorwosky described "Endless Poetry" as his way of encapsulating the revelatory experiences of young adulthood. "A child has a very particular little world," he said. "This film is about when I was 25 years old, losing my virginity, finding first love, revolting against my family and writing my first poems. When you make art, you learn to see the world in another way. It reveals your value to you."

 

Initially, Jodorowsky found respite from his troubled youth in theater productions, moving to Mexico in 1960 and producing more than 100 plays over the course of a decade. Then he found a method of reaching bigger audiences. "I realized that when you make a play, it's only for the town," he said. "When you make a picture, it's for the planet."

 

Jodorowsky has continued to possess that philosophy in recent years, as his social media presence and crowdfunding successes make clear. He has also embraced digital cinematography. "Some directors claim celluloid is still better. On the contrary," he said. "You can use digital in a fantastic way. Before, you couldn't change anything; now I can change the colors, add effects. It frees me…you have more possibilities to express yourself artistically."

 

But Jodorowsky is quick dismiss today's CGI-heavy blockbusters, decades after he explored the possibility of making his own with "Dune." "To me, special effects are a fantastic idiocy," he said. "I see no emotion in that." He's unimpressed by the latest superhero craze. "All these crazy idiot supermen look the same," he said. It's terrible. They all have the same goal, to find money, to save money, to make money."

 

Which is not to say that the filmmaker hasn't explored bigger avenues in recent years. For "Endless Poetry," he said he met with representatives from Netflix about possible distribution opportunities. (The company declined to comment.) "They said, 'How do we sell that?'" Jodorowsky. "And I understand. I can't go into the industry." Instead, he makes a living from writing comic books. He's currently finishing up the graphic novel "Son of El Topo," a sequel to the 1970 film, building off the success of his comic book opus "The Incal."

 

But Jodorowsky remains committed to making movies — and shows no sign of slowing down. He plans to follow "Endless Poetry" with three more biographical features. The third, he said, will focus on his developing relationship to surrealism while studying at the University of Paris, and he hopes to follow it with an account of his exposure to shamanism in Mexico. A concluding entry will focus on his relationship to wife, 40 years his junior, whom he met in his early seventies.

 

In other words, he's got a lot more stories to tell, whether or not he runs out of time to tell them. "Another person would be dying now," he said. "I accept that I will die, but if I die, I will have spent my last years doing the pictures I want to do. I will be free."

http://www.indiewire.com/article/cannes-2016-alejandro-jodorworsky-interview-el-topo-endless-poetry

[frnk th tnk]

[Simeone]

Full Metal Jacket :handclap:

[Peplin]

Carlito's Way

 

Papelões do Pacino e Penn, num filme bem construído e com um final muito tenso. Aliás, o grande mérito do script é conseguir criar tamanho suspense na última parte do filme, mesmo depois daquele início.

 

9/10

[Mayday]

E não esquecer o cabelo do Sean Penn.

 

Mas a opening scene é realmente fabulosa. Quando estou deitado a olhar para o tecto ou para as nuvens lembro-me sempre desse inicio.

Editado 15 Maio 2016 por Woyzeck

[Peplin]

Acreditas que só para aí aos 20 minutos de filme é que percebi que era o Sean Penn? Sabia que ele fazia parte do cast, mas estava sempre naquela "Então o Penn nunca mais surge?" :lol:

Editado 15 Maio 2016 por Peplin

[malaquias]

Não sei se já falaram aqui, mas ao vir para casa ouvi dizer na rádio que começaram hoje as filmagens para o Trainspotting 2, com os actores que fizeram o primeiro filme.

[frnk th tnk]

Five lessons in filmmaking from Kurosawa

 

[bmfpcdm]

[Eden Hazard]

http://www.imdb.com/title/tt0466893/

 

Alguém viu isto? Se sim, gostou?

[Keef]

Finalmente vi o Civil War.

As cenas de luta estão muito porreiras, principalmente a de Lagos, acho que é a melhor parte do filme. O Black Panther está brutal, mvp :)

A primeira parte do filme está muito bem conseguida, não achei nada aborrecido, como o Bashir disse.

O Zemo foi um ótimo vilão.

O único aspeto negativo, para além das muitas piadas à Marvel(a que já estou habituado, sendo fácil de ignorar), foi o Antman e o SpiderMan, não as suas performances, mas o facto de só abrirem a boca para dizer m*rda.

 

Ah, e a cena pós créditos. :prayer: Mal posso esperar pelo filme do Black Panther.

Editado 18 Maio 2016 por Keef

[Einstein]

Também vi ontem o Civil War. Está porreiro mas admito que estava à espera de algo melhor. Acho que peca por causa das tentativas falhadas de querer fazer tudo uma piada. Se no Spidey isso é normal, nos restantes nem tanto...

 

Por falar nele, Spidey. :heart: Valeu a o dinheiro só por ele. Vai ser o melhor dos Spider Mans até agora, está do crl. Também curti do Black Panther. Sobre ele e sobre outra cena que não gostei...

 

 

Para mim a cena pós créditos não teve sentido nenhum Por muito que queiram transparecer aquela mudança de equipa e o facto do Panther estar apenas ao serviço de Wakanda não faz grande sentido. Uma história destas, tão importante, merecia ter tido mais sangue e ter sido retratada de uma forma diferente, mais séria. Enfim.

 

 

Venha as Infinity Wars!

[Ghelthon]

 

Quem não viu, veja. O Oscar de Melhor Curta não foi em vão, e podem perceber melhor o mundo dos gagos (que também é o meu). :)

Editado 18 Maio 2016 por Ghelthon

[Eden Hazard]

Certified Copy

 

Filmaço! :)

[bmfpcdm]

Terry Gilliam on 'The Man Who Killed Don Quixote': The Movie's Curse Is Bullsh*t

[Jody Bhengu]

Já vi o X-Men 8-) Curti e em 4dx ainda é melhor.

Editado 19 Maio 2016 por Carlos Eduardo

[Keef]

Que achaste? Melhor que o First Class e que o DOFP?

[Jody Bhengu]

Que achaste? Melhor que o First Class e que o DOFP?

Eu gostei e para mim é difícil dizer se é melhor, eu gosto de todos :mrgreen: Mas este está muito fixe, curti as ligações que fizeram a outros filmes e deu para conhecer melhor algumas personagens.

 

X-MEN Apocalypse

 

Wolverine :heart: Não sabia que entrava tbh

 

[Bashir]

Não tens acompanhado os trailers Carlos Eduardo :mrgreen:

[Jody Bhengu]

Não tens acompanhado os trailers Carlos Eduardo :mrgreen:

Por acaso só vi os primeiros :mrgreen: Assim ainda foi melhor.

[Eden Hazard]

O Daniel Craig não interpretará mais o 007.

[Simeone]

O Fassbender ou o Idris Elba eram bons substitutos, imo.