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  • #2578 Răspunde

    by David Brin, Matthew Woodring Stover, editors
    $17.95 – 240 pages – isbn: 193210089X – Publisher: Benbella Books

    Six films. Countless books. $20 billion in revenue. No one can question the financial value or cultural impact of the “Star Wars” films. But has the impact been for the good? “Star Wars” stands accused of elitist politics and sexism, religious and ethical lapses, the destruction of literary science fiction and science fiction film, and numerous plot holes and logical gaps. With Hugo Award winner and New York Times bestselling author David Brin heading up the prosecutorial staff and Matthew Woodring Stover, New York Times bestselling author, leading the defense team, this debate is intense, illuminating, and great fun for both fans and detractors of what is considered by many to be the most important science fiction property of our time.

    #2579 Răspunde


    Studiourile Disney – Foto arhiva
    Tintin Documentary on PBS



    Do It Yourself Cartoon Kit

    alt link important:

    #2580 Răspunde

    …Ilustratie de Druillet:

    #2581 Răspunde

    Ce s-au ferit toti sa voteze “decat lectura unui comic book” 🙂

    #2582 Răspunde

    mda, da… 😉
    Iata ceva care sa-i impace pe toti:
    300, the movie
    by Jonah Weiland, Executive Producer
    Posted: October 26, 2006

    The Frank Miller graphic novel “300” released in December of 1999 was an instant critical hit. The graphic novel tells the story of the epic Battle of Thermopylae in which King Leonidas (played by actor Gerard Butler in the upcoming film) and his 300 Spartans fought to the death to save Greece from invasion by Xerxes and his massive Persian army. The Spartans valiant fight inspired all of Greece to unite and fight against the advancing Persians, securing the future for Greece and democracy everywhere. Featuring a dynamic art style from Miller with gorgeous and heavy color by Lynn Varley, “300” is considered one of Miller’s masterpieces.
    The upcoming film, directed by Zack Snyder (“Dawn of the Dead), brings to the big screen Miller’s inspired imagery through heavy use of “green screens,” where actors film their scenes in front of a large solid color screen with backgrounds added to the film via computer generated imagery in post production. This process is similar to how Miller’s last movie, “Sin City,” was filmed, although “300” does use more natural sets than were used in “Sin City.”

    Earlier this year at Comic-Con International, the first public scenes were shown to a wildly enthusiastic crowd. The dramatic look of the film, using high contrast color, coupled with the highly stylized action, went over well with the audience. Earlier this month, the public at large got their first chance to see scenes from the movie when the teaser trailer for “300” saw official release. Response in online forms was highly positive. This past August, CBR News published the very first review of the film based on a test screening held in Los Angeles. Once again, the response was very good.

    Earlier this year, CBR News had the chance to sit down with “300” creator Frank Miller to discuss the upcoming film and its creation, and also shared some details on the upcoming “The Spirit” and “Sin City 2.” We offer up a transcript of that discussion in its entirety.

    Return tomorrow as CBR News will share an exclusive 1-on-3 interview with “300” producers Gianni Nunnari, Mark Canton and Deborah Snyder.

    Interviu cu Frank Miller:
    How does the approach to “300” differ from what was done with “Sin City?”

    It’s very close, actually. The screens were green on “Sin City” and they were blue on “300,” but it was still a matter of using the live actors and creating a world around them with computers.

    “300” the film will feature a number of additional scenes not written by you or featured in the graphic novel. When screenwriter/director Zack Snyder came to you with his additions to the story, what was your initial reaction?

    We talked them over. I had some suggestions. He’s a very good collaborator. One thing I learned in directing is that it really was in his hands and ultimately I had to defer. If he was doing anything I felt was outrageously wrong, I would have raised a stink as the rights holder. But it seemed to be in very good shape. I didn’t want to be an impediment to another director.

    What do you think of the new scenes and characters he’s added? Do you think they fit well with your work?

    It seemed to, yeah. What I saw was a rough cut. The biggest change is the Queen and that’s the main change. Zack’s treatment of the work is very dramatic. The combat scenes are unbelievable.

    Are they any other major departures from the graphic novel?

    The wolf begins to circle the boy. Claws of black steel, fur as dark as night, eyes glowing red…jewels from the pit of Hell itself.
    Yeah. They all live! No, not really. It’s consistent with my storyline and a lot of my shots are used, but when you make an adaptation there’s an awful lot of creating that has to be done. They had terrific story boards based on the book [completed by Director Zack Snyder, a gifted artists in his own right], but the book was used as key art. Zack’s a real preparer, so by the time they started shooting they really had the thing well mapped out.

    Of the footage you’ve seen, what was the most satisfying moment you saw created in the comic come to life?

    That’s really hard to say. The darker part of me would say when the Spartans pushed the dead soldiers on the Immortals, because it’s so perfectly realized. In general, the combat stuff is stunning, but there are hundreds of images that I was looking at and thinking if I want to pick a favorite it might be the shot of the boy stabbing his spear and seeing the shadow of the wolf with the spear going into his mouth, that was one of my favorite panels I drew and he captured it to perfection.

    How much were you involved behind the scenes on the film?

    Not much. I realized that with this film there was only room for one director and that is Zack. I visited the set just to check it out and I got to see a combat scene and got to know some of the crew and cast, but this is Zack’s movie from start to finish.

    You have a very stylized graphic sense and this movie has its own stylized presentation. Is it important to have that sort of stylized presentation in bringing the action of “300” the graphic novel to the big screen, where as in other sword and sandals films it may not be as important?

    I think it’s very important. Most of what makes a comic book a comic book is the drawing. For instance, if “Sin City” were not drawn in such an abstract manner, it would be known just as a good crime book, I think, but instead it has an environment of its own. An even better example is “Calvin & Hobbes.” Without Bill Watterson’s amazing drawings and cartoons, it would have just been a forgotten, pretty funny strip. Instead it’s beloved to this day.

    How do you think “300” will play with audiences today? Back when you started the graphic novel, the world was in a very different place politically than it is now. Do you think it plays differently now?

    At age 7, as is customary in Sparta, the boy is taken from his mother and plunged into a world of violence.
    It doesn’t to me. If anything it might make it a little more compelling.

    When was the last time you saw “300 Spartans,” the movie that kind of inspired “300?”

    Before I started the book. It had a lot of interesting failures in it that helped inform the book, but it’s also the thing that inspired me to study the story. I remember it fondly. “300” doesn’t resemble “300 Spartans.”

    You’ve been doing a lot of work in Austin, Texas with your “Sin City” collaborator Robert Rodriguez and don’t spent much time with the Hollywood machine. “300” is much more of a Hollywood project than say “Sin City” was. What got you solidly behind this project?

    It was the determination of three people that did it. Gianni Nunnari, who really spear headed the whole thing and pushed to make it happen. It was Mark Canton who believed in it and also pushed it and pushed it. And it was Zack Snyder who got it and really seemed ready to go.

    You’re set to write and direct Will Eisner’s “The Spirit” film. How are you going to try to translate Eisner’s vibe to the silver screen?

    I’m going to take some of the lessons I’ve learned from Robert Rodriguez by using the comics as storyboards and doing my best to be as faithful as possible. Now, the tone I have in mind will probably surprise a lot of readers because they’re used to the sort of kinder, gentler spirit that developed after Will got drafted. This is going to be a scarier take on it, much more like the early work.

    Is there a particular storyline or a handful of storylines that you’re considering adapting?

    King Xerxes (Rodrigo Santoro) tries to convince King Leonidas (Gerard Butler) to surrender.
    There’s a couple. I want to use several of the femme fatales and the Octopus [a psychopathic criminal mastermind who was never seen, except for his distinctive gloves]. Right now I’m putting together how they’re all going to come together.

    Have you given any thought to how you plan to bring Eisner’s graphic sense to the big screen? For instance, how Eisner would incorporate the Spirit logo as part of the city scape, stuff like that.

    I’ll do that. I won’t beat you over the head with the logo, but in the same way Robert’s people were able to capture the feel of “Sin City,” I think capturing the more romantic look of Eisner’s city will be a lot of fun. And it’ll be filmed almost entirely with green screens.

    Do you think that the green screen is now one of the most important tools in bringing a comic book movie to life?

    Well, as a cartoonist, it certainly appeals to me more, but I’m not saying that this is the only way at all. Look at the very first “Superman” movie. It had very little blue screen used, but it’s certainly a successful movie. I happen to love the visual style of comics and I find that superheroes tend to look a little sillier in real life.

    From your personal relationship with Eisner, what did you learn about his thoughts on the character that are important for you to bring through with the final product?

    We really didn’t talk that much about the Spirit. He was mostly interested in his newer stuff. I mainly am operating on my own understanding and love of the material. What I bring here is a determination not to just do it justice, but to make it the Spirit.

    I want to talk about timing a bit. So often a film is a product of its time. Why is now a good time for a movie like “300” to come out? Likewise for “The Spirit,” why is now the right time to make this film?

    In the case of “300,” you’ve got 300 special ops up against boys from the middle east, but mainly it’s a timeless tale. Some stories don’t exist in real time and don’t get dated. If this story hasn’t gotten dated since 480 B.C., I think it holds up just fine.

    The second day of battle begins. Silhouetted forms, whips crack, barbarians howl.
    In the case of “The Spirit,” Will was so far ahead of his time that the rest of the comic book world had to catch up. I think, especially for the uninitiated, it’ll be very surprising to see his thinking and visual work.

    What’s your work ethic like? Are mornings one thing, with afternoons another?

    Well, if I did it better, my producer here would be much happier with me. [laughs] It’s all a juggling act. The thing is, once you start production and begin shooting a movie, everything else has to fall away because you have to give it 100%.

    What was your reaction when you were first asked to do “The Spirit?”

    Well, when Mike Hughes approached me to write and direct “The Spirit,” my reaction was two fold: first it was, “I can’t do that” and my second was, “Nobody else gets to touch this thing!” So I took the job. [laughs]

    There’s been a lot of talk that for “Sin City 2” you’ll be doing a Nancy Calahan story that you had in mind for a comic book. Will you also be doing that as a comic book as well?

    Yes. Whenever I can get to it.

    A couple of months ago I read you were fantasizing about casting Angleina Jolie as part of “Sin City 2.” Is that a real possibility?

    I certainly hope so.

    As distant battle horns sound off, thousands of Persians arrows race through the golden sky towards the Spartans.
    Have there been any discussions with her?

    Robert’s discussed it with her, but I haven’t.

    What character would you like to see her play?


    Allright, wrapping up, what was the first comic you ever bought?

    I was really young, OK! [laughs] “Superboy and the Legion of Super-Heroes.” The one I remember most vividly was an 80-Page giant of Batman reprints that I found in an old department store. It had all kinds of old Jerry Robinson stuff and it looked really scary and cool. I had to cough up $.25 cents for it!

    Did that spark your interest at that particular point in time to start drawing?

    My mother tells me I was six years old when I told her I’d be doing comic books for the rest of my life.

    Thanks, Frank.

    #2583 Răspunde

    O bucatzica pentru deschiderea apetitului la…

    #2584 Răspunde


    THE MATRIX masterminds Larry and Andy Wachowski are set to write and direct a long-in-development, live-action version of SPEED RACER, reports the trades. The project will reunited the brothers with their MATRIX collaborators — producer Joel Silver, exec producer Grant Hill and visual effects supervisor John Gaeta.
    Based on Tatsuo Yoshida’s classic 1960s anime series, the story will chronicle the adventures of the young racecar driver Speed as he strives for fame and glory in his pimped out vehicle, Mach 5.
    “[The Wachowskis] are approaching these racing scenes in a way you’ve never seen before,” said Silver, who said the film will be family-friendly. “They wanted to do something that could appeal to everybody.”
    Filming is set to begin in summer 2007 for a summer 2008 release.
    Courtenay Valenti is shepherding the project for the studio.

    The film will be a Warner Bros. Pictures presentation, in association with Village Roadshow Pictures, of a Silver Pictures production.

    #2585 Răspunde


    Luc Besson, in Zagreb, pentru promovarea filmului 3D…
    Proliferantni francuski redatelj, producent, scenarist i pisac dje?jih knjiga sletjet ?e u Zagreb 27.12 na promociju svog novog crti?a ‘Artur u zemlji Minimoya’.
    Luc Besson (‘Veliko plavetnilo’, ‘Leon profesionalac’, ‘Peti element’) dolazi u Zagreb kako bi prisustvovao sve?anoj hrvatskoj premijeri svog novog filma ‘Arthur u zemlji Minimoya’, koja ?e se 27. prosinca 2006. odr?ati u multipleksu CineStar Zagreb! Besson ?e u Zagrebu provesti dva dana, tijekom kojih ?e se uz premijeru i konferenciju za novinare odr?ati i niz ostalih doga?anja.

    Kao jedinstven spoj igranog filma i 3D animacije, ‘Arthur u zemlji Minimoya’ je stvaran ?ak pet godina, povezuju?i vode?e europske umjetnike s raznih podru?ja, od francuskog stripa?a Patricea Garcie koji je zaslu?an za koncept i dizajn, do Davida Bowiea koji je posudio glas zlom Malthazardu i Madonne koja je sinhronizirala lik princeze Selenie.
    Trailer: http://www.filmski.net/vijesti/animirani-film/4135

    #2586 Răspunde

    Arthur et les Minimoys T. 1
    Tome 1

    Petits, mais partout ala fois
    Le petit Arthur vit seul avec sa grand-mere. Bricoleur, débrouillard, il aurait fait la fierté de son grand-pere, si celui-ci n’avait pas subitement disparu il y a 4 ans…
    Alors que son anniversaire approche, Arthur entend pour la premiere fois parler du passé Africain de ses grands-parents. Son grand-pere semblait captivé par une étrange et sympathique tribu de petits etres: les Minimoys.

    Adaptation en BD du roman de Luc Besson, cette version d'”Arthur et les Minimoys” sort en parallele du film et d’une avalanche de produits dérivés.
    Dans un style convenu, Marc N’Guessan retranscrit proprement une aventure jeunesse classique, avec un jeune garçon qui vient au secours de sa grand-mere que des gens peu scrupuleux menacent de jeter dehors. C’est en voulant lui venir en aide qu’Arthur tombe par hasard sur une piste tracée par son grand-pere : la piste qui mene aux Minimoys.
    Une BD simple et efficace, adestination d’un public résolument jeunesse.

    #2587 Răspunde

    The year 2006 was definitely a great one for feature animation in France. Michel Ocelot, director of Kirikou and the Sorceress, released a new colorful, enchanting tale called Azur and Asmar, while Christian Volckman broke new ground with his stylish black & white Renaissance. The latest entry in the genre is directed by France’s most popular filmmaker, Luc Besson, an artist better known for his live-action movies (The Professional, The Fifth Element) than for his interest in animation. Arthur and the Invisibles (which opens Jan. 12, 2007 in the U.S.) tells how 10-year old Arthur gets magically transported to the tiny world of the Invisibles, half-inch tall creatures who live in his grandmother’s garden. Influential graphic album artists Patrice and Celine Garcia brought the project to Besson. The former had been a key element of the design team on The Fifth Element, and later became the lead conceptual artist for Arthur and the Invisibles.
    (much) more: http://mag.awn.com/index.php?ltype=pageone&article_no=3142

    Besson in Zagreb (foto): http://www.film-mag.net/content.php?review.2095

    I MINMEI in Italia:)

    #2588 Răspunde

    Le “Tintin” de Spielberg en bonne voie
    Le projet de film développé par le réalisateur américain avance a grand pas selon la société Moulinsart.

    Le contrat avait été signé il y a trois ans entre les studios Dreamworks de Steven Spielberg et la société belge Moulinsart détentrice des droits dérivés de Tintin. Depuis plus rien. Il semble pourtant que l’adaptation cinématographique des aventures de Tintin par le réalisateur d’”E.T” ou d’”Indiana Jones” avance bel et bien puisque Nick Rodwell, l’administrateur de Moulinsart et le second mari de la veuve d’Hergé, vient d’annoncer avoir déja vu “quelques tests” de ce qui devrait etre “une série de films tres classiques, respectant l’esprit” des aventures BD du petit reporter.
    Pour le reste – film classique, d’animation ou en 3D ? – Nick Rodwell n’a rien dévoilé mais affirme qu’il aura “plus de nouvelles la premiere semaine de mars”.
    En attendant, l’administrateur en a profité pour déclarer a l’Associated Press que Casterman qui diffuse les albums “n’a pas bien géré l’international depuis au moins 20 ans”. Dans la perspective de la sortie sur grand écran, Moulinsart est “en médiation” avec la maison d’édition, a-t-il souligné, laissant auguré de relations tendues avec la maison d’édition.
    [img]Can you tell us about Tintin? Is it happening?
    Spielberg: Yes. It’s happening. You know, with the estate of Hergé – you know, Fanny, his widow, and her husband, Nick – we’ve acquired the rights to make as many books as we want to make in the movies. I’ve always loved Tintin, and I think Tintin is… I think some of Indiana Jones was inspired by these books. Not really Temple of Doom, but I was certainly mindful of Tintin when it I was making my Indiana Jones series. Because I had read the books years before. So now we have a chance to do a really great adventure with a timeless kid – he’s not going to be 12 or 13, he’ll be probably around between 16 and 17.
    Outside of Canada, or North America, nobody really knows this character.
    Spielberg: No, but the book has sold 200 million copies. 200 million copies of these books have sold around the world. Only in America is it not as well known. I’m hoping we’re going to be able to put it on the map here.
    Are you going to direct Tintin?
    Spielberg: It’s not for me to direct. I’m going to produce it at DreamWorks with Universal as my partner.

    Gregory Smith – Tintin?
    Spielberg’s “Tintin” Heart <32593> [图]
    [ 回复本贴 ] [ 跟从标题 ] [ 关闭本窗口 ] [ 手机短信 ]
    :)) 😯 😀

    #2589 Răspunde

    The Minimoys are killing me!
    Numai gândul c? Luc Besson s-a l?sat de film m? face s? dau medicamentele de inim? la o parte, când v?d creaturile ?lea imunde.
    Dac? pe undeva exist? un club anti-minimoys, I wanna be in it, purt?tor de cuvânt, trezorier, orice, dar, sunt gata s? sus?in anti-cauza acestor elfi, trolli, ghiavoli, mormoloci de hum?.
    De ce atâta încrâncenare??? Mai ales c? n-am v?zut filmul ?i prefer s? continuu s? tun ?i sa fulger orbe?te împotriva acestor draci împestri?a?i ?i a tuturor produselor derivate cu care industria?ul Besson a îmbuimbat rafturile magazinelor ?i libr?riilor.
    Sincer, pentru c? arat? precum ni?te p?pu?i chineze?ti ieftine de plastic galben bolnav, cu ochi bulbuca?i, tr?s?turi ?i zâmbete for?ate, cu gesturi reumatice ?i o atitudine general? de serial killers.
    (Piei, ghiavole,piei!!Ah, unde e?ti, tu, dr?gu?ule, Chucky!!!)
    …?i cînd ?i se trânte?te faza cu fotorealismul, ?i ce bine e f?cut, adic? vezi, tu, desenele animate în general nu prea sunt reu?ite, sunt prea lente ?i mai ales în ?lea vechi, nu prea ?tiau s? deseneze, dar acum, sunt a?a de frumoase personajele…and so on, and on.
    Am v?zut Pisicile Aristocrate asear?, ultimul sub supravegherea lui Disney, himself. Purrrrrrrr, swing it, baby!
    Uitasem suple?ea mi?c?rilor, dansul permanent al formelor, mai rev?zusem asta recent la Gopo ?i la personajele în plastilin? ale lui Svankmajer. Personajele par a fi corzi muzicale, se acord? cu spa?iul, povestea, cu ritmul…
    Everybody wants to be a cat / Because a cat’s the only cat who knows where it’s at.
    Everyone is picking up on that feline beat / ‘Cause everything else is obsolete.

    Un Arthur mai pe gustul meu, dar, din p?cate, nu din categoria fantasy, dateaz? de prin ’81, cu Dudley Moore, Liza Minnelli, John Gielgud.
    Dar, stupoare, nici unul nu are urechi ascu?ite sau p?r ?epos, în fine poate doar Liza..
    Common, minimoys, make my day!
    The lesser you are, the merrier I am

    #2590 Răspunde

    Flickery, flickery light
    How I wonder at midnight
    What to watch, what to watch?

    Ames sensibles s’abstenir!!!!

    Zed’s dead, baby, but Quentin’s walking at night and playing at the Grindhouse from dusk till dawn.
    Ro?ul prinde bine în aprilie la premiera noului Rodriguez&Tarantino(spate în spate, fra?i de cruce, fra?i de sânge).
    Se poate trage cu ochiul la: http://www.grindhousemovie.net/home.html
    http://movies.yahoo.com/feature/grindhouse.html ?i : http://zudeo.com/az-web/search?q=grindhouse
    ?i dac? v? fascineaz? iepurii uria?i ?i limbajele ezoterice, proiec?iile nocturne se îmbog??esc cu a?teptatul picture show
    Inland Empire de David Lynch.
    And counting and counting and jumping and jumping…
    Sper s? m? ?in? bateriile!

    #2591 Răspunde

    Dirigido pelo frances Luc Besson, ARTHUR E OS MINIMOYS teve péssimo desempenho nas bilheterias assim como recebeu críticas desfavoráveis.
    Com um orçamento aproximado de $86 milhoes de dólares, o filme arrecado $4,300 milhoes em seu fim de semana de estréia, aparecendo na nona posiçao do ranking norte-americano. As críticas refletem o descontentamento do público com o filme: o Rotten Tomatoes calcula apenas 18% de comentários positivos. O consenso é que, apesar do elenco estelar, o roteiro é previsível e a animaçao computadorizada é abaixo da média. Além disso, assim como a maioria dos filmes de animaçao atuais, as tentativas da produçao de soar engraçada acabam soando forçadas.
    (suna ca o injuratura comentariul asta in brasiliereza!)
    Alte pareri:
    “MUY, MUY, much MUY” (Ja-Ja Binks)
    “Pas Glop, pas Glop!” (Pifou)
    “@)*(%&^^%#this film is” (Yoda)
    “Si, culmea, ruleaza!” (G.Galilei)
    “Facut sa deturneze atentia de la realele probleme ale populatiei” (PSD)
    “Hai Stiinta!” (N’Jock)
    va urma

    #2592 Răspunde

    Sistemul e bun. Sistemul l-a salvat pe Ipu.
    Ultimul scandal* din cinematografia romaneasca este international.

    O noua ecranizare dupa “Moartea lui Ipu” de Titus Popovici, de Bogdan Dreyer http://www.imdb.com/name/nm0241563/ – “Condamnat la viata”, cu Gerard Depardieu, Harvey Keitel, are doua finaluri: Ipu moare si Ipu nu moare.

    SCANDALUL filmului cu două finaluri. A murit sau nu Ipu? Producătorul spune că nu, regizorul spune că da
    „Condamnat la viață” se bucură de nume importante în distribuție, Gérard Depardieu, Harvey Keitel şi Laura Morante, dar şi de o lansare cu multe comentarii.

    Ipu este un soldat francez rămas într-un sat din Transilvania după ce o rană gravă din Primul Război Mondial i-a afectat memoria…. Aşa începe nuvela lui Titus Popovici. Finalul lasă însă loc la interpretări. Bogdan Dreyer, regizorul producţiei filmate în România „Condamnat la viaţă”/Ipu: Convicted to Live, film cu Gérard Depardieu, Harvey Keitel şi Laura Morante în distribuţie spune că este clar că Ipu s-a sinucis. De altfel în scenariul propus de el, Depardieu duce pistolul la tâmplă. În scenariul folosit de producătorul Giuliano Doman, pistolul cade din mâna lui Depardieu, ceea ce sugerează că renunţă la sinucidere.

    „Condamnat la viaţă”, filmul ce a avut vizionarea de presă ieri a fost făcut din start cu două finaluri. Tot ieri, regizorul Bogdan Dreyer, anunţa atât în numele său cât şi în numele lui Gerard Depardieu şi Harvey Keitel că varianta care se lansează pe piaţă nu îl reprezintă. Criticul Irina Margareta Nistor a explicat pentru EVZ că: „în momentul în care actorul a fost de acord cu un scenariu, nu mai poate să intervină. Ca actor ştii din momentul în care porneşti la drum, că producătorul dictează. Pentru că producătorul are interes ca lumea să vină în sală. Şi dacă el aşa a decis… Acesta e sistemul. Eu am văzut şi produsul final şi filmul în primă fază. Am avut chiar o discuţie cu regizorul Bogdan Dreyer în care i-am spus că arată mai bine varianta finală. Nu m-a înţeles. Din punct de vedere al spectatorului fimul în această formă are mai multă substanţă.

    Bogdan Dreyer a fost întotdeauna foarte bun în fimarea scenelor cu copii. I-au ieşit foarte bine. Din punctul meu de vedere, pe Harvey Keitel nu l-a ţinut foarte bine în mână. Deşi este un mare actor, pe mine în acest film nu m-a convins. Despre jocul lui Gérard Depardieu este dificil de vorbit, e foarte greu să-mi iasă din cap Amza Pellea. Ceea ce trebuie să ne bucure este faptul că s-a făcut primul remake după un film românesc, în care joacă actori mari, iar eu cred că fimul acesta trebuie lăsat să funcţioneze”, a spus Irina Margareta Nistor.
    Orice reclamă este binevenită
    În ceea ce priveşte scandalul iscat în jurul filmului, producătorul Giuliano Doman spune că se bucură de reclama care se face în jurul producţiei şi crede că lucrurile se vor aranja în instanţă. „Acest scenariu, aşa zis cu happyend, a fost propus atât pentru finanţare, cât şi pentru vânzarea internaţională”, zice Doman. Din punctul lui de vedere, „viziunea de a-l pune pe Depardieu să-şi tragă un glonţ în cap la final în faţa unui copil de 11 ani nu mi se pare interesantă şi glorioasă”.

    „Nu-l văd pe spectator că se duce acasă şi le spune şi prietenilor „duceţi-vă să-l vedeţi pe domnul Depardieu cum se împuşcă”. Producătorul a explicat finalul: „Când a fost filmarea am intrat cu scenariul care a fost aprobat. Dar domnul Dreyer a spus să facem şi versiunea dânsului. Aceasta a fost o greşeală până la urmă. Scenariul aprobat este acela în care domnul Depardieu nu se sinucide prin împuşcare. Până acum domnul Drayer ne-a făcut patru procese, dar două au fost contracarate de avocaţii noştri”.

    Legat de viitorul filmului, producătorul Giuliano Doman este optimist, spunând că el merge mai departe cu lansarea, din 14 martie. „Condamnat la viaţă/Ipu: Convicted to Live” va avea premiere anul acesta şi în Germania, Belgia, Olanda, Italia, Luxemburg, vândut de agentul internaţional Shoreline Entertainment.

    În filmul lui Nicolaescu, Ipu moare
    Regizorul Bogdan Dreyer spune că el deţine toate drepturile asupra scenariului. „Cinematografic, este scenariul după care a fost făcut filmul „Atunci i-am condamnat pe toţi la moarte”. Urmaşii lui Titus Popovici mi-au încredinţat mie dreptul de a scrie scenariul. Şi eu m-am adresat colaboratorului cel mai strâns şi cu care a semnat operele de cea mai mare importanţă, Salamanian”, spune regizorul. Dreyer crede că a găsit „o compoziţie cât mai aproape de viziunea lui Titus Popovici”.

    „Am fost de acord să colaboreze şi Giuliano Doman, deşi scenariul prin contract îmi fusese încredinţat mie. Opera literară se termină fără niciun dubiu asupra finalului: erou trebuie să aibă curajul să-şi ia viaţa, când este pus în genunchi. În filmul regizoruluilui Nicolaescu, finalul este sugerat când copilul încarcă pistolul şi îi condamnă pe toţi la moarte. Apoi merge mai departe şi trage în Ipu. Pentru prima oară nu mai dă din gură pac, pac, şi trage. Ipu se întoarce şi-i mulţumeşte, cu primul lui zâmbet, că a înţeles ce vrea.

    Eu preiau tema şi nu pot nici să plagiez filmul domnului Sergiu Nicolaescu şi nu vreau nici să fac copilul să-l împuşte. Ideea de bază a filmului este că un soldat trebuie să aibă curajul, precum un căpitan de vas, să-şi ia el viaţa”. Regizorul a spus că intenţia sa a fost să atragă atenţia presei că ceea ce s-a lansat pe piaţă este o „operă ciopârţită”.

    În ceea ce priveşte acuzaţia adusă de producătorul Giuliano Doman, că nu ar exista nicio scrisoare din partea actorului Gérard Depardieu, regizorul Bogdan Dreyer a spus că toate actele vor fi prezentate în instanţă şi că de acum înainte orice discuţie legată de „Condamnat la viaţă”/Ipu: Convicted to Live se va discuta în faţa judecătorului.


    Nota Mea Deocamdata: Mai exista in Romania un critic de cinema in afara de cronicara vedeta (sic) Irina Nistor?

    * suna apocaliptic, pana incepe altul 8)

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