Sophie Aubrey

Via Murphsplace (www.murphsplace.com), graças à fã Sally, do jornal Staten Island, traz uma notícia sobre o Arthur Kill Correctional Facility, local este usado para as filmagens, onde onde o personagem de Jon Foster estava internado conforme o início do livro. http://www.silive.com/search/index.ssf?/base/opinion/1154524 631114450.xml&coll=1 Arthur Kill prison to appear in film Wednesday, August 02, 2006 The Arthur Kill Correctional Facility in Charleston, which serves as home to 900 inmates, took on an entirely new role recently when it was transformed into a movie set for the upcoming film "Tenderness," starring Oscar-winning actor Russell Crowe. The megastar, along with a crew of more than 50, spent the entire day behind prison walls for the movie in which Crowe plays a police officer who arrests a teen for murder and subsequently visits him in a juvenile detention center. Young actors ranging in age from 16 to 18 could have been spotted around the prison facility donning shirts with R.C.J.D.C. -- Riverview County Juvenile Detention Center -- printed on the back. The facility was selected because of its remote location and because of its tight security measures. Jon Foster, a young actor who's appeared on "Law & Order: Special Victims Unit," stars as the convicted juvenile who's the focus of Crowe's attention during his visit. (FYI: Folks are no doubt aware that Crowe filmed on the Island in the past. Several scenes from the Australian's Academy Award performance in "A Beautiful Mind" were shot here.)

Via Murphsplace (www.murphsplace.com) graças ao fã Wilson que informa que o site Blackfilm.com anuncia que John Ortiz (atuou no atual Miami Vice) e Carla Gugino (de Sin City) são as novas contratações para o filme, que já tem Russell Crowe, Denzel Washington, Adrian Washington, e os rappers RZA e T.I. Ficha do John Ortiz no IMDB: http://www.imdb.com/name/nm0651159/ Ficha da Carla Gugino no IMDB: http://www.imdb.com/name/nm0001303/ Página do site Blackfilme aqui: http://www.blackfilm.com/20060728/features/americangangstern ews.shtml

Via Murphsplace, mais fotos do Russell tiradas do set de filmagem em 01/08, do site JustJared.com, clique aqui! Na mesma página, enquanto Russell está em Nova York, fotos da Dani passeando com o Charlie em Sydney. Clique sobre cada uma delas para vê-las em tamanho maior e prestem atenção ao detalhe da camisa que ele está usando ... simplesmente de matar ... eu fico imaginando como será a trilha sonora .... espero que bem disco. Just Jared´s link!

O status do filme no IMDB já consta como “filmando”: http://www.imdb.com/title/tt0765429/ As filmagens começaram ontem em Nova York. Primeira foto do Russell no set, via Murph, graças à fã Chats: Primeira Foto do Russell na Filmagem de American Gangster! Mais um nome aparece para o elence do filme, o do rapper "T.I", que vai interpretar o sobrinho do personagem do Denzel. Informação dada no site da Murph, graças à Rita, de uma matéria da Billboard On Line: http://www.billboard.com/bbcom/news/article_display.jsp?vnu_ content_id=1002916052 T.I. Gets Inside 'American Gangster' August 01, 2006, 4:10 PM ET Clover Hope, N.Y. Atlanta rapper T.I. is hard at work on his second film, "American Gangster," which pits him alongside Denzel Washington and Russell Crowe. He is also developing a movie project through his own film company, in addition to recording his fifth album, "T.I. vs. T.I.P.," the follow-up to this year's "King." "American Gangster" revolves around a 1970s drug lord who smuggles heroin into Harlem, N.Y., by concealing it inside the coffins of American soldiers returning from Vietnam. T.I., who made his film debut this year in "ATL," will play Washington's nephew, a character he calls "somewhat of a stretch." "Right now I'm learning everything I can about my character. I'm just there to soak things up," T.I. tells Billboard.com. "There's a bunch of Academy Award-winners on this cast and I'm just there to learn. I'm in school." The rapper is also working on a script for the first movie from his company, Grand Hustle Films. "It's coming along quite nicely," he says. "It's gonna be a comedy and it's gonna be funny as hell." On the music end, T.I. is featured on Beyonce's upcoming album, "B'Day," and the Justin Timberlake single "My Love," which was produced by Timbaland. A video for the latter will be shot next week. Though T.I. remains tightlipped about his own album, he is contributing to projects by Young Buck and Young Jeezy, as well as his Grand Hustle/Atlantic artists Big Kuntry, Governor and Young Dro. He is featured on the latter's first single "Shoulder Lean," which currently sits atop Billboard Radio Monitor's R&B/Hip-Hop chart.

Mais um nome adicionado ao elenco do filme, de acordo com o IMDB: http://www.imdb.com/title/tt0765429/ Adrian Washington ainda não tem papel definido, mas trabalhou também recentemente com o Russell em Tenderness, como assistente da produção, clique em sua página no IMDB: http://www.imdb.com/name/nm1967657/ Apesar de ter o mesmo nome do Denzel, parece-me que não há nenhum tipo de parentesco. Apenas uma coincidência nos nomes.

Agora, as duas últimas fotos acima, o site MovieWeb.com também as tem em high resolution, são muito grandes postarei só o link para não distorcer a página: Foto do Russell com óculos! Foto do Russell sorrindo!

Na página do filme no Yahoo Movies temos estas 3 fotos da produção mais o poster: http://movies.yahoo.com/shop?d=hv&cf=info&id=1809233740

Do site da produtora GreenStreet Films, poster (ainda não oficial) e páfina do filme, conforme informado no site da Murph. Clique no link abaixo e depois clique no poster de Tenderness para ir para a página do filme: http://gstreet.com/f_production.html

Entrevisa de Abbie Cornish ao jornal australiano The Daily Telegraph de 23/07/2006, onde ela fala dos filmes A Good Year e Candy, do Russell e do Brasil: http://www.news.com.au/dailytelegraph/story/0,,19757303-5006 011,00.html Candy girl By Joanne Hawkins April 23, 2006 12:00 ON the face of it, life looks pretty good for Abbie Cornish. In the 18 months since she won her second AFI award for Somersault and officially became "the girl most likely", she's shot a film with Heath Ledger, made another with Russell Crowe in the south of France and is now preparing to star alongside Cate Blanchett in London. It's been a heady rise for the 23-year-old from the Hunter Valley, but success hasn't been without its drawbacks. As she wistfully looks around the funky cafe on Melbourne's Chapel Street where she requested we meet, she reveals that her packed schedule has meant that she's had to move out of her much-loved flat nearby. "I'm not really living anywhere at the moment," she laments. "I've been back and forth overseas a bit and that's stopped me from being in the one place. I've got a three-by-four-metre storage shed and that's me. I love Melbourne though; it's my favourite place after home ... " That Cornish is looking casually chic today in her black lacy Victorian-style blouse and tweed pants ("They're my mum's," she explains, "aren't they great?") seems all the more miraculous when you hear her describe herself as a veritable bag lady. "I've got these two bags that I've had for a year and I just rotate the stuff that's inside them," she explains. "I am a bit tired of it, but in a way it's worth it because of what I'm getting to do ... " It's hard to argue with that. A few days after our meeting, Cornish launched her latest film Candy - in which she co-stars with Heath Ledger - onto the world stage at the prestigious Berlin Film Festival. Then it was on to London to start preparing - or as veteran Candy producer Margaret Fink puts it, "having vowel adjustment" - for her role in Elizabeth: The Golden Age - the sequel to Elizabeth, the film that made Cate Blanchett an international star. "I'm going to be in London for about four months, so I'll try to get an apartment so I can really experience living there," enthuses Cornish. Despite the downside of living out of a proverbial suitcase, you sense the travel associated with her burgeoning career is almost as much of a draw as the career itself. In fact, her passion for roaming the world is so strong that, after she finished filming Ridley Scott's A Good Year with Russell Crowe last October, Cornish eschewed chasing her next film role in favour of travelling around Spain, Morocco and Brazil for four months. "It's important to have something else in your life apart from work," she says, playing with an antique ring on her finger. "For me, travelling, music and painting are those things. It's better for your mind to have something to occupy your time between jobs." Brazil, in particular, made a big impression on Cornish. "Brazil was crazy; the locals really know how to enjoy themselves, so I had a great time there. I went with two of my best friends and their brothers, who are from Brazil and speak Portuguese as their first language, so it was much easier." Such is Cornish's enthusiasm for Capoeira, a Brazilian fusion of martial arts and dancing that she took lessons in during her stay in Brazil, that it's almost a struggle - albeit a refreshing one - to move her on to talk about Candy, the Neil Armfield-directed film she's ostensibly here to plug. "It's really beautiful because it has a lot of movement in it, and it's very fluid and very free," she explains. That's Capoeira and not Candy in case you were wondering, although the description could almost apply to the much-anticipated adaptation of Luke Davies' semi-autobiographical novel. Cornish is Candy, a talented artist who falls for poet Dan (Ledger) and then abandons herself to a serious heroin addiction. It's a gritty and, at times, difficult to watch, couple of hours, but both Cornish and Ledger are a revelation, the former more than holding her own against her man-of-the-moment co-star. But then Cornish had had a lot of time to prepare for the role, doggedly chasing it for two years after she first read the script. As Margaret Fink dryly puts it, "There was no way that Abbie Cornish was not going to be Candy." Luckily, Fink herself had long been keeping an eye on Cornish, after spotting her aged 14 in the police series Wildside (and this is a woman who can spot a future star, having cast a young Judy Davis and Sam Neill in the 1979 classic My Brilliant Career). "I am always on the look-out for film talent, and Abbie has a classical film face," says Fink. "She is conventionally beautiful, but there is an added dimension, too; a spirituality about her, and that's not even starting on her acting ability." Unfortunately, Cornish went on to star in what Fink terms "some dismal films" after Wildside (let's not dwell too much on the dreadful Melbourne Cup-set Horseplay). "But I always watched her with great interest and she was always good," says Fink. "And I knew the minute I set eyes on her (in person) that she was Candy." Of course, it might have helped that by that point Cornish had started to whip up a storm with her searing portrayal of troubled teen Heidi in Cate Shortland's much-lauded and awarded Somersault. Cornish went on to win a slew of awards for the breakthrough role including that AFI award for Best Actress, and the "Special Jury Breakthrough Award" at the 2005 Miami Film Festival. Her transformation from little-known Australian actor to international star in the making had begun. Ironically, Shortland was initially worried that Cornish's model looks - and it's hard not to be mesmerised by her piercing hazel eyes, porcelain skin and bee-stung lips - would distract viewers from her performance. "We were worried when we cast Abbie that she was actually too beautiful," Shortland says. "The script was written for a dirty-blonde, suburban-type girl, but Abbie is such a good actress that I think people overlook sometimes just how beautiful she is, because you're looking at what's inside her." Of course, the somewhat serious young woman sitting in front of me would never be so uncool as to say that her looks have undoubtedly helped her career, except to admit that they did set her on the road to stardom in the first place. Cornish describes an idyllic childhood growing up with her two oldest brothers (Cornish also has a younger brother and sister aged 13 and 11) on a 69ha farm in Lochinvar, near Newcastle. "My childhood was fun because I had so much room to play, and I am so grateful for that now; living in the country just let me slowly become who I was meant to be. We had cows and geese and ducks and ferrets and a little kangaroo, so I had a great time." But even teenage girls grow out of playing with furry friends on the farm (although Cornish is still a vegetarian as she's "always had a super soft spot for animals") so, at 14, she decided to enter a modelling competition. "It was just a fun thing to do on a Saturday night," she asserts, lest you might think she had designs on herself. She won, of course - because if she hadn't, you probably wouldn't be reading this story now - and her prize included a contract with a modelling/acting agency. "One day they rang up and asked me if I liked acting because they had a part they wanted me to audition for," remembers Cornish, sipping on a glass of water. "I'd done a bit at school and it was fun, so I said I'd give it a go." So she auditioned and landed herself a guest role playing a quadriplegic on Children's Hospital. "And I instantly fell in love with it," smiles Cornish. "I just thought it was the most amazing day ever because I could zoom around in my wheelchair and talk to everyone and there was this great lunch and they gave you biscuits ... "I rang my mum and said, 'Do you think I could do this for the rest of my life?' And Mum said, 'Of course, darling, you can do whatever you want,' because that's what my mum is like." A role as police officer's daughter Simone Summers on Wildside followed (for which Cornish received her first AFI award) and from there she took on TV roles and those not-so-good film parts before she was cast in Somersault - but not before the free-spirited Cornish temporarily gave up acting, aged 17, to backpack alone throughout Europe for six months. "As soon as I finished school, I booked the ticket, packed my bag and left. When I look back now, I can't believe (that I did it). It was very brave." She's "pretty happy" with her performance in Candy, a role she says she was attracted to because of the "honesty of the story". "I just thought (Candy) was such an amazing character. To be able to play someone who goes through so much in five or so years of their life really interested me." As preparation for her role as a heroin addict, she spent some time in Sydney's Kings Cross "just observing, seeing how people operate," as well as going to some Narcotics Anonymous meetings and talking to writer Davies. "Anything I could get my hands on (to make it realistic)," she muses. After dealing with the dark subject matter in Candy, Cornish relished filming the comedy/drama A Good Year, in which most of her scenes were with Russell Crowe. "Russell was great; we had a lot of laughs." Talking of Mr Crowe, Cornish says she respects the way he balances his work and family life back in Australia. "But I think a lot of Australian actors are like that; very strong people who have their own lives (away from work) and I admire that." When Cornish isn't working - or travelling with that bag of hers - she likes to paint and play music. "I play the acoustic guitar and piano; I love being in a room and jamming with people. I love to get outside and be active, too." She also enjoys looking for unusual finds in Melbourne's vintage clothing stores, urging me to pop into the nearby Chapel Street Bazaar on my way back to the office. "It's pretty cool; they have a lot of great stuff in there ... " Cornish is currently single, after splitting with her long-time live-in musician boyfriend in the past year. "We're still very good friends, but I wanted to be single again." Although, that's a temporary thing, as she "would love to have a wonderful romance and have a beautiful little child some day. That would be great," she says, a rare smile spreading across her face. Our interview is drawing to a close and, after a brief stop in Melbourne to catch up with friends, Cornish is flying up to Newcastle to see her family ("When I'm in Melbourne, I miss my family and when I'm in Newcastle I miss my friends," she smiles), before heading off to Berlin and then on to London. She hopes that when she finishes filming with Blanchett, she'll be able to settle in Melbourne again - but isn't banking on being able to give up that storage shed just yet. "But that's OK; I'm pretty happy with my life. I don't mind things being a little pear-shaped."

O rapper RZA foi adicionado ao elenco do filme, de acordo com o IMDB. Ele interpretará Jones, clique aqui para ver a biografia dele no Wikipedia! http://en.wikipedia.org/wiki/RZA

Graças ao Yahoo Movies:http://movies.yahoo.com/movie/1809233740/trailer

Caros Amigos Finalmente o poster do novo filme do Ridley Scott e do Russell Crowe: A Good Year. Graças ao Yahoo Movies!

Texer, Corny significa coisa boba. O artigo em questão saiu no The Sydney Morning Herald de hoje: http://www.smh.com.au/news/film/corn-of-a-new-era-says-baz/2 006/07/16/1152988404933.html Corn of a new era, says Baz July 16, 2006 - 4:12PM Living up to his reputation as one of our most flamboyant, creative film directors, Baz Luhrmann has revealed the mantra behind his new romantic film epic: "The world needs corny." Luhrmann, who will direct a sweeping romance starring Nicole Kidman and Hugh Jackman, has obviously decided filmgoers need a good old-fashioned love story on the big screen. A Sun-Herald operative spotted Luhrmann at the East Village pub in Darlinghurst last week, where he was waxing enthusiastically to a companion about his big-budget project. During the conversation with his industry colleague, Luhrmann used the "world needs corny" line as a selling point for his new movie. The director was obviously trying to convince his pub buddy to come on board the project behind the scenes, saying most of the filming would take place on a cattle station owned by an indigenous community in the Northern Territory. He said cast and crew would be living in contained quarters on site. The pair had a low-key chat about the creative fall-out between Luhrmann and actor Russell Crowe, who was removed from the film, but Luhrmann seemed in good spirits nonetheless, at one stage cheerfully declaring "time for another g and t". The director, who looked suave and relaxed during preparations for Kidman's wedding earlier this month, is back in peak creative form - spilling out ideas and visions for his sweeping epic film. For the project, Luhrmann is expected to continue his extraordinary creative partnership with his wife, Catherine Martin, who won an Oscar for her work on Moulin Rouge!. The dynamic Sydney-based pair have two young children, Lillian and William. Although an official filming date is yet to be announced - as is the title of the film - Kidman and Jackman have cleared their schedules for later this year, with both stars expected to spend at least six weeks filming in the Northern Territory. Vamos ver se consigo ajudar também ....o que ele quis dizer é que o mundo precisa de muito mais romance, à la moda antiga, aquelas estórias que hoje nós achamos meio bobas .... mas que arrebatavam muitos corações antigamente. Sim, eles pretendem começar as filmagens no fim deste ano, passando 6 semanas no Northern Territory naquele calor danado de infernal.

Via Murphsplace, graças à fã Rita, entrevista dada pelo roteirista do filme Steve Zaillian dada ao SFSU Magazine, onde ele, entra outras coisas do seu trabalho, fala um pouco de American Gangster, aqui coloco o trecho referente à AM: “Your next screenwriting project is "American Gangster," about a Harlem drug lord during the 1970s. It's based on a true story. It's really a story about an American businessman (Frank Lucas) who's black, who's building a kind of empire where no black man has built an empire before. He became the biggest heroin dealer in the United States for a very short period, a couple of years. The Mafia was coming to him, as opposed to the other way around, which was the way it's always been. So it's really about his rise and fall and at the same time the story of this policeman (Richie Roberts) who is trying to catch him.” Whose idea was it to make the film? Nick Pileggi, who wrote the screenplay for "Goodfellas," knew [Lucas] and thought that there was a story in his life. But, for whatever reason, didn't want to write it himself, and asked me if I would be interested in doing t. And I said, 'I don't know, maybe I should meet these people.' So I met Frank Lucas, and also met Richie Roberts. It was through these interviews that the story just kind of gradually starting taking shape. You were on the project, off, and now you're back on again. To make a long story short, I had a falling out with the first director who was on the picture, and then [universal] ended up not making that picture with the people who were involved at that time and then it was resurrected again recently with Ridley Scott, who I've also worked with before. If I had talked to you three months ago we would be having a much different conversation because I would have been totally demoralized by what was going on and the fact that it wasn't being made. So this is a happy turn of events.

Atualizado elenco na página do filme no IMDB: http://www.imdb.com/title/tt0494864/ Production Notes/Status: Status: Filming Comments: Status Updated: 18 May 2006 Note: Since this project is categorized as being in production, the data is subject to change; some data could be removed completely. Credited cast: Michael Ahl .... Police Officer Tanya Clarke .... Jackie Cristofuoro Russell Crowe .... Detective Cristofuoro Laura Dern Jon Foster .... Eric Poole Michael Kelly .... Gary C.S. Lee .... Asian Cop Keith Moyer .... Amusement Park Dreg Stewart Summers .... TV News Reporter Sophie Traub .... Lori

Da página do filme no IMDB: http://www.imdb.com/title/tt0765429/ Production Notes/Status: Status: Pre-production Comments: This will be Scott's follow-up to A Good Year Status Updated: 13 March 2006 Note: Since this project is categorized as being in production, the data is subject to change; some data could be removed completely. Credited cast: Russell Crowe .... Detective Richie Roberts (attached) Denzel Washington .... Frank Lucas (attached)

Página do filme no IMDB já tem o Russell ligado ao projeto para ser Ben Wade, papel que na versão original de 1957 foi interpretado por Glenn Ford: http://www.imdb.com/title/tt0381849/ Production Notes/Status: Status: Pre-production Comments: Producers are in talks with other studios to take on this project. Still aiming for an October 2006 start. Status Updated: 23 June 2006 Note: Since this project is categorized as being in production, the data is subject to change; some data could be removed completely. Credited cast: Russell Crowe .... Ben Wade (attached) Até agora, James Mangold não informou se já conseguiu um estúdio para tocar o projeto, apesar de as datas de início das filmagens estarem marcadas para Outubro.

Do jornal The New York Times, 09/07/2006, com mais uma foto do filme: The New York Times Eat Drink Make Movie: Hollywood's Next Course By STEVE CHAGOLLAN Published: July 9, 2006 LOS ANGELES CINEMA'S relationship with food and drink has always been a complicated affair. Sometimes it's abusive, as Mae Clark, with her face full of grapefruit, learned from James Cagney in "The Public Enemy." Sometimes it's unrequited, as Tony Shalhoub learned from ungrateful customers in "Big Night." Now and then it amounts to a glorious epiphany, as in "Sideways," when Paul Giamatti rhapsodized to Virginia Madsen about the delicate, even haunting properties of pinot noir. A little bit of food can go a long way in the movies: think of Sue Lyons's lollipop in "Lolita," the chicken salad sandwich in "Five Easy Pieces" or Diane Keaton's pastrami on white with mayo in "Annie Hall." And occasionally food threatens to steal the show, as in "Babette's Feast" and "Like Water for Chocolate." The eating and drinking in these films are as much a reflection of character as the clothes the actors wear or the manner in which they speak. Such culinary verisimilitude has usually delighted critics but has not always translated into popularity among filmgoers: the roughly $71 million in domestic ticket sales for Alexander Payne's "Sideways" (2004), which matched that of the Lasse Hallstrom film "Chocolat," represents the high-water mark for movies that dwell on food and fine wine. In the coming year, however, a wave of ambitious studio films will try to capitalize on Americans' growing appreciation for all things epicurean. On Nov. 10, 20th Century Fox is scheduled to release "A Good Year," in which a London investment banker, played by Russell Crowe, inherits a vineyard in Provence. And Warner Brothers just finished filming a remake of the German film "Mostly Martha" in New York, starring Catherine Zeta-Jones as a controlling chef and Aaron Eckhart as her culinary opposite, an earthy Italian-American named Nick. Also on the horizon is "The Food of Love," based on the novel by Anthony Capella, which reimagines the Cyrano de Bergerac story as a contemporary romance set in Rome with gastronomy as the poetry of seduction. The project, scheduled to shoot in September, will combine two of the director Peter Chelsom's greatest passions: romance and Italian food. What's more, Nora Ephron, a food enthusiast who helped make the joy of cooking and eating so palpable in "Heartburn," which she adapted from her own book, will write and direct Columbia Pictures' planned adaptation of the Julie Powell book "Julie & Julia: 365 Days, 524 Recipes, 1 Tiny Apartment Kitchen," inspired by Julia Child's "Mastering the Art of French Cooking." And for every reverie on the restorative qualities of food and drink there is a dysfunctional cousin: Fox Searchlight's fall release "Fast Food Nation" is the writer-director Richard Linklater's dramatized version of Eric Schlosser's nonfiction book about the truth and consequences of the fast food industry, while the producer Craig Perry ("American Pie" is looking at a fall start date for "All You Can Eat," set in the bizarre world of competitive eating, for New Line Cinema. With more and more 20somethings trading in beer mugs for stemware, farmers markets bursting at the seams and Wal-Marts stocking organic produce, America clearly is in the midst of a feeding frenzy, particularly among the growing legions of foodies and gourmands. The Food Network holds 65 million monthly viewers in its thrall, and sales of "gourmet" foods and beverages are expected to top $53 billion next year. To some extent these developments may reflect a search for refuge. "Food is that thing that people retreat to for comfort and safety," said Lisa Shotland, an agent in the Creative Artists Agency's lifestyle group, "and in these uncertain times that just becomes more and more the norm." Or it may be that the chef has become "the new rock star," as Denise Di Novi, the producer of "The Food of Love," maintains. "The qualities that make a man sexy have expanded beyond traditional male roles," she said. "Great chefs embody the things that make all great artists appealing, in that they're creative, committed and passionate." Whatever the source of the impulse, American studios are clearly out to challenge the notion that great food films have to be imported, though it usually worked that way in the past. "Tampopo," Juzo Itami's inspired 1985 meditation on sex and the quest for the perfect bowl of ramen, ushered in a kind of foodie film renaissance that continued with "Babette's Feast" (1987) and "Like Water for Chocolate" (1992). The genre appeared to peak in 1994 with Ang Lee's "Eat Drink Man Woman," with its exhilarating display of kitchen savvy by a semi-retired Taipei chef played by Sihung Lung, who prepares sumptuous Sunday dinners for his three daughters. The movie appealed to the aspiring chef in all those who appreciate the textured effect of a precise julienne cut, revel in the magical qualities of fresh herbs and seasonal produce, or think nothing of spending the better part of the day fashioning a stock from scratch. "Big Night," released in 1996, offered a rare American-made challenge to the culinary heights of "Eat Drink," with its story of the Italian chef Primo, played by Mr. Shalhoub, who views his cooking as high art that cannot be compromised for the red-sauce crowd. "If I sacrifice my work, it dies," Primo tells his beleaguered brother and partner, Secondo, played by Stanley Tucci. The quiet denouement, in which a breakfast of scrambled eggs acts as a sort of olive branch for battling brothers whose business has failed, is often cited as one of foodie cinema's most profound moments. "That film strikes a chord," said Linda Carucci, the Julia Child director of culinary programs at Copia, a center for food, wine and the arts in Napa Valley. "It evokes a really powerful emotional response. The passion of Primo and Secondo is contagious. When I heard those eggs sputtering, I thought of my father. Everybody has memories of food." Mr. Chelsom said he was such a fan of "Big Night" that he wouldn't "look at it" for fear it would influence "The Food of Love." Instead, he said, he prepared by grazing at "all the best restaurants" in Rome and interviewing the chefs: "I realized it's a very high art, and that there is meaning and feeling in food beyond what I imagined." In "The Food of Love," as in "Big Night" and the original "Mostly Martha" (2001), cooking is portrayed as the most intimate thing that can be shared between two people. In the script for the as yet untitled "Mostly Martha" remake, the star chef's decision finally to reveal the secret of her saffron sauce to her fellow cook Nick is seen as a sign that she's dropping her guard and opening her heart. That same intimacy was at the heart of "Sideways," an extended paean to California food and wine that wound up affecting an industry. Fox Searchlight, the film's distributor, and the Santa Barbara Conference and Visitors Bureau and Film Commission coordinated their efforts to produce "Sideways: The Map" and "The Sideways Guide to Wine and Life," which generated a 30 percent bump in tourism in Santa Barbara County wine country. What's more, sales of pinot noir, the preferred grape of the film's protagonist, Miles (Mr. Giamatti), rose sharply. But audiences and critics that same year rejected "Spanglish," in which Adam Sandler played the chef and owner of a Beverly Hills restaurant modeled on the French Laundry in Napa, whose master chef, Thomas Keller, consulted on the film. Perhaps viewers found that the cooking scenes were all presentation and no soul. The film's climactic moment — an opportunity to see Mr. Sandler use his skills to entice his star-crossed love interest, Paz Vega — amounts to a tease. Rosy pink chops are dropped in a sauté pan before a quick cut to the squeeze-bottle flourish. The moment is so glossed over that it's as antiseptic as the kitchen's gleaming surfaces. We see Ms. Vega nibble on an asparagus spear before cooing, "I will remember every taste, forever." "A completely ludicrous movie with good food styling," said the chef and author Anthony Bourdain. "The food looked good, but I didn't believe for a second that Adam Sandler made it or ever worked in a kitchen." Mr. Bourdain — who watched his memoir, "Kitchen Confidential," morph from what he calls a "dark, absolutely uncompromising" big-screen vehicle for the director David Fincher and Brad Pitt into a short-lived sitcom on Fox — sees chefs as romantic renegades, an intriguing blend of bravado and sensitivity, who exist "a little apart from normal society." These kitchen maestros "are confident, fairly brutish in the way they conduct themselves," he said, "and yet spend a lot of time drizzling sauce over an artfully cut piece of fish. I can see why that would be an attractive character." In creating such protagonists, producers have typically tried for believability, while sometimes giving short shrift to moviemaking fundamentals. In "Tortilla Soup" (2001), for instance, the food was meticulously created and designed by Mary Sue Milliken and Susan Feniger of the Border Grill in Los Angeles, but the film, a Mexican-American take on "Eat Drink," strained under the weight of imitation. In the recent "Last Holiday" Queen Latifah, as an aspiring chef, was coached by experts from the Food Network, but the movie stalled at just over $38 million at the box office. Mr. Chelsom said the producers of "The Food of Love" would not skimp on expertise and would recruit "top level" food consultants. "We're making a film about authenticity in cooking so we really got to get it right," he said. When it comes to getting it right, several of the new films may have an edge, in that they appear to pair the right director with the right project. The director Ridley Scott, a connoisseur of French wine and Cuban cigars, owns a vineyard in Provence, the setting of "A Good Year." Scott Hicks, the director of the "Mostly Martha" remake owns a vineyard in the Adelaide Hills of Australia. And Mr. Chelsom divides his time between homes in Beverly Hills and Lunigiana, in Tuscany, where, he said, "they produce amazing olive oil, the best I've ever tasted." If the sudden confluence of food-oriented movies begins to sound like a glut, that shouldn't be too surprising, given the subject matter. "The gorging of food is very American," Mr. Perry, the producer of "All You Can Eat," said in reference to his own film. "What we've done is tap into that weird relationship we all have with food and yet make it both funny and heartfelt." And when it comes to food as entertainment, the saturation point is likely still in the future, said Ms. Shotland of Creative Artists: "Every time I think it can't get hotter, it gets hotter." link para a foto: Link da foto!

Entrevista do Russell e Ridley no site da Entertainment Weekly, datado de hoje, sobre A Good Year e American Gangster: http://www.ew.com/ew/report/0,6115,1206811_1_0_,00.html R. and R. Russell Crowe and Ridley Scott: Our extended Q&A. The Aussie actor and his ''Gladiator'' director tell Josh Rottenberg more about two new big-screen collaborations The swords-and-sandals smash Gladiator was just their opening act. Now Russell Crowe and director Ridley Scott are reuniting with A Good Year (Nov. 10), a surprisingly gentle comedy about a British businessman (Crowe) who takes over his uncle's vineyard in Provence. But that's not all! Next month, the duo will start production on the crime drama American Gangster, with Crowe starring opposite Denzel Washington as a cop trying to take down a notorious Harlem drug lord. EW called the frank filmmaking duo for a three-way chat. ENTERTAINMENT WEEKLY: A Good Year seems like an unlikely project for you guys to take on. RUSSELL CROWE That's one of the reasons we did it. I mean, it would be very easy for the two of us to make something grand and epic, but then people would say, ''Oh, they're repeating themselves.'' It just seemed more fun to go into this smaller place, where the problems weren't as vast. RIDLEY SCOTT The key is to keep challenging yourself. I haven't done much in the way of comedy, and I've been living in Provence for 15 years, so this is something I've had on my mind for a while. Making this film must have been a more pleasant experience than Gladiator. CROWE Oddly enough, regardless of the problems that were to be solved on Gladiator, we always had fun every day — and that's the whole point. But going into an area that Ridley had such a deep connection with, I knew that he would know how to approach Provence as a subject matter, as a character. But you're dead right. I mean, it just went through my mind a little while ago, while I was on the set of a film [the indie drama Tenderness] out in some unkempt part of New York State: If you could go to Provence once a year to make a film, it would be a damn fine life. SCOTT The thing also about doing Gladiator is, despite all the running problems which occurred on a daily basis, I think we both figured we were onto something that was going to be certainly very interesting. When something good is happening on a movie, you get a sense of it when you're making it. It doesn't happen often. What's the secret to your collaboration? CROWE It's about trust. If Ridley says, ''Jump off a cliff,'' I go, ''Right-o, mate.'' Our friendship was forged in fire. We've been in the situation [on Gladiator] of standing in Morocco, with thousands of people standing around, going, ''What do we do now?'' SCOTT Sometimes you've got to be able to say, ''I'm not sure,'' in which case the other person can kick in and you can solve the problem. I think that's sometimes the best way things can be worked out, rather than one dominant factor saying, ''This is the way to go.'' Ridley, has Russell mellowed at all since Gladiator? SCOTT Not really. He's still feisty — CROWE [Cutting in] When the situation demands it. SCOTT Russell expects people to be ready, and I expect people to be ready, and if they're not, they sometimes get an ear-bashing. CROWE The other half of that story is that I have to work out the moods and needs of the guy I'm working for as well. In any creative relationship, that's valid. And if you're a creative person, most of the time it's effortless. We both have on certain days a take-no-prisoners approach when we really believe in something. But that's f---ing valid, and I respond to Ridley's passion, and Ridley responds to mine. We're really lucky. Any truth to the rumors of a Gladiator prequel? CROWE Ridley and I talk about that quite regularly. It's probably not something we want to discuss right now. But I hope that in the future we've got some gigantic stories to tell together. In the meantime, you're taking another 180-degree turn with American Gangster, about the real-life 1970s drug kingpin Frank Lucas. CROWE Yeah, now we're going to get the sledgehammers out and bang some doors down. The Frank Lucas story is pretty well known. Frank took over from a fellow who was a big gangster in Harlem and basically found his own source for drugs, and he cut out the Italian Mob and thereby increased his financial earnings capacity dramatically and also his power base. What we're coming down to with this script is this battle of wits, really, between this gangster and a police investigator. SCOTT It's two very interesting characters who are both paradoxical, really. One [played by Crowe] is a cop who's obsessive about doing the right thing and being honest, and at the same time has a private life which is totally f---ed up. On the other hand, you've got a gangster [played by Denzel Washington] who has the life of a middle-class bank manager and yet is shipping heroin from Cambodia and putting it on the streets of New York. It's two quite different characters and yet similar in many respects. CROWE The really intriguing thing is that in real life these guys have become friends. The guy who put him away essentially was the only person who was there to meet Frank Lucas when he came out of prison, and they're still in touch on a regular basis now. When do you go into production? SCOTT We're shooting in Harlem in August, which is hotter than hell. CROWE And in between times, hopefully my wife will complete the production in Australia of my second child. Hopefully she sticks to the schedule, because it's pretty tight this year. (Posted:06/21/06)

Entrevista do Russell e Ridley no site da Entertainment Weekly, datado de hoje: http://www.ew.com/ew/report/0,6115,1206811_1_0_,00.html R. and R. Russell Crowe and Ridley Scott: Our extended Q&A. The Aussie actor and his ''Gladiator'' director tell Josh Rottenberg more about two new big-screen collaborations The swords-and-sandals smash Gladiator was just their opening act. Now Russell Crowe and director Ridley Scott are reuniting with A Good Year (Nov. 10), a surprisingly gentle comedy about a British businessman (Crowe) who takes over his uncle's vineyard in Provence. But that's not all! Next month, the duo will start production on the crime drama American Gangster, with Crowe starring opposite Denzel Washington as a cop trying to take down a notorious Harlem drug lord. EW called the frank filmmaking duo for a three-way chat. ENTERTAINMENT WEEKLY: A Good Year seems like an unlikely project for you guys to take on. RUSSELL CROWE That's one of the reasons we did it. I mean, it would be very easy for the two of us to make something grand and epic, but then people would say, ''Oh, they're repeating themselves.'' It just seemed more fun to go into this smaller place, where the problems weren't as vast. RIDLEY SCOTT The key is to keep challenging yourself. I haven't done much in the way of comedy, and I've been living in Provence for 15 years, so this is something I've had on my mind for a while. Making this film must have been a more pleasant experience than Gladiator. CROWE Oddly enough, regardless of the problems that were to be solved on Gladiator, we always had fun every day — and that's the whole point. But going into an area that Ridley had such a deep connection with, I knew that he would know how to approach Provence as a subject matter, as a character. But you're dead right. I mean, it just went through my mind a little while ago, while I was on the set of a film [the indie drama Tenderness] out in some unkempt part of New York State: If you could go to Provence once a year to make a film, it would be a damn fine life. SCOTT The thing also about doing Gladiator is, despite all the running problems which occurred on a daily basis, I think we both figured we were onto something that was going to be certainly very interesting. When something good is happening on a movie, you get a sense of it when you're making it. It doesn't happen often. What's the secret to your collaboration? CROWE It's about trust. If Ridley says, ''Jump off a cliff,'' I go, ''Right-o, mate.'' Our friendship was forged in fire. We've been in the situation [on Gladiator] of standing in Morocco, with thousands of people standing around, going, ''What do we do now?'' SCOTT Sometimes you've got to be able to say, ''I'm not sure,'' in which case the other person can kick in and you can solve the problem. I think that's sometimes the best way things can be worked out, rather than one dominant factor saying, ''This is the way to go.'' Ridley, has Russell mellowed at all since Gladiator? SCOTT Not really. He's still feisty — CROWE [Cutting in] When the situation demands it. SCOTT Russell expects people to be ready, and I expect people to be ready, and if they're not, they sometimes get an ear-bashing. CROWE The other half of that story is that I have to work out the moods and needs of the guy I'm working for as well. In any creative relationship, that's valid. And if you're a creative person, most of the time it's effortless. We both have on certain days a take-no-prisoners approach when we really believe in something. But that's f---ing valid, and I respond to Ridley's passion, and Ridley responds to mine. We're really lucky. Any truth to the rumors of a Gladiator prequel? CROWE Ridley and I talk about that quite regularly. It's probably not something we want to discuss right now. But I hope that in the future we've got some gigantic stories to tell together. In the meantime, you're taking another 180-degree turn with American Gangster, about the real-life 1970s drug kingpin Frank Lucas. CROWE Yeah, now we're going to get the sledgehammers out and bang some doors down. The Frank Lucas story is pretty well known. Frank took over from a fellow who was a big gangster in Harlem and basically found his own source for drugs, and he cut out the Italian Mob and thereby increased his financial earnings capacity dramatically and also his power base. What we're coming down to with this script is this battle of wits, really, between this gangster and a police investigator. SCOTT It's two very interesting characters who are both paradoxical, really. One [played by Crowe] is a cop who's obsessive about doing the right thing and being honest, and at the same time has a private life which is totally f---ed up. On the other hand, you've got a gangster [played by Denzel Washington] who has the life of a middle-class bank manager and yet is shipping heroin from Cambodia and putting it on the streets of New York. It's two quite different characters and yet similar in many respects. CROWE The really intriguing thing is that in real life these guys have become friends. The guy who put him away essentially was the only person who was there to meet Frank Lucas when he came out of prison, and they're still in touch on a regular basis now. When do you go into production? SCOTT We're shooting in Harlem in August, which is hotter than hell. CROWE And in between times, hopefully my wife will complete the production in Australia of my second child. Hopefully she sticks to the schedule, because it's pretty tight this year. (Posted:06/21/06)

Do site Coming Soon, via Variety, de hoje, que diz: “Diretor do western “3:10 to Yuma” James Mangold estava pronto para iniciar as filmagens neste verão americano para a Sony Pictures, mas após 4 anos de desenvolvimento, o estúdio deu uma virada sobre o filme. “Isto é de novo um De Ja Vu”, disse o diretor ao Variety, referindo-se ao fato de que seu último filme “Walk the Line – Johnny & June” estava para ser produzido pela Sony e quando estava prestes a ser filmado o estúdio caiu fora. Mangold circulou com o projeto por toda Los Angeles e foi recusado por todos os estúdios menos a Fox, onde o filme foi um grande sucesso comercial e crítica. Agora os produtores Cathy Konrad e Mangold estão em discussão com outros estúdios para fazer “Yuma” (título em português do filme de 1957 com Glenn Ford – Galante e Sanguinário). Mangold disse que pretende iniciar as filmagens em Outubro e que Russell está ligado ao projeto. Como a Sony detém os direitos do filme de 1957, ainda será uma lucrativa participação no filme. “Esta é uma produção de custo médio”, disse Mangold. “Eu nunca fiz um filme que tivesse excedido os 60 milhões de dólares, e este não será também”. Tradução de Sophie Aubrey. http://comingsoon.net/news/movienews.php?id=15108Sophie Aubrey2007-09-10 03:21:26

Mais um nome adicionado ao elenco, conforme o IMDB. É Michael Ahl que fará um policial. http://www.imdb.com/title/tt0494864/

Rumour has it ... Angelina Jolie também no elenco? Via Murphsplace, do site Canada.com, em artigo de hoje, "Summer of Stars" Link do artigo! Summer of stars Big names in Canada to make movies John Kennedy, canada.com Published: Wednesday, June 21, 2006 Summer is here and the stars will be shining brightly in Canada. The likes of Sienna Miller, Renee Zellweger and Jessica Alba are working in Hollywood North this season – and rumors are swirling that Russell Crowe and Angelina Jolie will be, too. Miller, who seems to be back with ex-fiance Jude Law, will be in Ontario from June 28 to Aug. 4 filming Camille with James Franco. It’s the story of honeymooners and the adventures they encounter on their way to Niagara Falls. Zellweger returns to Canada (she shot Chicago and Cinderella Man in Toronto) to make the thriller Case 39. Shooting in Vancouver, the movie is about a social worker who finds herself in danger when she fights to save a girl from abusive parents. Alba and the cast of Fantastic Four return to Vancouver in August to make the sequel, entitled Fantastic Four: The Next Chapter. Don Cheadle (Crash, Hotel Rwanda) is in Toronto until the end of July making Talk to Me, the story of ex-con Ralph Greene, who became a popular radio show host and activist in the 1960s. Also in Toronto is Robert Downey Jr., who plays a principal in Charlie Bartlett, the story of a rich kid (Anton Yelchin) who counsels students at his new high school. Hope Davis stars as the title character’s mother. Billy Bob Thornton is scouting locations in Alberta, hoping to start work on Peace Like A River in the fall. Set in North Dakota in the early 1960s, it’s the story of a father searching for his fugitive son before the cops find him. Thornton’s ex, Angelina Jolie, is reportedly in talks to star opposite Russell Crowe and Denzel Washington in American Gangster, directed by Ridley Scott. Cameras could roll later this summer in Toronto. It’s the tale of a drug lord who smuggles heroin into New York during the 1970s by hiding the drug inside the coffins of soldiers returning from Vietnam. As summer winds down, the all-star cast of the Hairspray remake will arrive in Toronto – including John Travolta, Queen Latifah, Billy Crystal and Amanda Bynes. It’s scheduled to shoot Sept. 5 to Dec. 8.

O site francês Cinema-France.com tem uma nova foto do filme, onde aparecem o Russell (Max Skinner) e a Marion Cotillard (Fanny): http://www.cinema-france.com/news2086_a-good-year-une-photo. html

Mais novidades sobre o elenco, de acordo com o IMDB: Tanya Clarke será Jackie Cristofuoro (talvez a esposa do Russell no filme). Ela já trabalhou com o Russell em Uma Mente Brilhante, onde interpretou Becky! http://www.imdb.com/name/nm1092540/ e http://www.ptowntheater.org/cgi-bin/iowa/bio/TanyaClark.html Stewart Summers fá um repórter de notícias de TV. http://www.imdb.com/name/nm1368116/Sophie Aubrey2006-6-18 6:27:6