texer

Por esta eu naum esperava, contava com a especulação sobre qualquer uma menos a... FERGIE!!!!!!!! Parece que estão querendo ela para interpretar a prostituta Saraghina! Será que isto pode se concretizar? E mais será que vai dar certo? A fonte é a Variety que até agora naum deu uma fora sobre a escalação do filme. Todos os rumores foram divulgados primeiramente lá e todos se consretizaram. Será? Naum gostei naum. Esperava alguém do nível da Zeta-Jones ou da Michelle Pfeiffer... Fergie is Part of Rob Marshall's Nine FONTE: Variety July 19, 2008 Fergie is in talks to join the Rob Marshall-directed musical Nine for The Weinstein Company and Relativity Media, reports Variety. She joins a cast that already includes Daniel Day-Lewis, Marion Cottilard, Penelope Cruz, Catherine Zeta-Jones, Kate Hudson, Nicole Kidman, Sophia Loren and Judi Dench. Fergie, in her first major role, will play Saraghina, a lusty woman who introduces Guido (Day-Lewis) to the world of sexuality. Shooting starts in October in the U.K.

E suspeito que tenha mais por vir nos próximos meses... Ainda faltam escalar uma atriz para viver Saraghina, uma prostituta que acaba entrando na vida do protagonista Guido. E naum faço idéia de quem eles têm em mente para a personagem...

O site wenn.com publicou que Kate Hudson está confirmada em NINE! O site tb publicou que a atriz estava disputando o personagem com Anne Hathaway e Sienna Miller e acabou levando a melhor. Hudson será uma jornalista de moda chamada Stephanie.

Foi isto que disseram na época... Mas pelo que se vê, Claudia é uma personagem que tem uma considerável participação no filme, por isso acho pouco provável que a Zeta-Jones tenha recusado por este motivo. Mas eu me lembro de história parecida em Chicago. Alguns numeros da Zeta-Jones foram cortados e dizem que ela naum gostou na época...

Mas naum era um tipo físico específico que Marshall estava procurando para a atriz que viveria Claudia, ele queria apenas uma atriz que pudesse sustentar o título de musa do Guido, protagonista do filme. E isso, tanto Catherine Zeta-Jones e Nicole Kidman tem. A personagem da Kidman foi interpretada no filme de Fellini por Claudia Cardinale. Parece que Kidman vai mesmo ter maior destaque do q todos pensavam, por isso que naum vejo como a Zeta-Jones ter recusado o papel por ser pequeno demais, a personagem originalmente tem dimensão parecida com a que Marshall quer dar no filme.texer2008-07-06 01:29:06

Mais notícias de NINE! Segundo o site Daily Mail, as atrizes também já estão tendo aulas de canto, como Daniel Day-Lewis. Nicole Kidman, além de seus dois números com Day-Lewis , terá um número com Marion Cotillard e Penelope Cruz e outro dueto com Cruz! Outra informação que a fonte dá é sobre a participação de Kate Hudson que estaria em negociações sólidas para entrar no filme. E como até agora todas as especulações se confirmaram... Kidman, Cruz and Cotillard in tune for new musical Nicole Kidman has been taking singing lessons - in between preparing for the imminent arrival of her first baby - and learning lyrics, including a new number she will sing with Penelope Cruz and Marion Cotillard in the movie musical Nine. Composer Maury Yeston has written three additional numbers for the film version of his stage hit about a famed Italian director who has suffered a breakdown on the set of his latest movie in Rome. The trio of actresses will sing the new number called Take It All. Nicole will also sing a duet with Penelope called Simple, and two further songs with Daniel Day-Lewis who plays Guido, the film-maker. The picture, set in 1964, starts rehearsals at Shepperton Studios in early August with Nicole playing Claudia, a British-born actress who has become an international star through working with Guido. Marion plays his wife Luisa and Penelope his seductive mistress Carla. The third new number - Cinema Italiano - is a big dance arrangement for a Vogue journalist, a part Kate Hudson is in negotiations to play. Judi Dench will also kick up her heels in a racy tango Folies Bergeres. Director Rob Marshall sees the film as a celebration of 'beautiful, strong, independent women. Daniel plays an Italian man and these women have shaped him. It's about how he's hurt them, how he's helped them, how he relies on them and, ultimately, how they help him conquer his fears'. He said that his film would not be the stage show merely planted on to celluloid. 'In a way, it's a new musical because we took the wonderful bones of what Nine was and re-shaped it as a film,' he told me. Working with his partner John DeLuca and his long-term associate choreographers, Joey Pizzi, Denise Faye and Tara Nicole Hughes, Marshall has created some fast-paced, hip-swivelling choreography. 'There will be no dubbing,' Marshall said. 'Everyone can carry a tune and they're all having singing lessons. They're in pretty good shape, and we'll have a 60-piece orchestra in the studio when we record the songs. It's all going to be very sexy.'

AUSTRALIA acaba de ter uma exibição teste.Eu sei que não significa muito, mas o pessoal do AIN'T IT COOL NEWS esteve lá e divulgou este texto sobre a experiência que tiveram, e parece bastante positiva. http://www.aintitcool.com/node/37283 cinematography is really amazing and every scene of the film looks like a painting. its truly beautiful to look at. as you might expect the tension between lady ashley and the drover begins to melt away and they start to fall for each other. Kidman is perfect for this part and shes really great in it. It's very easy to buy her as stuck-up and snooty at the start, but she does open up to us and makes you care about her and her struggle. it doesnt hurt that she stands up for the aboriginals (who are the australian version of black people in the 1950s) against the asshole white guys who work for the bigtime cattle baron. As for Hugh Jackman, I only know him from being Wolverine but he has a real Clark Gable/clint Eastwood vibe going on. He obviously has the physicality and physique to pull off this rugged Marlboro Man character, but it turns out its his emotion and his charm that really get you. He feels like a real movie star movie star in it.. But The little kid playing the aborigine boy is the one who steals the movie and actually gives a great performance which is rare for a kid actor.. its incredibly emotional and everyone around me was crying. this is a serious epic film. you are in it from the beginning to the end. i found myself sincerely caring about all the characters, meaning mostly hugh and nicole and the little boy. all in all, i was incredibly pleased with this experience and it was a very pleasant surprise. i felt actually quite priviledged that i got to see this movie so long before it actually comes out. its going to be a major to-do when it finally hits theaters. call me what you will but i am the weapon

Parece que mais um nome está em negociações para entrar no elenco feminino de NINE, trata-se de Kate Hudson!!!!!!!!!!! A matéria abaixo fala que Daniel Day-Lewis já está tendo aulas de canto em Nova York e que Marshall já teria selecionado os dançarinos do musical. Ao contrário do que muita gente pensava os ensaios vão começar em Agosto. Kidman and company get a high kick out of Fellini Waves of girls in leotards and black tights kicked out their legs, held up their arms, shook their heads and ended with hands rested firmly on their derrieres. Get in the way of all that long hair flying about and you'd be a dead man. 'That was fantastic, ladies,' Rob Marshall told them. 'Now can you do that one more time and switch lines.' Marshall is the director of the movie Nine, about Guido Contini an Italian director - and something of a Lothario - in crisis and how the women in his life save him. It's based on the stage musical Nine by composer and lyricist Maury Yeston, which in turn is based on the classic film 81/2 by director Federico Fellini. Marshall already has an all-star cast in place but he spent several days in London holding casting sessions for dancing girls, and a few boys. I was allowed to watch him audition 33 women dancers at the Pineapple Studios in Covent Garden. One dancer had flown in from New York, with the rest from Britain, Italy and France, to perform a number called Cinema Italiano. Daniel Day-Lewis has been cast as Guido and was in New York working with two singing teachers, while Nicole Kidman, Penelope Cruz, Judi Dench, Marion Cotillard and Sophia Loren have signed on to play the ladies he loves, in different ways, of course. Kate Hudson is understood to be in talks to join them as a Vogue magazine writer. All will sing and dance. Although her baby is due, as Rob Marshall says, 'any moment', Nicole's role as Claudia - Guido's glamorous British film star muse - will mark her first foray before the cameras after the baby is born. 'Nicole's in incredible shape. Have you seen her? There's hardly a bump,' says Marshall. 'She loves the idea of doing this. It's kind of nice for her first one back that she doesn't have to carry the entire movie on her shoulders,' adds Marshall who made the Oscar-winning movie Chicago. Penelope plays Carla, Guido's mistress. Marion plays Luisa, his wife, and Sophia his mamma, while Judi plays Lily, the British costume designer for Guido's movies. 'Lily is his best friend, and we have a great number for Judi where she fantasises she's a French chanteuse and sings a number called Folies Bergere,' Marshall told me. The movie had been set to shoot at a studio in Montreal, but that was before he had double Oscar winner Day-Lewis. He and Judi share the same London agent and he came by the screenplay written by the late Anthony Minghella (to whom the film will be dedicated). He and Marshall met several times and the actor sang for him. Day-Lewis was clearly smitten with the idea of being in a movie musical, but time was tight. 'Is this something you want to do?' Marshall said he asked him. The actor responded that the deal could work if the film was shot in London. That's how one of the biggest films in years crossed the Atlantic to provide a massive boost for British film-making. Rehearsals will begin on August 4 with songs being recorded in late September and filming to start at Shepperton Studios in October. Marshall, with his longtime-partner John DeLuca, will produce the movie with Harvey Weinstein and his Weinstein Co studio along with Marc Platt. How will he cope with all those leading ladies? He laughed and said: 'I think it's going to be a balancing act. 'I know everyone will be walking in on the first day scared to death, even me. But that's a good thing.' I asked Marshall if Day-Lewis knew how to dance 'Baby, oh, yeah. This man knows how to kick it!' The movie will be set in Rome's Cinecitta studios in 1964, not Venice as in the stage version. 'Vespas and Ray-Bans and beautiful women. It's very Italian, very Sixties and very sexy,' Marshall said, beaming. http://www.mailonsunday.co.uk/tvshowbiz/ar...-Polanski-.html

A edição da Vogue deste mês que traz Nicole Kidman em um ensaio nos sets de Austrália! São quase 16 páginas só para Kidman e o filme de Baz Luhrmann! Algumas montagens da revista: Um pouco da matéria na revista: DAYS OF HEAVEN Returning home to star in Baz Luhrmann's long awaited epic Australia, Nicole Kidman gives an onset interview to John Powers, who talks to the actress about her biggest role yet, having a baby. Photographed by Annie Leibovitz. "Would you like to touch it?" asks Nicole Kidman. I lower my hand onto the rounded curve of her stomach. It's as firm to the touch as a melon. "I just felt some kicking," she says, giving me the look of unbridled delight you might expect from a 40-year-old woman who's soon to bear her first child. "The whole experience is so primal," she says. Our surroundings, most assuredly, are not. We're at the top-floor bar of the Ritz-Carlton in Manhattan's Battery Park and enjoying the healthiest of refreshments, bottled water and a lavish fruit plate from which Kidman—a devotee of red meat—takes everything but the strawberries (she's allergic). It's a clear spring day, and down below us is the harbor that Kidman's husband, country-music star Keith Urban, says looks a bit like her native Sydney. Casually dressed in a tight black pullover and jeans—punctuated by the trademark red soles of her black Louboutin heels—Kidman remains strikingly thin for a woman seven months pregnant. So thin, in fact, that I've heard people say they don't believe she's actually with child. When I mention this, she gives the laugh of one who's learned not to be fazed by all the silly things people think. "Just look at how I'm sitting here with my legs apart"—her knees splay out at a 45-degree angle. "This is the way you have to sit when you're pregnant." Kidman has always been one of those artists whose creative life takes precedence over more mundane concerns. Whenever we've chatted in the past, her head has always been buzzing with movies: She'd start right in talking about a great performance by Cate Blanchett, the brilliance of Stanley Kubrick, or her burning desire to work with some new director from Hong Kong or Denmark. These days, however, her conversation takes a radical new turn. She starts out talking about—country life. "I've been in Tennessee, just sitting," she says. "We have a farm there, and I have an organic vegetable garden. This is a path I'd not taken before. My mum's always gardened. My sister gardens. And I've now conformed to the Kidman women's hobby of gardening. And it is just a hobby. I'm not feeding the troops." She laughs. "There's a softness to the Tennessee landscape that I just love. It's very beautiful out there. We have deer and wild turkeys." Although it takes me a while to adjust to her folksy new interests—I never dreamed we'd be talking about buying a pickup truck—she remains the same Nicole Kidman, one of the most fascinating and complicated actresses currently working in Hollywood. Nobody is cannier about journalists—she remembers the names of reporters who wrote about her two decades ago—and her eyes flash with recognition when she says something she feels sure will wind up in your article. "Nicole is a thoroughbred," says her dear friend Baz Luhrmann, who directed her in his upcoming film Australia. "She is highly strung, highly volatile, highly everything." Her mercurial moods lie close to the surface. She's eager to laugh, unafraid to cry, easy to take offense—she's attuned to the hidden fishhook in every remark. When I casually mention that she's starred in lots of movies in recent years, her mouth tightens: Am I implying that she's too ambitious? Well, no. Once she grasps that I'm actually praising her Old Hollywood work ethic, she instantly brightens and, with her most radiant smile—she carefully offers gradations—welcomes me back into her good graces. This is not a woman who shies away from intensity. These days she's most at ease talking about her children. Kidman already is a mother, of course, and she takes care to sing the praises of her adopted daughter, Isabella, fifteen, and son, Connor, thirteen. But carrying a child is clearly something new and overwhelming. "When I first saw the baby on the ultrasound, I started crying. I didn't think I'd get to experience that in my lifetime," she says. "I like the unpredictable nature of it. To feel life growing with you is something very, very special, and I'm going to embrace that completely. I don't believe in flittering around the edges of things. You're either going to walk through life and experience it fully or you're going to be a voyeur. And I'm not a voyeur." The last time we met, the topic of babies never came up. I'd flown down to the set of Australia, a big, old-fashioned epic, about the soul of the land Down Under in the days leading up to World War II, that's a bit like an Aussie Gone With the Wind. Kidman stars as Lady Sarah Ashley, a refined Englishwoman who comes all the way to the outback to look for her missing husband at their homestead in the Northern Territory. She winds up getting involved with a tough local cattle drover, played by Hugh Jackman, whose closeness to the Aboriginal people has made him something of an outcast. The homestead set had been plunked down in the middle of nowhere, a jolting hour-long drive from the small, dusty town of Kununurra, and conditions were rough. Although the landscape has a beauty that verges on the otherworldly—at dusk, you can watch kangaroos bounding along by the hundreds—it's a dangerous beauty. If the deadly snakes and spiders don't get you, the blazing sun will. The day I arrive, the temperature is perhaps 110 degrees, and even the leather-faced Australian crew is desperately seeking shade on the veranda of the ranch house that's the center of action. Nobody could feel hotter than Our Nicole (as the Aussie press calls her). Playing a character hopelessly unprepared for the scorching climate, she is dressed in a cashmere jacket and skirt. But when she sees me, she instantly walks 100 yards across the desiccated soil to give me a gentle hug: "Oh, John," she whispers, "it's so lovely of you to have come all this way to see us. I'm not quite myself this morning. I was up all night with a bladder infection." I am shocked. Not by the medical update, mind you—Kidman can be surprisingly free with unexpected intimacies—but by her breathy, British accent. Has she gone Madonna on me since we last met? It is only later, as I watch her and Jackman do a scene together, that I realize the truth. She isn't being grandiose. She is simply burrowing her way into the character of Lady Sarah, a character so airily aristocratic that Luhrmann has begun calling his star "Baroness." For Kidman, Australia is a dream project. She gets to perform with Jackman, who thrilled her by being big enough to sweep her up into his arms ("That's movie-star stuff—and I'm not tiny!"). She gets to be at the center of a movie about her country shot in the grand manner of a David Lean—as Jackman says, "There'll never be an Australian movie like this again." Best of all, she gets to reunite with Luhrmann, with whom she's worked several times, most famously on Moulin Rouge! "Baz is not afraid to abandon himself to romance," Kidman says. "He's this very, very big thinker who has this rare, almost childlike naïveté. We all feed off his passion." One of Luhrmann's virtues is that he genuinely likes powerful women. His wife, Catherine Martin (invariably referred to as C.M.), is his collaborator in life and art. It's C.M. who won Oscars for the design and costumes in Moulin Rouge!, and it's she who is giving the Australia production the same level of imaginative intensity. One afternoon she gives me a tour of the homestead, and I'm astonished by her level of planning (if only she could have handled the occupation of Iraq). Everything has been conceived with lavish care, from the cut of Kidman's costumes to the look of the windmill (which, she tells me, had to be aged just so) to the various interior furnishings. "Baz and I feel that viewers can sense the truth of these things even if they don't know they are seeing them. They can feel that the world we're creating is dense." Kidman and Luhrmann share a different kind of affinity—she's at once his Muse and his Galatea—and her faith in him is absolute. "Nicole came over to my house for a Super Bowl party in 2006," Jackman tells me, "and she knew I was talking to Baz about doing the movie. She said, 'You must do it, you must do it.' And I asked, 'Have you read the script?' And she said, 'No, it's Baz. I don't need the script.' " He laughs. "You know, there aren't a lot of A-list actresses who'll sign on sight unseen." Then, too, there aren't a lot of A-list actresses who would so eagerly jump at the chance to experience the rigors of making a film like Australia. "It's the roughest thing I ever had to go through," she says. "The heat is debilitating. I was sitting on a horse once and I remember thinking, Gosh, this is what it feels like before you faint—and then I fainted." She goes on: "There was another time we flew in by helicopter to the Salt Flats—it was like a moonscape, there was just nothing there—and we got caught in a dust storm so bad we couldn't even see. Everybody lived out there for five days in these little silver tents. It was great. That's the adventure. That's why you make movies. It's the equivalent of The African Queen, where they were out in the wilderness and Katharine Hepburn was washing her hair with a bucket. We all want that experience." At moments, that experience feels transcendent. One afternoon I sit with C.M. and Jackman as Luhrmann is preparing to shoot one of the movie's crescendos, in which a hundred horses come charging down to the ranch house. The production is waiting around for "magic hour," which is never more magical than in the outback when the whole world glows with a sumptuous blood-orange light. In the meantime, Luhrmann revs everyone up with his megaphoned encouragements, which sound less like actual instructions than a guy scat-singing phrases to get everyone's emotional level high. Finally, it's a go. The Australian sunlight shines through the dust, the horses come pounding past the ranch house in a thundering roar, and Lady Sarah rushes along the veranda and watches it with rising excitement. When Luhrmann finally yells, "Cut!" everyone is jazzed. "It was worth making this film just to be part of that!" exults Jackman. Throughout the production, Kidman and Urban had made a point of seeing each other every few days. (He even played a three-hour set at a party she and Jackman held for the crew in Bowen, a coastal town 1,700 miles from Kununurra that also served as a location for the film.) It was when the production shifted to Sydney that she discovered, to her joy, that she was pregnant. Although she instantly withdrew from her next film, The Reader ("I really wanted to do it, but I had no choice"), the news didn't stop her from putting in fourteen- and fifteen-hour days on Australia. "Nicole had horrendous morning sickness," Jackman tells me, "but she's a trouper. She put everything on the line every day." It's precisely this quality that Luhrmann finds irresistible. "Most people are marvelously centered when it's calm but uncentered when it's stormy. With Nicole, it's the opposite," he says. "When the storm is raging on the set, or in life, her spirit settles down and finds its complete center. Nicole always does a high-wire act without a net," says Luhrmann, "and even if she sometimes falls, this is what makes her compelling—as an artist and as a person." When I first interviewed Kidman, back in the mid-nineties, her high-wire act seemed focused on her career: She had something to prove as an artist. These days, it's her personal life that's in the process of creation. She's starting to play perhaps the most demanding roles of all: a happy wife and mother. If her previous marriage to Tom Cruise was the meeting of two type-A actors, both driven to succeed, things are looser and easier with Urban: "Keith and I, we're more like, 'Hey' "—she shrugs and gives me a smile filled with a surfer's easygoing mellowness. The two met in January 2005, at an event for Los Angeles's weeklong celebration of Australia called G'Day L.A.—"not exactly the phrase I'd choose for our meeting," she says, laughing—and hit it off. Despite the differences between Hollywood and Nashville, they had a lot in common. Both were Australian entertainers who'd spent their adult lives working in America; both had put in their share of hard time in the tabloids. Added to that, of course, there was the enduring mystery of human chemistry. "We just gently, gently sort of fell into each other," she says. "We were just two lonely people who went, 'Ah, there you are.' " They married a year and a half later in the suburb of Manly, on Sydney's northern beaches. But it is Kidman's fate, and perhaps nature, to lead a baroquely unconventional life, and shortly after their wedding, Urban (who'd battled a cocaine habit in the nineties) checked into the Betty Ford Center. When he emerged three months later, he praised his bride for steering him into rehab, saying it had saved their marriage. These days, she and Urban are never apart for more than five days at a time. "I'm so committed to this relationship, and so is he," she says. "I don't have addiction problems, but love is a very powerful force in my life. It's my fatal flaw and my virtue." And now there's the baby. Pregnancy hasn't diminished Kidman's flamboyant love of a good time—she recently tossed a party at her pal Naomi Watts's house and made a grand entrance carrying an enormous python. Nor has it made her any less mercurial: A couple of days after she tells me that she can't imagine thinking about future film projects, I read that she's developing a biopic of the great, ill-starred British singer Dusty Springfield, written by The Hours's Michael Cunningham. Still, she is no longer the whirring Nicole who once struggled to make the world spin faster. She's become willing to accept serendipity. Which brings us back to her role in Australia. When Kidman decided to do the movie, she did it for Luhrmann and because she knew it was a once-in-a-lifetime opportunity, a romantic, big-budget saga about the home country she loves. What she couldn't have known was that this great symbolic yarn would actually mirror her own destiny. Lady Sarah is a childless woman who enjoys a spiritual rebirth on coming to Australia. Something similar happened to Kidman when she returned home to make this film. And the parallels grow even more mythic. When she found out she was pregnant, Luhrmann reminded her that she was playing a character whose Biblical namesake, Sarah, was a barren woman who suddenly, miraculously, had a child. It's a powerful idea, and Kidman has seen how her own miracle affects the world around her: "My sister has had four kids, and she says that when you're pregnant you draw people to you who are genuinely happy. She's right. It taps into that thing in human nature that is universal and collective and beautiful." Indeed, the whole experience of her pregnancy has filled her with a profound new appreciation of just how rich and mysterious the world actually is: "You can fight life," she says. "You can wriggle and squirm and say, 'This isn't right.' But I'm glad I've learned to let things flow. I'm now so much more capable of receiving love and giving it in a far different way. So to be given the blessing of a child at this stage of my life…you just say, 'Wow, this was meant to be.' " "Days of Heaven" has been edited for Style.com; the complete story appears in the July 2008 issue of Vogue. http://www.style.com/vogue/feature/061708/page2.html

Daniel Day-Lewis é confirmado e os ensaios começam no dia 28 de Julho em Londres!!!!!!!!!!!! "Daniel Day-Lewis Signed for Nine Film; Rehearsals to Start in July; Shooting September" In statements released about director Rob Marshall switching agencies from ICM to CAA, Marshall commented on the Nine movie noting that "I am thrilled to report that everything on my film Nine is moving forward with great momentum. Daniel Day-Lewis' deal was closed last week and we are on schedule to begin rehearsals in London on July 28 with shooting to commence September 29." Day-Lewis replaced the previously attached Javier Bardem who left the project a few weeks ago citing exhaustion. Variety recently confirmed recent casting rumors noting that Penelope Cruz, Marion Cotillard, Sophia Loren, Nicole Kidman and Judi Dench are attached to the film as well. Nine is a musical with a book by Arthur Kopit and music and lyrics by Maury Yeston and is based off of Fredrico Fellini's movie 8 1/2. The play tells the story of a young film maker living in Venice trying to juggle all of the women in his life. The Broadway production, directed by Tommy Tune and choreographed by Thommie Walsh, opened on May 9, 1982 at the 46th Street Theatre, where it ran for 729 performances. The cast included Raúl Juliá as Guido, Karen Akers as Luisa, Liliane Montevecchi as Liliane, Anita Morris as Carla, Shelly Burch as Claudia, and Taina Elg as Guido's mother. Replacements later in the run included Bert Convy and Sergio Franchi as Guido, Maureen McGovern as Luisa, and Priscilla Lopez as Liliane. The musical won five Tony Awards, including best musical. http://www.broadwayworld.com/viewcolumn.cfm?colid=28505

Ela já fez um musical no teatro, parece. Evc está certo Felipe, o filme está previsto para estrear nos EUA na primeira semana de dezembro.

As filmagens de Nine ocorrerão em Londres, à partir de Setembro mesmo. Eis que me deparo com um vídeo da Marion Cotillard no You Tube cantando(ela naum havia cantado em Piaf) : http://fr.youtube.com/watch?v=ssDQ6Jdj9Ik As dúvidas agora são quanto a Penelope Cruz(q tb naum cantou naquela cena famosa de Volver) e Day-Lewis... A Loren e a Judi Dench parece q já fizeram musicais.texer2008-05-28 16:58:16

A alteração que devem fazer é transformar o personagem principal em italiano mesmo... texer2008-05-22 23:19:03

Mais fotos:

Acho que a tendência é o contrário, é bem capaz dela reduzir o ritmo. E em Nine como ela naum será a protagonista , Kidman pode muito bem começar a gravar sua parte em outubro.

O roteiro já está pronto sim, já foi até revisto. Tanto que o Javier Bardem quando saiu do filme, mencionou ter lido o roteiro e gostado muito. As filmagens começam em setembro, minha gente.

O trailer de Australia estará disponível a partir de Segunda Feira na rede!!!!!!!! Todo mundo ligado!

Sim, a Kidman está confirmada, assim como Dame Judi Dench. Se o Day-Lewis aceitar é bom ficar de olho neste filme mesmo, já que o ator é bastante criterioso em suas escolhas... Deve estrear em Dezembro de 2009 nos EUA e aqui só deve pintar em 2010. Tá longe...

Daniel Day-Lewis pode substituir Javier Bardem no musical - 15/05/2008 08:45 O vencedor do Oscar deste ano, Daniel Day-Lewis (Sangue Negro), pode substituir Javier Bardem como protagonista do musical Nine. O ator está em negociações para interpretar Guido Contini, um diretor que passa por uma crise criativa enquanto é perseguido por todas as mulheres que passaram por sua vida. Bardem abandonou o projeto no começo deste mês (leia nota anterior). Segundo a Variety, Nicole Kidman e Judi Dench estão confirmadas no elenco. JÁ ESTOU SUBINDO PELAS PAREDES DE ANSIEDADE POR ESTE MUSICAL!!!!!!! texer2008-05-15 17:14:11

Em recente entrevista, Wong Kar Wai deixou subentendido que ainda tem interesse em realizar The Lady from Shangai, q segundo ele nada tem de remake. Assisti a UM BEIJO ROUBADO este fim de semana, e definitivamente seria fantástico ver Kidman trabalhando com este cara(fora AMOR À FLOR DA PELE o melhor dele!). The Ldy from Shangai ainda é um sonho e parece só depender de Kidman... Estas entrevistas são de 6 de abril!!!!! MG: And what is coming up after My Blueberry Nights? WK-W: Actually, we are working on two projects at this point. One is called The Grandmaster, which is with Tony to play the master of Bruce Lee… MG: Yip Man? WK-W: Yeah! And the other one is The Lady from Shanghai . MG: Will that actually be made in Shanghai ? WK-W: The original idea is to shot the most part of it in Shanghai , apart of it here and in Russia . MG: Is there a cast for that yet? WK-W: It’s with Nicole Kidman. http://www.monkeypeaches.com/080407A.html Capone: Where are you right now with THE LADY FROM SHANGHAI. Where is that? WKW: We are still working on this project. And, we have to work up a schedule with Nicole [Kidman]. And at the same time, we are also working on several projects at this point, projects like THE GRAND MASTER, which is the story about the teacher of Bruce Lee. Capone: So, Nicole Kidman’s still planning on doing LADY FROM SHANGHAI? WKW: Yes, this is my idea to have Nicole play this character. Like MY BLUEBERRY NIGHTS with Norah: she is the reason I wanted to start this project. Capone: Obviously, this isn’t a remake of the Orson Welles' film. WKW: [laughs] No, no, it’s not. The story is about the woman who…It’s a spy story. It took place in the ’20s, from Russia to China and then back in the United States. Capone: You mentioned THE GRAND MASTER. How far along are you with that? It sounds fascinating. WKW: I have been working on this project for 10 years, a story based on true characters. And, it involves a lot of research and practice. Capone: I don’t think you’ve done true story before, have you? WKW: No, no, this is something different from my previous films. Capone: So, a very different kind of preparation? WKW: Yes. Capone: But, you feel like that will happen before or after THE LADY FROM SHANGHAI? WKW: It really depends on the schedule of the cast. Capone: So, you have a cast set for that one, too? WKW: Tony Leung will play the role of the master. Será? texer2008-05-12 16:54:29

Não acredito que Margot seja uma mulher totalmente desprezível, nem os outros personagens de Margot e o Casamento o são. Acredito que o traço marcante deles é a humanidade. São indivíduos falhos, repletos de características negativos, falhas, como todos nós. Margot, por exemplo, é marcada por alguma situação traumática no passado, que apesar de evidenciado no filme naum é tratado diretamente pelo roteiro, seu comportamento é fruto de sua vivência que acabou moldando sua personalidade, e tudo isso ganha cores mais fortes se levarmos em consideração o fato de q ela está passando por um divórcio e etc.

Pergunta do filme Thiago? Margot(Nicole Kidman) se masturbando, tem uma cena tb da Leigh e do Black pelados, além da linguagem. Tem tb uma história de pedofilia e indícios de incesto. Acho que o filme apresenta uma qualidade admirável do Noah Baumbach como roteirista, ele consegue colidir seus personagens em zonas de conflito como poucos conseguem. Baumbach também sabe tratar temas familiares, como fez tb em A Lula e a Baleia, sem parecer piegas. O relacionamento entre Margot e Pauline é desenvolvido com naturalidade e Nicole Kidman e Jennifer Jason Leigh estão fantásticas. O mesmo pode ser dito da ótima performance de Zane Pais como o filho de Margot em plena puberdade e Jack Black(uma grata surpresa no filme). Margot e o Casamento é irônico, amargo, melancólico, comovente e engraçado.texer2008-05-01 15:03:11

Bardem não está mais em Nine!!!!!!! Quem será que eles irão chamar para substituí-lo, pensei em vários nomes como Gael Garcia Bernal(acho-o muito novo), e até no Banderas que já fez o papel no teatro e anda meio esquecido no cinema... 01/05/2008 - 13h48 Javier Bardem deixa elenco de filme musical, diz revista < = =text/> < =1.1 ="http://bn.uol.com.br/js.ng/site=folha&chan=online.ilustrada&size=180x150&page=7&expble=0&conn=1&tile=98883711996513?" =text/> on error resume next ShockMode = (IsObject(CreateObject("ShockwaveFlash.ShockwaveFlash.6"))) if ( ShockMode <= 0 ) then ShockMode = (Is(Create("ShockwaveFlash.ShockwaveFlash.7"))) da Folha Online O ator espanhol Javier Bardem desistiu do papel principal no filme musical "Nine", que será dirigido por Rob Marshall, de "Chicago", para a Weinstein Co, segundo a revista especializada em entretenimento "Variety". Bardem faria o personagem Guido Contini, um diretor de cinema que passa por uma crise pessoal e criativa. Contini tenta balancear o papel de todas as mulheres que o cercam. Bardem informou que gostou do roteiro e da idéia de trabalhar com Marshall, mas que desistiu do papel por estar exausto do trabalho e da temporada de premiações. Penelope Cruz, Marion Cotillard e Sophia Loren devem estrelar a produção. Nicole Kidman e Judi Dench negociam para se unir a elas na adaptação para as telas do musical inspirado pelo filme "Oito e Meio" (1963), de Federico Fellini. Bardem iria filmar a produção no ano passado, mas "Nine" foi adiado devido à greve dos roteiristas.

E tem mais! Se tudo der certo parece que os planos da Fox do Brasil é lançar o filme por aqui no dia 25 de Dezembro ! Mais uma vez Nicole Kidman no Natal!

A coisa naum pára... Agora saíram os podcasts no You Tube! Making of do filme só para aguçar a curiosidade... http://br.youtube.com/watch?v=F9lR5bzxQ0U