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o site oficial foi atualizado, e la consta uma serie de "paises" pra se escolher, entre eles o brasil, com site proprio. é, por aqui vai estrear msm dia 25 de dezembro. passarei mais um natal com a kidman ^_^ (o ultimo foi em "a bussola dourada".

 

 

 

la tem fotos novas tb, e o teaser com qualidade otima!!
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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:img05.jpg

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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
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Pelo menos uma coisa e certa acho que o filme vai concorrrer ao oscar de melhor figurino pois a roupas da Nicole só não esta impecávéis como muito elegante e sem dúvida um espetáculo a parte eu adoro filme de época e boas as linguas dizem que pode ser novo E O VENTO LEVOU  que pode ser considerado muita pretensão mas se chegar perto do clássico eu já fico bem satisfeito.

Gostei das fotos espero dizer o mesmo do casal Jackman e Kidman já ao diretor Lurman acostumado com musicais e fazer edições e montagens modernas de seus longas segura um épico dramatico ?
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Os filmes de de Baz Lurhmann são bem românticos e irreverentes tem um charme bem retro mas gostoso de assistir que venha Austrália

 

 

Foto

 

Mais uma foto do casal, saiu o Russel Crowe mas parece que Jakmam vai dar conta do recado quer dizer da Kidman.

Lindo esta imagem mesclando o horizonte
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é a marca dele, o visual. eu acho q ele consegue muito bem trazer um drama forte, na medida certa. é muito facil um filme como "moulin rouge" ficar brega, mas ele conseguiu colocar todo aquele romantismo, aliado ao visual, de maneira muito original. espero q com esse novo nao seja diferente, sao 7 anos entre um filme e outro, ele deve ter se dedicado bastante!

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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.

 



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

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Austrália: Assista ao novo trailer do épico de Segunda Guerra

Prévia francesa reitera tom grandioso à moda antiga do filme de Baz Luhrmann

03/07/2008

Austrália, o novo épico de Baz Luhrmann (Moulin Rouge), teve um novo trailer divulgado, produzido para o mercado francês. Os letreiros não são problema, porque o tom dramático é reconhecível em qualquer língua

O filme vem sendo comparado ao clássico E o vento levou por seus cenários grandiosos e o teor dramático em meio a acontecimentos dos anos 30 e 40. Os astros, o diretor e o roteirista Stuart Beattie são todos australianos.

A estréia é prometida para 14 de novembro nos EUA e 25 de dezembro no Brasil. fonte Omelete

 

Sem dúvida alguma o filme tem todo a nostalgia das grandes produções dos anos 30 e 40 e a arte Deco falar que Nicole está linda não e novidade agora que ver que tipo de vaqueiro o Jackman vai viver rústico e machão ou caladão e sensível.

 
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Reprodução

Á Entertainment Weekly desta semana divulga esta foto de Nicole Kidman e Hugh Jackman em Austrália!

Ninguém precisa dizer mais nada,né? rsrsrsrsrsrs

Para quem ainda tinha receios e achava pouco plausível a escalação de Kidman para a personagem central do drama, Lady Sarah Ashley é viúva em Austrália, como a publicação revela.
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Disse isto prq muita gente disse que naum iria colar a Nicole Kidman, uma mulher de 40 anos, interpretando uma personagem que normalmente teria escalada uma Keira Knightley, por exemplo. Mas ao que tudo indica a personagem tem a mesma faixa etária da Kidman. Ao que parece o q o Baz vai acentuar na personagem é a transição que ela sofrerá durante o filme, Sarah Ashley passará de uma mulher fria e refinada, além de um pouco sem vida em virtude da viuvez, e assim que conhecer o personagem do Jackman e passar por certas situações, sua vida passa a ganhar sentido e ela se transforma em uma mulher destemida e livre. Ao que tudo indica será interessante acompanhar a composição da Nicole neste sentido e isto tem como reflexo o figurino da personagem, q como vc mencionou nos vídeos pantalaimon, são bastante diferentes do começo para o final do filme. Tem uma série de outros vídeos no YouTube, pantalaimon, onde Luhrmann explica cada processo de criação do filme.

 

Ainda sobre Austrália, a última informação recente(ou melhor as últimas, prq são duas noticias) é que neste fim de semana algumas cenas foram filmadas, sequências que naum puderam ser filmadas lá atrás em virtude da gravidez da Nicole. Como eram cenas que envolviam montaria, cenas de ação, Baz Luhrmann e Kidman acharam por bem deixarem para filmar logo depois da gestação da atriz, por isso que o filme acabou ficando de fora do Festival de Veneza.

Outra nova é que Austrália terá uma premiere disputadissima em Londres, já que o evento contará com a presença da família real. Todo ano o país elege um filme para realizar esta estréia, este ano é Austrália!
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O Novo filme do James Bond acaba de ter sua data de estréia alterada. Irá estrear no mesmo final de semana de Austrália... O q me preocupa bastante...

É muito mais garantido que as pessoas prefiram ver o filme do 007, do que se arrisquem em uma produção que não é uma sequência de franquia como Austrália.11
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eh...

Com relação aos posters, naum acho que sejam trashes(06). Acho apenas que havia uma expectativa maior, já que se compararmos com as fotos divulgadas do filme, são quase cópias.Esperava mais, ainda mais levando-se em conta o trabalho impecável empregado nos teasers de Moulin Rouge!. Mas são apenas teaser posters, portanto fico no aguardo do poster oficial de Australia.

Sobre a qualidade do filme, naum sei o porquê disso Thiago Lucio.Talvez as pessoas ainda estejam na expectativa de ver o Baz dirigindo algo como Moulin Rouge!. Mas Austrália não é Moulin Rouge!, pode ter certeza disto. Há um clima meio western, grandes tomadas épicas etc. Acredito que até mesmo o ritmo frenético do Baz naum esteja neste novo filme. O que me conforta é que em todos os projetos do Luhrmann ele se saiu bem, e cada um acaba superando o antecessor, o que é muito bom!

 

Sobre a mudança, a data de 007 foi alterada devido ao adiamento do filme do Harry Potter para 2009, que deixou uma grande lacuna em Novembro. O que as pessoas estão especulando é que a FOX pode querer mudar a data da estréia de Austrália, ou seja, antecipar ou retardar a estréia do filme. O que isto vai mudar para nós brasileiros naum sei...

 

Antes de ir embora, tem um comentário muito positivo no IMDB de alguém que assistiu a uma sessão-teste do filme na Austrália.

 
texer2008-08-22 00:37:12
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é, vc citou moulin rouge, e ali sim, os teasers erem impecaveis, aqui além dessa foto horrivel de nicole kidman correndo, colocaram esse A trash vermelho, espero q nao seja o do credito, o do trailer tá otimo. detestei todos, espero os posters oficiais!

 

sobre a qualidade do filme me baseio nos outros do baz, e como adoro eles, acho q sera bom aqui tb. to ansioso justamente por ser um filme "diferente" e aparentemente nao conter o ritmo frenetico de "moulin rouge". acho q aqui deve ficar pra dezembro msm, nao deve mudar muita coisa. ;D
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