Jump to content
Forum Cinema em Cena

Austrália


texer
 Share

Recommended Posts

  • Replies 500
  • Created
  • Last Reply

Top Posters In This Topic

É, e pelo visual já vale; esperi que o filme quebre a barreira do preconceito contra tramas calcadas no romantismo, que eu mesmo possuo; em "Moulin Rouge" me contorcia todo com aquele banho de açucar, aprendi a gostar mais do filme com os tempos.

Dia 10, semana que vem, segunda, na GNT deve passar na semana que vem já também. ;D
Link to comment
Share on other sites

O Baz deve estar criando expectativas...

O programa da Oprah com a Kidman e o Jackman irá ao ar nos EUA no dia 10 de Novembro! Vamos ficar atentos...

 

texer, tu que é especialiasta em Baz/Kidman, isso aconteceu com os outros filmes dele também, segurá-lo o maior tempo possível?

 

E sobre a premiere texer, na comunidade da Kidman no orkut falaram em dia 08 de dezembro, depois da estréia?06Será?
pantalaimon2008-11-03 06:47:52
Link to comment
Share on other sites

O Baz deve estar criando expectativas...

O programa da Oprah com a Kidman e o Jackman irá ao ar nos EUA no dia 10 de Novembro! Vamos ficar atentos...

 

texer' date=' tu que é especialiasta em Baz/Kidman, isso aconteceu com os outros filmes dele também, segurá-lo o maior tempo possível?

 

E sobre a premiere texer, na comunidade da Kidman no orkut falaram em dia 08 de dezembro, depois da estréia?06Será?
[/quote']

 

Deve ser a premiere de algum lugar que terá a estréia depois da estréia americana, naum?

 

Bom, Moulin Rouge! teve um processo de pré-produção, filmagem e pós-produção super-demorado, repleto de cansativas repetições de cena que levaram o Baz e toda a sua equipe à exaustão. O filme esteve no Festival de Cannes em Maio de 2001, antes da estréia americana marcada para Julho, portanto antes mesmo da estréia já tínhamos uma idéia do q os críticos acharam do musical.

 

Austrália parece ter passado por um processo muito mais cansativo que Moulin Rouge!, vale lembrar ainda que o filme é, em sua maioria, rodado em externas(MR só foi em estúdio). A Kidman ficou grávida durante a produção, o q fez com q o Luhrmann adiasse por um período determinado as filmagens de sequências que envolviam cavalos(pelo risco q poderia ser para a atriz). A última cena do filme foi filmada agora em Agosto de 2008.

 

O Luhrmann tem fama de perfeccionista e costuma se envolver em todas as áreas do processo criativo de seu filme, tudo mesmo(produção, roteiro, trilha sonora, figurino, maquiagem, direção de arte, fotografia e, principalmente edição), o q faz com que a pós-produção seje exaustiva mesmo. Li em uma entrevista que várias versões de edição são feitas até que ele consiga encontrar o resultado ideal e pretendido de suas cenas, portanto são repetições e mais repetições na sala de edição.

 

Com MR naum aconteceu o q está acontecendo com Austrália prq ele teve mais tempo até...

Naum sei se vcs se lembram mas Austrália era para ter sido exibido no Festivald de Veneza, mas acabou ficando de fora pelo fato da equipe ainda naum ter filmado as cenas q exigiam montaria.

 

PS: Eu entendido do Luhrmann? Que nada...06

Sou apenas um grande adimirador do trabalho do australiano. Devo a Moulin Rouge! o meu despertar para o que o cinema já ofereceu de maravilhoso para nós mortais, Kubrick, Hitchcock(filmografia q ainda pretendo completar), P.T.Anderson e tantos outros. MR me despertou para a maturidade cinematográfica e para o trabalho da Kidman. Nessa época meu paladar cinematográfico começou a se sofisticar, digamos assim...06
texer2008-11-03 13:16:37
Link to comment
Share on other sites

Você não é especialista?Depois desse tratado, 06.

 

Sério, eu não sabia disso, que a última cena foi gravada em Agosto desse ano; O.O'''''''. E eu achando que a Kidman tava só curtindo o filho, pena.

 

Sobre a Oprah, infelizmente vai demorar pra passar na GNT, acho que é de 1 MÊS a diferença de programas, uma pena, irei recorrer ao velho e eficaz orkut.

 

Falaram na premiere de Londres, dia 08 de dezembro, deve ser isso então. A premiere nos EUA/Austrália é pra acontecer em duas semanas no máximo, então, corra Baz.
Link to comment
Share on other sites

How we made the epic of Oz

Baz Luhrmann talks about weaving romance, mythology and injustice against the Aboriginal people into his widescreen vision of Australia.

Australia

Wizards of Oz ... Nicole Kidman and Hugh Jackman in Australia

Everything I make starts very personally. At the time I committed to this project, my wife and I were living in Paris. We'd just had our children and the big question for us was: where is their home?

For a long time, I'd been planning an epic work. My first attempt was Alexander the Great. I had an extraordinary cast, including Leonardo DiCaprio and Nicole Kidman, and a script by David Hare. We even built a studio in the northern Sahara. But a rival version of the story was being made [by Oliver Stone] and the whole thing was turning into a Hollywood race. After a few years of developing the piece, I withdrew and started thinking about doing something closer to home.

We flew out to Broome, a town in Western Australia where the desert meets the ocean. It's one of the most beautiful places anywhere. I haven't seen every sunset in the world, but I would be surprised if there are better sunsets than there are in Broome. That was four years ago, and every day since then has been committed to making this film.

Historically, epics are set in Africa or Asia or the Wild West, but if you make an epic today it's hard to disassociate from the contemporary realities of those places. Australia, to the rest of the world, is just far away, and Australia in the Thirties was the faraway of the faraway.

At the beginning of Out of Africa, there's a funny moment when Meryl Streep says: 'I'll go anywhere: America... Ceylon... I would even go to Australia. Well, perhaps not Australia.' It's just so damn far away. And it's still available to be evocative and exotic, like Casablanca was in the Forties. We have the landscape for an epic, too, and the big historical events to shape it around. The country is just vast. Even its name is big.

I started the project with six months of researching general Australian history. I was looking for the canvas to play out a story, so really the film could have been set at any point - at one stage I was looking at the First Fleet [the 11 ships that set sail from Britain in 1787 to set up the first colony in New South Wales] - but there were a few specific issues I wanted to explore. One was our relationship with England, the parent country, and why, when Australians have self-confidence in so many areas, do we not have the confidence for self-governance? Another was to do with Australia's indigenous population.

By choosing to set the film between the two world wars, I was able to bind the historical romance to what really is the greatest scar in the history of this country: the Stolen Generation [the thousands of mixed-race Aboriginal children forcibly removed from their families by the state and assimilated into white society during the 20th century]. It was a miracle to be making the film with so many Aboriginals and members of the Stolen Generation in the film and working on it with us. Just as we finished filming, the Prime Minister [Kevin Rudd] came out and delivered the long-awaited and much-needed apology to the Stolen Generation, which has put us on a road of change.

The film is called Australia but it's not in any way meant to be a definitive expression of this country. [The story follows the Australian adventures of an Englishwoman, played by Nicole Kidman, who attempts to save her husband's land in Northern Territory with the help of the Drover, a rough-hewn cattleman played by Hugh Jackman.] Everything in the film is drawn from reality and factual research, but all of it is in service of a greater romantic gesture. It's a mythologised Australia. Out of Africa is not really about Africa, it's about a woman's journey and a time in her life when she is rediscovering her emotional self. There's something of that in this film. The title is a metaphor for the largeness of Nicole Kidman's character's experience and the extraordinary journey she goes on.

I've always loved the old epics that tell a simple emotional story, whether it's the tumultuous relationship between Rhett and Scarlett or Lawrence of Arabia's passion to get lost in a faraway place.

The surfaces of these films appear extremely simple, but their undercarriages are incredibly complex. They were made up of comedy, romance, tragedy and drama. These epics were cinematic banquets, whereas most films today are like sushi, focusing on individual flavours.

It's all about definition now. You are a 17-year-old boy, so you will like action. You are an office girl? You will like Sex and the City. You are an older male? You will like drama. There's nothing wrong with that at all, but there used to be a cinematic form that wasn't about what was so different about us, so much as what was the same about us. These epics sweep everybody up in them as a cinematic event.

I used to think I was all about small audiences that excluded people I felt weren't into the arts, but now I'm extremely challenged by the idea of including everyone. If a 20-year-old sits in the same row as a 50-year-old, or, goodness forbid, the disparate members of a family go to watch it together, I'll feel that we've achieved something. When I started making Australia, we were in unsettled times. Now we've gone beyond unsettled times. I'd like to think that this kind of film, with the potential to bring people together, is useful in times like these.

History tells us that every now and then there's a major rupture and the world shakes itself down and the order changes. I'm sure that the economic shocks we've experienced recently are just the tip of the iceberg, but I see things in a positive way. I believe, for instance, that America will be at its zenith, culturally, as its power declines. The focus will shift from the power of money to things of human importance. I'm immensely optimistic about rebirth and I feel, through the journey of this film, which is about growth and rebirth in a time of massive change, that I've had an experience like that and that I'm ready to embrace the future.

Making an epic today is a big burden and a frightful ambition to try to pull off. The shoot itself [which took place in Queensland, Northern Territory and New South Wales, in addition to Western Australia] was pretty epic. I seem to be wedded to calamity, to quote Shakespeare, and I thought Romeo + Juliet was my Apocalypse Now, with hurricanes and kidnappings and all of that. Moulin Rouge! had its own problems and this film was beset by a whole lot of stuff, but I'm quite impervious to it now.

They'd say: 'You know it's raining for the first time in a hundred years in the desert?' and I'd go: 'Oh yeah?' Or: 'The entire country's horses are in lockdown over equine flu,' and I'd go: 'Hmm, maybe we should do this other thing today.' If there's a catastrophe, it's just another day at the office.

My life has been about people saying: 'Ballroom dancing will never be popular again' or 'Shakespeare can never be number one in the US box office' or 'The musical will never be a form of cinema again.' I don't go around thinking, 'What's the most unfashionable thing I can find?' because let me tell you unfashionable things aren't easy to get made. Every day I think to myself, 'Why didn't I just say yes to Harry Potter the first time?' It would have been fun, but that's just not my road. I think the reason I end up doing these things that appear to be unfashionable is because I had some connection with them when I was younger.

I grew up in a small country town in New South Wales, where we had a petrol station and a farm. The man who sold us petrol ran a cinema. He died and my father knew how to work a projector, so for a few months we ran the cinema and I could see every movie. It had a great effect on me. Because we were a regional cinema, we showed a lot of old stuff and re-runs - I remember Lawrence of Arabia had been re-released. And The Wizard of Oz, which is watched by the little indigenous boy in this film, was probably an influence from when we had the cinema. Every director is profoundly affected by the films they see when they are very young. They leave an indelible mark, and I think to a certain degree they are subconsciously there in everything that I do.

When I make a film, people don't seem to talk about the film itself. Instead, they say: 'How can he mix genres and styles like that?' or 'How can that cinematic language be credible?' One expects it with this film, too, because, although I draw the DNA very directly from the epic tradition, this isn't a carbon copy.

Will I be accused of reinventing the epic? Only if it works. If it doesn't, I'll be accused of wasting a lot of time and money. The cinematic language is not like in the Red Curtain trilogy [strictly Ballroom, Romeo + Juliet and Moulin Rouge!], but it's not naturalism. I think you'll see the influences of those movies I've loved, but it will also be something of its own. It's a very difficult thing to achieve.

I stupidly said I'd make a trilogy of epics. If I ever do work again, I'll probably do something short and pop and very immediate before I leapfrog into a larger work. Just because you need a change of pace. But those larger works are definitely there and I'm definitely trying to develop them.

Making this film has radically changed my perspective on Australia. The number one thing that has changed is my understanding of the indigenous people of this land. Every privilege I could have had in that experience was there. When we found the Aboriginal boy for the film, we had to spend time with his family and go on walkabout. You can talk all you like about landscape having power over you, and I'm not a very spiritual person in that regard, but it really happened to me.

I've come to understand just how vast the country is and how the people who feel at the centre of the country are at the very edge, while the people who are in the centre are on the edge: edgy people.

But more than anything, even though we will continue to spend time living in places such as New York and Paris, Australia is now officially called home. That, for us and our children, is the really great gift of the film.

http://www.guardian.co.uk/film/2008/nov/02/baz-luhrmann-nicole-kidman-australia
BrnoSoares2008-11-03 22:47:26
Link to comment
Share on other sites

Casting Australia

Nicole Kidman 'Nicole and I had talked about making an Australia picture for a long time,' says Luhrmann. After Moulin Rouge! (2001), Kidman starred in his only other directorial outing in the seven-year hiatus before Australia, an extravagant promotional film for Chanel. When he started working on the new film, Luhrmann debated whether to cast Kidman in the lead role. 'When something seems so obviously right, I always go against myself. But it's not that common to find a player who can do high comedy and high tragedy, who can be a fantastic actor as well as a great movie star. She was just right for the film. She's very professional and very human.'

Russell Crowe First choice to play the Drover. 'Russell's a friend and one of the greatest actors there's been, but he has a hugely complicated life and it was hard pinning him down. Every time I was ready, Russell was in something else, and every time he was ready, I would be having another turmoil.'

Hugh Jackman Luhrmann cast Jackman in Crowe's place. 'I hadn't known Hugh that well, but the moment he put on the Drover's moccasins and picked up the whip there was no question. This film just took off at that moment. There will be a few surprises in the film but I think the number one surprise will be Hugh.'

Link to comment
Share on other sites

Australia: Where is It?

It's pretty unusual for a film that is opening on November 26 not to have been screened yet, anywhere. Actually, last month Oprah's audience got to see an unfinished print without final visual effects--but no press has seen it. (Oprah airs on November 10th.)

"We're not missing a deadline," insists one Fox PR exec. "Let's get the movie open on the 26th. We can't wait to show it."

Fox admits that Baz Luhrmann is hanging onto the movie until the last possible moment before it premieres November 19 in Australia. The L.A. press junket originally scheduled for November 14-15 has been pushed back to the 20th and 21st. L.A. screenings start Wednesday the 19th; New York begins showing the film the Monday after the junket. The New York premiere is November 24. Australia opens wide stateside on Thanksgiving weekend, Wednesday November 26. The December schedule is intense, with Hugh Jackman, Nicole Kidman and Luhrmann working hard; Fox is screening Australia for the Variety and LAT screening series, and the Screen Actors and Producers Guilds.

Fox doesn't yet know the official running time, something between two hours and 30 and 40 minutes (about the same as The Curious Case of Benjamin Button).

Here's a batch of advance press from Australia:

The Australian

The Age

The Herald Sun

And the Guardian talks to Luhrmann, while the NYT offers a glam slideshow.

Link to comment
Share on other sites

Ele tem sido rotulado sempre, como ele mesmo diz, por fazer filmes aparentemente "foras de moda", revivendo genêros, mas acho que é sincero, também não vejo ele pensando estrategicamente nisso;"Já fiz isso, revivi aquilo, agora é hora de fazer uma coisa totalmente diferente". E não entendo o preconceito da maioria contra o filme, mesmo. Eu não subestimaria o Baz, e é claro, existe um risco muito grande, e tem a questão do orçamento, imenso, mas, como esses "épicos" estão em desuso, acho que torna a coisa muito original, muito boa, muito excitante, não vejo a hora de ver o filme, e ainda bem que o Russel saiu, eu detesto ele, prefiro muito mais o Hugh, e a Kidman é mais um excelente motivo para ver o filme, ela deve estar maravilhosa, como sempre.

Link to comment
Share on other sites

 

Escrito em:4/11/2008

E AUSTRALIA, HEIN?

 

09%281%29.jpg

Obviamente, não o país – que vai sempre bem,obrigada, lugar maravilhoso que é- mas o filme de Baz Luhrman?
Esse, eu ouço há tempos, não vai nada bem. Há montadores trabalhando freneticamente para resolver o que o diretor chama de “a mecânica da narrativa” (hummm... mau sinal... quando o defeito é na “mecänica”, melhor trocar toda a caixa de embreagem...).  Há uma estréia prevista, em Sydney, para 19 de novembro, com a premiere americana dia 26 (o que pegaria o gordo feriado de Ação de Graças). Mas nem mesmo Luhrman acredita que isso seja possível.... E os ruídos que ouço da sala de montagem são metade resmungos, metade risadas...

Fonte: Ana Maria Bahiana
Link to comment
Share on other sites

Apenas saberemos da qualidade de Austrália quando saírem as primeiras críticas. Redundante o que eu falei, mas é a verdade. Porém é sempre mau sinal quando o diretor e o estúdio escondem um filme, ainda mais este com orçamento milionário e com uma das maiores estrelas de Hollywood (Nic Kidman, lógico) como protagonista. O tempo dirá...

 

Imagens do longa

 

australia_22.jpg

 

australia_24.jpg

 

australia_18.jpg

 

 
Link to comment
Share on other sites

É, o fato de ninguém ter visto ainda é estranho, MUITO estranho, fora isso não vi nada de errado. Fotos excelentes, trilha boa, elenco ótimo e trailer maravilhoso; tecnicamente impecável, Kidman soberba nos vídeos, sem a cara de plástico que todos falam; o resto é implicância dos que torçem contra, somente. Já que demorou até aqui sem nada, quero só as críticas na semana da estréia mesmo, falta pouco. Pena que só verei 2 meses depois, porque é o filme mais esperado da temporada por mim, será duro esperar, principalmente se todos falarem maravilhas.

Link to comment
Share on other sites

Eu vou começar a parar de ler este tipo de matéria, como a da Ana Maria Bahiana(sempre tendenciosa) que semana passada publicou no mesmo espaço q Changeling era um dos projetos mais badalados desta temporada... Alguém q publica isso tem algum respaldo?07

 

Tb quero muito ver Changeling, já q crítica naum significa nada e o Eastwood quando quer consegue ser bom ,além de ter a Jolie no elenco... Mas é fato q o filme já foi para as cucuias, no Oscar(creio eu, já q a gente nunca sabe), as críticas  oscilaram ...
texer2008-11-04 19:58:17
Link to comment
Share on other sites

Algumas novidades sobre a campanha promocional de Austrália...

 

A Nicole deu uma pequena entrevista recentemente para o programa de rádio do Ryan Seacrest para divulgar Austrália, nada muito inédito nas palavras de Nicole, mas é sempre bom ouví-la(08).

http://ryan.kiisfm.com/main.html

 

Kidman também estará no David Letterman do dia 24 de Novembro, outro para ficarmos atentos...

 

Além disso a atriz e Hugh Jackman estarão no The View, porém em dias separados, a Nicole no dia 28 de Novembro e o Jackman no dia 5 de dezembro(para quem naum sabe, The View é aquele programa americano com a Whoopi Goldberg que parece o Saia Justa daqui do Brasil).

 

Além disso, está confirmadíssimo o especial da Oprah sobre Austrália no dia 10 de Novembro.

 

Outra coisa, parece que Kidman, Jackman e elenco terão premiere quase que simultãnea de Austrália nos EUA e Austrália. Primeiro em Sidney e imediatamente os atores pegam um vôo para Los Angeles ou NY.13

 

 

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

Loading...
 Share

Announcements


×
×
  • Create New...