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Um Bom Ano

Sophie Aubrey

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Caros Amigos,




O Cinema em Cena já tem página aberta para este filme cuja direção será de Ridley Scott e talvez conte com o Russell Crowe no elenco.


http://www.cinemaemcena.com.br/not_cinenews_filme.asp?cod=32 65




O filme é baseado no romance de Peter Mayle e já tem tradução para o Português, para quem estiver interessado em ler, Um Bom Ano.




Aqui também a página oficial no IMDB:


http://www.imdb.com/title/tt0401445/Big One2006-09-25 00:58:31

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Isto me foi mandado num e-mail de uma amiga minha na França, de acordo com o jornal Le Parisien de hoje Russell e família já estariam na França para o início das filmagens em 29 de agosto, a filmagem teria uma duração de 8 semanas na cidade de Luberon. Albert Finney está no elenco e outro ator de "Erin Bronkovich", Aaron Eckhart também. Marion Cotillard (de "Big Fish" com Albert Finney, world is small!) interpretaria o papel feminino central e Roussell interpretaria Didier Bourdon, este um ator francês muito conhecido lá por sua particiapação no humorístico "Les Inconnus".




O livro de Peter Mayle já está à venda no Brasil em lingua Portuguesa.




Se eu conseguir o link do jornal retorno aqui para postá-lo.

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Não consegui o link mas tenho a tradução da matéria em Inglês:








Lately, young French actresses attract a lot of attention from American and British film directors. While Audrey Tautou is currently working with Ron Howard and Tom Hanks on Da Vinci Code, we have just heard that Marion Cotillard with play opposite a big Hollywood star: Russell Crowe. Crowe owes his fame to Gladiator, the film directed by Ridley Scott. The same director has chosen Marion Cotillard to act alongside Russell Crowe in ‘A Good Year’, a film adaptation of British writer Peter Mayle’s novel which was published in France under the title ‘Un bon cru’.




The casting lasted several weeks-Vahina Giocante and Eva Green auditioned as well- but finally Ridley Scott, who will also produce, chose Marion Cotillard for the leading female role. The action takes place in the Luberon where filming will start on Aug.29. Shooting should last 8 weeks. The Gladiator star, his wife Danielle and their baby have already arrived. The actor prepares himself actively for the movie, which he is said to consider important for his career.




Russell Crowe plays Max, a British finance executive, hunted by debts up to the day when an attorney notifies him that he has inherited a large wine property in Provence. Helped by a friend, Aaron Eckhart (Julia Roberts partner in Erin Brokovich), he travels to the Luberon to discover his property. There he meets a distant US cousin, Marion Cotillard’s part, with whom a love relation will start (ed note from Anne: it seems that a word is missing in the article and it looks like they got the story wrong or maybe some script rewrite??? - From Murph - Wouldn't she play the French attorney?). Didier Bourdon will also join the cast and will play the wine grower who took care of the property in a very odd way.




Two years after her first US film, The Big Fish of Tim Burton, this is a very good opportunity for Marion Cotillard to pursue an international career. Speaking English fluently, she can now act in big US movies. However, Marion won’t forget her French roots: after the Ridley Scott film, she will act in ‘La Môme’ where she will play Edith Piaf.






E também do Hollywood Reporter, Agosto 23, via Coming Soon:






A Good Year for Marion Cotillard




Source: The Hollywood Reporter August 23, 2005




The Hollywood Reporter says French actress Marion Cotillard will play the lead opposite Russell Crowe in Ridley Scott's A Good Year, based on the novel by Peter Mayle.




Written by Marc Klein, the film is about failed London banker Max Skinner (Crowe) who moves to Provence to tend a vineyard he inherited from his uncle, played by Albert Finney. There he encounters Cotillard's character, a beautiful California woman who says she is a long-lost cousin and lays claim to the property.




Cotillard starred in Tim Burton's Big Fish and Jean-Pierre Jeunet's A Very Long Engagement. She can next be seen in Abel Ferrara's Mary, set to hit the Venice-Deauville-Toronto circuit next month.

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Para aqueles que querem conhecer um pouco mais do local das filmagens na Provença, aqui um link sobre Luberon:






Também de acordo com o Hollywood Reporter de 24 de Agosto, Tom Hollander está também se juntando ao elenco:


http://hollywoodreporter.com/thr/film/brief_display.jsp?vnu_ content_id=1001019836




'A Good Year' for Cotillard




Marion Cotillard has signed to star opposite Russell Crowe in Ridley Scott's "A Good Year," based on the novel by Peter Mayle. Tom Hollander also will join the cast, which includes Albert Finney, Aaron Eckhart and Didier Bourdon. Scripted by Marc Klein, the film is about failed London banker Max Skinner (Crowe), who moves to Provence, France, to tend a vineyard he inherited from his uncle (Finney). There, he encounters Cotillard's character, a beautiful California woman who says she is a long-lost cousin and lays claim to the property. Hollander plays a pompous, scheming real estate broker. Cotillard, a French actress best known for her roles in Tim Burton's "Big Fish" and Jean-Pierre Jeunet's "A Very Long Engagement," also stars in Abel Ferrara's "Mary," set to hit the Venice-Deauville-Toronto circuit next month. (Shiraz Sidhva and Tatiana Siegel).

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Abbie Cornish se junta ao elenco de A Good Year, de acordo com o The Sunday Telegraph, da Austrália, 04/09/2005:


The Sunday Telegraph




The year of living famously - Sandra Lee




September 4, 2005


ABBIE Cornish is about to break into Hollywood big-time after winning a leading role in the new Russell Crowe movie being filmed by hot-shot director Ridley Scott in France.




The 23-year-old actress from the Hunter Valley began filming A Good Year, in which she plays a young American girl, on Monday.




Cornish has been hailed as one of Australia's rising stars after winning the best actress award for her performance in Somersault at the Australian Film Industry's love-in last year.




She also received a standing ovation at the Cannes Film Festival when Somersault was screened last May.




"She has a nice role on this gig," Crowe told me in an e-mail from France. "She'll do great; working with Ridley Scott is a perfect way to start her international career."




Crowe should know. He won his best actor Oscar for Gladiator under Scott's directorship.




Cornish auditioned for the role, according to her agent, Belinda Maxwell, putting paid to scuttlebutt last year that she pulled out of the lead role opposite Crowe in Eucalyptus because she refused to do a screen test.




She is also about to be seen in Irresistible with Susan Sarandon, and in Candy with another Oscar winner, Geoffrey Rush, and orange-peeler Heath Ledger.




Página da Abbie Cornish no IMDB:










Birth name


Abbigale Cornish




Date of birth (location)


25 December 1982


Newcastle, New South Wales, Australia






5' 8" (1.73 m)




Mini biography


Abbie Cornish grew up on her parents 170 acre farm in the Hunter Valley town of Lochinvar with her 3 brothers and younger sister. Abbie started modeling at age 13 because she was "bored". Her first acting job was at age 15 on the Australian Broadcasting commission series "Childrens Hospital" playing a quadriplegic.





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Olá amigos,




De acordo com o site "Freddie Highmore Online", Freddie Highmore, que já trabalhou em "A Fantástica Fábrica de Chocolate e Finding Neverland, se encontra na França filmando A Good Year, onde fará o personagem do Russell Crowe, Max Skinner, em sua infância.










I recieved a letter (in reply to one I sent him), from Freddie today and in it he sadly confirms the bad news that he will no longer be in the film 'Awful End'. However, the good news is that he has confirmed that he will be appearing in 'August Rush' and has also been in France filming another movie, called 'A Good Year', where he plays the young version of Russell Crowe's character. The film will be released in 2006 so that is excellent as it means we haven't got as long to wait for another Freddie movie. Learn more about it by clicking here. Also, look out for some pretty special updates on the site either today or later in the week.

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O filme tem atores de peso, um fantástico diretor, uma estória ótima, adorei o livro. Tenho certeza de que teremos uma ótima comédia.




De acordo com o jornal Calculta Telegraph/India:


http://www.telegraphindia.com/1051030/asp/look/story_5405808 .asp


a atriz Archie Panjabi está também na produção:




Prime time




Archie Panjabi, to my mind the best Indian actress in Britain, is currently filming in A Good Year, which is an appropriate title because she has had a pretty good year. The film, directed by Ridley Scott and based on a book by Peter Mayle, is about an investment banker (played by Russell Crowe) who swaps London life for a vineyard in France.




In late November, Archie will be in Jaisalmer and Jodhpur for an Italian film.




She is in The Constant Gardener, which will go on general release on November 11. Based on John le Carre’s novel, it stars Ralph Fiennes and Rachel Weisz and is spoken of as a possible Oscar contender.




Last week, Archie was in A Very Social Secretary, a television dramatisation of the events surrounding David Blunkett’s affair with Kimberly Fortier, the American publisher of The Spectator magazine. Blunkett (played very convincingly by Bernard Hill) was home secretary then — he is now back in the Cabinet as secretary of state for work and pensions.




The writer of the drama, Alastair Beaton, admitted it was “a deliciously heady mixture of sex, politics and power”. An outraged Blunkett tried unsuccessfully to stop the broadcast on Channel 4 on the grounds that his privacy was being invaded.




Poor Blunkett, cruelly ridiculed as wham, bam, thank you, ma’am, in bed, must feel humiliated. His hopes of succeeding Tony Blair as Labour party leader have effectively been destroyed.




“David’s having an affair,” the PM tells his wife at one point in the play.




“Beckham?” asks Cherie.




“No, Blunkett,” says Blair.




When Blunkett has to step down as home secretary, he asks Blair who will replace him. Seeing Blunkett grimace at the mention of Charles Clarke, Blair adds hastily: “Let’s face it, no one’s going to want to sleep with him.”




I am unsure whether the process of democracy is enhanced by plays like A Very Social Secretary. Perhaps it would be worth emulating the experiment in India.




Archie is superb as “Ashley”, a political aide who is a composite of several characters and about the only one who is sympathetic to a blind man.




Archie, who has been in Bend It Like Beckham and East is East, confides: “I like doing Indian things but sometimes it’s nice to do something not Indian.”




Aqui também temos uma ficha dela no IMDB:



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O filme já terminou de ser rodado, agora é aguardar pela data de lançamento e demais informações.




Por hora, temos nova atualização na sua página de casting no IMDB:






Directed by


Ridley Scott    




Writing credits (in alphabetical order)


Marc Klein   written by


Peter Mayle   novel




Cast (in credits order)


Russell Crowe .... Max Skinner


Mitchell Mullen .... American Man


Marion Cotillard .... Fanny


Albert Finney .... Uncle Henry


Tom Hollander   


Didier Bourdon .... Roussel




rest of cast listed alphabetically:


Valeria Bruni Tedeschi .... Nathalie auzet


Isabelle Candelier .... Ludivine duflot


Abbie Cornish .... Christie roberts


Freddie Highmore .... Young Max

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Coloco aqui matéria da Hello Magazine sobre o filme com duas fotos do Russell Crowe como Max Skinner:










Russell turns English gent for Provençal tale




Russell Crowe has cast aside his tough-guy image and donned a pinstripe suit for his latest film. The Oscar-winning actor leaves behind the hardman persona of recent movies to play a London investment banker in A Good Year, set in France's picturesque Provence region.




Having often adopted an American accent in the past, the Australian star is set to imitate the clipped English tones of a city gent in his latest flick. In the comedy, penned by Peter Mayle of A Year In Provence fame, Russell's character Max unexpectedly inherits a vineyard.




For the film Russell is reunited with Ridley Scott, who steered him to Oscar glory with Gladiator in 2000. The director knows Provence well as he owns property near the set in the town of Gordes.

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Esqueci de mencionar também que está indefinida a data de lançamento do filme, a data anteriormente colocada aqui já não consta mais no IMDB, mas como disse anteriormente, as filmagens se encerraram em 05 de novembro e este é o atual status no IMDB:








[b}Production Notes/Status:


Status: Post-production


Comments: Filming just wrapped in London


Status Updated: 7 November 2005


Note: Since this project is categorized as being in production, the data is subject to change; some data could be removed completely.






Lembrando também para quem quiser fazer uma boa leitura com diversão, o livro já tem versão em Português: Um Bom Ano, de Peter Mayle e pode ser encontrado nas livrarias aqui no Brasil.



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A primeira foto oficial do filme, no site francês Cine Empire (http://www.cinempire.com/multimedia/A-Good-Year/stills.html ):








Lista atualizada do elenco no IMDB:






Russell Crowe .... Max Skinner


Mitchell Mullen .... American Man


Marion Cotillard .... Fanny


Albert Finney .... Uncle Henry


Tom Hollander .... Charlie


Didier Bourdon .... Roussel


rest of cast listed alphabetically:


Valeria Bruni Tedeschi .... Nathalie auzet


Isabelle Candelier .... Ludivine duflot


Abbie Cornish .... Christie roberts


Giannina Facio (atual esposa do Ridley Scott) ...   


Freddie Highmore .... Young Max


Archie Panjabi .... Gemma






De acordo com um fórum do Hollywood Stock Exchange, o filme deverá ter estréia nos Estados Unidos em 07 de Abril:








Tudo o que acontece com o Russell Você poderá encontrar aqui, em Português, no Russell Crowe Daily Planet!



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Apesar de o filme estar com data de lançamento para Abril como marca o IMDB, é mais provável que só saia no final do ano:










Segundo a edição de Março da revista britânica Empire, o filme deverá estrear em outubro. Aqui página do filme na seção "Future Films"












Russell Crowe Daily Planet, um blog em Português sobre o Russell!








Sophie Aubrey2006-2-26 18:42:39

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Algumas de datas de lançamento do filme lá fora já aparecem no IMDB:






Finland 10 November 2006


USA 10 November 2006


Germany 30 November 2006




Do jeito que nós somos sortudos com os filmes do Russell, não ficaria nada espantada se só vissemos o filme em 2007!






De qualquer forma para quem não quiser esperar, vale a pena ler o livro em que o filme se baseou, eu recomendo, já temos a edição em Português e é baratinho, leitura deliciosa.




Um Bom Ano, pela Editora Rocco, autor Peter Mayle, veja mais informações sobre o livro aqui no link do Submarino:


Link para Sumarino!




Peter Mayle prega os prazeres da carne, do peixe e da ave, sempre acompanhados do vinho adequado. Seu novo livro, Um Bom Ano (A Good Year, 2004), é mais um mergulho do autor inglês no universo de Provence, sul da França, um lugar de paladares, aromas e paisagens capazes de elevar o espírito e mudar a vida das pessoas. A vida no caso é a de Max Skinner, que se transforma radicalmente quando ele troca o estressante mercado financeiro londrino por um vinhedo francês. O personagem passa por uma crise profissional e tem como uma das poucas alegrias cotidianas as lembranças de infância de suas viagens à França para visitar a propriedade do tio Henry. E é justamente nessa fase complicada de sua carreira que Max descobre ter herdado do tio o chateau, construído no século XVIII em Provence, e o vinhedo de 40 acres. Max pega dinheiro emprestado de seu amigo Charlie e parte para a encantadora região da França com a cara e a coragem, só para descobrir que se tornou proprietário de um lindo edifício muito necessitado de reparos e de uma marca de vinho da pior qualidade.






Visite Russell Crowe Daily Planet, meu blog em Português sobre o Russell!

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Atualizada página de datas de lançamento deste filme no IMDB:








Country Date


Finland 10 November 2006


UK 10 November 2006


USA 10 November 2006


Argentina 23 November 2006


Germany 30 November 2006


Russia 4 January 2007






E uma formiguinha me contou que a estréia aqui no Brasil será no dia 01 de Dezembro, com distribuição pela Fox!




E como ainda temos tempo, que tal escrevermos para a Fox Brasil e pedir a eles que façam uma premiere aqui no Brasil com a presença do Russell? Não custa nada a tentar, a união faz a força.




Escrevam para: [email protected]






Visite Russell Crowe Daily Planet, meu blog em Português sobre o Russell!

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Entrevista do Russell e Ridley no site da Entertainment Weekly, datado de hoje:






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.





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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






Published: July 9, 2006






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."




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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."

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