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A Troca (Changeling), do Eastwood


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John Malkovich será dirigido por Clint Eastwood

- 16/10/2007 14:13


Clint Eastwood vai dirigir John Malkovich (Eragon - foto) no drama Changeling, estrelado por Angelina Jolie. O ator deve interpretar um padre no projeto, que também conta com Jeffrey Donovan (Encontros ao Acaso) e

Colm Feore (O Exorcismo de Emily Rose) no elenco, de acordo com o The Hollywood Reporter.

Donavan será um policial, enquanto Feore vai viver o chefe do Departamento de Polícia. Michael Kelly (Madrugada dos Mortos), Amy Ryan (Capote) e Jason Butler Harner (O Vidente)

também participam do longa. Harner será um mecânico acusado de

assassinar o filho da protagonista, uma mãe interpretada por Jolie.

Malkovich  trabalhou com Jolie na aventura A Lenda de Beowulf, que estréia próximo mês no Brasil.



ano passado, quando o projeto foi anunciado, Ron Howard seria o responsável

pela direção, mas acabou optando por produzir ao lado de Grazer, com

quem trabalhou em grande parte de seus filmes, como os recentes O Código Da Vinci e A Luta Pela Esperança.


A Malpaso

Productions, companhia de Eastwood, também será co-produtora do longa,

que foi inspirado em eventos reais ocorridos em Los Angeles, durante os

anos 1920.









-felipe-2008-10-05 00:48:02

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Bom colega de fórum o filme é dirigido por Clint Eastwood e protagonizado por Angelina Jolie, por conseqüência é natural serem postadas fotos de ambos e do restante do elenco no tópico. Ou você queria fotos de quem aqui?! É curioso esse preconceito, e até ódio contra a Jolie existente nesse fórum. Me surpreende isso, porque vejo em várias partes do fórum um "babação de ovo" exagerada a Julianne Moore, Cate Blanchett, Kate Winslet e Nicole Kidman, por exemplo (gosto de todas) e ninguém reclama. É só falar na Jolie que sempre tem alguém criticando, isso é que está "enchendo o saco". 



R. Deckard2008-02-04 20:24:01
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Entrevista de Clint Eastwood ao Le Monde.




We are at the beginning of May 2008 and the film, shooting of which was completed in November 2007, is not finished yet. Eastwood is completing the mixing. From a folder he produces a photograph of Christine Collins, played onscreen by Angelina Jolie. "This woman haunts me," he says. "She seems rather old at first sight to have a 9 year old child. She is not beautiful, but has an interesting face, an uncommon depth."

From this face, Clint Eastwood draws one of his most ambitious films, in which a banal abduction story is transformed first by a superb portrait of a free woman whose desire for independence is seen as a threat by men, then becomes one of the most convincing recreations of 1920's Los Angeles. The fate of a child holds the key to understanding a city and a time. Los Angeles is more than a city where individuals live & work, but a malignant place, heir to the haunted forests of fairy tales where people disappear amidst general indifference.

In the film Christine Collins pursues the LA police force in front of the courts after the removal of her son, Walter. Another boy who resembled him, an absconder, had been returned as her missing son (Changeling means a substituted child). Christine Collins recognizes that fact but, on the orders of a police officer, is committed to an insane asylum to conceal the truth. "I do not believe there has ever been a golden age in Los Angeles," says Eastwood. He looks at the portrait of Collins one last time before closing the folder. "In any case, not for this woman."

Q: The removal of Walter Collins made great noise in Los Angeles in 1928. What explains its complete absence from the collective memory?

Eastwood: I read the script in the plane bringing me home after a trip to Europe. I liked it very much. The script is complex, because it was split in two distinct parts. The first part with the imprisonment of Christine Collins in an insane asylum, the second with the implication of the Los Angeles police force, and the corruption of a whole city, while revealing one of the most terrible businesses of murder in the history of the United States. Because that's part of the drama of this business. Walter Collins was, among a score of others, one of the kids murdered by Gordon Northcott, a farmer from Riverside county. This criminal case was abundantly covered by the local press. A similar case would make the newspapers and televisions at the national level today, but at that time it was different. I believe that people quite simply wanted to erase this business from their memory. Then there was the crisis of 1929. The population had other problems that needed sorting.

Q: Had a book been written about this business?

Eastwood: Nothing. J. Michael Straczynski, the script writer, found it by chance, thanks to a friend who works at the Los Angeles Times. The newspaper was getting rid of its paper files & his friend immediately recognized the strangeness of the Christine Collins story. Straczynski became haunted by the business.

Q: Do the places still exist?

Eastwood: We went to the farm at Riverside where the murders occurred. It takes two hours in the car from Los Angeles plus the return. It took a good day. The distance was real, that also explains why this fact is not registered in the collective memory. The house hadn't changed, one would have believed that we had gone back in time. It was empty, the windows masked by Venetian blinds. We walked around the property. The hen houses were there where the bodies of all those children had been buried. We knocked on the door, nobody answered. I was disappointed but at the same time, I couldn't see myself announcing to the new owner that 80 years ago all these children had been brutally murdered at his place.

I briefly lived in Los Angeles in 1930, in Santa Monica. My father had found a job in a service station. My sister was born over there. I still have precise memories. The city was smaller, without the least skyscraper. The town hall was one of the highest buildings. It is today one of oldest & we shot there. The downtown area was one of the most frequented, & we took care to show this in the film. Hollywood and North Hollywood were located very far away in the countryside. There were no motorways which connected the downtown area to Pasadena. There was the tram with its red coaches, which runs Angelina Jolie back & forth in the film as she searches for her son. These electric trams traversed the length of the town, & linked Pasadena with Santa Monica.

Q: Changeling looks like a complement to Mystic River (2003). The film shows how an isolated incident, a violated child, contaminated a community for twenty-five years. Here, a missing child is at the centre of the corruption of a city.

Eastwood: Absolutely! The behavior of the police force shows you how a woman was considered; she's an unmarried mother, & nobody takes her seriously. That suggested to me films like Obsession (1944), directed by George Cukor with Charles Boyer and Ingrid Bergman. The latter wonders permanently if she is not insane. Christine Collins was treated thus. I looked at the photographs of her in the company of her false child. She smiles and yet, it is obvious, this child supposedly found by the police force, is not hers. It resembles him only vaguely & his size is wrong.

I read again the depositions of the doctor of the psychiatric asylum where Christine Collins was locked up. I even used certain sentences in the film. This speech on the way in which one considered a woman then, inevitably hysterical, unable of reliable judgement. Christine is in the company of the men who judged with contempt the credibility of this womans claims. The police officer who follows the business and decides to send Christine Collins to the asylum says to her: " Something is wrong with you. You are an independent woman." The time could not accept similar women. This history would never have occurred with a couple.


Q: You were always inspired by the characters of independent women, which explains why you are one of the only directors who can use them as they were in the 1940's with Joan Crawford & Bette Davis.

Eastwood: Angelina Jolie is one of the rare American actresses today who would have made a career in the 1940's. Her face, like her personality, is very distinct, always attractive. It does not resemble anybody else. I also believe that her talent is underestimated; as an actress she is a superb girl. Angelina Jolie registers more in the tradition of Simone Signoret, in which the obvious glamour never erases the very strong personality.

Q: You have systematically chosen actresses who are not Barbie doll types: Jessica Walter in Play Misty (1971), Kay Lenz in Breezy (1973), more recently Hilary Swank in Million Dollar Baby (2004).

Eastwood: It's a question of realism. How credible can the character be if the actress resembles a Barbie doll? For my first film, Play Misty, the studio wanted actresses more in that mode than Jessica Walter for the role of the woman who becomes obsessed by her lover. I liked [Jessica Walter] because she was exactly the type of girl that I imagined being able to accost in a bar. Let us take an extreme case, Lana Turner only in a bar. How to believe a similar thing? Lana Turner, only, in a bar: instantly you are in a Hollywood film. There's no naturalness any more. An actress can release a certain beauty in one of my films, but that's a different thing. Her appeal is due to the characters history, and if it attracts you by her personality.

The interpretation of Angelina Jolie is particularly impressive. She is permanently on the brink of collapse. She knows to be tragic yet avoid the excesses of melodrama.

Q: At the end of Changeling, Christine Collins does not give up the search for her child but simply disappears. This is one of the characteristics of several of your characters - Josey Wales in The Outlaw Josey wales (1976), William Munny in Unforgiven (1992), Frankie in Million Dollar Baby.

Eastwood: I asked for the panes of the bar to be obscured at the end of Million Dollar Baby so one cannot see who was at the counter. Is this Frankie or someone else? This ambiguity I like. I like this unfinished destiny. The script writer of Changelingdid a good job in this respect. There were so many ways of telling this history, but the good idea was to stress that Walter Collins only disappeared. One never found his body, he arrived at the farm but may have escaped & afterward one knows nothing. The last word pronounced by his mother: "hope". One too often seeks to tie down history, I prefer to leave it open.

Q: The sequence of the hanging of the serial killer is very detailed.

Eastwood: If you are in favour of capital punishment, Gordon Northcott constitutes an ideal candidate. In a perfect world, capital punishment could seem the adequate answer to a similar murderer. At least I would like to believe that. Whether you are for or against capital punishment, you must recognize there is something of the barbarian in making the executions public. I seized the reasoning behind such an initiative. You carry out the culprit in front of the family of the victims. Justice is thus made and these people will find a certain interior peace. Yet what peace? After this spectacle, what peace do you hope to find? It is for that I made a point of filming this scene with the greatest realism, the noise of the neck which breaks at the time when the body is balanced in space, the feet shaking at the time of greatest anguish, then the doctor runs to the condemned to note his death. I know it is unbearable to look at, and that was the required effect.

Q: You are the only example of a director making his best films after 65 years of age. How do you explain this longevity?

Eastwood: I know more about this trade than twenty years ago, & I always thought that I had things to learn. As long as that's the case, I do not see any reason to stop. Certain directors of the 1940's, Raoul Walsh, Alfred Hitch**** & Howard Hawks turned at the end of their career to remakes of their greatest successes. This is not for me. I prefer to face a new wave instead of surfing on the same one. That was the lesson of Bird & Honkytonk Man. When you disappear prematurely, you cheat your public. Charlie Parker would perhaps never have done anything again. Or on the contrary, he might have explored other facets of his talent. One will never know and that troubles me. In Honkytonk Man, the character of Red Stovall is inspired by two singers of country, Red Foley and Hank Williams, he related to their self-destruction. I will not compare myself with such artists but I could have stopped. I thought of it twice. After Unforgiven (1992). Then afterwards with Bridges of Madison County. I thought that was perhaps the moment to cultivate my garden and to go drink a good glass of wine. But if I had done that I would have passed on much challenging work. For example, I would never have made Flags of Our Fathers (2006) or made a companion film in Japanese (Letters from Iwo Jima, 2006).

Q: You did not seek to be fashionable.

Eastwood: Especially not! I am wary of the air of the time. I have worked for fifty years in an industry which follows fashion. I hate to be a follower. When I arrived at Hollywood, there was no guarantee I had any future. The films which marked a turning in my career were different than the last fashion, to start with. Nobody believed any more in the traditional western. When I think of Million Dollar Baby and the difficulty I had to assemble it! In Hollywood, everyone knows - thinks they know - which films the public will like. When I proposed the story to Warner who produced almost all my films, they answered: " A film about boxing with a girl in a boxing ring,is a very bad idéa." "This is not a film about boxing, I answered, it is a love story. A father has never known his daughter, a girl has never known her father, and two individuals fill this lack thus. It is just that this drama occurs against a background of boxing." I took the script to Universal. They liked it, but they were producing their own boxing film. I started again with my speech: " Dear Sir, this is not a film about boxing." Everywhere the same response. Warner returned, on the condition that the film was cheap. The irony is that they offered the same contract as for my first film, Play Misty: no wages, and a percentage on the receipts. That made me smile, I said to my agent: " We're right back where we were 30 years ago." I particularly liked my counterpart in White Hunter, black heart. The director, inspired by John Huston, who says to his script writer: "When you make a film, don't allow yourself to be swayed by the people who will see it. Make your film and remains faithful to yourself."

Q: After Changeling?

Eastwood: A small film in July, Gran Torino, about a veteran of the Korean war, set in Michigan, who has not adapted to the modern world. It was originally set in Poland about Polish immigrants but it ended up changing, after certain meetings. I will play the main role. At the beginning of 2009 I go on to a biography of Nelson Mandela about the years separating his coming out of prison with his election as head of South Africa. What I'm interested in is how an individual maintains the cohesion of his country while supporting those people who once placed him in captivity.


Fonte: angelinajolie.com/forum


Changeling estréia dia 20 de maio no Festival de Cannes.



Eastwood e Jolie no Festival de Santa Barbara, em Fevereiro.

R. Deckard2008-05-18 19:12:59
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The Changeling = The Exchange?




Angelina Jolie vira "leoa" em filme de Clint Eastwood


Angelina Jolie está de volta à Croisette. Diferentemente da semana passada, em que ela apresentou um filme de animação, desta vez o motivo da presença é o filme “Changeling” (título provisório), de Clint Eastwood. Baseado em uma história real ocorrida em 1928 na Califórnia, o longa conta a história de uma mãe que tem o filho seqüestrado e “supostamente” devolvido meses depois. “Supostamente” porque Christine, a personagem vivida por Angelina, sabe que o garoto devolvido não é o seu e inicia uma batalha contra o corrupto sistema de polícia de Los Angeles para tentar recuperar seu verdadeiro filho. 


“Como mãe, não consigo imaginar nada pior do que perder um filho. Mas diferentemente do que sou e faço hoje, a personagem é uma mulher dos anos 20 e tem de lidar com a repressão. Tive de encontrar um outro modo de responder à essa questão, diferente de como responderia hoje”, disse a atriz em entrevista coletiva realizada nesta manhã em Cannes logo após a exibição do filme.


Angelina acrescentou que o papel de Christine a fez lembrar sua mãe, que faleceu meses antes das filmagens. “A personagem era como minha mãe. O modo que ela cuidava dos filhos era quase o de uma leoa. Foi um modo de revisitar minha mãe e um processo muito saudável para mim”, disse.

Para Eastwood, apesar de centrada em um episódio real de 1928, a história de corrupção na Polícia de Los Angeles é cíclica. “Parece que a cada duas ou três décadas, o LAPD passa por revoluções internas ligadas a essas atividades de corrupção”, lembrou Eastwood. “Mesmo que muitas coisas tenham mudado na polícia de LA hoje, essa história é um grande estudo das características humanas. Essa mulher, com sua atitude, derrubou todo um departamento de polícia e fez com que o prefeito não fosse reeleito. É a voz de uma pessoa, que poderia ser considerada minoria na época, uma única mulher lutando contra toda uma cidade”, concluiu.

O tema principal do filme, segundo ele, é a busca da protagonista pela verdade sobre o desaparecimento do seu filho. “A verdade é a coisa mais importante da vida. O objetivo de qualquer história é chegar a uma verdade. É a grande virtude do planeta e o que faz todo drama interessante”, defendeu o diretor de “Changeling” - que, nesta manhã, subitamente ressurgiu batizado de “The Exchange”. Por que a troca? - Perguntou um repórter ao final da coletiva. “‘The exchange” ou ‘Changeling’. São só nomes que foram escritos, mas não são a verdade”, brincou o diretor. E nós, jornalistas, ficamos à espera dela…

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Quotando do tópico de Cannes, quote mais que merecido:



Segundo o blog da Bahiana:





As primeiras impressões do novo filme de Clint Eastwood são consistentes: mais um golaço do mestre.Ou' date=' como diz a Variety,

"continua a impressionante produção da fase madura de sua

carreira.(...) Começando com um pequeno incidente, o filme habilmente

constrói todo o panorama social e político de Los Angeles nos anos 20".

Em tempo: até onde apurei, o título ainda é Changeling. The Exchange é a tradução literal do título em francês."


Será que o cara é um verdadeiro mito do cinema? Carreira de

sucesso como ator durante uma vida repleta de filmes, para então na

melhor idade dirigir os melhores filmes de sua época? Pode parecer

exagero, mas Eastwood será (ou é) um nome para sempre!



Big One2008-05-20 11:04:11

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Taí um filme que que tem tudo mesmo para ser bom um cineasta no auge da idade e genealidade pois Eastwood está como um bom vinho quanto mais curtido e maduro melhor e uma bela atriz que conseguiu o seu espaço no cinemão americano e um tema pesado e atual violência infantil e corrupção policial são 2 coisas asquerosas mas que infelizmente fazem parte do nosso cotidiano   

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Jolie, Brad Pitt e Eastwood voltam ao tapete vermelho de Cannes

"Changeling", do diretor de "Sobre meninos e lobos", concorre à Palma.
Filme é passado em Los Angeles do final dos anos 20.

Do G1, em São Paulo ico_email2.gifentre em contato


Saiba das últimas de Cannes no Blog da Redação, com o enviado especial do G1 ao Festival. Clique aqui.



Angelina Jolie com o diretor Clint Eastwood e o marido Brad Pitt no tapete vermelho de Cannes para a exibição de "Changeling", de Eastwood, que concorre à Palma de Ouro. Leia mais sobre o filme aqui. (Foto: AFP)




Brad Pitt, Angelina Jolie, Clint Eastwood e sua mulher, Dina, posam para os fotógrafos nesta terça-feira (Foto: Reuters)


Fonte: globo.com

R. Deckard2008-05-20 16:04:15
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Clint Eastwood's "The Exchange" Clip

05-22-2008 (11:00:32)



upcoming Clint Eastwood-directed mystery film "The Exchange,"

previously titled "The Changeling," has premiered at the Cannes Film

Festival and we now have the first clip featuring Angelina Jolie

reuniting with her son. Here is the official plot synopsis:


In the film, Christine Collins' (Jolie)

prayers are met when her kidnapped son is returned. But amidst the

frenzy of the photo-op reunion, she realizes this child is not hers.

Facing corrupt police and a skeptical public, she desperately hunts for

answers, only to be confronted by a truth that will change her forever.



Angeles, 1928: On a Saturday morning in a working-class suburb,

Christine said goodbye to her son, Walter, and left for work. When she

came home, she discovered he had vanished. A fruitless search ensues,

and months later, a boy claiming to be the nine-year-old is returned.

Dazed by the swirl of cops, reporters and her conflicted emotions,

Christine allows him to stay overnight. But in her heart, she knows he

is not Walter.


As she pushes authorities to keep looking, she

learns that in Prohibition-era L.A., women don't challenge the system

and live to tell their story. Slandered as delusional and unfit,

Christine finds an ally in activist Reverend Briegleb (John Malkovich),

who helps her fight the city to look for her missing boy. Based on the

actual incident that rocked California's legal system, "Changeling"

tells the shocking tale of a mother's quest to find her son, and those

who won't stop until they silence her.





Click here to check out the clip


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Data de estréia do thriller de Clint Eastwood com Angelina Jolie

- 10/06/2008 10:17

A Universal Pictures
definiu a data de lançamento do thriller

dirigido por

Clint Eastwood. O longa chega
aos cinemas nos Estados Unidos em 24 de outubro deste ano.

Segundo a Variety, durante o Festival de
Cannes o longa foi apresentado com o seu título em francês,

The Exchange, o que causou
especulações sobre uma possível mudança de nome.

Ainda sobre o longa, duas fotos oficiais
foram divulgadas. Clique nas figuras para ampliá-las.



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Sábado, 30 de Agosto de 2008

Jason Butler Harner rouba beijoca de Angelina Jolie em Changeling

Mas olha só que safadzinho! =D



Leonardo "Morph" Alcalde






Tudo bem que a Jolie tá com um jeitão de tia véia na imagem acima, caracterizada como sua personagem em Changeling. Mas seja lá como for… Ao ver esse biquinho, qual é a PRIMEIRA coisa que vem à sua cabeça que não envolva atos penianos?

Eu, particularmente, penso em tentar engolir parte da face da mamãe de Shiloh. E ao que parece, esse pensamento é compartilhado por Jason Butler Harner, truta que também atua no filme. A diferença primordial é que ele, ao contrário de você, bolildo que está lendo isso, teve a chance de fazê-lo. E FEZ!

O lance aconteceu na cena em que Christine Collins’ (Jolie) está dando uma prensa em Gordon Stewart Northcott (Harner), onde ela pergunta prostituta da vida se ele teria matado seu filho. Pronto, só isso constava no script. Mas Jason, safadão como poucos, momentos antes da cena ser rodada, perguntou para o diretor Clint Eastwood se ele poderia improvisar um pouquinho. Clint, outro sacanão, disse ‘Faz lá e a gente vê o que acontece.‘. Descrição do momento de prazer (ohó!) nas palavras do sr. Jason:

Ela me deu um tapa, me segurou e me bateu. Foi demais! Ela embarcou na improvisação. Ela é realmente inteligente. Ela é linda, mas é realmente inteligente, e é uma grande atriz.

Ou seja, foi algo do tipo “Você finge que tá me beijando de mentirinha e eu finjo que não tô socando tua cara de verdade“. =D

Considerando a fodacidade d’A Boca que o cara beijou, eu diria que um ou dois tapinhas como pagamento foi um negócio da China. Lucky bastard.

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Changeling: Assista ao trailer do novo filme de Clint Eastwood

Prévia de cinema detalha a trama do drama de época


Depois da consagração recente com Cartas de Iwo Jima, A Conquista da Honra e Menina de Ouro, o incansável Clint Eastwood retorna com o elogiado suspense policial Changeling, que os críticos no Festival de Cannes chamaram de "Sobre Meninos e Lobos mais complexo". O primeiro trailer sai agora.

A prévia, que depois da Internet vai para os cinemas, tem 2m14s e explica a trama.


Na história, Angelina Jolie vive uma mulher cujo filho é sequestrado, mas logo devolvido à família. O problema é que ela suspeita que a criança não é a dela, o que a leva a enfrentar a corrupção no departamento de polícia de Los Angeles. Os eventos são baseado num caso da década de 1920 ocorrido por lá.

John Malkovich, Jeffrey Donovan, Colm Feore, Jason Butler Harner, Amy Ryan e Michael Kelly também estão no elenco. A produção é da Universal Pictures e Imagine Entertainment e tem roteiro de J. Michael Straczynski, conhecidíssimo dos fãs de quadrinhos pela passagem em Homem-Aranha e a HQ Rising Stars. Ele também é criador da série de TV Babylon V.

A produção estréia em 24 de outubro nos EUA. No Brasil, em 16 de janeiro.fonte Omelete

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Trailer do drama dirigido por Clint Eastwood - 12/09/2008 09:16

changeling_trailer.jpgO drama Changeling, novo trabalho do diretor Clint Eastwood, teve seu trailer liberado pela Universal Pictures.

O filme é centrado em uma mulher, vivida por Angelina Jolie, que tem o filho seqüestrado. Quando o garoto volta para a casa, porém, a mãe começa a suspeitar de que ele não é o seu filho.

E parece que Jolie vai passar por mal momentos e Clint continua firmão na direção.
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John Malkovich no Festival de Deauville, na França

Ator era só sorrisos durante a exibição do longa 'Changeling'


Todo fofo, John Malkovich não hesitou em agradar os fãs que foram até a cidade de Deauville, costa noroeste da França, para ver de perto alguns artistas durante o tradicional festival de cinema da cidade. Malkovich passou por lá para divulgar "Changeling", dirigido por Clint Eastwood e que também tem no elenco ninguém menos que Angelina Jolie.

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