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3:10 To Yuma! - "Os Indomáveis"


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Amigos, eu tenho um blog sobre o Russell!

 

 

 

É o Russell Crowe Daily Planet, todo o dia sempre primeiro com as últimas sobre o Russell e seus filmes, e o que é melhor, em Português:

 

http://ivani.lima.blog.uol.com.br/

 

 

 

Temos também um trailer novo e também um videoclip no Yahoo Movies, numa página especial para o filme:

 

http://movies.yahoo.com/feature/310toyuma.html

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Primeira Crítica Negativa do filme, vinda do blog Takes on Hollywood do jornal OC Register, 18/08:

 

http://barry.freedomblogging.com/2007/08/18/310-to-yuma-misses-by-3-hours-and-10-minutes/

 

 

 

“3:10 to Yuma” - Misses by 3 Hours and 10 Minutes

 

August 18th, 2007 · 10 Comments · posted by bkoltnow

 

 

 

The new Russell Crowe-Christian Bale Western “3:10 to Yuma” is no “High Noon.” It’s not even “3:10 to Yuma,” referring, of course, to the original 1957 film with Glenn Ford and Van Heflin.

 

 

 

Although there are some interesting moments in the remake, which hits theaters on Sept. 7, I did not find a ring of truth to any of it. The action scenes that were supposed to be intense seemed dull, and mano-a-mano dialogue came off phony.

 

 

 

In the interest of fairness, I should note that an early review by Daily Variety’s Todd McCarthy was close to a rave. He saw it differently than I, and perhaps you should judge for yourself if you are a fellow lover of the Western genre.

 

 

 

For those of you who are not familiar with the original, Crowe (pictured above) is a very bad man. He robs stuff. And he kills people. He leads a band of cutthroats who are even badder than him. Bale is a timid settler who is about to lose his farm. He’s already lost the respect of his family. When Crowe is captured, Bale volunteers (for $200) to help deliver him to the 3:10 train to the prison in Yuma. Crowe’s gang is determined to stop the posse before it gets to the train.

 

 

 

As I said, I don’t think it comes close to the original, and certainly is not in the same league as the great Western “High Noon.”

 

 

 

And while we’re on the subject of Westerns, I was wondering which are your favorites? I’ll show you mine, if you’ll show me yours. I’d love to hear from you.

 

 

 

In no particular order, my favorite Westerns (with apologies to “Shane,” Stagecoach” and “The Searchers) are as follows:

 

 

 

“High Noon”

 

“The Ox-Bow Incident”

 

“The Man Who Shot Liberty Valance”

 

“My Darling Clementine”

 

“Gunfight at the O.K. Corral”

 

“The Fastest Gun Alive”

 

“The Gunfighter”

 

“Unforgiven”

 

“The Magnificent Seven”

 

“Silverado”

 

 

 

Visite o Russell Crowe Daily Planet, meu blog sobre o Russell e seus filmes, todo o dia sempre o primeiro com as últimas e o que é melhor, em Português:

 

Russell Crowe Daily Planet!

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Previsão É Que Yuma Seja Vencedor das Bilheterias no Seu Fim de Semana de Estréia: Pelo menos é a conclusão à que chega o site Slash Film:

 

http://www.slashfilm.com/2007/08/20/early-box-office-tracking-war-nanny-diaries-mr-bean-september-dawn-310-to-yuma-shoot-em-up/

 

 

 

analisando os filmes que estarão estreando no mesmo fim de semana nos Estados Unidos.

 

 

 

Early Box Office Tracking: War, Nanny Diaries, Mr. Bean, September Dawn, 3:10 to Yuma, Shoot ‘Em Up

 

 

 

Posted on Monday, August 20th, 2007 at 1:38 am by: Steve Mason

 

 

 

This coming weekend (8/24-26) offers 5 movies, and 1 of them stands out in early industry tracking. WAR (Lionsgate), from rap video director Phillip J. Atwell (he’s worked with 50 Cent, Xzibit and Eminem), is at just 45% Total Aware, but its Awareness with Males Under 25 is 64%. The Let Li/Jason Stathan action flick has the best Definite Interest of the 5 new releases with a decent 36%. Again, Under 25 Males lead the way as 42% say that they are interested. If Lionsgate plays this right with 2,200 screens and a late TV push, $10M-$12M is likely and $15M is a possibility.

 

 

 

MGM/Weinstein’s THE NANNY DIARIES has a Total Aware of 55%, but 67% of Females Under 25 and 72% of Females 25 Plus know about it. Based on the bestselling novel by Emma McLaughlin an Nicola Kraus and starring Scarlett Johansson, Laura Linney, Chris Evans and Paul Giamatti, this picture has a slight chance of an upside surprise, but with Definite Interest is at just 21% (Males Under 25 – 6%, Males 25 Plus – 10%, Females Under 25 – 34%, Females 25 Plus – 23%) it looks like it’ll open somewhere between IN THE LAND OF WOMEN ($4.7M) and BECAUSE I SAID SO ($13.1M).

 

 

 

I can’t quite figure out who the audience for MR. BEAN’S HOLIDAY (Universal) and SEPTEMBER DAWN (Slowhand Releasing). On just under 1,600 screens, the Rowan Atkinson comedy has dim prospects with that deadliest of tracking scenarios – good Awareness (61%) with low Definite Interest (19%). Hard to imagine more than $5M-$8M for this HOLIDAY. Meanwhile, Jon Voight is the star of the late summer feel-good period Morman massacre film from Slowhand. 850 screens is very ambitious, but probably not warranted. SEPTEMBER DAWN’s Total Aware is just 17%, its Definite Interest is 13%, and it has a 0% First Choice. This one is doomed to a $1M-$3M opening.

 

 

 

The tracking isn’t especially food for Yari Film Group’s RESURRECTING THE CHAMP starring Josh Hartnett, Samuel L.Jackson, Alan Alda and Teri Hatcher, but this Rod Lurie-directed film is getting spectacular reviews reminiscent of last summer’s Yari pic THE ILLUSIONIST. This awards-caliber movie is hitting 1,550 locations Friday, and its 35% Total Aware and 26% Definite Interest will improve thanks to a slew of positive reviews. CHAMP has a chance to score in the $4M-$7M range for its opening 3-day.

 

 

 

Variety has weighed in on 3:10 to Yuma (Lionsgate), and it’s a good solid review from Todd McCarthy with raves for Russell Crowe, Christian Bale kid actor Logan Lerman and Peter Fonda. Meanwhile, Michael Rechtshaffen from the Hollywood Reporter is also very positive.

 

 

 

3:10 TO YUMA is set for wide release on September 7, but New Line’s SHOOT ‘EM UP, starring Clive Owen, Paul Giamatti and Monica Belucci, is also going wide that day and seems to have more early traction in industry tracking. SHOOT ‘EM UP is at 25% Awareness (Males Under 25 – 36%, Males 25 Plus – 27%, Females Under 25 – 19%, Females 25 Plus – 17%) compared to 20% for YUMA (Males Under 25 – 18%, Males 25 Plus – 33%, Females Under 25 – 11%, Females 25 Plus – 18%). The New Line action pic wins in Definite Interest in a walk 32% (Males Under 25 – 35%, Males 25 Plus – 37%, Females Under 25 – 23%, Females 25 Plus – 26%) to just 23% for the western (Males Under 25 – 20%, Males 25 Plus – 27%, Females Under 25 – 17%, Females 25 Plus – 20%).

 

 

 

It’s still 2 1/2 weeks until this showdown happens with “guns a blazin’,” but right now SHOOT ‘EM UP has the edge. My hunch is that more reviews like those of McCarthy and Rechtshaffen will drive a late surge in the tracking and still lift YUMA to a weekend win.

 

 

 

Visite o Russell Crowe Daily Planet, meu blog sobre o Russell e seus filmes, todo o dia sempre o primeiro com as últimas e o que é melhor, em Português:

 

 

 

 

 

Russell Crowe Daily Planet!

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Site CHUD Critica Atuações de Chistian Bale – Em artigo hoje no site, clique aqui, o crítico elogia Russell mais critica as atuações de Christian no Cinema: “Após assistir Yuma, eu posso imaginar Russell no papel do Christian Bale, interpretando um fazendeiro sem um pé cuja vida duramente lhe deixou sem esperanças e com uma leve chance para um dia se tornar herói, mas eu não posso imaginar Bale no papel do Crowe, interpretando um fora da lei que saboreia sua maldade e tem igual prazer desde atirar em Pinkertons (acredito ser algum tipo de ave) e ir para cama com as garçonetes. Eu não posso vê-lo porque Bale não tem um sorriso de verdade, e porque Bale não tem uma piscada em seus olhos. Bale não tem graça.”

 

 

 

Achei um tanto injusto a crítica, o Christian é um ótimo ator e tem seu estilo assim como cada ator tem, e talvez ele ainda não tenha feito um personagem um pouco mais risonho porque talvez até o momento não tenha chegado em mãos um roteiro digno de. Poxa, falar assim é esquecer do filme Adoráveis Mulheres com a Winona Rider.

 

 

 

Texto original aqui:

 

http://www.chud.com/index.php?type=news&id=11493

 

 

 

THE DEVIN'S ADVOCATE: CHEER UP, CHRISTIAN BALE

 

08.20.07

 

By Devin Faraci

 

After watching 3:10 To Yuma, I could imagine Russell Crowe in the Christian Bale role, playing a one-footed rancher whose hardscrabble life has left him without hope and only one slim chance to ever be a hero, but I couldn’t imagine Bale in the Crowe role, playing an outlaw who relishes his badness and takes equal pleasure from shooting Pinkertons and bedding barmaids. I couldn’t see it because Bale doesn’t have a real smile, and because Bale doesn’t have a twinkle in his eye. Bale doesn’t have fun.

 

 

 

I’m not sure if I’ve ever seen an actor more drawn to grimness and torment and darkness than Christian Bale. His filmography is filled with po-faced sufferers; the few characters in his oeuvre who smile tend to be sociopaths like Patrick Bateman in America Psycho or Jim Luther Davis in Harsh Times. Even Arthur Stuart, the young man at the center of the gayest time in British history (in all possible meanings of the word) in Velvet Goldmine is far more tormented than the glam rockers with whom he surrounds himself. Had Bale played Curt Wild the character would have probably been more Bauhaus than The Stooges.

 

 

 

It’s this endless grimness that has made me come to dread seeing Bale’s name in a film’s credits. It’s not that he’s bad in these roles, it’s just that the repetition has become grinding. I know what Bale’s going to give me every single time, and lately it’s just getting worse as I see him playing opposite actors who imbue their characters with some mischievous life, like Hugh Jackman in The Prestige or Colin Farrell in The New World. I just can’t imagine Bale playing those roles, at least not with the same kind of glint and glimmer and liveliness that those actors did. In Bale’s hands Robert Angier and Captain John Smith would have been much more somber, much less magnetic. This self-inflicted typecasting is going to have a baleful effect on the man’s career.* Hell, I’m pretty sure that Bale’s part in the excellent and intriguing looking Bob Dylan fractured funhouse mirror biopic I’m Not There is Dylan post-motorcycle crash, when he was born again – the single least playful and fun part of the man’s life.

 

 

 

I think it’s this uber-seriousness that has made Bale so popular online while keeping him from becoming a real star in the mainstream world**. There’s an element of self-denial in every Bale character – Arthur Stuart is a miserable libertine, and Patrick Bateman may well have imagined it all – and I think that there’s a certain segment of the online community that doesn’t like people who have fun. Or at least fun on their terms, which leaves out swaggering, confident macho types like Farrell or Crowe, two actors who have outshone Bale in their collaborations (I think most online types are OK with Jackman because they sense he’s not quite that macho after all). I don’t know that either actor is actually technically better than Bale, who apparently takes his craft so weirdly seriously that he does press for films using the accent he had in the film, but they’re certainly tons more fun to watch, and they’re definitely the kinds of guys I would want to hang out with. There’s a different rabbit hole to be followed here, where we investigate the monkish and prudish tendencies of online types, but it’s Bale’s pizzazz-free acting style that appeals to these types.

 

 

 

What Bale needs to do is to find a funny role, and not one that plays on his type – ie, don’t play the serious guy who gets neck-deep in comedic shenanigans. He shouldn’t play the straight man. He shouldn’t play a guy who only smiles because there’s a serious wiring malfunction in his brain. He shouldn’t play a guy who has killed, could kill or who looks like he’s contemplating killing you right now. And I think he has to play a role like this before he tackles a role where he’s playing Just A Guy, because the second Christian Bale pops up in a film as a husband or a Senator or the local school teacher, I’m assuming something heavy and creepy is coming along with him. It’s hard to imagine a Christian Bale character having a nice day, let alone a regular life.

 

 

 

Of course I get the impression that Bale doesn’t really care about all this. These are the choices he’s making, and not yet the ones into which he’s being forced. Of course, that could be the next step for him if he’s not careful; Bale has yet to earn the kind of critical and awards acclaim that sets him aside as A Serious Actor, and without that mantle, he might find that the roles being offered will make his Shaft villain seem nuanced. Stuck in the no-man’s land between being a movie star and being a widely respected and lauded thespian, Bale’s in danger of being yet another talented actor who finds himself being the biggest name a B movie can afford.

 

 

 

My plea to Christian Bale is to lighten the fuck up. A couple of years ago I was thinking that you were on the cusp of being one of the great actors of your generation, but you’ve stuck yourself into a rut just as surely as Cuba Gooding Jr has, and at least that motherfucker has an Oscar with which to console himself. You’ve established yourself as an actor interested in being serious, now spread your wings and try something new. Surprise me for once.

 

 

 

*See what I did there?

 

 

 

** Also, he seems to be drawn to genre type projects that are either fucking awful, like Equilibrium, or gimmicky, uncommercial and eventually unsatisfying, like The Machinist (a film to which I was too kind when it was released).

 

 

 

 

 

 

 

Visite o Russell Crowe Daily Planet, meu blog sobre o Russell e seus filmes, todo o dia sempre o primeiro com as últimas e o que é melhor, em Português:

 

Russell Crowe Daily Planet!

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. Russell e Brad Pitt Em Duelo – Este é o título do artigo de hoje da famosa colunista do Sydney Morning Herald, Christine Sams, que já se encontra em Los Angeles para a cobertura da premiere do filme, clique aqui.

 

http://www.smh.com.au/articles/2007/08/19/1187462065107.html

 

 

 

No artigo ela comenta que Russell e família estão à caminhos dos Estados Unidos para uma pesada agenda de compromissos para promover o filme, que o filme de Brad Pitt (O Assassinato de Jesse James) também terá a sua estréia mundial no Festival de Veneza (que acontece a partir de 22/08) e cuja estréia nos Estados Unidos acontecerá em 21/09, 15 dias depois da estréia de Yuma: “Quem irá vencer como o cowboy de Hollywood ninguém sabe, mas 3:10 To Yuma de Crowe já tem falatório para indicação ao Oscar estampado por todos os círculos em los Angeles.” Seria bom que Yuma estreasse aqui antes do filme de Brad que abre aqui em 05/10.

 

 

 

 

 

Brad and Russell in gunfight

 

 

 

Christine Sams in Los Angeles

 

August 20, 2007

 

 

 

Russell Crowe is in a cowboy showdown with Brad Pitt, as Hollywood's major movie studios unleash their pre-Oscar hopefuls in the US.

 

 

 

Crowe, whose movie 3:10 To Yuma is out on September 7, is expected to head to the States in the next fortnight for an intensive red-carpet promotional tour.

 

 

 

While westerns have all but disappeared from cinemas over the past two decades, Crowe is leading a gun-slinging resurgence with his cowboy role opposite Christian Bale.

 

 

 

Director James Mangold has already been talking up Crowe's performance, saying: "There's only a handful of guys who could pull off this combination of savage rage and brilliant charm."

 

 

 

"Russell's got that in spades," Mangold told reporters in Los Angeles.

 

 

 

Only two weeks after Crowe rides back into big-screen prominence, Brad Pitt's film, The Assassination Of Jesse James By The Coward Robert Ford, will be released in the States on September 21. Pitt's film will have its world premiere at the Venice Film Festival (which runs from August 29 to September 8) at about the same time Crowe's film is due out in the US.

 

 

 

Just who will win the Hollywood cowboy stand-off is anybody's guess, but Crowe's 3:10 To Yuma already has "Oscars buzz" stamped all over it in LA circles.

 

 

 

Crowe, who has spent much of the year in Sydney, made his most recent appearance on Australian television in South Side Story. He'll be back in the Hollywood swing of things very soon, with his wife, Danielle Spencer, and sons, Charles and Tennyson, likely to accompany him to the US.

 

 

 

 

 

Visite o Russell Crowe Daily Planet, meu blog sobre o Russell e seus filmes, todo o dia sempre o primeiro com as últimas e o que é melhor, em Português:

 

Russell Crowe Daily Planet!

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CinemaBlend Dá 4 Estrelas - Clique aqui:

 

http://www.cinemablend.com/reviews/3-10-to-Yuma-2541.html

 

 

 

A a crítica Alexandra Calamari hoje: “Suba a bordo da refilmagem deste antigo western onde o diretor James Mangold anda sobre a linha entre a escuridão e a luz num conto de redenção belamente filmado. Sim, gema, outra refilmagem de um outro filme clássico de Hollywood, mas Mangold adiciona 30 minutos e uma inteira nova dimensão ao original, o qual, vamos dizer a verdade, somente os fãs loucos de Elmore Leonard já o viram.” ....

 

 

 

“3:10 To Yuma me pegou quando contrapôs Christian Bale e Russell Crowe, dois dos mais intensos atores em Hollywood. Eu antecipei um final como tão irritante como o final de Tombstone no Corral OK, e na maior parte do tempo, eu estava satisfeita. A trama é tão excitante quanto é complexa, levando à um novo nível para os westerns típicos por anuviar a moral dos protagonistas centrais.” ....

 

 

 

“Mesmo com a leve decepção do final, o filme caminha através de fantásticas atuações. Christian Bale positivamente traça um calado Dan, somente seu personagem permanece tristemente como manco como sua perna durante o filme todo. Felizmente, Russell Crowe põe maldade suficiente no filme para os dois. Desde Assassino Virtual não temos visto Crowe interpretar o vilão e como o Sid 6.7 de Crowe, há algo deliciosamente agradável sobre Ben Wade apesar de suas tendências violentas.”

 

 

 

 

 

 

 

3:10 to Yuma - Review

 

 

 

Reviewed by Alexandra Calamari : 2007-08-21 01:32:59

 

 

 

Hop aboard this old western remake where director James Mangold walks the line between dark and light in a wonderfully filmed tale of redemption. Yes, groan, another remake of a classic Hollywood film, but Mangold adds thirty minutes and a whole new dimension to the original, which, let’s face it, only crazy Elmore Leonard fans have actually seen.

 

 

 

After losing his leg and his self-respect to the Civil War, rancher Dan Evans (Christian Bale) struggles to provide for his family during a three-year draught. When the old-west equivalent of a loan shark sets Dan’s barn ablaze, Dan’s passive reaction only helps whittle away the little faith that his wife (Gretchen Mol) and eldest son Will (Logan Loerman) have left in him. Meanwhile, the notorious robber Ben Wade (Russell Crowe) ruthlessly holds up a Pinkerton payroll coach intended for the Southern Pacific railroad. Though the gang is halfway to Mexico with their payload, Wade’s weakness for women leads to his capture. Rather than hang him on the spot, railroad representative Grayson Butterfield (Dallas Roberts) decides to make an example of Wade and recruits a team to escort him to Contention for the 3:10 train to the federal prison at Yuma. Dan volunteers to join the motley crew for a two hundred dollar payoff, alongside jaded bounty hunter Byron (Peter Fonda), a bumbling veterinarian (Alan Tudyk), and three other lawmen who don’t make it past the first act thanks to Wade’s wily ways.

 

 

 

Even in handcuffs with several shotguns trained on him, Wade holds the power over his captors, manipulating their weaknesses to incite mistakes. The journey is fraught with tension for Dan in particular, who sees the truth in Wade’s taunts that he can’t protect his family, especially when Will has to come to his rescue. Meanwhile, as the group traverses dangerous terrain, they fear ambush by Wade’s gang and the psychotic Charlie Prince (Ben Foster), or from posses eager to take Wade out themselves. But when the three-day journey brings dangers uniting captors and captive, Dan and Wade learn that nothing is black and white when it comes to heroes and villains.

 

 

 

3:10 to Yuma had me at hello when it pitted Christian Bale against Russell Crowe, two of the most intense actors in Hollywood. I anticipated a showdown as nerve-wracking as the finale of Tombstone at the OK Corral, and for the most part, I was satisfied. The plot is as exciting as it is complex, bringing a new level to the typical western by clouding the moral centers of the protagonists. But the writers went a little far in their attempt to give greater depth to the story, and the final act pushes the limits of plausibility as characters act without proper motive.

 

 

 

Even with a slightly disappointing finale, the film drives itself forward with outstanding performances throughout. Christian Bale positively smolders as the pent-up Dan, only his character sadly remains as lame as his leg the entire film. Fortunately, Russell Crowe puts enough “bad ass” in the film for the both of them. Not since Virtuosity have we seen Crowe play the villain and like Crowe’s Sid 617, there’s something deliciously enjoyable about Ben Wade despite his violent tendencies. While we’d expect nothing but the best from Crowe and Bale, what’s most impressive here are the supporting roles. From Foster’s absolutely chilling villain, to Fonda’s gruff cowboy, all the way down to a bit part played by an out-of-character Luke Wilson, each side character gives the film a gritty, authentic feel that pays tribute to classic Westerns while still reinventing the genre.

 

 

 

3:10 to Yuma is likely to do to this era what Tombstone did for the 90’s, and Young Guns did for the 80’s, resurrecting interest in Westerns through memorable characters like Billy the Kid, Doc Holliday and now, Ben Wade. Not quite as quotable as its predecessors, with less comic relief and forward momentum, 3:10 to Yuma is a darker, more emotional Western that gives the genre more heart but loses a bit of its soul in the process.

 

 

 

 

 

 

 

Visite o Russell Crowe Daily Planet, meu blog sobre o Russell e seus filmes, todo o dia sempre o primeiro com as últimas e o que é melhor, em Português:

 

Russell Crowe Daily Planet!

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Por enquanto, à confirmar, a data de estréia de Yuma no Brasil é 23/11, portanto dedos cruzados para que esta data se torne realidade.

 

 

 

Talvez o filme ainda possa ser exibido no Festival Internacional do Rio ou na Mostra Internacional de São Paulo.

 

 

 

 

 

Do MTV MovieBlog, 21/08, entrevista com James Mangold:

 

http://moviesblog.mtv.com/2007/08/21/qa-310-to-yuma-director-james-mangold/

 

 

 

Q&A: ‘3:10 To Yuma’ Director James Mangold

 

 

 

August 21, 2007 at 11:04 am.

 

 

 

I’ve already fessed up and written about what a fan I am of James Mangold’s riveting new Western, “3:10 to Yuma.” Mangold has been a director I’ve always found fascinating, dating back to my obsession a decade ago with the vastly underappreciated “Cop Land.” So when I got a chance to talk to the “Walk the Line” director for the first time, I didn’t give it a second thought. Read below as Mangold discusses the shades of gray in his new film, what he hates about modern Westerns, and why he felt like a failure after “Cop Land.”

 

 

 

We began by talking about Ben Foster’s kick-ass portrayal of Russell Crowe henchman Charlie Prince.

 

 

 

MTV: Did Charlie play on the page as well as Ben Foster plays it on the big screen?

 

 

 

James Mangold: Well it was a great role but it’s definitely bigger in the movie than you might see on the page. Particularly in Westerns there are people who may not have a lot to say but you can decide with the camera to really make them huge. Just because they don’t have a couple monologues in the movie doesn’t mean they have an incredible through line to play. This is a movie about fathers and sons. Logan [Lerman] and Christian play out the literal sense of that but I think Russell and Ben play out a kind of mirror relationship on the other end of the spectrum.

 

 

 

MTV: Christian Bale’s son in the film tells Crowe’s Ben Wade he doesn’t think he’s all bad. Do you think Ben Wade is all bad?

 

 

 

JM: No. I don’t believe there’s good and evil in a movie. Even when you’re making a movie about Nazis, the actor playing Adolph Hitler can’t play evil. Crowe’s character from the moment we find him in the movie seems bored robbing stagecoaches. He’s ill at ease among his own men. It’s almost like he has a pack of rottweilers that he bought a long time ago and doesn’t know where to keep them.

 

 

 

MTV: You’re of course playing with the color palette here as well. Ben Wade is dressed in all black and Charlie, who truly is bad, has that unforgettable white jacket.

 

 

 

JM: Right. We don’t believe in the conventional black and white in the Gene Autry sense. I think that’s long ago been obliterated in the Western. We’re playing with it. Ben just really felt fantastic in [the jacket]. We knew it was done the moment we saw it.

 

 

 

MTV: This may seem at first blush to be your first Western, but “Cop Land” really was your first.

 

 

 

JM: Yeah. I call it my second.

 

 

 

MTV: Having now seen the original “3:10 to Yuma,” it seems clear that film influenced “Cop Land.”

 

 

 

JM: Absolutely. It features a lot of echoes from that film. Stallone’s character [Freddy Heflin] is actually named after the actor Van Heflin. I was trying to make a Western fused with a kind of modern Jersey cop mob world. I think they are two of our most original forms, the mob movie and the Western. They’re two of America’s most original film forms where you get to examine issues of morality and loyalty in a much more interesting fashion than you generally get a chance to in other genres.

 

 

 

MTV: As a fan of the Western, what did you want to avoid with “3:10 to Yuma”?

 

 

 

JM: I felt that the Western had been hurt by a couple of things. One is the over historical epic-ization of the Western. The Western was never about historical accuracy or teaching a history lesson, not the great ones anyway. They were about character. To my taste, one of the mistakes in Westerns I’d seen was this ponderous sweeping Remington painting kind of Western with the big sweeping strings where suddenly I felt it was more about someone getting lost in the idea of making a Western than actually making a story about characters living in the West.

 

 

 

MTV: It sounds like you didn’t want to make “Wyatt Earp.”

 

 

 

JM: Could be. And then there was a post-modern thing where I felt like a lot of Westerns had just become tributes to movies. I didn’t arrive on set everyday with a frame blow-up of a Sergio Leone or John Ford movie. At a certain point I think it’s incumbent upon you to just let go. Shoot it like George Stevens would shoot it. Shoot it the way John Ford would shoot it which is to say without some kind of compendium of DVDs in your trailer. Just do it. Be in the moment and make the movie. Look at the people and what they’re doing and the sets your friends have built and make the movie. That to me was the critical mental adjustment I wanted to make.

 

 

 

MTV: Tom Cruise was attached to this for a while. How did you arrive at Russell?

 

 

 

JM: I always wanted Russell. At that point he was attached to Baz Luhrmann’s movie. When he became available it became the greatest thing that ever happened to the film because I really think he was born to play a guy like this.

 

 

 

MTV: I’m a big fan of “Cop Land.” It’s been a decade since that film came out. What do you think back to when you recall it today?

 

 

 

JM: It was my second movie and my first with big stars and a little bit of money. When I look back on it I’m extremely proud of the movie and I can’t believe the heady company I was in, in terms of the cast. I’m proud of the way it lives on in a way. We were built up so much because of the level of the cast. We were expected to be “Pulp Fiction” in terms of grosses and it was always a much less pop-y post-modern ride than “Pulp Fiction,” a far grimmer tale. There was an initial feeling I had when it came out that I had failed. It came from a huge amount of expectation that had been lumped on the movie. With distance, as it plays on cable and people watch it on DVD, I think the movie has eclipsed that momentary framing about what it was supposed to do and it now exists in a world beyond that. I was really happy making “Yuma” and I had all these memories of those times. A lot of the challenges were similar. It’s another morality tale with men and guns and a gunfight at the end.

 

 

 

 

 

Visite o Russell Crowe Daily Planet, meu blog sobre o Russell e seus filmes, todo o dia sempre o primeiro com as últimas e o que é melhor, em Português:

 

Russell Crowe Daily Planet!

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Do site IESB,21/08, entrevistas com os escritores Brandt e Haas sobre 3:10 To Yuma e Wanted:

 

http://www.iesb.net/index.php?option=com_ezine&task=read&page=1&category=2&article=3108

 

 

 

Exclusive Interview: Writers Brandt and Haas on 3:10 TO YUMA and WANTED      

 

 

 

Written by IESB Staff

 

Tuesday, 21 August 2007

 

Let’s play six degrees with Christian Bale and Ice Cube. Now, this particular version includes behind the scenes talent as well.

 

 

 

 

 

(no, Ice Cube is not in Newsies) Christian Bale is in 3:10 to Yuma written by Michael Brandt and Derek Haas. Brandt and Haas wrote 2 Fast 2 Furious with Vin Diesel. Vin Diesel is in XXX with Samuel L. Jackson and Samuel L. Jackson is in XXX State of the Union with Ice Cube. HA! Did it! Totally random but funny.

 

 

 

Let's get down to business, IESB's Rachel Howard sat down to talk with these guys about their upcoming movies “3:10 to Yuma” and “WANTED.”

 

 

 

Yes they did write 2 Fast 2 Furious but for the time being writers Michael Brandt and Derek Haas have put away the race cars and taken up the dusty road of the Wild West and the shadowy and dangerous underground of assassins.

 

 

 

Here’s what they had to say:

 

 

 

IESB.NET: What drew you to this script? It's not like anything I've seen you do.

 

 

 

Derek: What happened was we really liked the original movie, the 1957 movie, and we found out it was Jim Engel's favorite movie growing up, and when we found that out and when we knew had the rights to it, basically Michael and I met with Jim and Cathy his wife and producing partner, Cathy Conrad. We just sat down and said, okay, how can we do that in a modern visibility, preserve what we really love about the original, but make it for a modern audience.

 

 

 

Michael: Jim was kind of afraid of a Western that was going to feel too slow, he was really sensitive to the marketplace and what audiences are expecting today and he was looking, you know, to make a Western that would be exciting and financially successful but also kept a lot the original intact. And I think that’s part of the reason why he came to us, they thought, we're the kind of guys who were known as action writers prior to this and he wanted to bring that sense of style to the movie from the 1950s.

 

 

 

IESB.NET: Okay, so, how much guidance or inspiration did you get from the original? Did you change anything?

 

 

 

Derek: Yeah, we changed quite a bit. The original movie is almost like a two-act play, but the original movie pretty much takes place with Dan deciding that he's going to help take Ben Wade and put him on a train and then you cut to a hotel room and they're waiting for a train, and that become the second half of the movie. What Michael and I recognized was that there was an opportunity to basically create a new second act, a new chapter to the short story by Elmore Leonard, kind of the third act of the movie, and we said let's put the town a two days' ride away, and by the way they're going to have to ride along the path where the rail road is being put down, so there's literally a gorge, and Indian country, and a Chinese labor camp where they're laying the rails and blasting through, and come up on the town, which is a railroad town, which in our research we found were just dens of inequity for whores and gamblers and people trying to separate the railroad workers from their money, it just became a great way to update the original. And then the other thing that we did was in the original movie the son character is barely in it, just kinda in the first act, and we thought, what an excellent way to be able to see the movie through fresh eyes, as this morality tale that plays out through the son as he's idolizing the Russell Crowe character, Ben Wade, this kind of rock star in the West, and his father, who he is disappointed in, and he's got to watch his father do this thing.

 

 

 

IESB.NET: Okay, is there anything you wante to add to the script that just couldn't be done?

 

 

 

Michael: There's always a lot of that. We had a pretty big scene we had to cut because of budget that plays over a gorge, with a cable car that was transporting people across the gorge, and we had a big accident set on that which they ended up having to set on dry land because of budget, but other than that I think for the most part, everything we envisioned action-wise made it into the movie.

 

 

 

IESB.NET: What are your thoughts on Crowe and Bale, are they what you imagined for the characters?

 

 

 

Michael: They're more than we ever imagined. There's no way . . . They are the two perfect actors for these parts, you know, the rock star gunslinger who is full of charisma, who can smile and also kill you, is the perfect role for Russell Crowe, and there aren’t a lot of people on the face of the earth who can play that part and probably know they can play it as well as he does. And then Christian Bale has such a pathos to him, and just a real sense of true actors acting, and threw himself into the role putting, and honestly when Derek and I were envisioning these parts, we would have been laughed at if we'd said we're thinking Russell Crow and Christian Bale, so we really couldn't have asked for any more.

 

 

 

IESB.NET: How was writing a Western for today's audience difficult? Is there anything you took from the genre, or anything you avoided?

 

 

 

Derek: You want to honor the genre. Michael and I both grew up watching Westerns, and I’m from Texas, we both went to school in Texas, Michael is from Kansas City, and we grew up watching Clint Eastwood one, and Serge Leony, so there are conventions to the Western that we were aware of and tried to . . . I don't want to say, we just tried to modernize but were true to the roots, what made the genre great, which is you know, a stagecoach robbery, racing to meet a train, and a gunfight at the end, all those things that are staples, but hopefully they have a modern twist on them.

 

 

 

Michael: Hollywood makes so few Westerns these days that the chance to write one that had a pretty good opportunity to get made was a great thing for us, and I think we all recognize that a movie like this is not going to be inexpensive and so we have to deliver on more levels than just the hardcore Western audience. It's been an honor, the specifics of the genre, and at the same time hopefully deliver things that a modern audience would find exciting.

 

 

 

IESB.NET: How was writing this script different from some of your other projects?

 

 

 

Michael: Well, one thing a director involved from the get-go, and the director who’s a fantastic screenwriter in his own right, so that was a little different for us, but not bad way, it was fantastic, to do exactly what the director wanted all the way through, which sometimes you don’t, and we tried to live up the expectations that he had of us, and also to his own level of screenwriting, so that was probably the biggest difference.

 

 

 

IESB.NET: Speaking of your other projects, how was writing WANTED after a story like Yuma?

 

 

 

Derek: (laughs) WANTED was, uh . . . WANTED was a 180 degree turn, it was based on the comic book that is pretty insane and intense and hard R and special effects and action, and so then we basically had to put that hat on. It was fun though because the studio from the get-go told us that “we wanted the tone of the movie to reflect the comic book,” which was a hard R, wickedly violent fun ride. From day one that was the script we were writing, they never pulled us back.

 

 

 

Michael: Believe it or not, there actually are a lot of similarities, as far as what we find interesting about the two movies is in the end, they're both . . . in one the main character Wesley is on a search for his father, and Yuma is all about two older men and a boy who looks up to them and who’s really going to end up being the father figure. And really regardless of the genre and regardless of how much action and what the budget is, in the end you have to have main characters that are the audience’s eyes to the movie, that provide great character and great heart, and whether it's set in modern day, with curving bullets or set in the Old West with six shooters, you're trying to deliver the same thing.

 

 

 

IESB.NET: Comparatively, how do you think the movie will stand up to Miller's comic book version [of WANTED]?

 

 

 

Michael: We hope it stands up completely. When we were hired to do WANTED, there was only one issue of the comic book out. In some ways trying to figure out where Miller was going to take the story on our one before new issues would come out, but we didn’t have time to wait for all six issues, the studio wanted us to keep going. What we ended up choosing to do was take the core issue of Miller’s first issue of the comic book, which is Wesley has a life that's making him miserable, and he gets sucked down and pulled into this new world of assassins and curving bullets and gun play, and he's on a search for his father, and that's the first issue of the comic book, and so we grasped on that and in the end we had to make the movie our own. So what was interesting was that while we were writing, we were bringing the script one direction, which was a more grounded direction, and the comic book issues were coming out and they were getting bigger and wackier, but there was still that core issue to the comic book and to our script, which was all about Wesley, who was this guy and how does he find redemption.

 

 

 

IESB.NET: What drew you to Miller's work and how supportive has he been?

 

 

 

Derek: The thing we loved about the first issue of the comic, and really the second issue, which was what made up the first act of the movie, was that he kinda just went balls out “I'm gonna write the most insane, noble-bard, in-your-face” style and tone, which you just don't see that often, and you don't see a studio making, and so Michael and I went to a studio and said this is the film we want, and thankfully the studio was right there with us saying this is the tone of the movie we want to make, and as screenwriters, you really just don't get that opportunity very often, for a studio to say “we're gonna make it big budget, hard R, action movie.”

 

 

 

Michael: That exciting. And then Miller, he’s been nothing but supportive, I think he's been to the set, he's seen a lot of stuff, and met with T. Moore, and he's been nothing but supportive, especially on his blog. I think he's really happy with the fact that he knows that a movie in places is different from the comic book, the tone and the rawness of it all is still there.

 

 

 

IESB.NET: How difficult is it to transform a comic book into a movie script, at least on the writing level?

 

 

 

Derek: Yeah, you have to fill in the blanks some of the times. A lot of the times a comic book is kind of a shorthand, and there’s visuals that have no dialogue, that is all a storyboard, and we've got to fill in the blanks, and like Michael said we've got to ground it and make it more, we've got to write an action scene's worth of two panels of a comic book, if that makes any sense.

 

 

 

IESB.NET: In both WANTED and Yuma, was there anything in the script you were excited to see brought to the screen?

 

 

 

Derek: Yeah! All of it! There is always things that you imagine, and then when you see them and you think, wow, it's even better than what you thought it would be. On Yuma we had an action sequence taking place where literally there's a chase through a Chinese rail camp, and the way that Mangold shot it and brought it alive, this camps, they were literally blasting tunnels through mountains, and they're in the middle of that while the guys are being chased by renegade rail workers. And that's, when you grow up dreaming of working on a movie dream about guys on horses . . . For WANTED because there's so much action in it, and so many effects, when you write a movie like that, you let your imagination go wild, and you wonder if they're actually going to pull off how you envision it, you wonder how the studio is going to pay for it, you wonder if it's going to make the final cut of the movie the way you expect, and then you have a director like Seymour, who is such a visual master and also a wild card in a way, because his movies are so visual, they're so over the top that a lot of the action you wrote in that script, we can't wait to see how he pulls it off. When we were working on the set with him we were constantly surprised at the incredible visual ideas that he would come up with that we would then write into the script. So we’re really excited to see how it all comes together.

 

 

 

IESB.NET: One last question about WANTED: what do you think of the casting? Does it fit the characters you envisioned?

 

 

 

Michael: It's perfect. I mean, when you're looking for a tough, beautiful woman who can shoot a gun, there's nobody better in the world than Angelina Jolie. We have an old fatherly . . . not old (laughs), we have a fatherly figure, who better than Morgan Freeman? And James McAvoy is the perfect Wesley character because James is up and coming actor, he's an actor's actor, he's thrown completely into the part. There all so challenging for us to write for, because they're all such great actors, we couldn't have cast this movie better.

 

 

 

IESB.NET: So, for future scripts, would you do another script like Yuma if you could? More Westerns?

 

 

 

Derek: 3:10 to Yuma 2? (laughs) We’d definitely do another Western, if we get the chance, absolutely; we'd grab at it. And we will be doing another one, so we're very excited about that, too.

 

 

 

Michael: We also should say that we’ve got a script called Miamiland that Derek is going to produce and I am going to direct and we’re currently casting it right now. So it’s a fun in the vein of The Sting that takes place in Miami and we’ve got some foreign financing in place and we’ve been making some offers to actors and trying to get that together, and we’ll probably be shooting that by the end of the year.

 

 

 

IESB.NET: Great, thanks for talking to me!

 

 

 

 

 

 

 

Visite o Russell Crowe Daily Planet, meu blog sobre o Russell e seus filmes, todo o dia sempre o primeiro com as últimas e o que é melhor, em Português:

 

Russell Crowe Daily Planet!

 

 

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Premiere do filme ontem em Los Angeles, com 14 fotos com o Russell, Christian Bale, Ben Foster no Yahoo News:

 

http://news.search.yahoo.com/search/news?p=%22Russell+Crowe%22&sm=Yahoo%21+Search&toggle=1&ei=UTF-8&datesort=1&fr=&c=images

 

 

 

 

 

Mais 4 Novos Trailers para TV e 10 Novos Vídeo Clipes do Filme, no site IESB dispõe para assistir, clique aqui:

 

http://www.iesb.net/index.php?option=com_content&task=view&id=3118&Itemid=99

 

 

 

 

 

 

 

Visite também o Russell Crowe Daily Planet, meu blog sobre o Russell e seus filmes, todo o dia sempre o primeiro com as últimas, e o que é melhor, em Português:

 

Russell Crowe Daily Planet!Sophie Aubrey2007-08-22 06:23:00

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Entrevista de James Mangold ao MTV MovieBlog

 

http://moviesblog.mtv.com/2007/08/21/qa-310-to-yuma-director-james-mangold/

 

 

 

“MTV: Tom Cruise estava ligado à isto por um tempo. Como foi que Você chegou ao Russell?

 

James Mangold: Eu sempre quis o Russell. Naquele momento ele estava ligado ao filme de Baz Luhrmann. Quando ele se tornou disponível foi a melhor coisa que aconteceu ao filme porque eu realmente penso que ele nasceu para interpretar um cara como esse.”

 

 

 

Q&A: ‘3:10 To Yuma’ Director James Mangold

 

 

 

Published by Josh Horowitz on Tuesday,

 

August 21, 2007 at 11:04 am.

 

 

 

I’ve already fessed up and written about what a fan I am of James Mangold’s riveting new Western, “3:10 to Yuma.” Mangold has been a director I’ve always found fascinating, dating back to my obsession a decade ago with the vastly underappreciated “Cop Land.” So when I got a chance to talk to the “Walk the Line” director for the first time, I didn’t give it a second thought. Read below as Mangold discusses the shades of gray in his new film, what he hates about modern Westerns, and why he felt like a failure after “Cop Land.”

 

 

 

We began by talking about Ben Foster’s kick-ass portrayal of Russell Crowe henchman Charlie Prince.

 

 

 

MTV: Did Charlie play on the page as well as Ben Foster plays it on the big screen?

 

 

 

James Mangold: Well it was a great role but it’s definitely bigger in the movie than you might see on the page. Particularly in Westerns there are people who may not have a lot to say but you can decide with the camera to really make them huge. Just because they don’t have a couple monologues in the movie doesn’t mean they have an incredible through line to play. This is a movie about fathers and sons. Logan [Lerman] and Christian play out the literal sense of that but I think Russell and Ben play out a kind of mirror relationship on the other end of the spectrum.

 

 

 

MTV: Christian Bale’s son in the film tells Crowe’s Ben Wade he doesn’t think he’s all bad. Do you think Ben Wade is all bad?

 

 

 

JM: No. I don’t believe there’s good and evil in a movie. Even when you’re making a movie about Nazis, the actor playing Adolph Hitler can’t play evil. Crowe’s character from the moment we find him in the movie seems bored robbing stagecoaches. He’s ill at ease among his own men. It’s almost like he has a pack of rottweilers that he bought a long time ago and doesn’t know where to keep them.

 

 

 

MTV: You’re of course playing with the color palette here as well. Ben Wade is dressed in all black and Charlie, who truly is bad, has that unforgettable white jacket.

 

 

 

JM: Right. We don’t believe in the conventional black and white in the Gene Autry sense. I think that’s long ago been obliterated in the Western. We’re playing with it. Ben just really felt fantastic in [the jacket]. We knew it was done the moment we saw it.

 

 

 

MTV: This may seem at first blush to be your first Western, but “Cop Land” really was your first.

 

 

 

JM: Yeah. I call it my second.

 

 

 

MTV: Having now seen the original “3:10 to Yuma,” it seems clear that film influenced “Cop Land.”

 

 

 

JM: Absolutely. It features a lot of echoes from that film. Stallone’s character [Freddy Heflin] is actually named after the actor Van Heflin. I was trying to make a Western fused with a kind of modern Jersey cop mob world. I think they are two of our most original forms, the mob movie and the Western. They’re two of America’s most original film forms where you get to examine issues of morality and loyalty in a much more interesting fashion than you generally get a chance to in other genres.

 

 

 

MTV: As a fan of the Western, what did you want to avoid with “3:10 to Yuma”?

 

 

 

JM: I felt that the Western had been hurt by a couple of things. One is the over historical epic-ization of the Western. The Western was never about historical accuracy or teaching a history lesson, not the great ones anyway. They were about character. To my taste, one of the mistakes in Westerns I’d seen was this ponderous sweeping Remington painting kind of Western with the big sweeping strings where suddenly I felt it was more about someone getting lost in the idea of making a Western than actually making a story about characters living in the West.

 

 

 

MTV: It sounds like you didn’t want to make “Wyatt Earp.”

 

 

 

JM: Could be. And then there was a post-modern thing where I felt like a lot of Westerns had just become tributes to movies. I didn’t arrive on set everyday with a frame blow-up of a Sergio Leone or John Ford movie. At a certain point I think it’s incumbent upon you to just let go. Shoot it like George Stevens would shoot it. Shoot it the way John Ford would shoot it which is to say without some kind of compendium of DVDs in your trailer. Just do it. Be in the moment and make the movie. Look at the people and what they’re doing and the sets your friends have built and make the movie. That to me was the critical mental adjustment I wanted to make.

 

 

 

MTV: Tom Cruise was attached to this for a while. How did you arrive at Russell?

 

 

 

JM: I always wanted Russell. At that point he was attached to Baz Luhrmann’s movie. When he became available it became the greatest thing that ever happened to the film because I really think he was born to play a guy like this.

 

 

 

MTV: I’m a big fan of “Cop Land.” It’s been a decade since that film came out. What do you think back to when you recall it today?

 

 

 

JM: It was my second movie and my first with big stars and a little bit of money. When I look back on it I’m extremely proud of the movie and I can’t believe the heady company I was in, in terms of the cast. I’m proud of the way it lives on in a way. We were built up so much because of the level of the cast. We were expected to be “Pulp Fiction” in terms of grosses and it was always a much less pop-y post-modern ride than “Pulp Fiction,” a far grimmer tale. There was an initial feeling I had when it came out that I had failed. It came from a huge amount of expectation that had been lumped on the movie. With distance, as it plays on cable and people watch it on DVD, I think the movie has eclipsed that momentary framing about what it was supposed to do and it now exists in a world beyond that. I was really happy making “Yuma” and I had all these memories of those times. A lot of the challenges were similar. It’s another morality tale with men and guns and a gunfight at the end.

 

 

 

 

 

 

 

 

 

Visite também o Russell Crowe Daily Planet, meu blog sobre o Russell e seus filmes, todo o dia sempre o primeiro com as últimas, e o que é melhor, em Português:

 

Russell Crowe Daily Planet!Sophie Aubrey2007-08-22 06:26:02

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Entrevistas Com Roteiristas Michael Brandt e Derek Haas, ao site IESB sobre 3:10 To Yuma e Wanted, clique aqui:

 

http://www.iesb.net/index.php?option=com_ezine&task=read&page=1&category=2&article=3108

 

 

 

“IESB: Quais são os seus pensamentos sobre Crowe e Bale, eles são aquilo que vocês imaginaram para os personagens? Michael: Eles foram mais do que nós jamais imaginamos. Não há forma .... eles foram os dois atores perfeitos para estes papéis, você sabe, o pistoleiro super star que é cheio de carisma, que pode sorrir e também te matar, é o papel perfeito para Russell Crowe, e não existem muitas pessoas sobre a face da terra que podem interpretar aquele papel e provavelmente sabem que eles o podem fazer tão bem quanto ele faz. E depois Christian Bale tem uma tamanha paixão para ele, e um real senso de atuação de verdadeiros atores, e ele atirou-se dentro do papel, e honestamente quando Derek e eu estávamos imaginando estes papes, nós teríamos rido se a nós tivéssemos dito que estávamos pensando em Russell Crowe e Christian Bale, então nós realmente não poderíamos ter pedido por mais.”

 

 

 

Exclusive Interview: Writers Brandt and Haas on 3:10 TO YUMA and WANTED      

 

 

 

Written by IESB Staff

 

Tuesday, 21 August 2007

 

Let’s play six degrees with Christian Bale and Ice Cube. Now, this particular version includes behind the scenes talent as well.

 

 

 

 

 

(no, Ice Cube is not in Newsies) Christian Bale is in 3:10 to Yuma written by Michael Brandt and Derek Haas. Brandt and Haas wrote 2 Fast 2 Furious with Vin Diesel. Vin Diesel is in XXX with Samuel L. Jackson and Samuel L. Jackson is in XXX State of the Union with Ice Cube. HA! Did it! Totally random but funny.

 

 

 

Let's get down to business, IESB's Rachel Howard sat down to talk with these guys about their upcoming movies “3:10 to Yuma” and “WANTED.”

 

 

 

Yes they did write 2 Fast 2 Furious but for the time being writers Michael Brandt and Derek Haas have put away the race cars and taken up the dusty road of the Wild West and the shadowy and dangerous underground of assassins.

 

 

 

Here’s what they had to say:

 

 

 

IESB.NET: What drew you to this script? It's not like anything I've seen you do.

 

 

 

Derek: What happened was we really liked the original movie, the 1957 movie, and we found out it was Jim Engel's favorite movie growing up, and when we found that out and when we knew had the rights to it, basically Michael and I met with Jim and Cathy his wife and producing partner, Cathy Conrad. We just sat down and said, okay, how can we do that in a modern visibility, preserve what we really love about the original, but make it for a modern audience.

 

 

 

Michael: Jim was kind of afraid of a Western that was going to feel too slow, he was really sensitive to the marketplace and what audiences are expecting today and he was looking, you know, to make a Western that would be exciting and financially successful but also kept a lot the original intact. And I think that’s part of the reason why he came to us, they thought, we're the kind of guys who were known as action writers prior to this and he wanted to bring that sense of style to the movie from the 1950s.

 

 

 

IESB.NET: Okay, so, how much guidance or inspiration did you get from the original? Did you change anything?

 

 

 

Derek: Yeah, we changed quite a bit. The original movie is almost like a two-act play, but the original movie pretty much takes place with Dan deciding that he's going to help take Ben Wade and put him on a train and then you cut to a hotel room and they're waiting for a train, and that become the second half of the movie. What Michael and I recognized was that there was an opportunity to basically create a new second act, a new chapter to the short story by Elmore Leonard, kind of the third act of the movie, and we said let's put the town a two days' ride away, and by the way they're going to have to ride along the path where the rail road is being put down, so there's literally a gorge, and Indian country, and a Chinese labor camp where they're laying the rails and blasting through, and come up on the town, which is a railroad town, which in our research we found were just dens of inequity for whores and gamblers and people trying to separate the railroad workers from their money, it just became a great way to update the original. And then the other thing that we did was in the original movie the son character is barely in it, just kinda in the first act, and we thought, what an excellent way to be able to see the movie through fresh eyes, as this morality tale that plays out through the son as he's idolizing the Russell Crowe character, Ben Wade, this kind of rock star in the West, and his father, who he is disappointed in, and he's got to watch his father do this thing.

 

 

 

IESB.NET: Okay, is there anything you wante to add to the script that just couldn't be done?

 

 

 

Michael: There's always a lot of that. We had a pretty big scene we had to cut because of budget that plays over a gorge, with a cable car that was transporting people across the gorge, and we had a big accident set on that which they ended up having to set on dry land because of budget, but other than that I think for the most part, everything we envisioned action-wise made it into the movie.

 

 

 

IESB.NET: What are your thoughts on Crowe and Bale, are they what you imagined for the characters?

 

 

 

Michael: They're more than we ever imagined. There's no way . . . They are the two perfect actors for these parts, you know, the rock star gunslinger who is full of charisma, who can smile and also kill you, is the perfect role for Russell Crowe, and there aren’t a lot of people on the face of the earth who can play that part and probably know they can play it as well as he does. And then Christian Bale has such a pathos to him, and just a real sense of true actors acting, and threw himself into the role putting, and honestly when Derek and I were envisioning these parts, we would have been laughed at if we'd said we're thinking Russell Crow and Christian Bale, so we really couldn't have asked for any more.

 

 

 

IESB.NET: How was writing a Western for today's audience difficult? Is there anything you took from the genre, or anything you avoided?

 

 

 

Derek: You want to honor the genre. Michael and I both grew up watching Westerns, and I’m from Texas, we both went to school in Texas, Michael is from Kansas City, and we grew up watching Clint Eastwood one, and Serge Leony, so there are conventions to the Western that we were aware of and tried to . . . I don't want to say, we just tried to modernize but were true to the roots, what made the genre great, which is you know, a stagecoach robbery, racing to meet a train, and a gunfight at the end, all those things that are staples, but hopefully they have a modern twist on them.

 

 

 

Michael: Hollywood makes so few Westerns these days that the chance to write one that had a pretty good opportunity to get made was a great thing for us, and I think we all recognize that a movie like this is not going to be inexpensive and so we have to deliver on more levels than just the hardcore Western audience. It's been an honor, the specifics of the genre, and at the same time hopefully deliver things that a modern audience would find exciting.

 

 

 

IESB.NET: How was writing this script different from some of your other projects?

 

 

 

Michael: Well, one thing a director involved from the get-go, and the director who’s a fantastic screenwriter in his own right, so that was a little different for us, but not bad way, it was fantastic, to do exactly what the director wanted all the way through, which sometimes you don’t, and we tried to live up the expectations that he had of us, and also to his own level of screenwriting, so that was probably the biggest difference.

 

 

 

IESB.NET: Speaking of your other projects, how was writing WANTED after a story like Yuma?

 

 

 

Derek: (laughs) WANTED was, uh . . . WANTED was a 180 degree turn, it was based on the comic book that is pretty insane and intense and hard R and special effects and action, and so then we basically had to put that hat on. It was fun though because the studio from the get-go told us that “we wanted the tone of the movie to reflect the comic book,” which was a hard R, wickedly violent fun ride. From day one that was the script we were writing, they never pulled us back.

 

 

 

Michael: Believe it or not, there actually are a lot of similarities, as far as what we find interesting about the two movies is in the end, they're both . . . in one the main character Wesley is on a search for his father, and Yuma is all about two older men and a boy who looks up to them and who’s really going to end up being the father figure. And really regardless of the genre and regardless of how much action and what the budget is, in the end you have to have main characters that are the audience’s eyes to the movie, that provide great character and great heart, and whether it's set in modern day, with curving bullets or set in the Old West with six shooters, you're trying to deliver the same thing.

 

 

 

IESB.NET: Comparatively, how do you think the movie will stand up to Miller's comic book version [of WANTED]?

 

 

 

Michael: We hope it stands up completely. When we were hired to do WANTED, there was only one issue of the comic book out. In some ways trying to figure out where Miller was going to take the story on our one before new issues would come out, but we didn’t have time to wait for all six issues, the studio wanted us to keep going. What we ended up choosing to do was take the core issue of Miller’s first issue of the comic book, which is Wesley has a life that's making him miserable, and he gets sucked down and pulled into this new world of assassins and curving bullets and gun play, and he's on a search for his father, and that's the first issue of the comic book, and so we grasped on that and in the end we had to make the movie our own. So what was interesting was that while we were writing, we were bringing the script one direction, which was a more grounded direction, and the comic book issues were coming out and they were getting bigger and wackier, but there was still that core issue to the comic book and to our script, which was all about Wesley, who was this guy and how does he find redemption.

 

 

 

IESB.NET: What drew you to Miller's work and how supportive has he been?

 

 

 

Derek: The thing we loved about the first issue of the comic, and really the second issue, which was what made up the first act of the movie, was that he kinda just went balls out “I'm gonna write the most insane, noble-bard, in-your-face” style and tone, which you just don't see that often, and you don't see a studio making, and so Michael and I went to a studio and said this is the film we want, and thankfully the studio was right there with us saying this is the tone of the movie we want to make, and as screenwriters, you really just don't get that opportunity very often, for a studio to say “we're gonna make it big budget, hard R, action movie.”

 

 

 

Michael: That exciting. And then Miller, he’s been nothing but supportive, I think he's been to the set, he's seen a lot of stuff, and met with T. Moore, and he's been nothing but supportive, especially on his blog. I think he's really happy with the fact that he knows that a movie in places is different from the comic book, the tone and the rawness of it all is still there.

 

 

 

IESB.NET: How difficult is it to transform a comic book into a movie script, at least on the writing level?

 

 

 

Derek: Yeah, you have to fill in the blanks some of the times. A lot of the times a comic book is kind of a shorthand, and there’s visuals that have no dialogue, that is all a storyboard, and we've got to fill in the blanks, and like Michael said we've got to ground it and make it more, we've got to write an action scene's worth of two panels of a comic book, if that makes any sense.

 

 

 

IESB.NET: In both WANTED and Yuma, was there anything in the script you were excited to see brought to the screen?

 

 

 

Derek: Yeah! All of it! There is always things that you imagine, and then when you see them and you think, wow, it's even better than what you thought it would be. On Yuma we had an action sequence taking place where literally there's a chase through a Chinese rail camp, and the way that Mangold shot it and brought it alive, this camps, they were literally blasting tunnels through mountains, and they're in the middle of that while the guys are being chased by renegade rail workers. And that's, when you grow up dreaming of working on a movie dream about guys on horses . . . For WANTED because there's so much action in it, and so many effects, when you write a movie like that, you let your imagination go wild, and you wonder if they're actually going to pull off how you envision it, you wonder how the studio is going to pay for it, you wonder if it's going to make the final cut of the movie the way you expect, and then you have a director like Seymour, who is such a visual master and also a wild card in a way, because his movies are so visual, they're so over the top that a lot of the action you wrote in that script, we can't wait to see how he pulls it off. When we were working on the set with him we were constantly surprised at the incredible visual ideas that he would come up with that we would then write into the script. So we’re really excited to see how it all comes together.

 

 

 

IESB.NET: One last question about WANTED: what do you think of the casting? Does it fit the characters you envisioned?

 

 

 

Michael: It's perfect. I mean, when you're looking for a tough, beautiful woman who can shoot a gun, there's nobody better in the world than Angelina Jolie. We have an old fatherly . . . not old (laughs), we have a fatherly figure, who better than Morgan Freeman? And James McAvoy is the perfect Wesley character because James is up and coming actor, he's an actor's actor, he's thrown completely into the part. There all so challenging for us to write for, because they're all such great actors, we couldn't have cast this movie better.

 

 

 

IESB.NET: So, for future scripts, would you do another script like Yuma if you could? More Westerns?

 

 

 

Derek: 3:10 to Yuma 2? (laughs) We’d definitely do another Western, if we get the chance, absolutely; we'd grab at it. And we will be doing another one, so we're very excited about that, too.

 

 

 

Michael: We also should say that we’ve got a script called Miamiland that Derek is going to produce and I am going to direct and we’re currently casting it right now. So it’s a fun in the vein of The Sting that takes place in Miami and we’ve got some foreign financing in place and we’ve been making some offers to actors and trying to get that together, and we’ll probably be shooting that by the end of the year.

 

 

 

IESB.NET: Great, thanks for talking to me!

 

 

 

 

 

 

 

Visite também o Russell Crowe Daily Planet, meu blog sobre o Russell e seus filmes, todo o dia sempre o primeiro com as últimas, e o que é melhor, em Português:

 

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Fotos da Premiere no Just Jared:

 

 

 

do Russell:

 

 

 

http://justjared.buzznet.com/2007/08/22/russell-crowe-yuma-premiere/

 

 

 

do Christian:

 

http://justjared.buzznet.com/2007/08/22/christian-bale-yuma-premiere/

 

 

 

 

 

Kris Tapley, do site In Contetion dá 3 estrelas e meia (em 4 possíveis):

 

http://www.incontention.com/2007/08/310_to_yuma_12.html

 

 

 

It's been about a week since my screening of James Mangold's "3:10 to Yuma." I don't have the time or psychological energy to devote a review to it (or any other film) at this time (grad school orientation), but it's a winner inside and out. Kevin Costner's "Open Range," David Milch's "Deadwood" and now, James Mangold's "3:10" remake/re-adaptation are officially the holy trinity of the western's resurgence in my mind, a story I've been waiting on a major to pick up for some time. But no one seems willing to dig into the genre's obvious return. If Andrew Dominik's "The Assassination of Jesse James by the Coward Robert Ford" is as stellar as early word suggests...

 

 

 

 

 

In any case, Mangold's film, working from a rather brilliant script by Halsted Welles, Michael Brandt and Derek Haas, is cut from the same cloth as Delmer Daves's 1957 original. But Elmore Leonard's 11 page short story only takes an audience so far, providing a third act for what is obviously a much broader story, one that could be taken in a number of different directions. What I liked most about Mangold's treatment of the material was how married he clearly was to tone. This is a real western dug out of the same earth as the roughest of John Ford cinema or even Don Spiegel. It drips with righteousness and deeper meanings, emotions and considerations. I did cartwheels.

 

 

 

The narrative has an issue here or there, but I think it has become the one film I seem to allow myself each year that I love, stitches and all. Christian Bale is fantastic as a world-weary soul and a man seeking redemption in the eyes of his family, and Russell Crowe is equal parts charm and savagery, a combination we haven't seen out of the actor in quite a long time. Ben Foster is also electric, though given a few too many lines for the characters' own good. But, through and through, it's a sturdy ensemble and a thoroughly enjoyable one.

 

 

 

I love this genre.

 

 

 

Visite o Russell Crowe Daily Planet, meu blog sobre o Russell Crowe e seus filmes, todo o dia sempre o primeiro com as últimas, e o que é melhor, em Português:

 

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Do site Empire Movies, nota 9 (de 10):

 

http://www.empiremovies.com/movie/310-to-yuma/15118/review/01

 

 

 

Um Trecho Traduzido

 

“3:10 to Yuma é um filme fabuloso. Nos leva de volta aos dias dos velhos westerns spaghetti quando os filmes eram simples e eles dependiam das performances de um bando de atores com barba por fazer com um nó em seus passos e um olhar semi cerrado para convencer-nos que nos estávamos sendo levados para um tempo quando bandidos mandavam na terra e os homens acertavam suas dferenças num duelo com um revólver de 6 balas e uma garrafa de whisky. Eu não acho que duraria 30 segundos naquele dia. De qualquer forma, sobre o filme, a força de Yuma está nas performances de Russell Crowe e Christian Bale. Estes dois são sem dúvida dois dos melhores atores no mundo e ambos estão soberbos no filme.”

 

 

 

 

 

Texto Original

 

 

 

Reviewed By: Brendan Cullin

 

 

 

3:10 To Yuma is a remake of the 1957 classic that starred the late, great Glenn Ford as Ben Wade, a notorious outlaw from the wild, wild west who has been captured and is scheduled to be put on the 3:10 train to Yuma prison. This time around it is Russell Crowe who plays Wade and Christian Bale who plays Dan Evans, the small-time cattle rancher who is helping a determined posse of do-gooders get the extremely dangerous gunslinger on that train. Unfortunately for Evans, Butterfield and everyone else who wants to see Wade brought to justice, their journey to the small town of Contention where the ill-fated train will stop is not going to be an easy one. Hot on their trail is Ben Wade's gang of sharpshooters and murderers, who will stop at nothing to save their kingpin from getting on that train that will ultimately take him to his death. 3:10 To Yuma also stars Peter Fonda, Gretchen Mol, Ben Foster and a handful of other rough-looking cowboy type of people. It is directed by James Mangold, who last brought us the Johnny Cash biopic, Walk The Line.

 

 

 

3:10 To Yuma is a fabulous movie. It takes us back to the day of the old spaghetti westerns when movies were simple and they relied on the performances of a handful of unshaven actors with a hitch in their step and a squint in their eye to convince us that we were being taken to a time when bandits ruled the land and men settled their differences with a six-shooter and a bottle of whiskey. I don't think I would have lasted 30 seconds in that day.

 

 

 

Anyways, about the movie, the strength of Yuma is in the performances of Russell Crowe and Christian Bale. These two are arguably two of the best actors in the world today and both are outstanding in this movie. And as good as Bale is, it is Crowe who steps up to the plate in this one. He's been great in many good movies but this might be his best performance to date. His portrayal of the legendary Ben Wade is as unsettling as it is oddly heart-warming. This could be and hopefully will be Oscar-calibre cinema for Mr. Crowe once again. The entire cast shines in Yuma but I must mention Ben Foster as well. He plays Charlie Prince, Wade's heartless righthand man who would shoot his own mother between the eyes if he had to. Foster is exceptional. About halfway through the movie you want to see this guy get a bullet between the eyes, which is exactly how one should feel about such a lowlife. What a great performance.

 

 

 

Overall, I have to say, 3:10 To Yuma is one of my favourite movies of the year and just off the top of my head, the best "western" I have seen since Unforgiven. It's a simple story and yet complicated in many ways. It is a story that keeps you riveted by the stellar performances of Crowe, Bale and pretty much everyone else in the movie, for that matter. De Niro and Pacino had their moment in Heat. Well, the 21st century version has to be Crowe and Bale. They continue to dazzle audiences movie after movie and Yuma is no different. They are so good that really, in this movie, Crowe probably could have played Bale's part and Bale played Crowe's and I don't think this movie would have missed a beat. But for what it's worth, they were both perfect in the parts they were given. And 3:10 To Yuma is as close to perfect as we will probably get in this day and age. If you like the old westerns, if you like Christian Bale, and if you have forgiven Russell Crowe for throwing a phone at a concierge, 3:10 To Yuma is a movie that you are sure to enjoy. Off the record, I work in the hotel industry and there are some concierges who probably deserve to get a phone thrown at them now and again. Crowe probably isn't that bad of a guy. I met him at the Toronto Film Festival last year and he really was a charming and funny guy. Now I'm babbling. Go see 3:10 To Yuma, it's worth your time and money.

 

 

 

 

 

 

 

 

 

Visite o Russell Crowe Daily Planet, meu blog sobre o Russell Crowe e seus filmes, todo o dia sempre o primeiro com as últimas, e o que é melhor, em Português:

 

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Mais Uma Crítica do site Ain´t It Cool – Da critica MiraJeff, clique aqui:

 

http://www.aintitcool.com/node/33778

 

 

 

Um trecho Traduzido:

 

“No final do dia, 3:10 to Yuma é um bem escrito western com boa aparência que vale à pena ficar alvoraçado, estrelado por um par de sólidas atuações dos dois astros principais sabendo fazer aquilo que eles fazem melhor; rosnando como um bando de homens maus.”

 

 

 

 

 

Texto original:

 

 

 

MiraJeff Goes For A Ride On The 3:10 TO YUMA!!

 

 

 

 

 

"They're gonna hang me in the morning. Before the day is done. They're gonna hang me in the morning. I'll never see the sun."

 

 

 

 

 

Greetings AICN, MiraJeff here aboard the 3:10 to Yuma, the James Mangold-directed western starring Christian Bale and Russell Crowe as opposite sides of the law. Now I've never seen the Delmer Daves original with Glenn Ford and Van Heflin but this solid remake makes me want to go back and catch up with it on Netflix.

 

 

 

(In the interest of full disclosure, this review contains minor spoilers and I apologize for its length in advance.)

 

 

 

Bale plays Dan Evans, a wounded Civil War veteran and family man. Mangold wastes no time setting up Dan's circumstances, thrusting us right into the middle of the action as his barn is burned to the ground because of an outstanding debt to some local moneymen. When Dan tells his family (including Gretchen Mol in the thankless wife role) that he'll "take care of it," his eldest son, Will, (Logan Lerman, looking like the child Ian Somerhalder and Christian Slater never had), replies, "no you won't," a telling line illustrating Dan's ineffectiveness and the existing tension between father and son, whose relationship, as I understand it, has been considerably more fleshed-out than in the original in order to feed the characters' motivations.

 

 

 

Later, while riding horseback with his sons, Dan witnesses a daring robbery executed by a gang of murderous thieves led by Ben Wade (Crowe), a legendary outlaw whose vicious reputation precedes him. This very cool sequence, wherein the Wade gang ambushes some pinkertons riding with a lot of money on a horse-drawn wagon (the armored car of the Wild West), features some serious firepower despite the time period's limited weaponry. The attack is felt from every angle, with an all-seeing sniper hiding in the desert brush while Wade's right-hand man, Charlie Prince (an intense Ben Foster, in fine form), runs the ground operation.

 

 

 

Ever the strong, silent-type leader, Wade opts to stand back and wait, his icy stare an effective means of communicating with his posse. Of course, there's more to Wade than there seems, as evidenced by his fondness for sketching birds and signing his drawings. But when it comes time to lead, Wade is never shy about his ruthlessness. In the aftermath of the robbery, one of Wade's men, played by Empire Records' Johnny Whitworth, does an inadequate job of checking to make sure that the pinkertons are dead, and Wade doesn't hesitate to shoot him on the spot. (Sidenote: Considering the careers that nearly everyone in Empire Records went on to enjoy, it's a bit sad to see Whitworth reduced to corpse duty.) Eventually Wade discovers that Dan and his children have witnessed the entire incident and the men exchange words while Will stares at Whitworth's gunshot wound, amazed by what a single bullet can do.

 

 

 

Fearing for his family's safety, Dan can only watch as Wade steals his horses (which he later returns) and sets off with his gang to Bixby, where a not-so-innocent Charlie alerts the authorities to the robbery. They promptly leave to investigate, allowing Wade and Co. the chance to set up shop in town. While there, Wade seduces a barmaid (Vinessa Shaw) and lets his guard down in one of the film's only missteps. It's not long before Bale returns with the local cops who promptly capture Wade, pledging to bring him to justice by way of the 3:10 to Yuma. But first they have to find good, trustworthy men who will deliver Wade to the train station, men who won't be tempted to release the criminal for a hearty share of his loot. Unsurprisingly, Dan is the first to volunteer. While we know that the job offers a measly $100 payday and Dan needs as much money as he can get his hands on, it's obvious that his reasons for accepting the challenge are not purely financially motivated. There's a pride element involved, and though we feel like Dan has nothing to prove, having fought honorably for the North, we later learn that he isn't quite the hero we've thought him to be; His gimpy leg is a result of friendly fire suffered in the midst of a cowardly retreat, not a bravely earned badge of courage.

 

 

 

En route to Contention, Dan and Wade run into an assortment of characters, one of whom is Byron McElroy (Peter Fonda), a big-mouth bounty hunter who Wade likens to a "song with one-note." Though Fonda proves he's still a shit-kicker during McElroy's one-sided physical encounter with Wade, it's Wade who gets the last laugh, a recurring theme in the film seeing as scene-stealer Kevin Durand also meets a grisly fate after taunting Wade with a haunting verse. Elsewhere, Alan Tudyk plays the requisite character named 'Doc,' only the joke is, he's a veterinarian. And in an inexplicable casting decision, Luke Wilson appears in an awkward and distracting cameo in which he's not even the leader of a trio that later captures Wade upon one of his several 'escapes.'

 

 

 

As we should all know by now, 3:10 to Yuma's release was moved up a month to beat Brad Pitt's western, The Assassination of Jesse James by the Coward Robert Ford, into theaters. As such, it's one of the earliest 'prestige' pictures out of the gate, even though it really isn't that sort of material. This is a gritty, rugged genre picture. People are bound to see Bale and Crowe's names attached and start thinking about the film's award prospects, but as much as I really dug the film, I don't think it's really in contention for any Oscar nominations.

 

 

 

Having starved himself to frightening proportions in not one but two movies, in addition to returning the Batman franchise to glory, there's no question that Bale is amongst the finest actors of his generation, but despite the respect as he commands from voters, he's more likely to be recognized for his work in Rescue Dawn than here. It's no surprise that Crowe impressed me the most given his body of work and the two Oscars he has to show for it, but while I think he belongs in the discussion for Best Supporting Actor, the Academy will probably view the role as more of a co-lead. And since the film is adapted from an Elmore Leonard short story by Michael Brandt and Derek Haas, there's always an outside chance it could land an Adapted Screenplay nod. One of the script's strengths is its surprisingly wicked sense of humor, delivered with deadpan seriousness by Crowe and Foster. A joke about Wade's preference for green eyes made the critics in the screening I attended howl with laughter, while Foster's one-liner, "I hate posses," is worthy of t-shirt status in any cinephile's dresser. Credit must also be given to Marco Beltrami's fantastic score, although the unfinished version that was screened for critics had a temporary sound mix and also featured excerpts from Gustavo Santaolalla's Babel score. Snooty awards talk aside, Crowe's performance makes for one of the more charismatic movie villains in recent memory. As much as we're rooting for Dan to get Wade on that train, there was a part of me that wanted to see the two of them ride off into the sunset together. They share great chemistry on screen and personally I’d love to have seen them team up and go on a Butch and Sundance-type adventure together.

 

 

 

Speaking of endings, I won't spoil anything other than to say that I've been told by older, wiser critics that the ending has been significantly altered, though there was no consensus on which outcome was preferred. Personally, I felt the ending was the weakest part of the film. The fairly generic shoot-'em-up climax (on a pretty fake-looking set) turns Foster into the Terminator and is filmed with a lousy sense of space in which you can't tell where any of the characters are in relation to each other, especially when you take into consideration how well the rest of the film is staged and choreographed. Variety's Todd McCarthy took the words right out of my mouth in writing about the ending-- "Qualms persist, as aspects of the physical action and psychological motivation remain murky and forced." I couldn’t have said it any better myself. I thought that throughout the film, and specifically the ending, Wade made things too easy on Dan. He has plenty of opportunities to get away, and when you factor in his reputation as a cold-blooded killer, it makes no sense that he didn't exploit Dan's situation and take advantage of his physical limitations and lack of allies. Perhaps that's because of Wade's unwavering faith that his posse will rescue him, but the other part of it became a believability issue for me. It's obvious that these men have an unspoken mutual respect for each other, and perhaps Wade was more reluctant to act because he was grew up an orphan and he doesn't want Will to end up like him, but in a life or death situation, I have to believe that Wade would show a little less conscience than he does.

 

 

 

Of course, when all is said and done, 3:10 to Yuma is about wanting to leave behind a legacy and set an example for your kids. After he was injured, the government paid Dan for his bum leg so that they could walk away guilt-free. Wade makes a similar offer if Dan will let him go, but this time, he's smart enough to know better. The lesson Dan's trying to impart on Will is that you can't always walk away. Sometimes, you have to stand up for what is fair and what is right. In this case, Dan wants William to "remember your old man walked Ben Wade to that station when nobody else would." That's a hell of a legacy to leave behind and Wade, who has no flesh and blood to call his own, respects him all the more for it. And though Wade doesn't owe Dan a damn thing, maybe that's why he makes the decision that he does in the film's satisfying closing shot.

 

 

 

At the end of the day, 3:10 to Yuma is a well-written, great-looking Western worth getting excited about, featuring a pair of solid performances from two top-notch actors doing what they do best; snarling like a couple of bad-asses.

 

 

 

That'll do it for me, folks. I'll be back with a look at King of California, The Nines, Eastern Promises and In the Valley of Elah.

 

 

 

'Til next time time, this is MiraJeff signing off...

 

 

 

 

 

 

 

 

 

Visite o Russell Crowe Daily Planet, meu blog sobre o Russell Crowe e seus filmes, todo o dia sempre o primeiro com as últimas, e o que é melhor, em Português:

 

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Bem ..... risos

 

 

 

Na verdade o Russell e o Christian estavam tão descontraídos, que eles fizeram muitas piadas durante a press junket e o tapete vermelho na terça feira.

 

 

 

O Christian não estava afim de falar de Batman, e aí soltou essa pérola de que o Russell iria estar também no filme ...

 

 

 

E o Russell disse que estavam atrás do Christian para interpretar o Green Lantern na Liga da Justiça, mas o Christian não queria abrir mão da capa .... e sabe-se lá o que mais esses dois andaram soltando por aí.

 

 

 

 

 

Visite o Russell Crowe Daily Planet, meu blog sobre o Russell Crowe e seus filmes, todo o dia sempre o primeiro com as últimas, e o que é melhor, em Português:

 

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Haummm ... não fala assim deles não ... risos ...

 

A Imprensa estava ávida por notícias, né, então eles "deram algumas" .... risos

 

 

 

 

 

Ben Foster Não Perderia 3:10 To Yuma – Via The New York Post hoje, clique aqui:

 

New York Post

 

 

 

Ben, que interpreta o impiedoso Charlie Prince, o braço direito de Ben Wade (Russell) disse: “Quando eu estava procurando por fotos de arquivos de foras da lei, me impressionei que eles era as “estrelas do rock” daquela época. Nosso designer de roupa/figurino, que fez “Hedwig – Rock, Amor e Traição (2001)” e eu decidimos que haveria um inerente perigo e sex appeal para o Charlie que nós queríamos explorar. Eu assisti muito o Ziggy Stardust do David Bowie”. É Ben, vocês tiveram sucesso, o primeiro poster retrata essa sexualidade e pelo pouco que já vimos nos trailers, você realmente passa a mensagem.

 

 

 

Texto original:

 

 

 

BEN FOSTER WON'T MISS THE '3:10 TO YUMA'

 

 

 

By SARA STEWART

 

 

 

LOADED FOR BEAR: Scene stealer Ben Foster takes aim at Christian Bale in "3:10 to Yuma."August 26, 2007 -- THE patented Ben Foster move: Get cast in a minor role, dissolve yourself into it entirely and proceed to steal scenes out from under whichever more-famous actor has the misfortune to be appearing with you.

 

 

 

He did it as Lauren Ambrose's creepy art-school boyfriend in "Six Feet Under," and as a teen sociopath in the Bruce Willis film "Hostage." He made a two-episode role as the mentally handicapped kid on "Freaks and Geeks" painfully poignant, and completely ran off with "Alpha Dog" as a rage-fueled meth addict.

 

 

 

"I'm sure a therapist could have a field day with some of the roles that I've played," he says cheerfully. "F--- therapy, shoot a movie!"

 

 

 

Foster's new movie, "3:10 to Yuma" (Sept. 7), continues the trend, in a way. He's once again playing second fiddle, this time to Russell Crowe and Christian Bale. But the Sergio Leone-esque poster for the film - directed by James Mangold of "Walk the Line" - seems telling. Its lone icon is Foster, sporting a gun and a brass-buttoned coat, and looking an awful lot like Clint Eastwood back in the day.

 

 

 

Foster's character, Charlie Prince, is right-hand man to Crowe's Ben Wade, the charismatic outlaw who always manages to evade capture. As Charlie, Foster's scary as hell. There's the crazy-eyes thing, the cold-blooded murder thing, the nearly-sympathetic-in-spite-of-being-almost-pure-evil thing. But, he says, he was really going more for "glam."

 

 

 

"When I was going over all the archival photos of outlaws, it struck me that they were the rock stars of their time," he says. "Our brilliant costume designer, who did 'Hedwig and the Angry Inch,' and I decided there was an inherent danger and sexuality to Charlie that we wanted to explore. I watched a lot of David Bowie's 'Ziggy Stardust.'

 

 

 

"And," he adds, "a lot of documentaries on wildcats."

 

 

 

Wildcats. Sure.

 

 

 

"3:10," a remake of a 1957 film based on an Elmore Leonard short story, is the first time Foster's really been part of a cast on his level. This may not be the case with his next movie, "30 Days of Night" (Oct. 19), a vampire flick in which he co-stars with Josh Hartnett. (Hardly seems like a fair fight, does it?)

 

 

 

Much to Foster's chagrin, he doesn't actually get to sink his teeth into anyone.

 

 

 

"I very much wanted," he says regretfully, "to play a vampire."

 

 

 

 

 

 

 

Visite o Russell Crowe Daily Planet, meu blog sobre o Russell Crowe e seus filmes, todo o dia sempre o primeiro com as últimas, e o que é melhor, em Português:

 

Russell Crowe Daily Planet!

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Entrevista do Russell ao Dark Horizons - Via Murph, graças à fã Cindy, clique aqui:

 

http://www.darkhorizons.com/news07/crowe.php

 

 

 

Crowe disse que seu critério para escolher um projeto não mudou de todo nas últimas duas décadas: “É o mesmo como tem sido sempre, em termos de estória e personagem, o que é o meu foco principal quando leio um roteiro”, explica Crowe, atenciosamente. “Eu não acho que eu fiquei mais seletivo com o decorrer do tempo, mas eu acho que encarnei ser seletivo. Eu só fiz coisas que tinham apelo para mim e elas nem eram sempre coisas que um chefe de estúdio pensa ser atraente.” Crowe, cujos personagens vão de um relutante gladiador, para um matemático brilhante e agora líder de um bando de foras da lei na América do século 19, diz que apesar da variedade de diversos personagens que ele tem interpretado, o carismático ator de 43 anos de idade admite que bons personagens tem sido sempre um desafio para achar. “Tem sido sempre dessa forma, especialmente na minha vida no cinema. Você consegue um monte de oportunidades que vem com um grande e gordo cheque e todo o tipo de coisa mas necessariamente não te atrai. Há também um monte de gente que está absolutamente certo que isto é algo que você adoraria fazer, aí você começa a ler e não é nada que te possa fazer vibrar, então eu acho que você tem que permanecer verdadeiro com você mesmo daquela forma. Eu leio o roteiro, e se ele me der arrepios positivos, se eu gostar do potencial que tiver, então essa será a coisa que farei.”

 

 

 

 

 

Texto original:

 

 

 

Exclusive Interview: Russell Crowe for "3:10 to Yuma"

 

 

 

By Paul FischerThursday, August 23rd 2007 12:13am

 

 

 

Russell Crowe has never been an actor to suffer fools gladly, both on and off the screen. With his sense of humour perennially intact as he greets the media in a Beverly Hills hotel room, there is no mention of bad behaviour, as both actor and press generally remain on their best behaviour. We first met 17 years ago and even then there was a sense of ferocious ambition.

 

 

 

Back then, he was up and coming, now he is an Oscar winning star, who doesn’t select material based on a payday or commercial viability. While not drawn on how he has personally changed, the New Zealand-born Aussie, in town to promote his extraordinary performance as charming bad guy Ben Wade in the 3:10 to Yuma remake, Crowe says his criteria for choosing a new project has not really changed in the past near two decades. “It’s the same as it’s always been, in terms of the story and character, which are my primary focus when I read a script,” Crowe explains, thoughtfully. “I don’t think that I’ve become more selective over time, but I think I came into it being selective. I just did things that appealed to me and they’re not always going to be things that the head of a studio thinks will appeal as well.”

 

 

 

Crowe, whose characters range from a reluctant gladiator, to a brilliant mathematician and now leader of a gang of outlaws in 19th century America, says despite the plethora of diverse characters he has played, the charismatic 43-year old concedes that good characters have always been a challenge to find. “It’s always been that way, especially in my life in the movies. You get a lot of opportunities that come with a big pay cheque and all that sort of stuff but don’t necessarily appeal to you. There are also a lot of people who are absolutely dead set certain that this is something that you would love to do, then you start reading it and it’s not something that turns you on, so I think you’ve got to stay true to yourself in that way. I read a script, and if I get goose bumps, if I kind of like what the potential of it is, then that’s the thing that I do.”

 

 

 

3:10 to Yuma, a western drama chronicling the complex relationship between an outlaw [Crowe] and an impoverished rancher [Christian Bale] appealed to the Australian country boy who played pretend as a kid growing up in New Zealand. After all, while the film is a dark character-based drama, it’s still a Western with all its mythological trappings. “Look at the list of what you get to do: Ride horses, play with guns, speak in a funny voice, and wear pointy boots,” Crowe says, smilingly. “It’s a good list in terms of what you’re talking about and you would approach something like this probably thinking ‘This is going to be a bit of fun’ “

 

 

 

This is not the first time Crowe appeared in a Western, recalling his first experience shooting The Quick and the Dead a decade earlier. “That was pleasant, being warm during the day, a little cold late at night, nothing much. So I thought this would be fine and then I realised once I’d gotten there, that Santa Fe’s actually 7,500 feet above sea level and it’s now going to be significantly colder,” Crowe recalls on the Yuma shoot. “So Peter Fonda actually started a scale and said that he couldn’t act on location in period costume at below thirteen degrees. So I thing the Screen Actors Guild should look into this,” says Crowe, laughingly.

 

 

 

A passionate horseman himself, Russell brought some of that into his love for this film, but it was more than that. “I really enjoyed the thought of the story. The main thing is reading the script, seeing the dynamic of the characters all of which looked like it was going to be fun, so that’s why I did it.” It also gave the actor a chance to practice his gunplay, something that he familiarised himself with while preparing for Quick and the Dead. “On that I met this guy Phil Reid, who’s an armourer. Coming from Australia, I didn’t have any experience with the gun culture, so I’d never actually held a handgun until I was on the set of Quick and the Dead. That gave Phil was a complete blank slate so he could sort of put the information in my head that you need to do that sort of thing over time, and it’s been a long time now that I’ve known Mr Reid and I’ve probably done half a dozen or more movies with him and he just sort of keeps giving me tips. We’ve actually done silly things a long time ago gone off and done shooting competitions together as a team, but that’s a very specific skill. You don’t get to use that very often, so it’s good when a western comes around then you can use it.”

 

 

 

Russell Crowe remains as passionate and as complex an actor than he was at our first meeting over a decade ago. Yet it seems, despite his extraordinary success, his feet still remain planted on the ground.

 

 

 

 

 

 

 

 

 

Visite o Russell Crowe Daily Planet, meu blog sobre o Russell Crowe e seus filmes, todo o dia sempre o primeiro com as últimas, e o que é melhor, em Português:

 

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Boa Crítica do Filme da Rev. The New Yorker – clique aqui, do crítico David Denvy:

 

http://www.newyorker.com/arts/critics/cinema/2007/09/03/070903crci_cinema_denby?currentPage=1

 

 

 

“Muito disso tem sido muito pouco do que um conceito peso pesado não fosse por Russell Crowe. Nos primeiros minutos de sua primeira aparição, ele te convence que aquele Ben Wade é o homem mais inteligente no território. Wade é acompanhado por um bando de matadores, incluindo o dandy assistente em camurça (o talentoso Ben Foster) que é fanaticamente leal à ele, e Crowe se separa de Foster e de outros atores, criando quase que um espaço particular no qual ele pode interpretar. Este cultuado gangster gostas de observar outras pessoas, ele faz desenhos de qualquer um que lhe interesse e cita versos bíblicos – ele é um estético e um irônico – e Crowe, dominando cada situação com uma estocada violenta ou uma viciosa observação, dando uma fascinante, entretida interpretação própria (eu me lembrei de Marlon Brando no seu lado mais perverso). Crowe é um gênio da interpretação, e os diretores o edificam – eles criam um caótico ambiente no qual o niilismo de Wade sai de uma forma particular de sabedoria da sobrevivência. No território do Arizona, não há lei para falar, a Southern Pacific corrompe todo mundo, comprando seja o que for que a “justiça” precisa para conduzir seus negócios.”

 

 

 

Texto Original:

 

 

 

Eastern, Western

 

“The Nanny Diaries” and “3:10 to Yuma.”

 

 

 

by David Denby

 

September 3, 2007

 

 

 

At the bloody end of “3:10 to Yuma,” virtually all the surviving characters, not to mention a variety of strangers, get shot at point-blank range. It’s almost as if the stage were being cleared for some subsequent installment of what we’ve just been watching—the eternal conflict of good and evil in the Old West. There haven’t been many big-screen Westerns recently, but the form has lost none of its slightly absurd solemnity. It hasn’t lost its physical beauty, either, or its fervent seriousness about honor and courage. “3:10 to Yuma” is a remake of a 1957 Western directed by Delmer Daves, and this version—directed by James Mangold and written by Michael Brandt and Derek Haas, who amplified Elmore Leonard’s 1953 story and Halsted Welles’s script for the original—is faster, more cynical, and more brutal than the first. The setting is the Arizona territory after the Civil War, a wilderness with towns so ragged and insubstantial that they seem merely scratched onto the surface of the desert. Vengeful Apaches keep travellers awake at night, and Chinese coolies, working for the Southern Pacific Railroad, lay track across the mountains. Nothing resembling a social structure exists; individual character, for good or for ill, is all there is. In minor roles, the actors loom up at a saloon window or sit heavily on horseback, and each anonymous face, carved by terrible food, rotten liquor, and bad sex, makes an overwhelming impression of loneliness and discomfort. Peter Fonda, who is always described by publicists as an “icon,” shows up as a corrupt and violent bounty hunter—a thug with authority—and gives an amazingly fierce performance. In this movie, Fonda really is iconic. “3:10 to Yuma” may be familiar, but, at its best, it has a rapt quality, even an aura of wonder.

 

 

 

The hero, Dan Evans (Christian Bale), is a Civil War veteran with a stump for a foot; he has come out from Massachusetts with his family, and holds a few acres of parched ground, but he finds himself stranded in a moral wasteland. His barn gets burned down by a powerful man who wants him to clear off, and, in the hills near his property, he runs into the notorious outlaw and murderer Ben Wade (Russell Crowe). When they meet again in town, in a dark saloon, a bizarre thing happens: Wade finds the virtuous Dan so interesting that he lets his guard down. Pinkertons working for the railroad enter the building and capture him, and Dan, dead broke, becomes part of a group being paid good money to convey the famous killer across the desert and deposit him in a train heading for prison. During the journey, Wade murders two of his captors, and he makes a prolonged attempt to reason or bully Dan into letting him go. The stolid rancher has a moral core that provokes him—he can’t fathom it and wants to destroy it.

 

 

 

Most of this might have been little more than a heavyweight conceit were it not for Russell Crowe. Within minutes of his first appearance, he convinces you that Ben Wade is the most intelligent man in the territory. Wade is accompanied by a band of killers, including a dandified acolyte in buckskins (the gifted Ben Foster) who is fanatically loyal to him, and Crowe separates himself from Foster and the other actors, creating a quiet private space in which he can play. This cultivated gangster likes to observe other people; he draws pictures of anyone who interests him and quotes Biblical verse—he’s an aesthete and an ironist—and Crowe, dominating every situation with a violent lunge or a vicious remark, gives a fascinating, self-amused performance (I was reminded of Marlon Brando at his most perverse). Crowe is an acting genius, and the filmmakers build him up—they create a chaotic milieu in which Wade’s nihilism comes off as a particularly nasty form of survivor’s wisdom. In the Arizona territory, there’s no law to speak of; the Southern Pacific corrupts everyone, buying whatever “justice” it needs to conduct its business. Dan turns out to be the only one foolish enough to finish the job and bring the bad guy to prison. His defense of a civilization that doesn’t yet exist is an expression of personal honor, and it’s so ornery and irrational that it moves even Ben Wade.

 

 

 

James Mangold’s movies include “Cop Land” (1997), “Girl, Interrupted” (1999), and “Walk the Line” (2005), and this is by far his most sustained and evocative work. A scene in which Wade’s gang robs a stagecoach has a convulsive violence that makes it one of the best versions of this generic episode ever filmed. Mangold draws out the tensions between the actors—between Crowe and Fonda, for instance—and when the violence explodes it’s startling. There are a few choppy moments—an Indian attack at night is more suggested than staged—and I wish Mangold had resisted digital enhancement in a scene in which Wade and Dan blow up a railway tunnel (the moment looks fake). But much of this Western is tense and intricately wrought, and I found myself settling into its stern logic and its physical splendor with a grateful sigh. The old rituals are so far removed from our glib media world that they seem as solid as the hills and boulders of Arizona itself. ♦

 

 

 

 

 

 

 

 

 

Visite o Russell Crowe Daily Planet, meu blog sobre o Russell Crowe e seus filmes, todo o dia sempre o primeiro com as últimas, e o que é melhor, em Português:

 

Russell Crowe Daily Planet!

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