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3:10 To Yuma! - "Os Indomáveis"

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Christian Bale e Russell Discutem 3:10 To Yuma – Do site About.com, clique aqui:






Entrevista com os dois dada à jornalista Rebecca Murray, durante a press junket. Foi desta entrevista que nasceram os boatos do Russell no filme Batman, pela leitura, nota-se que os dois estavam bem à vontade: “Russell, o que faz seu personagem ser tanto animal? Russell: Bem, há uma história que é falada no filme, e se essa é ou não é a versão completa da história da vida dele é uma coisa diferente. Você assume todas as experiências que uma criança abandonada pode ter e tudo de ruim, todas aquelas coisas são adicionadas para aquilo onde ele está. Eu acho que uma das coisas importantes é que por causa de não termos uma história para Wade, não sabemos seu futuro. Não sabemos se ele acaba sendo capturado e tudo mais, e então eu estou sempre tomando a atitude de que ele realmente foi bem sucedido no que fez e isso foi provavelmente a 4ª. ou 5ª. versão de citada não comentada gangue. E quando eles se tornam por demais competentes, os membros da gangue ao seu redor e as coisas que eles lhes ensinou, aquele provavelmente é a hora para limpar lousa e para para outra, e conseguir para si uma outra gangue.”




Christian Bale and Russell Crowe Discuss 3:10 to Yuma




From Rebecca Murray,


Your Guide to Hollywood Movies.




Russell Crowe and Christian Bale may have an adversarial relationship in the Western drama 3:10 to Yuma, but the two intense actors had no problem representing the film as a team at a press conference in Los Angeles. The banter between the two actors at the conference was free and easy, with Crowe even good-naturedly throwing a few Batman jokes Bale's way.




In 3:10 to Yuma Crowe plays Ben Wade, the leader of a ruthless gang of thieves and killers. Bale stars as a husband and father who tries to save his land by taking a temporary job as one of the guards in charge of putting the outlaw Wade on the 3:10 train to Yuma.




Russell Crowe and Christian Bale Press Conference




You both played Americans before but were you surprised to be asked to star in a Western?




Christian Bale: “Not for a second, no (laughing).”




Russell Crowe: “Yeah, no, didn't surprise me.




I had spent quite a bit of time with James Mangold about six years ago. I didn't realize that he was spending… I was recording an album in the studio at the time [he was] prepping Walk the Line. I didn't realize that at the time, but we sort of became conversational friends and so when he sent me the script I read it. I enjoyed the dynamic between the two characters and that was basically the decision made.”


Russell, you're known as an actor who does a lot of research and prep for period roles. What's the real story of the level of work that you put into these things?




Russell Crowe: “Well, I think that we should decide not to talk about preparation just this once because then it all just becomes about preparation and not about the movie. The thing is that I was working on another movie right up to this and then promoting another film in Europe, and so I didn't really do that much preparation. But as you might know I have a working farm and so there were a lot of things on this movie that are just part of my day to day.”




Would it be okay to ask if there was anything from the last Western that you did, The Quick and The Dead, that also applied here? That was a much more stylized Western.




Russell Crowe: "Yeah, but I had the good fortune of working with a guy called Thell Reed who was an armorer at a point in my life where I'd never even touched a handgun before. He sort of utilized that and put a lot of information in my head because he didn't have to get past things that my dad had taught me incorrectly, or my uncles had taught me badly as he finds with a lot of American actors when he works with period guns. So it was just a matter of taking that same information, refreshing it in my mind, and then changing the style of how this particular guy killed people.”




Can you talk about filming in New Mexico, filming on location, and working together?




Russell Crowe: “You've been silent for a while, Batman. I'm going to do that all day, man.”




Christian Bale: “I was kind of guessing that was going to happen (laughing). New Mexico, when I think about it I don't have any recollections of Santa Fe particularly, but the canyons and being out in the high desert, that was nice. Just being out riding your horses and shooting your guns, that's a lot of fun.”




Russell Crowe: “It was really cold.”




Christian Bale: “It got to be bloody freezing, especially some of the night shoots.”




Russell Crowe: “Just terrifyingly cold.”




Christian Bale: “Then we had like the worst winter storm in recorded history come in.”




Russell Crowe: “We were surrounded by four and a half feet of snow doing scenes where were talking about the drought. It was one of those sort of movie experiences.”




Christian Bale: “Right, yeah (laughing). And he was just a real bastard to work with.”




Russell Crowe: “Peter Fonda started something that I think that SAG should pick up on. One day he actually said that he couldn't act in period costume on location below thirteen degrees.”




Christian Bale: “Which is superb. I'm having that put in my contracts from now on.”




Russell Crowe: “Yeah. I reckon that SAG should work on it because I reckon that you shouldn't do Shakespeare in a drafty hall in tights below, say, eight degrees. There should be a whole scale.”




Christian, you had just come from a really uncomfortable location before this, shooting in the jungle for Rescue Dawn. Was that more uncomfortable than this one or was this one more challenging?




Christian Bale: “I kind of like movies where I get to just be dirty and crawling in the mud. With Rescue Dawn it was all that primordial stuff, and with this one it was all about wearing the same clothes day after day and getting sweaty and dirty exposure to the sun. It's meant to be like that. Westerns are meant to be dirty. They shouldn't be all nice and clean. I like getting my hands dirty.”




Russell, did you like the fact that the bad boy had a conscience? Was that appealing to you at all?




Russell Crowe: “I didn't really read it that way.”




How did you read it then?




Russell Crowe: “He's just very efficient at surviving whatever situation he's in. I mean, the end result is an example of that. Obviously, that group of men that he's gathered together are probably a little dangerous now and so [spoiler deleted]...”




Your character gets away after whistling for his horse to come. How would you explain that special relationship between a horse and its rider?




Russell Crowe: “Well, I'm an absolute horse lover so that's a very complex and long answer in its full sense. But I've always found that, even from the time of being a little kid, that just like people, there are some horses that you sort of have a deep connection with immediately and you can work on that over time. I've found over the years that for me it's the antithesis of some other people's thought processes. The gentler you are and the more constant you are with the horse, the deeper that connection gets. It's funny though, doing these sort of movies - and I've done a few with animals - because you get really close to them as the working relationship is quite intense working 10 or 12 hours a day for a number of months and so it gets hard to say goodbye.”




Russell, what made your character into such an animal?




Russell Crowe: “Well, there's a history that's talked about in the film and whether or not that's the complete version of his life's story is a different thing. You sort of assume all the experiences that an abandoned child might have and all the worst, all of those things will add up to where he is.




I think one of the important things is that because we had no history of Wade, we don't know his future. We don't know if he gets captured and all of that stuff, and so I was always taking the attitude that he was actually very successful at what he did and that was probably the fourth or fifth version of his quote unquote gang. And when they become too proficient, the gang members around him and the things that he's taught them, that's probably the time to clean the slate and move on and go and get himself another gang.




There's a story in The Princess Bride where they talk about the Dread Pirate Roberts changing hands and that would go through my mind in terms of explaining him.”


Had you two met before and what sort of relationship did you forge on this film?




Christian Bale: “No, we had never met before. That's all. Whenever people ask me what I was doing next and I said that I was going to be working with Russell, they would kind of look at me and go, 'Oh, right, you're going to be in for a tough ride with him.' It was absolutely true (laughing). No. You find an awful lot, and I don't mean to talk out of school, but a lot of actors sort of complain and wince and do everything to avoid actually getting on with the work, so it's nice when you're working with someone like Russell when you can just get to the point and you can have blunt conversations about the scenes and it just makes it easy. Obviously, he doesn't have to be told what to do because he's a bloody good actor and it's a pleasure to work with someone as good as that.”




Russell Crowe: “Right from the first time that we did a reading I could see that he had a sense of humor and was very balanced about what the job is and all that sort of stuff. Once you've worn the cape it must be hard…”




Christian Bale: “This isn't going to go away all day.”




Russell Crowe: “…keeping your feet on the ground. You can tell that there's a lot of base jealousy coming from me about the fact that he gets to wear the cape.”




Christian Bale: “I bought him his own special rubber outfit.”




Russell Crowe: “Which I appreciated greatly.”




Christian Bale: “You'll be seeing him in the meat district of Manhattan.”




Russell Crowe: “We found it very easy to get on. And some of the days, I mean we talked about Peter pulling up at thirteen degrees, but actually some of the days were minus fifteen. So it's really nice to have an easy repartee when you're trying to do complicated things in rough conditions.”




Christian Bale: “Even though your jaw can't move because it's too cold to talk.”




Russell Crowe: “The thing is that it was easy. The thing that I said to him on the last night when we were finishing up, I said to him that he's all class. On a daily basis he was always ready. He's got great questions. His choices with his weapons, the way that he approached the horse riding – it's all good. From my perspective, to know that the guy you're working with has put the effort in and has switched on and is ready to go, regardless of the conditions and the hours and all of that stuff, it just makes you feel like you're in the right place.”




Christian Bale: “We were both a number of drinks down the line by that time, of course.”




Russell Crowe: “Which is also a good thing, being able to simply finish a days work and being able to have a regular conversation with a bloke over a beer without it being some big to do and breaking some sort of contemporary taboo like, 'We don't do that in Los Angeles.'”




Can you talk about working on the new Batman?




Christian Bale: “Russell is actually going to be in the new Batman movie, which is a big surprise that I want to reveal to everyone right now.”




Are you signed on to do The Justice League after the Batman films?




Christian Bale: “No.”




Russell Crowe: “What about The Green Lantern?”




Christian Bale: “No.”




Russell Crowe: “What about…”




Christian Bale: “No!”




Russell Crowe: “Come on, you look so good in a cape.”










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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Yuma e Jesse James em Festival na Califórnia – no site Canyon News, clique aqui:




Reporta que estes 2 filmes estão no Festival de Temecula, e sobre Russell e Yuma diz:




“Então há o melhor ator na indústria desde Henry Fonda. Russell Crowe. Os Crowe chegaram na América esta semana para promover seu último filme e o casal traz seus dois adoráveis filhos com eles. Crowe nunca falhou em qualquer papel e ganhou seu Oscar pelo filme de 2000 de Ridley Scott, Gladiador. Logrado duas vezes para o Oscar, primeiro em 1999 por seu papel em O Informante, e de novo em 2001 por Uma Mente Brilhante, fique de olho de novo para Crowe ser indicado por seu papel em 3:10 To Yuma como oposto ao talentoso Christian Bale e o fascinante Peter Fonda.”






Films and Festivals




Posted by Tommy Garrett on Aug 26, 2007 - 6:56:10 PM






One of Hollywood's biggest leading men has arrived on the big screen again. Brad Pitt belongs on the big screen and this latest movie where he plays Jesse James is the role that we have all been waiting for him to play.   However, this weekend the humanitarian will be hosting a party for 55 guests along side of his real life leading lady actress Angelina Jolie in the Hamptons (NY) trying to raise money for the rebuilding of the emerald city - New Orleans.   Pitt and Jolie have purchased a home in New Orleans, proving the old saying, "put your money where your mouth is." They really do love the city and hope that America will do what they believe is the right thing - rebuilding the city.   Pitt at least is different from most stars; he's spent millions of dollars of his own money for the cause.




Pitt's next picture, "The Assassination of Jesse James" which is released on October 5 will be his next big hit.   Pitt was awesome in "Legends of the Fall" and this western classic story of the criminal Jesse James could never have been played so perfectly by anyone other than Pitt. The last movie I had this much hope for was Pitt's "Meet Joe Black" in 1998. Pitt is sensational with every costar but shines immensely with the work opposite Sam Shepard, who is also a well known western genre star.












Then there is the best actor in the industry since Henry Fonda. Russell Crowe. The Crowe's have arrived in America this week to promote his latest film and the couple brought their two adorable tykes with them. Crowe has never failed in any role and won his Oscar for the 2000 Ridley Scott film "Gladiator." Cheated twice for the Oscar, first in 1999 for his role in "The Insider" and again in 2001 for "A Beautiful Mind," look out again for Crowe to be nominated for his role in "3:10 To Yuma" opposite the talented Christian Bale and the fascinating Peter Fonda.    This flick is due out on September 7 and it's one everyone should go to see.   The forgotten blonde beauty Gretchen Mol even has a small role in the film and is not only lovely but very good in her role as well.












Every town has a film festival.   Temecula, California is no exception.   But this years 13th Annual program will be star packed and filled with screenings of some great independent features. I hear that "General Hospital" hottie Bradford Anderson will be there and Smoky Robinson will be honored with a Lifetime Achievement Award this year and most importantly, my friend Rene' Thurston who followed me from Virginia to southern California is working on the event.   Rene' runs the Official website for actor Christopher Atkins, who is just one role from becoming an A-lister. The guy is in Malaysia right now working on his next feature film. Rene' and her talented husband Anthony Thurston, who is a wizard behind the scenes of movie production are the two best assets to leave the east coast and arrive in Hollywoodland. Welcome home friends.




The Temecula California Film Festival runs from September 12 - 16, 2007.










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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Site IESB Colocou Ontem OnLine Vídeos com entrevistas exclusivas comRussell e Christian, Ben Foster e Peter Fonda:












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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O site PR News Wire comenta a próxima edição de outubro da revista Cowboys & Indians, nas bancas a partir de 04 setembro nos Estados Unidos:






O site PR News Wire comenta a matéria que está nesta revista: “Russell Crowe cavalga altivo como o fora da lei Bem Wade em 3:10 To Yuma, o western aclamado pela crítico que estreará em 07 de setembro nos cinemas de todo os Estados Unidos. Então, para combinar, Cowboys & Indians, a primeira revista do Oeste, laçou o ator vencedor do Oscar para sua matéria de capa de sua edição de Outubro à vendas a partir de 04 de setembro. “Há algo que é sempre muito simples e direto sobre a moralidade dos Westerns”, diz Crowe à revista. “Tradicionalmente, é sempre muito fácil de ver quem está usando o chapéu branco e quem está usando o preto.” Em 3:10 To Yuma, a refilmagem emocionante do diretor James Mangold do clássico de 1957, Crowe cai definitivamente dentro da categoria do chapéu preto, interpretando um bandido e líder criminalmente charmoso que é capturado ao acaso depois de um roubo à uma diligência.”










Texto Original:




Russell Crowe Shoots Straight in Cowboys & Indians Magazine Preview of Gritty '3:10 to Yuma'




Russell Crowe on the October 2007 cover of Cowboys & Indians Magazine. (PRNewsFoto/Cowboys & Indians Magazine)








DALLAS, Aug. 27 /PRNewswire/ -- Russell Crowe rides tall as outlaw Ben Wade in "3:10 to Yuma," the critically acclaimed Western set to open Sept.


7 at theaters throughout North America. So it's only fitting that Cowboys & Indians, The Premiere Magazine of the West, has lassoed the Oscar-winning


actor for a cover-story preview feature in the October issue on sale Sept. 4. "There's something that's always very simple and direct about the morality of Westerns," Crowe tells C&I. "Traditionally, it's always been


very easy to see who's wearing the white hat and who's wearing the black."




In "3:10 to Yuma," director James Mangold's thrilling remake of the 1957 Western classic, Crowe most definitely falls into the black-hat category,


playing a criminally charming bandit leader who's captured by chance after a daring stagecoach robbery.




(Photo: http://www.newscom.com/cgi-bin/prnh/20070827/LAM117)




Christian Bale of "Batman Begins" fame co-stars alongside Crowe as Civil War veteran Dan Evans, a debt-plagued farmer who agrees to help get Wade on board a train bound for a Yuma prison. The two actors forged a bond of mutual respect and humorous banter during the grueling location shooting in New Mexico. "Yeah," Crowe jokes, "whatever situation we're in, I just turned around and said, 'Batman! What have you got in the utility belt, man?' Like, 'The river's swollen, flooded, you know? What have you got in the utility belt? Come on, Batman, sort it out!' Which is unusual in a Western, someone having a utility belt."




James Mangold, who also directed "Walk the Line," considers himself fortunate that both Crowe and Bale are "truly amazing actors" -- and, just as important, genuinely persuasive as Westerners. "To really be honest," Mangold says in the C&I October issue, "there are few people who can do something like this. If you're making a Western in a time when people really don't make Westerns anymore, and you're looking for men who look comfortable and alive and real on a horse, who seem appropriate in a period film, who carry with them a kind of timeless masculinity instead of, you know, a kind of modern, slumped-shouldered, affable, goofy quality -- then you've automatically eliminated almost every guy working in movies except these two guys and a few others."




Elsewhere in the October issue of Cowboys & Indians, John H. Ostdick details the campaign to combat modern-day cattle rustlers in the New West, while Maxine Joy Hansen pays tribute to Old Hollywood legend Gene Autry in a celebration of "America's favorite singing cowboy" on the 100th anniversary of Autry's birth. Cowboy poet Red Steagall talks with Hawaiian cattle rancher Corky Bryan, New Mexico governor Bill Richardson discusses


his race for the White House, and Texas-born country music star Miranda Lambert looks forward to performing for the folks back home at the Oct. 13-14 Big State Festival.




For more information or images:


    Cowboys & Indians Magazine


    6688 N. Central Expressway


    Suite 650


    Dallas, TX 75206


    Phone: 214.750.8222


    Fax: 214.750.4522










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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USA Today de Hoje: Western Atiram em Seu Caminho de Volta às Telonas – No site do jornal hoje, clique aqui:




O jornal comenta rapidamente sobre os 3 próximos lançamentos do genero: 3:10 to Yuma, O Asssassinato de Jessé James e No Country For Old Men: “Apesar das lápides erguidas através dos anos por especialistas e analistas, o Western nunca realmente morreu. Só tinha sofrido um tiro nas entranhas”.






Texto Original:




Westerns shoot their way back to the big screen




By Scott Bowles, USA TODAY


Howdy, Hollywood.




Despite the tombstones erected over the years by pundits and analysts, the Western never really died. It has just been suffering a gut shot.




DVD WATCH: A few Glenn Ford Westerns worth revisiting




This fall, though, it's blazing back to theaters with movies that range from the contemporary to the legendary:




•3:10 to Yuma revisits the 1957 film, this time with Christian Bale playing a modest farmer who escorts an outlaw, played by Russell Crowe, to a train bound for federal prison. It opens Sept. 7.




FIND MORE STORIES IN: Hollywood | Brad Pitt | Western | Paul Dergarabedian | Christian Bale | Yuma | Australian film | Assassination of Jesse James by Coward Robert Ford




•The Assassination of Jesse James by the Coward Robert Ford, out Sept. 21, features Brad Pitt as the famous gunslinger and Casey Affleck as his turncoat gang member.




•No Country for Old Men. Set in the modern-day Rio Grande, the latest film from the Coen Brothers is a bloody hunt among thieves for $2 million. Starring Tommy Lee Jones, it opens Nov. 9.




No one's quite sure why the Western became an endangered species on the cinematic landscape. Many recent Westerns, including Brokeback Mountain, Open Range and the Australian film The Proposition, were critical favorites, if not always blockbusters.




"The Western is still just about the best genre for cinematic storytelling," says Paul Dergarabedian of Media By Numbers. "And they can make money, especially in the hands of the right director, like a Clint Eastwood or Kevin Costner."




They're also just fun to make, Yuma's Bale says.




"What's not to like?" he asks. "You're out in the beautiful country, riding horses, shooting guns. I guess they can seem repetitive if you're telling similar stories, but so would any kind of film."




Pitt wonders whether the Western's reputation as a languid genre scares studios.




"It can be a slow burn and out of its time," he says. " But to examine the people behind some of the myths of history can be poetry."




Yuma director James Mangold says Hollywood just got lazy.




"We led the way for a while, then the Italian filmmakers took it over," he says. "Now it's our chance to take it back."




Not that it will be that easy.




"Kids aren't saying 'Hey, there's a new Western we have to check out,' " Dergarabedian says. "But there are real A-list stars in this new crop, so there's hope."












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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Vídeo com Entrevista com Russell e Bale – Via Murph, graças à fã Avril, video com o apresentador do programa GMTV entrevistando os dois, clique aqui, com alguns momentos engraçados:








Entrevista com Alan Tudyk – o site FirstShowing traz uma entrevista com o ator que faz o papel de Doc Potter, clique aqui:








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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Em minha opinião, There Will Be Blood não foi mencionada na matéria do USA Today porque não será lançado na temporada de outono nos Estados Unidos que vai de setembro à 21 de dezembro de 2007.


There Will Be Blood, de acordo com o IMDB, só estreará em 26 de dezembro:








Crítica Positiva ao filme do Access Hollywood – Via Murph, graças à fã Cindy, clique aqui:






“Russell Cavalga de Novo. Desde os primeiros dias do meio, a história do cinema tem agraciada com vilões que foram mais divertidos/entretenidores para interpretar (e, como resultado, mais divertido para assistir) do que seus mais agradáveis (e, me atrevo a dizer, muito chatos) protagonistas. Pegue Darth Vader em Guerra nas Estrelas, Hannibal Lecter em O Silêncio dos Inocentes, Alonzo Harris em Dia de Treinamento, Hans Gruber em Duro de Matar, Harry Lime em O Terceiro Homem. Então temos Bem Wade em 3:10 To Yuma. Apesar de ser estupendosamente interpretado no original de 1957 por Glenn Ford, Wade ainda não é exatamente o primeiro nome que vem à cabeça quando compilamos essa longa lista de caras maus. Mas isto está prestes à mudar com esta valorosa refilmagem, graças à brilhante atuação de Russell Crowe como o fora da lei que pode sem esforço mudar de ser magnético e charmoso para podre e cruel ao cair do chapéu.”




Texto Original:


MovieMantz Review: '3:10 To Yuma'


Russell Crowe Rides Again




by Scott Mantz




“3:10 to Yuma”


Starring: Russell Crowe, Christian Bale


Directed by: James Mangold




Since the earliest days of the medium, film history has been littered with villains that were more fun to play (and, as a result, more fun to watch) than their more likable (and, dare I say it, more boring) protagonists. Take Darth Vader in “Star Wars”; Hannibal Lecter in “The Silence of the Lambs”; Alonzo Harris in “Training Day”; Hans Gruber in “Die Hard”; Harry Lime in “The Third Man.”




Then there’s Ben Wade in “3:10 to Yuma.” Despite being terrifically played in the 1957 original by Glenn Ford, Wade still wasn’t exactly the first name that came to mind when compiling that long list of unforgettable baddies. But that’s likely to change with this worthy remake, thanks to Russell Crowe’s brilliant performance as the outlaw who can effortlessly switch from being magnetic and charming to rotten and vicious at the drop of a hat.




Fortunately, Christian Bale is just as impressive as good-guy Dan Evans, the physically and emotionally beaten farmer who vows to bring Wade to justice in an effort to redeem himself in the eyes of his family. But there’s a lot more where that came from in “3:10 to Yuma” — an extremely well made, spectacularly entertaining Western that represents director James Mangold’s strongest film to date (topping even 2005’s acclaimed “Walk the Line”).




When his Arizona farm is ravaged by a devastating drought, former Army Union sharpshooter Dan Evans finds himself strapped for cash. In order to pay off his debts, he sells his services to escort the notorious outlaw Ben Wade across the desert plains to Contention, where he will then board the 3:10 prison train bound for Yuma and await trial in that town’s Federal Court.




But the three-day journey winds up being more perilous than expected for Evans and his posse, which include a weathered bounty hunter (Peter Fonda), a meek veterinarian (Alan Tudyk) and Evans’ own young son (Logan Lerman). Not only is Wade’s ruthless gang right behind them, but Wade continually tries to charm his captors into lowering their guard just long enough for him to break free. But Evans will have none of it — he’ll do whatever it takes to deliver his man on time, even if it’s the last thing he ever does.




If the 1957 version written by Halsted Welles and directed by Delmer Daves greatly expands upon the “High Noon”-inspired short story written by Elmore Leonard, then this latest remake goes even further. By adding a good 30 minutes onto the original film’s 92-minute running time, director Mangold and screenwriters Derek Haas and Michael Brandt open the film up to allow for even more character development and a gripping, thrilling sense of adventure.




And it pays off on every level. Giving Evans a physical disability raises the stakes for him to complete his mission, while having his son tag along for the ride allows him to do it for more selfless reasons. But more effective is the kinship that develops between Evans and Wade. Despite being on opposite ends of the moral spectrum, they soon grow to respect each other, leading to a spectacular finale where you wind up rooting for both men as their train rolls in.




It’s easy to see why Mangold was drawn to the material, since the story of a lone, honest, physically impaired man trying to do what’s right in a corrupt environment most closely resembles his own earlier movie, 1997’s “Copland.” But “3:10 to Yuma” is more rewarding on a number of levels, though it is interesting to note that both lead actors in this gritty tale of the Old West aren’t even Americans — Bale hails from Wales, while Crowe (in another Western after 1995’s “The Quick and the Dead”) was born in New Zealand.




It’s also worth noting that “3:10 to Yuma” boasts not one, but two villains that are fun to watch. In addition to Ben Wade, there’s Charlie Prince, the loyal second-in-command of Wade’s gang who lacks the charm, intelligence and sympathy of his leader. And in a performance that’s even scarier than the thug he played in “Alpha Dog,” Ben Foster steals virtually every scene he is in. Talk about icing on the cake, no wonder “3:10 to Yuma” is one of the year’s best movies.












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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Yahoo News Sobre a Temporada de Outono nos Estados Unidos – Via Murph, graças à fã Kris C, o site Yahoo, clique aqui:




na seção entretenimento, faz um apanhado geral dos filmes que irão estrear agora na temporada de outono nos Estados Unidos, que vai de setembro à dezembro, menciona Yuma e American Gangster rapidamente, e sobre a volta dos westerns: “Há até mesmo a volta de um gênero vulnerável, o Western, que tem passado por tempos difíceis na moderna Hollywood. Crowe e Christian Bale estrelam a refilmagem de “3:10 To Yuma’, sobre um fazendeiro pobre ajudando a escoltar um líder capturado de uma gangue, enquanto um segundo conto do Velho Oeste vem a seguir no seu encalço com “O Assassinato de Jesse James pelo Covarde Robert Ford.”




Texto Original:




Fall film preview: familiarity rules






Mon Aug 27, 6:13 PM ET




LOS ANGELES - Hollywood may not have a Harry Potter, Spider-Man, Shrek or Capt. Jack Sparrow on its upcoming lineup. Yet the fall and holiday schedule does offer filmgoers a chance to catch up with some familiar characters, stories and movie-making teams.




It'll be reunion season for actors and filmmakers such as Russell Crowe and Ridley Scott ("American Gangster"); Cate Blanchett and Shekhar Kapur ("Elizabeth: The Golden Age"); Nicolas Cage and Jon Turteltaub ("National Treasure: Book of Secrets"); Johnny Depp, Helena Bonham Carter and Tim Burton ("Sweeney Todd"); and Ben Stiller and the Farrelly brothers ("The Heartbreak Kid").




It'll be reacquaintance season for some classic characters in Robert Zemeckis' retelling of the Norse legend "Beowulf"; "Fred Claus," a North Pole comedy about Santa (Paul Giamatti) and his black-sheep brother (Vince Vaughn); and "I Am Legend," with Will Smith in a new take on the sci-fi thriller "The Omega Man."




There's even the return of a venerable genre, the Western, which has fallen on hard times in modern Hollywood. Crowe and Christian Bale star in the remake "3:10 to Yuma," about a poor rancher helping to escort a captured gang leader, while a second Old West tale comes close on its heels with "The Assassination of Jesse James by the Coward Robert Ford."




Brad Pitt, starring as James, said his own celebrity helped him sympathize with the outlaw, whose notoriety as a heroic Robin Hood figure was heavily fabricated.




"I liked the themes of fame, the obsession with fame. The idea of the Jesse James character being trapped behind a facade and not knowing how to get out," said Pitt, who plays James in the last year of his life as he lapses into paranoia over potential betrayal by accomplices and intimates, including young idolizer Ford (Casey Affleck).




"We operate under the assumption everyone is pretty much up on the Jesse James myth, so we start dissecting the myth," Pitt said.




In other fall films, Crowe plays a New York cop to Denzel Washington's Harlem crime kingpin in director Scott's "American Gangster"; Stiller rejoins the Farrellys, who directed him in "There's Something About Mary," for "The Heartbreak Kid," about a man who meets the perfect woman — on his honeymoon with another bride; Cage sets out to clear an ancestor implicated in Abraham Lincoln's assassination in the "National Treasure" sequel; frequent collaborators Depp, Bonham Carter and Burton adapt Stephen Sondheim's "Sweeney Todd," the musical about the murderous 18th century barber; Vaughn plays the title role in "Fred Claus" to Giamatti's Santa, who bails his sibling out of jail and forces him to work off the debt at the North Pole; Reese Witherspoon is a woman searching for her missing husband, an Egyptian who vanishes on a flight to Washington, in "Rendition"; Joaquin Phoenix and Jennifer Connelly are a couple in grief after their son is killed by a hit-and-run driver (Mark Ruffalo) in "Reservation Road"; Phoenix stars with Mark Wahlberg and Robert Duvall in "We Own the Night," a crime tale in 1980s New York; and Tim Roth stars in Francis Ford Coppola's "Youth Without Youth," playing a professor on the run in Europe as World War II looms.




Also, Angelina Jolie, Anthony Hopkins and Ray Winstone are featured in "Beowulf," with Zemeckis applying the performance-capture technology he used in "The Polar Express" to animate the epic of the hero's battle against the monster Grendel and his mother; Steve Carell plays a widower who falls for his brother's girlfriend (Juliette Binoche) in "Dan in Real Life"; Tommy Lee Jones, Charlize Theron and Susan Sarandon star in a murder mystery surrounding an Iraq war soldier after he returns home in "In the Valley of Elah"; Sarandon plays a wicked queen who banishes a fairy-tale princess (Amy Adams) to modern New York in "Enchanted"; Halle Berry is a widow who forges a relationship with her husband's friend (Benicio Del Toro) in "Things We Lost in the Fire"; a gang of beloved cartoon critters come to life in "Alvin and the Chipmunks," with Jason Lee; Nicole Kidman and Daniel Craig appear in "The Golden Compass," set in a fantasy world where a girl rushes to rescue her missing friend; Tom Hanks and Julia Roberts mastermind American strategy to counter the Soviet invasion of Afghanistan in "Charlie Wilson's War"; and Jack Nicholson and Morgan Freeman are terminal patients who take a final road trip in "The Bucket List."




Here's a closer look at some fall and holiday releases:








Nine years after "Elizabeth," Cate Blanchett, Geoffrey Rush and director Shekhar Kapur reteam for "Elizabeth: The Golden Age," resuming the story of Britain's Queen Elizabeth I.




The new film has the spinster monarch juggling romantic temptation for Sir Walter Raleigh (Clive Owen), opposition from Mary Queen of Scots (Samantha Morton) and the threat of conquest by Spain and its armada.




"The first film was about denial, what one has to do to sort of extricate oneself from oneself in order to rule. At the beginning of this film, she's still in a place of denial, but this film is more about acceptance in a way," Blanchett said. "On a domestic, prosaic level, you have a woman who realizes: `Am I not going to have children?'




"On a bigger scale, you have a woman asking, `Do people love me for who I am or for what they want from me?' Anyone in a position of power must go through that."








Jerry Seinfeld returns with his first major project since "Seinfeld," co-writing and providing the lead voice in the animated comedy "Bee Movie."




The premise: worker bee Barry B. Benson (Seinfeld) befriends a human florist (Renee Zellweger), who becomes his aide when he sues humanity for stealing the honey his species toils to produce.




"Barry stings them in the one place it really hurts" — their wallets, said Seinfeld, whose story has its roots in his fascination with nature documentaries.




"The ones about bees I've always found amazing," Seinfeld said. "The sophistication of their culture and architecture, and this amazing substance they make. Their communication system, their navigation system, and how they're not supposed to be able to fly. It always struck me as a great setting for a story."








Jodie Foster has played the victim in "The Accused" and the enforcer of justice in "The Silence of the Lambs."




Now, she's both — along with judge, jury and executioner — in "The Brave One," a thriller about a Manhattan woman who becomes a gun-toting vigilante after recovering from an attack that killed her fiance and left her near death.




"She is plagued by fear in a way she never really knew. Little by little, she turns that fear into a kind of monstrous rage," Foster said. "She buys a gun like a lot of women do, and having it in her pocket imbues her with this power, where she finds herself by coincidence or by design in situations she shouldn't be in.




"It's a descent or progression that starts as self-defense and very quickly becomes something else."








"The Kingdom" stars Jamie Foxx, Jennifer Garner and Chris Cooper as members of a U.S. counterterrorism unit chasing after the mastermind of a bombing in Saudi Arabia.




Their investigation runs smack into culture clash as Saudi leaders view them as arrogant Americans bulling their way into a matter for local authorities.




The pursuit hits close to home for Foxx's character, the FBI man leading the American response, who has lost a close friend in the bombing.




"He goes a little overboard because of the fact that it is personal, kind of like a 9/11 thing for him," Foxx said. "You see him on fire for this. `Whoever did it, I'm going to the end of the world to find out who, because it's personal.' And his team is telling him it's too personal."








"I Am Legend," adapted from the same novel as "The Omega Man," takes place after a plague that wipes out most of humanity and transforms others into bloodthirsty nocturnal creatures.




Will Smith stars as a survivor — and possibly the last human on Earth.




Smith said he spends much of the movie in silence, with just a dog for company. To help capture the character's desperate loneliness, Smith met with prisoners of war and inmates who lived in solitary confinement, including one man left alone so long he claimed he had trained cockroaches to gather food for him.




"It's fun to have a moment by yourself alone, a little peace and quiet, but peace and quiet turns into your worst nightmare very, very quickly," Smith said.




"If you break your ankle, you need your tonsils out, anything that takes another person to do, the first time you get an infection, you're in trouble," Smith said. "The reason that there are cities and civilizations and Screen Actors Guilds and AFL-CIOs, the reason people form groups, is that you can't survive by yourself."








As he did two years ago with "Syriana" and "Good Night, and Good Luck," George Clooney moonlights as a performer in one movie and actor-director on another.




Clooney has the title role in "Michael Clayton," a legal drama about a corporate firm battling a class-action lawsuit.




"I play sort of a fixture in a law firm who does all the dirty work most people don't talk about," Clooney said. "He's not a guy who's ambitious to get to the top. He's just a guy who sort of makes a living. The idea is, times are changing and the world is crashing in around him, and he's boxed himself into a corner. He just wants to make this one last deal and get out."




Clooney directs and stars in "Leatherheads," playing a 1920s pro football player who recruits a young college athlete (John Krasinski) with whom he ends up in a romantic triangle over a reporter (Renee Zellweger) profiling the new star.




It was the first time Clooney took a starring role in a movie he also directed, but tough as that was, suiting up and hitting the field was worse.




"That was the hardest part, playing football every day. You forget how old you are until you get hit by a 21-year-old from Clemson University," Clooney said. "It literally just rattles the teeth. I'd be saying, `OK, new rules: Nobody hit the director.'"










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Yahoo News Sobre a Corrida do Oscar - Clique aqui:






“Tire as cartas para os Oscars porque na próxima semana Hollywood lança sua nova temporada de filmes, com a típica mistura de outono de dramas adultos lidando como tópicos mais sérios do que este verão que passa com filmes pipoca. Filmes como o western “3:10 To Yuma”, estrelando Russell Crowe e Christian Bale, e “Elizabeth – A Idade do Outo” aspiram ser os primeiros corredores de ponta na corrida para os Oscars, a mais alta honraria do mundo, que são dados no inverno (janeiro/fevereiro) pela Academia de Artes e Ciências Cinematográficas.”




Texto Original:


Fall films bring Oscar buzz to Hollywood




By Bob Tourtellotte


Tue Aug 28, 7:59 PM ET




LOS ANGELES (Reuters) - Get out the Oscar scorecards because next week Hollywood launches its new movie season, with a typical fall mix of adult dramas dealing with more serious topics than this past summer's popcorn flicks.




Movies like western "3:10 to Yuma," starring Russell Crowe and Christian Bale, and "Elizabeth: The Golden Age" aspire to be early frontrunners in the race for Oscars, the world's top film honors, which are given out in winter by the Academy of Motion Picture Arts and Sciences.




But lovers of adventure and comedy should not despair. Plenty of other titles also fill the bill, ranging from Jodie Foster's actioner "The Brave One" to Ben Stiller's comedy "The Heartbreak Kid" and Disney fairy tale "Enchanted."




"I think people want to be entertained. I think they want to be moved. I think they want to be taken on a journey, and the last thing they want is be preached at," actress Charlize Theron told Reuters recently.




Theron stars in one of September's more serious movies, "In the Valley of Elah," from writer/director Paul Haggis, who brought out Oscar-winning "Crash." "Elah" tells the story of a former military cop (Tommy Lee Jones) investigating the murder of his son, an Army soldier home from Iraq.




Other top September tickets are "The Assassination of Jesse James by the Coward Robert Ford" with Brad Pitt, and "King of California" starring Michael Douglas. Sean Penn directs drama "Into the Wild," and Ang Lee brings out "Lust, Caution," a thriller about seduction and betrayal in 1940s China.








September ends in a bang with action flick "The Kingdom," starring Jamie Foxx and Jennifer Garner as FBI agents sent to Saudi Arabia to investigate a bombing, sparking a culture clash between mid-East and Western ideology.




"I wanted to make a film that dealt with the Middle East and that dealt with religious extremism, but I first and foremost wanted to make a film that ... people would be thrilled at," said director Peter Berg.




October starts on a lighter note with Stiller's "The Heartbreak Kid" from comedy writing and directing brothers Peter and Bobby Farrelly, who were behind Stiller's 1998 hit "There's Something About Mary."




"Heartbreak Kid" follows a man pursuing the woman of his dreams while on his honeymoon, and is filled with off-color jokes, strange sex and other Farrelly brother hallmarks.




One offbeat comedy creating big advance buzz in Hollywood is director Wes Anderson's "The Darjeeling Limited," about three friends who go on a spiritual quest throughout India.




Movies also get serious in October. George Clooney, who scored an awards hit in 2005 with "Good Night, and Good Luck," is back with "Michael Clayton," playing a man hired by a law firm to straighten out an attorney drawn into a conspiracy.




Finally in October, John Cusack stars in "Grace is Gone," a hit at 2007's Sundance Film Festival about a father grieving the loss of his wife in Iraq.








By early November, Hollywood returns to fare aimed at mostly younger audiences, and computer animated "Bee Movie," created by comedian Jerry Seinfeld, fits that bill. It tells of a bee who escapes his hum-drum hive for life in Manhattan.




"You're not going to make anything good if you're not excited, and when I saw this technology and I saw how you can make anything, go anywhere ... this is fresh," Seinfeld said.




Another animated wonder in November will be "Beowulf," directed by Robert Zemeckis, who uses motion-capture technology to retell the epic poem that follows Beowulf's battles.




Paul Giamatti and Vince Vaughn portray rival siblings -- jolly ol' Kriss Kringle and his bad brother -- in "Fred Claus," and "Enchanted" tells of a princess who is plucked from her fairy tale life and put into the real world.




Finally, major stars Denzel Washington and Russell Crowe appear together in action thriller "American Gangster," and Tom Cruise takes a leading role in a rumination over war, "Lions for Lambs," directed by Oscar winner Robert Redford.




Yes, it is fall in Hollywood, and the Oscar race is on.












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. Boa Crítica ao Filme na Entertainment Weekly – clique aqui, do crítico Owen Gleiberman: “






“A carreira do Russell pode ter atingndo um rápido baque, mas eu ainda estou convencido que ele é a estrela do nosso tempo. Ele torna a cólera masculina nobre, investindo-a com um místico chapéu/cartola preto de alguém que cresceu sábio fazendo coisas ignóbeis. É essa complexidade santa/machucada que é tão ordenadora. Dê uma olhada ao olhos de Crowe. O esquerdo é firme/fixo, centrado, ajustado em intenções, mas o direito é todo soslaio/semi cerrado, jeito não escocês. Como o mortalmente, elegante atirador certeiro, Wade, que Glenn Ford interpretou no original com um letalmente sorriso com covinhas, Crowe esculpe seu próprio espaço de recreação, e então molda o filme à ele. Ele faz do personagem um estético (ele esta sempre desenhando coisas), um cavalheiro citador da Bíblia. Ele é tão cortês que à primeira vista você pensa ele está sendo ironicamente gentil. Então você percebe que ele realmente quer ser. Wade tem sido um criminoso por muito tempo, e coloca-se muito acima das pessoas comuns, que ele na verdade tem pena deles. Ele não quer manter Evans, um fazendeiro com dívidas que perdeu parte de sua perna na Guerra Civil. Ele quer escapar comprando-o, e, no processo, dando ao homem fraco um sabor de poder/força pessoal. Ele é um lábio laçador Nietzschianio numa


roupa preta.”








Texto original:


Movie Review


3:10 to Yuma (2007)




By Owen Gleiberman




How do you get an audience today to line up for that most traditional — some would say stodgy and irrelevant — of genres, the Western? It helps to pile on the good humor and the star power (Silverado), or to reconfigure the conflict of cowboys and Indians into a misty-eyed New Age lovefest (Dances With Wolves). In the case of 3:10 to Yuma, a sturdy and enjoyable remake of the 1957 minor classic (the original was based on a short story by Elmore Leonard, and it has his affection for sleazy good-bad men), director James Mangold (Walk the Line) amps up the mayhem, going for his version of a Peckinpah frenzy. As the picture opens, an armored coach gets ambushed by a very wild bunch of outlaws, a scene that's staged like the whiz-bang prelude to an urban action movie: the camera bouncing and jostling from a horseman's-eye view, the bullets fired from everywhere, the Pinkerton agents who are guarding the coach's payload leaping to unleash their fire with a primitive machine gun.




This is no tightly choreographed Old West shoot-out; it's a fusillade of hot-lead chaos. Yet for all the sprayed metal on display, the violence in 3:10 to Yuma is really a come-on, a strategy to suck in sensation junkies. The film's real duel is a psychological one, a shoot-out of values between two powerfully different men. There's Ben Wade (Russell Crowe), the self-possessed outlaw who, having robbed that stagecoach, gets captured, almost as a fluke, by a nervous posse of small-town enforcers; and there's Dan Evans (Christian Bale), the self-doubting, impoverished family man who, for $200, joins the posse to help deposit Wade on the 3:10 train to Yuma prison. That is, if Wade's gang doesn't catch up and kill everyone first.




Russell Crowe's career may have hit a speed bump, but I'm still convinced he's the star of our time. He makes masculine anger noble, investing it with the black-hat mystique of someone who has grown wise by doing ignoble things. It's that saint/bruiser complexity that's so commanding. Just look at Crowe's eyes: The left one is steady, centered, square in intent, but the right one is all squinty, off-kilter attitude. As the deadly, elegant sharpshooter Wade, whom Glenn Ford played in the original with a dimply corporate lethality, Crowe carves out his own relaxed space, and then molds the movie to it. He makes the character an aesthete (he's always sketching things), a Bible-quoting gentleman. He's so courteous that at first you think he's being ironically nice. Then you realize he means it. Wade has been a criminal for so long, and holds himself so far above ordinary folks, that he actually has pity for them. He doesn't want to kill Evans, a debt-ridden rancher who lost part of his leg in the Civil War. He wants to escape by buying him off — and, in the process, giving the weaker man a taste of personal power. He's a bow-lipped Nietzschean in a black vest.




Wade keeps taunting Evans, tempting him, and with each new offer the hollows in Evans' cheeks seem to sink a little deeper. In the 1957 3:10 to Yuma, Evans was played by Van Heflin as a sad, disheveled lug — the battle between the two men was mythological — but 50 years later it's a far more exotic thing in movies to bring a desperate working stiff to life, especially if you're a high flier like Christian Bale. He makes Evans a real Method scraggle-puss: all scowling impotence and hardened pride, his eyeballs burning out of that gaunt face. What gives the story its kick is that Wade, the courtly sociopath, is free to do the things he thinks everyone secretly wants to do, whereas Evans, with a wife (Gretchen Mol) who has turned cool to him and a teenage son (Logan Lerman) who doesn't respect him, is drowning in quiet misery. He's honorable, but is he a man?




The original 3:10 to Yuma was a ticking-clock Western. Like High Noon or Rio Bravo, it was all sitting around in enclosed spaces waiting for the big showdown. The new version follows the old one fairly closely, but it pads close to half an hour onto it, adding a skirmish with Indians, goosing the action (ironically) by slowing down the story, giving a showboat role to Ben Foster as Wade's feral, cracked right-hand gun. The climax, in which Evans drags Wade around buildings and across rooftops, firing at a dozen enemies at once, is genuinely exciting, but it also goes on forever, and given what a major point the movie makes of Evans' ruined leg, it begs plausibility. This is how a Western today tries to give us more bang for the buck. By working this hard to be a crowd-pleaser, though, it may please fewer crowds. B












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Outra boa no site da Film School Projects: Média A+






“O que rege o universo: ordem ou caos? Há algum plano estabelecido por um ser supremo ou estamos todos nós o fazendo conforme andamos? Como você suas respostas afetam a forma como você vive sua vida? Você é limitado pelas regras acordadas pela sociedade oou você ao invés disso escolhe fazer aquilo que é melhor para você? E faz essa mudança quando a vida o trata de forma injusta? O diretor James Mangold lida como essas idéias provocativas nesta atualização do wester de 1957 baseado no pequeno conto de Elmore Leonard.” ...




“3:10 To Yuma conta a maravilhosa estória que pode ser levada como um filme direcionada de aventura, enquanto também oferece temas para explorar e contemplar. As atuações de todos, especialmente das estrelas prinicpais, tão grandes de assistir. Bale e Crowe são dois dos melhores atores trabalhando hoje e eles cumprimentam um ao outro muito bem. Todas as equipes excedem nos sés papéís/funções, criando autenticidade em todas as cenas. É o melhor filme de longe deste ano e merece ser honrado/glorificado assim.”






Texto original:




Review: 3:10 to Yuma (2007)


by El Bicho




What rules the universe: order or chaos? Is there a plan set forth by a supreme being or are we all making it up as we go? How do your answers affect the way you live your life? Are you bound by the rules agreed to by society or do you instead choose to do what’s best for you? And does that change when life treats you unfairly? Director James Mangold deals with thought-provoking ideas in this update of the 1957 western based on Elmore Leonard’s short story.




Dan Evans (Christian Bale) is a former Civil War soldier struggling to make a life for his family. He bought a ranch in Bisbee, AZ with the money he received after being badly wounded in the leg, but his cows are dying due to a drought. He has to choose buying medicine for his youngest son over paying the mortgage. That decision further proves to the property owner the land is worth more selling it to the railroad. The situation is grim and the doubt felt by his wife and oldest son, Will, weigh heavy on Evans’ shoulders.




Ben Wade (Russell Crowe) stands in sharp contrast to Evans as a man appearing in control of his fate rather than beaten down by it. He is a well-known outlaw responsible for many robberies and deaths. Yet, he is an appealing figure to some, including Will, who reads dime stores novels that tell Wild West tales similar to ones Wade has lived, because he is smart, resourceful, and charismatic.




After the latest of many heists of the Southern Pacific Railroad’s payroll, Wade and his men celebrate in Bisbee. The gang takes off, leaving Wade behind to enjoy some female companionship for the night. With his confidence high and his guard down, the local sheriff captures Wade the next morning. He needs to be escorted to the town of Contention, three days away on horseback, so he can be put on the 3:10 train to Yuma where he will be tried and put in federal prison. The railroad offers a reward to any who help transport Wade, enough in wages to save Evans’ farm. The money is so high because Wade’s men will kill to get him back. Evans decides to take the risk because it’s the only way to save his farm.




As they head towards Contention, Wade gets away only to be caught by men who act no different than he does. When Evans and the others catch up, they find Wade tied up and being electrocuted, receiving a punishment many feel he deserves: vengeance, Old Testament style. However, Evans and the others see this lawlessness no different than Wade’s and demand he is turned over.




In Contention, Wade’s men catch up. Not even the railroad man is willing to risk his life against the overwhelming odds. Similar to High Noon, Evans becomes the lone man to stand against the bad guys and is determined to bring Wade to justice. Wade tempts Evans with ten times the amount of money the railroad offered and safe passage. Besides, he’s already escaped from Yuma before. Whose will and determination will win out?




The story of both men slowly unravels and is smartly revealed by the writers throughout the film. The two characters grow to respect each other as they and the audience learn more about what drove the choices they made and who they really are. They aren’t simply good guy and bad guy as they first appeared and could have ended in each other’s places if different decisions had been made.




Both men know The Bible. Wade quotes it, but has rejected the path suggested. Evans struggles with it, but ultimately believes. He is Christ-like and the film is filled with religious imagery throughout. That’s not to say the film proselytizes Christianity, but like many great stories, such as Cool Hand Luke and One Flew Over The Cuckoo’s Nest, it uses the metaphor of the Christ myth to speak about the human condition. Wade takes the role of Lucifer with his “Better to reign in Hell than serve in Heaven” attitude, but he comes across like an avenging angel at times. Notice the people who receive punishment at his hands.




3:10 to Yuma (2007) tells a marvelous story that can be taken solely as a straightforward adventure film while also offering themes to explore and contemplate. The acting performances by all, especially the leads, are great to watch. Bale and Crowe are two of the best actors working today and they compliment each other well. All the crew departments excel in their roles, creating authenticity in all the scenes. It is the best film so far this year and deserves to be honored as such.




Grade: A +










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Entrevista no Coming Soon com os roteiristas do filme, Derek Haas e Michal Brandt:




“CS: Vocês tem esses dois grandes personagens e esses dois grande atores os interpretando, então quando o Russell Crowe e o Christian Bale vieram à bordo, ele imediatamente leram o que vocês escreveram e assinaram na hora ou eles esperaram por um monte de mudanças nos personagens e nos diálogos antes de concordar/assinar para fazê-lo?




Brandt: Jim é um bom diretor de atores, ele também é um bom escritor/roteirista, e quando você tem atores deste calibre, eles virão trazendo sua própria maneira para fazê-lo. Parte de ser um roteirista, ultimamente é sobre servir o ator e as necessidades do ator para o personagem. Tão logo aquilo se transforme para ajudar a estória, então cada filme que temos escrito, o ator traz sua própria maneira de falar, seu próprio vocabulário, e nós apoiamos isso.




Hass: e o diretor.”










Texto original:




Exclusive: The Writers of 3:10 to Yuma




Source: Edward Douglas August 30, 2007




The screenwriting team of Derek Haas and Michael Brandt had been friends since college, but they only started to get their feet wet in Hollywood when they wrote the hit action sequel 2 Fast 2 Furious. Although their output has been relatively quiet since then, they've been grinding away over the last few years, writing many scripts that have been bought and put into production. The first one of them to get released is next week's remake of the 1957 Western 3:10 to Yuma, directed by James Mangold and starring Russell Crowe and Christian Bale, followed next year by Timur Bekmambetov's take on the comic book Wanted. They have many other scripted projects in the works including one they plan to direct called Miamiland, but they recently joined up with Writing Partners, a co-op of writers that includes "Pirates of the Caribbean" scribes Ted Elliot and Terry Rossio, Stuart Beattie (Collateral), John August (Charlie and the Chocolate Factory) and more, who have signed a spec deal with 20th Century Fox.




ComingSoon.net talked about all of these things and more with the duo in a recent phone interview.




ComingSoon.net: How did you guys get involved with this? Did you know James Mangold beforehand?


Derek Haas: It was good agenting actually. Our agent also reps Jim, and we found out that Jim's favorite movie growing up was "3:10 to Yuma" and he was interested in remaking it. Literally, they put us in a room together, and we just started talking out how you make this for modern audiences. Together, over the course of several meetings and phone calls and talks, we all went in and pitched Columbia on the remake and they bought it in the room, but then they put it in turnaround. It was a Columbia movie back in '57.




CS: Was it put into turnaround after it was shot or before it got made?


Haas: No, no, before it got made.




CS: When you started working with Jim on this, what was the direction you had on what to keep or change from the original?


Brandt: Our feeling was that original was fantastic. It was based on a great short story, but in watching the original, we thought there is kind of a middle section of this movie that is missing in a way. The Elmore Leonard short story was kind of leading up to the third act, and then the movie dealt with the set-up, but the original movie is almost a two-act play. It goes from Dan catching Ben Wade to cutting to the hotel room when they're already in Contention waiting for the train. We thought it was rife for an additional meaty section in the middle where they're on the road, Wade's gang is after them, and that's when we decided that Dan should have a son who ends up joining them along the way, so then it becomes that battle over the son's soul so to speak.




CS: Did you already know the movie when you first heard about Jim wanting to remake it?


Haas: We knew the movie, and in fact, when we pitched Columbia, we got them to give us the 1957 script by Halsted Welles. There was so much stuff we admired from the original movie that it just felt like we're not going to change things that are working, that are great. Let's just try to take these and take it further.




CS: What about the Elmore Leonard story? Had either of you read it before you started working on this remake?


Haas: We hadn't read it, but we did read it before we ever talked to Jim and Cathy (Konrad, Jim's wife and the film's producer), but we weren't familiar with it until we found out that it was a movie that Jim wanted to make.


Brandt: It's very short. It's only two pages.


Haas: It's probably like six or seven. It's very much the waiting in the hotel room scene and then attempt to get to the train, that's pretty much the gist of the Elmore Leonard short story.




CS: Were you guys fans of Westerns in general? It would seem to be something out of left field after something like "2 Fast 2 Furious."


Haas: (both laugh) That's funny. I grew up in Texas and Michael's from Kansas City and we both went to school in Texas, and we grew up big Western fans. We've pretty much written all different genres, but to get to do a Western now, when they're making so few of them, for us was a goal and an honor.




CS: It seems like such a different thing since there's been so few Westerns in the past few years… "Brokeback Mountain"… "Open Range"…When you went into this, were you hoping to reinvent the genre or try to write a traditional Western that might interest audiences who aren't necessarily into Westerns?


Brandt: Jim was adamant about not making a walk-down-Main Street, dusty Western that felt clichéd. Part of the reason he hired us--because at the time we were definitely guys known for writing more poppy action movies--and he admittedly said he wanted to write a Western with a bit of a modern sensibility attached to it. He was very aware of the financial ramifications of making a Western, that it can be difficult if you fall into the clichéd world of Westerns. I think that's part of the reason he hired us actually.




CS: There's some fairly intense action scenes, including the shoot-outs. Did you go into a lot of detail about what happened while writing it or did you leave some of it for Jim to work out on set?


Brandt: We write every beat of the action that we possibly can, and then once production gets closer and they start working with the stunt coordinator and doing storyboards, it certainly may change, and it usually will become expanded or contracted depending on the budget. Generally in our screenplays, we try and write every beat of action, everything that's happening, so that when somebody's reading the script, they can see and understand exactly what's happening. Hopefully, your action will not only inform the story but inform the character, too, and if you don't write the specifics of the action, then that's just wasted time and space.


Haas: For instance, in "Yuma"--not to give anything away--one of the things we wanted to give in that final third act gun battle was his son, who is watching this unfold--in fact the whole movie is kind of seen through his eyes as a morality tale in front of him. We thought, "Okay, we need to give him something that's believable but that propels the action, but is also germane to his character. Here's a kid who grew up on a ranch, dreaming to be a gunslinger. What skills does he have? Well, he knows how to herd cattle and manipulate livestock." In that climactic part when they need to get to the train, he uses those old skills. Literally, we wrote that out, but that's the thought that goes behind any kind of an action sequence. You can't just write "Point A to Point B." It's gotta all be based on the characters.




CS: You have these two great characters and these two great actors playing them, so when Russell Crowe and Christian Bale come on board, do they immediately read what you did and sign on or do they expect a lot of changes in the characters and the dialogue before they agree to do it?




Brandt: Jim is such an actor's director, and he's also a good writer, and when you have actors of that caliber, they're going to come in and bring their own thing to it. Part of being the screenwriter, ultimately it's about servicing the actor and the actor's needs for the character. As long as that in turn helps the story, so every movie we've written, the actor brings their own way of talking, their own vocabulary, and we support that.




Haas: And the director.




CS: How about balancing the two characters, because you really do have these two leads and the movie could be about either one, which is amazing since you don't really have many movies like that.


Haas: Right, right, and honestly, that's in the original movie, too. I mean Glenn Ford and Van Heflin were so good together. I mean it goes way back to the Elmore Leonard short story. You had on one side of the ledger, this outlaw who is basically a rock star of the old West--that's what we always referred to him as we were going--but who would also charm the parents off of you. Then on the other side of the ledger, you've got a guy who's never been able to realize his dreams, and who is complex but who wants to do the right thing, but life's beating him down. When you start with that premise, which we go right back to the original material, and then get to go from there, and then you get these two amazing actors that get to play it, for us, it's just a dream come true.




CS: Were you guys able to spend any time on set watching it being filmed?


Brandt: We did. We took a trip down there and hung out for a little while, and there's nothing greater than standing on a set of a Western, standing in the middle of two cow-patty studded roads where there's a saloon, a hotel and all those things. It was just a fantastic set to be on, and Jim runs such a tight ship, and he's such an easy guy to get along with on the set. The whole experience was really positive for everybody.




CS: Where did he shoot the movie?


Haas: Right outside of Santa Fe.


Brandt: There was a lot of dust.




CS: For some of the scenes, like the chase in the mines, were those locations found or did Jim have to build some of that to fit the story?


Brandt: Both locations and builds. I mean, the towns were built, but they found those caves. They expanded them obviously. I think it was a little bit of both.


Haas: We weren't there for the days when they were shooting in the caves, but they were telling us, yeah.




CS: That's why I asked about how detailed you wrote the action, because to come up with a scene like that and then actually find a place in which to film it…


Haas: That was actually fun to write because one of the things that we did different the original, when you put it on the road, we were trying to find, "Okay, what's the thematic link to how the second act can play out" and it was always about the train. Since the movie's called "3:10 to Yuma," it's about a train coming, and if you can set it post Civil War in the time when the railroads were just linking up America, which is the death of the Old West, it's such a perfect place to do it, so then their journey mirrors… like the town of Bisbee where they catch Wade, they're just planting the flags for the new rail station that's going to be there. In fact, it's the payroll to the railroad that gets held up in the opening, and then as they go backwards or towards Contention, you see the evidence of the rails going down and we go through a Chinese labor camp, and that's why they're blasting through tunnels and the strange set piece in the old West of this gigantic operation going on. For us, it was fun, 'cause then you get to set an action sequence in that backdrop.




(At this point, we talked a bit about their work on Wanted, based on the comic book by Mark Millar and J.G. Jones, which you can read here.)




CS: Going back a bit, you two first met in school?


Haas: We did. We met in grad school actually. I was doing English Lit, and Michael got his masters in film, and we realized we liked the same things. That was back in '93 or '94, but we didn't really start writing together until '97/'98 and that's when we sold our first script, so we've been doing this ever since.




CS: What else do you guys have in the works?


Brandt: We're adapting a novel for Universal called "Deceipt." The author of the novel was James Siegel who wrote "Derailed." Lorenzo di Bonaventura is producing that, so we're just finishing that up.


Haas: We have a spec that we've written that we can't talk too much about, but we're trying to get going with Michael directing, and we're pretty far down the road. You talk about breaking through the next ceiling. That's the thing we want to do is make our movie with Michael directing.




(At the L.A. junket for the movie, Haas and Brandt revealed that the movie is called "Miamiland" which they're currently casting and trying to get together with UK financing. It takes place in New York and Miami and it's about two educated con men who have to go to Miami to separate the biggest kingpin in Miami from his money. They hope to start shooting soon, but it depends on when the writer's strike happens, which they talk about below.)




CS: How did you decide which one of you would direct the movie?


Brandt: Well, it's kind of natural. I went to film school, and I moved out to Los Angeles after film school and was editing and at one point, I was living down in Austin, working for Robert Rodriguez as his assistant editor, so my background has been in filmmaking, while Derek's background is in English literature, he has his masters in that, so early on, we decided I want to direct, Derek's going to produce and we'll write together, and that's kind of the way it's been working.




CS: I read something about a movie called "Countdown" that you're producing, so what's that about?


Haas: "Countdown" is cool. It was a thing that a couple of younger writers, Scott Burn and Stephen Gregg came to us. They had an idea to take this old "Twilight Zone" episode based on a Richard Mattheson short story called "Death Ship" and turn it into a feature movie. They basically took the kernel of the idea from "Death Ship" and ran with it, and we ended up helping them get it set-up acting as producers, so we ended up setting it up at Summit with Erik Feig there and Mandalay. Now we're just trying to get a director on, and that's getting close and we're very excited about that. Those guys did a great job.




CS: It seems like you guys have a lot on your plate right now, though I'm guessing that this is stuff you've been working on over the years that's just all coming together at once.


Haas: And then they all pop up. You're exactly right.


Brandt: (laughs)




CS: Were you also involved in the attempt to adapt the video game "Spy Hunter"? I know that every writer in Hollywood that I've talked to has taken a crack at that.


Brandt: We did a draft along with everybody else in town. It's a tough nut to crack. Ultimately, you're given an action star like The Rock, who was attached when we were doing it, and a car that turns into a motorcycle, and it's just really hard to keep a movie like that grounded.




CS: I think that if that movie ever gets made, the WGA is going to have a field day trying to figure out who should get credited.


Haas: I think there's been 15 writers on it.




CS: I know. I think I've talked to at least half of them. (both laugh) I'm not kidding either. Why did you guys decide to sign onto this Writing Partners thing? The line-up of writers involved is pretty amazing. What was the incentive


Brandt: We thought it was a chance to do something different and a chance to change the way writers are treated in this town. We thought as a group we could parlay our ability to write, and our ability to write commercial movies, and exchange that for creative control over some movies and a back-end, real gross points. We really wanted to bring back-end and creative control into the conversation as far as writers and studios go. It was only by banding together with such great names and people who've been so successful that we could do that.




CS: How do you see this looming writers' strike affecting this deal, if at all?


Brandt: Well, it shouldn't affect the Writing Partners thing at all


Haas: It doesn't affect the Writing Partners, but it is something we have to plan for, and we know that the Guild is extremely serious about.




CS: Do you think that the Writing Partners might be a good step to working things out the way everyone wants it to?


Brandt: It's interesting. The two studios who have made deals with writing co-ops, Warners Bros. and Fox, are two of the lead studios, and as far as the production end sees it, the writers are going to strike again. It's a double-edged sword, and from our personal point of view, we're not really sure how to take that, if you understand that.


Haas: My feeling is that what Writing Partners did is less about… I don't think it will affect the potential strike. What I do think it does is break through a barrier that all writers can strive to emulate. In fact, that the president of the Guild, Patrick Verone, sent an Email to Craig Maizen, our friend and partner in this, just basically saying "Thanks for doing this. It's a positive thing for writers. If one set of writers can get this going, then why can't everyone." That's why we feel very proud about it.




3:10 to Yuma opens nationwide on Friday, September 7, and there will be a special sneak preview in select cities this coming Sunday night, September 2. Check back next week for interviews with James Mangold, Russell Crowe and Christian Bale.








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. Critica do CHUD Elogia Ben Foster: Média 7,5 - Clique aqui:






“Quando um lendário fora da lei e um fazendeiro de estilo calmo se posiciona para trazê-lo à justiça, quem vence? O próximo ator Ben Foster. Enquanto Christian Bale e Russell Crowe estão acima do talento do título neste filme, é Foster quem é a coisa real, roubando os holofotes do carismático homem de Down Under (Austrália) e da cara carrancuda de sua co-estrela. Foster interpreta Charlie Prince, o infinito braço direito leal para o bandido de Crowe, Ben Wade. Foster interpreta Prince como um homem ferido que achou um pai em Wade, mas também como um frio, assassino sem compaixão que mais freqüentemente achar que matar é a solução mais vantajosa para seus problemas.” ...




“O filme precisa de Prince como um vilão porque o suposto homem mau é mais nobre do que se pensa. O Wade de Russell Crowe vem mais como um velhaco/patife do que um assassino, um mais rude, mais sóbrio e menos a versão gay do Capitão Jack Sparrow, talvez.”






Texto Original










By Devin Faraci




When a legendary outlaw and a mild mannered rancher set on bringing him to justice lock horns, who wins?




Up and coming actor Ben Foster.




While Christian Bale and Russell Crowe are the above the title talent in this film, it’s Foster who’s the real draw, stealing the spotlight from the charismatic man from Down Under and his grim-faced co-star. Foster plays Charlie Prince, the infinitely loyal right hand man to Crowe’s desperado, Ben Wade. Foster plays Prince as a wounded man who has found a father in Wade, but also as a cold, merciless murderer who more often than not finds killing the most expedient solution to his problems. While Wade and Bale’s rancher, Dan Evans, have their journey and their battle of morality, it’s Prince’s single minded quest to rescue Wade from the law that gives 3:10 To Yuma its oomph.




Foster brings menace to a movie that needs more of it. Prince is unpredictable in the way of the best cinematic sociopaths; Foster never hams it up because he understands that while he’s in a mythological western and he’s playing a character who is bigger than life, hamming it up would kill the illusion. So Foster bottles him up instead, playing the madness only through his dark, dancing eyes.




The movie needs Prince as a villain because the supposed bad guy is too noble for words. Russell Crowe’s Wade comes across more as a rogue than a murderer, a more ruthless, more sober and less gay version of Captain Jack Sparrow, perhaps. Anyone who has seen a movie will know that the arc of Wade’s character must lead to some kind of redemption, so all of his sparring with his captors rings hollow. We’re told that he blew up a train full of pioneers, but the only killing he does onscreen are mercenary agents of the law or people we’re hoping will bite it. Even his womanizing has a soft edge – after bedding the local bar wench he sits and sketches her nude form. It’s a Leo moment!




Wade is a rock star among outlaws (a thematic element explored more fully and more satisfactorily in the far superior The Assassination of Jesse James By the Coward Robert Ford), and we can see the film’s main conflict being set up when the son of one-legged, on the verge of losing his land rancher Dan Evans is seen reading fantabulizing outlaw fiction. When Wade is captured, Evans volunteers to help take him to the town of Contention, where they will catch the titular train that will take Wade to prison, where he will be hung for his many crimes. There’s a fee involved, which would get Evans out of his massive debt, but it’s also a chance for the man to be a man, at least in the eyes of his son. And maybe in his own eyes, considering the history Evans doesn’t like to talk about.




The film is a remake of a middling western from the 50s; the script by Michael Brandt and Derek Haas essentially adds a second act to the story, creating a danger-filled journey from the Evans ranch to Contention. Along the way Wade’s escorts are picked off one by one as they encounter Apaches, renegade railroad men, a grossly distracting Luke Wilson, and Wade’s gang, set on springing him from custody.




This is not bad stuff; the second act almost crackles at time. The western is a fine, pulpy genre, and the second act of 3:10 To Yuma pays homage to that sense of boy’s adventure, of men camping out in rocky outcroppings and always aware of the branch snapping approach of an Indian raiding party. It’s the first act that sets the film off limply; the script and director James Mangold spend too long establishing what a chump Evans is. I think that Christian Bale’s ‘I’ve never enjoyed anything, even a blowjob from my wife, played by Gretchen Mol,’ performance sells that plenty well without hammering it home to the point that liking Evans feels like masochism. Obviously Wade is the guy to root for here, since he at least retains control of the muscles one uses to smile.




But maybe that’s the point. By the time the third act rolls around we get a lot of people sitting around contemplating right and wrong and cowardice and duty, and when Wade makes the choices that lead to his inevitable redemption, they honestly feel like charity, since Evans is such a goddamned Debbie Downer. Can he bring the first smile to this man’s face? Considering that they’re locked in a hotel room together for hours, the film could have obviously explored some fascinating avenues in answering that question.




What does happen, though, is that the film sets up a tremendously great problem – Charlie Prince offers all the townspeople of Contention money to kill anyone holding Wade, and a whole fucking lot of people throw their guns into the ring – without a real idea of how to solve it. There’s a good contrast here, of people doing wrong for money while Evans is doing right for money… or maybe something more than that. Whatever the case, it never feels like the film uses this conceit properly, and just gets rid of it when it becomes too complicated its own good. To the film's credit it does just get rid of it during a long and loud gunfight, so it's very possible that once the squibs start going off most of the audience won't even mind that the promise of a morally tinged toss down has been trashed.




James Mangold stages his action with complete competence, but without sizzle. This is a very middle of the road film, one that will never get your heart racing or piss you off too much. The world of cinema needs directors like Mangold, who make movies that are mostly OK, if only so we can pinpoint the people who watch these films and think they’re great. Mangold’s films are perfectly middlebrow, without any elements that could confront or test us, and with just enough signifiers of quality to make you feel like you’ve watched something finer than average. It’s like when fast food places use fancy bread. Let’s put it this way: Mangold is on a career trajectory right now that could see him getting a Best Director Oscar before Paul Thomas Anderson. He's just that safe.




Which is not to say that 3:10 To Yuma is a bad film. It’s a fine enough movie, if overlong, and when it sheds its pretensions it approaches the levels of a fun movie. There’s something funny about westerns these days – they can’t just be fun genre movies. Of course that’s sometimes wonderful, like with The Assassination of Jesse James By The Coward Robert Ford, a film that should be in the running for Best Picture if there is a God, but once upon a time the western was a junk genre… and I kind of like that. Imagine if thirty years from now cop action films or science fiction films are only prestige pictures – how sad would that be? I love the idea of using a supposedly debased genre to tell a sublime story or to find universal truths, but sometimes I also like to just see guys on horses being badasses and shooting each other. When 3:10 To Yuma is providing that, I am happy. But too often the film decides this is not enough, and it yearns to be more important than it is. Cutting many of these scenes out would bring the film’s running time to a more manageable hour and forty minutes and streamline it into something unashamed to be having a lot of fun.




7.5 out of 10










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Diretor de Fotografia Diz Que o Filme é Mais Centrado Nos Personagens – Fala Phson Papamichael, em entrevista ao Hollywood Reporter, Clique aqui:






“É mais um drama de personagens”, ele diz do filme, que é estralado por Russell Crowe como o fora da lei Ben Wade, que está para ser entregue no trem das 3:10hs no seu caminho para o julgamento pelo lutador e dono de terras Dan Evans (Christian Bale). “É realmente mais sobre a psicologia dos personagens, e entrando dentro do seu espaço e mente. Uma poderosa luta de vontades contra o mal, e costumes contra a imoralidade.”






Texto Original:




'Yuma' DP: Focus is more character than cowboy




By Carolyn Giardina


Aug 30, 2007




Director of photography Phedon Papamichael doesn't view his latest work, Lionsgate's remake of "3:10 to Yuma," as a classic Western.




"It is more of a character drama," he says of the film, which stars Russell Crowe as outlaw Ben Wade, who is to be delivered to the 3:10 train on his way to trial by struggling land owner Dan Evans (Christian Bale). "It's really more about the psychology of the characters, and getting into their space and head. A power struggle of the wills against evil, and morals against immorality."




The cinematographer did watch classic Westerns in preparation for the production, and he says that his approach is most closely connected to "Once Upon a Time in the West" with its look and use of extreme close-ups on faces with extreme wide shots to play the action.




Yet in his third collaboration with James Mangold (Papamichael previously lensed the helmer's "Walk the Line" and "Identity"), the director of photography says that the pair stuck with a visual language that was more about storytelling than genre. "When I work with Mangold, we decide the best way to tell the story when we see the performance as things unfold in front of us, rather than preconceiving and predesigning the whole picture."




Papamichael likens certain approaches in "Yuma" to "Walk the Line," saying: "When we did Joaquin Phoenix onstage, there was such an energy and intensity in his face. That told us we need to be on that stage with him and the camera had to be right in there. Same with this. When you have Russell Crowe and Christian Bale and these exchanges of dialogue, it's so intimate and so focused in terms of their conflict that it really required just being on their faces."






The emphasis on the characters also applied in the rendering of the action sequences. "I'm a believer that action without a firm understanding of the character becomes unemotional and uninvolving," Papamichael says. "We spent a lot of time with the characters and establishing their emotions before we got engulfed in these action sequences.




"Even in the action sequences, we tried to be right there in their faces and stay with them so we feel like we are less of an observer and we are really right in that gunfight."




The inspiration for that approach was the "Saving Private Ryan" beach landing sequence. "That movie, more than any other movie I can think of, let the audience really feel like they were on the beach that day," Papamichael says.




In "Yuma's" action scenes, Papamichael also aimed to involve the audience by letting events unfold naturally in front of the camera. "It has a more random feel to it, so when (action) happens, it is more effective," he says. "It's not perfectly framed and telegraphing what will happen. You catch (events) as if you were there and involved. You won't know where the next hit is coming from; you won't know where the next person is popping out from. It's nice to be able to create that for the audiences."




About 90% of the film -- shot in Super 35mm -- was lensed either handheld or using a Steadicam.




The film went through a digital intermediate process at Modern Videofilm.




More recently, Papamichael directed the psychological thriller "From Within," currently in postproduction.










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Entrevista do Christian Bale ao site Aint´ It Cool - Clique aqui:




para ler esta longa entrevista onde Christian fala de Yuma, Rescue Dawn e Dark Knight:




Capone With Christian Bale About 3:10 TO YUMA, RESCUE DAWN, And DARK KNIGHT!!






Hey, everyone. Capone in Chicago here. Still slightly soggy, but in slightly better shape than a couple days ago.




You guys have been great, even the nasty Talkbackers, who never fail to crack me up. The only thing worse than evil Talkbackers is no Talkback at all. I particularly laughed at those of you who somehow live under the belief that Harry doesn't pay us. I’m not sure where that rumor got started, but I loved watching it explode like the mold in my condo walls. And just to be clear, I was not asking for money from anyone. But many of the Chicago-based readers had asked if they could help out, and putting that PayPal link out there (which was actually a part of my wife's site before this incident) was the easiest way to make that happen. If you think it's unnecessary, that's perfectly alright. We have insurance, and we'll be fine. More importantly, I talked to Christian Bale, motherfuckers!




For the entire summer, I've been practically tripping over film sets for THE DARK KNIGHT. A couple months ago, the crew was shooting about two blocks from my house. And just last week, the production took over the lobby, two floors, and most of the outside of the building where I keep an office in downtown Chicago. You can't walk through the Loop without hitting either THE DARK KNIGHT or WANTED (the new Angelina Jolie) filming somewhere in this city. Every week, I get an e-mail or seven from someone working in an office building telling me how some part of their building has been converted into a set for a weekend or an entire week. It's actually been kind of exciting, but also slightly frustrating since the production has been operating under a complete and total press blackout, and I can't arrange an official set visit.




This doesn't necessarily mean I don't have a few things up my sleeves as far as THE DARK KNIGHT, including this interview with Christian Bale, in which the subject of Batman is hardly discussed (be patient; I really do have long sleeves, with many things up them). But let's be honest, you could fill pages just talking about the films Bale has impressed me with in just the last three years, including RESCUE DAWN; THE MACHINST; THE PRESTIGE; HARSH TIMES; THE NEW WORLD; and the upcoming 3:10 TO YUMA, which opens next Friday and is the reason I was put in a room with him, as well as November's I'M NOT THERE, in which he plays Bob Dylan, along with many other actors.




I should add at this point that there were two other writers in the room with me asking question, but they were two guys I happen to like, so often their questions were on my list of topics to discuss as well.




Bale is a soft-spoken but very focused man, and when he answers your question, when he's talking to you, he looks you directly in the eyes. I can't be sure, but I'm pretty sure he never blinked as he locked his laser-guided glare on me. It's slightly intense, but not scary, and it forces you to listen to him, since his body language and eye contact don't really change. That being said, getting him to smile or laugh seems to loosen him up (as I had evidenced the night before my interview with him at a post-screening Q&A he did for YUMA). And so I began my conversation with Bale with this question.












Capone: Did playing a fake cowboy in NEWSIES prepare you in any way for 3:10 TO YUMA. Did you draw from that experience?




Christian Bale: laughs I drew nothing from it, except for the quite annoying fact that when I first arrived in Sante Fe, I could not get the song from NEWSIES [“Sante Fe”] out of my mind. Every time somebody said ‘Sante Fe’…if you’re familiar with NEWSIES, there’s a song, and it would just go on through my head. And, it hadn’t been in my head for, whatever it is, 16 years or something like that. Dammit, if every time I saw a sign, a road sign or somebody mentioned it…and it took a good month or so for that to quit.








Question: And, you just had to belt it out right there?




CB: Oh, no. I definitely kept that inside. I wasn’t going to let anybody know about it there.








C: But, it added to your character's torment, I'm guessing.




CB: That’s actually what his conflict is. laughs








Q: Were you familiar at all with the first film when you were approached for this one?




CB: I wasn’t really approached more than just, the script was going around. No, I wasn’t aware that it was a remake at the time. I did watch it before we shot, but no.








Q: So it was the script that attracted you, not the idea of remaking the film?




CB: Yeah.








Q: So, what about the script attracted you?




CB: There was a time for me following BATMAN BEGINS--and I’d also made THE MACHINIST before that--where I felt that I was actually happy with the results of the movies I was making. And, I kind of was hoping to be able to continue that.




And, I had a couple of projects, which were things that I had been wanting to make before BATMAN BEGINS came along--one of them being RESCUE DAWN, another being HARSH TIMES, and I'd also had spoken with Terry Malick about THE NEW WORLD beforehand. So, I felt, okay, I need to get these done. These have to be completed, this comes first. And, then, I decided to just really, instead of looking at a script and thinking, ‘Well, something could be made of this. There are many problems, but something could be made of this with the right people,’ just to really try and wait, and just hold out and wait for a script that I just really looked at and that stayed fixed in my mind for sometime after reading.




That’s what happened with THE PRESTIGE--which was a lucky thing, because Chris [Nolan] was directing, so he was a phone call away--and then, with 3:10 TO YUMA as well. It’s just one of the those scripts that I read and didn’t stop thinking about.




First of all, I wanted to make a Western. Secondly, Westerns can be great in their simplicity about ‘Here’s the bad guy, here’s the good guy’. This one presented you with that, but then, it kind of presented, like, 2+2=5 and showed you why that was correct. But, these two apparently, absolutely ethically opposed people had a great fondness and similarity in that they were both seeking redemption in very different ways. But, I liked very much all of the questions that arose from it in the midst of all the great Western gunfights and the horse riding.




But, this land of lawlessness where you truly did have to stand by your belief, and people have to have a very strong belief. Nowadays, you can kind of get by without that. There’s so much infrastructure and support, at least in the major metropolises, you can kind of just have vague opinions about everything and still get through life. I think at that time you had to have much stronger opinions and beliefs, because you were completely unprotected.








Q: Christian, Dan Evans [bale's character in YUMA] is certainly, as always, a much different character for you to play, but he's also someone who will go to extremes when he needs to. What attracts you to characters that sort of…at one minute they’re one thing, but when they’re pushed in a certain direction, they have to go through this serious change, because they’re up against so much?




CB: Right. Doesn’t that interest you as well? I mean, circumstances that you can find yourself in and a whole different side comes out? The possibilities of who you could be, given different circumstances? And, everybody not having a predictable life? Everybody has a question throughout their lives, ‘If they were really put to the test, could they stand up and be the person that they would hope to be?’.




And, I think, also particularly with Dan, it’s…I’m a father now, and I see in myself that principles and ethics that applied when I was not a father changed radically when I became a father. And, I kind of have two different sets of principles about who I am. Things that I would do for my daughter, which are pretty much limitless, versus what I will do for myself. And, I could see that in Dan, of him having to decide about the fact that he has a family now and at what point are his own beliefs actually destroying his family, and wanting to set a great example of somebody who has conviction, but really having to question whether his conviction has just become selfish pride. Or, whether it is actually something relevant and practical. That’s what I love about the character, is the conflict within himself, of needing to prove to himself and be the man he aspires to be. Also, needing and just dying to see his son actually respect him for once and his wife actually respect him as well. But, is this pure selfishness? It’s a great dilemma that he has, and, I think, it’s a dilemma that anybody can find themselves in to a lesser degree than Dan does, obviously. But, in life, when they do find themselves having people…loved ones who depend upon them completely.








C: Actually, one of the more interesting elements of the film is how that part of Dan's character sneaks up on you, because you don’t really know until the end that he’s thinking in his head, ‘I want my son to respect me and look at me with dignity’ and regain some of that dignity that he lost in the war. And, by the end of the film, Russell Crowe is literally carrying Dan into his legend, making that little transition so his son will remember him, his father, in a very different way. Did you ever think about your own legacy as an actor? Especially in the last couple of years, you’ve really built up an incredible cadre of film roles, with each role being better than the one before.








CB: Absolutely. I’ve been able to work on movies that I like very much in the past few years, which I think have turned out how I had hoped that they would. And, I’m human, you know; that makes me feel good. I like it when people like what I do. I don’t like it when people are laughing at me for what I do, you know? I mean, I’d love to say I was completely impervious to anybody’s opinion, but that just ain’t the truth. Of course, it matters.




At the same time, there’s also a danger when you start playing it too safe. After all, what am I paid to do? I’m paid to essentially make an ass out of myself, if needed. And occasionally, in doing that, you’re going to fall flat on your face. But, I have learned, through doing that numerous times in my life, that there’s also a ton of enjoyment to what other people see as humiliation. You can actually come to sort of thrive on that, because in a way, it kind of leads to a sort of fearlessness, if you genuinely don’t mind. If the point is that you tried, I think that really is the most important thing. And, like you said, I feel like I’ve been very fortunate in the last couple of years that I’ve gotten to do what I loved, which is actually the making of movies, and on top of that, if I’ve liked how the movies have turned out themselves, then that’s fantastic. But, to start getting too comfortable within that would be eventually to start churning out boring, boring chaff.








C: In the kind of films you make, "comfort" doesn’t seem to play into a lot of what you do.




Q: For the viewer or for you.




Q: You speak a lot about fortune and luck in the last couple of years, but do you think BATMAN opened doors, gave you the freedom to…




CB: Okay, I don't mean luck. I’ll rephrase that, because I don’t believe that that’s luck. I can say that that’s ‘fortunate’, but certainly, it ain’t ‘luck’, because it wasn’t like me picking it out of a hat, is what I’m saying. I did choose the scripts; I did choose the people to work with. So, no, that’s just wrong terminology.








Q: Okay, but do you look at anything that allowed you to take that turn, to give you the freedom to choose whatever part you have. Or, have you always felt that way? Did BATMAN change things and give you the freedom to say, ‘I’m going to wait for something like 3:10 TO YUMA to come along’? Or, did THE MACHINIST give you a new life in the eyes some directors and some people? Was there anything that happened recently that led to that two-year streak? Or, was it just fortune?




CB: I think it also came from a year and a half before THE MACHINIST where I didn’t work at all, and nobody wanted me for anything, and…Well, a couple of people did, but it was for very bad things, and so it was kind of realizing, ‘Okay, I have to re-evaluate, reinvent at this point’. But, I don’t know, I’ve always had this kind of feeling in the back of my head that I’ll be back there again at some point. I’ll be sitting, staring at the wall, banging my head against it, and having to reinvent myself once again at some point.








Q: You obviously have such an incredible dedication to the parts that you play and the things that you do. As you’re doing the preparation, are you just focused, knowing you can do it and you do it; or do you ever wake up in the morning or get the sense of, like, ‘What have I gotten myself into?’




CB: You mean feeling like the dedication is wasted?








Q: Not wasted, but just sort of almost surprising yourself in what you’re willing to do and what you’re able to do. And, having a few moments of, like, ‘I’m not sure if I can do all this’.








CB: You know, there’s something also to taking yourself away from your everyday life. I don’t mean my family, I bring my family with me. But specifically talking about RESCUE DAWN…being away in Thailand, you feel completely removed. You don’t even have the sense that this is a movie that anybody’s ever going to see, you know. And, I think that’s a very nice feeling. I think it’s the thing that you have to battle against somewhat with larger movies, to still have the balls to treat it like it’s not a movie that’s never going to be seen, and therefore, I personally think, to come up with something more interesting. But, being away in Thailand, it was as much for me about the adventure of making the movie, you know, so everything I did in that movie, I loved doing. I mean, sure, bumps, cuts, bruises, headaches, all sorts of things, but, I willingly put myself in places to get all of that.




If I’m understanding your question correctly, the times I’ve felt ‘What am I doing here?’ is when you realize that you’re working with people who aren’t dedicated to what they’re doing at all, and they don’t really care that much. At that point, you just start to feel like a fool, because you’ve committed yourself and you’re thinking much more about it, and you realize that, I don’t know, they’re just kind of walking in. Those are the times that you kind of sit back and think ‘Who’s the idiot here? Am I the idiot? Are they the idiot? I’m not sure.’








Q: So, doing something like THE MACHINIST, there’s no voice in the back of your head saying, ‘God, I could really go for a good cheeseburger at this point,’ or something like that?




CB: Yeah, man, what, are you crazy? I chose not to go eat with anybody, because the second I saw or smelled that food, I was like a wolf. And, I had a couple of times when I did do that, and I ate five meals at one go, you know? And, I just went ‘Ahh-h-h-h’ [mimics ingesting a burger in one bite]. And, obviously, your stomach isn’t prepared for that. I felt terrible afterwards, so I just said, ‘I can’t do that,' because you do, you want a cheeseburger every day.








C: At the Q&A last night, you mentioned that you didn’t really have a vast knowledge of film history and, because you’ve been acting since you were so young, you didn’t really have any formal training as an actor either. When you were younger--or maybe even today--did you feel like you had to try a little harder? Did you feel like there’s something maybe you have to prove to filmmakers and other actors?




CB: Not anymore. I did. I used to feel that way. I used to feel, hey, there’s a lot of people who paid…they go and study for years to do this, and they have techniques that they use. And, I thought, ‘Ah, maybe I should do that’, but I don’t feel that anymore.




I spoke with a few people, you know, who did study…with some pretty good actors, even a couple of heads of drama schools and things, and actually, after having the conversations with them, I kind of felt like ‘Alright, I don’t need to do that. I can quit with this guilt thing,’ you know?




But, it was also partly because there was also a slight sense that at that age, you know--you’re talking about 17, 18, whatever—ages when most people I knew were heading to college, and studying and stuff. And, I wasn’t, you know, I was working, and that’s great, but what comes with that are bills to pay and responsibilities and stuff like that. I kind of thought, ‘Eh, maybe I should just throw this in and do what they’re doing, because they’re not doing anything but, you know, kind of studying and goofing off the rest of the time.’ There was a temptation there, sort of, being a bit more normal. But, not anymore, no. I don’t feel that at all.




For me, I think that there’s too much talking done about how people act and how to get there and all that, as though it’s some--and I know a lot of other actors will disagree with me on this--sort of mechanical skill that you have to acquire. And, if you don’t have this certain knowledge, well, there’s no way that you could ever do it. I just don’t believe that at all. I don’t think you have to have taken a single lesson in your life, because all you've got to do is watch people. That’s it. You know when you’re faking situations with other people, when you’re in uncomfortable situations and you pretend to be somebody else. You know when you’re most feeling like yourself. Everybody knows that in themselves. Well, that’s it. That’s all you've got to know about, I think, personally.




And, then, yeah, there’s a few, just very simple, technical things that just make it easier for yourself to do film acting in particular, where you know, okay, this is the way you do it when there’s a camera following. But, other than that, I don’t see it as being something that needs a whole lot of study.








Q: Christian, can you name three situations that you would be willing to wear a cape in and three that you wouldn’t?




CB: Three situations where I would be willing to wear a cape? You mean three situations within BATMAN? First of all, let me say, whichever superhero first came up with the idea of wearing a cape, he wasn’t really onto anything. The number of times I’m treading on that damn thing, or I throw a punch and it ends up covering my whole head, you know. It’s really not practical. As a superhero, I wouldn’t do it ever, myself.




I’m not quite following, I mean, I’m wearing a cape every damn day, so I can come up with many more than three situations where I’m wearing a cape. But, practically, actually, the situations where I wouldn’t wear a cape would be crime fighting. I especially wouldn’t choose to don that.








Q: Are you almost done filming [DARK KNIGHT]? How much longer are you going to be working on it?




CB: No, we’re going until November. It’s a seven-month shoot.




[At this point, the interview is brought to a close, but as I'm shaking his hand good-bye, I got out one more question I was dying to know the answer to.]




C: In I'M NOT THERE, which era of Bob Dylan are you covering?




CB: I cover two. I play, like, kind of the Troubadour of Conscience, as they called him when he first sort of hit New York, and then I play the Christian era.




C: That's great, thanks.














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Renascimento do Western: Artigo da Universidade de Buffalo - Clique aqui




no site da universidade oartigo fala do filme que está provocando o renascimento do gênero nos Estados Unidos.




September 1, 2007


Arts & Life - AUGUST 31st, 2007




Western revival


DAN MECCA - Senior Arts & Life Editor




In this age of superheroes and super budgets, the Hollywood Western has been nearly abandoned, with only two fearless gunmen left in an empty ghost town. And yes, these desperados do have names: Russell Crowe (A Good Year) and Christian Bale (I'm Not There).




Just when it appeared that the noose had been tied on this classic genre, the two vets shoot down the rope with 3:10 To Yuma, directed by James Mangold (Walk the Line).




Bale stars as Dan Evans, a humble rancher with two kids, a wife, and too much debt. When the family man inadvertently intervenes with Wade and aides in his capture, he sees a financial opportunity in helping bring the prisoner to a town called Contention, to shackle up in the 3:10 to Yuma prison. Unfortunately, he must contend with Wade's gang members, riding hard to rescue their leader.




The film is in no way original. This version is based on director Delmer Daves 1957 Western of the same name, which is based on a short story by writer Elmore Leonard.




Yet despite the apparent redundancy in plot, this new age Western blazes a path of its own, substituting a once-safe, strictly good vs. evil story with a much more complex analysis of two flawed men.




Deciding who ultimately wins the shoot off, in terms of acting chops, is an impossible feat. Bale's is a seemingly straightforward character and a good man. However, every day Dan fears losing his land, losing his house, and eventually losing his family.




His gaunt face and sharp cheekbones only further accent the beautiful portrayal of desperation Bale paints during Dan's explanation to his wife (Gretchen Mol, The Ten) on why he must take Wade to the station.




This is raw acting at its finest, and although it will most definitely go overlooked come time for awards, Dan Evans is a hero the audience roots for, and a father the audience prays for.




But let's not forget Mr. Crowe. The man has made a career out of intensity. Everything about him—from his careless stare to the bump in between his eyebrows—paints the perfect picture of an outlaw on the jagged edge, yet with an immense amount of devilish charm he can't help but show off.




Just when it seems that this outlaw really might be all bad, as he claims, there is a flicker of good—if only for a second.




Supporting Crowe and Bale is Logan Lerman (The Number 23), who delivers a very convincing performance as Evans' fourteen-year-old son William, determined to prove his manhood. Along with Lerman's impressive supporting turn is Ben Foster's Charlie Prince, the right hand man to Wade.




Foster is making a career out of playing crazed criminals—from his disturbing teenage murderer Mars, in Hostage, to the drugged out Jake in Alpha Dog earlier this year. Charlie is the perfection of Mars and Jake: a cold-blooded killer with an obsessive loyalty to his boss.




And while all those expected to bring the goods don't let down, it is director Mangold who emerges as the most improved player. After directing the Johnny Cash biopic Walk The Line with absolutely no creative input, nearly making the Man in Black's eventful life seem boring, all bets were off on this Western remake.




But the director has regained his filmmaking passion, shooting the film close and uncomfortable. Viewers can practically comb Evans' dirty, greasy hair, or scratch Wade's rough, yet handsome, beard stubble. Charlie's yellow, rotting teeth jump out onto the screen, behind him a town full of poor working men and their rich, corrupt authorities.




This is the Old West that filmgoers remember, with a taste of new age style. The horses ride through the camera, rumbling past at breakneck speed, their riders thirsting for blood. There is blood, and it's by the buckets. Every gunshot snaps wood and splits flesh, giving us a taste of how the West once was won.










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Crítica Não Muito Positiva do Roger Moore – Crítico do jornal Orlando Sentinel, clique aqui:






“Tem um grande visual, bem interpretado, filme sólido, com bons diálogos. Mas tematicamente, alegoricamente, logicamente e honestamente, tem problemas. Os quais irei enumerar em minha crítica (ainda por ser publicada em breve). O final me azedou seriamente sobre o todo, eu tenho que dizer.’ Bom, ele não gostou do final, mas também já pensou se o diretor tivesse que agradar à todos, o filme teria que ter vários finais e nunca mais conseguiríamos sair da cadeira do cinema, né.




Texto Original:


3:10 to Yuma, the "early" reviews are raves


Posted on Aug 30, 2007 9:41:13 AM




I guess this means I need to post my online review early.




Because this breathless praise is Ratatouille-level bull, in my book.




It's a great looking, well-acted and solid film, with good dialogue.




But thematically, allegorically, logically and honestly, it has problems. Which I enumerate in my review.




The ending pretty seriously soured me on the whole, I have to say.




Coming soon...










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Crítica Positiva da Films In Review, Via RottenTomatoes – clique aqui:






“Ainda bem, o diretor James Mangold estudou o apelo sexual de Russell e deteve-se nos seus olhares, sorrisos, e sua entrega sedutora de texto/fala. Crowe sabe exatamente o que ele está fazendo – ele transforma cada co-estrela em vitima brincalhão. Como o famoso fora da lei Bem Wade, Crowe é como uma grande gato viciado provocando gatinhos sem mãe.”




Texto original:




3:10 to Yuma (2007) Movie Review


Crowe and director Mangold resurrect the Western! But Ben Foster almost walks off with the movie. You will see it twice.




by Victoria Alexander, FilmsInReview.com | August 30, 2007




Crowe and director Mangold resurrect the Western! But Ben Foster almost walks off with the movie. You will see it twice.




My weekly column, “The Devil’s Hammer,” is posted every Monday. The Devil's Hammer on FTB. If you would like to be included on my distribution list for a weekly preview, just email me at [email protected]




Here is one remake that delivers. I never saw the Van Heflin-Glenn Ford original and neither did you. (You’ll have to rent it on Netflix.) So this is a brand new Western for those of us under 75. And I am sure that the new screenwriters, Michael Brandt & Derek Haas (credit is also given to Halsted Welles, screenwriter of the 1957 original), bumped up not only the sexual quotient, but the dialogue.




All the scenes between Crowe and Bale are terrific. There’s dialogue between Crowe and Bale discussing money that you will love.




Thankfully, director James Mangold has studied Crowe’s sexual appeal and dwells on his glances, smiles, and seductive line delivery. Crowe knows exactly what he is doing – he turns every male co-star into playful prey. As notorious outlaw Ben Wade, Crowe is like a big alley cat teasing motherless kittens. He does it here with Christian Bale, whose role as rancher Dan Evans is callused by failure, debt, and cowardliness. It certainly doesn’t help that Bale’s character has two sons: a sickly young one and a 14 year-old, Will (Logan Lerman), who is ashamed of him. This is the kind of guy who comes up against Crowe’s sadistic, infamous outlaw who happens to be proud of his double-digit killings.




Dan Evans (Bale), a former sharpshooter who lost a leg in the Civil War, is losing his ranch. The railroad is coming through and if he doesn’t pay off his debts, he will lose his ranch. His barn is maliciously burned down and his cattle feed is destroyed.




Evans and his sons happen to come across Ben Wade’s (Crowe) gang robbing another stagecoach. Wade confronts Evans and, understanding the situation, let’s them go. The Wade Gang has been relentlessly targeting the Southern Pacific Railroad. Stopping off in a nearby town for a lazy assignation, Wade is cornered and arrested.




The railroad’s representative, Grayson Butterfield (Dallas Roberts – much better here than in his wimpy, puppy role in Showtime’s “The L Word”), has to bring Wade to Contention and get him on the 3:10 prison train to Yuma.




Everyone knows that Wade’s Gang will be following the stagecoach that will take their boss to Yuma. The journey is dangerous so Butterfield offers $200 to anyone who accompanies Wade on the 3-day journey and puts him on the train. Evans joins up with the posse that includes a ruthless bounty hunter, Byron McElroy (Peter Fonda), who has just been shot and left for dead by Wade in the stagecoach robbery.




I’m going on a trek to East Africa next month (spending several days on my own in Nairobi!) and was horrified to read the State Department’s latest travel advisory which issued this very stern warning: “Kenya's crime and trans-national terrorism ratings both remain at critical levels. The State Department updated the Travel Warning for Kenya to note the sharp increase in violent crime. The greatest threats in Kenya are road safety, crime and terrorism. The most common crime in Kenya (especially in Nairobi) is carjacking in order to commit an armed robbery. In virtually every instance, carjackers use weapons to rob their victims. Criminals who commit these crimes will not hesitate to shoot a victim who is the least bit uncooperative, or may appear to hesitate before complying with his/her assailant. This includes victims who may be complying, but who must do something like unfastening a seat belt before getting out of the car. During a carjacking, if you must do anything as a prerequisite to following carjackers' instructions, be sure to tell them what you are doing, and assure them you are complying.”




The Wade Gang, now led by charismatic psychopath Charlie Prince (Ben Foster), follows the stagecoach. Instead of being on the stagecoach, Wade is taken to Evans ranch. Now Wade has an opportunity to assess Evans’ circumstances, his unhappy wife, Alice (Gretchen Mol), and toy with the impressionable Will.




The three day journey is thrilling, with the posse going into hostile Indian territory and a mine-blasting town (where the casting director should get special mention for the un-credited casting of Harp Corrigan and Luke Wilson as Bisbee townsmen). And the finale? It would be a spoiler if I went any further, except to say that Crowe and Foster are so electric, you will be disappointed and want another outcome.




The Western is back.










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Hollywood Reporter: Yuma Pode Colocar o Gênero Western De Volta Aos Trilhos - Clique aqu:




e leia esta matéria fantástica escrita por Martin Grove, vale a pena:




“Palavras de Western: Caso de Amor de Hollywood Vai ou Não Vai com os Westerns está em ação com o filme 3:10 To Yuma da Lionsgate chegando aos cinemas em 07 de setembro. Embora os Westerns tem sido um dos gêneros mais populares de Hollywood deste os primeiros primórdios do cinema, eles também tem passado por período quando perderam seu lugar para filmes policiais, dramas, fantasias da ficção cientifica e outros gêneros. Em algum lugar, contudo, westerns sempre conseguem apreciar um ressurgimento, e “Yuma” pode colocar o gênero de volta aos trilhos de Hollywood.”






Texto original:




'Yuma' could put genre back on track


By Martin A. Grove




Aug 31, 2007




Western words: Hollywood's on-again, off-again love affair with westerns is on again with Lionsgate's "3:10 to Yuma" pulling into theaters Sept. 7.




Although westerns have been one of Hollywood's most popular genres since the earliest days of moviemaking, they've also gone through periods when they've taken a backseat to thrillers, dramas, sci-fi fantasies and other genres. Somehow, though, westerns always manage to enjoy a resurgence, and "Yuma" could put the genre back on the Hollywood track.




To begin with, there's "Yuma," starring Russell Crowe, Christian Bale, Peter Fonda, Gretchen Mol and Ben Foster, directed by James Mangold and produced by Cathy Konrad. Its screenplay by Halsted Welles and Michael Brandt & Derek Haas is based on the 1953 short story "3:10 to Yuma" by Elmore Leonard. The film was executive produced by Stuart Besser, Ryan Kavanaugh and Lynwood Spinks. "Yuma" is Mangold and Konrad's remake of the classic 1957 western directed by Delmer Daves, written by Halsted Welles and starring Glenn Ford, Van Heflin and Felicia Farr.




The husband-wife Mangold-Konrad team's credits include such acclaimed films as the Johnny Cash biopic "Walk the Line" and the drama "Girl, Interrupted." "Walk," a Producers Guild of America Laurel Award nominee, won the best picture-musical or comedy Golden Globe. It also brought Reese Witherspoon a best actress Oscar win and a best actress-musical or comedy Globe win and brought Joaquin Phoenix a best actor-musical or comedy Globe win. "Girl" brought Angelina Jolie best supporting actress wins in the Oscar, Globe and Screen Actors Guild races.




On "Yuma's" heels, another high-profile western drama is heading our way in "The Assassination of Jesse James by the Coward Robert Ford," starring Brad Pitt and Casey Affleck, opening Sept. 21 via Warner Bros. If either or both of these films do well with moviegoers, the western genre could suddenly mushroom in popularity among studio production executives eager to hop on the bandwagon.






I was happy to have an opportunity to focus recently with Mangold and Konrad on the twists and turns their "Yuma" remake took on its long dusty road to the screen. "I've had an affection for this story and this film since the mid-'80s when Sandy Mackendrick (director Alexander Mackendrick, whose credits include the 1957 classic noir drama 'Sweet Smell of Success'), who was my teacher at CalArts (California Institute of the Arts) first showed it to me," Mangold told me. "I was working for him as a teaching assistant and I would analyze the film on an old 16mm analytical projector and break it down for him as we were preparing class notes. It really got in my blood, so years later, when I wrote the film 'Cop Land' that Cathy produced, it was really heavily influenced and a lot of the structures inside it were taken from 'Yuma.' In fact, Stallone's character was even named after Van Heflin. His name in the film is Freddie Heflin."




"I was introduced to the film when I met Jim in 1995," Konrad said. "I was producing 'Cop Land' at the time and as the inquisitive producer working with a new director and always curious about what's next I wanted to know what material he was interested in. And the two movies that he said he'd always wanted to do were the movie about Johnny Cash and he asked if I'd ever seen a movie called '3:10 to Yuma.' I hadn't and he showed it to me. So way back in 1995 was sort of the genesis of both those projects for us."




The idea of remaking "Yuma" first surfaced, Mangold recalled, when he was shooting his thriller "Identity," starring John Cusack, Ray Liotta and Amanda Peet, at Columbia: "So it was like the winter early in 2002 and we were on the lot making 'Identity.' It just occurred to me. Things were going really wonderful with Sony. We were developing 'Walk the Line' with them. We had a deal there at the time. And it suddenly occurred to me as we were rifling through material and ideas for movies that there's something sitting in the vault that isn't even out on video. I think it was one of the best western stories. I knew it was by Elmore Leonard.




"I thought it would be a phenomenal film. I think playing to a modern audience it has some flaws, but I feel like it's a really great script with great actors. We went to Amy Pascal (now co-chairman of Sony Pictures Entertainment) with it and asked whether she'd support developing it as a fresh film and not as a modern update using the structure (of the original) -- just doing it as a western. And they were curious enough to let us get underway."




Asked what accounts for the popularity of westerns ebbing and flowing over the years, Konrad replied, "I think Hollywood is such a circle. I haven't done an analysis on the generational reasons as to why that is per se, but having made, for example, the 'Scream' trilogy (I can tell you that) no one was making horror movies when I sold that to Bob Weinstein. Why that happened at that moment in time and launched a cavalcade of every imaginable horror movie known to man (is anyone's guess).




"I think that given that the last seminal western in Hollywood that was made that did business was 10 years ago -- of course, 'The Unforgiven' (Clint Eastwood's 1993 Oscar winning best picture) -- and that (since then) we've had a glut of super-heroes and comic book characters and many types with super powers and all of that kind of stuff, there is something really interesting about going back to the raw world of man versus man, man versus nature in this kind of really authentic way and letting the man be the hero and watching the struggles and the conflicts. I think there's a really great identification, especially in this political climate that we're in right now, and I think an audience could be very ready for this."




At that point, with Sony agreeing to go forward to develop a remake of "Yuma" a screenplay was the next step. "We hired Brandt and Haas to write the first draft based on Elmore Leonard's story and Halsted Welles' script, which I thought was a really brilliant piece of screenwriting material to begin with," Mangold said. "There was a lot I wanted to keep from the original, but I had ideas about adding a greater sense of journey in the film. There are some aspects of the original film where you almost feel (they were) budget issues more than anything else -- like they literally kind of shot the first town they're in and they kind of ride off screen right and ride in screen left and they're in the second town seemingly after a long journey through the mountains.




"There's a kind of shorthand that's a little 'Playhouse 90' (TV) feeling in the original. However, there are also some really brilliant things we didn't want to lose. For instance, the great claustrophobia in the third act in that hotel. I felt that if we opened up the second act you'd feel that claustrophobia all the stronger because you suddenly were in a 12-by-18 room with all these men trapped after having felt the expanses in the act before."




Mangold and Konrad had other changes in mind as well, he added: "We had thoughts about the relationship between father and son and we wanted to expand on that in our attack and kind of make the role of Dan Evans, Christian Bale's oldest son, much larger in the film. And I also had ideas about the Transcontinental Railroad in kind of framing the journey from Bisbee (where the outlaw Ben Wade, played by Crowe, is taken into custody) to Contention (where Wade is to be put on a prison car train going to Yuma, Arizona where there's a Federal Court) in some way also charting a movement from the completely untamed west, where the story begins, to a place where the industrial revolution and the arrival of the railroad and modern commerce and corporate politics is beginning to infiltrate.




"I thought that would be a really interesting counter-balance -- as people are talking about how evil Ben Wade is there's also this counter-balance of what's coming in the form of, quote, progress, which has its own malevolence, as well."




Work on the screenplay began in 2002 right after they'd pitched the project to Amy Pascal. Although Welles is no longer here, his words live on from the original screenplay. "His script has always been there for us," Mangold noted. "There are passages that I never wanted to touch and there's even passages that I put back in after people did drafts. I put back in a scene verbatim from Halsted's original script because I just felt there was some really wonderful stuff in there that we didn't want to lose."




"I'd say it was about three years of working on the script," Konrad said, "and then as we were in the middle of making 'Walk the Line' there was some polishing going on with the idea that once we were finished with 'Walk the Line' that would be our next movie. It was down for a little bit only because we were in the middle of another movie and then once that movie (was being finished) we sort of proclaimed this is what we want to do as our next film and we want to go after cast. That was in 2005."




Did they have anyone in mind to star in the film while they were developing the script? "Russell Crowe was our first choice," Konrad replied. "I mean, he was the person that we wanted to see in the movie as Ben Wade."




Asked how they wound up getting Crowe, Konrad told me, "He called us actually. We happen to share the same agent -- George Freeman at the William Morris Agency. So George knew how close we were getting to actually being able to realize this and he knows how passionate we are about Russell. We had been talking about Russell for several roles on other projects that we always are perking on and he just happens to be ranked very high on many lists as one of the greatest actors (and someone who's) flexible and can kind of change and be exactly who you need him to be and, at the same time, just totally feel powerful on screen. And, also, he's one of a very few handful of men that can actually get a movie made."




"The other thing was," Mangold added, "that we thought Russell was tied up on (Baz Lurhmann's "Australia," a western type drama set in Australia and starring Nicole Kidman and Hugh Jackman, which Crowe was originally going to star in) so we hadn't submitted it to him as he was seemingly booked for the next year and a half."




"We actually were going to wait (for Crowe to become available)," Konrad said, "and then they pushed their start date further and that made it seem next to near impossible and so then we had to pursue other paths and had gotten word that Tom Cruise was interested. And so we began having conversations with Tom about starring in it. That was right around the time that 'Mission: Impossible 3' was coming out. And then when (it) came out, I think there was a lot of reconsideration on his side and his team's side about what to do next and he sort of hit the pause button. When he hit the pause button it was right at the exact same time that Russell decided to step out of Baz Lurhmann's movie. It was sort of that cross-moment of everything happening in three days and Russell called Jim and said, 'I'm your man.' And there we were!"




And that, as they say, started to make things happen. "At the same time," Konrad pointed out, "things became undone because Sony had decided that, cast aside, it didn't seem to matter whether it was Tom or Russell, they were not going to make the movie. Sony decided that this script and the western (genre) was not something they felt they could make. It was the same experience we had on 'Walk the Line.' You know, you started this conversation by saying, 'The western's making a comeback' and I think oftentimes in Hollywood until someone actually does make the comeback there's a reticence to actually be the first one to dip your toe in to figure out whether or not it's going to work.




"We were very passionate about the material and for the power and the production value that's on the screen we made this movie for a very good price. But the way that the studios need to justify (their decisions is) they run their numbers and they do their things like that and they couldn't come up with a model that made sense to them and with that came the end."




What was particularly complicated about the "Yuma" remake, she explained, "was that we had a screenplay, we had an actor and we had a budget, but unfortunately this particular piece of material also happened to be a library title at Sony and library titles are very rarely allowed to be put into turnaround by other studios because it's an asset of the studio. So we were in a little bit of a triple pinch because we actually had something that we wanted to do that couldn't travel and we had a studio that wouldn't make it. So we were really boxed in in the worst possible way.




"Our savior came in the form of Ryan Kavanaugh, whose company is called Relativity Media and who has a financing deal at Sony. (He) had read the screenplay and had been talked to by Sony -- even prior to us even knowing about it -- about partially financing this movie as well as others on the Sony slate. He loved the movie and when Sony fell out, our agency and we all got together and he said, 'If you can make this movie for the price you say you can and we can shoot in New Mexico and get the rebate involved, I'll fully finance the movie.' With that we got wind back in our sails and were able to start pre-production before we even had a distributor because the window for when we wanted to make the movie was in the fall before the winter got too bad in New Mexico."




The film's budget, Konrad said, was $55 million, which is a terrific price considering that the MPAA's average cost for producing a movie in 2006 is $65.8 million. "If you ask me, it's a bargain," Konrad agreed, considering "Yuma's" level of action "and the level of talent involved and the film was very ambitious, as well. We had our premiere the other night and the feedback I've been getting (is that) people think that it's an $80 million to $100 million movie.




The picture actually got made very quickly. "A year ago to date we were putting the financing together," she said. "We were in pre-pre-production this time last year -- closing the deal while we were simultaneously scouting and putting the crew together and the rest of the cast together. We started shooting in October in Santa Fe, New Mexico. The hard part was putting everything together. The movie certainly had many challenges. The weather, which started out as our friend, became less of a friend in January when we had the worst snowstorm in three decades in Santa Fe. It dumped three and half feet on us and we had to hand dig ourselves out of our set.




"But other than that, I think that putting it together (was the hardest aspect of making the film). Neither Jim nor I had ever made a picture -- I did way, way back in the early days with Harvey Weinstein -- the financing way of putting movies together where it's basically a bank financing the movie. It's a lot of paper. It's a lot of process. It's a lot of things that you don't really experience when you're making a studio picture because all of the mechanics of that get done internally in the studio system. So as filmmakers we were more readily exposed to the rigors of banking."




"When something went wrong, there was no mommy or daddy to run to and talk to," Mangold added. "We got our money and we had to make our movie and that was that. In terms of getting it financed, the startling thing for us also was just that you imagine that after making 'Walk the Line' with the success it had that this would have been easier and yet we were reliving (the same problems). For Cathy and I part of the reason it was so frustrating getting the movie financed was that it felt like an absolute replay of exactly what we went through making a phenomenally successful film our last time out."




"With the same studio," Konrad pointed out.




"With Sony, who passed on that film at a budget point of $25 million," Mangold continued.




"We developed 'Walk the Line' at Sony and we came to them when we wanted to make (it on) a $25 million budget," Konrad said, with "Reese Witherspoon, Joaquin Phoenix, T Bone Burnett, Jim and myself and they passed. I don't need to tell you how much that movie grossed (over $186 million worldwide) and the fortune that Fox is reaping (from having made it). And, of course, after we had that success we said, '3:10 should be easy because why would they let that go away? It's like we're making it for a good price. We've got a movie star. We've got the same thing all over again.' So when they said no to us three weeks out from actually getting underway it was devastating for us."




"But I think it gets to another interesting topic," Mangold said, "which is just the unease with which Hollywood looks at genres and settings that are not necessarily urban and contemporary. I think there was a lot of apprehension on 'Walk the Line' about country music and about the kind of heartland nature of the movie. And I think on this you only have to shift it 18 degrees to see that there was a similar kind of suspicion about, 'Oh, is it going to be dusty? Are they going to be wearing hats? Are they going to have accents? Is it going to be dirty?' You know, there's a lot of apprehension (about such things). And by way, before Ryan saved us we had gone to a lot of studios."




"Every studio passed. I shouldn't put the sole burden on Sony," Konrad noted. "But clearly after Sony passed and Ryan did step in we still had the challenge of finding a domestic distributor for the film because Relativity's not a distribution company. So we did take the same package to every studio in town. Jim and I went to every president's office and gave our pitch and presented our materials and everyone passed."




So how did they finally find a home for the project at Lionsgate? "Lionsgate came in because Ryan has a deal with them on a lot of other projects," she answered. "They were able to work out the numbers and come up with an agreeable p&a that allowed more freedom internationally for Relativity to retain certain rights. So I think it was really just about them being able (to do things) because they're not really a major and they can kind of write their own rules (as to) what they will and will not take. There was a little bit more flexibility in there for a creative deal to be had that was more satisfying for Relativity."




I couldn't let Mangold and Konrad go without asking them how it was working with Crowe, who's generally thought to be very difficult to work with. "He was a joy," they both said one right after the other.




"It is always that thing where you expect something (else) and, in this case, he was fantastic," Konrad went on.




Crowe was, Mangold added, "collaborative, on time, joyful, brilliant, a team player, got along (with everyone). He and Christian and the rest of the cast were great chums. They would go riding together and practice on the weekends. I couldn't have imagined a more convivial set. And to be honest, I've had these moments in the past. When I made 'Cop Land' everyone warned me to fasten my seatbelt for Robert DeNiro, Sylvester Stallone, Harvey Keitel, Ray Liotta. I have to tell you that I was a pretty young director. That was my second feature. And (as it turned out) it was really easy. In fact, when there's trust between the collaborators on a movie all that power and intensity is used actually to protect the creative core of the movie instead of attacking it. I found that's exactly what happened (on 'Yuma'), which is that I had very, very strong allies not combatants on this film."




"As grueling as the pre-production was because of the financing, what this process certainly allows is the luxury that you get if you do get freedom and a distance (away) from studio watching eyes," Konrad observed. "We were all our own bosses and we were all together doing what we wanted to do and making the decisions together for the best interest of the movie. It was great creatively that way."




"We were very creatively in synch," Mangold said. "We all saw the same movie and worked together to make it."




Looking back, Konrad summed it all up by saying, "Animals are harder to work with than actors. Russell was never the problem. It was the cows!"




Filmmaker flashbacks: From Oct. 30, 1989's column: "With the end of the year now in sight, it's astounding to realize how far ahead of last year 1989 is in terms of boxoffice business. No matter what comparisons one makes, business is booming these days.




"The first 43 weekends of the year, for instance, show a gross by key films -- those doing $500,000 or more per weekend -- of approximately $2.2 billion. That's an increase of 15.8% from $1.9 billion during the same period last year. This fall (Weekends 37-43), key films have grossed approximately $268.3 million, up 31.7% from $203.7 million in '88. As for the fourth quarter (Weekends 40-43), key films have taken in $155.7 million, a 28.7% jump from $121 million a year earlier.




"There no longer is any sense of daring -- as there was when I first wrote about it here last summer -- to predict that 1989 will be a record-setting year with a $5 billion-plus gross for the first time. The one question mark that was always attached to that prediction was whether the fall season would bring Hollywood a blockbuster, as was true in 1986 ('Crocodile Dundee') and 1987 ('Fatal Attraction') but was not the case last year. While no one really saw it coming, 'Look Who's Talking' answered that question with a resounding 'Yes!' It's already well on its way to generating $100 million at the domestic theatrical boxoffice.




"Thanksgiving is shaping up as a boxoffice feast with no turkeys. There's very encouraging advance word about Buena Vista/Disney's animated feature 'The Little Mermaid,' which looms as a hit that will play to family audiences, not just youngsters. Distribution sources also anticipate good business for MGM/UA's animated 'All Dogs Go to Heaven.' Both films arrive Nov. 17 and should continue the successful boxoffice trend enjoyed earlier this year by such family product as 'Look Who's Talking,' 'Honey, I Shrunk the Kids,' 'Parenthood' and 'Uncle Buck...'




"Thanksgiving, itself, will revolve around the Wed., Nov. 22 opening of Universal's 'Back to the Future 2,' directed by Robert Zemeckis and starring Michael J. Fox. Here, too, there is a strong family appeal story line with Fox visiting himself in the future as a married man with children..."




Update: While it was exciting in 1989 to be talking about the potential of a $5 billion grossing year for the first time, the film industry's growth since then has been astounding. This summer, according to Paul Degarabedian's Media By Numbers tracking service, is the biggest ever with Hollywood grossing $4.0 billion in revenues from May 1 through Aug. 26. It's a 10.2% improvement over last summer's $3.63 billion gross for the same period and attendance is up 5.4%.




With the domestic boxoffice as healthy as it clearly is, what Hollywood needs to do is start restoring the marketing budgets it slashed in response to the disastrous summer of '05. Those cuts were the industry's the-sky-is-falling reaction to the poor performance of some truly rotten movies. Although the public rejected lousy product, it didn't say no to moviegoing in general. That's abundantly clear from how well audiences have embraced this summer's pictures.




A $4 billion summer means that moviegoing is still high on the American public's list of favorite ways to spend their time and money when they want to be entertained. They may own big high-def plasma TV screens and they may be snapping up hit movies on DVD, but they're still going to the movies. Hollywood should start loosening its marketing purse strings and go after the sizable domestic audience that's either not watching network TV as much as they once did or that's just TiVoing through all those 30 second movie spots the studios are still running on the networks.




With an average national ticket price these days of $6.85, a film that grosses $300 million has sold about 44 million admissions. That's a big number, but when you consider that the U.S. and Canada population is over 310 million people, it's clear that there's a huge audience out there that could be sold on moviegoing through broader marketing campaigns. The studio that commits the resources to going after this still untapped domestic audience stands to make boxoffice history.




Martin Grove hosts movie coverage on the broadband television channel www.UpdateHollywood.com










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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  • 2 weeks later...

O filme 3:10 To Yuma no Brasil se chamará "Os Indomáveis"


Conforme ficha atualizada aqui do próprio Cinema Em Cena:








Via Omelete hoje, resultado parcial das bilheterias este fim de semana de estréia de Yuma:






Bilheteria USA: 3:10 To Yuma


Christian Bale e Russell Crowe lideram a arrecadação dos cinemas no fim de semana nos EUA




Érico Borgo




O remake do faroeste Galante e Sanguinário (3:10 to Yuma) dominou as bilheterias nos Estados Unidos no fraco fim de semana. Foram 14,10 milhões de dólares.




O faroeste conta a história de um rancheiro modesto, Dan Evans (Christian Bale), que captura o temerário fora-da-lei Ben Wade (Russell Crowe) e é convencido a levar o prisioneiro a uma cidade vizinha, onde passa o tal trem das 3:10 até Yuma, onde Wade pode ser encarcerado. O problema é que todo o bando dele já está atrás de Evans, e uma pequena guerra pode começar. Gretchen Mol, Vinessa Shaw, Dallas Roberts, Ben Foster e o veterano Peter Fonda integram o elenco do remake. O diretor é James Mangold (Johnny & June). O filme estréia no Brasil no fim do ano. Confira clipes e fotos do filme.




Halloween, misto de prelúdio e refilmagem do terror de 1978 que o músico e cineasta Rob Zombie (A casa dos 1000 corpos, Rejeitados pelo diabo) dirigiu, caiu bastante (61%), mas conseguiu ficar com a vice-liderança, gerando mais 10 milhões. Na história, que reconta a origem do maníaco Michael Meyers, ele é preso em um hospital psiquiátrico ainda criança. 17 anos depois, escapa - e decide ir atrás de Laurie Strode (Scout Taylor-Compton), enquanto ela serve de babá de crianças, e da sua antiga vizinhança. A estréia é prevista para 26 de outubro nos cinemas brasileiros. Veja clipes, fotos e trailer do filme.




O artigo continua ... clique no link acima.




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


http://ivani.lima.blog.uol.com.brSophie Aubrey2007-09-10 12:46:36

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Do Box Office Mojo, 09/09:








'3:10 to Yuma' Arrives at Top Spot




by Brandon Gray


September 9, 2007




3:10 to Yuma moseyed to the top of a typically quiet early September weekend box office. Lionsgate's $55 million remake of the 1957 Western of the same name loaded a passable estimated $14.1 million on approximately 3,100 screens at 2,652 theaters. To illustrate the historic softness of the weekend after Labor Day, the movie posted the highest-grossing non-horror opening on record for the frame.




Much has been made of Hollywood's aversion to theatrical Westerns in the past few decades, and 3:10 to Yuma's opening probably isn't significant enough to affect the state of the genre either way. The movie marks the first widely-released, traditionally gunslinging Western since Open Range in 2003. That picture had greater attendance out of the gate with $16 million adjusted for ticket price inflation at 2,075 sites and it closed with the equivalent of $66 million today.




Proper Westerns are so rare that when a movie has Western trappings, that fact becomes the all-encompassing selling point. Such was the case with 3:10 to Yuma, which added some slick graphics to its action-oriented marketing. The picture also stood out as a vehicle for lead actor Russell Crowe, who has had unusual success in the period action movies Gladiator and Master and Commander: The Far Side of the World, though his first Western, The Quick and the Dead, was a disappointment.




Also opening, Shoot 'Em Up made a weak estimated $5.5 million at 2,108 locations. Too self-conscious and too much like a video game in its premise, New Line Cinema's over-the-top action picture failed like the studio's recent similar pictures Domino and Running Scared. Faring far worse was The Brothers Solomon, a $10 million Sony comedy that grossed a mere estimated $525,000 at 700 venues.




In second for the weekend, Labor Day champion Halloween bled 62 percent to an estimated $10 million for $44.2 million in 10 days, its drop common for the horror genre. Holding well, Superbad followed with an estimated $8 million, down 36 percent for $103.7 million in 24 days. In general, holdovers saw standard declines for the frame.








Visite o Russell Crowe Daily Planete, meu blog em Português 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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