Oscar 2006

[-felipe-]

 

Note to Charlize Theron: You are Halle Berry

Her post-Oscar career is looking awfully similar to the ‘Catwoman’ star’s

 

 

By Joe Tirella

MSNBC contributor

Updated: 3:06 p.m. ET Nov. 29, 2005

When

Charlize Theron won her best actress Oscar last year, she more than

earned it. But the precious gold-plated statuette she took home that

night, wasn’t just for the acting skills she displayed in “Monster” as

much as it was a reward for the De Niro-esque transformation she

underwent to portray real-life serial-killer Aileen Wuornos. It

couldn’t have been easy for the South African-born beauty and ex-model

to morph herself into — well, there isn’t a nice way to put this — the

ugly woman she became for the sake of the movie. (Trust me on this, I

have stood in the same room as Charlize Theron; not only is she

beautiful in an almost unnatural way, her mere presence demands the

attention of everyone around her.)

Of

course, many a beautiful and talented Hollywood actress has to

de-glamorize themselves to get taken seriously and bring home the Oscar

bling-bling. Case in point: Halle Berry’s Academy Award-winning role in

2001’s “Monster’s Ball.” In the film, she not only had to make herself

look like a plain Jane, she had to play a mother who losses her son,

and — here comes the really ugly part — has to have rough sex with

Billy Bob Thorton (which should earn any actress an Oscar nomination as

well as our collected sympathies).

How do you follow up Oscar success?

In

Hollywood, it’s all about the sequel. So since this formula worked in

“Monster’s Ball” for Berry and then “Monster,” Theron has done it again

in “North Country.” This time, instead of playing a cold-blooded

killer, she deglamorized herself to play Josey Aimes, a Minnesota woman

who works in the predominately male world of a Minnesota coal mine.

Theron’s character is not only sexually harassed, she’s brutalized,

humiliated, and gets beaten by her husband. Plus, the whole town —

including her father and teenage son — thinks she’s a whore (the family

later learns that her out-of-wedlock son was the result of a rape by

her high school teacher). In short: it’s the kind of role that will

likely garner Theron another Oscar nomination. “North Country” was made

for the folks who’ve turned Oprah into God and “Desperate Housewives”

into a metaphor for America in the 21^st Century. And it’s the kind of role that gets members of the Academy for Motion Picture Arts and Sciences all hot and bothered.

While “North Country” is nothing more than

insipid entertainment that will have a long shelf-life as a movie of

the week on Lifetime and Women’s Entertainment Network, it’s a

painfully obvious follow-up to her career-turning role in “Monster,”

and a colorless attempt at social commentary. (The film is based on the

first successful class-action sexual harassment suit in the U.S.;

unfortunately, such a landmark event deserved a far better film than

this.) Which is why, Theron’s latest role as a leather-clad assassin in

the action-oriented sci-fi flick “Aeon Flux” — remember the animated

shorts on MTV? — leaves you wondering, what was she thinking? Is she

selling out? Cashing in? Does she actually like thoughtless action

movies? After all, she did make “The Italian Job” and re-made “Mighty

Joe Young.” Although “Aeon Flux” opens on Dec. 2, by Thanksgiving no

media screenings were scheduled (a studio publicist said it’s because

the special effects were still be finalized). Not a good omen for

movie-goers.

The

irony is that Theron is once again following the lead of her best

actress predecessor Halle Berry. If you recall, after her emotionally

(and literally) naked role in “Monster’s Ball,” Berry decided to play

the lead role in “Catwoman.” Now, truth be told, a movie with Halle

Berry wearing a skin tight leather S&M-type outfit probably sounds

like a money-making venture. Picture it: a catfight with Sharon Stone,

a comic book character known by millions, heavy marketing, potential

for a long-term franchise — think Angelina Jolie in “Lara Croft: Tomb

Raider” (another actress who opted for an action-adventure role after

her Oscar win) — and you can see why some studio executive

green-lighted “Catwoman.”

Battle of the Oscar winners

When

asked about her post-Oscar film choices, Theron was quoted in The New

Yorker as saying “Note to self. Do not become Halle Berry.” Ouch.

Sounds like “Catwoman Vs. Aeon Flux: The Movie.” For the

record, Theron denied making any such comments. “That’s not my style,”

she told Entertainment Weekly. “I don’t like that kind of cattiness.

Women shouldn’t go against women.” She even told EW that she sent Berry

flowers but Berry never responded to her apologetic overtures. For her

part, Berry tried to stay above the fray, telling Access Hollywood that

she never received any flowers, nor does she care if Theron said it. “I

don’t really put that much weight on what other people think about me

anyway,” said Berry.

Apparently,

neither does Theron. She claims that she signed on to “North Country”

and “Aeon Flux” prior to her big night at the Oscars but even if that’s

true, the other projects she is currently linked to fall into the same

action-adventure/drama dichotomy: “The Brazilian Job” (or “The Italian

Job: The Sequel”) and “The Ice at the Bottom of the World,” a film

based on the book by the same name, a collection of short stories by

Mark Richard about the ordinary lives of southerners. The first sounds

like trashy box office gold; the latter sounds like more Oscar gold.

Is

this all that Hollywood has to offer an A-list actress? Besides

“Catwoman,” Halle Berry played a Bond Girl — perhaps the sexiest Bond

Girl ever — in “Die Another Day” and starred in the ill-received horror

film “Gothika.” Since “Monster,” Theron has also starred in “Head in

the Clouds,” a drama set in World War II-era Paris which came and went

like the French Army’s resistance against the Nazi wermacht

and played Britt Ekland in the well-received HBO film, “The Life and

Death of Peter Sellers” (which earned the actress an Emmy nomination).

I know there’s a limited amount of quality movie roles for women in

Hollywood, but shouldn’t they be held accountable for their bad

choices?

 

 

-felipe-38687.1372916667

[MERI BRASIL]

Saíram os vencedores do BIFA: O Jardineiro Fiel levou os prêmios de Filme, Ator e Atriz.

[Fernando]

01/12/2005 - 08h58

<?:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

 

"O Jardineiro Fiel" ganha prêmios no Reino Unido

<?:namespace prefix = v ns = "urn:schemas-microsoft-com:vml" />

Londres, 1 dez (EFE).- "O Jardineiro Fiel", do brasileiro Fernando Meirelles, forte denúncia dos métodos que uma hipotética empresa farmacêutica emprega na África para fazer testes de seus produtos em humanos, ganhou os principais prêmios do British Independent Film Award.

O filme do brasileiro, adaptação do romance homônimo de John Le Carré, conquistou na quarta-feira o prêmio de melhor filme, e seus dois principais protagonistas, Ralph Fiennes, e Rachel Weisz, levaram os prêmios de melhor ator e melhor atriz.

Fiennes interpreta um tímido funcionário do Ministério de Assuntos Exteriores britânico casado com uma jovem idealista (Rachel Weisz) empenhada em descobrir quem está usando os africanos como "ratos de laboratório" e que é assassinada durante sua investigação.

A fita de Meirelles ganhou de filmes como "The Libertine", de Laurence Dunmore, com Johnny Depp como protagonista, e "Sra. Henderson Apresenta", de Stephen Frears.

O prêmio de melhor ator ou atriz coadjuvante foi para Rosamund Pike, por seu papel em "The Libertine", e Neil Marshall ganhou o prêmio de melhor diretor por "The Descent".

Com seu filme de terror sobre um grupo de mulheres presas em uma caverna por causa de um deslizamento de rochas, Marshall, de 35 anos, derrotou veteranos como Michael Witterbottom, Stephen Frears, e Fernando Meirelles.

O júri escolheu a neozelandesa Emily Barclay, de 19 anos, como a melhor atriz revelação por sua interpretação em "In my Father's Den", coprodução britânico-neozelandesa. Frank Cotrell Boyce ganhou o prêmio de melhor roteiro por "Millions", que se transformou em um livro de sucesso para o público infantil.

<>

makeFooter();

 

[Ronny]

 Para Meirelles e sua "gangue"

[Ronny]

'Memórias de uma gueixa' provoca polêmica entre japoneses e chineses


Reuters

TÓQUIO - Um time de estrelas da China e do Japão se reuniu em Tóquio para promover "Memórias de uma gueixa", o primeiro filme de Hollywood com grande orçamento a apresentar um elenco formado quase que inteiramente por atores asiáticos.

Mas, perto da estréia mundial, algumas pessoas do Japão perguntavam por que a prata da casa foi excluída dos papéis principais em um filme que celebra a singular cultura japonesa.

Comentários ásperos vieram também da China, onde o sentimento amargo pela ocupação japonesa em partes do país entre 1931-45 tornou inaceitável para alguns a idéia de uma chinesa no papel de uma gueixa.

Inspirado em um best-seller, patrocinado por Steven Spielberg e dirigido por Rob Marshall (ganhador do Oscar por "Chicago"), "Memórias de uma gueixa" gerou enorme interesse da mídia.

O elenco asiático conta com a chinesa Ziyi Zhang no papel de Sayuri, a filha de um pobre pescador que se transforma em uma lenda do misterioso mundo do entretenimento de Kyoto nos anos 1930. Os outros dois papéis principais são protagonizados por Gong Li, também da China, e pela atriz malaia Michelle Yeoh. Os atores japoneses ficaram com os papéis secundários.

"Memórias...", que supostamente custou US$ 85 milhões, não pode se dar ao luxo de esnobar os espectadores japoneses, o segundo maior mercado para os filmes de Hollywood.

Mas alguns japoneses já expressaram descontentamento com o que vêem como uma incompreensão das sutilezas dos trajes tradicionais e danças em um filme rodado em grande parte em um estúdio da Califórnia.

"Segundo esse filme, a gueixa dança de uma maneira bizarra, como se estivesse em um show de strip-tease em Los Angeles", disse um espectador em um blog da internet, acrescentando que a iluminação e os efeitos especiais lembravam mais a Las Vegas moderna do que a antiga Kyoto.

"Deveríamos boicotar esse filme e enviar uma mensagem clara a Hollywood. Por que motivo eles fizeram um filme zombando dos japoneses, quando não podem passar sem a gente?", continuava o blog.

Os bloggers chineses também estavam indignados.

"Ela vendeu sua alma e traiu seu país. Estraçalha-la não seria o bastante", dizia um blogger, referindo-se a Zhang.

Com um vestido branco e o cabelo preso, a atriz disse em uma concorrida entrevista coletiva que via o filme como um passo adiante para os atores asiáticos.

- Estou realmente grata a Rob Marshall por nos dar a incrível chance de mostrar ao mundo inteiro a habilidade dos atores asiáticos - disse na segunda-feira. - Podemos fazer bem mais do que as pessoas pensam.

Em Kyoto, o centro das artes tradicionais japonesas, a reação foi mais discreta.

- É um filme de Hollywood. É apenas entretenimento, o que podemos fazer? - disse um funcion rio da Kyoto Traditional Musical Art Foundation, que promove a música, a dança e outras artes do Japão antigo. - Hollywood sempre fez coisas como ignorar a história.

- Reclamar sobre o filme apenas vai chamar mais atenção para ele, então pretendemos ignorá-lo - acrescentou, dizendo que a fundação recusou pedidos para participar de eventos promocionais relacionados à première.

 

Mas...

Isso é que é buzz!!!

[Ronny]

Por que a foto do meu avatar foi removida???

Alguém sabe me dizer?

ALém dela, minha assinatura!!!

A quem devo recorrer???

Ronny38687.6165856481

[Ronny]

Capturing Kong

Hobbits made Peter Jackson a titan. How's the view from the top? Judging from an exclusive screening of his new movie, 'King Kong,' it's thrilling.

By Devin Gordon

Newsweek

Dec. 5, 2005 issue - Like any classic film worth its salt, the original 1933 "King Kong" has its little unsolved mysteries. Most notorious is the missing spider-pit sequence. Co-directors Merian Cooper and Ernest Schoedsack's first cut of "Kong" featured a scene on Skull Island—the famous ape's jungle pied-a-terror—in which several men tumble into a chasm and get devoured by giant arachnids. It was screened for an audience only once. Cooper later said that he dropped the scene for "pacing" reasons; no one crucial to the plot falls into the pit and the directors wanted to get on with his story. According to legend, though, there was another reason: the scene made several people barf. In any case, Cooper dumped it, and no one has seen it since.

Before he won a raft of Oscars for "The Lord of the Rings," before he stunned the art-house crowd with the 1994 drama "Heavenly Creatures," Peter Jackson, New Zealand's favorite son, directed a series of demented, low-budget horror films that seemed designed to make people barf. Repeatedly. For Jackson, one of the biggest perks of re-creating "Kong," which turned him into a filmmaker for life at the age of 9, was the chance to do his own spider-pit scene—and this time show it to the world. He even came up with a way to make the scene relevant: he tossed his two leading men, played by Jack Black and Adrien Brody, into the pit. "I didn't want to be tempted to cut it if the movie got too long," he says. "This way, I couldn't cut it." Jackson's take on the scene is deliciously icky, though it might not make anyone retch. Then again, there is this one part where a guy gets his head bitten off by an eight-foot slug. "Well," says Jackson, "he doesn't so much get it bitten off. It's more like his head gets swallowed and digested by acidic juices and it slowly dissolves into a sort of creamy pulp."

Now is probably a good time to mention that Jackson's epic, $207 million remake of "King Kong," is a surprisingly tender, even heartbreaking, film. Like the original, it's a tragic tale of beauty and the beast. Unlike the original, which was 100 minutes long, Jackson's version is a Kong-size three hours. "A few people have already asked me why we're taking twice as long to tell essentially the same story," says the director. "And I don't really know. We've been asking that ourselves. I'm going to have to come up with a better answer." May we cut in? The best answer—the only answer, really—is the movie itself. Earlier this month, Jackson invited NEWSWEEK to New Zealand for an exclusive first look at the finished (OK, nearly finished) product, and he proved once again that he might be the only guy whose films are worth getting on a plane and flying halfway around the planet to see. If the 44-year-old Kiwi felt any pressure over following up "The Lord of the Rings," you won't find a hint of it on screen. Some critics will complain that the film's length is an act of Oscar-drunk hubris, but while "Kong" may be indulgent, it's not pretentious. And it's certainly never dull. Jackson has honored his favorite film in the best possible way: by recapturing its heart-pounding, escapist glee.

<>

 

RELATED STORY

Exclusive Visit to 'King Kong' Set

The movie's plot, which Jackson fleshed out with Fran Walsh, his life partner, and Philippa Boyens, his screenwriter and next-door neighbor, will sound familiar to "Kong" fans. Maverick filmmaker Carl Denham (Black) loses the lead actress in his new adventure flick at the last minute, so he plucks off the street a beauty named Ann Darrow (Naomi Watts, in the role made iconic by Fay Wray), then puts her on a boat with his devoted crew and sets sail for the mysterious Skull Island. (Denham tries to keep their destination a secret, but one crew member eventually demands to know. "It has a local name," Denham says. "I'm warning you, it doesn't sound good.") After a bumpy arrival, the crew runs into some trouble with the natives, and then some serious trouble with the island's resident alpha male: a 25-foot gorilla with a nasty temper and a weakness for blondes. There are only two differences from the original that are crucial to note. Ann's love interest, Jack Driscoll (Brody), was the ship's first mate in the 1933 version; this time around, he is Denham's screenwriter, an Arthur Miller type who learns that if you want to get the girl, actions speak louder than words—even for a writer. The other major difference is Kong.

Jackson's updated ape is still king of the jungle, but he's getting a bit long in the snaggletooth. In human terms, he's pushing 50. His jaw is offset and his right eyebrow droops from long-ago scrapes with dinosaurs. His fur is matted and mucky, with bald patches here and there from the scar tissue. And he's developing a potbelly. "Peter really wanted a sense that Kong is old and grizzled and scarred," says Boyens, "because it tells a story of being alone. And of having to survive in the most dangerous place on earth." Kong's existence is pure brutality—until Ann comes along. "She sparks his curiosity," says Jackson. "It's the first time he's ever empathized with another living creature." Ann, thinking the rest of her shipmates are dead, comes to depend on Kong for protection. Their relationship is poignantly drawn—although after Kong is dragged to New York City in chains, there's a scene on a frozen pond in Central Park that tilts toward the corny. It must have made Jackson impatient, too. He ends it abruptly with a giddy blast of artillery fire.

To create Kong, Jackson reassembled essentially the same team that produced Gollum—a group led by visual-effects supervisor Joe Letteri and creature captain Gino Acevedo, who finally got to make use of the scrapbook of gorilla photos he's been keeping since he was a kid. So it's no surprise that they've worked another miracle. Actor Andy Serkis, who "played" Gollum, is also back for more, taking on Kong this time. Once again, he puts a big, thumping heart inside a digital body. To prepare for the role, Serkis asked Jackson if he could fly to Rwanda and study gorillas in their natural habitat. Jackson, fearing for Serkis's safety, said no. "I told him, 'Just go to the zoo.' Then one day we got a phone call from Andy in Rwanda. I thought, 'Oh, the bastard's gone there without permission!' Andy was just unstoppable." Serkis spent three weeks in the mountains at a gorilla preserve and got tight with one of the animals there, a female named Zaire. "She fancied me," he says with pride. "She got very jealous when my wife came to visit. She actually threw a bottle of water at her." (Lesson one: if a gorilla fancies you, don't let her know you're seeing someone else.)

Action Jackson: The director (left) behind the vintage camera that Black’s character uses

 

 

Jackson's talent with digital creatures tends to overshadow the fact that he's pretty deft with humans, too. Watts, with those honest eyes, is the soul of the film. "I think Naomi is a fantastic actress," says Walsh, "and if you have anything less than fantastic in that role, the film probably won't work. She has a kind of courage about finding something meaningful to her and bringing it into the film. And it never feels like she's drawing on a bag of tricks." She is also, as Jack Black helpfully points out, hot, and well paired with her romantic leading man. "Adrien and Naomi—I wanna see them get it on," he says.

 

Black, meanwhile, is the surprise pick. Jackson and Walsh first thought of him during the Christmas holiday of 2003, when their two young children watched "School of Rock" no fewer than 25 times. What caught their eye was Black's talent for playing "an obsessive, rascally character," says Jackson. That dovetailed with their take on Denham: a born adventurer, just like the guy in the 1933 film, but far more vainglorious and even a bit of a con man. Jackson's Denham is a blend of a 1930s expeditionary filmmaker (like Merian Cooper, the basis for the original Denham) and the young Orson Welles, who once accepted money to direct a film and then went off and shot a completely different one without telling his investors. Black seemed perfect. "But we didn't want to officially approach him until we figured out if he was a nice guy," says Jackson. So during the 2004 awards season, when Black was making the rounds for "School of Rock" and Jackson and Walsh were promoting "Return of the King," "we kept trying to engineer these little collisions with Jack at public events," he says. "We'd go, 'I think he's headed toward the door! Quick! Move!' We'd cut across his path and I'd go, 'Oh, Jack! Hi! I'm Peter, this is Fran. Loved 'School of Rock!' We were doing reconnaissance. Surveillance. Stalking."

Nearly two years later, on a crisp afternoon in Wellington, Jackson is curled up on a sofa with a cup of tea at his sprawling postproduction studio, built with some of the $3 billion spoils of "Lord of the Rings." He's barefoot as usual, and looks alarmingly tired. Just 14 days remain before he must deliver his finished film to Universal, and he still has miles to go. Since the world last saw him collecting Oscar after Oscar for "Return of the King," he's dieted and lost nearly 70 pounds. He still looks quite hobbity, but he's more Frodo now, less Sam Gamgee. "I was just tired of being heavy, tired of being unwell," he says. "I'm not unwell anymore, but I am still tired."

He's earned a rest. Jackson's "Kong" laps the 1933 movie in virtually every department yet still manages to leave you in awe of the pioneering original. Even when prodded, Jackson can't bring himself to criticize Cooper and Schoedsack's work. "I wouldn't use the word 'flaws'," he says, after a reporter does just that. Yes, the original's "oonga-boonga" depiction of the island natives is flat-out racist—but their presence is essential to the story. Jackson's solution is to throw logic at the problem: the natives have gone from laughably primitive to downright vicious. Which makes sense. If you were stuck on an island with killer dinosaurs and giant gorillas, you'd be edgy too.

At this juncture, not even "Kong," which opens on Dec. 14, will be able save Hollywood from a lame year at the box office, but it will ensure that 2005 wraps up with a few exclamation points. Of course, Walsh, the trio's mordantly funny voice of doom, isn't convinced yet. She chalks it up to being raised in New Zealand, where you are taught to disdain those who show too much pride in their work. She and Boyens are even a little embarrassed about all those Oscars. "Someone said to me, 'My god, it must feel amazing to have an Oscar in your house'," says Boyens. "And I said, 'Well, yeah, but my neighbors have six.' I couldn't help but undercut myself a little bit." Walsh got so self-conscious about those six statuettes in her and Jackson's home that she stuck Post-it notes on them and gave each one a name: Brent, Trevor, Neville, Muzza, Dion and Lysander. Of the three filmmakers, Boyens is the boastful one—but only on behalf of her friends. Over dinner and a few glasses of white wine at an Italian restaurant in downtown Wellington, she lavishes praise on her boss. "I know I shouldn't say this," she begins, "but when other directors see this movie, they're going to f---ing give up." Forgive her. She's smitten. "Kong" may not drive any filmmakers into a career crisis, but one thing is for sure: they'll all be taking notes.

[haziell]

 

Ok' date='

vc não gosta, mas dai a dizer que ela é medíocre!  Vc já viu Mrs.

Brown, Iris?  Acho que não.  Eu por exemplo não gosto Sean

Penn, mas nunca diria que ele é medíocre, pois não é.

 

[/quote']

 

Sim assisti aos 2, e tbm Shakespear Apaixonado, e não gostei de nenhum

deles, mas Mrs. Brown só é o melhorzinho por causa do ator, q é muito

bom. Tem atores q não gosto mas qdo apresentam uma boa interpretação,

eu valorizo, como parece ser o caso do Hoffman esse ano. Não gosto

dele, acho supervalorizado, mas se ele realmente estiver bem,

aplaudirei e reconhecerei seu talento.

 

 

[Ronny]

Vencedores do Gotham Awards:

BEST FEATURE: Capote
BEST BREAKTHROUGH DIRECTOR: Bennett Miller, Capote
BEST BREAKTHROUGH ACTOR: Amy Adams, Junebug
BEST ENSEMBLE CAST: The Squid and the Whale
BEST DOCUMENTARY: Murderball

[guidon]

Alguém pode me dizer o que dizia o texto sobre a Charlize?

[Fernando]

Está falando que a carreira de Charlize Theron está ficando perigosamente parecida com a de Halle Berry , porque ambas escolheram , logo após o Oscar ,filmes de ação  para estrelarem . Aeon Flux , filme de Charlize e baseado em curtas de animação da MTV americana , parece ser um filme de qualidade duvidosa , tal qual Mulher-Gato . Já foi adiado várias vezes , inclusive.<?:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

O texto aponta as semelhanças entre A Última Ceia e Terra Fria , por causa da nudez física e psicológica e das personagens serem mulheres pobres sofridas , e fala da animosidade gerada entre as atrizes depois que uma entrevista de Charlize para a revista The New Yorker saiu com citação dela dizendo :" Uma nota a ser seguida  :não se tornar uma Halle Berry". Pegou mal , ela tentou pedir desculpas mas Berry ficou indiferente . O texto se diz uma nota dirigida a Charlize , afirmando que suas escolhas pós-Monster podem ser tão erradas quanto as de Halle . " Charlize Theron , vc ' é ' Halle Berry !" 

O texto também diz que Terra Fria pode trazer uma nova indicação para Charlize , mas que o filme, apesar do jeito de engajamento social , é um drama insípido .

Fernando38688.1313194444

[Ronny]

Pride and Prejudice será COMÉDIA para o Globo de Ouro!!!

Já está dentro!

[Fernando]

Foi melhor o estúdio optar por colocá-lo como comédia .Isso torna maiores as chances do filme no Globo de Ouro . Já a Keira ainda tem que concorrer com as fortes candidatas Reese Witherspoon e Judi Dench .

Fernando38688.1336458333

[Jon]

Por falar em Charlize, já começo a duvidar de uma nova indicação para ela, porque o buzz dela está com tendência de cair... ao contrário de Keira Knightley.

[Jon]

Saíram os vencedores do BIFA: O Jardineiro Fiel levou os prêmios de Filme' date=' Ator e Atriz.[/quote']

Bom começo para Meirelles, Fiennes e Weisz. Não duvido que eles ainda ganharão outros prêmios...

[Administrator]

Aqui vai notícias sobre algo mais específico: a trilha de john Williams para Munique, que parece ser bastante complexa, variada. Ele deverá ser indicado por este e Memórias, e é quase certeza que vai dividir os votos, pois ambas as trilhas deverão ser muito elogiadas (a do filme de Marshall já estpa ganhando raves):

 

Ah, o filme foi classificado R por cenas de sexo, nudez e violência gráfica!  Não é para criancinha, não!

 

Steven Spielberg’s upcoming film “Munich” has been rated R by the Motion Picture Association of America for strong graphic violence, some sexual content, nudity and language.

The film will premiere in major markets in the U.S. this December 23, followed by a wide release in North America on January 6. International premieres will follow in late January.

-Composer John Williams’ ‘Munich’ score coming this January
The soundtrack album of John Williams’ score for “Munich” will be released by Decca Classics on January 20, 2006. The score marks Williams and Steven Spielberg’s 22nd feature length collaboration.

Following is a track listing for the album that may contain SPOILERS:

1. Munich, 1972
2. The Attack at Olympic Village
3. Hatikvah (The Hope)
4. Remembering Munich
5. Letter Bombs
6. A Prayer for Peace
7. Bearing the Burden
8. Avner and Daphna
9. The Tarmac at Munich
10. Avner's Theme
11. Stalking Carl
12. Bonding
13. Encounter in London and Bomb Malfunctions
14. Discovering Hans
15. The Raid in Tarifa
16. Thoughts of Home
17. Hiding the Family
18. End Credits

END SPOILERS

John Williams recently talked about his work on “Munich” in a Variety article in which he said the film couldn’t have been “more different from ‘Geisha’ [his latest score preceding “Munich”] in ambience and texture.”

By Variety’s report, it appears as if Williams continues to explore the ethnic instrumentation and sounds he has been exploring lately in scores such as “Minority Report,” “Revenge of the Sith,” and more notably, “Memoirs of a Geisha.”

Williams told Variety he composed “a kind of prayer for peace, a lyrical composition associated with Avner [perhaps in “Avner’s Theme”? — referencing the main character portrayed by actor Eric Bana] and the home he leaves behind in Israel.

Williams also composed a theme [“The Tarmac at Munich”] “that accompanies one of several flashbacks to the tarmac at Munich, and also one of several scenes that recall the abduction of the Olympic athletes from their rooms at the Olympic Village.” Expect this theme to be quite haunting, as the locale of the tarmac outside of the city marks a site where the tragedy of the ’72 Olympics came to an end during a horribly botched attempt to liberate the Israeli captives. “Passion of the Christ” soloist Lisbeth Scott performed solo vocal work on “The Tarmac at Munich.”

To musically portray the other side of the event’s conflict, Williams sought to give an “authentic Palestinian sound” [Variety’s words] by employing “the oud, a Middle Eastern lute…a cimbalom, a Hungarian zither, as well as clarinet and strings” for what Williams calls “an almost fantastically Oriental quality.”

The score for “Munich” marks John Williams’ fourth feature assignment this year, including “Star Wars: Revenge of the Sith,” and his third for a Steven Spielberg production including “War of the Worlds” and “Memoirs of a Geisha.”

[MERI BRASIL]

Indicados ao Golden Satellite Awards:

10TH ANNIVERSARY SATELLITE AWARDS
DECEMBER 17, 2005

Motion Picture, Drama

A History of Violence, New line
Capote, Sony
Brokeback Mountain, Focus Features
Cinderella Man, Universal
Memoirs of a Geisha, Sony
The War Within, Magnola Pictures

Motion Picture, Comedy or Musical

Rent, Sony
Shopgirl, Touchstone
Hustle & Flow, Paramount Classics
Happy Endings, Lions Gate
Walk the Line, Fox
Kung Fu Hustle, Sony

Best Actress, Drama

Charlize Theron, North Country (Warner Bros.)
Julianne Moore, The Prize Winner of Defiance , Ohio (Dreamworks)
Robin Wright Penn, Nine Lives (Magnolia Pictures)
Ziyi Zhang, Memoirs of a Geisha (Sony)
Felicity Huffman, Transamerica (IFC Films/the Weinstein Company)
Toni Collette, In Her Shoes (fox)

Best Actor, Drama

Philip Seymour Hoffman Capote (Sony)
David Strathairn Good Night, and good Luck. (Warner Bros.)
Jake Gyllenhaal Jarhead (Universal)
Tommy Lee Jones the three burials of Melquiades Estrada (Sony)
Heath Ledger Brokeback Mountain (focus features)
Viggo Mortensen A History of violence (new line)

Best Actress, Comedy or Musical

Judi Dench, Mrs. Henderson Presents (Weinsteins)
Joan Allen, The upside of Anger (New Line)
Claire Danes, Shopgirl (touchstone)
Reese Witherspoon, Walk the Line (fox)
Joan Plowright, Mrs. Palfrey at the Claremont (Cineville/Pictures ent.)
Keira Knightley, Pride & Prejudice (Universal)

Actor, Comedy or Musical

Terrence Howard, Hustle & Flow (paramount classics)
Bill Murray, Broken Flowers (Focus Features)
Kevin Costner, The Upside of Anger (New Line)
Joaquin Phoenix, Walk the Line (fox)
Robert Downey jr., Kiss kiss Bang Bang (Warner Bros.)
Cillian Murphy, Breakfast on Pluto (Sony Pictures Classics)

Actress in a Supporting Role, Drama

Frances Mcdormand, North Country (Warner Bros.)
Laura Linney, The Squid and the Whale, (Samuel Goldwyn)
Maria Bello, A History of Violence (New Line)
Gong Li, Memoirs of a Geisha (Sony)
Shirley MacLaine, In Her Shoes (Fox)
Amy Adams, Junebug (sony pictures classics)

Actor in a Supporting Role, Drama

Mickey Rourke, Sin City (Miramax)
Jake Gyllenhaal, Jarhead (Universal)
Edward Norton, Kingdom of Heaven (Fox)
Peter Sarsgaard, Jarhead (Universal)
Chris Cooper, Capote (Sony)
Danny Huston, The Constant Gardener (Focus Features)

Actress in a Supporting Role, Comedy or Musical

Qiu Yuen, Kung Fu Hustle (Sony)
America Ferrera, The Sisterhood of the Traveling Pants(Warner Bros.)
Michelle Monaghan, Kiss Kiss Bang Bang (Warner Bros.)
Rachel Macadams, The Family Stone (Fox)
Diane Keaton, The Family Stone (Fox)
Rosario Dawson, Rent (Sony Pictures)

Actor in a Supporting Role, Comedy or Musical

Tom Arnold, Happy Endings (Lions Gate Films)
Steve Coogan, Happy Endings (Lions Gate Films)
Jason Schwartzman, Shopgirl (touchstone)
Val Kilmer, Kiss Kiss Bang Bang (warner bros.)
Craig T. Nelson, The Family Stone (fox)
Corbin Bernsen, Kiss Kiss Bang Bang (Warner Bros.)

Motion Picture, Foreign Film

Walk On Water (Samuel Goldwyn), Israel
Innocent Voices (slowhand cinema), mexico
Lila Says (Samuel Goldwyn), France
Mother of Mine (Nordisk Film Theatrical), Finland
2046 (Sony Pictures Classics), China
Turtles Can Fly (Sony Pictures Classics), Iran

Motion Picture, Animated or Mixed Media

Howl's Moving Castle (Buena Vista Pictures)
The Corpse Bride (Warner bros.)
Wallace & Gromit: The Curse of the Were-Rabbit (Dreamworks)
Chicken Little (Buena Vista Pictures)
Chronicals of Narnia: the Lion, the Witch and the Wardrobe (Buena Vista Pictures)

Documentary

March of the Penguins (Warner Independent Pictures)
Mad Hot Ballroom (Paramount classics)
Murder ball (MTV Films)
New York Doll (First Independent Pictures)
Favela Rising (a Think Film/HBO)
Enron, the Smartest guys in the room magnolia pictures

Director

Ang Lee Brokeback Mountain (Focus Features)
George Clooney, Good Night, and Good Luck (Warner Bros.)
James Mangold, Walk the Line (Fox)
Chris Columbus, Rent (Sony Pictures)
Bennet Miller, Capote (Sony)
Rob Marshall, Memoirs of a Geisha (Sony)

Screenplay, Original

Don Roos, Happy Endings (Lions Gate Films)
Noah Baumbach, The Squid and the Whale (Sony Pictures)
George Clooney, Grant Heslov, Good Night, and Good Luck. (Warner Bros.)
Rodrigo Garcia, Nine Lives (Magnolia Pictures)
A yad Akhtar, Joseph Castelo, Tom Glynn, The War Within (Magnolia Pictures)
Paul haggis, Bobby Moresco, Crash (Lions Gate Films)

Screenplay, Adapted

Larry McMurtry/ Diana Ossana, Brokeback Mountain (Focus Features)
D an Futterman, Capote (Sony)
Robin Swicord Memoirs of a Geisha (Sony)
William Broyles Jr., Jarhead (Universal)
Steve Martin, Shopgirl (Touchstone)
Gil Dennis, James Mangold, Walk the Line (Fox)

Original Score

Alberto Iglesias, The Constant Gardner
John Williams, Memoirs of a Geisha
Danny Elfman, The Corpse Bride
Harry Gregson-Williams, Kingdom of Heaven
Robert Rodriquez, Sin City
Gustavo Santaolalla, Brokeback Mountain

Original Song

"A Love that Will Never Grow Old"/Gustavo Santaolalla, Bernie Taupin Brokeback Mountain
"In the Deep"/Bird York Crash
"broken"/Robert Downey Jr., Mark Hudson, Kiss Kiss Bang Bang
"Hustler's Ambition"/Curtis Jackson, Brian Hughes & Frankie Beverly, Get Rich or Die Tryin'
"Magic Works"/Jarvis Cocker, Harry Potter and the Goblet of Fire

Cinematography

Robert Rodriguez, Sin City (Miramax)
Philippe Rousselot, Charlie and the Chocolate Factory (Warner Bros.)
Robert Elswit, Memoirs of a Geisha (Sony)
Cesar Charlone, the Constant Gardener (Focus Features)
Hang-Sang Poon, Kung Fu Hustle (Sony Picture Classics)
Christopher Doyle, 2046 (Sony Pictures Classics)

Visual Effects

Robert Rodriguez, Sin City (Miramax)
Frankie Chung, Kung Fu Hustle (Sony Pictures Classics)
Tom Wood, Kingdom of Heaven (Fox)
John Knoll, Roger Guyett, Rob Coleman, Brian Gernand, Star Wars (Lucas Film/Fox)
Dennis Muren, Pablo Helman, Randal Dutra, Daniel Sudick, War of the Worlds (Dreamworks)

Film Editing

Robert Rodriguez, Sin City (Miramax)
Angie Lam Kung, Fu Hustle (Sony Picture Classics)
W alter Murch, Jarhead (Universal)
Michael Kahn, War of the Worlds (Dreamworks)
Stephen Mirrione, Good Night, and Good Luck. (Warner Bros.)
Geraldine Peroni, David Tichenor Brokeback Mountain (Focus Features)

Sound (mixing & editing)

John Pritchett, Sergio Reyes, Robert Rodriguez, Paula Fairfield - Sin City (miramax)
William Jacobs, Carla Murray, Tom Myers, Christopher Scarabosio, Andy Nelson, Paul "Salty" Brincat - Star Wars (Lucas Film/Fox)
Ben Burt, Matthew Wood, Paul Pirola - Kung Fu Hustle (Sony pictures classics)
Michael Barry, Martin Czembor, Ludovic Henault, Robert Hein: The White Countess (Sony Pictures Classics)
Rob Cavallo, Sally Boldt - Rent (sony)

Art Direction & Production Design

Jeanette Scott, David Hack - Sin City (Miramax)
John Myhre - Memoirs of a Geisha (Sony)
Arthur Max - Kingdom of Heaven (Fox)
Jim Bissell - Good Night, and Good luck. (Warner Bros.)
Gavin Bocquet, Richard Roberts - Star Wars (Lucas Film/Fox)
Luigi Marchione, Vlad Vieru - Modigliani (ifg)

Costume Design

Colleen Atwood - Memoirs of a Geisha (Sony)
Jacqueline Durran - Pride & Prejudice (Universal)
John Bright - The White Countess (Sony Pictures Classics)
Pam Downe Modigliani (Ifg)
Janty Yates Kingdom of Heaven (Fox)
Jany Temime - Harry Potter and the Goblet of Fire (Warner Bros.

[Administrator]

Um prêmio menor, de pouco impacto, mas interessante. Aposto que acabará se tornando o único em que Memórias foi finalista em Melhor Filme.

[saulomeri]

Com mais esse premio saindo, ouso dizer que Brokeback Mountain e Walk The Line, podem ser considerados como finalistas na categoria de Melhor Filme, e, por enquanto, favoritos ao Oscar de Melhor Filme. No entanto, espero as estréias de Munich, The New Word e King Kong, pois se estes fracassarem, a disputa deve ser entre estes dois mesmo.

[Administrator]

Estou também de olho em Kong. Acho que, num ano tão estranho e frágil, Jackson pode colocar mais um filme seu na disputa sem grandes dificuldades.

[Ronny]

MUNICH foi exibido no último dia 30/11 para o estúdio. Ninguém sabe de nada a respeito da reação dos chefões?

[Administrator]

Por enquanto, não vi nada na internet a respeito.

 

Estão sendo feitas sessões de Novo Mundo, e o resultado não é dividido, e sim bastante positivo! Aliás... Sei que não é este o lugar certo para postar isto, mas finalmente descobri uma resposta para uma pergunta que estava incomodando: em que categorias seriam promovidos os atores de Novo Mundo?

 

 

Farrel é coadjuvante; Kilcher é principal!

[Dado]

Está falando que a carreira de Charlize Theron está ficando perigosamente parecida com a de Halle Berry ' date=' porque ambas escolheram , logo após o Oscar ,filmes de ação  para estrelarem . Aeon Flux , filme de Charlize e baseado em curtas de animação da MTV americana , parece ser um filme de qualidade duvidosa , tal qual Mulher-Gato . Já foi adiado várias vezes , inclusive.<?:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

O texto aponta as semelhanças entre A Última Ceia e Terra Fria , por causa da nudez física e psicológica e das personagens serem mulheres pobres sofridas , e fala da animosidade gerada entre as atrizes depois que uma entrevista de Charlize para a revista The New Yorker saiu com citação dela dizendo :" Uma nota a ser seguida  :não se tornar uma Halle Berry". Pegou mal , ela tentou pedir desculpas mas Berry ficou indiferente . O texto se diz uma nota dirigida a Charlize , afirmando que suas escolhas pós-Monster podem ser tão erradas quanto as de Halle . " Charlize Theron , vc ' é ' Halle Berry !" 

O texto também diz que Terra Fria pode trazer uma nova indicação para Charlize , mas que o filme, apesar do jeito de engajamento social , é um drama insípido .

[/quote']

Não dei quote no outro pq é muito grande...Agora,ler aquele texto me deu agonia,porque comparar,ou associar,qualquer coisa à Mulher-Gato/Halle Berry prá mim é sinônimo de porcaria.Acho Mulher-Gato o pior filme produzido nos últimos anos,claro que se levando em consideração pretensão,orçamento,elenco,enfim, sem dúvida que tem muito trash por aí,mas nada ganha de Mulher-Gato pelo que se esperava dele.Se a Charlize "conseguiu a proeza" de se enfiar em algo assim,meu Deus do Céu!!!

[talgufi]

Oscar 2006 ganha pôsteres!
A entrega do prêmio é no dia 05 de Março de 2006!

por Borbs

 

Agora o pessoal da Academy of Motion Picture Arts and Sciences está querendo se perfazer. Depois da "pop art" de 2005, o pôster do Oscar do ano que vem está todo artissssta, "vintage".

"Smoking Preto" e "Luvas Brancas" -- os nomes dos pôsteres -- mostram dois atores segurando a estatueta, depois de receberem o prêmio. Ou pelo menos essa é a idéia. =D

Joan Maloney, presidente da empresa de design Studio 318 foi a criadora do conceito dos cartazes, que servirão para divulgar a entrega do prêmio, que vai acontecer no domingo, 05 de Março de 2006.

    E QUANTO AO MESTRE DE CERIMÔNIAS? jÁ SAI O NOME? ESPERO Q SEJA BILLY CRISTAL. ADORO AS MONTAGENS DELE QUE ABREM A PREMIAÇÃO...

[Ronny]

Grande notícia essa em relação a THE NEW WORLD...

E olha que o Farrell pode conquistar indicação!!!

Estou muito feliz pelo filme!!!