“I wrote two new songs for the film, and when I wrote them I hadn’t seen any footage, so I wasn’t sure how he [Luca] was going to use them at all. I just handed them over and had to trust that he would know what to do. And, of course, having seen all his films, and how masterful he is with music, there was no question in my mind he would be responsible about it.
“I feel like the universe is in charge here, or maybe it’s testament to Luca’s mastery as a director that he is so good at conducting other artists to get the best out of them. I don’t know how he does it but he’s a real prophet in that way. I think he’s an essentialist, but he’s also so technically astute. He has a very keen eye for truth, and you never really question his vision or authority. He’s also a great scholar, and a great film scholar, but you never feel like his knowledge gets in the way of his work.”
“Orphan Black” cinematography quibble: the breakup scene
The most painful scene in the show to date. Well written and beautifully acted. Dialogue is almost unnecessary because you can see every thought and emotion in Maslany’s and Brochu’s faces:
Cosima’s happiness on seeing Delphine for the first time in weeks is palpable:
OMG, her face. Delphine’s been putting this off and she knows what she has to do, but she still can’t help clinging to Cosima one last time:
(Incidental medical quibble: you use the back of your hand, not your palm, to assess fever. It’s a surprisingly sensitive method.)
The saddest, tiniest “I love you” ever:
And then, after Cosima shuts the door crying, Delphine finally breaks down:
And collapses against the wall (sorry, not a great screencap here):
But - and this is what bugs me - the very next cut shows a medium long shot of Delphine from the opposite angle:
Which IMMEDIATELY takes me out of the scene, because all I can think is that in order to get this shot, the crew had to reset the camera and lighting and poor Brochu had to play Delphine’s breakdown all over again. Not cool.
On September 22, join us for a special screening of four historical films that dramatize Alexander Calder’s sculptures in motion and explore the artist’s relationship to cinema. The program will be introduced by curator and film scholar Victoria Brooks. Learn more on whitney.org.
I was questioning whether or not to do this, but on the advice of @byzantinefox and @bantarleton, I’ve decided to make a post addressing the events portrayed in the film. I’m not a film critic or scholar (my wondertrev buddy @twoquickdeaths could probably say more about those aspects of it than I could), but I am a history major with a great interest in the First World War. Hence, I will be addressing the events of the film, their historical context, and the way they are portrayed. WARNING: Spoilers below!
Starred in Gone with the Wind, 1939 (one of cinema’s most iconic films)
Her first film was released in 1935.
She took Warner Bros. to court and won thus creating the de Havilland Law - “de Havilland’s legal victory reduced the power of the studios and
extended greater creative freedom to performers. The decision was one of
the most significant and far-reaching legal rulings in Hollywood. The
decision came to be informally known, and is still known to this day, as
the “de Havilland law”
Thisis an ongoing issue that affects the music industry and de Havilland’s achievement is still helping those in the music industry today fight the same battle“I ended up meeting with her in Paris and we had a wonderful time
together and I thanked her for fighting the studios back then so I could
fight them now.” - Jared Leto (THIRTY SECONDS TO MARS)
She made 49 Feature Films and 9 TV movies/series
She was awarded the National Medal of Artsat the White House in 2008 “the highest honor conferred to an individual artist on behalf of the people of the United States“
Has her hand and footprints at Grauman’s Chinese Theatre, Hollywood (ceremony held in 1952)
Star on the Walk of Fame for Motion Picture at 6762 Hollywood Blvd since 1960
Olivia de Havilland will turn 100 on 1st July, 2016
AFI (American Film Institute) Life Achievement Award - Honoring an individual whose career in motion pictures or television has
greatly contributed to the enrichment of American culture.
The Trustees initially specified that the recipient must be one who
fundamentally advanced the art of film and whose achievements had been
acknowledged by the general public as well as by film scholars and
critics and the individual’s peers. The Trustees also specified that the
work of the recipient must have withstood the test of time.
OLIVIA DE HAVILLAND HAS NOT GOT A LIFE ACHIEVEMENT AWARD!
So there I was, minding my own business as I brushed up on my queer film theory, when all of a sudden this book I’m reading (Harry M. Benshoff’s Monsters in the Closet: Homosexuality and the Horror Film) goes into a lengthy section about MYSTERY SCIENCE THEATER 3000.
There you have it folks: according to legitimate film scholars, MST3K is quality queer entertainment.
The Passion of Joan of Arc (French: La Passion de Jeanne d'Arc) is a 1928 silent French film based on the actual record of the trial of Joan of Arc. The film was directed by Carl Theodor Dreyer and stars Renée Jeanne Falconetti as Joan. It is widely regarded as a landmark of cinema, especially for its production, Dreyer’s direction and Falconetti’s performance, which has been described as being among the finest in cinema history. The film summarizes the time that Joan of Arc was a captive of England. It depicts her trial and execution.
Danish film director Dreyer was invited to make a film in France by the Société Générale des Films and chose to make a film about Joan of Arc due to her renewed popularity in France. Dreyer spent over a year researching Joan of Arc and the transcripts of her trial before writing the script. Dreyer cast stage actress Falconetti as Joan in her only major film role. Falconetti’s performance and devotion to the role during filming have become legendary among film scholars.
The film was shot on one huge concrete set modeled on medieval architecture in order to realistically portray the Rouen prison. The film is known for its cinematography and use of close-ups. Dreyer also didn’t allow the actors to wear make-up and used lighting designs that made the actors look more grotesque.
Sherlock Holmes has appeared on screen so many times over the past 100+ years. Because of the sheer amount of Sherlock Holmes adaptations, it can be hard to figure out what to watch and where to start.
Because of this I’ve narrowed down some of the best of the film and TV adaptations over the years. I’ve included the name, year, main actors, a brief summary, why it’s so good/important, and a trailer, if applicable. Please enjoy.
1. The Adventures of Sherlock Holmes(TV 1984-85) [Jeremy Brett as Holmes and David Burke]
The Granada Holmes series remains today one of the most faithful adaptations to ever exist, and Jeremy Brett holds the title of The Definitive Holmes for good reason. This first season holds faithful to some of the best and most well-known stories that Conan Doyle wrote, beginning with Irene Adler and ending with the Falls of Reichenbach.
Definitely the best Holmes adaptation to date-Granada came the closest to adapting every canon story, and did so with minimal changes for the most part. Brett remains today one of the best loved Holmes’ of all time. It also casts Watson as the faithful friend and wonderful, smart man of the canon, something other adaptations would sometimes struggle with. It’s beautifully filmed and has an amazing soundtrack that fits Sherlock Holmes perfectly. A definite staple of film and tv for the Holmesian.
2. The Hound of The Baskervilles(1939) [Basil Rathbone as Holmes and Nigel Bruce as Watson]
The first and arguably the best of Universal’s Sherlock Holmes films. An adaptation straight from the HOUN book, with minor changes and alterations. Unlike the majority of Universal’s Holmes films, Hound of the Baskervilles is set in Victorian times instead of modern day.
This film marked the beginning of an era for Sherlock Holmes movies (and also for a bumbling Watson). Rathbone is sharp and truly amazing as Sherlock Holmes, playing him as cutting and cunning as ever, but still with the kindnesses of Holmes that people enjoy. Although perhaps not some of the most faithful Holmes films, these still remain classics and some of the best in many people’s eyes. (my pick was Hound simply because I couldn’t decide on my true favorite–if you like this one, definitely see the rest of the films)
3. Sherlock(2010-present) [Benedict Cumberbatch as Holmes and Martin Freeman as Watson]
Sherlock is a modern updating of Conan Doyle’s original series, and has gotten VERY popular, VERY quickly all over the globe. Although all the cases have modern twists to them and changes, Many of the plotlines, characters, dialogue bits, and other things come straight from the canon.
This series is truly proof of how far Sherlock Holmes has come since the Victorian age and the date of his creation. And definitely proof of a character living way beyond his years. Sherlock is a definite masterpiece, no other word to describe it. Brilliant and clever writing, beautiful cinematography, an incredible soundtrack, utterly fantastic casting, and in the hands of two very devoted and loving Sherlock Holmes fans. The entire series is brilliant and has an amazing storyline that proves why Holmes is so popular as a detective story, but also why the title transcends the genre and becomes more about the detective himself. (My pick is definitely series one, and A Study in Pink for the best episode, but definitely watch the entire series).
4. The Private Life of Sherlock Holmes(1970) [Robert Stephens as Holmes and Colin Blakely as Watson]
An amazing and affectionate take on Sherlock Holmes, the man behind the legend and the public image. The film’s plot starts as Holmes is being asked to have a child with a Russian ballerina (Johnlock shippers will enjoy his reply), shifts to a case of a woman washed up in the Thames and brought to Baker Street, to sightings of the Loch Ness monster, to pre-WWI spies.
There’s alot of information and plot strands in this film which makes it very interesting for films scholars and Holmesians alike. However, its loving, if somewhat nearly parody-like, portrayal of Holmes is very amazing to watch. It’s a long but beautiful movie and definitely an influence for many of the Holmes films that follow it.
5. The Great Mouse Detective(animated, 1986) [Basil of Baker Street and Dr David Q Dawson]
Based on the books of Eve Titus, The Great Mouse detective is a very loving and family friendly film and does an excellent job of keeping the spirit of Sherlock Holmes while translating the characters to the world of animated mice. Olivia Flaversham’s toymaker father is taken by Rattigan (the mouse world’s Moriarty). She meets Dr Dawson and together they go along with Sherlock Holmes in an attempt to find out what Rattigan is planning with the toymaker for his nefarious schemes.
For many people, this was their first Sherlock Holmes movie, and they don’t remember it being so until they revisit it later in life. It is as much a perfect film for kids as it is for Sherlock Holmes fan’s. The characters are based heavily on Rathbone’s Universal films of the 30’s but also do their canon counterparts very great justice.
6. Sherlock Holmes(TV 1954) [Ronald Howard as Holmes and H Marion Crawford as Watson]
A VERY often underrated Sherlock Holmes TV series, but an adaptation faithful to the spirit of the original canon. There are 39 short episodes in the series, each with slightly simple and often comedic plots.
The friendship shown between Holmes and Watson (and often Lestrade) is the real reason to watch this series. The love and affection these men have for each other is outlined brilliantly in their bickering and teamwork and banter. However silly the plots are, the real gem of the series is the characters themselves. Definitely one to watch if you want to relax and just have deep feelings for a friendship that’s lasted since the Victorian age. All the episodes are currently available on youtube.
7. The Adventures of Sherlock Holmes and Doctor Watson(1979-86) [Visaly Livanov as Holmes and Vitaly Solomin as Watson]
Widely regarded as the best Sherlock Holmes and a definite fan-favorite, this Russian series is absolutely incredible. It’s very well done and very faithful to Sherlock Holmes and the spirit of the original series.
One of the few series to feature the meeting between Holmes and Watson. It’s a Russian series, so subtitles are a must unless you speak the language, but as always, it’s a series that the Holmesian will enjoy and should see as part of their background.
8. Young Sherlock Holmes(1985) [Nicholas Rowe as Holmes and Alan Cox as Watson]
Teenage Sherlock Holmes and John Watson meet at a boarding school and are thrust into a mystery when a teacher is murdered, his last words breathed to Holmes “Eh-tar”, leading them to a secret group right under their feet.
For fans of boarding school/college aus, this is the perfect movie. Watson’s slightly out of character, and Sherlock has a love interest, but the casting and the writing are both spectacular. The soundtrack rings of adventure and echoes that same feeling from the original stories. It’s an interesting look at what may have happened if Holmes and Watson had gone to school together. (to this day remains my favorite Sherlock Holmes movie)
9. The Seven Percent Solution(1976) [Nicol Williamson as Holmes and Robert Duvall as Watson]
The film takes on another explanation for Holmes’ three-year absence and the Moriarty problem, as well as delving deep into Holmes (here) drug addiction and offering a glimpse into what could have been the detective’s childhood. Based on the book by Nicholas Meyer.
Although not one of my favorite Sherlock Holmes films (not by a mile), it’s a very interesting take on the detective, and a very Freudian look at him (literally). The book and film are often very widely known among the Holmesian community and the film is definitely a classic worth seeing on anyone’s Sherlock Holmes journey.
10. Sherlock Holmes: Baker Street 221b (TV 2013) [Igor Petrenko as Holmes and Andrei Panin as Watson]
Another fun Holmes series from Russia, this time very modernly done. It’s a new and different take on Holmes and Watson and their friendship, but still very respectful to the spirit of the characters, the friendship and the original stories. The two meet by accident at the scene of a murder, and from there, the story begins.
As far as I’m aware, there were very mixed feelings about this series, but I think it’s an amazing piece of work and a worthy addition to the Holmes Legend. Unfortunately, the actor who played Watson died, so it’s unknown if we will be seeing any more of this series. Watson is very much a fighter and a tough guy whereas Sherlock is very much more brains then brawn. (seriously good series)
11. Sherlock Hound~Meitantei Holmes(1984-85) Japanese Animated cartoon; English dubbed.
Another series aimed more for children, but one that resonates well with Holmes fans. It shows deep affection for the original characters while making everyone animated dogs. Sherlock Hound is kind and smart; Dr Watson is loyal if somewhat clumsy. And Moriarty is nefariously evil for a children’s series, somehow behind every crime that Hound must solve. The beautiful Mrs Hudson often plays large parts in the episodes as well.
A definite high recommendation from me. The cartoons are very beautifully made–Hayao Miyazaki of Studio Ghibli fame apparently was in on the early production stages.
12. A Game of Shadows(2011) [Robert Downey Jr as Holmes and Jude Law as Watson]
Another film with mixed reviews from the Holmesian community, this is the second of (so far) two films directed by Guy Ritchie. It can be seen as a sequel to the first or on it’s own. Holmes is preparing to face his arch nemesis Moriarty, whose plans involve him having a very big stake in the first world war. It is up to Holmes to figure out Moriarty’s game and stop him. Much more action based then mystery based, which isn’t always the best for a Holmes film, but it works well here. Also of note is Holmes’ and Watson’s FANTASTICALLY played relationship/friendship, now challenged by Watson’s wife, Mary.
Very much in the same vein as the first film, but for me, this movie is much more in the spirit of the original stories, with much more action and violence, of course. Downey Jr may not be the perfect Holmes, but he’s a very funny and adept one, adding new quirks and mannerisms to the Holmes arsenal. Jude Law is a fantastic Watson, and for Moriarty and Moran fans, this is probably the perfect film. Very high up on my favorite Holmes adaptation list and definitely worth the watch–if not for the Holmes aspect, then simply for the pure fun and excitement of the movie.
Prix d'interprétation féminine au Festival de Cannes 2015 : Rooney Mara
Todd Haynes :
“J’ai repris le livre de Barthes, Fragments d’un discours amoureux en travaillant sur Carolcar c’est vraiment de ça que parle le film : le théâtre fou et solitaire de l’imagination amoureuse”. - (Entretien Télérama)
“Rooney Mara — dont on pourrait se contenter de scruter le visage, des heures durant, jolie figure à moitié cachée derrière la vitre arrière d'un taxi, sous ce qui devient par magie le plus beau béret du monde” - (Aurélien Ferenczi, Télérama)
SYNOPSIS. Dans le New York des années 1950, Therese (Rooney Mara), jeune employée d’un grand magasin de Manhattan, fait la connaissance d’une cliente distinguée, Carol (Cate Blanchett), femme séduisante, prisonnière d’un mariage peu heureux. À l’étincelle de la première rencontre succède rapidement un sentiment plus profond et les deux femmes se retrouvent bientôt prises au piège entre les conventions et leur attirance mutuelle.
“Pour tourner ce fim, Todd Haynes a fait appel au directeur de la photographie Ed Lachman. Le film a été tourné en Super 16 mm ce qui lui donne cette apparence de 35 mm de l’époque. Ed Lachman, qui avait déjà travaillé avec le cinéaste sur MILDRED PIERCE, LOIN DU PARADIS et I’M NOT THERE, souligne la qualité de son dialogue avec Todd Haynes : « Nous entretenons une relation de type yin et yang qui nous permet de fourmiller d’idées et nous ouvre de nombreuses perspectives. Nous nous sommes inspirés du travail des femmes photographes des années 1950. » Au cours de leurs recherches, Ed Lachman et Todd Haynes ont exploré la manière dont les images de l’époque offraient un certain regard poétique et un point de vue subjectif qu’ils ont voulu rendre dans le fim. « La photographie au cinéma ou l’art de faire raconter des histoires aux images, c’est ce qui va raconter une vérité psychologique dans un film », explique Ed Lachman. « C’est ce que Todd et moi cherchons toujours à faire, c’est-à-dire à trouver le contexte visuel de l’histoire. Et pour ce faire, nous intégrons de la psychologie dans les mouvements de caméra, dans la lumière, dans les décors et les costumes. »”
“Rooney is just an impeccable talent. I feel she understands the medium of film and for somebody this age to know how to calibrate the scale of articulation for this intimate medium, I think it speaks to extraordinary intelligence and innate ability.” (Todd HAYNES)
“Rooney, it’s so many great silences, too. Not done with dialogues, but just like the essence of screen acting to me, you know, through the eyes. And there is so much of that in this…"
(Screen Actors Guild - SAG-AFTRA Foundation,
Pete Hammond (Deadline), à Rooney MARA,
à propos de CAROL, 13 novembre 2015)
”(…) Carol est l’histoire de ce chromo parfumé et de la lente déprise qu’accomplissent deux femmes amoureuses l’une de l’autre pour s’arracher à la pellicule de plastique transparent qui menace incessamment de recouvrir leurs gestes, leurs émotions, leur désir et leurs craintes. (…) Tout le lyrisme du film de Todd Haynes (…) est contenu dans cette rencontre-évitement qui est aussi une scène de drague impossible où les périphrases, l’air moqueur, les silences et l’éloquence imperceptible des moindres mimiques remplacent les lourdes sollicitations plus ou moins amicales et sexuelles dont Therese est l’objet. Carol, elle, femme déjà mûre, mariée et en instance de divorce d’un riche mari qui l’aime mal, mère d’une petite fille, semble toujours au bord de basculer dans la pure fonction décorative que le monde alentour lui assigne. Femme fatale mais aussi froide effigie, elle embarque Therese pour un road-movie en direction de Chicago puis Waterloo, décision qu’elle prend dans un sursaut (…). Le film s’ouvre alors à une errance, de motels en palaces, au gré des routes couvertes de neige, toujours plus loin des fêtes de famille, toujours plus seules dans la bulle d’une tendresse altière et sexuelle. C’est toujours beau de voir l’indécence changer de bord, de s’imprégner au contact d’une fiction de l’inélégance des pensées parfois les plus bienveillantes, de voir l’amour officiel n’être plus que menace et mise en demeure quand l’idylle interdite se déploie en série d’épiphanies fragiles et minces comme une feuille de papier à lettre qu’une main maladroite peut froisser à tout moment. (…) L’inexorable brûlure du film, s’accomplit au gré des vertigineux enchaînements de plans suturant reflets, songes, fumées, peaux, soieries et fards alors qu’à l’intérieur des personnages quelque chose se déchire, éclate et se répand en un torrent de mélancolie. Le duo radieux et hanté, Cate Blanchett et Rooney Mara, porte Todd Haynes au-delà de lui-même, au sommet d’un geste pur".
Didier Péron, Next / Libération
Extrait - Lire la critique complète : «CAROL» : EMBRASEZ-MOI
“Dans Carol, chaque mouvement de caméra semble trahir un état d'âme. L'écran est parsemé de couleurs vives : les robes rouges et vertes de Cate Blanchett donnent même à la grisaille de New York des airs de comédie musicale. Et puis, entre la psychologie des personnages et l'art se tissent des liens secrets : dans Le Chevalier des sables, l'un des Minnelli les plus beaux et les plus méconnus, Elizabeth Taylor incarnait une artiste qui, par misanthropie et mélancolie, ne peignait que des oiseaux. Chez Todd Haynes, Therese (Rooney Mara), apprentie photographe, se borne elle aussi, mais par peur et timidité, à ne saisir dans son objectif que des ciels, des fenêtres et des portes. C'est en voyant, au loin, Carol acheter un sapin de Noël à sa petite fille qu'elle ose, presque instinctivement, appuyer sur le déclic, voler cet instant indiscret. Chez Haynes comme chez Minnelli, l'art reflète toujours la naissance de l'humain chez ceux qui s'en excluent, mais qui l'acceptent après un périple qui les révèle à eux-mêmes.
Donc, Therese, vendeuse dans un grand magasin de New York, rencontre Carol, grande bourgeoise en train de divorcer d'un mari qui, par vengeance, s'est mis en tête de lui retirer la garde de leur fille. Carol, qui aime les femmes, s'éprend de Therese, au risque de se perdre… « En travaillant sur le film, a dit Todd Haynes, j'ai relu Fragments d'un discours amoureux, de Roland Barthes. Car le film ne parle que du théâtre fou et solitaire de l'imagination amoureuse. »
C'est dans ce pointillisme exacerbé qu'éclate l'invention du cinéaste : la précision de la lumière qu'il exige de son génial chef opérateur, Ed Lachman. Et la minutie avec laquelle il dirige ses actrices. Cate Blanchett joue Carol comme Greta Garbo, jadis : avec une emphase légère, un emportement diffus. Une même extravagance les réunit : Garbo, toujours à la lisière du surjeu dans ses mélos, et Cate Blanchett, au seuil de la déraison en fausse héroïne de Tennessee Williams (dans Blue Jasmine, de Woody Allen) ou en avatar de Bob Dylan (dans I’m not there, de Todd Haynes, déjà). Dans Carol, chaque geste, chaque sourire, chaque silence qui pourraient agacer, tant ils sont maîtrisés, ne font qu'exprimer les efforts de l'actrice à se plier aux destins du personnage. Pour survivre, Carol doit composer. Tricher. Exagérer. Se déguiser. C'est en soulignant constamment l'artifice que Cate Blanchett parvient à être juste et vraie… Rooney Mara, elle, rappelle Audrey Hepburn. La Sabrina de Billy Wilder. Même frange. Même fragilité. Même androgynie. Même désir de s'élever dans l'échelle sociale. Même mépris devant la rouerie de certains êtres (un aimable représentant), lorsqu'elle la découvre…
Durant tout le film — de la première rencontre jusqu'aux dernières secondes du dénouement —, le cinéaste préfère le chemin qui mène à la passion que la passion elle-même. Et c'est avec la même subtilité qu'il suggère l'éternel poids de l'intolérance sur nos vies. La force du film, c'est de nous faire réaliser qu'en dépit des masques rassurants dont il s'affuble, le moralisme ne cède jamais. Il se cache. Il attend son heure”.
— Pierre Murat, Télérama (extrait - lire la critique complète)
Rooney Mara ~ Cate Blanchett
OSCARS 2016 : Carol nominated for 6 Academy Awards
Best Actress (Cate Blanchett)
Best Supporting Actress (Rooney Mara)
Best Cinematography (Ed Lachman)
Best Costume Design (Sandy Powell)
Best Adapted Screenplay (Phyllis Nagy)
Best Original Score (Carter Burwell)
4 New York Film Critics Circle (NYFCC) Awards
Best Film: Carol
Best Director: Todd Haynes
Best Screenplay: Phyllis Nagy
Best Cinematography: Ed Lachman
Ed Lachman - Best Cinematography (Carol) - Film Independent Spirit Awards - 2016
5 Awards - Intl. Cinephile Society (an online group consisting of about 100 journalists, film scholars, historians…):
BEST PICTURE“Carol” BEST ACTRESS Rooney Mara, “Carol” BEST DIRECTOR Todd Haynes, “Carol”
BEST ADAPTED SCREENPLAY Phyllis Nagy, “Carol” BEST SCORE Carter Burwell, “Carol”
9 BAFTAs Nominations
Best Film, Director (Todd Haynes), Leading Actress (Cate Blanchett), Supporting Actress (Rooney Mara), Adapted Screenplay (Phyllis Nagy), Cinematography (Ed Lachman), Costume Design (Sandy Powell), Production Design (Judy Becker & Heather Loeffler), Make Up & Hair (Jerry DeCarlo & Patricia Regan)
Golden Globe Awards 2016
meilleur film, meilleur réalisateur, meilleure actrice à deux reprises (Cate Blanchett et Rooney Mara), meilleure musique originale
SAG Awards 2016 (Screen Actors Guild Awards)
Cate BlanchettOutstanding Performance in a Leading Role and Rooney MaraOutstanding Performance in a Supporting Role
Online Film Critic’s Society Awards 2015
Best Actress: Cate Blanchett (Carol)
Best Supporting Actress: Rooney Mara (Carol)
Best Adapted Screenplay: Carol(Phyllis Nagy)
Best movie of 2015 - Toronto Film Critics Association
(Best Picture, Best Director awards for 2015)
Alliance of Women Film Journalistsannounce 2015 EDA Award nominees. “Carol" leads with nine nominations:
Best Film, Best Director, Best Screenplay (Adapted), Best Actress, Best Actress in a Supporting Role, Best Cinematography, Best Film Music Or Score, Best Woman Screenwriter, Best Depiction Of Nudity, Sexuality, or Seduction.
‘Carol’ Leads Nominations in Australian Academy’s International Awards:
Best Film, Best Direction, Best Screenplay, Best Lead Actress, Best Supporting Actress
5th AACTA International Awards, January 29, 2016:
AACTA International Award for Best Lead Actress : Cate Blanchett - CAROL
AACTA International Award for Best Supporting Actress : Rooney Mara - CAROL
TODD HAYNES, ROONEY MARA, CATE BLANCHETT
Conversation avec Rooney Mara (Carol) : la raison du Prix à Cannes, la question des femmes à Hollywood, une scène sexuelle de Carol coupée au montage ›
“…a 2011 documentary film by Valerio Lopes. It asserts a number of theory-based ideas born around Amilcar Cabral and the independents and human rights movements he led mainly in the 1960’s. Amílcar Cabral was a Guinea-Bissauan leader, writer, freedom fighter and politician, he was assassinated in 1973. "Cabralista” reflects the collective memory, how this revolutionary theoretician whose influence reverberated far beyond the African continent is remembered. With never released voice recordings, humanist citations and quotes, timeless footage and cultured visual effects, this film is a unique vision of Africa yesterday and today. From the first audience granted to an african freedom fighter by the pope Paul VI to Amílcar Cabral in 1970; to his speaking in front of the United Nations security council again as the first defender of African Independence, Cabral’s unique work is remembered in this film by young African and Pan-African scholars filmed in Cape Verde, Libya, Portugal, Guinea Bissau …” via Youtube link
This is, more or less, how I imagined the genesis of The Wolf of Wall Street went down:
Marty and Leo wanted to work together again, of course; they have a great track record stretching back to Gangs of New York. When their relationship began it was mutually beneficial but they were coming from different directions: they were both talents, but at the time Scorsese was the critically overlooked doyen of crime films and scholar of cinema history, while Leo was the former critical darling whose entire identity was eclipsed by his Beatle-sized, world-dominating fame. Scorsese could get his decades old dream project made and Leo could work with his directing hero. Gangs was not the best of their outings, but at least it brought them together, and their films got better, culminating in the long due triumph of The Departed. By the time the duo got to Wolf I’m sure they were as in synch as the ATL Twins as far as how they worked and the kind of material they wanted to explore.
So, while Gangs was not their best outing, it led to The Departed winning several Academy Awards, including Best Director. (An aside: Did the .44 magnum/pussy cameo in Taxi Driver keep him from getting the Oscar until he was 64?) And I’m positive that with this long-anticipated repairing, they got their money. A superhero-sized budget, because they’re LeoandMarty, and their films do well both financially and critically, so if you’re a dude with some money to burn from stocks or oil or computers or wherever you’ve made your pile, why wouldn’t you want to get a piece of that game? So, they have the dough and they can do anything they damn well please because the money is independent and fuck it, they’re Leo and Marty and who the hell is going to tell them, “no?” This combo shits out Golden Globes like they’re going out of style (maybe they are? Heh heh) and people go to their dark, masculine dramas in the same numbers that they go to see dudes in tights with big Ss and bats on them. If they want to show Leo doing cocaine bullets out of a faceless girl’s ass, fuck it; if they want a ten minute Quaalude sequence (the best part of the film, funny as hell!), fuck it; and if they want their scumbag protagonists to go largely unpunished… FUCK IT, THAT’S LIFE.
The 3-disc edition of Terrence Malick’s The New World on The Criterion Collection, also featuring a book, is now available to pre-order:
New 4K digital restoration of the 172-minute extended cut of the film, supervised by cinematographer Emmanuel Lubezki and director Terrence Malick and featuring material not released in theaters, with both theatrical and near-field 5.1 surround DTS-HD Master Audio soundtracks on the Blu-ray
High-definition digital transfers of the 150-minute first cut and the 135-minute theatrical cut of the film, with 5.1 surround DTS-HD Master Audio soundtracks on the Blu-rays
New interviews with actors Colin Farrell and Q’orianka Kilcher
New program about the making of the film, featuring interviews with producer Sarah Green, production designer Jack Fisk, and costume designer Jacqueline West
Making “The New World,” a documentary shot during the production of the film in 2004, directed and edited by Austin Jack Lynch
New program about the process of cutting The New World and its various versions, featuring interviews with editors Hank Corwin, Saar Klein, and Mark Yoshikawa
PLUS: A book featuring an essay by film scholar Tom Gunning, a 2006 interview with Lubezki fromAmerican Cinematographer, and a selection of materials that inspired the production
So videogames based on movies are prone to failure because of time constraints, but what about movies based on videogames, like the Assassins Creed movie?
So… let me preface this by saying that I’m not a filmmaker, so I can’t really speak with any sort of central authority on this. There’s a whole array of skills that are vital into making good movies that are super important (the core five being editing, cinematography, directing, production, and writing) and I’m nowhere near an expert in any of those fields as they pertain to film. I am just a game dev who’s worked on a movie tie-in game and saw all of the problems it faced firsthand. That said…
I believe one of the major reasons that the game-to-movie transitions have tended to fail because games have a bunch of additional activities and elements beyond the plot and characters that is lacking in the movies. The player’s activity drives the entire game’s forward momentum (and, by extension, the plot of the game). Players play for the story, sure, but also for the other elements of the game as well - the combat, the stat optimization, the loot chase, the exploration elements, the minigames, etc. There are many times in many games where the plot or characters just aren’t very compelling but the rest of the gameplay keeps you playing. This time spent is a very strong means to build a rapport with the characters in the game - even if those characters or the story aren’t actually all that good.
This is actually important, especially for games with longer playtimes. Our brains will subconsciously rewire themselves to think of past events more fondly after voluntarily spending a lot of time doing them, even if they weren’t very enjoyable tasks to begin with. We want to subconsciously justify our time spent as “not wasted” so our brains will do this - we did so much of it, we must have enjoyed it.. After finishing Final Fantasy XV recently, I realized that was exactly what was going on at the end. The story itself had a lot of problems - structural, character development, oddball plot choices, and far too much exposition instead of showing me (or letting me play through) what had happened. And yet the ending was crafted in such a way specifically to take advantage of the nostalgia factor of all that time in the game I had spent with the characters - the ending hit me like a truck in the feels anyway. If I hadn’t spent dozens of hours playing the game, the impact wouldn’t have been anywhere near as large as it was. The nostalgia effect is enormously powerful.
If you’ve ever leveled in the early days of World of Warcraft and compare it to today, you’ll see what I mean. Most long-time players remember leveling from 1 to 60 in the original World of Warcraft with fondness in a large part because they spent so much time doing it (even though it was kind of a chore at the time). Today, you can easily blaze through the leveling content in WoW super fast - so fast that you barely get a chance to really get to know the world or characters. Heirloom gear makes quest rewards mostly meaningless, the areas pass too quickly and blur together, and you barely remember the characters (either real or NPC). A lot of those positive feelings are gone precisely because much of the drudgery was removed from the game.
You can’t really get this effect in a movie - a film can’t run long enough to build those kind of connections with the characters. Without these connections, it entirely depends on the characters and story to engage the viewer and - let’s be blunt here - video game stories often do not have very well developed characters or stories. We’ve spent dozens (if not hundreds) of hours playing these games to feel comfortable and close to them. Without that benefit of the additional time, the film producers are forced to craft a story with all of the baggage of any other mediocre licensed property.
All that said… I honestly don’t know. Movie studios have been trying to make a good video game-to-film adaptation for decades, and the best we’ve got to show for it is probably the Resident Evil series. I would have thought that we’d have a genuinely good movie by now simply based on the law of averages, but I don’t think we have. I know for certain it isn’t because we haven’t had movie leadership that’s supremely respectful of the source material - the Warcraft movie was helmed by a very competent director, a huge budget, was extremely faithful to the franchise lore, and it still wasn’t very good. However, I also recognize my own lack of context for the medium - I’m not a film scholar or a film expert, so I don’t know for certain. All you get is my conjectures.
READ FIRST: So as I mentioned earlier, I’m super pumped because I have LDs and it’s hard for me to get good grades in school but I’ve always excelled at English, so I’m so excited that my paper on Feminism and Frozen got a 100% and my teacher wants to submit it to a writing competition.
I’m posting it here as is; you’ll notice sentence structure issues and at one point I even repeated a sentence twice accidentally. I haven’t gone through and further corrected it and added other ideas. So please know that this is unfinished in terms of submitting it to a writing competition. Read below! BE WARNED, IT IS AN 11 PAGED, DOUBLE SPACED PAPER THAT I’VE PASTED INTO A TUMBLR POST.