Friday, 31 July 2009
Thursday, 30 July 2009
Wednesday, 29 July 2009
Tuesday, 28 July 2009
Monday, 27 July 2009
Sunday, 26 July 2009
Saturday, 25 July 2009
Friday, 24 July 2009
Thursday, 23 July 2009
Wednesday, 22 July 2009
The Loyal Subjects of the White Queen: www.facebook.com/WhiteQueenSubjects
The Disloyal Subjects of the Mad Hatter: www.facebook.com/MadHatterSubjects
THE MYSTERIOUS ART: BAFTA PRESENTS AN EVENING WITH EDITOR PIETRO SCALIA
Pietro Scalia has worked with an auspicious list of directors including Bernardo Bertolucci, Sam Raimi, Oliver Stone, Gus Van Sant, and of course, Ridley Scott, with whom he has a long term working partnership. With credits such as JFK, The Quick and the Dead, Good Will Hunting, Gladiator, Black Hawk Down, American Gangster, Body of Lies and an impressive array of Oscar and BAFTA nominations, he's become one of the industry's highest regarded editors. In an 'everything you always wanted to ask about editing...' session, he'll join us at BAFTA to talk through highlights from his work and discuss his philosophy on the craft of editing and the ever-developing language of film.
"Editing is storytelling. The notion of invisible or visible editing is an antiquated view about what editing really is. The art of editing is more then a technical craft about seamless building of the raw materials. The dailies footage and recorded sounds are the interpretation of the written text, distilled through the eyes of the director and every other creative contributor during production. They do not constitute a predetermined film narrative. For me the art of editing is being able to crystallize the dramatic ideas into a coherent and entertaining series of images and sounds, that most fully emerge the viewer into the suspension of disbelief and bring the experience of the film to its fullest. Editing makes the artificial feel real. When a film works, then all the elements of technique become invisible and in turn leave a visible imprint on the mind and heart of the viewer." Pietro Scalia, from Cineaste, March 2009
Monday, 20 July 2009
Sunday, 19 July 2009
Friday, 17 July 2009
Guillermo del Toro's film version of The Hobbit could be killed off in a pending battle between a Hollywood giant and the family of the book's author, JRR Tolkien," writes Xan Brooks. "The heirs to the Tolkien estate are suing New Line Cinema, the studio behind the Lord Of The Rings adaptations, claiming $220m (£133m) in compensation for undistributed profits from the films. For good measure, they are also demanding the option to terminate further film rights to Tolkien's work, citing breach of contract.
"Should the case go all the way to trial, we are confident that New Line will lose its rights to The Hobbit," said Bonnie Eskenazi, the lawyer working for the author's son, Christopher, and the family's charity, the Tolkien Trust. The case – officially billed as Christopher Reuel Tolkien v New Line Cinema Corp – is due to be heard at Los Angeles superior court in October.
Yikes. But at least if The Hobbit goes belly up, Del Toro's got a whole slate of cool sounding movies waiting in the wings, including his take on Frankenstein.
What I didn't expect, however, was that ending. If you've not seen The Mist, fear not, I won't go into spoilerifc details but boy, Darabont's disturbing denouement left me shaken and depressed. And I like downbeat endings. Se7en? Brilliant. The Parallax View? Hell, yeah. But The Mist's really upset me.
It's been years since I read King's original novella, but, from what I remember, he left it open-ended. Darabont's is just plain nasty and fucked up. And all power to him for getting it made that way.
Wednesday, 15 July 2009
Tuesday, 14 July 2009
Monday, 13 July 2009
Sunday, 12 July 2009
First, though, a bit of context. When I emerged from Leicester Square tube station at around 5.45pm on Friday and headed towards Soho for the Parnassus screening, there was a strong smell of smoke in the air, crowds on the streets, and TV crews and fire engines parked at the Old Compton Street junction with Dean Street, which is where the screening was due to take place and which the police had cordoned off. It turned out that an office building on Dean Street had gone up in flames and my immediate thought, other than I hope no one had been killed or injured, was that the screening was going to be cancelled, and that the curse of Terry Gilliam was somehow going to strike again.
Fortunately not. The screening went ahead and I have to report that for Gilliam fans, it's the film we've all been waiting for. Pure, unadulterated Gilliam from beginning to end — and the Gilliam of Time Bandits, Baron Munchausen and Brazil — Parnassus is perhaps the closest thing there is to actually travelling into the mind of one of cinema's most idiosyncratic and inventive artists.
The plot revolves around Christopher Plummer's thousand-year-old Parnassus and his wager with Tom Waits' Devil who's turned up, somewhat prematurely, to collect his winnings in the form of Parssus's soon to be sixteen-year-old daughter Valentina (model Lily Cole). Together with Andrew Garfield's eager Anton and Verne Troyer's faithful Percy, the four form a traveling troupe of actors and storytellers who find, one night, Heath Ledger's Tony hanging by a rope beneath a London bridge, a morbid scene made even harder to watch given Ledger's tragic death mere weeks after filming it. Figuring him to be The Hanging Man of the Tarot and a sign of good fortune in his long-standing wager with Old Nick, Parnassus welcomes Tony to their vaudeville stage show which features, as its main attraction, a special mirror — a portal into a magical wonderland young Alice would have approved of — which offers the entrant a peak into their imagination, whatever it maybe.
It's with this land that Gilliam cements his place as an amazing fantasist, the various CGI worlds brimming with surreal, Dali-esque fantasies and nightmare touches, be it a series of giant, floating Parnassus heads, or giant jellyfish, or rivers that transform into snakes, and a land in which souls are forced to choose between Parnassus or the Devil. It's in this land, too, that Ledger's Tony becomes Johnny Depp and Jude Law and Colin Farrell, a ploy that might well have backfired, a la Plan 9 From Outer Space, but works a treat, each actor not only looking like Heath to varying degrees but playing his character too.
It's a movie not without some flaws, but it matters not one iota. This was a movie from the heart even before Ledger's tragic and untimely demise. It's even more of one now.
Welcome back Terry, you were missed.
Friday, 10 July 2009
Here's the Disney press release with all the details...
WALT DISNEY STUDIOS MOTION PICTURES’ COMIC-CON AGENDA IS FULL OF “FIRSTS”
DIRECTORS ZEMECKIS, BURTON TO TAKE PART IN FIRST-EVER 3D PANEL; ANIMATION LEGENDS MIYAZAKI & LASSETER TO ANCHOR ANIMATION PANEL
Studio to Showcase Key Titles—PONYO, TOY STORY & TOY STORY 2 DOUBLE FEATURE, DISNEY’S A CHRISTMAS CAROL, THE PRINCESS AND THE FROG, BEAUTY AND THE BEAST, ALICE IN WONDERLAND, TOY STORY 3 and TRON
BURBANK, Calif. (July 9 , 2009) — Animation greats Hayao Miyazaki and John Lasseter and directors Robert Zemeckis and Tim Burton will take part in their first ever Comic-Con at the San Diego Convention Center July 23-24. The filmmakers will be on hand to help Walt Disney Studios Motion Pictures showcase a wide-ranging roster of upcoming films, including 3D juggernauts ALICE IN WONDERLAND, TRON and DISNEY’S A CHRISTMAS CAROL, and animated gems THE PRINCESS AND THE FROG, BEAUTY AND THE BEAST, PONYO and the TOY STORY trilogy.
Zemeckis, Burton , Miyazaki and Lasseter will take part in industry panels.
COMIC-CON’S FIRST EVER 3D PANEL — Veteran directors Robert Zemeckis and Tim Burton join TRON producers Sean Bailey and Steve Lisberger on Thurs., July 23 at 11 a.m. for an unprecedented presentation featuring behind-the-scenes filmmaker insights about the highly anticipated 3D adventures DISNEY’S A CHRISTMAS CAROL, ALICE IN WONDERLAND and TRON. In addition to Q&A opportunities with each of the filmmakers, the 90-minute panel will feature never-before-seen concept art, trailers, actual 3D film footage and other Comic-Con-only footage debuts. In a groundbreaking technical feat, this is the first time ever that 3D footage will be shown at Comic-Con. Patton Oswalt will moderate.
ANIMATION PANEL — Animation legends Hayao Miyazaki and John Lasseter join veteran animation directors Lee Unkrich, Kirk Wise, Ron Clements and John Musker on Fri., July 24 at 12:45 p.m. for an animation panel which will highlight upcoming animated films, including Disney•Pixar’s TOY STORY/TOY STORY 2 double feature, Disney•Pixar’s TOY STORY 3, Walt Disney Animation Studios’ BEAUTY AND THE BEAST, Walt Disney Animation Studios’ half-hour holiday TV special PREP & LANDING, Walt Disney Animation Studios’ THE PRINCESS AND THE FROG and Miyazaki’s PONYO. John Lasseter will host the panel and Patton Oswalt will moderate a group Q&A following the presentation, which will include filmmaker insights, trailers and select film sequences.
Jones and Fenegan were funny and bright and all round nice guys, and are hoping the buzz around Moon, which opens in the UK next Friday and is expanding its run in the US, will help them with the financing for their next project, a Blade Runner-esque thriller set in Berlin called Mute which they hope to shoot next year. Jones said it takes place in the same universe as Moon and Sam Rockwell's Sam Bell will have a cameo.
Tuesday, 7 July 2009
Tomorrow's screening and Q&A is sold out but very often there are returns on the night. If you're going, hope to see you there. If not, I'm sure they'll have the interview up on the BFI Southbank website soon enough.
Damon Lindelof ruled out any movie or comic spin-offs once the show ends next year.
Lindelof and fellow executive producer Carlton Cuse said they owed it to the fans to tie up as many loose ends as possible in season six. “We won’t be vague and ambiguous," says Lindelof. "There will be a lot of answers. We feel that if we hold anything back in the final season, it would be bad. Everyone’s come this far and they want a conclusion to the story.”
They promised season six would reunite everyone, would feel “more like series one” and that Smokey would become “an interesting character in and of itself” in the final season.
The pair also ruled out a happy ending. “Bittersweet comes with the territory,” said Lindelof. “The ending we’re aspiring to is fair. The ending of series six will be different from other finales because there will be no cliffhanger.”
Monday, 6 July 2009
Sunday, 5 July 2009
Saturday, 4 July 2009
More information about the individual films can be found here. For ticket information click here.
This year's event has moved from London's Odeon West End to the Empire, with not one but two screens showing the best of the current genre crop.
Thursday 27th August
6.30 pm - Triangle
9.15 pm - The Hills Run Red
11.30 pm - Infestation + Deadwalkers
Friday 28th August
11.00am - The Horseman
1.45 pm - Beware The Moon
4.1O pm - An American Werewolf In London - Remastered
7.20 pm - Shadow
9.35pm - The Horde
Midnight - Macabre + Paris By Night Of The Livivng Dead
Noon - Best Worst Movie
2.15 pm - I Sell The Dead
4.15 pm - I Think We're Alone Now
6.45 pm - Colin
9.00pm - Black
Saturday 29th August
11.30 am - Smash Cut
1.45 pm - Hierro
3.45 pm - Millennium
7.00 pm - Giallo
9.00 pm - Trick r' Treat
11.15 pm Vampire Girl vs. Frankenstein Girl + Sad Case
Noon - The Horror of Writing' Competition
1.45 pm - Evil Things
4.15pm - Fragment
6.45 pm - It's Alive
9.00 pm - Pontypool
Sunday 30th August
11.30 am - Dead Snow
1.45 pm - Human Centipede
3.50 pm - Coffin Rock
6.45 pm - Night Of The Demons
9.00 pm - Clive Barker's Dread
11.15 pm - 100 Best Deaths
Noon - Black
2.40 pm - Pontypool
5.00 pm - I Think We're Alone Now
7.00 pm - I Sell The Dead
9.00 pm - Best Worst Movie
Monday 31th August
11.00 am - Zombie Women of Satan
1.15pm - The House Of The Devil
3.30 pm - Case 39
6.30pm - Heartless
9.15pm - The Descent Part 2
11.00am - Colin
2.15 pm - It's Alive
4.15 pm - Fragment
6.45 pm - Evil Things