F&S Films & Series
Flitsende films en spannende series, bespreek het hier met elkaar!
Op zoek naar de eeuwige jeugd in "The Fountain"
Darren Aronofsky, regisseur van de films Requiem for a Dream en Pi begint deze herfst met de opnames voor zijn nieuwste rolprent, getiteld "The Fountain". Deze science-fiction film, voorheen bekend onder de naam "The Last Man", zal waarschijnlijk eind 2003 in de bioscopen te zien zijn.
Darren Aronofsky
Het verhaal is gebaseerd op een idee van Darren Aronofsky zelf. Hoewel details over het plot van "The Fountain" schaars zijn, is wel bekend dat het verhaal in de lijn ligt van films als The Matrix en dat het een "grootse science-fiction film" zal worden. De film beslaat een grote tijdperiode van ongeveer 1000 jaar en zal zijn wortels hebben in Zuid Amerika, met geruchten over een gevecht tussen Maya´s en Spanjaarden aan het begin van de film.
Hierna wordt er 1000 jaar in de toekomst gesprongen naar het jaar 2500 waarin één van de mannen uit het begin nog bestaat en op weg is naar God. De titel van de film slaat volgens geruchten op de fontein van de eeuwige jeugd waar de Spanjaard Ponce de Leon naar op zoek was. Het plot klinkt in ieder geval lekker vreemd, en het lijkt geknipt voor een regisseur als Aronofsky.
De film wordt uitgebracht door New Regency onder de Warner Brothers vlag. De cast zal in ieder geval bestaan uit Brad Pitt (Ocean´s Eleven) als Tom Verde, Cate Blanchett (Lord of the Rings) als Izzi, Ellen Burstyn (Requiem for a Dream) als Lillian en een nog onbekende rol door Sean Gullette (Pi, Requiem for a Dream).
Eind oktober zal er met filmen worden begonnen in Queensland (Australië). De film heeft een budget van meer dan 70 miljoen dollar. De cameraman is Matthew Libatique, net als bij Pi en Requiem for a Dream en hoewel verdere details schaars zijn, ziet het er naar uit dat vaste Aronofsky-componist Clint Mansell wederom de muziek voor zijn rekening zal nemen.
Bron: www.DVD.nl
The dog who is so angry he cannot move. He cannot eat. He cannot sleep. He can just barely growl. ...Bound so tightly with tension and anger, he approaches the state of rigor mortis.
BENIEUWD BENIEUWD BENIEUWD!!
Requiem en Pi zijn toch wel twee van mijn lievelingsfilms om het maar even eufemistisch uit te drukken..
Darren Aronofsky!
Brad Pitt!
Ellen Burstyne!
Clint Mansell!
VET VET VET VET VET!!! 9~
I am SO omniscient that if there were to be two omnisciences, I'd be both!
Vet nieuws. Zelfs Johny Depp schijnt erin mee te spelen.
Helemaal nog beter
Helemaal nog beter
eindelijk, weer aan 't kloten: http://us.imdb.com/Title?0325418
[Dit bericht is gewijzigd door SandaP op 21-08-2002 16:20]
Tss
SandaP was me voor 
Depp doet niet mee...staat hier
http://aronofksy.tripod.com/newsarticle32.html
[Dit bericht is gewijzigd door BobRooney op 21-08-2002 17:41]
Aronofsky regisseert Brad Pitt en Cate Blanchett?
*virtueel orgasme heeft*
*virtueel orgasme heeft*
Op IMDb staat trouwens niets van Clint Mansell. Maar het zal wel...
Wel zeggen ze dat Mark Margolis (Pi , OZ, Requiem for a dream) weer meedoet. Requiem nog niet gezien, maar hij is erg goed in Pi en OZ.
The short weekend begins with longing...
quote:Ruim je het wel zelf even op?
Op woensdag 21 augustus 2002 18:54 schreef California het volgende:
*virtueel orgasme heeft*
Hmm...ik heb niks in de FAQ staan over virtuele orgasmes.
Ik kan overigens ook niet wachten op die film. Het lijkt de laatste tijd wel of we steeds betere combinaties krijgen van regisseurs en acteurs/actrices. 
In some matters there's no reality, only perception. Truth exists, but people have a vested interest in not knowing it.
Ik krijg al een sterk beeld van Brad Pitt met zo'n spaanse helm op
Damn dit lijkt me een retestrakke film!
quote:O ja, dit is natuurlijk jouw virtuele huis, he? Das niet zo heel beleefd van me.
Op woensdag 21 augustus 2002 18:56 schreef Mike het volgende:[..]
Ruim je het wel zelf even op?
Hmm...ik heb niks in de FAQ staan over virtuele orgasmes.
*defragmenteert Mike's huiskamer*
Het is de schuld van Smots. Of eigenlijk van Cate...
The short weekend begins with longing...
Hmmm 70 miljoen van een grote filmmaatschappij, dat schept zekere verplichtingen, namelijk een evenzohoge opbrengst. Daar heb je een groot publiek voor nodig en minder freaky films. Hopelijk verliest hij zichzelf niet.
They told me all of my cages were mental, so I got wasted like all my potential.
Een nieuwe project van Darren Aronofsky, de talentvolle regisseur die we kennen van Requiem For A Dream en Pi.
De pre-productie voor de film is in 2002 begonnen.
De hoofdrolspelers zouden in eerste instantie Brad Pitt en Cate Blanchett zijn.
Maar door creatieve meningsverschillen tussen Pitt en Blanchett,
is Pitt uit het project gestapt en is hij kort daarna vertrokken om de rol van Achilles te spelen in Troy.
Hierdoor is de productie 2 jaar in de vrieskast gezet.
Hierna moesten de hoofdrolspelers opnieuw gecast worden en zijn uiteindelijk Hugh Jackman en Rachel Weisz gekozen voor de rollen van Tom Verde en Izzi.
Hugh Jackman heeft voor zijn rol in deze film al zijn hoofd- en borsthaar er af moeten knippen.
De film zou oorspronkelijk een budget hebben van 75 miljoen.
Maar doordat Brad Pitt en Cate Blanchett dus uiteindelijk eruit zijn gestapt, hebben ze het budget verlaagd naar 40 miljoen.
Veel is er nog niet bekend over de film en de verhaallijn.
Waar we het tot nu toe mee moeten doen, is deze tagline:
[ Spanning over one thousand years, and three parallel stories, The Fountain is a story of love, death, spirituality, and the fragility of our existence in this world. ]
Een leuk weetje is dat Ellen Burstyn in deze film zal spelen, zoals zij al eerder de rol van Sara Goldfarb speelde in Requiem For A Dream, die ook is geregisseerd door Darren Aronofsky.
Ik verwacht veel van deze film. Alhoewel ik niet echt weet wat ik van het verhaal kan verwachten.
Maar het belooft een erg bijzondere film te worden.
De film zal naar verwachting nog dit jaar in de Amerikaanse bioscopen moeten uitkomen.
De pre-productie voor de film is in 2002 begonnen.
De hoofdrolspelers zouden in eerste instantie Brad Pitt en Cate Blanchett zijn.
Maar door creatieve meningsverschillen tussen Pitt en Blanchett,
is Pitt uit het project gestapt en is hij kort daarna vertrokken om de rol van Achilles te spelen in Troy.
Hierdoor is de productie 2 jaar in de vrieskast gezet.
Hierna moesten de hoofdrolspelers opnieuw gecast worden en zijn uiteindelijk Hugh Jackman en Rachel Weisz gekozen voor de rollen van Tom Verde en Izzi.
Hugh Jackman heeft voor zijn rol in deze film al zijn hoofd- en borsthaar er af moeten knippen.
De film zou oorspronkelijk een budget hebben van 75 miljoen.
Maar doordat Brad Pitt en Cate Blanchett dus uiteindelijk eruit zijn gestapt, hebben ze het budget verlaagd naar 40 miljoen.
Veel is er nog niet bekend over de film en de verhaallijn.
Waar we het tot nu toe mee moeten doen, is deze tagline:
[ Spanning over one thousand years, and three parallel stories, The Fountain is a story of love, death, spirituality, and the fragility of our existence in this world. ]
Een leuk weetje is dat Ellen Burstyn in deze film zal spelen, zoals zij al eerder de rol van Sara Goldfarb speelde in Requiem For A Dream, die ook is geregisseerd door Darren Aronofsky.
Ik verwacht veel van deze film. Alhoewel ik niet echt weet wat ik van het verhaal kan verwachten.
Maar het belooft een erg bijzondere film te worden.
De film zal naar verwachting nog dit jaar in de Amerikaanse bioscopen moeten uitkomen.
Is God willing to prevent evil, but not able? Then he is not omnipotent.
Is he able, but not willing? Then he is malevolent.
Is he both able and willing? Then whence cometh evil?
Is he neither able nor willing? Then why call him God?
Is he able, but not willing? Then he is malevolent.
Is he both able and willing? Then whence cometh evil?
Is he neither able nor willing? Then why call him God?
Hier staat het verhaal een beetje beschreven:
So we’re in a weird spot with this film right now.
I keep getting reports about its demise, some as recent as this weekend. Alan Horn didn’t help, complicating things with his seemingly-contradictory comments about the film the other day.
He suggested that the film had the plug pulled when it became more expensive than $60 million,
but he also talked about how it was rescued by partnering up with New Regency when Village Roadshow fell out.
People are convinced, writing me daily, telling me that it’s not going to happen now.
But I’ve heard from sources close to the film, people who are in direct contact with Protozoa Pictures, Aronofsky’s company, who assure me that the film is going to happen this fall, and that everything is proceeding apace. Because there is still such a strong chance that the film is happening, I want to tread very lightly as I discuss the really odd and wonderful script for this film by Darren Aronofsky and Ari Handel. I don’t want to ruin the experience for you if there’s even the slightest chance of you seeing it in a theater. I pray I get to sit in a dark room next Christmas and see that Warner Bros. logo come up, followed by the New Regency logo, followed by the sight of the jungles of Mexico in the year 1535.
I’m talking fingers and toes crossed, rub the rabbit’s foot, an extra lap around the rosary beads type praying, too. I want to see this movie. It’s important to Darren Aronofsky’s development as a filmmaker, and to science-fiction as a genre. I can see Aronofsky’s influences here, and it’s one of the first post-MATRIX projects I’ve seen with a voice that seems totally different than THE MATRIX, interested in totally different things.
THE FOUNTAIN is about love and death and the nature of this frail and precious matter we are made of. It is an epic that is concerned only with the personal impact of its incredible events. It is not about saving the world, but it is about how we will all eventually be saved.
Act one of the script is what would conventionally pass for act three in anyone else’s script. It’s grandly scaled, mind-blowing, and ambitious. We see the resolution of two separate journeys, a thousand years apart, both of them focused on the same goal: salvation from the slavery that all flesh suffers to death. In 1535, Spanish conquistadors and a priest all travel under the guidance of CAPTAIN TOMAS VERDE (Hugh Jackman), in search of something mysterious deep in the heart of a Mayan jungle. In the year 2500, another Tom (also Hugh Jackman) makes an even more dangerous and mystical journey. He travels with a precious cargo of enormous power, haunted by dreams of the Mayan jungle and by the ghost of a lost love. We see each of these journeys build to and then reach a crucial and seemingly final place, each of them intercut so as to illustrate fine points about the other. There’s a really beautiful sequence on the outside of Tom’s spacecraft and a terrifying moment on the steps of the temple, and on a moment of epiphany, we are transported to the year 2003.
Starting just under 30 pages into the script, act two is far more rooted in an emotional reality that we recognize. It’s set right now. TOMMY VERDE (again... Hugh Jackman) works as a surgical researcher, part of a team working on advanced cancer theory. His supervisor LILLIAN (Ellen Burstyn) knows he’s brilliant and make leaps of logic that somehow turn out to be right, but she is concerned that he is obsessed.
You see, Tommy’s wife IZZI (Rachel Weisz) is dying. And in one of those cosmic jokes that makes you want to laugh until you scream, she’s dying of cancer. And there’s not a goddamn thing Tommy can do about it.
There is a dull ache that begins almost immediately in this section of the script, a hum of low dread underneath everything. Tommy and Izzy both are just waiting. They pretend they’re living. They pretend that they have hope and that they can make plans and that there’s a future to believe in, but it’s a cover. They’re waiting for Izzi to die, and they both know it. Tommy is dying in his own way as he watches her fade. He can’t help Izzi physically, and it leaves him unable to help her spiritually. Izzi’s on a journey to peace that Tommy can’t join her on, and it causes terrible silence between them.
I’ve seen some speculation in our Talk Backs, impassioned and well-argued, that this film has to be about The Fountain of Youth. It’s not. I don’t want to give away the key mythological symbol that Aronofsky has built his film around, but I can say that it’s not the Fountain of Youth. It’s something even older, even more basic. It’s also a giant McGuffin. If you focus on what the thing is that lies in the heart of that Mayan temple... the thing in the cargo bay of the spaceship en route to a distant nebula... then you miss the import of it. This is science-fiction used to dissect the natures of our own hearts. We have a basic fear of our own flesh that we wrestle with over the course of our lives. You don’t have it as a child. You are fearless. You are immortal and you know it.
Then someone corrects you. Either a relative dies or a pet or, worst of all, a parent. And you learn that not only does death exist, but that it is the end of all of us. There is no one who is allowed to slip through unscathed. Life is a process of accumulating scars, both large and small, until one of them finally kills you. Knowing that... believing that... is part of the process of maturation. We each of us make our own agreement with Death and that understanding that allows us to go on living. Some people embrace the life they have and wrench whatever sweetness from it that they can. Some people wither away in fear. And some people fight, spending their whole lives trying to find some loophole, some way to cheat the system.
In THE FOUNTAIN, we are given characters, each a mirror of another, each a product of the time and place they live, all of them dealing with Death in their own way. For example, what if you were Tommy? What if you developed a drug using a rare botanical extract and discovered that you might well have unlocked the key to turning time back and holding off Death indefinitely, if not forever? If you knew the time your wife had on Earth was limited, would you proceed with caution and go through every prescribed level of FDA testing before making this potential breakthrough available to her?
Or would you throw caution to the wind? Would you break the rules to save her life, even if you knew there was a chance you might be wrong?
One of the reasons this middle section of the script works so well is because Aronofsky has painted a convincing portrait of a couple in love. In those rare moments when Tommy forgets to be depressed, he and Izzy are quite beautiful together, sweet and funny and perfectly matched. He takes her to an exibit of Mayan relics at one point, and there’s a great sense of play between them. These two people know each other the way lovers do, and that means they have the potential to hurt each other casually and well. They know all the soft spots worth poking. Izzi fights dirty, using Tommy enormous love for her to bully him in conversations. Because she’s resigned to her fate and he isn’t, she’s stronger. She doesn’t reopen the wound with each fresh reminder.
Izzi is a writer, and her biggest gift to Tommy is a book that she’s almost finished. The last chapter is the only thing missing, and she leaves it in his care to do so. Tommy protests that he’s not a writer, but he’s missing the point. Izzi mentions something at the exhibit about the Mayan idea that death is an act of creation, and there is a transcendence to that notion that I find quite surprising in a mainstream studio picture. As we watch the national media debate the importance of “Under God” to our Pledge of Allegiance and once again argue about the role of religious language in our daily lives, it doesn’t seem like the easiest box-office road to go, crafting a film that dares to not only be serious about spiritual issues, but also inclusive. Aronofsky isn’t writing about whether or not religion is right or true. He’s writing about the greater questions, the ones that religions exist to try and answer. This isn’t an event film, full of explosions and special effects for the sake of it. This is a personal story, featuring characters that are designed to challenge both actors and audiences. Long stretches of this depend on the ability of Hugh Jackman and Rachel Weisz to keep us engrossed without the aid of anything else. This isn’t like REQUIEM FOR A DREAM or PI, built on overdrive. Pages go by, made up of quiet conversations, tearful late night exchanges in sterile rooms.
And when the script shifts gears again, around page 70, the full demented range of Aronofksy’s ambitious vision finally becomes clear, and THE FOUNTAIN becomes something that you’ll either love or hate, the kind of SF film that fans always claim no studio would ever make.
Izzi’s book and the film itself fold into one another, and Tommy is either dragged into a vision of the past, or a memory of it, and we see what led to the conclusions of act one. Another love story is laid out, this one more heated and dangerous than the one between Tommy and Izzi, but also played by Jackman and Weisz. They’ve got their work cut out for them here. There are remarkable tonal shifts between the various times, and it’s like three movies, all of them addressing the same ideas, all whipped into this fractured but somehow coherent whole.
Aronofsky saves a few sucker punches for the home stretch, and there’s one sequence in particular that made me both furious and heartsick at the same time. There is a cruelty to it that is totally appropriate to the story being told. It’s about perception. What one person sees as tragic timing, a horrible matter of missed minutes, another person might view as a desired step, an evolutionary jump. And its only when someone shifts their own perceptions that they are suddenly given the gift of real knowledge... set free and made powerful and given up in sacrifice all at once. Bringing the last 20 pages of this script to life will push Aronofsky further than he has ever been pushed as a filmmaker so far, and I am dying to see him try. This is one of those cases where a filmmaker has set up something terrifying for themselves, a high-wire act that will require them to work at the top of their game in order to bring to life what was written. There are echoes of Frank Miller’s magnificent and underrated RONIN here, and I hope Aronofsky is able to create a visual palette that will fully realize the remarkable visions he’s described. I know this film is going to cost some major coin, but it’s not excessive. There are very few FX sequences, and what there is on the page is all part of the thematic fabric of the story. This is not spectacle for the sake of it. Far from it. This is a filmmaker who is daring to use the paint and the brushes in a way we haven’t seen so far. Warner Bros. can’t make a decision about either this or a new BATMAN/SUPERMAN film... this isn’t that kind of picture, and it never will be. This is like JFK. This is like UNFORGIVEN. This is the type of film you make because it is good for your corporate soul. Read the script again before you decide whether or not you can afford the film. There’s a message here about giving back in order to get, a message you might take to heart.
Once you do, you’ll realize there’s no way you CAN’T afford this film.
Let us all experience the road to awe.
Come on, Warner Bros... have no fear.
[ Bericht 0% gewijzigd door Asskicker14 op 20-05-2005 20:53:58 ]
So we’re in a weird spot with this film right now.
I keep getting reports about its demise, some as recent as this weekend. Alan Horn didn’t help, complicating things with his seemingly-contradictory comments about the film the other day.
He suggested that the film had the plug pulled when it became more expensive than $60 million,
but he also talked about how it was rescued by partnering up with New Regency when Village Roadshow fell out.
People are convinced, writing me daily, telling me that it’s not going to happen now.
But I’ve heard from sources close to the film, people who are in direct contact with Protozoa Pictures, Aronofsky’s company, who assure me that the film is going to happen this fall, and that everything is proceeding apace. Because there is still such a strong chance that the film is happening, I want to tread very lightly as I discuss the really odd and wonderful script for this film by Darren Aronofsky and Ari Handel. I don’t want to ruin the experience for you if there’s even the slightest chance of you seeing it in a theater. I pray I get to sit in a dark room next Christmas and see that Warner Bros. logo come up, followed by the New Regency logo, followed by the sight of the jungles of Mexico in the year 1535.
I’m talking fingers and toes crossed, rub the rabbit’s foot, an extra lap around the rosary beads type praying, too. I want to see this movie. It’s important to Darren Aronofsky’s development as a filmmaker, and to science-fiction as a genre. I can see Aronofsky’s influences here, and it’s one of the first post-MATRIX projects I’ve seen with a voice that seems totally different than THE MATRIX, interested in totally different things.
THE FOUNTAIN is about love and death and the nature of this frail and precious matter we are made of. It is an epic that is concerned only with the personal impact of its incredible events. It is not about saving the world, but it is about how we will all eventually be saved.
Act one of the script is what would conventionally pass for act three in anyone else’s script. It’s grandly scaled, mind-blowing, and ambitious. We see the resolution of two separate journeys, a thousand years apart, both of them focused on the same goal: salvation from the slavery that all flesh suffers to death. In 1535, Spanish conquistadors and a priest all travel under the guidance of CAPTAIN TOMAS VERDE (Hugh Jackman), in search of something mysterious deep in the heart of a Mayan jungle. In the year 2500, another Tom (also Hugh Jackman) makes an even more dangerous and mystical journey. He travels with a precious cargo of enormous power, haunted by dreams of the Mayan jungle and by the ghost of a lost love. We see each of these journeys build to and then reach a crucial and seemingly final place, each of them intercut so as to illustrate fine points about the other. There’s a really beautiful sequence on the outside of Tom’s spacecraft and a terrifying moment on the steps of the temple, and on a moment of epiphany, we are transported to the year 2003.
Starting just under 30 pages into the script, act two is far more rooted in an emotional reality that we recognize. It’s set right now. TOMMY VERDE (again... Hugh Jackman) works as a surgical researcher, part of a team working on advanced cancer theory. His supervisor LILLIAN (Ellen Burstyn) knows he’s brilliant and make leaps of logic that somehow turn out to be right, but she is concerned that he is obsessed.
You see, Tommy’s wife IZZI (Rachel Weisz) is dying. And in one of those cosmic jokes that makes you want to laugh until you scream, she’s dying of cancer. And there’s not a goddamn thing Tommy can do about it.
There is a dull ache that begins almost immediately in this section of the script, a hum of low dread underneath everything. Tommy and Izzy both are just waiting. They pretend they’re living. They pretend that they have hope and that they can make plans and that there’s a future to believe in, but it’s a cover. They’re waiting for Izzi to die, and they both know it. Tommy is dying in his own way as he watches her fade. He can’t help Izzi physically, and it leaves him unable to help her spiritually. Izzi’s on a journey to peace that Tommy can’t join her on, and it causes terrible silence between them.
I’ve seen some speculation in our Talk Backs, impassioned and well-argued, that this film has to be about The Fountain of Youth. It’s not. I don’t want to give away the key mythological symbol that Aronofsky has built his film around, but I can say that it’s not the Fountain of Youth. It’s something even older, even more basic. It’s also a giant McGuffin. If you focus on what the thing is that lies in the heart of that Mayan temple... the thing in the cargo bay of the spaceship en route to a distant nebula... then you miss the import of it. This is science-fiction used to dissect the natures of our own hearts. We have a basic fear of our own flesh that we wrestle with over the course of our lives. You don’t have it as a child. You are fearless. You are immortal and you know it.
Then someone corrects you. Either a relative dies or a pet or, worst of all, a parent. And you learn that not only does death exist, but that it is the end of all of us. There is no one who is allowed to slip through unscathed. Life is a process of accumulating scars, both large and small, until one of them finally kills you. Knowing that... believing that... is part of the process of maturation. We each of us make our own agreement with Death and that understanding that allows us to go on living. Some people embrace the life they have and wrench whatever sweetness from it that they can. Some people wither away in fear. And some people fight, spending their whole lives trying to find some loophole, some way to cheat the system.
In THE FOUNTAIN, we are given characters, each a mirror of another, each a product of the time and place they live, all of them dealing with Death in their own way. For example, what if you were Tommy? What if you developed a drug using a rare botanical extract and discovered that you might well have unlocked the key to turning time back and holding off Death indefinitely, if not forever? If you knew the time your wife had on Earth was limited, would you proceed with caution and go through every prescribed level of FDA testing before making this potential breakthrough available to her?
Or would you throw caution to the wind? Would you break the rules to save her life, even if you knew there was a chance you might be wrong?
One of the reasons this middle section of the script works so well is because Aronofsky has painted a convincing portrait of a couple in love. In those rare moments when Tommy forgets to be depressed, he and Izzy are quite beautiful together, sweet and funny and perfectly matched. He takes her to an exibit of Mayan relics at one point, and there’s a great sense of play between them. These two people know each other the way lovers do, and that means they have the potential to hurt each other casually and well. They know all the soft spots worth poking. Izzi fights dirty, using Tommy enormous love for her to bully him in conversations. Because she’s resigned to her fate and he isn’t, she’s stronger. She doesn’t reopen the wound with each fresh reminder.
Izzi is a writer, and her biggest gift to Tommy is a book that she’s almost finished. The last chapter is the only thing missing, and she leaves it in his care to do so. Tommy protests that he’s not a writer, but he’s missing the point. Izzi mentions something at the exhibit about the Mayan idea that death is an act of creation, and there is a transcendence to that notion that I find quite surprising in a mainstream studio picture. As we watch the national media debate the importance of “Under God” to our Pledge of Allegiance and once again argue about the role of religious language in our daily lives, it doesn’t seem like the easiest box-office road to go, crafting a film that dares to not only be serious about spiritual issues, but also inclusive. Aronofsky isn’t writing about whether or not religion is right or true. He’s writing about the greater questions, the ones that religions exist to try and answer. This isn’t an event film, full of explosions and special effects for the sake of it. This is a personal story, featuring characters that are designed to challenge both actors and audiences. Long stretches of this depend on the ability of Hugh Jackman and Rachel Weisz to keep us engrossed without the aid of anything else. This isn’t like REQUIEM FOR A DREAM or PI, built on overdrive. Pages go by, made up of quiet conversations, tearful late night exchanges in sterile rooms.
And when the script shifts gears again, around page 70, the full demented range of Aronofksy’s ambitious vision finally becomes clear, and THE FOUNTAIN becomes something that you’ll either love or hate, the kind of SF film that fans always claim no studio would ever make.
Izzi’s book and the film itself fold into one another, and Tommy is either dragged into a vision of the past, or a memory of it, and we see what led to the conclusions of act one. Another love story is laid out, this one more heated and dangerous than the one between Tommy and Izzi, but also played by Jackman and Weisz. They’ve got their work cut out for them here. There are remarkable tonal shifts between the various times, and it’s like three movies, all of them addressing the same ideas, all whipped into this fractured but somehow coherent whole.
Aronofsky saves a few sucker punches for the home stretch, and there’s one sequence in particular that made me both furious and heartsick at the same time. There is a cruelty to it that is totally appropriate to the story being told. It’s about perception. What one person sees as tragic timing, a horrible matter of missed minutes, another person might view as a desired step, an evolutionary jump. And its only when someone shifts their own perceptions that they are suddenly given the gift of real knowledge... set free and made powerful and given up in sacrifice all at once. Bringing the last 20 pages of this script to life will push Aronofsky further than he has ever been pushed as a filmmaker so far, and I am dying to see him try. This is one of those cases where a filmmaker has set up something terrifying for themselves, a high-wire act that will require them to work at the top of their game in order to bring to life what was written. There are echoes of Frank Miller’s magnificent and underrated RONIN here, and I hope Aronofsky is able to create a visual palette that will fully realize the remarkable visions he’s described. I know this film is going to cost some major coin, but it’s not excessive. There are very few FX sequences, and what there is on the page is all part of the thematic fabric of the story. This is not spectacle for the sake of it. Far from it. This is a filmmaker who is daring to use the paint and the brushes in a way we haven’t seen so far. Warner Bros. can’t make a decision about either this or a new BATMAN/SUPERMAN film... this isn’t that kind of picture, and it never will be. This is like JFK. This is like UNFORGIVEN. This is the type of film you make because it is good for your corporate soul. Read the script again before you decide whether or not you can afford the film. There’s a message here about giving back in order to get, a message you might take to heart.
Once you do, you’ll realize there’s no way you CAN’T afford this film.
Let us all experience the road to awe.
Come on, Warner Bros... have no fear.
[ Bericht 0% gewijzigd door Asskicker14 op 20-05-2005 20:53:58 ]
Is God willing to prevent evil, but not able? Then he is not omnipotent.
Is he able, but not willing? Then he is malevolent.
Is he both able and willing? Then whence cometh evil?
Is he neither able nor willing? Then why call him God?
Is he able, but not willing? Then he is malevolent.
Is he both able and willing? Then whence cometh evil?
Is he neither able nor willing? Then why call him God?
Eerste art plaatje:
Is God willing to prevent evil, but not able? Then he is not omnipotent.
Is he able, but not willing? Then he is malevolent.
Is he both able and willing? Then whence cometh evil?
Is he neither able nor willing? Then why call him God?
Is he able, but not willing? Then he is malevolent.
Is he both able and willing? Then whence cometh evil?
Is he neither able nor willing? Then why call him God?
Ik ben nieuwsgierig of Darren Aronofsky voor de derde keer zo'n goede film kan neerzetten. Het mooie van de eerste 2 films van hem is toch wel de muziek die hij gebruikt. Het drukt de films erg goed uit. Vooral Lux Aeterna van Requiem for a Dream is prachtig!
Hee hallo, ff een gigantische kick, maar de teaser trailer staat op apple.com
Hoofdrollen: Hugh Jackman & Rachel Weisz
Teaser
Official Website
Ben benieuwd, ziet er iig veelbelovend uit
Hoofdrollen: Hugh Jackman & Rachel Weisz
Teaser
Official Website
Ben benieuwd, ziet er iig veelbelovend uit
All you know about me is what I've sold you, dumb fuck
Ook weer met Ellen Burstyn, net als Requiem for a Dream.
"...and the red dress, and the television..."
"...and the red dress, and the television..."
Never in the entire history of calming down did anyone ever calm down after being told to calm down.
Even het juiste topic kiezen..
Cooll! Eindelijk na iets van 3 jaar wachten of die en die acteur nou wel of niet meedoet en of het project nu wel of niet doorgaat.
Samen met Southland Tales is dit de film waar ik me volgend jaar het meest op verheug.
Cooll! Eindelijk na iets van 3 jaar wachten of die en die acteur nou wel of niet meedoet en of het project nu wel of niet doorgaat.
Samen met Southland Tales is dit de film waar ik me volgend jaar het meest op verheug.
http://us.imdb.com/title/tt0405336/quote:Op zondag 13 november 2005 01:59 schreef Lamon het volgende:
Samen met Southland Tales
Ah, de nieuwe Donnie Darko, zeg maar.
Never in the entire history of calming down did anyone ever calm down after being told to calm down.
Ik hoop niet dat Aranofsky ten onder gaat aan de commercie. Met zo'n budget en zulke grote namen... Was blij om te lezen dat Brad Pitt en Cate Blanchett toch niet meedoen. Het verhaal klinkt wel heel interessant, ben benieuwd wat hij ervan maakt.
None are more hopelessly enslaved than those who falsely believe they are free
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