Piel de gallina (CINE)

[Maurici]

@Pfister:2ozcbc07:

Que es eso de la nueva de Clerks?

Kevin Smith director de Clerks (1994) está trabajando en una película que saldrá el próximo 2006 llamada The Passion Of The Clerks o Clerks 2.
Explica un poco como han pasado los años y los trabajos de los protagonistas de la 1a parte no han cambiado demasiado. Frustraciones y problemas y se hacen “mayores”.
A nivel de resumen/avance por lo que he oído es esto.

http://www.clerks2.com/
http://www.viewaskew.com/main.html

[Gallo Negro]

Kevin Smith ha perdido toda credibilidad. Desde que rodó persiguiendo a amy no ha levantado cabeza y no ha dirigido desde entonces nada más que películas mediocres.

[Murnau]

@Waldo:

Por cierto, el domingo que viene dentro del ciclo de Buñuel en La 2:

Ya no me acordaba, y esta es de las que no he visto. "La hija del engaño" no es de lo mejor , ni mucho menos, pero Buñuel no tiene nada malo.

Hace un par de años dieron un ciclo de Chris Marker, la Jetee(brutal), Sans Soleil, El misterio Koumico, pero la que mas me impacto un documental sobre Tarkovski(eran amigos)en el que habla de sus pelis y filma los últimos dias de éste.

[Rumsas]

EL SALARIO DEL MIEDO, vaya peliculón!!

[korkobado]

En la Filmoteca de BCN echan un ciclo navideño para mentes calenturientas, "LA CARNE". Hoy han pasado esta maravilla:

"El Imperio De Los Sentidos", cuyo título original, "Ai No Corrida", parece un chiste malo de Chiquito.

De aquí a fin de mes: "Vampyr (Der Traum des Allan Grey)", "Deep Throat", "Bin-Jip", "Let's Make Love", "Irréversible"…

[Suarezmanlanz]

@Gallo:

Kevin Smith ha perdido toda credibilidad. Desde que rodó persiguiendo a amy no ha levantado cabeza y no ha dirigido desde entonces nada más que películas mediocres.

Con "mediocres" te estás quedando corto…

[Waldo de los Rios]

@Murnau:1k6ay20j:

Hace un par de años dieron un ciclo de Chris Marker, la Jetee(brutal), Sans Soleil, El misterio Koumico, pero la que mas me impacto un documental sobre Tarkovski(eran amigos)en el que habla de sus pelis y filma los últimos dias de éste.

Joder, un profesor mio me habló de ese documental sobre Tarkovski y me encantaría verlo. Sans soleil tampoco he tenido la oportunidad, Marniello.

Me alegro de que os hayais interesado churro y hank, estoy seguro de que os gustará La jetée.
Por cierto churro, no he visto El salario del miedo, y eso que a mi el cine francés me atrae. A ver cuando la veo de una vez.

[Ashes of the colours]

Kevin Smith… que deje de hacer simulacros de cine y vuelva a trabajar al videoclub!

El imperio de los sentidos me dejó un mal cuerpo... una maravilla, sí, pero te quita las ganas de tener relaciones sexuales durante un tiempo.

Y los muy hijpiip proyectan Deep throat en Nochebuena!!!!

[Ashes of the colours]

http://www.pixar.com/shorts/jja/theater/short_320.html

[Flash]

@Gallo:

Kevin Smith ha perdido toda credibilidad. Desde que rodó persiguiendo a amy no ha levantado cabeza y no ha dirigido desde entonces nada más que películas mediocres.

Pues la verdad es que sí, Jay y Bob el silencioso aún se salva porque es para verla con los colegas fumando y tal, pero las demás…. en fin. Respecto a Clerks 2, no quiero ni pensar lo que puede salir de ahí, después de que haya rodado cosas como la última película, que no recuerdo ni el título.

[gRR]

@Ashes:

El imperio de los sentidos me dejó un mal cuerpo… una maravilla, sí, pero te quita las ganas de tener relaciones sexuales durante un tiempo.

Puedo dar fe de eso

Y a Kevin Smith le enviaba yo... bueno, no lo digo, que si no me repito demasiado

[poppie]

@gRR!!:370ekir1:

Y a Kevin Smith le enviaba yo… bueno, no lo digo, que si no me repito demasiado

jajajajajaja, pero puedes dar pistas: SOS, brillante, el monzón, tres delicias…

[jackster]

Este fin de semana he vuelto a ver:

Y desde luego sigo pensando que es una jodida OBRA MAESTRA. John Wayne, James Stewart, Lee Marvin y John Ford. Si esto no es Western y CINE en mayusculas, que baje dios y lo vea.
Recomendable verla en V.O. (aunque bueno, esa recomendacion deberia ser una obligacion, en realidad)

[korkobado]

@Ashes:

El imperio de los sentidos me dejó un mal cuerpo… una maravilla, sí, pero te quita las ganas de tener relaciones sexuales durante un tiempo.

Y los muy hijpiip proyectan Deep throat en Nochebuena!!!!

Pues yo llegué a casa y me puse a darle a la zambomba antes de irme a dormir, claro que no sé si a eso le podemos llamar "tener relaciones sexuales".

Ver "Garganta Profunda" en Nochebuena puede ser grande. Me imagino el cine para mí solito, con los pies encima de la barra y xiu xiu…

Hablando de mal cuerpo, el que te queda con los 6 meses de reclusión a oscuras del señor Papillon:

Me pone la gallina de piel cómo su cuerpo degenera y su mente se desquicia. Mi película de fugas favorita.

[La_Ignorante]

¡Joderrrrrrrrrrrrrrrrrrrrrrrr! ¡Ayer la volví a ver por millonésima vez!

Me encanta la escenita con Hoffman… ¿Es usted el señor Dega? Si, si. Y éste es mi amigo... La carita que pone McQueen, es todo un poema...¡Cullons! ¡Qué bona!

[gRR]

@korkobado:3qtajjqz:

Pues yo llegué a casa y me puse a darle a la zambomba antes de irme a dormir, claro que no sé si a eso le podemos llamar "tener relaciones sexuales".

Korkobado, sé que te lo han dicho antes, pero eres el puto amo y lo sabes.

[churro]

El amigo Jackster me ha hecho recordar al maestro.

Que pena que no haya encontrado imágenes de la escena del saloon cuando en My Darling Clementine hacen recitar a uno a Shakespeare, momento sublime. En cambio traigo aqui otra imagen de esa película uno de sus típicos de diálogos con tumba.

[DayIn-DayOut]

De rodillas. Un gran shakesperiano, Orson Welles, interpretando al gran Falstaff. Esta peli lo tiene todo: humor, grandes personajes, una trama rica y quilates de clase.

Monstruo oriental: Kurosawa. A éste también le dió por Shakespeare. SU versión del Rey Lear absolutamente faraónica y ambientada en el Japón de los samurais. Borrachera de planos generales, silencios y metraje.

Alguien ha visto Trono de Sangre? Versión de McBeth?

[korkobado]

@gRR!!:32f9xscx:

Korkobado, sé que te lo han dicho antes, pero eres el puto amo y lo sabes.

¡Joer! Veo que entre degenerados nos entendemos bien. Tan bien como mal con las nenas, porque hay que ver cómo huyen en manada ante la presencia de mi palote. Si alguna quiere quedar en Nochebuena conmigo tengo preparado un plan de lo más romanticote.

@La_Ignorante:32f9xscx:

¡Joderrrrrrrrrrrrrrrrrrrrrrrr! ¡Ayer la volví a ver por millonésima vez!

Me encanta la escenita con Hoffman… ¿Es usted el señor Dega? Si, si. Y éste es mi amigo... La carita que pone McQueen, es todo un poema...¡Cullons! ¡Qué bona!

Oooh, qué finura. Y qué sufrimiento…

¡¡¡Hey you, bastards, I'm still here!!!

[Madam Green.]

…perdón si ahora os causo un coitus interrumptus con mi post ... aunque tratàndose del tema geishas no creo yo que os destrempéis demasiado

..bueno,pués eso ...especial "memories of a geisha"

...primero link de la web :arrow: clica

luego…entrevista con la protagonista (Sorry it´s in english and I´m to lazy to translate)

**interview with a geisha

By Michael Tsai

Ziyi Zhang's training for her role in "Memoirs of a Geisha" involved lessons in dance, musical instruments, tea service and even speech.

It can take a real-life geisha a decade of intensive training to master the artistic skills and intricate social protocols required of the centuries-old profession.

Ziyi Zhang and her co-stars in the new film "Memoirs of a Geisha," were given just a few months.

"We called it 'Geisha Boot Camp,' " Zhang said. "We were taught how to dance, how to play musical instruments, give tea service, and even how to talk."

The film, which has earned Zhang a Golden Globe nomination for best actress, opens in Hawai'i on Friday.

Zhang, 26, best known for her roles in "Crouching Tiger, Hidden Dragon," and "House of Flying Daggers," plays Sayuri, a country girl sold to a geisha house by her family.

In the story, Sayuri's prospects are initially sabotaged by a jealous geisha (Gong Li), but a simple act of kindness restores her spirit and inspires her rise as the greatest geisha of her time.

The film also stars Michelle Yeoh as Sayuri's mentor, Mameha, and Japanese actor Ken Watanabe as the kindly Chairman.

Zhang, who was born in Beijing, said her transformation into a screen-credible geisha was eased by her experiences studying dance for six years at the prestigious Beijing Dance Academy.

"Every day we would practice for hours, from early in the morning through evening. It was very similar to our Geisha boot camp," she said.

"My dance training definitely helped during my dance scenes in the movie. But even with my background, the solo dance was still difficult, because I had to dance in 12-inch platform shoes! And that dance also involved a high degree of acting. I was playing a character within a character. That was new for me."

While Zhang was learning how to act like a Japanese geisha, she also struggled to speak not just English, but English with a Japanese accent. She conducted this interview with The Advertiser via e-mail, as she is still working on her English.

Zhang said legendary Chinese director Zhang Yimou once told her it would be impossible to act in a second language, because the language barrier prevents actors from deeply understanding the character. She took that as a challenge: "What he said has always stuck in my mind and pushed me to prove that you can play a character well, even if it is in your second language."

Working on an American set — a Los Angeles soundstage doubled for the film's Japanese hanamachi (geisha district) — with an American director and a Chinese, Japanese and American cast was an eye-opening experience for Zhang.

"The biggest difference is that working in Hollywood, you have weekends off," Zhang said. "In China, we worked 24/7. When we were making 'Crouching Tiger,' we worked six months straight, no days off. And we have trailers and snacks in Hollywood — nothing like that in China.

"But no matter where a movie is made, the passion is always there," she said. "Everyone is professional and everyone does their best."

Zhang said she was happy to be reunited with Yeoh, her "Crouching Tiger" co-star, whom Zhang considers "a big sister." She also embraced the opportunity to work with Li, whose string of Zhang Yimou-produced films paved the way for nonmartial-arts Chinese cinema in the West more than a decade ago.

Watanabe, who earned an Oscar nomination for his work in "The Last Samurai," took it upon himself to work with the Chinese actresses on language and culture issues, Zhang said.

"Ken is such a gentleman," she said. "He's very much like a samurai."

Zhang also enjoyed working with Japanese actresses Kaori Momoi ("so funny and expressive") and Youki Kudoh.

"Youki is wonderful," Zhang said. "She would come to the set in her kimono with her dog and we had a great time together."

Holding it all together was director Rob Marshall ("Chicago"), whom Zhang calls "a genius."

"He had a very clear vision for what he wanted to do and he just stuck with it," she said. "He was so patient and always encouraged us. … I could always understand him in spite of the language barrier. I hope people realize how hard his job was. He had to direct so many actors who spoke different languages. Only someone with a focused vision can do what he did."

While "Memoirs" has been criticized in Japan for perpetuating a Western misconception of geisha as prostitutes, the film, based on the best-selling novel by Japan scholar Arthur Golden, does put the sexual aspect of the profession within the context of specific traditions and arrangements.

Zhang said she had several conversations with Marshall about a controversial scene in the film and the book in which her character is attacked by the Baron (Cary-Hiroyuki Tagawa), the danna (patron) of her mentor, Mameha.

"Sayuri keeps her emotions bottled up inside, so I don't think she should cry during this scene, even though most people would have," Zhang said. "When the Baron is undressing her, she holds her tears inside instead of shedding them. I think that made the scene more compelling. You feel for Sayuri more because she couldn't cry out.

"The day we filmed that scene, I was shaking the whole time," she said. "All the muscles in my body were shaking. I felt so emotional, so helpless."

With the Golden Globe nomination in hand and an Oscar nomination a strong possibility, Zhang seems poised for crossover into the mainstream American consciousness, transcending the martial arts roles that have so far defined her career.

She hopes she isn't alone.

"I hope this film shows audiences that Asian actors can do more than just action movies," she said. "I hope it gives us a chance to play more roles in Hollywood."**

…estoy totalmente de acuerdo que deve ser súper difícil moverse así con zapatos de plataforma

(los de las Spice Girls eran más bajos)

..y ahora entrevista con el prota :

**Cary-Hiroyuki Tagawa plays The Baron in "Memoirs of a Geisha."

You'll forgive Cary-Hiroyuki Tagawa if he thinks he's died and gone to heaven. Showing up at work and finding Gong Li — not to mention Ziyi Zhang and Michelle Yeoh — will do that to you, for one thing. But it's a career spent bucking Hollywood's prevailing attitudes toward Asian actors, not some beer ad fantasy, that informs this particular feeling of transcendence.

Nearly 20 years since he acted in "The Last Emperor," a film that once seemed destined to change the fortunes of Asian and Asian-American actors in Hollywood, Tagawa sees a rare and unexpected second chance to get it all right in the new Rob Marshall film "Memoirs of a Geisha."

Tagawa, who makes his home in Honolulu, was fresh from the film's premiere in Los Angeles when he spoke to The Advertiser about the impact "Geisha" could have in Hollywood.

"Hollywood is the toughest crowd, but it's going over so big here," he said. "They're very emotional about it because they know how much junk comes out of this place."

The notoriously outspoken Tagawa is mindful of the reservations Asians (particularly the Japanese) and Asian-Americans have about a geisha film based on a novel by an American author, directed by an American, filmed in Los Angeles and cast with three Chinese actresses.

"There are some technical things about the culture that might not be totally correct, but anything produced outside of Japan is going to be interpretive," Tagawa said. "It's Hollywood's interpretation of geisha culture, but it's powerful and it's inspirational. It's produced a lot of strong, emotional responses, especially in women.

"Western women have a very strong sense of who they are," he said. "This film offers a different take on feminine beauty and power, and it moves people because of that."

The film follows the life of Sayuri, a young girl who is sold to a geisha house and eventually becomes the leading geisha of her time. Tagawa plays the supporting role of The Baron, the rich danna, or patron, of Sayuri's mentor, Mameha (Yeoh).

In the novel, The Baron is portrayed as a weak-willed alcoholic who lusts after the teenage Sayuri. In the film, Tagawa makes the character more formidable, with an air of both social privilege and personal charisma.

Arthur Golden, who wrote the original novel on which the film is based, said the shift was significant. "In the film, (The Baron) is much stronger. He's a self-confident, big guy."

For Tagawa, who has always embraced roles that demonstrate the vitality and virility of Asian characters, good or evil, the new characterization of The Baron was consistent with the energy of the film. It also helped bring into focus the principal male character, The Chairman (Ken Watanabe), whose strength is rooted in a kind, humble nature.

Tagawa said he is gratified by the expanded opportunities for Asian actors that Watanabe's recent success represents.

"I'm happy for him," Tagawa said. "I think he's going to be the go-to guy (among Asian actors) from here on."

It's a bittersweet compliment for Tagawa, who has spent the past 20 years accepting a wide variety of Asian-specific roles and struggling against Hollywood stereotypes and prejudices.

"I'm sentimental lately," he said. "It's sad, the way Asian strength has always been portrayed as evil or bad. Ken is coming into a time when that kind of strength can now be seen as positive. That was what I had always hoped for, and it's a dream for me to watch these actors take advantage of that."

Tagawa was born in Japan and raised in the American South, where he found that the best way to address racism wasn't to retreat, but to advance with conviction. It's an attitude that didn't always serve him well in Hollywood, but one that has helped him continue his career on his own terms.

As always, Tagawa's observations on the state of the film industry are strongly linked to his expansive world view. He sees in the undertapped Asian and Asian-American film markets an opportunity for Asian actors and filmmakers to assert their leadership. And he reads in the unique, supportive environment of the "Geisha" production a moral lesson for which the West is "thirsting."

"There were no egos," he said. "That's unheard of in Hollywood. Everybody was so focused and the vibe was so supportive. It was a unique situation that may never happen again. It's like old-school Hawai'i, where it was always about supporting each other. This reminded me that it all comes from the roots, the culture that we come from. It's all just under the surface."**

..link para bajar-se la OST http://www.megaupload.com/?d=F6UYSFTO

..paródia de la peli por Mad-Tv http://www.youtube.com/watch.php?v=_AQv ... h=mad%20tv

...bueno..y ahora a esperar que la estrenen (si no lo han echo ya que no me ha dado tiempo de mirar la cartelera )