sábado, 30 de junio de 2007

La Vie En Rose

"Marion Cotillard's feral portrait of the French singer Edith Piaf as a captive wild animal hurling herself at the bars of her cage is the most astonishing immersion of one performer into the body and soul of another I've ever encountered in a film."

Stephen Holden, The New York Times

Des yeux qui font baiser les miens, un rire qui se perd sur sa bouche,
Voilà le portrait sans retouche de l'homme auquel j'appartiens.

Quand il me prend dans ses bras
Il me parle tout bas,
Je vois la vie en rose.

Il me dit des mots d'amour, des mots de tous les jours,
Et ça me fait quelque chose.
Il est entré dans mon cœur une part de bonheur dont je connais la cause.

C'est lui pour moi, moi pour lui, dans la vie,
Il me l'a dit, l'a juré pour la vie.
Et dès que je l'aperçois alors je sens en moi mon cœur qui bat.

Des nuits d'amour à ne plus en finir
Un grand bonheur qui prend sa place
Des ennuis des chagrins, des phases
Heureux, heureux à en mourir.


Sitio oficial: http://www.edithpiafmovie.com/
IMDB: La Vie En Rose
Director: Olivier Dahan

Actriz Principal: Marion Cotillard (Big Fish, A Good Year, A Very Long Engagement, Taxi, Casino Royale) y Gérard Depardieu

¿Quién es Edith Piaf?

jueves, 28 de junio de 2007

Héroes y Villanos

Después de que el AFI (American Film Institute) diera a conocer su lista de las 100 mejores películas de la historia, obligadamente visité su sitio de Internet y encontré algunas cosas interesantes.

Me llamó la atención por ejemplo ver un ranking de los 50 mejores héroes del cine. Me llevé una grata sorpresa al ver a la cabeza a Atticus Finch (To Kill a Mockingbird, 1962), quien fuera interpretado por Gregory Peck (Oscar, Mejor Actor). Por un lado, fue una grata sorpresa porque se trata de un personaje honesto, abogado, generoso, que lucha por la justicia. ¿Pero acaso es en verdad un héroe? Tal vez si consideramos los tiempos en los que se desarrolla la historia del filme y los temas que se ponen en juego (orgullo, racismo, egoísmo, prejuicios) sí lo es. Pero al verlo más objetivamente, no hay en Atticus Finch ninguna actitud de heroísmo. Se trata de un hombre ordinario que sólo actúa bajo sus propias convicciones y bajo lo que cree que es éticamente correcto. Y quizás es esto lo que le merece encabezar esta lista.

Por otro lado, también está la lista de los 50 mejores (o peores) villanos con el Dr. Hannibal Lecter en primer lugar.

Atticus Finch (izquierda) en To Kill A Mockingbird

Más del Ranking de los Héroes:
1. Atticus Finch
2. Indiana Jones
3. James Bond
4. Rick Blain (Casablanca)
6. Clarice Starling (The Silence of the Lambs)
7. Rocky Balboa
14. Han Solo (Star Wars)
18. Robin Hood
21. Mahatma Gandhi
26. Superman
31. Erin Brockovich (¿la versión moderna feminista de Atticus Finch?)
34. Tarzan
37. Obi-Wan Kenobi (Star Wars)
39. Lassie
46. Batman
48. Terminator

Más del Ranking de los Villanos:
1. Dr. Hannibal Lecter
2. Norman Bates (Psycho)
3. Darth Vader (Star Wars)
10. La Reina de Blanca Nieves y los 7 Enanos

14. El Alien de Alien
17. Annie Wilkes (Misery; yo a ella la ponía dentro de mi Top 5)
18. El Tiburón de Jaws
20. El Hombre en Bambi
22. Terminator (¿qué no era héroe?)
25. Jack Torrance (The Shining)
27. Los marcianos en The War of The Worlds
33. El Conde Drácula
36. Frank Booth (Blue Velvet)
37. El Guasón (Batman)

domingo, 24 de junio de 2007

Música de Película: Zodiac

Entre los muchos aciertos que tiene el último filme de David Fincher, Zodiac, está la música. Tanto la banda sonora de David Shire, como el soundtrack que agrupa el trabajo de varios artistas recorriendo las 3 décadas en las que se desarrolla la historia (70s - 90s), son acertados.

Hurdy Gurdy Man es la canción principal que escuchamos durante la escena de apertura y durante los créditos. Se trata de una canción de 1968, año en el que el asesino Zodiac cobra sus primeras víctimas. Fue compuesta por Donovan, un cantautor escocés de música pop y psicodélica, que tuvo su mayor éxito a finales de los 60s.

La banda sonora es de David Shire, compositor estadounidense ganador del Oscar en 1980 en la categoría de Mejor Canción. Entre sus trabajos más notables están la banda sonora de The Conversation (Francis Ford Coppola, 1974), All the President's Men (Alan J. Pakula, 1976) y Return to Oz (Walter Murch, 1985). También compuso la música original de Saturday Night Fever, filme estelarizado por John Travolta.

En Zodiac, Shire decidió identificar a cada personaje con un instrumento: la trompeta para David Toschi (Mark Ruffalo), el piano para Robert Graysmith (Jake Gyllenhaal) y las cuerdas para el asesino Zodiac.

Hurdy Gurdy Man - Donovan - Zodiac:


Closer & Closer - David Shire - Zodiac:





sábado, 23 de junio de 2007

Close-Up: Ryan Gosling

Publico este post con dedicatoria especial para quienes votaron (unánimemente) para este close-up.

Ryan Gosling. Canadiense, nacido el 12 de noviembre de 1980, nominado al Oscar este año en la categoría de Mejor Actor por el filme Half Nelson. Para muchos, es ésta su mejor película hasta el momento. Para otros, su mejor actuación ha sido en The Believer, filme que protagonizó en 2001 y lo lanzó a la fama al ganar el Premio del Jurado en el Sundance Film Festival. De hecho, ambas interpretaciones le valieron estar nominado en los Independent Spirit Awards como Mejor Actor.

Su primera experiencia en el medio artístico fue en el Club de Mickey Mouse, donde apareció al lado de Christina Aguilera, Justin Timberlake y Britney Spears. Afortunadamente, no siguió los mismos pasos que estos tres cantantes y se ha convertido en un actor de Hollywood con futuro prometedor.

Otras de sus películas son The Notebook, Murder by Numbers, Stay y la recientemente estrenada Fracture, al lado de Anthony Hopkins. Durante el otoño/invierno se estrenará su nuevo filme Lars and the Real Girl y comenzará a rodar The Good Heart, película que llegará a las salas en el 2008.

Haz clic en las imágenes para verlas en su tamaño original.


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jueves, 21 de junio de 2007

Speeches en el Oscar

Los discursos de aceptación del Oscar son particularmente interesantes. En cada ceremonia de la AMPAS hemos sido testigos de speeches conmovedores, o breves, algunos políticos (con abucheos o aplausos incluidos), otros larguísimos (con la música de la orquesta obligando al orador a dejar el escenario), y unos mas malísimos (como el de Reese Whiterspoon hace un año)... En fin, cada speech es único y algunas veces pasan a la posteridad en la historia de los Oscars. Escogí en esta ocasión algunos discursos que creo que vale la pena recordar por su significado especial. Espero que les gusten...


50th (1977) - Winner. Actress in a Supporting Role.
Vanessa Redgrave - "Julia". Acceptance Speech
(Fragment).

"And I also think it's in part because we believed and we believe in what we were expressing – two out of millions who gave their lives and were prepared to sacrifice everything in the fight against fascist and racist Nazi Germany.

And I salute you, and I pay tribute to you, and I think you should be very proud that in the last few weeks you've stood firm, and you have refused to be intimidated by the threats of a small bunch of Zionist hoodlums whose behavior is an insult to the stature of Jews all over the world and their great and heroic record of struggle against fascism and oppression.

And I salute that record and I salute all of you for having stood firm and dealt a final blow against that period when Nixon and McCarthy launched a worldwide witch-hunt against those who tried to express in their lives and their work the truth that they believe in. I salute you and I thank you and I pledge to you that I will continue to fight against anti-Semitism and fascism."


75th (2002) - Winner. Documentary Feature.
Micheal Moore - "Bowling for Columbine". Acceptance Speech.

"Whoa. On behalf of our producers Kathleen Glynn and Michael Donovan from Canada, I'd like to thank the Academy for this. I have invited my fellow documentary nominees on the stage with us, and we would like to – they're here in solidarity with me because we like nonfiction. We like nonfiction and we live in fictitious times. We live in the time where we have fictitious election results that elects a fictitious president. We live in a time where we have a man sending us to war for fictitious reasons. Whether it's the fictition of duct tape or fictition of orange alerts we are against this war, Mr. Bush. Shame on you, Mr. Bush, shame on you. And any time you got the Pope and the Dixie Chicks against you, your time is up. Thank you very much."


66th (1993). - Winner. Actor in a Leading Role.
Tom Hanks - "
Philadelphia". Acceptance Speech (Fragment).

"And there lies my dilemma here tonight. I know that my work, in this case, is magnified by the fact that the streets of heaven are too crowded with angels. We know their names. They number a thousand for each one of the red ribbons that we wear here tonight. They finally rest in the warm embrace of the gracious creator of us all – a healing embrace that cools their fevers, that clears their skin, and allows their eyes to see the simple, self-evident, common-sense truth that is made manifest by the benevolent creator of us all, and was written down on paper by wise men, tolerant men, in the city of Philadelphia, two hundred years ago."


73rd (2000) - Winner. Directing.
Steven Soderbergh - "Traffic". Acceptance Speech
(Fragment).

"What I want to say is, I want to thank anyone who spends part of their day creating. I don't care if it's a book, a film, a painting, a dance, a piece of theater, a piece of music, anybody – anybody who spends part of their day sharing their experience with us, I think this world would be unliveable without art, and I thank you."


44th (1971) - Honorary Award.
Charlie Chaplin. Acceptance Speech.

"Words seem so futile, so feeble. You are all such lovely, beautiful people... thank you."


78th (2006). Winner. Actor in a Supporting Role
George Clooney - "Syriana". Acceptance Speech.

"Wow. All right, so I'm not winning director. It's the funny thing about winning an Academy Award, it will always be synonymous with your name from here on in. It will be Oscar winner, George Clooney. Sexiest Man Alive, 1997. Batman, died today in a freak accident at a -- Listen, I don't quite know how you compare art. You look at these performances this year, of these actors and unless we all did the same role, everybody put on a bat suit, and we'll all try that. Unless we all did the same role, I don't know how you compare it. They are stellar performances and wonderful work, and I'm honored, truly honored to be up here. And finally, I would say that, you know, we are a little bit out of touch in
Hollywood every once in a while. I think it's probably a good thing. We're the ones who talk about AIDS when it was just being whispered, and we talked about civil rights when it wasn't really popular. And we, you know, we bring up subjects. This Academy, this group of people gave Hattie McDaniel an Oscar in 1939 when blacks were still sitting in the backs of theaters. I'm proud to be a part of this Academy. Proud to be part of this community, and proud to be out of touch. And I thank you so much for this."


75th (2002). Winner. Music Score.
Elliot Goldenthal - "Frida". Acceptance Speech
(Fragment).

"But what I really want to say, and I'll do it quickly, is I want to dedicate this award to the bridges that we try to build, to the people of Mexico, to the artistic tradition and legacy of personal and political art. For you, Mexico."


martes, 19 de junio de 2007

Got Milk?

Los famosos toman leche... Got Milk es una campaña publicitaria iniciada en 1993 con el fin de impulsar el consumo de leche en los Estados Unidos. En 1998 el National Milk Processor Board registró el slogan Got Milk? para ponerlo en los pósters de la campaña, en los cuales se muestra a alguna celebridad con un bigote de leche...

Esta campaña ha tenido mucho éxito en los Estados Unidos y ha logrado un índice de retención de 90% en el público. A partir del 2006 la campaña existe también en español con la frase ¿Toma Leche?

Y quién diría que los famosos han hecho felices a los productores de leche americanos... En los anuncios han desfilado desde deportistas como David Beckham y Tiger Woods, cantantes como Beyoncé y Elton John, personalidades de la TV como Larry King y Conan O'Brian, y gente de cine, incluyendo al elenco de High School Musical.



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lunes, 18 de junio de 2007

El gran final de Big Fish

Big Fish, my top-ranked film of 2003, not only charmed me completely with its humanity and whimsical humor -- it also surprised me with its wisdom.


La lectura del día: los últimos minutos de Big Fish. El gran final, emotivo y memorable, en el que vemos a Will (Billy Cudrup) momentos antes de que su padre, Edward Bloom (Albert Finney), pase a mejor vida. El guión fue escrito por John August, basado en la novela de Daniel Wallace. Espero que les guste.


181 ROOM - PRE-DAWN 181

It’s very early morning, and the first blue light of day is glowing through the vertical blinds. Still in his chair, Will wakes up a bit at a time. The notepad is on his lap, the pen in his hand. He cracks his neck, crooked from sleeping on it wrong. What woke him up? He looks to his right. Holds his gaze for a breath.

WILL: Dad?

His father is awake, silently GASPING for breath. His eyes are open, scared and confused.

WILL (cont’d): Dad! Do you want me to get a nurse?

Edward shakes his head unambiguously. Will already has his finger on the orange "nurse call" button, but doesn’t push it.

WILL (cont’d): What can I do? Can I help? Can I get you something? Water?

Edward nods. Will pours a glass from the pitcher on the nightstand. He holds it to his father’s lips, but Edward won’t drink. He pushes it away. He wanted something else.

EDWARD (whispering): The river.
WILL: The river?

It takes Edward all his strength to put together each thought. It’s like he’s only half-there, fighting to hang on to this world.

EDWARD: Tell me how it happens.
WILL: How what happens?
EDWARD: How I go.

ON WILL, realizing...

WILL: You mean what you saw in The Eye?

Edward nods. Yes, that’s what he was trying to say. A long beat.

WILL (cont’d): I don’t know that story, Dad. You never told me that one.

Will pushes his fingers under his father’s heavy hand, and holds it. There’s nothing else to do. Edward looks around, confused and increasingly scared. He sees the end approaching, but doesn’t know exactly what’s coming. Without the story, he’s lost.

Fighting the urge to panic --

WILL (cont’d): I can try, Dad. If you help. Just tell me how it starts.
EDWARD: Like this.
WILL: Okay. Okay.

Will looks around the room, increasingly desperate. He looks to the nurse call button. He really wants to press it.

ON EDWARD, waiting for Will to begin.

WILL (cont’d): Okay. It’s morning, and you and I are in the hospital. I’d fallen asleep in the chair. I wake up and I see you, and...
WILL: Dad?

It’s dawn, and the first golden glow is shining through the vertical blinds.

WILL (cont’d)(louder and concerned): Dad?

We LOOK OVER to find a nimble Edward sitting up in bed, combing his hair.

EDWARD: Let’s get out of here.
WILL (V.O.): Somehow, you’re better.
Different. You’re getting ready to go. And I say...
WILL: Dad, you’re in no condition to...

But Edward throws back the covers.

EDWARD: There’s a fold-up wheelchair in the bathroom. Wrap a blanket around me.As soon as we get off this floor, we’ll be in the clear.

Will heads for the bathroom. Sure enough, the wheelchair is there.

EDWARD (cont’d): Hurry! We don’t have much time.

With the blanket draped over his head like a ghost, Edward points for his son to steer the wheelchair thataway.

EDWARD: Faster!

They pass a HEAVYSET NURSE, who turns to look. Rounding a corner, they nearly crash into Dr. Bennett.

DR. BENNETT: Will! I...What are you doing?

Before he can answer, Will spots Edward rolling the chair himself, pumping both arms. Will dashes to catch up with him. The Heavyset Nurse leans out of Edward’s hospital room.

NURSE: Security! Stop them!

At the elevators, Sandra and Josephine step out to find Will and Edward barreling straight at them.

EDWARD: No time to explain! Follow us!

Seeing SECURITY GUARDS heading their way, a quick-thinking Sandra shoves a nearby cart into them, bowling them down.

Will brakes hard, sliding with both feet. The chair nearly crashes into the back wall as the doors close. Will races Edward down the row, finally reaching the Chevrolet. Will lifts his father out of the chair.

WILL (V.O.): I pick you up and you hardly weigh anything. I can’t explain it.

Will sets him in the passenger seat.

EDWARD: Water. I need water.

Scrambling in back, Will finds a liter of Arrowhead. Hands it off. Edward unscrews the cap, but instead of drinking it, he douses himself. Soaks the blanket. Will pops the trunk. Starts to fold up the wheelchair.

EDWARD (cont’d): Leave it! We won’t need it.

TIRES SMOKE as the car peals out.

BACK TO: INT. HOSPITAL ROOM 186 - DAY [REALITY] 186
TIGHT ON Will, trying to hold back tears as he talks.

WILL: And we have to take Glenville to avoid all the church traffic, because those damn church people drive too slow.

TIGHT ON Edward, enjoying that detail. He’s focused completely on Will’s story.

WILL (cont’d): I ask...

The Chevy slaloms through the Sunday-morning traffic.

WILL (O.S.): Where are we headed?
WILL (V.O.): You say...

188 INT. CHEVY - DAY 188
EDWARD: The River!

Will stops short, the traffic backed up. He HONKS, trying to get around the jam. But it’s no use. Then, up ahead, the cars start moving, shoved aside by massive hands. It’s Karl the Giant, clearing a path by brute force. Edward leans out the window and waves. Karl waves back.

The same stretch of the river where it all began. A CROWD of more than 100 waiting.

WILL (V.O.): As we get closer to the river, we see everybody’s already there. And I mean everybody.

Amos Calloway is here with the circus folk, including Mr. Soggybottom. We also find Edward’s Mother and Father, the Mayor, and many others from along the way. No one has aged a day since we saw them last.

While Ping scans the horizon, Jing nuzzles with her boyfriend, Norther Winslow. It’s Ping who first spots the Chevrolet.

PING: He’s here!

The crowd CHEERS. The Ashton marching band PLAYS. Jenny Hill smiles. So does the Old Woman. We PUSH IN on the Old Woman’s glass eye, where we see YOUNG EDWARD reflected. This is what he saw.

191 INT. THE CHEVROLET - DAY 191
Amazed, Will turns to his father.

WILL: It’s unbelievable.
EDWARD: Story of my life.

Will gets out of the Chevrolet, overwhelmed by the crowd. Behind him, Sandra, Josephine and Dr. Bennett pull up. Karl comes just after that. Crossing to the passenger side, Will lifts his father out. Strangely, he’s gotten even lighter. Will carries him easily.

Edward pulls off his shoes, tying the laces together. He hands them to Josephine. She throws them up at the powerline. They loop over. APPLAUSE and CHEERS.

The crowd parts to let Will and Edward get to the river. As he passes, Edward shakes some hands, pats some people on the cheek, and gives others a good poke in the ribs.

WILL (V.O.): And the strange thing is, there’s not a sad face to be found. Everyone’s just so glad to see you, and send you off right.

Will walks into the river, up to his knees. He turns back so his father can face the crowd. Edward waves.

EDWARD: Goodbye everybody! Farewell! Adieu!
THE CROWD (VARIOUS): Goodbye Edward! / See ya! / We’ll miss you!

But one face is missing from the crowd -- Sandra. Will turns to see she’s already standing in the river beside them. The reflection of the light off the water gives Sandra an unearthly glow. She’s more tranquil and more beautiful than we’ve ever seen her.

EDWARD: My girl in the river.

She kisses him. He tweaks her chin. The crowd HOLLERS in approval, but their moment remains strangely private. Only Will is there to witness. As the kiss ends, Edward tries to pull off his wedding ring. But it’s stuck. Finally, he sucks on it, pulling it free with his teeth.

A look to Will, a smile with a glint of gold. Will takes the ring out of his mouth. Edward suddenly drops out of Will’s arms with a SPLASH. For he’s no longer a man, but rather A FAT CATFISH swimming at his feet. We watch as the catfish circles, then heads for deeper water, disappearing.

Will and his mother stand knee-deep in the water, watching Edward Bloom swim away into the sunlight. Josephine is back on the shore, along with the entire crowd.

MUSIC BUILDS to a climax, then...

Down the river, a GIANT FISH suddenly jumps out of the water, cutting a beautiful arc across the sunset. It then dives back under with a SPLASH.

CROSSFADE BACK TO: INT. HOSPITAL 193 ROOM - DAY 193
Will has tears hanging in the corners of his eyes.

WILL: You become what you always were. A very big fish. (he smiles) And that’s the way it happens.
EDWARD (a whisper): Yes. Exactly.

Edward smiles, proud of both of them. His eyes are so pale and so open, we can almost see his soul. In every atom of his body, in every thought, Edward Bloom is entirely happy.

And this is how he goes.


Was nützt die Liebe in Gedanken?

Imagen de Daniel Brühl y August Diehl

Hace unas noches me desvelé viendo una película alemana. Trataba de un evento real ocurrido en Berlin en 1927: la „Steglitzer Schülertragödie“, en la que dos universitarios, Paul Krantz y Günther Scheller, idean un Selbstmörderclub.


Las reglas de este Selbstmörderclub (club del suicidio) eran:

1. Der Name des Selbstmörderclubs ist Fe-Hou
2. Liebe ist der einzige Grund, für den wir zu sterben bereit sind.
3. Liebe ist der einzige Grund, für den wir töten würden.
4. Wir verpflichten uns daher, unser Leben in dem Augenblick zu beenden, in dem wir keine Liebe mehr empfinden. Und wir werden all diejenigen mit in den Tod nehmen, die uns unserer Liebe beraubt haben.

Algo así como:

1. El nombre de este club del suicidio es Fe-Hou
2. El amor es la única razón por la que moriremos
3. El amor es la única razón por la que mataremos
4. Nosotros nos comprometemos a terminar con nuestras vidas en el momento en que no sintamos más amor. Y también nos comprometemos a terminar con las vidas de aquellos que han robado nuestro amor.

Evidentemente todo termina en tragedia, pero el filme me gustó. Una bella reflexi
ón sobre el amor y la vida.

Was nützt die Liebe in Gedanken (Love in Thoughts) con Daniel Brühl (mejor recordado por Goodbye Lenin!) y August Diehl. Director y guionista: Achim von Borries.

miércoles, 13 de junio de 2007

The break-up scene between Larry and Anna

"There is, however, a certain illicit thrill in seeing [Julia Roberts] shout obscenities at Clive Owen; the break-up scene between Larry and Anna is a definite highlight."


Hay escenas en el cine que son notables sólo por el lenguaje que utilizan; todo se lo debemos al buen empeño del guionista por mostrarnos diálogos inteligentes, provocadores y realistas. A continuación una escena de Closer (Mike Nichols, 2004) protagonizada por Anna (Julia Roberts) y Larry (Clive Owen), a la cual le pondría el título de 'The Big Bang Theory of Relationships' o 'Reflexión sobre el amor, el desamor y sus efectos colaterales'. Espero sus comentarios...



ANNA: Why are you dressed?
LARRY: Because I think you might be about to leave me, and I didn't want to be wearing a dressing gown.
LARRY: I slept with someone in New York. A whore. I'm sorry.
ANNA: Why did you tell me?
LARRY: I couldn't lie to you.
ANNA: Why not?
LARRY: Because I love you.
ANNA: It's fine.
LARRY: Really? Why? Something's wrong. Tell me. Are you leaving me?

ANNA nods.

LARRY: Because of this? Why?
ANNA: Dan.
LARRY: Cupid? He's our joke.
ANNA: I love him.
LARRY: You're seeing him now?

ANNA nods.

LARRY: Since when?
ANNA: Since my opening last year. I'm disgusting.
LARRY: You're phenomenal. You're so clever. Why did you marry me?
ANNA: I stopped seeing him. I wanted us to work.
LARRY: Why did you tell me you wanted children?
ANNA: Because I did.
LARRY: And now you want children with him?
ANNA: Yes... I don't know.
LARRY: But... we're happy. Aren't we?

She glares at him.

LARRY: You're going to go and live with him?
ANNA: You stay here if you want.
LARRY: Oh, look. I don't give a fuck about the spoils. You know, you did this to me the day we met. You let me hang myself for your amusement. Why didn't you just tell me the second I walked through the door?
ANNA: I was scared.
LARRY: You're a coward, you spoiled bitch. Are you dressed 'cause you thought I might hit you? What do you think I am?
ANNA: I've been hit before.
LARRY: Not by me! Is he a good fuck?
ANNA: Don't do this.
LARRY: Just answer the question. Is he good?
ANNA: Yes.
LARRY: Better than me?
ANNA: Different.
LARRY: Better?
ANNA: Gentler.
LARRY: What does that mean?
ANNA: You know what it means.
LARRY: Tell me.
ANNA: No.
LARRY: I treat you like a whore.
ANNA: Sometimes.
LARRY: Why would that be?
ANNA: I'm sorry you're a...
LARRY: Don't say it. Don't you fucking say "You're too good for me." I am, but don't say it. You're making the mistake of your life. You're leaving me because you believe that you don't deserve happiness, but you do, Anna. Did you have a bath because you had sex with him? So you wouldn't smell of him. So you'd feel less guilty?
LARRY: How do you feel?
ANNA: Guilty.
LARRY: Did you ever love me?
ANNA: Yes.

He starts crying. She embraces him.
LARRY: Did you do it here?
ANNA: No.
LARRY: Why not?
ANNA: Do you wish we did?
LARRY: Just tell me the truth.
ANNA: Yes, we did it here.
LARRY: Where?

ANNA points.

ANNA: There.
LARRY: On this. We had our first fuck on this. Did you think of me? When? When did you do it here? Answer the question!
ANNA: This evening.
LARRY: Did you come?
ANNA: Why are you doing this?
LARRY: 'cause I want to know.
ANNA: Yes, I came.
LARRY: How many times?
ANNA: Twice.
LARRY: How?
ANNA: First he went down on me, and then we fucked.
LARRY: Who was where?
ANNA: I was on top, then he fucked me from behind.
LARRY: And that's when you came the second time.
ANNA: Why is the sex so important?
LARRY: Because I'm a fucking caveman! Did you touch yourself while he fucked you?
ANNA: Yes.
LARRY: You wank for him.
ANNA: Sometimes.
LARRY: And he does.
ANNA: We do everything that people who have sex do!
LARRY: You enjoy sucking him off.
ANNA: Yes!
LARRY: You like his cock.
ANNA: I love his cock!
LARRY: You like him cumming in your face.
ANNA: Yes!
LARRY: What does it taste like?
ANNA: It tastes like you but sweeter!
LARRY: That's the spirit. Thank you. Thank you for your honesty. Now fuck off and die, you fucked up slag.

martes, 12 de junio de 2007

Frase cinéfila del día...

"I feel that life is divided into the horrible and the miserable. That's the two categories. The horrible are like, I don't know, terminal cases, you know, and blind people, crippled. I don't know how they get through life. It's amazing to me. And the miserable is everyone else. So you should be thankful that you're miserable, because that's very lucky, to be miserable."

ANNIE HALL


El fin de semana vi esta película, y la verdad fue difícil elegir una frase entre tantas buenas que tiene. Esta es una de las que más gracia me causó.

lunes, 11 de junio de 2007

American Gangster de Ridley Scott

Los Oscarizados Denzel Washington (Training Day), Russell Crowe (Gladiator), Cuba Gooding Jr. (Jerry Maguire), Steven Zaillan (Schindler's List, Mejor Guión), Brian Grazer (A Beautiful Mind, Productor), se unen bajo la dirección de Ridley Scott (Gladiator) para traer a la pantalla grande el filme American Gangster.



La cinta cuenta la historia de Frank Lucas (Washington), el chofer de uno de los capos más importantes de Harlem, quien decide construir su propio imperio tras la muerte de su jefe e inunda las calles de heroína ofreciéndola a un mejor precio. Del otro lado, Richie Robert (Crowe) es un experimentado policía que astutamente logra percibir el cambio de liderazgo en el inframundo de las drogas. Los destinos de Robert y Lucas se entrelazan culminando en una confrontación de la que sólo uno podrá salir victorioso...


El trailer e imágenes del filme están ya disponibles en el sitio oficial de American Gangster.

sábado, 9 de junio de 2007

On The Lot de Steven Spielberg

Imagina poder desarrollar tu proyecto de cine patrocinado por DreamWorks... Pues esto es justo lo que propone On The Lot, un nuevo reality show producido por Steven Spielberg. En este programa de TV que se transmite por FOX (y People+Arts, en Latinoamérica), 18 concursantes compiten por la oportunidad de desarrollar un proyecto cinematográfico.

El programa apenas tiene dos semanas al aire, pero ya vimos una prueba de las capacidades de los 18 directores participantes. Durante la primera semana, todos tuvieron que idear un corto de un minuto y durante la segunda semana, cinco concursantes fueron seleccionados para realizar un corto de 3 minutos.

Estuve viendo estos cortos en el sitio oficial de On The Lot y me llevé buenas sorpresas. Particularmente, me gustaron Danger Zone de Zach Lipovsky (corto de 1 minuto) y Dough: The Musical de Adam Stein (corto de 3 minutos), el cual pueden ver aquí abajo:

miércoles, 6 de junio de 2007

Música de Película: Yann Tiersen

Yann Tiersen durante uno de sus conciertos

Yann Tiersen, compositor e intérprete, nació en Brest, Francia en 1970. Aunque había colaborado con la música para varias obras de teatro y cortometrajes, en realidad el mundo lo conoció hasta el año 2001, con la banda sonora de Le Fabuleux Destin d'Amélie Poulain. Por este trabajo recibió una nominación en los premios BAFTA y ganó el César a la Mejor Música, otorgado por la Academia Francesa de Artes y Técnicas del Cine. El álbum de esta banda sonora se convirtió en un éxito comercial con más de 700 000 copias vendidas. Su siguiente obra fue la banda sonora del filme alemán Good Bye, Lenin!

El piano, el acordeón, el violín la guitarra son instrumentos que caracterizan su música. Yann Tiersen ha dado la vuelta al mundo ofreciendo conciertos junto con su banda y vocalistas invitados. En el pasado mes de marzo se presentó en el Teatro de la Ciudad de México.

Dos piezas de la música de Amélie:

A Quai
- Yann Tiersen:



La Valse d'Amélie -
Yann Tiersen:

lunes, 4 de junio de 2007

París, Te Amo: 8 de junio, estreno

De manera extraoficial y para quienes estaban esperando esta gran película, les aviso que probablemente se estrene el próximo viernes en algunos cines de la Ciudad de México...


Una ciudad

10 millones de corazones

18 historias de amor desde el corazón de la ciudad


Festival de Cannes 2006 – Selección Oficial: Un Certain Regard


21 directores: Alfonso Cuaron, Joel & Ethan Coen, Tom Tykwer, Gus Van Sant, Wes Craven, Alexander Payne, Christopher Doyle, Walter Salles, entre otros.

Un elenco de película: Maggie Gyllenhaal, Natalie Portman, Gaspard Ulliel, Catalina Sandino Moreno, Bob Hoskins, Gena Rowlands, Nick Nolte, Gérard Depardieu, Juliette Binoche, Willem Dafoe, Steve Buscemi, Elijah Wood, Miranda Richardson, entre otros.

Por el productor de Le Fabuleux Destin d'Amélie Poulain.


La recomiendo sin dudarlo.

Ve el post anterior sobre Paris, Je T'Aime.


2007 MTV Movie Awards: Ganadores

Johnny Depp alzando su bote de palomitas en los MTV Movie Awards 2007

Pues los Piratas del Caribe superaron a los guerreros espartanos (y persas) en los MTV Movie Awards 2007. El premio de mejor actuación, se lo llevó, lógicamente, Johnny Depp. Y los premios en las categorías de Mejor Villano y Mejor Actuación Cómica, parecían haber estado apartados desde hace tiempo para Jack Nicholson y Sacha Baron Cohen.

También hubo algunas sorpresas... ¿Acaso no era Abigail Breslin la más indicada para ganar el premio de Mejor Revelación? ¿Y cómo es posible que los Tranformers ganaran frente a Los Simpsons, Harry Potter y los Fantastic Four? ¡Por favor!!!!!!!!


La lista completa de los ganadores:

Mejor Película
Pirates of the
Caribbean: Dead Man's Chest – Dirigida por Gore Verbinski

Mejor Actuación
Johnny Depp – Pirates of the
Caribbean: Dead Man's Chest

Mejor Villano
Jack Nicholson – The Departed

Mejor Revelación
Jaden Smith – The Pursuit of Happyness

Mejor Actuación Cómica
Sacha Baron Cohen – Borat: Cultural Learnings of
America for Make Benefit Glorious

Mejor Beso
Will Ferrell y Sacha Baron Cohen –
Talladega Nights: The Ballad of Ricky Bobby

Mejor Pelea
Gerard Butler vs. "The Uber Immortal"
(The Spartan/Persian Battle) – 300

Mejor Película del verano que aún no has visto
Transformers

mtvU Best Filmmaker on Campus
Winner Josh Greenbaum – Featured Film: Border Patrol

Best Movie Spoof
United 300

MTV Generation Award
Mike Myers


Ve la lista de los nominados aquí.

sábado, 2 de junio de 2007

ALMA Awards 2007

Con cuatro premios para el filme Babel de Alejandro González Iñárritu y cuatro más para la serie Ugly Betty co-producida por Salma Hayek, concluyö el dïa de ayer la entrega de premios ALMA (American Latino Media Arts Awards). Creados en 1995 por el National Council of La Raza, estos premios han reconocido el trabajo de la comunidad latina en la industria americana del cine y la TV.

La ceremonia, conducida en esta ocasión por la Desperate Housewife, Eva Longoria, tuvo un significado especial, ya que varios artistas acudieron portando listones blancos para pedir que se apruebe una reforma migratoria en Estados Unidos.

A continuación la lista de los ganadores y nominados:

Outstanding Motion Picture
Babel (ganador)
Bobby
Quinceañera

Outstanding Actor – Motion Picture
Jesse Garcia – Quinceañera (ganador)
Gael García Bernal – Babel
Michael Pena – World Trade Center

Outstanding Actress – Motion Picture
Adriana Barraza – Babel (ganador)
Cameron Diaz – The Holiday
Eva Mendes – Trust the Man
Emily Rios – Quinceañera

Outstanding Director – Motion Picture
Alejandro González Iñárritu – Babel (ganador)
Alfonso Cuarón – Children of Men
Emilio Estevez – Bobby
Andy Garcia – The Lost City

Outstanding Screenplay – Motion Picture
Guillermo Arriaga – Babel (ganador)
Alfonso Cuarón, David Arata, Timothy J. Sexton, Mark Fergus, Hawk Ostby – Children of Men
Emilio Estevez – Bobby

Outstanding Television Series, Mini–Series, or TV Movie
Ugly Betty – ABC (ganador)
George Lopez – ABC
Walkout – HBO

Outstanding Actor – Television Series, Mini–Series, or TV Movie
Edward James Olmos – Battlestar Galactica – Sci Fi Channel
(ex-aequo)
Michael Peña – Walkout – HBO (ex-aequo)
Santiago Cabrera – Heroes – NBC
Miguel Ferrer – Crossing Jordan – NBC
George Lopez – George Lopez – ABC
Carlos Mencia – Mind of Mencia – Comedy Central

Outstanding Actress – Television Series, Mini–Series, or TV Movie
America Ferrera – Ugly Betty – ABC
(ganador)
Constance Marie – George Lopez – ABC
Sara Ramirez – Grey's Anatomy – ABC
Alexa Vega – Walkout – HBO

Outstanding Supporting Actor – Television Series, Mini–Series, or TV Movie
Benito Martinez – The Shield – FX (ganador)
Yancey Arias – Walkout – HBO
Jorge Garcia – Lost – ABC
Mark Indelicato – Ugly Betty – ABC
Tony Plana – Ugly Betty – ABC
Miguel Sandoval – Medium – NBC

Outstanding Supporting Actress – Television Series, Mini–Series, or TV Movie
Ana Ortiz – Ugly Betty – ABC
(ganador)
Tonantzin Esparza – Walkout – HBO
Aimee Garcia – George Lopez – ABC
Belita Moreno – George Lopez – ABC
Marisol Nichols – 24 – FOX
Roselyn Sanchez – Without a Trace – CBS
Nadine Velazquez – My Name Is Earl – NBC
Lauren Vélez – Dexter – Showtime

Outstanding Director – Television Series, Mini–Series, or TV Movie
Edward James Olmos – Walkout – HBO
(ex-aequo)
Kenny Ortega –High School Musical – Disney Channel (ex-aequo)
Linda Mendoza – Scrubs – My Déjà Vu – NBC

Outstanding Writing – Television Series, Mini–Series, or TV Movie
Silvio Horta – Ugly Betty, Pilot – ABC
(ganador)
Marcus De Leon, Ernie Contreras, Timothy J. Sexton – Walkout– HBO
Adam E. Fierro (Charles H. Eglee) – The Shield, Enemy of Good – FX
Dailyn Rodriguez – Ugly Betty, After Hours – ABC

Outstanding Made-For-TV Documentary
From Mambo to Hip Hop: A South Bronx Tale – PBS
(ganador)
Al Otro Lado (To the Other Side) – PBS
Lalo Guerrero: The Original Chicano – PBS
Pancho Gonzalez: Warrior of the Courts – PBS