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The mayor or how to drive safe richest municipality of Mexico

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Sunday, 12 May 2013 15:30

With a series of shots and a video from Mexican television eighties where boast with big words and look vintage and the economic boom and safety of San Pedro Garza Garcia, presents the situation of the municipality, the richest in Mexico and Latin America, in the documentary The Mayor. A town you live in, almost, like an island in the Mexican reality, since its demarcation is banished violence and drug trafficking are hesitant to dive, acting in any case at the edge of the municipality, but never in the streets. And that has set security in the streets, sometimes with methods similar to drug gangs themselves and a secretive in their policies that never reveals, is its mayor, Mauricio Fernandez. And Mayor *, ** led by Emiliano Altuna, Carlos Rossini and Diego Enrique Osorno, tries to make a realistic portrait, while critical of this controversial figure in Mexican politics.

Critique of The Mayor

The first success of the documentary is the choice of the subject of wanting to sketch a portrait, because Mauricio Fernandez is a character that attracts and repels in equal measure. He is a politician who has a great magnet for voters, with a charisma that lies in openly expressing their opinions without censorship, and that can attract audiences for its open-mindedness, and pouring transgressive and remote views of political correctness, supporting the legalization of drugs in the country to curb drug trafficking. But, at the same time, its excesses cause stupor, as in the free expression of their thoughts, strained an ideology of some danger: pragmatism, as it assesses its political management by results, but away from all ethical valuation methods used to reach the desired effects. So, never gets to describe the means used to end crime, and considers information from drug gangs and pay for it with public money is necessary if, with it, you reach the goal, which is ultimately what matters among the population: the absence of violence.

The film is strung through a long interview to Mauritius, which takes place at home. And the conversation with him is through a careful composition of the frame that creates a subtle visual speech receives the viewer. And is that Mauritius occupies a chair in the center of the plane, exactly in the place where there is a dark rectangle from an adjoining room unenlightened: it seems that their presence emerges from the shadows, and darkness tell us your thoughts . It is also a reframed by the rectangle, thus imprisoning the character and preventing freedom (in fact, can hardly get out of town without risking their lives). Finally, the plane is made ​​according to a strict symmetry, showing the character's longing for order on their town: the frame and tells, in his own visual settings, all the criticism of the mayor form of government.

Critique of The Mayor

But criticism of the mayor to the pragmatism of their ideology, and their tendency to overestimate the purpose with respect to the media, there is a very veiled through two resources. First, through the creation of a climate of confidence, as is seen Mauricio feels comfort in front of the camera and its interviewers, and so renders opinions which, fortunately, beyond political correctness and so allow us to approach true to his figure and his politics.

And, secondly, through the assembly, the key element of the film. Because the interview is punctuated by archival footage from family videos of her childhood and youth, and television and, above all, for footage of your home and private life. Thus, the words of Mauritius, discharged directly into the camera, find a counterpoint in the images that surround them. Sometimes images have a theme, which immediately speak Mauritius to stand your ground: the case of television interviews about the purchase of information or the death of policemen in its population. But most aggressive are the images that act as contrast, because while he speaks up, we present the weapons store you have in your home, or their roofs and fossil collections that speak of the obsessive character, which seems given to collectors to sort everything around to the limit.

Critique of The Mayor

Thus, the image and voice in a dance work that sometimes goes hand in hand to portray realistically to Mauritius, while at other times they get tripped up, offering an ironic view of the character and the situation. For whole-mount seems to be guided by aesthetic irony in their budgets, since the purpose is to provoke the viewer uncomfortable laugh, a laugh that comes from the contrast between the logical and the absurd and appropriate to situations like a wake. And to capture the facial expression shifts Mayor with his rhythmic and precise assembly, revealing the many inconsistencies that exist in politics.

3 star

Admission Mayor or how to drive safe richest municipality in Mexico appears first in Extracine .




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Documenta Madrid 2013: The Act of Killing stands with the First Prize

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Entertainment - Movies
Sunday, 12 May 2013 13:53

The contest this year's Documenta Madrid, which celebrated its tenth year, was a contest of cuts. But following the budget aesthetic of Italian neorealism, the organization has managed to turn the scarcity of means under, because they have decided to remove several sections of the competition and create a single official section, very powerful, and has managed to concentrate some of the titles contemporary documentary featured. An official section which was accompanied by a Section Panorama, focused on Spanish cinema, and other documentary shorts. Thus, the quality of the Official has undergone a qualitative improvement, and the jury made ​​up Agneta Mogren, Elena Fortes and Javier Martin Dominguez, has been in a difficult crossroads to mark the victor. But if something was unclear, was the winning film, as The Act of Killing has collapsed History of Documenta Madrid 2013 with their presence, although glimpses the absence of other interesting films like the other day , of Ignacio Aguero, or Hiver Nomade by Manuel von Stürler. Still, I think that the selection has been, in this year, very successful:

act of killing

First Prize: The Act of Killing

The Act of Killing, Joshua Opphenheimer, has achieved the First Prize of the Jury, awarded 10,000 € and a trophy. Because there was little doubt that this film was the most risky of the official, and has had the greatest impact on the public: it is a review of the genocide that took place in Indonesia in 1965-1966, which were killed More than a million people to be accused of being communists, at the hands of gangsters or supporting paramilitary secretly wanted the government to expel the communist country. But the highlight is the way to represent such violence, as the director has contacted the perpetrators of the massacre, the perpetrators then took the lives of thousands of people, and staged with them the act of killing as says in the title: fictionalized violence as the only way to represent it. The jury has communicated the reasons for your choice:

By awakening some controversy and get us feel extremely uncomfortable through reconstruction only fantasy and horror that claims a brutal reality that still remains unsolved.

Second Prize: Metamorphosen

The second prize of € 5,000, has gone into the hands of Sebastian Mez, who has also lived his own Odyssey to move to Mayak, one of the regions with the highest concentration of radioactivity in the world, with only the help of a wizard that will translate to film Metamorphosen . And yet, has attracted a sublime images, where the planes of landscapes with layers of snow, fog and wind were able to reproduce that silent presence, invisible and threatening of radioactivity touch is never achieved. But this portrait rests finally on man, since local people narrate their daily lives, and Mez captures some close-ups that capture because we can see the traces of time and place in their faces become real landscapes. The jury noted, in choosing the History of Documenta Madrid 2013, the following reasons for its selection:

By considering a feat in technology and value, using masterfully human and financial resources too few to give us a very beautiful film story of the consequences of a nuclear catastrophe.

Special Jury Prize: Vergiss mein nicht (Forget me not)

The German David Sieveking offers an intimate view of alzheimer in Vergiss mein nicht (Forget me not) , to bring your camera to your household, where his mother developed the disease. And, through a proximity always respectful, and leaving room for her to pour their statements and opinions camera Sieveking builds a video diary of the disease, but focusing primarily on the effects it has on the family network: is a film about the consequences of the disease, rather than on their experience. The jury that granted the Documenta Madrid 2013 Titles highlighted the following values ​​of the documentary:

By exploring memory loss, while building new memories through this medium and a personal process of discovery "

Special Jury Mention: Terra Ninguém

And, with the difficult choice of the jury that decided the History of Documenta Madrid 2013, have allowed a concession and awarded a special mention to the film Terra Ninguém (No man's land - No Man's Land), the Portuguese Salomé Lamas, who with minimalism taken to the extreme, containing statements by a mercenary: he recounts his role in the wars in Mozambique and Angola, and the GAL, as the camera does not leave the room and just pick up their statements, they do not want to reconstruct the events or use archival footage, all power resides in the voice:

We decided to give an honorable mention to a movie that gets subvert the notions of identity and memory using a very clever minimalist elements.

Nomansland # 4 from O SOM EA Fury on Vimeo .

Audience Award: The act of Killing

And the public has decided to follow the tastes of the jury, and has also awarded The Act of Killing particularly with his prize, endowed with € 3,000 and a certificate.

The entrance Documenta Madrid 2013: The Act of Killing stands with the First Prize is listed first in Extracine .




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Gravity: 372 miles above the earth the views are stunning

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Entertainment - Movies
Saturday, 11 May 2013 18:24

Now yes. After that first breakthrough that stimulated a lot, but he showed just go, we can see Sandra Bullock and George Clooney in the first trailer for Gravity. Everything indicates that this is a film that promises to be claustrophobic and disturbing, despite having all the space of the universe, and certainly bring out the best of both actors. Although so far we still have to wait until October 4, to check it in all its glory or, alternatively, wait for new trailer that shine on the journey that will lead the two protagonists while, tied to each other, floating adrift in the vastness of space.

Gravity Trailer

In this trailer we can only enjoy Gravity just under half minutes of that critical moment during his expedition Kowalsky and Dr. Stone are condemned to the infinite darkness of space. What is clear, apparently, is that weapons of Alfonso Cuarón film will be the psychological tension and struggle between the two protagonists, in addition to its visual virtuosity, which is shaping up fantastic and more realistic than that, those who like, can enjoy all its glory in 3D.

Admission Gravity: 372 miles above the earth the views are stunning first appears in Extracine .




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All you need to know about Trance, hypnotic thriller by Danny Boyle

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Saturday, 11 May 2013 00:27

After a long journey that led him to outer space in Sunshine, then India with Slumdog Millionaire and 127 Hours California with British filmmaker Danny Boyle returned to the UK to address the opening ceremony of the London 2012 Olympic Games. A reunion that took the opportunity to re-shoot in London, showing aspects of the British capital unusual, at least in his previous film, which also involves his reunion with some of his great collaborators. For his return had chosen a hypnotic thriller in which involving a Goya painting, for which he even hiring Professor David Oakley, a clinical psychologist and researcher at University College London, that could act as a consultant specializing in hypnosis. Want to know the details of how they made Trance? Pay attention because they themselves tell you what.

Trance Movie Poster

After Slumdog Millionaire producer Christian Colson and I were looking for a new work to do together and I told him I had a couple of ideas to which I had always been drawn: the story of Aron Ralston, who became 127 Hours - and a crazy thriller called Trance. (Danny Boyle)

  • Official Synopsis

Simon, is dedicated to the auction of fine art articles. Decides ally with a criminal gang to steal a work of art worth millions of dollars. But after receiving a blow to the head during the robbery, discover, upon waking, he does not remember where he has hidden the box. When threats and physical torture fail no response, the leader of the gang hires a hypnotherapist to poke in the darkest recesses of the psyche of Simon. As he goes deeper into his shattered subconscious, what is at stake becomes much more and the boundaries between desire and reality begin to blur hypnotic suggestion and go.

Rosario Dawson and a painting by Goya

A painting by Goya

Goya is considered the father of modern art because it delved into the mind. We have had for more than a century painters rather than pictorially represent what we see, paint the way we see the world. In Flight of Bruges we see a man hiding under a blanket ... and I had a strong feeling that this was Simon, the character of James. (Danny Boyle)
Witches Flying Francisco de Goya

Danny wanted the richness of the classical picture. I did not want to Hockney or a Bacon or anything. I wanted to make something that had the wealth of a Caravaggio, but would also be extraordinary. Goya is in that world. To some extent such extraordinary painting paintings, is well ahead of his time. (...) We decided on Flight of Bruges because it is an exotic and strange box that represents a person being lifted into the air by three senior witches hats, rising to the heights of something like a kind of dream and then below them are these three characters. The donkey, which represents the madness or folly, or so I guess, the person who can not see and it runs with a coat over his head, and another person lying in agony with his hands over his ears. It seemed that this picture was the perfect choice. (Mark Tidesley)

An Englishman, a Frenchman and an American

The cast of the film was a major challenge for the filmmaker because all the action of the film takes place mainly on three characters, who share equal prominence and in which one is French, one British and the third is American.

James McAvoy, Danny Boyle and Vincent Cassel

You have three great roles and that is always great in a movie. I remember that from Open Tomb, one of the films I did with John, three fantastic roles where actors struggle to see who is at the center of the film. It's great to have the dynamic appeal of this triangle, because it allows to play with the question of what is the main character of the story. The movie starts, obviously, like the story of Simon but eventually has become more like Franck-and, of course, Elizabeth exerts its own strong gravitational pull. (Danny Boyle)

Rosario Dawson, Vincent Cassel and James McAvoy

  • James McAvoy

The first time I read the script, I was completely dazzled this devilish psychological heist movie that transcends genre boundaries. I remember the script was very difficult and complicated. When I went to submit to a test for Danny, was unmatched. I rarely have a test run such an interesting way. It was just a pleasure. And if I had gone without getting the job, yet really have enjoyed and appreciated the time I spent with him because it was a fantastic workshop. That made me die to get the role. Luckily for me, called me and said '"Would you like to do?'" Each day of shooting has been so: was simply to find the script, which is magnificent, bold and poses a challenge to the interpreter. " (...) I think every movie that Danny has always been bold and daring, and do not think he perceives that the genre has limits. So if it is within a genre, insists on forcing its limits-as it were-and sometimes also in Plunging transfer them different genres. And with Anthony (Dod Mantle, the cinematographer) at his side, both of them bring together a bizarre amount of energy, and they're also really enthusiastic and generous with that energy, so you walk around this couple ends up almost infectious. Sometimes you sit down and think, 'Is he going to be okay? Is it too much? ' Then, of course, not. What after Danny also makes set-up is that it says: 'Yes, it could be too but if not we'll never know we roll' (James McAvoy)

James McAvoy

James McAvoy's career has progressed slowly but steadily to become one of the actors of the moment, from his early work for British television, to his convincing performances in films like forum Starter ten, The Last King Of Scotland and Atonement . It was hoped that received the call from Hollywood, joining Wanted ye first then playing Xavier in X-Men: First Class, also participating in more classic films as The the sation and The conspirator. Although I had never worked with Danny Boyle, he was instantly attracted to the role, as he has had.

James McAvoy

I always thought he might be a little young for the role, but in reality, when we met and talked, it was very interesting because the paper makes him look older. The way became the character was truly fantastic, and while we were filming I said, '"You look older than how you had seen before on the screen. This is not a compliment thank the actors often. It's always a double-edged sword! They like to be refined and grow but do not look older. I also wanted to act with his Scottish accent natural because I truly love the way of speaking of the Scots. He says that's something he asked to do it infrequently. So it was great that James and Vincent used his natural accent. As you may know that I have a great experience with accents, Ewan McGregor, Cillian Murphy, James McAvoy ... -. I do not know why that is. Maybe it's that I have anything against English actors! All my family is from Ireland and, of course, had the advantage of working in Scotland with a group of amazing actors Scots in my first two films. There is no doubt that let me dial. Anyway, I am a hardcore James McAvoy, who does a wonderful job. His role is very difficult because you never know for sure where your consciousness. (Danny Boyle)

  • Vincent Cassel

What I liked about the film was started as normal. It's that kind of film, arrived to page 25 of the script, it becomes something else entirely. Beyond the limits of the genre. It really plays with you. It is not clear who is good and who is bad. At first, you might think one thing then turns into another and, later, at the end, is something quite different. The characters evolve. When we judge someone, we've been caught. Suddenly, we realize that maybe we rushed a bit and the thing was not exactly what we thought it was. (Vincent Cassel)

Vincent Cassel

Best known for its own merits as the son of actor Jean-Pierre Cassel, Vincent Cassel jumped into the international scene for his role in L'haine (1995, Mathieu Kassovitz). Since then he has managed to build an exciting career with outstanding titles like L'appartment, 1996, Gilles Minouni), Le pacte des loups (2011, Christophe Gans), Irreversible (2002, Gaspar Noé), Mesrine (L'instinct de mort & L'ennemi public n ° January 2008, Jean-François Richet) or Black Swan (2010, Darren Aronofsky).

Vincent Cassel

If you have a good script and a good director has, the actor has much less to do. When the script is well written, your dialogue is good, no need to reinvent it, you just have to learn the dialogue and when you know that the director is the boss-which certainly is the case of Danny rarely have to doubt it. He always tests new material. The funny thing is that he makes a very modern kind of film but at the same time, comes from the world of theater, so its relation to the interpretation and actors, even with the script, it's very organic. (...) The other thing I noticed about him is that his conduct is always very visual and original and even baroque. But never do just to get a certain style. Always has meaning. The frame can be different and modern but always tells a story. (Danny Boyle)

Rosario Dawson (Elizabeth)

I always had in mind for the role Rosario. Always wanted to work with her. We met about six or seven years to make a film in the U.S.. UU. The project came to nothing but always thought she was amazing. There will thank me for saying but everything I've seen makes me think it has not been used the most, do not think his acting talent has been fully exploited. (Danny Boyle)

Rosario Dawson

Popular for his role in films like Sin City or Men in Black II, Rosario Dawson has also developed a busy career that has led him to work with such disparate filmmakers as Larry Clark, Spike Lee, Quentin Tarantino, Chis Columbus and Tony Scott. Latent racism in American industry still led him to move to the UK where the skin color or is so important to get a good role.

James McAvoy

Never played anyone that remotely resembled it. I've played characters that supposedly nobody likes and I have endeavored to give them a human side to the public, to leave the room, you can remember. In Got Game, who saw me said: 'Well, look. In that movie, I hated, in the end, however, I realized '. But Elizabeth is completely different because it saves everything. Just give us clues to their emotions when I do something with my hair to show their restraint, or when she lets her hair because it really loose. We get to see a different facet of it. It's subtle, something that is completely unspoken. Daba, then, the feeling of being a wonderful presence of these two types. (Rosario Dawson)

A shooting between friends

In the summer of 2011, the script was ready, the cast formed and funding resolved, dehecho, filming began in September of that year I Three Mills studios and outdoor locations in London. However, their commitment to the Olympic Games in July 2012, post-production forced him to postpone until after the Olympics.

Danny Boyle

  • John Hodge: screenwriter

The filmography of John Hodge and Danny Boyle has always been closely linked. Both began his career fair with Shallow Grave, to continue their fruitful collaboration with the adaptation of Irvine Welsh's novel, Trainspotting. A read ordinary life and The beach would be his next films together would close professional collaboration now reopened and Trance seems set to continue with Porn. If the path is known Boyle since then, much less understood is that of Hodge, which developed the screenplays not too lucky as The final curtain, The seeker: the result is rising or, more recently and more interesting, The sweeney .

Rosario Dawson

I always got the feeling of being a perfect material for writer John Hodge, with whom I had worked on Trainspotting and Open Tomb. Christian could solve the problem of the rights and hired John to be working in the script while we we performed 127 hours. (...) I wanted to try to update the concept black genre, but wanted to create something very close to it or forwarded obviously resembling it. I wanted to take that world, but do so in a context really modern (...). When I update it, I also mean the emotional aspect. There is nothing to fall back on, there is no system, no chain of command nor related structures or support for any character. (...) Everyone is alone plainly. That is the reason why this kind of films is always linked to crime, because they always revolve around acting without more resources than themselves, regardless of the law. (Danny Boyle)

James McAvoy

Between 2009 and 2011, director, screenwriter and producer, the script underwent a thorough and intensive development process. In the summer of 2011 already had funding thanks to Fox Searchlight and Pathé, and the team was ready to start talking to players.

For me it was clear that Danny's ambition for the film was to take the story to the extremes of human behavior through these three characters-characters who demonstrate a desire and violent behavior taken to the extreme, and a desire for survival and desperate greed. All who worked with Danny know that he wants to take their ideas as far as possible and that's very exciting for a writer. (...) What we wanted to do was make the characters to walk in a kind of constant uncertainty regarding what the truth was. The three characters have to rely almost exclusively on what others say or do to understand what is happening. And of course everything others say or do is, largely, a lie, a manipulation or untrustworthy somehow. Thus, the protagonists are trapped in a puzzle created by themselves. The challenge that they face, and entertainment that is offered to the public-is to try to solve this puzzle. (John Hodge)

  • Suttirat Larlab: costume designer

Three times Larlarb Boyle had agreed earlier, Sunshine, Slumdog Millionaire and 127 hours, in addition to the Olympics, but truth is that it was released as Sunshine costume designer, having worked in the art department of The beach . And four are also the films he has worked with other filmmakers like Berman and Pulcini, Michael Lander, Anton Corbijn or Daniel Barnz, indicating that at least half of his career has evolved from the hand of British filmmaker.

Rosario Dawson and James McAvoy

What in my opinion makes a movie is Danny Boyle is its intense visual nature. But I think if we decompose the visual elements of all his films, the result is that everything has a design aspect superestilizado, is, in fact, the music, the rhythm, the assembly and all. So all of us contribute, based on conversations we had with him and keeping what we hope will constitute the sincerity of his concept, so that the energy and the visual part of it come from the union of all, rather than a mere parade of modern fashion that can choke the characters.

  • Anthony Dod Mantle: cinematographer

States the concept of Boyle on the appearance and feel of the film, were the eye and skill of the Oscar-winning Slumdog Millionaire, who had also worked with him in 28 days later, after having been engaged in an intense race with some of the most representative filmmakers Dogma film, as Thomas Vinterberg, Anders Thomas Jensen and Søren Kragh-Jacobsen and Lars Von Trier himself.

Rosario Dawson

We already have a method. There are usually a few words, emotions and discuss key points before you start shooting. In 127 Hours, for example, was all about dust, dryness and one put him in prison where he was James Franco. All in Slumdog, on the other hand, focused on running out! (...) We went to see many possible outdoors. We kicked London to almost wear the pavement, and it was there that most of the key preparation took place. Every movie we do have a range of colors or a different alphabet. In that sense, this is no different. We had to get into this idea of ​​'trance', but did not want to be too specific or too that explain what it is or means trance because they wanted the film to develop the definition. (...) It's funny because we met in this movie a few weeks ago. He called her a little movie, something hilarious because Danny calls all his films 'little movies' I suppose he means compared to the Opening Ceremony of the Olympic Games, I imagine it was crazy.

Trance

  • Mark Tildesley: production designer

After working the majority of his career by the hand of Michael Winterbottom, with 28 days later Tildesley began his professional relationship with Danny Boyle, who would continue with Trance Sunshine and their third show together. Boyle wanted to suggest that the place in which the story is set could be any major European city was not necessarily represented as the quintessence of London. Among the more unusual locations, highlights Simon's apartment in Elektron Towers, east London, a newly constructed executive floors overlooking the Thames and Canary Wharf.

Trance

We shot a lot through glass or plexiglass folded so that only the first pair of images prove slightly strange. It's hard to do because, really, what do you want to achieve is subtly instead of saying: '"Someone's in a trance."' We wanted the audience to see the real world slightly warped, twisted or strange, but in a way that proclaim from the rooftops that something is happening. (...) Danny wanted to play hard with it, do it quick and entertaining and playing with the idea of ​​confusing the viewer, so that was not entirely sure if he was seeing or not inside the mind of some other person like state trance. I also wanted to keep it from being just a movie very London. I wanted to turn it into a world that was very interesting contemplation. We headed eastward moving away from the center of London's Canary Wharf towards Tilbury Docks. Is there a lot of territory that the film has not been shown. We turn away from anything that was conventional or boring. (...) You think it is going in one direction with something and he comes back and gives up on the idea, and you think, 'How strange!'. Then, running, says: "'Go! In fact, it's fantastic. '" The world of Elizabeth, for example, Harley Street, is the derby of Harley Street. So we think that she is doing very well, and it's not just a question of chicha and turnip her to spend at home. It is on top, but within their world not much life. When we got home, this is very unusual because no pictures of anyone, neither family nor friends. She is surrounded by something slightly odd, with the slight touch of David Lynch. Esforzáramos Danny wanted us to find something truly an elegant way to represent Elizabeth. We achieve this hallway yellow acrylic material, which is extraordinary. Interestingly, the yellow, while in Asia is considered the symbol of nobility and virtue in the West also perceived as a representative color of betrayal and duplicity. (Mark Tidesley)

  • Simon Hayes: sound

Simon Hayes knew, by his first meeting with the director before production would start, that filming would be intensive and acknowledges that the team was under enormous pressure to capture the sound on the set of the most accurate as possible .

Vincent Cassel

The story places great emphasis on the power of the human voice. It was an item that needed to capture, isolate and emphasize with great precision since one of the ways hypnosis achieves its effects is through language. It is a form of what is known as neuro-linguistic programming, how to ask certain questions, the way one uses language that begins to affect the listener in order to be useful to the professional.

  • Jon Harris: assembly

Before getting an Oscar nomination for his work in 127 Hours, Jon Harris had noticed such disparate films as Snatch, Ripley's game, starter for 10, The Descent and its sequel, Sturdast or Kick-ass.

Vincent Cassel and James McAvoy

He likes to be surprised by my performance. No one likes to be what he called an "interventionist". Comes once a week to see how the shape of the assembly progresses but until the end of shooting we do not sit and see everything together to start talking to assembly. Since then, we see the movie twice and keep a long discussion about it. To some extent, he rolls as if it were a documentary, "says Harris. "He makes sure to get as many shots as possible and then be reduced to the best for the scene. Even if some of the shots I could, after all, not to serve, aims to focus the scene as varied a way as possible. So it comes down to the way I respond to the material. Danny looking for energy, so it is not afraid to take risks just to find rolling elements generated by pure innovation. That means we have a lot of material to play with, and ultimately explains why we ended up shooting for two months but riding for six.

James McAvoy

  • Rick Smith: the soundtrack

Known for being one of the members of the band Underworld, would get an extraordinary global projection thanks to the song Born slippy, included in the soundtrack for Trainspotting, Rick Smith was working closely with the director at the ceremony of the Olympics, after have worked together before on some issues of The beach and in a stage production of Frankenstein was directed Boyle. If by Karl Hyde, Underworld half had participated in the soundtrack of Breaking and Entering, this is his first solo original score for a movie. After seeing a fragment of the film, Smith began developing the musical fabric of Trance, taking into ditch that Boyle likes to be surprised. Decided to incorporate the voice of Emeli Sandé after collaborating with her soliviadas also in addition to that found in his voice a link with Rosario Dawson's character, giving a specific facets within the soundtrack.

Rosario Dawson

I sent a funny SMS after the end of the Olympics. It went something like: 'You may never want to work with me after the experience you've been through but, would you be interested in working in Trance?' We worked together for 20 years on and off, so I know Danny as well as anyone. It was hard to say 'Yes'. (...) Really want to be surprised. That's a blessing for a creative partner. I had no knowledge of the script or the film during its production phase, so I joined the project with a completely new approach. (...) Danny participates lot. It is also a great lover of music and both are great stalwarts of rhythm. Interested in every aspect of what it takes to be a success story. But as we've worked together several times, there is the opportunity to keep up with it call it shorthand communication. I propose ideas, soundtrack embryos and notes on areas where I think the music tune with the script and will support it. We meet regularly, then I play pieces for him and we discussed them. Other areas are less defined.

Entry Everything you need to know about Trance, hypnotic thriller by Danny Boyle appears first in Extracine .




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