Un film de Paul W.S. Anderson

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Un film de Paul W.S. Anderson

Message  Marina le Sam 31 Juil 2010 - 12:03

Comic-Con: Paul W.S. Anderson Talks New ‘Three Musketeers’ Movie (TheCinemaSource.com, 30 juillet 2010)
[merci à DL].
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Re: Un film de Paul W.S. Anderson

Message  Marina le Jeu 5 Aoû 2010 - 5:46

Paul W.S. Anderson (video) Interview (TrailerAddict, 4 août 2010) [merci à DL].
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Re: Un film de Paul W.S. Anderson

Message  Luce le Dim 27 Mar 2011 - 15:18

Un pour tous et tous… en 3D! (Brèves Cinéma | CitizenKane, 27 mars 2011).
Niveau casting, c’est plutôt alléchant: Matthew Macfadyen (superbe acteur anglais, vu chez Peter Kosminky et dans la série MI-5) [...]

Après visionnage de la bande-annonce… il n’y a aucun doute que c’est Paul W.S. Anderson qui met en scène (Resident Evil, Mortal Kombat, Course à la mort…) et là deux options: – ça va être un pop-corn movie décomplexé (qui a dit « décérébré » ??) à des années-lumière du roman de Dumas ou alors – ça va être un nanar infâme avec des scènes d’actions sans aucun sens et même pas de zombis pour faire passer la pilule… Qui ira vérifier?

J'irai ! Cool
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Re: Un film de Paul W.S. Anderson

Message  Matthieu le Dim 27 Mar 2011 - 16:06

Moi aussi, et je veux bien manger mon chapeau, tout empanaché, si certain blason s'en trouvera redoré. Wink
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Re: Un film de Paul W.S. Anderson

Message  Luce le Mar 29 Mar 2011 - 16:41

"Un pour tous, tous bourrins " ? Laughing
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Re: Un film de Paul W.S. Anderson

Message  Matthieu le Mar 29 Mar 2011 - 17:19

Je te trouve bien sévère...
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Re: Un film de Paul W.S. Anderson

Message  Luce le Mar 29 Mar 2011 - 17:51

Que non ! J'ai bien ri à l'attaque au bazooka ! Vivement la suite ! Very Happy
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Re: Un film de Paul W.S. Anderson

Message  Marina le Jeu 31 Mar 2011 - 14:10

Milla Jovovich and husband Paul Anderson attend Gorgy's 80th party.
And during the interval I caught up with Milla Jovovich's film director husband Paul Anderson, who admitted he is a hard task master on the set of his new film The Three Musketeers - a swashbuckling blockbuster remake of the original due to hit cinemas later this year.

"I've put the cast through Sword Fight boot camp to get the duel scenes authentic. It was hard core. When you see them fighting it is absolutely with real blades," the director told me of his cast including wife Milla who plays baddie M'lady De Winter and Pride & Prejudice actor Matthew McFayden.

"We've had some injuries. They've all dealt with blood and scrapes - all very quietly and stoically I might add. And Matthew was adamant, as were the rest of the cast, to do all their own stunts - the lads like to get stuck in.

Comedy relief is provided in the shapely form of Matthew's wife – Ashes to Ashes actress Keeley Hawes who is currently treading the boards in Rocket to the Moon on at the National Theatre – and is the butt of many jokes on set:

"The funniest moments when we're shooting are when Matthew's wife Keeley arrives on location to visit him. She looks like this little midget amongst all us giant men. I'm well over six foot and the rest of the male cast are rather enormous. Keeley looks like a Russian miniature doll!" the director told me.
Merci à DL.
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Re: Un film de Paul W.S. Anderson

Message  Marina le Mar 3 Mai 2011 - 19:49

(is this off-topic?)

Paul Anderson's next movie will be Pompeii. Filming begins in 2012.

Paul W.S. Anderson to Direct Volcano Adventure 'Pompeii' (THR, 3 mai 2011).
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Re: Un film de Paul W.S. Anderson

Message  Matthieu le Mar 3 Mai 2011 - 20:53

This is the right thread, where I chose not to post the piece of information myself: I'm tired of (MM in) period dramas or films in costumes ... let's talk of our time for a change! Embarassed
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Re: Un film de Paul W.S. Anderson

Message  Marina le Mer 4 Mai 2011 - 11:12

I love period dramas (like very much the costumes, well Prior Philip's dress less) and our times we have around us all the time anyway. Wink
But of course I'd be happy about a modern role too.
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Re: Un film de Paul W.S. Anderson

Message  Matthieu le Mer 4 Mai 2011 - 11:16

MM's best roles ever were in modern stuff. Enough with the past in cinema! Let us leave it to literature or theatre.
Around us all the time? Acting has nothing to do with journalism. The main role of a thespian, when rising onto the boards or the screen above an audience, is to enlighten (not just entertain) people with the magic of poetry or illusion, and the power of emotion or laugh, for another and better understanding of life. Our lives!
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Re: Un film de Paul W.S. Anderson

Message  Matthieu le Mer 11 Mai 2011 - 17:23

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Re: Un film de Paul W.S. Anderson

Message  Matthieu le Jeu 12 Mai 2011 - 21:45

Marina a écrit:Paul Anderson's next movie will be Pompeii. Filming begins in 2012.

Paul W.S. Anderson to Direct Volcano Adventure 'Pompeii' (THR, 3 mai 2011).
Paul W.S. Anderson's 'Pompeii' Leads Pre-Sale Charge at Market (Cannes) (THR, 12 mai 2011).
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Re: Un film de Paul W.S. Anderson

Message  Matthieu le Ven 26 Aoû 2011 - 13:19

'Musketeers' rebooted for a 3D gen (Variety, 25 août 2011).

Spoiler:
Constantin's 3D production of "The Three Musketeers" is the biggest and most expensive project for both the company and director Paul W.S. Anderson, and its $100 million budget makes it the biggest European movie of the year. Coming off of the record success of their previous collaboration, the most recent chapter in their long-running "Resident Evil" franchise, the new film aims at targeting a wider market by tackling one of the most famous adventure stories of European literature.

Anderson, who is known for his dystopian sci-fi aesthetic, sees this as a logical next step, building on his well-known action cred to expand from his core audience with a lush period adventure.

"I was very aware that we were making 'Three Musketeers' in a post-'Pirates of the Caribbean' world, where 'Pirates' had really kind of upped the ante and created a slightly different kind of genre," Anderson says. "Not a traditional pirate film, rather a kind of fantasy action adventure, which made it one of the biggest franchises in the world."

Instead of magic, Anderson added a retro sci-fi component, utilizing a sort of steampunk aesthetic in gadgets, weaponry and attitude that references James Bond or "Mission: Impossible," while still grounded in the period and faithful to the original story.

"It's a story I've loved since I was a child," says Anderson. "I read the book in school and I loved Richard Lester's version. I think one of the reasons why it can be done over and over again is that each generation gets its own version. Essentially the same story but reflecting its own time."

With the success of the last "Resident Evil" in 3D, Anderson has made it clear that it's all 3D from now on. But with a tight 11-week schedule for "Musketeers," both on location all over Bavaria and later in Studio Babelsberg, one could expect to hear a litany of complaints about the sizable 3D rig. But Anderson claims that a lot the horror stories of long set-up times are exaggerated.

"I shot my last three movies on very tight schedules, and my schedule between a 3D and a 2D movie has not changed," he says, crediting d.p. Glen MacPherson's wealth of 3D experience, which included the fourth "Resident Evil," for making things flow so easily. "I wanted to work with a d.p. who already knew what he was doing, and had made all of the mistakes on somebody else's film."

Anderson maintains that the secret of good 3D is "to approach it in a really holistic way. You think about 3D in every aspect of the movie. You design it with 3D in mind right from the script process. The more you think about it, the better the end result."

Anderson's producer and partner Jeremy Bolt agrees. "Paul was already quite suited to 3D because so much of his style is about composing sequences, the choreography of scenes. … And 3D is almost a throwback to old-school filmmaking; you can't cut as quickly so the mise en scene becomes even more important."

Production designer Paul Austerberry, who has also worked with Anderson previously, but never in 3D, says it wasn't as big of a jump as he had anticipated. "The way I work, I'm anyway very aware of foreground, middle ground and background," he says, adding that he was already designing with 3D software, so it was easy to apply that to the film's needs. What was new was having to consider the relation of the 3D camera to the set to avoid overpowering the foreground. It often meant stretching out the configuration of the set, causing camera and crew to be crammed into a tight corner of the studio to get the shot.

This was not a problem on location in the various Bavarian palaces that they used to replicate 17th-century France. "Some of these spaces were just epic!" Austerberry says. "Generally speaking, I can only build (a certain) amount of height because of cost, and then you have to digitally add in the rest. Some of these grand spaces look like they're a visual effect already. And if we'd had to do it, I don't think we would have matched the scale. We just wouldn't have thought that big."

At the same time, it was also about the details. "We had unbelievable antique furnishings brought in that had all this relief, so that when you had closeups of somebody sitting at a desk you could read that texture and the depth because of the 3D. And Pierre-Yves Gayraud, the costume designer, found all these materials and the textures of the brocade, or the weight of the fabric in the folds of the costumes and drapery, all these all had their own kind of dimensional effect."

The costumes had another significant effect as Milla Jovovich was determined to do her action scenes properly costumed in corset and full skirt. "Usually in period movies where women have action scenes, they end up dressing like men," Anderson says, "because (the period) costumes are hard enough to walk in or even breathe in, never mind do a fight scene in." This meant that when choreographing the fight, Jovovich had to wear specially constructed training gear made to re-create the weight and fit of the eventual costume.

"There were certain moves that she just couldn't do," he says, "but some things looked so much more spectacular because she was wearing the skirt and I thought, 'We have to see that skirt twirling in the air.' I'd say we changed about 60% of what we had planned once she started rehearsing with the actual costume."

The sword fights benefitted especially from the 3D. While the added dimension doesn't support traditional stunt fights where blows don't actually connect, sword fighting can look great because it depends on the real impact of the blades. Anderson wanted the sword fights as real as possible, because 3D scenes aren't cut as fast as 2D, which means one can't rely on stunt doubles due to the sustained takes. Sword master Nick Powell was charged with coming up with some impressive fencing scenes that the actors could actually perform, without wire work, tricks or CGI -- the upshot being that they all wound up becoming proficient sword fighters.

Anderson points to a little extra dividend: "When the blades hit there are these fantastic sparks, and I know people are going to assume they were added in post-production, but they're all real because those are titanium blades. And when they clash, sparks fly."

Given his experience with several franchises, he does consider that "Three Musketeers" -- which already consists of a trilogy of books by Alexandre Dumas -- certainly has that potential.

"I always have that in the back of my mind, but I think quite often you see these properties develop, and all the talk is about the multi-picture franchise instead of how do we make a really great movie straight out of the gate. And it doesn't matter that there are many sequels to the 'Golden Compass,' if you don't knock the first movie out of the ballpark, you're never gonna have a franchise."
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Re: Un film de Paul W.S. Anderson

Message  Luce le Ven 9 Sep 2011 - 14:34

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Re: Un film de Paul W.S. Anderson

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