Monday, May 08, 2006

The man behind Brosnan's Matador

Pierce Brosnan's latest role as a burned-out, boozy hit-man could hardly be more removed from his James Bond image.

Brosnan plays a hired killer facing a midlife crisis
For this he must thank writer-director Richard Shepard, whose black comedy The Matador gives the Irish actor his first opportunity to spread his wings since passing 007's tuxedo on to Daniel Craig.

While playing Ian Fleming's debonair spy, Brosnan never got to paint his toenails, dress as a cheerleader or stride through a hotel lobby wearing nothing but cowboy boots and underpants.

But according to Shepard, the 52-year-old welcomed the chance to experiment with darker, edgier fare.

"Pierce was aggressively looking for material that would challenge him," said the New York-born film-maker.

"He'd just done a series of studio movies that didn't push him and he was up for taking a career risk.

"Had this movie not worked he could have looked like a fool," the 38-year-old continued.

"But the great thing about Pierce is he's willing to try anything."

That included donning a cheerleader's outfit for a dream sequence that reflects his character's fractured state-of-mind.

"When we suggested it he laughed and said it sounded great," Shepard told the BBC News website.

"You can't ask for more from an actor than their ability to try good or bad ideas."

'Independent'

Shepard, whose previous films include the low-budget 1991 thriller Oxygen, had originally intended to make The Matador for $250,000 (£145,000).

But the involvement of Brosnan's Irish Dreamtime film company saw the budget balloon to $10m (£5.8m) - a vast increase, though still small for a studio feature.


Neither Kinnear nor Brosnan saw the bullfight take place
"The average Hollywood movie costs $40m (£23m), so this was significantly less," the director explained.

"And because we were making the film in Mexico it was very independent in spirit."

Indeed, although the story takes killer-for-hire Julian Noble to Vienna, Las Vegas, Moscow and Manila, the film itself was shot entirely in Mexico City.

"I wanted to go to different places because that's what hit-man movies do," Shepard continued.

"But we had great production design so I think most people can't tell."

One sequence that was set and shot in Mexico sees Noble and travelling salesman Danny Wright (played by Greg Kinnear) take in a bullfight.

The director admits the scene may upset some viewers but insists no bulls died as a result of his film.

'Humanity'

"We filmed a real bullfight several months before, then intercut that footage with actors in an empty stadium.

"No animals were harmed because we made this movie. It was an existing bullfight that would have happened whether we were there or not."


Brosnan's four-movie stint as 007 ended with 2002's Die Another Day
The fact that Brosnan was also Shepard's producer might have been a problem had director and star not seen eye to eye.

"It could have been a difficult situation," the film-maker admitted.

"But Pierce was the best type of producer. If I needed something he fought for me to get it."

Brosnan has remained vocal in his support for Shepard, describing him as "relentless in his passion for the film" on his official website.

It remains to be seen how audiences will respond to seeing the actor in such an atypical role, but as far as Shepard is concerned it was a gamble worth taking.

"There were many reasons why he was perfect for this part," he told the BBC News website. "First of all it subverted the persona we're used to seeing him as.

"But he's also a very warm man, and able to bring a humanity to the character that was maybe not there on the page."

The Matador opens in the UK on 3 March.

King Kong leads Empire award nods

Peter Jackson's remake of King Kong is leading the nominations for the 2006 Empire magazine film awards.
The film will be up for five prizes - including best film - at the ceremony, to be held at the Hilton London Metropole on 13 March.

Pride & Prejudice, Crash, and Wallace & Gromit: The Curse of the Were-Rabbit, have four nominations each.

Comedian Bill Bailey will host the ceremony, which are the only movie awards voted for by the British public.

Our show is designed to recognise movies of all genres, echoing the way ordinary filmgoers talk about movies

Colin Kennedy, Empire editor
King Kong is up against Star Wars Episode III: Revenge Of The Sith, War Of The Worlds, Crash, and Sin City for the best film honours.

Both King Kong and Revenge Of The Sith are up against Serenity, The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe and Harry Potter And The Goblet Of Fire for the newly introduced best sci-fi/fantasy award.

Jackson is joined in the best director category by Steven Spielberg (War Of The Worlds), Christopher Nolan (Batman Begins), Joe Wright (Pride & Prejudice), Ron Howard (Cinderella Man) and Nick Park and Steve Box (The Curse Of The Were-Rabbit).


The film is Wallace and Gromit's first feature-length movie

King Kong stars Naomi Watts and Andy Serkis receive nods in the best actress and best actor categories, as do Crash stars Thandie Newton and Matt Dillon.

Nominated alongside Newton and Watts are Keira Knightley (Pride & Prejudice), Renee Zellweger (Cinderella Man) and Hilary Swank (Million Dollar Baby).

Christian Bale (Batman Begins), Viggo Mortensen (A History Of Violence) and Johnny Depp (Charlie And The Chocolate Factory), are up against Dillon and Serkis.

Gibson to talk in Maya at Oscars

Mel Gibson will give the Oscars audience a preview of the ancient language spoken in his forthcoming movie Apocalypto.
Gibson told the Time magazine website he would speak Maya when he appeared at the Kodak Theatre in Los Angeles.

"I wanted to shake up the stale action-adventure genre so we almost had to come up with something utterly different like this," he said.

His last film, The Passion of the Christ, was in Latin and Aramaic.

Apocalypto, set 3,000 years ago in central America, features dialogue spoken in an obscure Mayan dialect.

Gibson, who will not act in the film, has said Apocalypto will focus on the life of a Mayan man, touching on "civilisations and what undermines them".

Set before the conquest of Central America by Europeans, Gibson says the film will shun "European faces" to preserve authenticity.

The film is Gibson's first as a director since 2004's The Passion of the Christ, which detailed the last 12 hours in the life of Jesus Christ leading up to a brutal depiction of his crucifixion.

The Passion took more than $600m (£337.5m) worldwide despite being filmed in the Aramaic dialect.

Like The Passion, Apocalypto is expected to be distributed with English subtitles.

Director defends his bomber movie

The director of Oscar-nominated suicide bomber movie Paradise Now has said angry protesters should reply by making their own film.

Hany Abu-Assad spoke out after winning best foreign film at the Independent Spirit Awards in Los Angeles.

Israeli relatives of victims of suicide bombers have called for the Palestinian film to be disqualified from the Academy Award shortlist.

It is one of the favourites to win the best foreign film Oscar on Sunday.

"The only answer I can give them is please go and make your own movie," he said.

"I understand the pain that some people have and I think it's not a problem to protest against a film.

"It's better than to use violence."

Petition

Abu-Assad said his movie, about the last 24 hours before a suicide bombing mission by two Palestinians, was one that allowed the audience to question things.

"We all have different opinions about it. This is why we have films - you give the right to people to judge it as they want."

He said the film was still showing in Israel to full houses every night.


Paradise Now is tipped to win the best foreign film Oscar

It is to start showing in the rest of the Middle East in a fortnight, including the Palestinian territories' one cinema in Ramallah, he added. But there were already pirate copies in circulation.

A group of Israeli bereaved parents had said more than 32,000 people signed a petition against the nomination.

The signatures were collected by the relatives of teenagers killed in a bus bombing in the northern city of Haifa three years ago, in which 17 people were killed.

They believe the film disregards the suffering experienced by the bombers' victims, and will encourage more attacks.

The Academy of Motion Pictures Arts and Sciences declined to comment on the petition.

Razzies pluck 2005 movie turkeys

The cameras were primed and the front pages were at the ready for the Golden Raspberry awards, the annual celebration of the year's worst movies.


Last year's event shot to prominence in its traditional Oscar-eve slot when Oscar-winner Halle Berry turned up to receive her award for worst actress.

Could the 26th staging of the Razzies this year in Hollywood keep the press and public interested?


Would Tom Cruise pay a surprise visit to collect his trophy for most tiresome tabloid target?


Surprises were hinted at - but in the end Cruise and his fellow nominees stayed away.


However, there were no disappointments when it came to the choice of winners.


Chairman John Wilson told the audience that 2005's poor year at the box office meant it was a bumper year for Razzie voters.


The hardest part for members was keeping their list to just five nominees in each of the categories, he said.


Water pistol


Cruise did indeed take the most tiresome tabloid target award, a suspiciously convenient new category.



Paris Hilton at the London premiere of the Razzied House of Wax


It was a joint win with fiancee Katie Holmes, for Cruise's performance on Oprah Winfrey's couch, his wedding proposal at the Eiffel Tower and the constant news on Holmes' pregnancy - all at the same time the pair had movies to promote.


The show's cast had a great time with a volley of jokes at Cruise's expense, including squirting a golden water pistol - recalling the time Cruise didn't see the funny side when he was squirted by a British TV crew at a movie premiere.


And it carried on from there.


The one-hour Razzies show at the rundown Ivar theatre in Hollywood had the deliberately cheap and amateur feel of a cheery club review atmosphere.


It was a clear contrast to the enormous glitz-fest of the Academy Awards - and the dose of healthy disrespect for Hollywood's failures was as welcome as an Alka-Seltzer after an over-rich dinner.


Each winner was entitled to a gold-spray painted model of a raspberry on top of a mangled Super 8 film reel, worth $4.97 according to Mr Wilson.


None was collected by its intended owner - although Darth Vader appeared complete with mask and light sabre to collect the worst supporting actor prize for Hayden Christensen in Star Wars: Episode III - Revenge of the Sith.

Date Movie fends off Clooney film

Spoof romantic comedy Date Movie has held on to the top spot at the UK box office for the second week, fending off George Clooney's Oscar-winning Syriana.
The comedy took just over £1m between Friday and Sunday - around £200,000 more than Clooney's oil drama made in its first three days on release.

Its star won a best supporting actor Oscar for his performance in the film.

The thriller Lucky Number Slevin held steady at three, while animated Disney caper Chicken Little fell to four.

Cross-dressing comedy Big Momma's House 2, starring Martin Lawrence, is in fifth place, still performing well on its fourth week of release.

TOP FIVE UK FILMS
1. Date Movie
2. Syriana
3. Lucky Number Slevin
4. Chicken Little
5. Big Momma's House 2
Source: Screen International

Indeed, it did significantly better than new comedies starring Nicolas Cage, Pierce Brosnan and Queen Latifah, all of which enjoyed disappointing debuts.

Cage's The Weather Man entered the chart in eighth place with weekend takings of £406,270 - only just ahead of Latifah's Last Holiday at nine and Brosnan's The Matador at ten.

In contrast, low-budget British drama Kidulthood had a decent opening, earning just over £100,000 from its 41 screens.

The film, starring Doctor Who actor Noel Clarke, entered the chart at 15 but still performed better than Cage and Brosnan's films on a screen-for-screen basis.

Despite featuring prominently in Sunday's Oscar ceremony, Walk the Line, Brokeback Mountain and Capote all saw their takings down on the previous week.

School's cinematic funding dream

Pupils at a Borders primary have written and produced their own film to raise funds to improve their school.
The world premiere of "Eco Alert" was held at Duns Primary School to start their bid to raise up to £70,000.

The movie tells the story of Econauts who travel back in time to visit the school and see its ecological problems.

The DVD of the film is going out to potential sponsors of works to repair the playground, gardens and provide a new all-weather pitch.

Film fans get permanent downloads

Film fans in the UK will soon be able to legally download and keep blockbuster movies for the first time, according to film studio Universal.
King Kong and Pride and Prejudice will be among the first films available from the new service on the AOL website.

Fans will pay £19.99 for a DVD of their chosen film plus two digital copies to keep indefinitely - one for their home computer and one for a portable device.

Universal said it could "completely revolutionise" how people watch movies.

However users will not be able to burn copies of the films to DVD themselves and the files will be compatible only with PCs and Windows software.

It's an exciting time but there are still issues that have to be addressed

Arash Amel
Screen Digest

That means they cannot be viewed on Apple iPods or Macs.

Last month, another UK website, Wippit, started offering permanent downloads - but only independent movies are currently available.

Other sites offer Hollywood movies - but only allow customers to keep the digital files for a set time, from one day to a month.

Universal Pictures UK chairman Eddie Cunningham said this would be the first of many such announcements and digital films would become available in many different ways.

"I think what you're seeing here is the beginning of a revolution in terms of how we can distribute digitally and I would expect you'll see a lot more news of this type over the next few months," he said.

He said his company just wanted to get its movies out to the widest possible audience.

Consumers felt "much more comfortable" if a DVD was included in the package as well as the downloads, he said.

"The statistics said people were three times as likely to pick up on this service if the physical copy was included as part of the bundle, and that astonished us."


The service is not compatible with iPods
Arash Amel, senior analyst at industry journal Screen Digest, told the BBC News website the Universal move was "excellent" for the consumer.

"I think download-to-own is possibly one of the most exciting developments for digital movie downloads over the PC," he said.

The UK movie download market is expected to be worth £200m by 2010, he said - with 40% of that coming from permanent downloads, he said.

The fact that films can be watched on a portable device is also a "major breakthrough", he said. "This is not the norm. This is quite a major step forward."

But studios must allow fans to burn films to DVDs themselves to allow greater flexibility and let prices come down, he added.

The joy of subtitles

TV subtitles may be primarily for deaf people or those who are hard of hearing, but research has revealed they are used by six million people who have no hearing impairment. Why?

Perhaps we should blame NYPD Blue or ER or whichever TV series it was that first pioneered the shaky, handheld camera technique.

Years ago a TV drama, be it Minder, Juliet Bravo or Day of the Triffids, exuded a certain staginess. We didn't really know it at the time... it was just how TV was.

Action tended to be a tad stilted and characters' lines were delivered with Rada-like clarity, often in Received Pronunciation.

Then along came a trend that might best be described as TV Verité. Cameras rolled, jumped and jostled to intensify the on-screen drama and microphones struggled to keep up.

Key plot developments might turn on a muffled comment, or a piece of dialect indecipherable to outsiders. But no matter, in the eyes of the director - the more authentic the better.

Not so in the ears of the viewers, however. Which might explain the current vogue for subtitles.

Rapid fire ramblings

Research by Ofcom, the media regulator, has found that of the 7.5 million people who use TV subtitles, six million have no hearing impairment at all.

For those who have discovered the joy of subtitles, the idea of keeping up with the countless plot twists inflicted on 24's Jack Bauer, or Christopher Eccleston's rapid-fire ramblings as Doctor Who, would be nigh-on impossible without the aid of 888 - the Ceefax/Teletext page where subtitles live.


Why change a classic design? Subtitles from 1982
The problem with subtitles is once discovered they can be incredibly hard to let go of. Their value extends to a rich variety of TV-watching scenarios.

Tucking into a bag of crisps while slobbing on the sofa? Subtitles ensure not a word is missed as the sound gets drowned out by the head-echo of crunching.

Trying to lull a baby to sleep... cut the sound and let the subtitles do the work.

And where videos were useless, DVDs only feed one's subtitle addiction.

Diligent subtitlers - and there seem to be plenty of them out there - even go so far as to include the name of a song that is being played in the background, and the artist performing it. (How long before viewers will be able to click on the title to download the song?)

Others actually transcribe the lyrics.

The vast majority of subtitling is pre-recorded, but when watching the news with subtitles one can't help but respect the craft of the live subtitler, as they struggle to keep up with galloping newsreaders.

Sentences frequently go uncompleted. Errors are common, and entirely understandable, but that doesn't stop them eliciting a slight grin - like the subtitler who recently referred to Andrew Lloyd Wober.

Now and again, one even detects a certain recklessness in the subtitle suite, as when, during one of those celebrity-packed Christmas adverts (yes, ads get subtitled too) Marks & Spencer used to make, a line popped up declaring: "I love you Rupert" just as Rupert Everett hoved into camera.

Occasionally, though, the subtitle can be more a hindrance than a help, even to the most ardent fan. Comic timing is something subtitlers have yet to be able to replicate - with the result that punchlines tend to appear before they are actually spoken and the whole thing is ruined.

Mostly, though, subtitles tend to enhance one's viewing experience. And who knows - for all of us one day as advancing years take their toll, they will doubtless become even more indispensable.

Quick-draw artists

Pixar - the iconic animation company that produced Toy Story, Monsters Inc and Finding Nemo - is marking its 20th anniversary. But can digital cartoons ever have the same charm as hand-drawn characters?

Let there be light. Well, an anglepoise lamp to be precise. It's 20 years since Pixar, the mega-billion animation company, launched its first movie - a short film about a lamp with a life of its own, called Luxo Jr.

Along with iconic brands such as Google and the iPod, Pixar's computer-generated movies have become part of the digital era - with the animation firm becoming one of Hollywood's biggest players.

Marking its 20th anniversary is an exhibition at the Science Museum in London, which displays the art and the craft behind Toy Story, Bug's Life, Monsters Inc, The Incredibles and the soon-to-be released, Cars.

This is a world of movies where the images are instantly-recognisable, but there are no stars. If anyone was going to walk down a red carpet, it would have to be an anonymous army of artists, directors and software designers.

Or maybe it would be the industrial-scale "renderfarms" that provide the processing power for the computer-generated animations.

Digital Disney

Pixar's big success wasn't instant. For the first decade the company had made its living from advertising, producing animations for products such as Listerine and Kellogg's All Bran.


Finding Nemo: Pixar has grown from small fry to movie monster

But the big breakthrough came in 1995 with its first full-length movie - Toy Story. This first ever fully computer-animated feature film was the biggest grossing movie of the year - earning $362m (£208m) worldwide.

Appropriately for an animation company, Pixar had impeccable timing.

Toy Story was launched when new computer power was convincing audiences that they should become more techno-friendly.

Just as Disney created the animations for the great age of cinema, Pixar has produced some of the iconic animations of the digital age.

The movies that followed were all runaway successes. Monsters Inc reached the $100m box office benchmark quicker than any animated film in history.

But Pixar also discovered a goldmine in another side of the digital market - the arrival of DVDs - a format which showed off its crystal-clear animation to full effect. Finding Nemo shifted eight million copies on its first day of release.

Artists not anoraks

The exhibition shows how much work is involved - with a single movie requiring the efforts of 230 people and a whole load of supercomputers for four years.


Pixar movies have turned DVDs into a digital goldmine

But not everyone is convinced that the quality of computer-generated animation matches hand-drawn films.

Richard Taylor, former head of animation at the Royal College of Art, says such films might be lucrative, but "something is filtered out" in the process.

"Computer animation has less direct appeal, less charm, it's less humane - it lacks the roughness that nature gives."

But Pixar's creative boss, John Lasseter, says: "Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist."

And the exhibition shows the creative perspiration involved. Before the computer animation process, artists will draw and paint up to 50,000 storyboards - and the exhibition includes examples of the so-called "colourscripts" which set the visual style and tone of the story.

Simpsons film confirmed for 2007

Twentieth Century Fox has confirmed that popular animated TV series The Simpsons is to be made into a film.
The movie will be released in the United States in July 2007.

A 25-second trailer for the film has been shown to US audiences at screenings of Ice Age: The Meltdown, promising to introduce "the greatest hero in American history".

It then cut to Homer Simpson, wearing only his underwear, who admitted: "I forgot what I was supposed to say."

The Simpsons revolves around the antics of bald, beer-guzzling family man Homer and his spiky-haired son Bart.

International hit

It is the longest-running prime-time entertainment series on television in the US and a worldwide hit.

It is currently in its 17th season, and last month, US network Fox confirmed it had commissioned two more series.

This ensured the show would stay on screens until at least 2008.

There has long been speculation about whether it would be turned into a film.

Creator Matt Groening said last year that the animated hit would keep going as long as he and his colleagues could keep generating fresh ideas.

"That's what you're looking for in television - surprise," he added.

Online movies given release boost

Film fans in the US will soon be able to download major movies on the same day the DVD of the films become available to buy in shops.
Online film services Movielink and CinemaNow will begin selling downloads such as Brokeback Mountain this week.

Up until now, both services only offered digital movie downloads for a rental period only.

The head of CinemaNow, Curt Mavis, described the move as "one giant step for digital distribution".

Movielink and CinemaNow have both signed download-to-own deals with major Hollywood studios such as Universal Pictures, Warner Brothers and Twentieth Century Fox.

Piracy

"This is an endorsement that digital delivery of high value content has finally arrived," said Jim Ramo, head of MovieLink.

Both Marvis and Ramo said they expected all major studios to sign deals with them soon if they had not done so already.

Both services will offer old titles alongside new movies.

The downloads will be software protected so they can not be burned on to DVD discs and replayed on DVD players.

In the past, major Hollywood studios have been reluctant to offer new films for sale in this way because of piracy fears.

A similar service was launched in the UK by the AOL website earlier this month and will be available from 10 April.

In February, another UK website, Wippit, started offering permanent downloads - but only independent movies are currently available.