Razno

[Killiana]

pih, bafta nagradila svoje ove godine.king's speech dobio nagrade za najbolji film, najboljeg glumca, sporednog glumca, scenario, najbolju sporednu glumicu, muziku...

[Hippie]

Banksy welcome at Oscars, but will he show?...When Banksy was nominated Jan. 25, he put out a statement: "This is a big surprise. I don't agree with the concept of award ceremonies, but I'm prepared to make an exception for the ones I'm nominated for. The last time there was a naked man covered in gold paint in my house, it was me." :D

[notenoughreasonsforclaire]

Distributerska kuća “MCF MegaCom Film“ kupila je prava za distribuciju Farhadijevog filma kome su, osim “Zlatnog medveda“, uručene su i nagrade “Srebrni medved“ za najbolju žensku i mušku glumačku ekipu. Među otkupljenim nagrađenim ostvarenjima su “The Turin Horse“ (Torinski konj) mađarskog reditelja Bele Tara, nagrađen Gran prijem žirija, kao i “Sleeping Sickness“ (Bolest spavanja) nemačkog reditelja Ulriha Kelera, nagrađen “Srebrnim medvedom“ za najboljeg reditelja. Otkupljen je i film “If Not Us, Who“ (Ko, ako ne mi), nagrađen priznanjem “Alfred Bauer“ koje nosi ime osnivača festivala u Berlinu.Osim ovih ostvarenja, "MCF MegaCom Film“ iz Berlina na domaće filmske festivale i u bioskope donosi i novo ostvarenje kultnog reditelja Vima Vendersa – “Pina 3D“, zatim film „Life In a Day“, koji je nastao kao projekat sajta Youtube i reditelja Ridlija Skota, kao i “The Future“, novi film umetnice i dobitnice kanske nagrade "Camera d'Or“, Mirande Džuli.MCF je takođe otkupio i prava na distribuciju ostvarenja koja su u ranoj fazi produkcije - novog filma Erina Kolirina, reditelja nagrađivanog filma "Band’s Visit“, kao i filmova "Firefox“, “Zlatnom palmom“ nagrađenog Lorena Kantea, i “The Women in the Fifth“ Pavela Pavlikovskog sa Itanom Houkom i Kristen Skot-Tomas u glavnim ulogama.

Samo javno da zahvalilm na omogućavanju da se ova dva filma vide i u ovoj nedođiji. I neki drugi filmovi sa spiska su (mi) interesantni, a mogli su možda i Hercogov poslednji da otkupe, ali sa ova dva naslova su opravdali svoje postojanje...

[Аврам Гојић]

Pina 3D...jedva cekam

[Ras]

Venders nije snimio film jedno dvaes godina. Mislite da bi to moglo baš sad da se dogodi?

[kobni zelaya]

Slabe su šanse.

[Takeshi]

Ako neko planira narucivanje* filmova sa Criteriona, u narednih 10 sati se uz promo-kod "THANKS" dobija popust 50% na DVD i Blu-ray izdanja.* - radi samo za USA i Kanadu.

Edited February 25, 2011 by Takeshi

[bigvlada]

Kroćenje vatre, sovjetski film o kosmonautima. Taming the Fire Taming of the FireTitle for the German release of 'Taming of the Fire'.The story of the making of the 1972 Soviet film that took viewers inside the life of Sergei Korolev and the Baikonur cosmonaut -- they thought!With the triumph of the Apollo moon landings in 1969, the prestige of the Soviet space program was at low ebb. Realistic space films -- 'Countdown' and 'Marooned' were being released in the United States. The Soviet leadership must have felt the time had come to make an epic portrayal of the socialist struggle to conquer space for the people. The result, 'Taming ' the Fire', directed by Daniil Khrabrovitsky, was released in the Soviet Union in 1972. It was the first motion picture to deal with the history, lives, and accomplishments of the engineers that had created that nation's space program. Launch sequences were filmed at the Baikonur cosmodrome. All of this was a tremendous sensation at the time, for both the history of Soviet rocketry and extensive footage of the cosmodrome had not been released to the public. The director, Khrabrovitsky, had made previous films with strong heroes on technical subjects. Khrabrovitsky had dealt with similar material in 'Nine Days of a Year', which covered development of the atomic bomb in Russia. 'Taming the Fire' centred on the life of chief rocket designer Korolev, embodied in the character of Andrei Bashkirtsev, played by Kirill Lavorv. Korolev had died unexpectedly in 1966 at the height of his powers. His death removed the veil of secrecy that had enshrouded him, and his life story could be made public. The film begins with Bashkirtsev having to fight all the way to the Kremlin to get a key space probe launched on schedule. It then flashes back to his life history. He is shown as an engineering student, constructing home-built gliders. The early experiments of the GIRD rocket enthusiasts are shown, as well as a prophetic meeting with rocket pioneer Tsiolkovskiy. After wartime engineering service, Bashkirtsev supervises development of ever-more powerful rockets, culminating in the launch of the first man into space. The emotional conflict in the film comes in the relationship between Bashkirtsev and his wife, Natasha. This was a key theme of the filmmaker, how to reconcile the awesome dedication required to be a Communist leader of men with a home and family life. However all of this had little to do with the real life story of Korolev. 'Sensitive aspects' of Korolev's life were obviously not considered fit topics for Soviet audiences. These included Korolev's imprisonment and near-death in the Soviet Gulag, his work in the prison engineering units during the war, his expeditions to Germany after the war to obtain the secrets of the German V-2, and the huge disputes between him and other Chief Designers that paralysed the Soviet space program in the 1960's. Hollywood is often accused of twisting the truth in order to 'improve the story' when making historical or biographical films. The tale of the making of 'Taming the Fire' provides an interesting insight into how similar changes, for ideological and censorship reasons, were made in Soviet films. In 1970 Boris Chertok was named the first non-military consultant to Mosfilm for the movie. Chertok was Deputy Chief Designer at Korolev's design bureau. Chertok liked Khrabrovitsky immediately, and explained to him the technical side of the rocketeer's work - 'the creative kitchen'. He also discussed the extraordinarily interesting figure of Korolev. Chertok was given the first, naïve, version of the screenplay to review. He quickly covered it with notes 'that never happened' or 'that was impossible'. After reviewing these with Khrabrovitsky, he finished by pointing out that Korolev died in a Kremlin hospital, not on the dusty side of a road. Khrabrovitsky replied that this was HIS vision. "Did Chapaev die as shown on film? Does anyone think that the massacre of the mutineers of the Battleship Potemkin on the Odessa Steps as portrayed by Eisenstein was historically correct? Or the portrayal of the revolutionary figures in 'Armed Men', or 'Lenin in October' or 'Lenin in 1918'? Everyone knows that these were not true. Characters such as Sverdlov and Stalin appear and then disappear from the events portrayed in these films depending on when they were made. We are dealing with films here, not documentaries. Even Tolstoy took liberties with history in his novels. I am not portraying Korolev, but a character of my invention named Bashkirtsev, not Glushko, but Ognev, not Ustinov, but Logunov, not Nedelin, but Vladimirov. Only for the Voskresenskiy character of Stretensky have I even retained a real first name -- Leonid. Chertok could only retreat from Khrabrovitsky's dogmatic approach. Chertok wanted to have the political repression to which Korolev and Glushko were constantly subjected mentioned in the script , but he was ridiculed by the other consultants. Deputy Chief of Staff of the Rocket Forces Col-Gen Grigoryev told him, "I am always amazed how naïve you specialists are about politics. Who would sit still for such stuff in our theatres? People want to see launches of mighty rockets, while we wait apprehensively in bunkers expecting the shrapnel of the exploding rocket, or our dreams of spaceflight -- portrayals of political repression have no place in film. We want people to see our film, not create controversy". Khrabrovitsky very much wanted to show the early, romantic days of Korolev's life -- when he built gliders and the early days of rocketry at GIRD. Chertok put him in touch with rocket pioneers Isayev and Tikhonravov for this purpose. Isayev discussed with Khrabrovitsky the days of his youth, when he developed his first engines for rocket fighters in Magnitogorsk. From these stories Khrabrovitsky synthesised his hero, who was a bit of Korolev, a bit of Isayev, and a bit of Tikhonravov. Finally Khrabrovitsky's hero developed into a totally fictional character who had nothing in common with Korolev or Isayev. Isayev's bureau assisted Mosfilm in construction of a functioning model of a rocket like that used in GIRD's first launches. But this model was naturally much more reliable than those launched by Korolev and Tikhonravov in the twenties! Chertok was particularly revolted by the warm relationship between Bashkirtsev (Korolev) and Ognev (Glushko) portrayed in the script. In reality their bitter feuds had cost the Soviet Union the moon race. Ognev was not only shown never to have had any conflict with Bashkirtsev, but even kow-towing to what was portrayed as his idol. Khrabrovitsky was determined to portray his heroes as highly cultured and sensitive individuals, not cold technocrats. Ognev was portrayed as having a sensual dependence on Bashkirtsev. Chertok desperately tried to talk Khrabrovitsky out of this portrayal, but the complex reality of life did not fit in with Khrabrovitsky's 'vision'. So in the final film they were still portrayed as close friends. Even Isayev disagreed with Chertok. He blamed Mishin as the instigator of the bad blood that existed between Korolev and Glushko. He pointed out that this only developed in the 1960's, that up to development of the R-7 they had worked together as a team, first in Kazan in the prison engineering unit, then in Germany, then in the development of the R-1, R-2, R-5 and R-7. In Isayev's analysis Korolev was not just the creator of 'practical cosmonautics', but a true artist. Glushko did not have Korolev's artistry, or his leadership abilities. He hadn't studied engineering, but chemistry, radio physics, and dreamed of interplanetary flight. Both men had been in prison, and at different times served one under the other in Germany. The story of the political persecution of these two men didn't have to be told, according to Isayev. To do so would only put the film-makers in the camp of enemies of the state. Later, as Chertok and Isayev viewed the immense 30-engine N1 moon rocket in its assembly building at Baikonur, they mused over all the personal animosities and problems that had led to this unworkable configuration. In the film, life was simple -- and the story ended with the death of Bashkirtsev. But life went on, and was filled with difficult issues never dreamt of in the script. Isayev recollected the compromise that Glushko had offered to Korolev when he was designing the N1. If Korolev would retain the parallel staging scheme used for the R-7, Glushko would promise to deliver within five years a 600 tonne thrust storable propellant motor for use in the four strap-on booster stages. Mishin killed the deal. He simply would not believe Glushko that even a 170 tonne thrust motor using liquid oxygen/kerosene could not be developed in the same time scale. Isayev reminded Chertok not to breathe a word of this controversy to Khrabrovitsky -- it was all still a state secret. So no hint of it appeared in the script. In the film Ada Rogovtseva played Natasha, Bashkirtsev's wife. But he loves his rockets, not her. In the end, he realises he cannot live without her. Chertok told Khrabrovitsky that this was nonsense that had nothing to do with the life of Korolev. "By God", he complained, "in life Korolev had a wife and one daughter, Natasha, while in the film he has a wife named Natasha and one son". Khrabrovitsky wanted to film not just launch of R-7 vehicles at Baikonur, but a launch vehicle explosion as well. This did not sit well with the head of the Strategic Rocket Forces, Marshal Krylov, who was in any case opposed to manned spaceflight and this romanticisation of the whole topic. The argument on what Mosfilm would be allowed to film and show went all the way to Ustinov. Finally it was decided to give Khrabrovitsky relative freedom, but the VPK Military-Industrial Commission would review the footage before the release of the film. So during 1970-1971 Khrabrovitsky, his photographer Sergei Vronsky, and their crew set up to film key scenes at Baikonur. Up to October 1970 the main launch complex at Area 1 was being refurbished and updated and all launches took place from Area 31. With a launch rate of nearly two Voskhod or Molniya boosters a month, they were able to obtain good shots relatively quickly. No booster co-operated in exploding for the crews, so a booster explosion was staged in the field of debris traps just north of the launch complex. The actors being shown blown into a trench by the force of the explosion. When the time came to view the first cut in early 1971, the viewing was restricted to Ustinov, and the film consultants Chertok, Grigoryev, and Isayev. No Chief Designers were allowed to attend. The film was screened together with its American counterpart 'Marooned'. The US film showed the head of their space program, Gregory Peck, alone, in isolation, and emphasised the technical aspects of spaceflight. In 'Taming the Fire', on the other hand, the important organisational role of the Communist Party in achieving success was explored. Ustinov was deeply moved by the screening. He was ebullient, shook Khrabrovitsky's hand, congratulated him on his triumph. He gushed "this is the life of Korolev as it would have been were there no controversy with Glushko. Too bad they were not such friends in life as Bashkirtsev and Ognev are in the film". Isayev agreed, "the N1 wouldn't be in such a mess" if life could imitate art. Ustinov wanted to share the film immediately with Brezhnev and the Politburo. Isayev died suddenly and unexpectedly in the awful month of June 1971, the same month in which the third N1 exploded and the Soyuz 11 crew perished while returning from the Salyut 1 space station. If ever there was a need for the Soviet public to regain its faith in their space program, this was it. When the film was released in 1972, the names of Chertok and Patrushev were altered in the credits to keep their identities secret (to 'Tsvigun' and 'Kostyuk'). This was an ironic twist on the use of 'substitute' names for the characters in the film as well. The names of Isayev, who was now deceased, and Griogryev, were unaltered. The film was a big success in Russia, with 27 million admissions. It won the Crystal Globe at the Karlovy Vary International Film Festival in 1972 prizes and the First Prize at the All-Union Film Festival in Alma Alta in 1973. The film went on to be a staple of Soviet and Russian television, being shown every year on Cosmonautics Day (April 12). Although dubbed and released in East European countries, it seems never to have been shown in the West.fabula radnje i sličke: http://www.astronautix.com/articles/tamefire.htm

Edited February 28, 2011 by bigvlada

[bigvlada]

Space Explorers, nemački SF započet 1939.A curious marriage of pre-war German filmmaking and 1950's low-rent kiddie show syndicated quickies…In the summer of 1939, at the Bavaria studios, work started on the film 'Zwischenfall im Weltraum' (Incident in Space), under the direction of R A Stemmle. At the same time the Ufa studios (Babelsberg) began the shooting of 'Weltraumschiff 18' (Spaceship 18), director Eduard von Borsody. Both projects were cancelled due to the outbreak of the war, but material already shot - probably from 'Zwischenfall', but maybe from both films - was used for the production of a short film 'Weltraumschiff 1 startet' (Spaceship 1 Launches), with the nominal director being Anton Kutter. The resulting film was a special effects landmark but only 20 minutes long. It showed the roll-out of the spaceship from the immense Zeppelin Works hangars in Friedrichshafen. Television crews and thousands of spectators are present for the event. Following a short press conference a catapult launch is made from track laid along the north shore of Lake Constance. The spaceship approaches the Moon, loops around it (these scenes include the best special effects in the film) and returns to Earth. The flight was expected to take place in 1963 or 1964. Although the film has been called 'Nazi Science Fiction', there were no traces of overt Nazi ideology. The only indication the events may be occurring in the Thousand-Year Reich is the mention of a mountain observatory in a German colony in Africa (presupposing Germany regaining the African colonies that were taken from it at the end of World War I). A director of 'mountain movies' before the war, Anton Kutter was responsible in wartime for production of a number of Kulturfilme (short documentaries which were screened just before the main feature). It seems that 'Weltraumschiff 1 startet' was billed as Kulturfilm, too, and shown accordingly throughout the Third Reich (in France it was released in 1943 as 'Voyage dans le Monde'). An overtly Nazi film directed by Kutter at this time was Germanen gegen Pharaonen 'The Germans versus the Pharaohs', which popularised Nazi theories about the early wanderings of the Aryan peoples. In the 1950s Kutter resumed his directing career, his most notable achievement being 'Das Lied von Kaprun' (Song of Kaprun), about the building of a huge dam in Austria. There the matter seemed to rest until 1957, when the footage from 'Weltraumschiff 1 startet' was reused by Fred Ladd, an animator, director and co-producer at a small New York company called Radio & Television Packagers. The company was run by William Cayton (later Mike Tyson's boxing manager). Seeking to cash in on the post-Sputnik space boom, Cayton and Ladd produced The Space Explorers 'in collaboration with the Hayden Planetarium of New York' to teach the youth of America the fundamentals of astronomy. The ten six-minute segments were syndicated to local children's programs across the US and made a powerful impression on a generation of space-crazy youngsters. The opening credits set the story in 1978, and used the German footage to show the ramp-launch of the 'Polaris' spacecraft. Commander Perry, commander of the first expedition aboard the Polaris I to Mars, has disappeared. His son Jimmy stows away in a shipping crate loaded onto the Polaris II rescue ship. The commander of the Polaris II was Professor Nordheim. Smitty, a female assistant, accompanies him on the voyage. When Jimmy is discovered after the launch of the Polaris II, the stage is set for the remainder of the series. Jimmy is taught a new aspect of astronomy each week, using footage from a Czech film 'Univers'. When the Polaris II lands on the Moon, his father is discovered alive there. It turns out that he was not able to land on Mars, but crashed on the moon on the return journey. The visuals from the series are what most boomers remember. There were the awesome views of space through the glazed nose of the Polaris-II. There was the expanding lunar disk with the Polaris approaching the rolling terrain. The emotional concluding episode featured the call to Jimmy's sister that they've come home, with both the Polaris II and the repaired Polaris I landing side-by-side. The series was successful and followed up by a second tranche of episodes, The New Adventures of the Space Explorers. These taught young viewers the fundamentals of relativity (!) The projector of the Hayden Planetarium appeared both as a space probe and as the backdrop for the closing credits. Many thanks to Ralf Buelow, Berlin, and Bill Higgins, USA, for running down the details of a vague childhood memory. Copies of 'Weltraumschiff startet' are held at the Berlin Filmarchiv and the Friderichshafen Zeppelinmuseum. No one seems to have been able to locate a copy of 'Adventures of the Space Explorers' yet!

Edited February 28, 2011 by bigvlada

[Sludge Factory]

The dark comedy of Werner Herzog

[Sludge Factory]

@trent_reznor: Some updates and info from me: http://forum.nin.com/bb/read.php?7,1226115,1226115#msg-1226115

What a surreal week, capping of an equally surreal few months! Thank you all for the support and kind words throughout. I need to once again point out the reason that score worked so well was David Fincher. We were simply executing his vision and it was an honor and an eduction working with him. Which brings me to: The Girl WIth the Dragon Tattoo. Atticus and I are hard at work scoring David's next film, which will be opening this Christmas. We've been composing quite a bit of music for this and have just begun to see some of what's been shot. Trust me when I say this film (and of course the music!) will not disappoint. Perhaps I misspoke on the red carpet or wherever it was I said the new How To Destroy Angels record is finished - it is not. We've been working since last summer on it and are due to mix it this summer for a fall release. We've spent a lot of time experimenting and finding our own sound and identity this time around and we're very happy with the results. The three columns of things I'm currently funneling music into - HTDA, NIN and film work - I believe will start to make more sense to you (and me) as everything unfolds. By having a few different outlets for my work I'm finding more inspiration within each one. No, Nine Inch Nails is not dead and I plan to focus on that next. And finally, I am friends with Timur Bekmambetov. He's an interesting and very talented director that caught my attention with his film Night Watch (check it out if you haven't). He asked me if I was interested in scoring his new film he's doing with Tim Burton entitled "Abraham Lincoln: Vampire Hunter". I was familiar with the book, read the script and it felt like an interesting challenge as a composer - very different from the Fincher films. While discussing the film with Timur he started gently pressing me to play a small role in the film. The idea was a cameo-esque role that would be kept under wraps and be a surprise around opening night. I was considering this when I awoke a few days ago to the news I am now STARRING in ALVH (which is obviously not true). Fuck. We both apparently forgot the internet existed AND THERE ARE NO SURPRISES anymore. So... do me a favor and act surprised, OK?

Edited March 7, 2011 by Sludge Factory

[Hippie]

Penelope and The Beast

[notenoughreasonsforclaire]

Ot'š'o...

[scab]

Treće ili četvrto tradicionalno okupljanje...Rocky Horror Picture Show night participation + smešno obučeni ljudiVečeras u 19:00, cafe Dablin, Novi Sad Be there or be selj!

Edited March 25, 2011 by scab

[ToniAdams]

Russian director says tsunami sent to punish "Godless" people~realno, kusta moze da mu poduva