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korindjar

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pitanje ako neko zna. kada se recimo za film kaze da je ulozeno 200 milki. da li to izmedju ostalog znaci da su od tog novca placeni glumci ili samo za potrebe filma?

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Pa pretpostavljam da zavisi od toga sta ko sve racuna u budzet. Pri tom uglavnom budzete kriju ko zmija noge, pa govore okvirno ili se cak samo nagadja od strane trecih lica (novinara). Najcesce sam vidjao da kazu kako u tih npr. 200 milki ulazi budzet za kompletnu produkciju (plate glumaca i svih ostalih koji rade na filmu, zatim sve sto treba od opreme, scenografija, kostimi, pre i postprodukcijski troskovi...), dok je budzet za marketing poseban i izdvojen od toga i najcesce nepoznat javnosti (bar ja nisam vidjao te informacije). Naravno, ne mora ovo biti tacno, niti uvek isto za sve filmove, odnosno saopstenja/informacije o budzetu. 

 

:)

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hvala!

 

juce sam gledao ponovo titanik iz ove, sada perspektive [stariji sam]. posle sam malo istrazivao o samom filmu itd i naisao na tu info da je za pravljenje filma potroseno 200 milki. istina, to je dosta novca. onda sam se pitao, sta je bilo najskuplje u filmu? ima dosta animacije i maketa. sa druge strane [uh... ako sada lupim, a bas je bilo davno] ima dosta potrosenog novca za neke stvari kao sto su detalji, a da nisu toliko vazni kada se uzme u obzir da je sve ili vecina stvari bila maketa, animacija. ovde mislim na onaj polomljeni porculan, da se zapravo govorilo o tome da to nije lazno. stavise, mislim da ima toga jos, ali ovo mi je ostalo u secanju. zar to nije isto moglo da bude lazno kao i sve ostalo i tako se ustedi koji dolar!?

 

 

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Valjda je ovde prikladno mesto, jerbo dokumentarac nije gotov već traže još para da ga završe.... ali je ovaj trejler super, lično nisam imao pojma koliko je urađeno tj. rađeno na njemu.
 
Posle onog super filma o Jodorowski Dini, i ovo bi mi bilo zanimljivo videti.
 
The Death of Superman Lives; What Happened? Full Trailer
 
http://youtu.be/Nt9fxWq5qg0

Edited by akibono
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The Movie That Made Robert De Niro Bankable

 

 

De Niro plays Jack Walsh, a hard-bitten ex-cop and largely down-on-his-luck bounty hunter who is looking to get out of this rotten business and open a coffee shop, if only he could make one big (and, of course, last) score. Such a score is dangled before him by a weasel-like bail bondsman, and soon Walsh has picked up Jonathan “The Duke” Mardukas, a mild-mannered accountant who’s absconded with millions in mob money and donated it to charity. Everybody wants “The Duke,” as it happens: the Mob, the Feds, a rival bounty hunter, and so on. Beneath Mardukas’s mild manner is a shrewd persnickety side that immediately abrades Walsh’s streetwise bearing.

The role of Mardukas was played by Charles Grodin. Their match-up is the most inspired feature of the movie. The rapport between the two lead performers suffices to keep the viewer engaged despite the fact that the movie is overstuffed with scenes that really don’t serve a dramatically legitimate purpose — apparently at the behest of director Martin Brest, who, fresh from the success of 1984’s Beverly Hills Cop brought car chases, prop-plane thefts, and helicopter pursuits into what had been mostly a train-and-autos trek.

Watching De Niro in this picture with a consciousness of the movie’s context at the time of its release is odd because there’s a sense of a retread involved. De Niro is now in a mainstream movie that’s highly informed by the tough-guy tropes that he and Martin Scorsese pioneered in the '70s. And as he’ll do more explicitly in his performances in mobster or cop roles after the turn of the century (like Analyze That and Righteous Kill, his ill-advised 2008 reunion with Al Pacino), he ever-so-slightly mocks those conventions in Midnight Run. What makes Walsh interesting, if he’s interesting at all, is that he’s being played by De Niro. But while this was the first really ordinary genre picture De Niro worked in as De Niro the Protean Actor, Hollywood by this time was full of actors who aspired to De Niro’s status, acting in precisely these sorts of films. So, at times in Midnight Run, there are instances when De Niro’s application of his own unique talents to the project yields results that look strangely secondhand.

It was during the shooting of one of these scenes that De Niro received a taste of his own improvisational medicine, which had genuinely discomfited such past co-stars as Joe Pesci and Jerry Lewis. Here’s an account from an item in the New York Times: “It was understood that Mr. Grodin might have some opportunity to improvise. The ‘night boxcar scene,’ as Mr. Grodin calls it, was, he said, improvised entirely. The situation begins with Mr. Grodin as Mardukas shutting a boxcar door in Mr. De Niro’s face in an effort to escape him. Mr. De Niro, in the role of Jack Walsh, promptly boards the car from the other side — enraged. But, Mr. Grodin said of the scene, ‘We knew it had to end with De Niro revealing something personal about himself’ — the history of a wristwatch that has sentimental value. ‘How do you get to that point in a couple of minutes where he’s going to reveal himself? What do you say?’ Mr. Grodin went back to his motel and wrote down about 15 lines he thought might change the mood of Mr. De Niro, who tends to stay enraged when he becomes enraged. Back to the boxcar, with a crew of about 40 people looking on: comes the crucial moment. Mr. Grodin tries line No. 1: ‘When you get your money for turning me in, you might want to spend some on your wardrobe.’ ‘Not a glimmer of a smile,’ said Mr. Grodin. ‘Nothing. [Director Martin] Brest comes over: 'I love you. You’ve got to find a way.' ‘It took me ten days to get ready for Take 1,’ Mr. Grodin said. ‘All those people in the boxcar. It was a tough situation. Out of desperation I said, 'What could I say to Robert De Niro to get him off the mood he was in?' That’s when, on Take 2, I asked him if he’d ever had sex with an animal.’ Mr. De Niro’s reaction is on the screen.”

 

 

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