Category: Movie Nostalgia
The legend impacted multiple generations
In its more than 40-year history, one that has impacted multiple generations, “Star Trek” has carved out an iconic place in modern pop culture as the only ongoing story that encapsulates the awe, wonder and bold audacity of the human desire to reach for the stars. With the indelible opening words of the original 1960s television series, “Space, the Final Frontier,” a succession of journeys were launched across the cosmos that did and, to this day, still celebrate the thrill of adventure, the pioneering spirit of exploration and the drive to create an ever-more amazing future full of possibilities. The daring and provocative voyages of the Starship Enterprise, and the many ships that would soon follow in her flight path, have appealed to the stargazer in all of us, and our hopes and dreams that technological and cultural advances will bring out the best of our humanity.
The original TV series was not a hit when it first aired, but later caught on like wildfire among the ever-growing legion of fans who responded to its compellingly funny, contentious, charismatic personalities and its five-year mission to peacefully engage new worlds and cultures. But how did that mission begin? What brought together this disparate group of brash, brilliant, ambitious young men and women and drove them to explore new frontiers? And how did they forge that special chemistry and sense of purpose that would inspire so many discoveries and fantastic adventures for years and even centuries to come?
For director / producer J.J. Abrams, going back to the beginning after more than six television series and ten feature films was the only way to forge into the future. His vision was to literally start fresh, beginning with James T. Kirk and his one-day First Officer, the Vulcan Spock’s advancement in the placePlaceNameStarfleet PlaceTypeAcademy and their extraordinary first journey together.
Abrams came to the project with great respect for series creator Gene Roddenberry and all that “Star Trek” had achieved as the creator of an archetypal modern myth and cult phenomenon. However, he also wanted to take the story where it had never been before: making a state-of-the-art action epic about two heroic leaders as brash young men in the making.
“I was a fan of the original series, although I was never a Trekker,” says Abrams. “Yet I always felt there was something that had not been done with `Star Trek.’ There have been ten movies, but this is the first time that a movie has dealt with the fundamental, primary story Gene Roddenberry originally created in 1966.” Abrams continues: “What I hope with this movie is that you never have to have seen anything about `Star Trek’ before to really enjoy a comical, romantic, suspenseful adventure, but that it also does proud the lasting, brilliant world that Gene Roddenberry created. The brilliant thing `Star Trek’ brought to the world was a dose of optimism and I hope this movie continues in that tradition.”
While many anticipated a total re-boot from Abrams, he was excited to go in an unexpected direction, heading way back, as it were, into the never-seen 23rd century launch of the U.S.S. Enterprise. When he brought the idea of a “’Star Trek’ origin story” to producer Damon Lindelof, with whom Abrams (along with Jeffrey Lieber) created the contemporary television phenomenon “Lost,” the producer was instantly taken by the idea.
Explains Lindelof, “For me, the idea that no one has ever told an origin story for Kirk and Spock and all these characters was very cool. We had a great conversation about how this crew of people might have come together and learned to sacrifice certain parts of their personalities to get along. It was really fun and, next thing I knew, Bob Orci and Alex Kurtzman were writing a script.”
A fan of “Star Trek” since childhood, Lindelof believes the story’s premise and characters have continued to be so relevant for so long because they capture something essential about the space travel mythos: the sheer hopefulness of it. “Most stories we see now about the distant future are bleak, dismal and dystopian. The incredible thing about the initial `Star Trek’ television series is that it was so energetic, optimistic and cool. It presented the future the way we’d like to believe it will unfold. It’s a future to aim for.”
That view, he felt, was a great match for Abrams’ exuberant style of character-and-action-driven storytelling. “J.J. brings innovation to everything he does, but also brings an ability to boil a story down to its most human elements and translate hugely complicated production challenges into something with mass appeal, and that was all necessary to go back to the beginning of `Star Trek’ with today’s cinematic technology,” says Lindelof.
Adds executive producer Bryan Burk, who has also collaborated with Abrams on “Lost,” “Alias” and “Cloverfield”: “We envisioned this `Star Trek’ as a truly grand adventure about two very different men whose destiny is not only to become true friends, but iconic partners, guardians and explorers.”
Executive producer Jeffrey Chernov, who oversaw the line production, concludes: “The film for me became not only a new look at the `Star Trek’ universe, but a kind of cross between `The Right Stuff’ and the original `Star Wars.’ It has that fresh, imaginative, intergalactic storytelling, but is also very grounded in the idea of young men and women with a lot of heart and camaraderie. When you add J.J.’s mastery of action and love of scope, you have something very fun and entertaining.”
Star Trek is an American science fiction entertainment franchise created by Gene Roddenberry and owned by CBS (TV series) and Paramount Pictures (Film Rights).[Note 1] Star Trek: The Original Series and its live-action TV spin-off series, Star Trek: The Next Generation, Star Trek: Deep Space Nine, Star Trek: Voyager, and Star Trek: Enterprise as well as the Star Trek film franchise make up the main canon. The canonicity of Star Trek: The Animated Series is debated,[Note 2] and the expansive library of Star Trek novels and comics is generally considered non-canon, although still part of the franchise.
The first series, now referred to as The Original Series, debuted in 1966 and ran for three seasons on NBC. It followed the interstellar adventures of James T. Kirk and the crew of the starship Enterprise, an exploration vessel of a 23rd-century interstellar “United Federation of Planets”. In creating the first Star Trek, Roddenberry was inspired by Westerns, Wagon Train, the Horatio Hornblower novels and Gulliver’s Travels. In fact, the original series was almost titled Wagon Train to the Stars. These adventures continued in the short-lived Star Trek: The Animated Series and six feature films.
Four spin-off television series were eventually produced: Star Trek: The Next Generation followed the crew of a new starship Enterprise set a century after the original series; Star Trek: Deep Space Nine and Star Trek: Voyager, set contemporaneously with The Next Generation; and Star Trek: Enterprise, set before the original series, in the early days of human interstellar travel. Four additional The Next Generation feature films were produced.
In 2009, the film franchise underwent a relaunch with a prequel to the original series set in an alternate timeline titled simply Star Trek. This film featured a new cast portraying younger versions of the crew from the original show.[Note 3] A sequel to this film, Star Trek Into Darkness, premiered on May 16, 2013. A thirteenth theatrical feature, a sequel to Into Darkness, has been confirmed for release in July 2016, to coincide with the franchise’s 50th anniversary. In November 2015, CBS announced the development of a new Star Trek TV series to be shown on a digital platform from January 2017.
Star Trek has been a cult phenomenon for decades. Fans of the franchise are called Trekkies or Trekkers. The franchise spans a wide range of spin-offs including games, figurines, novels, toys, and comics. Star Trek had a themed attraction in Las Vegas that opened in 1998 and closed in September 2008. At least two museum exhibits of props travel the world. The series has its own full-fledged constructed language, Klingon. Several parodies have been made of Star Trek. In addition, viewers have produced several fan productions.
Star Trek is noted for its influence on the world outside of science fiction. It has been cited as an inspiration for several technological inventions, including the cell phone and tablet computers. The franchise is also noted for its progressive civil rights stances. The Original Series included one of television’s first multiracial casts. Star Trek references can be found throughout popular culture from movies such as the submarine thriller Crimson Tide to the animated series South Park.
On August 5, 1962, movie actress Marilyn Monroe is found dead in her home in Los Angeles. She was discovered lying nude on her bed, face down, with a telephone in one hand. Empty bottles of pills, prescribed to treat her depression, were littered around the room. After a brief investigation, Los Angeles police concluded that her death was “caused by a self-administered overdose of sedative drugs and that the mode of death is probable suicide.”
Marilyn Monroe was born Norma Jean Mortenson in Los Angeles on June 1, 1926. Her mother was emotionally unstable and frequently confined to an asylum, so Norma Jean was reared by a succession of foster parents and in an orphanage. At the age of 16, she married a fellow worker in an aircraft factory, but they divorced a few years later. She took up modeling in 1944 and in 1946 signed a short-term contract with 20th Century Fox, taking as her screen name Marilyn Monroe. She had a few bit parts and then returned to modeling, famously posing nude for a calendar in 1949.
She began to attract attention as an actress in 1950 after appearing in minor roles in the The Asphalt Jungle and All About Eve. Although she was onscreen only briefly playing a mistress in both films, audiences took note of the blonde bombshell, and she won a new contract from Fox. Her acting career took off in the early 1950s with performances in Love Nest (1951), Monkey Business (1952), and Niagara (1953).
Celebrated for her voluptuousness and wide-eyed charm, she won international fame for her sex-symbol roles in Gentlemen Prefer Blondes (1953), How to Marry a Millionaire (1953), and There’s No Business Like Show Business (1954). The Seven-Year Itch (1955) showcased her comedic talents and features the classic scene where she stands over a subway grating and has her white skirt billowed up by the wind from a passing train. In 1954, she married baseball great Joe DiMaggio, attracting further publicity, but they divorced eight months later.
In 1955, she studied with Lee Strasberg at the Actors Studio in New York City and subsequently gave a strong performance as a hapless entertainer in Bus Stop (1956). In 1956, she married playwright Arthur Miller. She made The Prince and the Showgirl–a critical and commercial failure–with Laurence Olivier in 1957 but in 1959 gave an acclaimed performance in the hit comedy Some Like It Hot. Her last role, in The Misfits (1961), was directed by John Huston and written by Miller, whom she divorced just one week before the film’s opening.
By 1961, Monroe, beset by depression, was under the constant care of a psychiatrist. Increasingly erratic in the last months of her life, she lived as a virtual recluse in her Brentwood, Los Angeles, home. After midnight on August 5, 1962, her maid, Eunice Murray, noticed Monroe’s bedroom light on. When Murray found the door locked and Marilyn unresponsive to her calls, she called Monroe’s psychiatrist, Dr. Ralph Greenson, who gained access to the room by breaking a window. Entering, he found Marilyn dead, and the police were called sometime after. An autopsy found a fatal amount of sedatives in her system, and her death was ruled probable suicide.
In recent decades, there have been a number of conspiracy theories about her death, most of which contend that she was murdered by John and/or Robert Kennedy, with whom she allegedly had love affairs. These theories claim that the Kennedys killed her (or had her killed) because they feared she would make public their love affairs and other government secrets she was gathering.
On August 4, 1962, Robert Kennedy, then attorney general in his older brother’s cabinet, was in fact in Los Angeles. Two decades after the fact, Monroe’s housekeeper, Eunice Murray, announced for the first time that the attorney general had visited Marilyn on the night of her death and quarreled with her, but the reliability of these and other statements made by Murray are questionable.
Four decades after her death, Marilyn Monroe remains a major cultural icon. The unknown details of her final performance only add to her mystique.
1. Mila Kunis – Max Payne
Because you can’t kill ghoulish bad guys in khaki, Mila Kunis brought out the leather when it was time to bring out the big guns.
2. Kate Beckinsale – Underworld Awakening
No, it’s not just because her movie is about to drop. It’s because her leather catsuit-corset combo fits her like a glove. Perhaps ironically, Kate’s hands are the only part of her body below the neck not covered in skin-tight leather.
3. Carrie Anne Moss – The Matrix
You don’t always have to show skin to be sexy in leather. You just need to be handy with a variety of weapons and spout new-age philosophy from time to time. And so we come to Trinity: Sometimes she saved us, sometimes she confused us, but mostly she just aroused us.
4. Kristanna Loken – Terminator: Rise of the Muchines
In the future, hot chicks will be clad entirely in red leather. And, apparently, they will want you dead.
5. Malin Akerman – Watchmen
Because wearing leather isn’t really about subtlety, we love the yellow on Malin Akerman.
The character is based on the comic book character of the same name but no origin is provided within the series. She is presented as an experienced professional cat-burglar when first introduced in the series.
Principal photography on Catwoman began in late September of 2003, but leading lady Halle Berry had begun preparing for the physically demanding role long before the cameras started rolling. “I knew this was going to be a huge undertaking for me,” says Berry, “and I actually started intensive fitness training with Harley Pasternak in June of 2003. I’ve always worked out and been in shape, but I needed to take it to a whole new level to meet the physical challenges of this character and create the kind of body that Catwoman ought to have.”
Berry’s grueling training schedule did not let up once filming began – the actress pushed herself right through the course of principal photography. “My fitness and nutrition regime was constant throughout pre-production and production,” says Berry, “but there were many other skills that I had to work on for the film, like whip training, fight training and movement.”
In the course of her exploits, Catwoman tests the theory that cats have nine lives by getting herself involved in some truly spectacular fights. “Halle did an unbelievable amount of fight work and stunts for this role,” praises Di Novi. “From the beginning she wanted to do as much of it herself as she could.”
Stunt coordinators Steve Davison and Jacob Rupp and fight coordinator Michael Gunther were responsible for teaching Berry choreography for the elaborate fight sequences and making sure she always landed on her feet. Davison calls the actress “one of the fastest learners” with whom he has ever worked. “Halle is just amazing, a total pro,” he says. “Her level of concentration, focus and determination is unlike any I’ve ever seen.”
Anne Fletcher, the film’s choreographer and physicality designer, oversaw Berry’s training in Capoeira (pronounced Cã-po-we-rã), a Brazilian martial art that combines traditional martial arts with dance and gymnastic movements. “It’s one of the most difficult disciplines to learn, but is one of the most beautiful holistic art forms in the world,” says Fletcher.
While Capoeira’s distinctive low-to-the-ground stances and high-in-the-air kicks, jumps and flips might come easy to a Catwoman, they were a challenge for Berry to take on. “Capoeira is probably the hardest thing on the planet to learn to do,” says the actress. “And I had to learn how to do everything in high heels!”
Berry was also charged with learning to properly wield a bullwhip, as the weapon is an inherent part of Catwoman’s lore. It comes in handy when she needs to disarm or dispatch her foes, and also acts as an accessory to her cat suit, whether hanging from her hip or dragging behind her like a long, leather tail.
The task of teaching Berry how to crack a whip like a pro fell to whip master and coach Alex Green. “Halle was one of my best students ever,” says Green. “She was a very quick study. She listened intently and practiced constantly and her hard work paid off. The whip became a true extension of her character.”
Green goes on to explain that the “crack” sound a whip makes is due to the fact that the tail on the whip is actually breaking the sound barrier. When a whip is cracked properly it travels at 950 miles per hour – 1,400 feet per second. “The speed and force of a whip crack is something you must be very respectful of,” says Green. “Halle recognized that immediately. She was never fearful, but always respectful.”
Green began Berry’s whip training with what he considers to be the easiest crack to learn, the vertical, or `circus’ crack. She then worked her way up to the forward crack, the horizontal crack, the reverse horizontal and some “other surprises” that Green does not want to give away.
“Of all my training, learning to crack the whip was the most fun,” says Berry, who was gifted by Green with a custom bullwhip all her own. “The whip is probably the most elusive tool you can play with, but it’s also the most sexy and the most fun. Once you get that first good crack, there’s nothing else like it!”
On top of preparing for her fight scenes and undergoing special training to become whipproficient, Berry also took on extensive dance and movement training to perfect her feline style. “A lot of the action that Halle does in the movie is based on actual cat movement,” comments Di Novi. “When you see cats leaping from eight stories or doing figure eights in mid-air, it’s almost supernatural, and re-creating that with a female human body was fantastic.”
Based on the most common interpretation of the storyline, the film can be divided into a prologue, seven major episodes interrupted by an intermezzo, and an epilogue (see also Structure, below). If the evenings of each episode were joined with the morning of the respective preceding episode together as a day, they would form seven consecutive days, which may not necessarily be the case.
La Dolce Vita (Italian for “the sweet life” or “the good life) is a 1960 Italian comedy-drama film written and directed by Federico Fellini. The film follows Marcello Rubini, a journalist writing for gossip magazines, over seven days and nights on his journey through the “sweet life” of Rome in a fruitless search for love and happiness. La Dolce Vita won the Palme d’Or (Golden Palm) at the 1960 Cannes Film Festival and the Oscar for Best Costumes, and remains one of the most critically acclaimed films of all time.
La Dolce Vita
Directed by: Federico Fellini
Starring: Marcello Mastroianni, Anita Ekberg, Anouk Aimée, Yvonne Furneaux, Magali Noël, Alain Cuny, Nadia Gray
Screenplay by: Federico Fellini, Ennio Flaiano, Tullio Pinelli, Brunello Rondi, Pier Paolo Pasolini
Cinematography by: Otello Martelli
Film Editing by: Leo Catozzo
Music by: Nino Rota
Running Time: 174 minutes, 180 minutes (US)
Studios: Cineriz (Italy), Pathé Consortium Cinéma (France)
Release Dates: February 5, 1960 (Italy), April 19, 1961 (United States)
It’s one of the most iconic scenes in movie history. The last scene of “Dirty Dancing,” where rough-around-the-edges dance instructor Johnny (played by Patrick Swayze) utters the now-famous line “Nobody puts Baby in the corner” and pulls Jennifer Grey’s starry-eyed character on to the stage where the two perform a perfectly choreographed routine set to the infectious “(I’ve Had) the Time of My Life.” The scene ends with “the lift” — Grey getting a running start as she jumps into Swayze’s arms and he hoists her above his head to cheers from the crowd. It was a dance move her character struggled to perfect throughout the 1987 film, but in real life Grey didn’t actually even practice it.
“I’d never done the lift before I did the lift at the end of the movie. I would refuse to rehearse it because I was so scared,” Grey, now 52, confesses. “The only time I’ve ever done it was when the cameras were rolling. I didn’t even do a rehearsal of it. I was terrified. I just didn’t have any choice. I had to do it. They were like, ‘You gotta do it.’ I’m like, ‘No!'” It was that kind of a situation.”
Despite a marginal amount of dance experience, Grey didn’t use a double and did all of her own dancing in the movie. “I just had taken ballet class as a little girl, you know, like Saturday mornings. They were casting someone who had never moved her body in her life.”
Though she had acted throughout her early 20s, as a teenage guerilla in “Red Dawn” and as the title character’s eye-rolling sister in “Ferris Bueller’s Day Off,” it was “Dancing” that shot Grey — who was 27 when the film was released — to true fame. “It definitely was a big turning point in terms of putting me on the map and being somebody who was a bit of a household name,” she shares. “That changed everything in that sense, and in the sense that people just treat me with so much love and warmth when they greet me. I think people have such a nice association with the movie that I just get all this warm love showered on me. It’s just a lovely dividend.”
The Magnificent Seven is a 1960 American western film directed by John Sturges. It is a western-style remake based on Akira Kurosawa’s 1954 Japanese film Seven Samurai. The film stars Yul Brynner, Steve McQueen, Charles Bronson, James Coburn, Robert Vaughn, Brad Dexter, and Horst Buchholz who play a group of seven American gunmen who are hired to protect a small agricultural village in Mexico from a group of marauding Mexican bandits. The film’s musical score was composed by Elmer Bernstein.
A Mexican village is periodically raided by bandits led by Calvera (Eli Wallach). As he and his men rode away from their latest visit, Calvera had promised to return for more booty and loot the village again. Desperate to prevent this, the leaders of the village travel to a town just inside the American border to buy weapons with which to defend themselves. While there, they approach a veteran gunslinger, Chris (Yul Brynner). He suggests that they hire more gunfighters for their defense instead, stating that such men would be cheaper than guns and ammunition. They ask him to lead them, but Chris turns this down, telling them that a single man is not enough. They keep asking him, and then he finally agrees. Chris recruits six other fighting men, even though the pay offered is not very much.
First to answer the call is the hotheaded, inexperienced Chico (Horst Buchholz), but he is rejected. Harry Luck (Brad Dexter), an old friend of Chris, joins because he believes Chris is looking for treasure. Vin (Steve McQueen) signs on after going broke from gambling. Other recruits include Bernardo O’Reilly (Charles Bronson), a gunfighter of Irish-Mexican heritage who is also broke, cowpuncher Britt (James Coburn), fast and deadly with his switchblade, and Lee (Robert Vaughn), who is on the run and needs someplace to lie low until things cool down. Chico trails the group as they ride south and is eventually allowed to join them.
In a departure from his previous films, González Iñárritu sought to combine in Babel the hyper-realism esthetics of certain scenes, with dream-like sequences in the purest cinematic tradición that show the inner lives of the characters.
Key to achieving this was Oscar-nominated cinematographer Rodrigo Prieto’s mastering of visual narratives: “We wanted to visually represent the emotional journeys of the characters through the use of different film stocks and formats. We felt that subtle differences between the image quality of each story, like the texture of the film grain, the color saturation, and the sharpness of the backgrounds could help enhance the experience of being in different places geographically and emotionally,” says Prieto. “We then digitally combined the different lens formats used into one negative, in the same way that all these cultures and languages come together in one film.”
The almost documentary style becomes a challenge in itself when the production requirements happen to be so high as they were in BABEL. While the deserts in South Morocco and Mexico lacked the essential technological support, a hyper-modern city such as Tokyo was for the opposite reasons full of obstacles faced by the production departments.
“It was one of the toughest experiences of my life, though one of the most unforgettable and gratifying,” says Academy Award-winning production designer Brigitte Broch. “From working in the most amazing landscapes in Morocco to watching the strangest mixture of society in Tokyo, this film has shaped me in my better understanding of mankind. We decided to paint the film by country in the red tones; the orange earth tones for Morocco, the electric vivid red for Mexico and more toward the subtle red-purple for Japan,” says Broch.
For director González Iñárritu, the true achievement consists of making his and his art and photography departments’ efforts invisible to audiences without showing off. This effort was also implied in the self-imposed task of not succumbing to the esthetical temptations offered by places as visually attractive as the cities portrayed.
Efforts of this kind were also put in the editing room. “I love working with Alejandro because he is relentless,” says editor Stephen Mirrione. Oscar winner. “He’s not satisfied unless every frame in the film makes you feel something. In editing BABEL that meant being focused microscopically on every detail within each scene. Over 2,500 distinct camera setups were shot, giving us an overwhelming palette of images and sounds to choose from. There are roughly 4,000 cuts in the film, so like assembling a massive mosaic from tiny intricately designed tiles, the work we all accomplished only became clear to me after stepping back and watching with a little distance. I am still discovering new details, new connections, and new layers of meaning with every viewing.”
Martin Hernandez, a close friend of Iñarritu’s, began collaborating with him 22 years ago when they were working for a radio station in Mexico City. “When there’s nothing to listen to, there’s nothing to understand; if we stop understanding, then our language has become useless, even worse, in the end it will only divide us. Alejandro Gonzalez Iñarritu´s BABEL is a very detailed description on this subject at the only level that becomes truly universal: the human level. It is filled with some very subtle and some very strident characters, all of them powerfully visual and sonorous. When I was on location for BABEL trying to record the sounds in every space captured for the film, I thought I was there to hear. I was wrong. Now that I’m here, in front of Alejandro’s last cut, I am really listening. I’ve learned to listen to what he hears, and now I’ve been able to understand him. This movie expects the same attention as any human being demands, it is more about them, about the `other’, about the apparent stranger, hence in the end, it’s all about ourselves,” says Hernandez.
Adding the final touches of feeling and depth to the film is another long-time partner of Iñárritu’s – composer Gustavo Santaolalla, who most recently wrote the Oscar-winning score for Brokeback Mountain. “BABEL was the third motion picture I had the chance of working with Alejandro Gonzalez Iñarritu on. Since “Amores Perros” and through “21 Grams” we’ve been developing a particular musical language that helps us to connect with the humanistic, visceral and heartfelt essence of his movies. The challenge with “Babel” is the four stories that take place in three very different parts of the world was to find a sound, a leading instrument that would connect all the characters and places, keeping an identity but not sounding like the music of a National Geographic documentary. That voice I found in an instrument called the oud, an Arab fretless instrument, ancestor of the Spanish guitar that also echoes the Japanese koto. That sound in combination with other instruments is what created the sonic fabric of Babel,” says Santaolalla.
The crew of top rate collaborators conformed by Prieto, Broch and Santaolalla, along with sound designer Martín Hernández, have been integral members of González Iñárritu team since Amores Perros, his successful debut film. The artistic bond already established between them made the BABEL experience even more intimate and transforming. They comprise what he calls his “creative close family,” essential in the process of translating a vital experience to a language as universal as film.
“Over the course of the year, we lived around the world like a big circus of gypsies. Even when a film can be a close and personal testimony of oneself, making a film is a huge collaborative process. It’s a creative orgy in which everybody gives the best of their talents and I owe to all of my team and collaborators, the best and most satisfying moments, both in the film and out of it. Without them, it would have been impossible to conceive even an inch of film.,” says the director.
For this project, Iñárritu also invited producers Jon Kilik and Steve Golin to complete his “team” of collaborators. “It was great to be able to rely on the family that had been with me during the past two films, but it was also amazing to have worked with new friends and partners, Jon Kilik and Steve Golin. We went through a lot over the course of the film, but their spirit, experience and support was indispensable for this project,” says Iñárritu.
From the point of view of a producer, BABEL posed numerous challenges, but the biggest goal of all was to maintain the creative integrity of the film. “BABEL became the most demanding and the most rewarding producing challenge of my career,” said producer Jon Kilik (Alexander, Malcolm X, Dead Man Walking). “Remote deserts, highly secured international borders, and one of the most densely populated cities on the planet made for enormous production challenges while embracing the lifestyle and work style of Morocco, Mexico and Japan resulted in an honesty on the screen that I am extremely proud of.”
Producer Steve Golin (Eternal Sunshine of a Spotless Mind and Being John Malkovich) shared a similar experience. “This was my first collaboration with Alejandro and the experience of working on BABEL was not only memorable, but unlike any other film I have been a part of. Each day provided me an opportunity to witness people’s methodologies of filmmaking within an international setting and I was continually challenged and inspired as a producer. Having to overcome the obstacles and boundaries of language to find a way of working with one another helped to make this journey truly unique.
Related Link: Full Production Notes for Babel Movie
In the summer before their freshman year in high school, Julie (Alexa Vega) has a slumber party with her best friends, Hannah, Yancy, and Farrah — and they end up having the adventure of their lives. In attempt to cast off their less-than-cool reputations once and for all, Julie and her friends enter into an all-night scavenger hunt against their “popular girl” rivals. Hijacking dad’s car, sneaking into clubs, evading Julie’s mother, and even a first kiss — anything is possible at Julie’s Sleepover.
Julie (Alexa Vega) has invited her best friends – Hannah (Mika Boorem), Farrah (Scout Taylor-Compton), and Yancy (Kallie Flynn Childress) – to come celebrate the last day of junior high, but what begins as just another sleepover turns into the adventure of their lives. Eager to cast off their less-than-cool reputations, the friends agree to a challenge from the “popular girls”: an all-night scavenger hunt.
With Julie’s father distracted by a home-improvement project downstairs, they sneak down the rose trellis, borrow Yancy’s electric car – well, her parents’ car – dodge Julie’s mother at a nightclub, steal a pair of boxer shorts from the cutest guy in town, go to their first high school dance, fall in love, and in the end, learn a little something about themselves.
Related Link: Read Full Production Notes for Sleepover Movie