Tag: kate winslet
A director known for his visual panache, Roman Polanski assembled a team of highly-creative behind the scenes collaborators including cinematographer Pawel Edelman, and Academy Award-winning production designer Dean Tavoularis and costume designer Milena Canonero.
The brief for his production and costume designers was straightforward. “I wanted realism for the set design and costumes and a contemporary look,” says Polanski. “Those were the two notes I gave Milena and Dean, they don’t need much advice!”
Almost as important as the four characters was the set. Constructed on the sound stages of Bry-sur-Marne on the outskirts of Paris, the set was created by production designer Dean Tavoularis, best known for his collaborations with Francis Ford Coppola on some of the most visually impressive films of the past 40 years including The Godfather trilogy, The Conversation and Apocalypse Now.
Tavoularis designed a floor plan for a set which would be as authentic as possible, where it was possible to walk from one room to another, or to look from one room down the corridor to another, just as one would do in a real apartment. He also designed the apartment so that it would bring an extra dimension to the narrative at key moments. So the bathroom is accessed only by the bedroom which brings a heightened frisson to the scene where Penelope is helping Alan change out of his wet trousers in the bathroom – they have to pass the bed on their way back to the living room.
Tavoularis, who worked with Polanski on The Ninth Gate, had never designed a film of this type, set in one room and with just four characters. “I tried to make it as real as possible. I’m always very concerned about the details of a set because you never know exactly how much the director is going to show, if you’re going to see inside the cupboard or inside the drawer. We had food and other items brought in from New York – and specifically Brooklyn – so that the apartment would be as authentic as possible. I was sure that some things wouldn’t be seen on camera, but I still dressed it properly for the actors. That’s especially important if you’re going to be on the one set for the whole film.”
His efforts certainly paid off. Says John C. Reilly: “When I saw the set, I thought that so much of my work had been done for me. Usually on films, the camera sees what the audience is meant to see so there’s only half a set or if you open a book there’s nothing inside the book…there’s a lot of artifice. But Dean’s set was filled with detail. It was completely realistic down to the strange little knickknacks on the shelves. The kitchen was almost functional. It definitely gave us a sense of place.”
One of the pleasures for the designer, who had almost retired from the film industry and was enjoying a life as a painter until he got the call from Polanski, was working in France. “I hadn’t done a film for a few years and I was astonished by how extraordinary the French craftsmen were. The carpenters, the painters, the prop makers were all of an exceptional caliber.”
Teaming up with Polanski again brought home to the designer just how broad the director‘s talents are. It was often Polanski who would see a way out of a problem, says Tavoularis. “His knowledge encompasses every aspect of filmmaking, from the design to the visual effects. He would know exactly how to explain how to put something right. He gets to the reality and to the core. He’s one of the greatest working directors in the world.”
Related Link: Read full production notes for Roman Polanski’s Carnage
The thriller starring Matt Damon knocks “The Help” out of first place for the first time in three weeks.
“Contagion” infected enough moviegoers to catch the top spot at the box office. The Warner Bros. pandemic thriller directed by Steven Soderbergh and starring an A-list cast that includes Matt Damon, Kate Winslet, Jude Law and Gwyneth Paltrow coughed up $23.1 million in its first weekend, according to studio estimates Sunday.
The film’s contagious opening marked the beginning of the fall movie season by exceeding the studio’s estimates. “I think Steven Soderbergh made a compelling movie that tapped into that fear that many of us have about illnesses, viruses and pandemics,” said Jeff Goldstein, Warner Bros. general sales manager. “It’s like a train or car accident. You can’t look away. You prefer not to think about it, but when it’s presented to you, you want to learn more.”
Despite the breakout success of “Contagion,” it was the lowest grossing weekend of the year so far for the film industry, according to Paul Dergarabedian, box-office analyst for Hollywood.com. Dergarabedian said that’s typical for the weekend after Labor Day and expected business to pick up in the coming weeks as the Academy Awards race begins.
“There are some great titles that are on the way,” said Dergarabedian. “I see several promising films — Oscar contenders like “50/5/” ‘The Descendants’ and ‘Ides of March,’ and even potential big moneymakers like “Real Steel”
“The Help” the acclaimed DreamWorks Pictures drama distributed by Disney about black Southern maids speaking out during the civil-rights movement, slipped to No. 2 with $8.7 million after three straight weeks at the top, bringing its domestic total to $137 million.
“Warrior,” the Lionsgate mixed-martial arts drama starring Tom Hardy and Joel Edgerton, punched up a $5.6 million debut in the No. 3 position. David Spitz, head of distribution for Lionsgate, said he expects <“Warrior” to mirror the simmering success of “The Help.”
“The film has gotten unbelievable reviews,” said Spitz. “The audience reaction we’re getting on the movie is consistent. People like the film. It’s a slow burn. We think we’re going to be in theaters for a long time.”
Nothing spreads like fear.
Contagion follows the rapid progress of a lethal airborne virus that kills within days. As the fast-moving epidemic grows, the worldwide medical community races to find a cure and control the panic that spreads faster than the virus itself. At the same time, ordinary people struggle to survive in a society coming apart.
Contagion is directed by Steven Soderbergh and written by Scott Z. Burns. The project was announced in February 2010 with the news that Matt Damon and Jude Law were cast in Contagion in their first collaboration since The Talented Mr. Ripley in 1999. Kate Winslet and Marion Cotillard joined the cast later in the month. Sodebergh received cooperation from the Centers for Disease Control and Prevention and also worked with a group of scientific advisers for the film.
While the international medical community searches for a cure, confrontational freelance journalist Alan Krumwiede pursues an agenda of his own. Combining a genuine reporter’s instinct with a pathological distrust of all things official and a flair for the dramatic, he commits his popular blog to exposing the truth about the growing epidemic…as he sees it.
“His demand for the truth could be seen as heroic,” says Jude Law, starring as the man who claims—among other things—that there are more deaths than are being reported, and possibly an alternative cure being suppressed. “He believes people have a right to know and that information should be shared, especially when it’s something on this scale, and he was the first to break the story of a man dying on a Tokyo bus, who turned out to be one of the virus’ first victims. He has the courage of his convictions but his pride and ego often get in the way. He casts too broad a net for his stories and doesn’t always care about the repercussions of what he puts out there.”
“Krumwiede is not always wrong,” Soderbergh points out. But neither is he always right. And what he broadcasts takes on a life of its own as people desperate for answers turn to his blog. As the disease continues to proliferate, so does his subscriber base, from modest beginnings to 2 million, then 12 million people. “There are always conspiracy theories that percolate around significant events,” says Burns. “And just as a virus begins with one person and spreads, Krumwiede becomes the ‘index patient’ for what becomes a parallel epidemic of fear and panic.”
In developing the complex and undeniably charismatic character, Soderbergh recounts, “Jude and I talked about bloggers who take an anti-government, conspiracy theory approach—what they sound like, what they look like, and how they behave. We definitely wanted him to have a messianic streak.”
“What’s interesting is that you’re not really sure about him,” says Jacobs. “Is the government really hiding something and does the herbal remedy he’s talking about really work? I think we all suspect at one time or another that we’re not getting the whole truth, and in that sense Krumwiede represents the audience’s point of view.” “But,” Law confirms, “ultimately, he crosses the line.”
Representing one of Krumwiede’s prime targets is Elliott Gould, re-teaming with Soderbergh and his three-time “Ocean’s” co-star Matt Damon, as Dr. Ian Sussman, a San Francisco-based medical researcher working independently on a possible vaccine—against CDC orders. Monique Gabriela Curnen (“The Dark Knight”) also appears as a newspaper editor, Lorraine Vasquez, who dismisses Krumwiede’s bid for an exclusive just before the contagion breaks.
Directed by: Steven Soderbergh
Starring: Matt Damon, Kate Winslet, Jude Law, Marion Cotillard, Gwyneth Paltrow, Laurence Fishburne, Jennifer Ehle, Anna Jacoby-Heron, Josie Ho, Sanaa Lathan
Screenplay by: Scott Z. Burns
Production Design by: Howard Cummings
Cinematography by: Steven Soderbergh
Film Editing by: Stephen Mirrione
Costume Design by: Louise Frogley
Set Decoration by: Cindy Carr
Art Direction by: Abdellah Baadil, Simon Dobbin, David Lazan
Music by: Cliff Martinez
MPAA Rating: PG-13 for disturbing content and some language.
Studio: Warner Bros. Pictures
Release Date: September 9, 2011
Related Link: View Full Production Notes for Contagion Movie
Journalists and photographers from all over the world have gathered in Venice for the annual film festival to see the movies of tomorrow. But for one star in attendance, her recent holiday may prove a far more interesting story than some of the film plotlines. Kate Winslet made her first public appearance since escaping the fire on Sir Richard Branson’s Necker Island at the Venice Film Festival.
Winslet had been holidaying on the private Caribbean hideaway when lightning struck it during a tropical hurricane. In the ensuing chaos, the Oscar winner managed to rescue Branson’s elderly mother Eve, 90, as well as her own children Mia and Joe.
But after her heroic behaviour two weeks ago, it was back to the day job for Winslet as she promoted her new film Carnage. Dressed in a fitted black dress and beige blazer, Winslet joined co-star John C Reilly and the film’s scriptwriter Yasmina Reza at the lunchtime photocall. Later she dressed up in designer couture for the film’s premiere.
The film, directed by controversial director Roman Polanski, tells the story of two sets of parents who meet up to discuss their children who have been fighting at school.
The Brit’s appearance at the festival is the first time she’s been set since she was photographed hugging Eve against the backdrop of ruined Necker.
Winslet had been holidaying with her children and model boyfriend Louis Dowler when the inferno broke out. The actress said last week: ‘‘I’m just so glad that everyone is safe. And this very easily could not have been the case. will never forget Richard placing his arms around both my children as we were watching the flames, and saying, “At the end of the day, what you realise is that all that matters is the people that you love. Everything else is just stuff. And none of that stuff matters.”‘