Tag: marion cotillard
The stars’ new war thriller evokes the Hollywood classic – but can it compare? Whatever one might think of Allied, a glossy World War Two espionage thriller starring Brad Pitt and Marion Cotillard as secret agents who try to forge a viable family life in the midst of a world on fire, it’s worth celebrating that Robert Zemeckis is firmly dedicated to filming flesh-and-blood people again.
Zemeckis has always been a superb craftsman, with a particular gift for assimilating technical advances in the art of moviemaking, but he lost over a decade of his creative life pursuing the sterile art of motion-capture animation, nearly getting lost in the uncanny valley for good. It’s hard to think of a major filmmaker who came so close to being ruined by technology, just as it’s hard to believe that anyone except film historians will be watching Beowulf, The Polar Express or A Christmas Carol even a decade hence.
Rather than pushing towards the future, Alliedlooks to the past, and not only in terms of its plot. The movie begins with Pitt’s Canadian spy, Max Vatan, parachuting into the Moroccan desert, and within minutes we’re in Casablanca – and, perhaps more to the point, in the film Casablanca. Max and Cotillard’s Marianne Beauséjour are highly trained agents with a deadly, top-secret mission, but that doesn’t prevent them from looking fabulous while doing so.
Allied is a movie about loyalty and trust, about the bonds that hold people together and sometimes blind them, but it’s also a movie about how silken fabrics fall on Marion Cotillard’s frame, and how dashing Brad Pitt looks in a knitted v-neck. Joanna Johnston has been Zemeckis’s costume designer for nearly three decades – and is therefore partly responsible for the person who walked by me on Halloween when I was wearing a down vest and called out, “Hey! You look like Back to the Future!” – but between this and last year’s The Man From U.N.C.L.E., it feels like she’s abruptly risen to a new and dazzling level of accomplishment.
Although there’s no show-stopping set piece to rival Flight’s plane crash or The Walk’s Twin Towers tightrope act, Allied is technically immaculate from stem to stern. Every shot framed by Don Burgess feels purposeful, every one of Mick Audsley and Jeremiah O’Driscoll’s cuts precise. It’s a movie that ought to be studied in film schools, both for its technical achievements and as an example of how it’s possible to get every one of them right and still produce something that feels hollow inside.
Casablanca is driven, above all, by a call to self-sacrifice, the idea that next to the struggle against the threat of global fascism, whether one man and one woman end up together or not doesn’t amount to a hill of beans. Allied is about the hill of beans. It’s set against the same backdrop, and given the alarming resurgence of neo-Nazi ideology around the world, it stops you dead the first time a swastika armband swoops in front of the lens. But Allied’s Nazis are ultimately no more frightening than Top Secret’s.
Zemeckis has always styled himself as an apolitical filmmaker, claiming that the overtly right-wing Forrest Gump was intended to poke fun at both ends of the political spectrum, but here that disdain for taking sides robs the movie of what ought to be its core conflict. Once Max and Marianne tumble into each other’s arms we’re mainly worried about whether they’ll be found out, not whether their romantic entanglement might end up getting anyone else killed. The most inventive sequence in the movie doesn’t involve spy craft or the art of war but the two characters coupling in a car in the midst of a Moroccan sandstorm, the camera circling around their increasingly unclothed bodies as the wind whips ever-faster around them.
Its classical Hollywood reference points notwithstanding, the movie Allied most resembles is Zemeckis’s What Lies Beneath, which was also a Hitchcockian genre piece motivated at heart by questions of fidelity. (There’s an intriguing overlap, too, with Mr and Mrs Smith, in which Pitt and Angelina Jolie played professional liars who could never quite be sure if their love for each other was a deep-cover con, and last year’s Jolie-directed By the Sea, which was similarly animated by the pleasures of gazing at Pitt’s body and a woman in negligees.) Here, war is hell not because good people die, but because it makes it impossible to trust even the people you think you know, and those suspicions don’t end simply because an assignment does. Allied spans countries and continents, but the world it’s concerned with feels awfully small.
The Dark Knight Rises actress Marion Cotillard recently attended the premiere of her new movie Contagion, where she coyly talked about her character, Miranda Tate, in The Dark Knight Rises.
Almost immediately after she was cast, speculation rose that Miranda Tate, a Wayne Enterprises board member who is not featured in the comic books, is actually an alias for Talia al Ghul, daughter of Ra’s al Ghul. Here’s what she had to say below, when asked if she looked to the comic books for inspiration.
When asked if she was lying to protect the secretive nature of Christopher Nolan’s production, she denied the allegation. It is possible that Miranda Tate really isn’t the alter-ego of Talia al Ghul, but at the same time, it is possible that they are one and the same. Take a look at the actresses video interview below.
The Dark Knight Rises comes to theaters July 20th, 2012 and stars Christian Bale, Morgan Freeman, Michael Caine, Gary Oldman, Tom Hardy, Anne Hathaway, Marion Cotillard, Joseph Gordon-Levitt. The film is directed by Christopher Nolan.
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
It’s a son for actress Marion Cotilard and French actor-director Guillaume Canet, reps for the actress confirm to The Hollywood Reporter. The baby boy, named Marcel, was born Thursday night in Paris. “Mother and baby are fine,” a source told People.
“Mother and baby are fine,” the source told the mag, adding that the Oscar winner is “very happy.” The “Little White Lies” co-stars began dating in 2007 and announced they were having a baby together in January.
The duo, who starred together in Love Me If You Dare in 2003, have been dating since 2007. Canet also recently directed the actress in Little White Lies. Cotillard will star as a love interest to Christian Bale’s Batman in Christopher Nolan’s The Dark Knight Rises.
Christopher Nolan says he has lots of ideas that couldn’t fit in the film. But game won’t come soon.
Christopher Nolan might have the Midas touch when it comes to making movies, but he hasn’t had a lot of luck in the videogame arena. But that’s not dissuading the writer / director / producer, who plans to bring his hit film “Inception” to a console near you.
“We are looking at developing a videogame based on the world of the film, which has all kinds of ideas that you can’t fit into a feature film,” Nolan told reporters at a press conference in Rome, according to a report in Variety. “That’s something we’ve been talking about and are looking at doing long term, in a couple of years.”
The move makes sense. “Inception” has grossed over $750 million dollars at the box office since its release – and the film’s target audience lines up perfectly with the core gaming demographic.
But Nolan has tried to bring one of his movies to the gaming space before – 2008’s “The Dark Knight” – and it didn’t go well.
The game first missed a coordinated launch with the theatrical release, then failed to materialize when the DVD hit shelves. Ultimately, Electronic Arts cancelled the title after shutting down the studio that was working on it.
The world of video games is, of course, littered with forgettable movie-based tie-ins. The vast majority of those were rush jobs done by developers who were far removed from the film process, rarely (if ever) coordinating with the director.
If Nolan were to take an active role in the “Inception” game’s development, that would be an encouraging sign – but it would hardly be a guarantee of success.
Just ask James Cameron. The most successful director of all time worked closely with Ubisoft when that publisher was creating the videogame companion for “Avatar”. But when the game launched, it didn’t come close to mirroring the film’s success, failing to even crack the list of the top 20 best-selling games last December.
Atari had better luck when it worked with the Wachowski brothers on “Enter the Matrix”. Launching simultaneously with “The Matrix Reloaded” in 2003, the game went on to sell 5 million copies – but it was lambasted by critics and players, and future “Matrix” games weren’t big sellers.
Other Hollywood directors have been able to extend their cinematic prowess to the gaming screen, though. Peter Jackson worked closely with Ubisoft to create the gaming adaptation of his “King Kong” film, a game that went on to become one of the premiere launch titles for the Xbox 360. And Steven Spielberg has worked on non-movie related games with Electronic Arts — including his “Boom Blox” puzzle games — that have gone on to become critical smashes.
More recently, developers at Disney Interactive Studios worked closely with Pixar on the video game version of “Toy Story 3.” That game became one of the most lauded movie tie-in titles in the company’s history.
Nolan’s not the only celebrated director expressing interest in exploring the game world these days. Guillermo Del Toro, director of the “Hellboy” franchise and “Pan’s Labyrinth,” is said to be close to signing a deal with publisher THQ to work jointly on “games that are going to be technically and narratively very interesting.”
Like Nolan, del Toro has an artistic vision that’s distinct from the rest of Hollywood. Gamers are wary, having been burned by too many bad Hollywood tie-ins already, but hopeful that the magic the directors bring to the big screen is something they can deliver to the consoles as well.
Related Link: Inception Movie Full Production Notes
Dom Cobb (Leonardo DiCaprio) is a skilled thief, the best in the dangerous art of extraction: stealing valuable secrets from deep within the subconscious during the dream state when the mind is at its most vulnerable. Cobb’s rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved.
Now Cobb is being offered a chance at redemption. One last job could give him his life back but only if he can accomplish the impossible—inception. Instead of the perfect heist, Cobb and his team of specialists have to pull off the reverse; their task is not to steal an idea but to plant one. If they succeed, it could be the perfect crime. But no amount of careful planning or expertise can prepare the team for the dangerous enemy that seems to predict their every move. An enemy that only Cobb could have seen coming.
Related Link: Inception Full Production Notes
The Sorcerer’s Apprentice
Balthazar Blake (Nicolas Cage) is a master sorcerer in modern-day Manhattan trying to defend the city from his arch-nemesis, Maxim Horvath (Alfred Molina). Balthazar can’t do it alone, so he recruits Dave Stutler (Jay Baruchel), a seemingly average guy who demonstrates hidden potential, as his reluctant protÃ©gÃ©. The sorcerer gives his unwilling accomplice a crash course in the art and science of magic, and together, these unlikely partners work to stop the forces of darkness. It’ll take all the courage Dave can muster to survive his training, save the city and get the girl as he becomes The Sorcerer’s Apprentice.
Related Link: The Sorcerer’s Apprentice Full Production Notes