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Unit7movie
1.Hollywood’sGlassCeiling,DirectorVersion
ByMELENARYZIKDecember10,2009,4:
50pm
InSunday’sArts&Leisure,ManohlaDargislooksatthestateoffemalefilmmaking,athornytopiciftheBaggereverbattedaneyelashatone,andfindsthat,forallthetalkaboutthisbeingabanneryear—withstandoutperformancesbyMo’Niquein“Precious:
BasedontheNovel‘Push’bySapphire,”MerylStreepin“Julie&Julia,”andCareyMulliganin“AnEducation,”andthemillionsandmillionsofadoringfemale“Twilight”fans—it’sstillfarfromanequalslate.
“Ofthealmost600newmoviesthatwillbereviewedinTheNewYorkTimesbytheendof2009,about60weredirectedbywomen,or10percent,”shewrites.Ofthose,veryfewweremadebymajorstudios,andeventheindiescanprovideasteppingstonebutrarelyastepup.Isitsexism?
Creativeconservatism?
Hardtosay,butthereality,shewrites,isthat,inthemovies,womenstill“needtodeveloptheirownmuscles.”
Directors—andartistsingeneral—areoftenloathetodiscusstheirworkwithintheprismoftheirgender,andtheBaggercanunderstandwhy:
it’shardtocommentonwhatit’sliketodosomething‘asawoman’whenit’sallyou’veeverbeen.
“Wedon’tnecessarilywanttodotheall-women’spanelanymore,”NancyMeyerssaidatthepremiereofhermovie“It’sComplicated”onWednesdaynight.
AlongwithNoraEphron,Ms.Meyersisoneofthefewfemaledirectorswhosemoviesmakebigboxoffice.IfawomanalsowontheOscarforbestdirectorthisyear—like,say,KathrynBigelowfor“TheHurtLocker”—wouldthatmakeiteasierforstudiostogreen-lightmoviesmadebywomen?
“It’shardformetoknowhowpeoplewhorunstudiosthink,”Ms.Meyerssighed.“You’reassumingtheywouldequatethelogicofthat.”Thisinatonethatsuggestedthat‘logic’and‘studiohead’donotbelonginthesamesentence.
Otherfilmmakersweremoreprescriptive.
Atthepremiereof“BrightStar”inthefall,theAustraliandirectorJaneCampiontoldtheBaguettethatotherprofessionscouldserveasamodelforhowtoachieveequality.
“Lookatwomeninmedicineandlaw,”shesaid.“It’scomingup50-50.It’scauseit’stransparent—thesystem’stransparent.Inmedicineandlawtheysittheexams,theydowell.InHollywood”—wheretheonlytestishowwellyouworkaroom—“it’sobscure”howtomoveahead.
2.CraftingtheCrunchof‘Invictus’
ByMELENARYZIKDecember102009,9:
01am
PierreAndrieu/AFP/GettyImagesBody-slamming,rugby-style.
ClintEastwood’s“Invictus”benefitsfromhavingtheweightofhistory,thethrillofsportandanuancedperformancebyMorganFreemanasNelsonMandela.A.O.ScottwritesinFriday’sTimesthattheconvergenceofpoliticsandrugby“providesanoccasionforsomepotent,intelligentfilmmaking—amoviethathitsyousquarelywithitsvisceralimpactandstaysinyourmindforalongtimeafter.”
WhatstuckwiththeBaggerwasthesoundofthefilm:
thecacophonyofthecities,thecheeringoftensofthousandsoffansattheclimacticmatch,thecrunchoftheplayers,allservedasadevicetoampupthedrama.TheBaggerspoketoAlanRobertMurray,whohasworkedwithMr.Eastwoodasasupervisingsoundeditorfor31years,winninganOscarforhisworkin“LettersfromIwoJima,”aboutwhatittakestoconveythatsonically.
Mr.Murray,55,wassortofsurprisedtohearfromus.“Firstofall,”hesaid,“thanksfornoticing.Alotofpeoplejustthinkthesoundhappenswhentheyshootthemovie.”
Itdoesn’t,andthere’salotmoretoitthanyoumightthink.FunfacttheBaggerlearnedinthisinterview:
thederivationoftheterm“cowhit,”usedtoheightenacontactsound.“Somepeople,ifthey’redoingawarmovie,they’llgooutandactuallypurchaseacarcassandrecorditforbulletimpacts,”Mr.Murraysaid.Whoa.
Q:
Howdidyouapproachthesoundinthisfilm?
A:
Sinceit’sallbasedonrealevents,wewantedtoechothatinthesound,too.Westuckwithrealism.Wewantedtoknowwhattheexperienceoftherugbyplayeris,whathehearsonthefloorofthestadiumwith60,000peoplecheering,andjustgettingintothetimeperiod.WewentandrecordedalotinSouthAfricaandtriedtobeaccuratetothebackground.Myrecorderwenttotheshantytowns.Wefoundcirca1990phonesthatwebelievedwouldbeinMandela’soffice.WewenttoRobbenIsland—thejaildooryouhearisactuallyMandela’scelldoor.Wegottorecordinhiscell,whichiskindofeerie.
Q:
Wasitdifficulttocapturethesoundoftherugby?
A:
Ourbiggestproblemwasthatrugbyisnotreallyfollowedhere,sowehadtogowhererugbyisabigthing.WewenttoAustralia,wewenttoNewZealand—wehadagreatexperiencewhenFrancewasplayingtheAllBlacks,wehad11microphonesplacedallaroundthestadium.InSouthAfrica,werecruited25guys,professionalplayersthattheyroundedupinCapeTown,andwehadaprofessionalrugbycoachthere.Wegotthemtogetherandwesetthem25-30yardsapartandsaid,O.K.,youguysrunintoeachotherashardasyoucan.AndImean,itwasjustbrutalwhatwegotback.Whatyou’rehearinginthemovieisreal.Theseguysdidn’tgetupforawhile.Theygavetheirbodiestopromotethissport.
Q:
“Sounddesign”isoneofthosecategoriesthatmakepeoplelosetheirOscarpool.Whatshouldtheybelookingfor?
A:
Ithinkthebiggestfeelingis,ifyoufeelafteryou’veseenthemoviethatyouactuallywerethere.Didwecapturetheevent,didthesoundsinterestyou,didtheybringyouintothestory—Ithinkthat’sallpartofit.Sounddesign,inourterms,Ithinkpeopleneedtounderstandthatitinvolveseverythingtheyhearbutmusic.It’squiteanencompassingjob,that’squiteabitoftheloadofthefilm.Somanypeoplethinkyouaddgunshotsorsomething—it’swaymorethanthat.Youaddbackground,yourecorddialect.Itaddsanotherlayer.It’salmost3-D.
3.FirstWaveof‘Avatar’ReviewsContradictsEarlyBuzzfrom
ByMELENARYZIKDecember11,2009,10:
00am
HoursafteritwasscreenedinLondon,LosAngelesandNewYork—andaftersomeonecalledtheSneaksharedhistakeintheBritishtabloidTheSun—theembargoonreviewsofJamesCameron’s“Avatar”waslifted,whichwasequivalenttoraisingthefloodgates.
Criticsandbloggersweighedinononeofthemostexpensivemoviesevermade,andcontrarytosomehugelynegativebuzzsurroundingthefilm,theearlyconsensusisthat,asKirkHoneycuttputitatTheHollywoodReporter,Mr.Cameronreally“iskingoftheworld.”Thedirector,hewrites:
“bringsscience-fictionmoviesintothe21stcenturywiththejaw-droppingwonderthatis‘Avatar,’”whileretaininganemotionalcore.“Afullybelievable,flesh-and-blood(albeitnothumanfleshandblood)romanceisthebeatingheartof‘Avatar.’”
InVariety,ToddMcCarthywrites,“Camerondeliversagainwithafilmofuniversalappealthatjustabouteveryonewhoevergoestothemovieswillneedtosee.”
AndGregoryEllwoodoftheblogHitFixcalledit“astunningspectaclethatshouldbecomeamonsterhitandalegitBestPicturecontender,”adding,“it’shardtobelieveit’sevenCGattimes.”
Mr.Cameronhasalreadysuggestedthathewilldotwo“Avatar”sequels.TheBaggersuggestsyoustartplanningyourNa’viHalloweencostumesnow.
4.Review:
'CocoBeforeChanel'
AudreyTautoucapturesthedesigner'sfiercespiritinthisbetter-than-averagebiopic.
∙
AudreyTautouportraysCocoChanelin"CocoBeforeChanel."
ChantalThomine-Desmazures/SonyPicturesClassics/AP
ByPeterRainerFilmcriticofTheChristianScienceMonitor/October16,2009Ifyou'veeverwornChanel,orwantedto,ifyou'veevertakenoutasecondmortgagesoyoucoulddabyourselfwithChanelNo.5,youmaybeinterestedtoknowthatGabrielle(laterCoco)Chanelwasnotbornintoluxury.Thisisthecomfortingbignewsbehind"CocoBeforeChanel,"abetter-than-averagebiopicstarringAudreyTautouasthedauntingFrenchdesignerwhochangedthefaceof20th-centuryfashion.
Ihastentoaddthatthismoviecanbeenjoyedevenbythoseofuswhoarefashion-challenged.Asithappens,Chanel'sideasaboutstylehappentocoincidewithmyown:
Simplicity,simplicity,simplicity.Ifyoudon'tbelieveme,takealookatsomeoftheladies'hatsinthisfilm.BeforeChanelcamealong,theyoftenresembledfeathery,upturnedfruitbowls.JustthinkofChanelastheanti-CarmenMiranda.
"CocoBeforeChanel,"whichwasdirectedbyAnneFontaineandco-writtenwithhersisterCamille,sharesthedesigner'saestheticofmodesty.WithoutagreatdealoffussthefilmmovesusalongthetrajectoryofCoco'slifefromherhumblestbeginningstohersuccessinthefinestsalons.
There'sanahamomentearlyon,thoughit'sunderstated.Cocohasbeenplaced,alongwithhersisterAdrienne(MarieGillian),inanorphanagerunbynuns,whosewimplessheadmiresfortheirstitching.Thisisprobablytheonlymovietosuggestalinkbetweenanun'shabitandhautecouture,butitmakesalotofsense.
Cocowindsupaseamstresswho,tomakeendsmeet,entertainsnightlyataprovincialmusichall.Fendingoffthemalecustomerswhomistakeherforaprostitute,thechain-smokingCocoseemsastoughasanydamefroma1940sfilmnoir.Sheresentstheslobberyadvancesofheradmirersbutshealsoknowsthattheonlywaytogetaheadinthissocietyisthroughtheministrationsofmen.
Shebecomesthemistressofascampsophisticate,ÉtienneBalsan(BenoîtPoelvoorde),whocomescompletewithhisowncountryestate.Cocosoontakesupresidence.TherelationshipbetweentheolderÉtienneandCocoiscomplex.Farfrom