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Статьи на английском и других языках
Natalie: Поскольку мы не все переводим для сайта, то суда можно складывать интересные материалы на английском языке... Если вы хотите получить перевод какой-то статьи, тоже пишите сюда.
Natalie: Viggo Mortensen Visits Iceland’s West Fjords http://www.icelandreview.com/icelandreview/daily_news/?cat_id=16539&ew_0_a_id=358128 Danish-American actor Viggo Mortensen arrived in Iceland on Monday with his girlfriend and entourage. They were on a private visit to the West Fjords. They took the ferry across Breidafjördur fjord and spent one night in Patreksfjördur. “I was a little surprised when I saw him coming. I recognized his face but didn’t realize straight away who he was,” Víkingur Traustason, the owner of the restaurant Thorpid in Patreksfjördur, told Fréttabladid of Mortensen’s visit on Tuesday. “He had a cod pepper steak, no less. He had a good appetite and complimented the food,” Traustason said. According to him, Thorpid also serves the best burgers in Iceland. “Then he sat in the sofa and watched football. Of course everyone watches Manchester United,” Traustason said, referring to the game between Manchester United and AC Milan in the Champions League. Traustason said locals had not made a fuss about the Hollywood star’s presence in their village. “They are just normal people like you and me, or that’s how we see it.” According to Fréttabladid, Mortensen’s next stop was Ísafjördur. The actor has visited Iceland before and has even exhibited his photographs in the country. with his girlfriend смелое заявление, вы не находите?
Marta: Почему? Речь, видимо, идет об Ариадне.
Natalie: Понятно, что речь идет об Ариадне, но все равно про герлфренд слишком смелое заявление, по-моему.
Tinavi: А по-моему, все, и мы вместе с ними, основательно нашим другом запутаны: нельзя одновременно быть рядом с больной мамой и путешествовать с подругой по фьордам Исландии((
Гость: В этой "новости", скорее, может быть несколько составляющих. Во-1, реклама туристической инфраструктуры; во-2 - притомились звезды, репетируя да присматривая маму; в-3, посетила крамольная мысль: а может наш герой попросту уже настолько категорически выпал из театральной обоймы (сам говорил, что более 20 лет вне подмостков и очень сильно "тревожится") и решил аккуратно съехать с темы. А съемки в кино и игра в театре - это, как говорят в Одессе, две большие разницы.Писали же, что премьера пьесы несколько раз откладывалась. Да и материал, зная ВМ, можно предположить, был не из легких. Опять-таки, мама заболела...
Natalie: Гость, ну что ж вы так в самом деле? Между прочим, Вигго все-таки собирается вернуться в конце концов и закончить все то, что изначально планировалось... И он абсолютно не из тех людей, кто будет вот так выбывать, да еще и с такой причиной... Это подло, знаете ли...
Tinavi: Вообще информация странная. Для всех всегда первый объект интереса - это girlfriend. А здесь... Нет, пока не верю!))
Marta: А я согласна с Гостем. В испанской прессе были намеки на то, что Вигго тихо слинял от Эммы Суарес. Хм, забавная статейка. Заходит эта сладкая парочка в деревенскую гостиницу в предвкушении романтической ночи, а там - телевизор: удар по воротам! гол! манчестер юнайтед выходит вперед! шайбу! шайбу! Герлфренд мрачно курит в углу над остывающим стейком из трески...
Natalie: UPD - 21.02.2010 - 18:40 Тема очищена от флуда, оставлены только сообщения по теме.
Natalie: Viggo Mortensen: I’m a maverick Source: [url=http://www.musicrooms.net/showbiz/17305-viggo-mortensen:-i%u2019m-a-maverick.html]www.musicrooms.net[/url] 07/10/2010 Viggo Mortensen says moving to New York as a child made him a “maverick”. The actor’s family lived in several different countries when he was growing up and Viggo says the constant upheaval was both a blessing and a curse. While it was exciting to see different cultures, it also made Viggo feel lonely and unable to make friends. The star felt completely out of his comfort zone when he moved to North America and it took him a while to adjust to his new surroundings. "I was lucky and unlucky to grow up in different countries. I spend my childhood in South America, before my parents moved to New York when I was 11,” he told the German edition of OK! magazine. “The culture shock was substantial. Nobody knew soccer, nobody spoke Spanish. I began to isolate myself and become a bit of a maverick – and I have been since then." The 51-year-old actor is also a talented poet, musician, painter and photographer. He believes it is important to have more than one skill to rely on. Viggo says having a range of talents has ensured he has never had to struggle to make a living and he insists he wasn’t too proud in the past to do a variety of jobs in order to pay his bills. "I never had to sell my body for crack", he joked. "With paintings and books I could always made a living besides from acting. And if not, I took an odd job - from removal man to busker, I did it all." А еще эксклюзивное интервью Вигго будет напечатано в немецком журнале ОК! Наше издание, по всей видимости, опять в пролете :((
Валюша: Интересная заметочка. Сайт и форум - просто кладезь информации.)
Natalie: Валюша, я планирую эту заметочку перевести, только не знаю когда. Тут новости на сайт так и толпятся )))
Calipso: Ух ты, новости - это здорово
Natalie: Статьи о "У всех есть план" множатся бешеным тиражом, повторяя друг друга. Вот, еще один "клон", который даже в переводе не нуждается http://www.laht.com/article.asp?ArticleId=394562&CategoryId=13003 BUENOS AIRES – U.S. actor Viggo Mortensen’s enthusiasm seemed boundless as shooting was about to begin of his new film, the Spanish-Argentine coproduction “Todos Tenemos a Plan” (Everyone Has a Plan), particularly because this is the first time he has made a movie in Argentina, the country where he spent much of his childhood. Mortensen presented Friday in Buenos Aires this noir thriller, the first work by Buenos Aires director Ana Piterbarg. He will star alongside the Argentine actress and singer Soledad Villamil, winner of a Spanish Goya award for best new actress for her role in “El Secreto de Sus Ojos” (The Secret in Their Eyes). “You always feel nervous” when filming is about to start, “but it’s a different kind of nervousness for me this time, because this will be a product of Argentina, and so am I because I grew up here. I’ve come back often on promotional visits, but I never filmed here, so it’s an honor and a very special opportunity,” the actor told a press conference. In “Todos Tenemos un Plan”, Mortensen will play Agustin, a man who, after the death of his twin brother, decides to return to the place he grew up and begin a new life using his brother’s identity, which plunges him into a “dangerous world of crime,” according to the synopsis. The star of “Lord of the Rings,” who lived eight years of his childhood in Argentina, said that he accepted this project because he really liked the screenplay “full of subtlety” that Piterbarg offered him several years ago, among other reasons because “the ending isn’t final” but invites the viewer to ponder the true outcome. Production of “Todos Tenemos un Plan”, which will also have the benefit of sponsorship by the Autonomous Community of Valencia and the participation of Television Española, will kick off next June 6 and will continue for nine weeks at locations in Argentina and Spain. The principal location will be the Delta del Tigre, a river setting near the Argentine capital, though for the last two weeks filming will move to Alicante, Spain, to shoot interior sequences at the Ciudad de la Luz audiovisual complex. The film, scheduled to premiere in 2010, has a budget of $3.5 million.
Calipso: Не знаю правильно ли, но решила сюда... Нашла очень интересный сайт для всех, кто дружит или пытается подружиться с английским http://www.correctenglish.ru. Тесты, словари, разговорники, сленг, идиомы, тренажеры для восприятия английской речи на слух - словом, масса полезного
Rita-chka-1: Calipso, большое спасибо! Сайт очень информативный!
Natalie: Унесла в избранное :) Как раз собиралась в отпуске заняться этим делом!
corall: Девочки, вот на vv в твиттере новое сообщение (вроде про интервью какое-то). Зарегистрироваться не удается. Кто вхож, может, просветят хотя бы в общих чертах?
corall: Ага.Нашла текст. В нем фото Вигго из "Тюрьмы. В чём суть, не понимаю. Надеюсь на более понятливых.
Natalie: Речь об этой статье www.denofgeek.com/ Это интервью режиссера Ренни Харлина, где он упоминает о "Тюрьме" и немного о Вигго. Я бегло по статье пролетела, наткнулась, что в начале фильма показывают якобы руки Вигго, но на самом деле это не его руки... На сим полезная информация для меня закончилась и я углубляться не стала :)
corall: Спасибо и на этом. Верю.
Calipso: Руки? Обязательно пересмотрю! Хотя, если не его, то неинтересно
Taro: Viggo Mortensen looks to team up with 'Drive' screenwriter for Patricia Highsmith adaptationEXCLUSIVE: Hossein Amini is one of the hottest screenwriters around -- his Ryan Gosling-starring "Drive" has been getting some enthusiastic notices on the festival circuit, and he's penned big upcoming releases such as "47 Ronin" with Keanu Reeves and "Snow White and the Huntsman" with Kristen Stewart. Now Amini has written a new movie, and it unites him with a well-regarded actor, Viggo Mortensen, and an equally acclaimed novelist. Amini and Viggo Mortensen are developing an adaptation of Patricia Highsmith's "The Two Faces of January," according to a person familiar with the project who asked not to be identified because he was not authorized to talk about it publicly. The idea is for Amini to make his directing debut with the film and Mortensen to star, the person said. Highsmith's 1964 suspense novel centers on an American con artist, his wife, and a stranger they meet while traveling in Athens. After one of them kills a Greek police officer, the trio enter a high-stakes game with the authorities and one another as they attempt to cover up the crime and flee the country. Highsmith's book has plenty in common with one of her most famous novels, "The Talented Mr. Ripley," another murderous story of Americans abroad (and whose film adaptation, of course, became a hit in 1999 for Matt Damon and Gwyneth Paltrow). Highsmith, who died in 1995, also wrote the novel on which Alfred Hitchcock based his "Strangers on a Train." Mortensen would star as one of the two male leads in "January," with the other two roles still being cast. The movie had initially been set up with the production company of the late Anthony Minghella (who directed "Mr. Ripley"). Financing is currently being put together for the independent production. A Mortensen spokeswoman did not immediately reply to a message seeking comment. "January" would bring Mortensen together with Amini after the actor opted not to star in "Huntsman." The eclectic-minded performer hasn't been on the screen in nearly two years -- he was last seen as a troubled father caring for his son in the apocalyptic "The Road" in 2009. Mortensen's fans, though, won't have to wait for "January" to see him on screen again. He stars in David Cronenberg's upcoming biopic of Sigmund Freud and has a supporting role in Walter Salles' adaptation of "On the Road." With Ryan Gosling's 'Drive,' a different Dane gets his moment
Tinavi: Интересная информация! Сегодня времени нет, чтобы все перевести. Вигго-сценарист - это интересно!!!))
Taro: Soledad Villamil plays Claudia, Agustín´s wife, one of the brothers portrayed by Viggo, and her character moves in the city and interiors that will be filmed in a set in Alicante, Spain. “They are a husband and wife who have been together for quite a time and at the beginning you see them with problems, with him immersed in a bad state of mind situation. A death takes place, Claudia is left as witness and is trying to understand what happened. She is the eyes of the audience, the one who wants to discover what happened." Villamil says that Ana sent her the script and “ the story interested me very much. The film has a very special development, a lot of atmosphere. I knew from the start that Viggo would be in it, since he is a main key to the project. He was in it before anybody.” The obvious question is how it was to work with him. And although they filmed during three days (they will do more in Spain), “when hearing his name one imagines how that meeting will be. At work he is one of the crew, a great workmate, deeply involved in the film in every aspect and not only with his character. He is a person with enormous warmth and great honesty. We rehearsed, we read the script, we got to know each other a bit and build up a relationship as people.” As for the scenes in particular, the actress from El secreto de sus ojos said to have felt “very comfortable from the start. I like him as an actor, he goes beyond the screen. He has an impressive level of communication. I was interested to know how he faces work someone who comes from filming with Cronenberg. And the truth is he is very professional, very serious on the set, and he knows very well how to control his energy.” About the future of Todos tenemos…, the actress (increasingly dedicated to her musical side and about to go on tour) says she doesn´t have any idea about what can happen, just as she never imagined that, because of Campanella´s film, “I was linked to something people had experienced very intensely, because what happened with the film was extraordinary.” She adds: “It´s a thoroughly Argentinian film: script, cast, crew, even Viggo himself. I hope the road it will walk will be the best”.Оригинал*Clarin*
corall: А кто осчастливит малограмотных толковым переводом?
Rita-chka-1: А самим слабо?))
corall: В общих чертах понятно.
Rita-chka-1: И я об этом))
Natalie: Опять не в той теме нафлудили, ай-ай Я вас в тему с фильмом перенесу, ок?
Natalie: На VW выложили длинное интервью про "У всех есть план". Забрала на перевод, если что. Завтра-послезавтра выложу на сайт.
Rita-chka-1: Natalie , прости! ВИноваты(((( Переноси !
Taro: NEWS Toronto Film Festival Announces Galas And Special Presentations: 10 Films You Shouldn't MissThe fall film festival season is barely a month from kicking off with the Venice and Telluride festivals, and today one of the biggest, the Toronto International Film Festival, started unveiling their slate with their Galas and Special Presentations lineup. The list includes some of the most highly anticipated films of this year and the next, featuring a mix of upcoming studio projects-- like Roland Emmerich's Anonymous, Bennett Miller's Moneyball, and the Duplass Brothers' Jeff Who Lives At Home-- indies that have made splashes at other festivals-- like Lynne Ramsay's We Need To Talk About Kevin, Nicholas Winding Refn's Drive and Michel Hazanavicius's The Artist-- and films nobody has seen yet but ought to be anticipating-- like Sarah Polley's Take This Waltz and David Cronenberg's A Dangerous Method. It's quite the lineup, and given that I'll be covering Toronto again for Cinema Blend, I'm already counting the days until it's finally September. Below are ten of the films I'm looking forward to the most-- there are many, many others I'm dying to see, trust me-- and below that, the full list of gala and special presentation films. This is far from the full Toronto lineup, but this list does contain many of the films you'll see getting Oscar buzz later this year. Remember, Toronto was where The King's Speech won the Audience Award that predicated its Best Picture win, where Natalie Portman's Oscar-winning performance in Black Swan first premiered , and where dozens of other awards campaigns first took flight. If autumn is generally the season of the year's best movies, Toronto is where many of them first gather for their seasonal takeover. A Dangerous Method. The new film from proud Canadian David Cronenberg, it was an obvious candidate for a Toronto premiere. Starring Michael Fassbender, Viggo Mortensen and Keira Knightley, this drama about the conflicted relationship between Sigmund Freud and Karl Jung already has trailer out, and will be in theaters later this year from Sony Pictures Classics.
Rita-chka-1: Дай Бог нашему теляти волка поймати)))))
Taro:
Taro: Venice vs Toronto film festivals Kaleem Aftab Aug 4, 2011 The Venice and Toronto Film Festivals are the traditional start to the Academy Awards season, with many of the contenders for the big prize being unveiled in the September events. FILM POINTER Films: The National watches Film reviews, festivals and all things cinema related Film Last year Toronto got the bragging rights for programming The King's Speech, as it did with Slumdog Millionaire in 2008, while Venice can claim to have screened The Hurt Locker first. So, last week when the two festivals unveiled their programmes for this September, eyes around the world were watching them to see how the Academy Awards battle is likely to shape up. For the 68th Venice Film Festival, which begins on August 31 and runs until September 10, the organisers have pulled out all the stops and embraced American cinema in a way that they haven't for a number of years in an effort to bring back the glamour and show the North American upstart that there is life in the old Italian dog yet. The pop superstar Madonna, always one for reinvention, continues her efforts at stepping behind the camera in her fledgling directing career. Her second directorial effort, WE, about the British King Edward VIII's romance with the American divorcee Wallis Simpson, is screening out of the main competition but is destined to be the most talked-about film of the festival. It sets the king's romance and subsequent abdication against a modern relationship. The festival opens with George Clooney's new political thriller Ides of March. He both directs the film and stars in it as an American presidential candidate, with Ryan Gosling playing an idealistic campaign manager. Clooney adapted the story with Grant Heslov, his frequent collaborator, from the stage play Farragut Nor Two eagerly awaited adaptations of novels will be launched at Venice. The British director Andrea Arnold changes pace from gritty social realism with her period romance Wuthering Heights, while the Let the Right One In director Tomas Alfredson has adapted John Le Carré's thriller Tinker, Tailor, Soldier, Spy, with Gary Oldman and Colin Firth. Controversy is assured by the inclusion of new films from Roman Polanski (Carnage), William Friedkin (Killer Joe), Todd Solondz (Dark Horse) Abel Ferrara (4:44 Last Day on Earth) and David Cronenberg (A Dangerous Method). The Polanski picture is a four-hander adapted from Yasmin Reza's play The God of Carnage, starring Jody Foster, Kate Winslet, Christoph Waltz and John C Reilly. Cronenberg's study of Sigmund Freud and Carl Jung stars Keira Knightley, Michael Fassbender and Viggo Mortensen. Fassbender is in two films in competition, as he also appears alongside Carey Mulligan in Shame, which is the second film from the British visual artist Steve McQueen. Every festival at the moment seems to include a film with the Tree of Life star Jessica Chastain; at Venice she and the Avatar actor Sam Worthington are in Texas Killing Fields, which is about a serial killer. Major directors from around the world also in competition include the Persopolis director Marjane Satrapi and Vincent Paronnaud with a joint effort called Poulet aux Prunes (Chicken with Prunes), the Russian Aleksander Soukurov with Faust, the Dogtooth director Giorgos Lanthimos (Alpeis), Phillipe Garrel (Un Eté Brûlant) and the Japanese director Sion Sono (Himizu). Outside the competition, titles to look out for include Jonathan Demme's new documentary I'm Carolyn Parker and James Franco's directing debut Sal, starring Franco and Val Lauren. The American Psycho director Mary Harron has Lily Cole in her cast for The Moth Diaries. There are also a number of films with Middle Eastern links showing at the festival, including Habibi Rasak Kharaban (Darling, Something's wrong with Your Head), the feature debut of Susan Youssef. The world premiere of the film is in the sidebar Orrizontti selection. The Palestine / UAE / Netherlands production is set in Gaza and is a modern retelling of the Sufi parable Majnun Layla. The poem is set in the seventh century during the Ummayad era and is based on the story of a young poet, Qays, who fell in love at first sight with Layla. He began writing love poems to her but was refused her hand by her father. He wandered into the wilderness heartbroken. The update is set in the occupied territories and features Qays's poetry written on walls.
Taro: -источникVW
Taro: British producer Jeremy Thomas is bullish about the prospects of his new film, David Cronenberg’s A Dangerous Method, at the forthcoming Venice Film Festival. Starring Viggo Mortensen, Michael Fassbender and Keira Knightley, it’s about a passionate emotional triangle between Sigmund Freud, Carl Jung and a neurotic young Russian patient in the early days of psychoanalysis. “It’s like an action film with words,” enthuses Thomas, a long-time collaborator with Cronenberg. “It’s not like some of David’s earlier films, in that it doesn’t deal with body parts. Well, it does – but in this case the body part is the brain.” The subject matter may seem cerebral, but Thomas believes it can reach mainstream audiences: “It’s all about passion,” he says. “And it’s fascinating to see early attempts to cure psychological disorders – long before Prozac came along.” By David Gritten 11:47AM BST 19 Aug 2011 NYFA
Taro: On The Border of Snow and Melt - Selected Poems of Georgy Ivanov, translated, edited and annotated by Jerome Katsell and Stanislav Shvabrin, a new bilingual Russian/English collection of over 500 pages. A taste of what you can expect from this very fine yet largely unknown poet, at least with respect to English-language readers: Mirrors reflect each other, Mutually distorting their reflections. I believe not in the invincibility of evil, But only in the unavoidability of defeat. Not in the music that burned my life, But in the ash left from the burning. —Georgy Ivanov (translated by Jerome Katsell and Stanislav Shvabrin) "This poem is characteristic of Ivanov's vintage lyricism. Somber and precise in its expressiveness, it draws an ironic line under a lifelong search for the means of expression uniquely suitable to the task of creating a fitting monument to the poet's many disappointments, be they subjective, intimate, or philosophical. Paradoxically, perhaps, what may be taken for this poem's bitterness, thanks to the degree of its distillation, becomes its redeeming factor, giving us a taste—or rather a foretaste—of the genuineness of Ivanov's lyricism. More is offered below." -Stanislav Shvabrin ----------------------------------------------------------------- Softbound, 532 pages, ISBN 978-0-9774869-4-6, $24.00 Perceval Press
Taro: (Reuters) - The 2011 Venice film festival opens on Wednesday and ends on September 10. After last year's low-key affair, this year promises A-list stars on the red carpet and several eagerly awaited productions. Following are some of the films generating early buzz ahead of the festival. Unless otherwise stated, the movies appear in the main competition lineup. A Dangerous Method - David Cronenberg renews his partnership with actor Viggo Mortensen for this "dark tale of sexual and intellectual discovery" based on the lives of fledgling psychiatrist Carl Jung (Michael Fassbender) and his mentor Sigmund Freud (Mortensen). Between them comes the beautiful Sabina Spielrein, played by Keira Knightley, based on the real-life psychoanalyst rumored to have had an affair with Jung. Factbox: Ten movies to look out for at Venice festival
Taro: Вышла статья на испанском ,рассказывающая о том как сьемки "Плана" благотворно повлияли на внимание властей Аргентины к проблемам Дельты Тигры.. А как они пожар там среди ночи снимали и перепугали до икоты местную флору и фауну всех мастей..ни слова!! Вот ссылочка,мне показалось любопытным.. http://www.elcomercioonline.com.ar/articulos/50044610-Tigre-epicentro-de-la-Industria-Audiovisual.html
Taro: Новая ссылочка-статья о Сабине Шпильрейн www.telegraph.co.uk/culture/culturenews/8718211/Jung-Love-Sabina-Spielrein-a-forgotten-pioneer-of-psychoanalysis.html
Green: Спасибо, Тaro. Интересная статья. На Wiki тоже, хоть и сухие факты, но хорошо рассказано о пути Сабины Шпильрейн в профессии, она молодец. Там ссылка есть на более подробную биографию. http://www.psychosophia.ru/pdf/sabshp.pdf
Taro: Простите засранку,но -эта на испанском. Buenos Aires, 29 de agosto (Reporter). Luego de varias semanas de labor en los estudios Ciudad de la Luz, en Alicante (España), terminó el rodaje de "Todos tenemos un plan", el thriller cuyo elenco encabezan Viggo Mortensen y Soledad Villamil. Con estreno programado para el mes de mayo de 2012, la cinta completa su elenco con Daniel Fanego, Sofía Gala y el español Javier Godino. Se trata de un policial escrito y dirigido por Ana Piterbarg, con producción entre Haddock Films y las compañías españolas Tornasol y Castafiore Films, que cuenta como productor asociado a Telefe. La película se filmó en la provincia de Buenos Aires -con gran cantidad de escenas en el Delta del Tigre- y en estudios de cine de España. "Todos tenemos un plan" narra la historia de Agustín y Pedro, dos hermanos gemelos que se reencuentran tras diez años de distanciamiento. Pedro está muy enfermo y le pide a su hermano que lo ayude a morir, aunque este se niega. Sin embargo, al ver a su hermano desesperado -con un ataque de tos y escupiendo sangre-, Agustín tiene un arranque impulsivo y lo mata. A partir de ahí, el personaje asume la identidad del fallecido e intenta iniciar una nueva vida. Con parte de su infancia vivida en Chaco, Buenos Aires y Córdoba; el astro de "El señor de los Anillos" mantiene estrechos vínculos con el país, aunque este es su primer proyecto cinematográfico local. (Reporter)
Taro: http://festivalinsider.ca/2011/09/01/david-cronenberg-and-viggo-mortensen-all-time-great-director-actor-collaborators/
Taro: Given that Mortensen once accidentally clocked a bunny with his car, then cooked it up for dinner, the star of David Cronenberg's A Dangerous Method would appreciate this new sausage emporium. The daring menu features wild boar, kangaroo and, yes, rabbit, served in a German beer hall setting. . http://ca.shine.yahoo.com/star-stops-tiff-2011-edition-040000335.html
Taro: Are we ready to add David Cronenberg and Viggo Mortensen to list of all-time great director / actor collaborators? The working relationship between lead actor and director of a movie is one of the most special in Hollywood. When it goes well, the results can be magical and truly special films are born. Just think of the output some of these actor – director pairings produced: Deniro and Scorcese. Depp and Burton. DiCaprio and Scorcese. And perhaps the time is coming to add David Cronenberg and Viggo Mortensen to the list of all-time great film collaborators. When A Dangerous Method premieres during the Toronto International Film Festival this year – it will officially be the third collaboration between Cronenberg and Mortensen. They had successfully teamed up in the past, to critical acclaim, in the films A History Of Violence (2005) and Eastern Promises (2008). The Cadillac Festival Insider had the chance to chat with Cronenberg during TIFF last year (when he was in the midst of shooting A Dangerous Method) and asked him why the continued collaborations with Viggo, “It’s a love affair. It’s a marriage.” replied a half-serious Cronenberg. “Viggo and I have similar senses of humour. It helps you get through long production days.” A fourth teaming of the actor – director pair will almost certainly happen as a rumored sequel to Eastern Promises has already been given the go-ahead.
Orianna: A Dangerous Method – review Even the celebrated spanking scene fails to knock much life into David Cronenberg’s lugubrious tale of the tussle between Freud and Jung Xan Brooks guardian.co.uk, Friday 2 September 2011 11.53 BST Comments (38) ‘All that’s missing is a crucial whiff of danger’ There is method a-plenty in David Cronenberg‘s well-upholstered tale of Freud and Jung and the woman in the middle. It contains solid, subtle performances from Viggo Mortensen and Michael Fassbender. The script is intelligent, the tone is tasteful, and Keira Knightley provides the Oscar bait with a fleeting display of stage-managed pyrotechnics. All that’s missing, in fact, is a crucial whiff of danger. A Dangerous Method Production year: 2011 Country: UK Directors: David Cronenberg Cast: Keira Knightley, Michael Fassbender, Viggo Mortensen, Vincent Cassel A Dangerous Method is based on a play by Christopher Hampton, which is itself based on a book by John Kerr and somewhere along this rattling crawl between the base-camps the vim and vigour has bled clean out of it. Fassbender stars as the young Carl Jung, a fledgling psychiatrist, reaching for greatness under the gimlet eye of his mentor, Sigmund Freud (Mortensen). Jung idolises Freud but, increasingly, the two men are pulling in opposite directions. Freud thinks Jung’s line of analysis is too airy-fairy, too in thrall to supposition and coincidence. Jung, for his part, thinks the master has sex on the brain. “Surely there must be more than one hinge into the universe,” he grumbles. The irony, though, is that whereas Freud is presented as a celibate old shaman, Jung is off living the dream, swinging the hinge until it howls out in protest. He is married and siring child after child while simultaneously carrying on an affair with Sabina Spielrein (Knightley), a brilliant hysteric who is an inmate at his hospital. Sabina bares her teeth and juts an extraordinary, elongated chin that should by rights have been shot in 3D. She is, she claims, “vile and filthy and corrupt” and her greatest desire is to be tied up and spanked. Jung, with a pained, frowning diligence, duly obliges. But spanking, as any good psychiatrist should know, has consequences. In this particular case, it winds up exciting Sabina to a worrying degree, making Jung more miserable than he was before and comprehensively torpedoing the friendship with Freud, who initially defends his protege and then feels a fool for doing so. What the spanking can’t do, unfortunately, is knock some life into this heartfelt, well-acted but curiously underwhelming slab of Masterpiece Theatre. A Dangerous Method feels heavy and lugubrious. It is a tale that comes marinated in port and choked on pipe-smoke. You long for it to hop down from the couch, throw open the windows and run about in the garden.
corall: Вигго параллельно и "На дороге" пиарит: http://www.facebook.com/l.php?u=http%3A%2F%2Frobsteners.blogspot.com%2F2011%2F09%2Fviggo-mortensen-old-bull-lee-in-otr.html&h=rAQB3mEMYAQBGM5jnw3oyGt2FW61RL53mophu6_LTc5U7hg
Taro: http://blogs.indiewire.com/thompsononhollywood/2011/09/05/telluride_film_fest_review_cronenbergs_a_dangerous_method/#
Taro: http://www.thisislondon.co.uk/film/review-23983509-a-dangerous-method-venice-film-festival---first-review.do A Dangerous Method, Venice Film Festival - First Review By Derek Malcolm 2 Sep 2011 If truth is often a good deal stranger than fiction, there couldn't be a better example than the quietly fraught relationships between Carl Jung, Sigmund Freud, and Sebina Spielrein, psycho-analytical pioneers of the early 20th century. Spielrein, the least known of the three, was first a patient of the young Jung, then had an enduring affair with him and later influenced both him and Freud's theories. David Cronenberg's film, adapted by Christopher Hampton, from his play The Talking Cure (in turn, based on John Kerr's book A Most Dangerous Method) is, despite its complicated subject matter, one of the most straightforward he has made. It relies substantially on the text and quietly effective performances of Michael Fassbender as Jung and Viggo Mortensen as Freud. Only Keira Knightley as Spielrein has to do much emoting as the story progresses through the years up to the First World War. Though playing against two performers of considerable weight, she more than holds her own from the moment she arrives on the scene, a hysterical patient, to the time when her love for Jung is finally reciprocated. The result is a film which the director calls an intellectual menage-a-trois with sexual overtones, and his first straight biopic. It is a dark, troubling tale, set at the birth of psycho-analysis, that fictionalises reality with a calm appreciation of the passions that lay behind the trio's different views of treatment, cures and what is "normal" behaviour. Cronenberg and his actors do their best to show that there is no such thing as normalcy since Jung, Freud and Spielrein, cannot cure themselves any more than they can guarantee to help their patients. It is this that the film is most successful in emphasising and also the fact that a little neurosis does not harm to anyone.
Taro: Ну,как тут его не похвалить..Умничка.. http://www.marketwatch.com/story/made-in-polaroid-exhibit-brings-together-artists-celebrities-and-designers-to-benefit-charity-2011-09-07 press release Sept. 7, 2011, 10:47 a.m. EDT Made in Polaroid Exhibit Brings Together Artists, Celebrities and Designers to Benefit Charity Polaroid Exhibit Features New Works of Over 60 Artists on Display in New York City from September 7 - 14, 2011 NEW YORK, Sept. 7, 2011 /PRNewswire via COMTEX/ -- Polaroid is honoring its founder Dr. Edwin Land's passion for the arts with the launch of the Made in Polaroid exhibit. An art show featuring more than 60 pieces created by a mix of artists, designers, photographers, actors and musicians who are united in their passion for creativity, all pieces will be auctioned with proceeds benefitting Free Arts NYC, a non-profit that provides arts and mentoring programs to under-served children. Participating artists include fashion photographers Patrick Demarchelier and Steven Klein, designers Cynthia Rowley and Phillip Lim and actors James Franco and Viggo Mortensen, among many others. "It's very interesting to me that at this moment in time the new Polaroid G10 printer arrives and re-objectifies the photograph, literally making an object, a paper photograph," said participating photographer Matthew Rolston. "We seem to be headed toward a paperless world of visual communication and yet here we have an exciting new product that re-invigorates the thought of trading imagery - actual photographs that we hold in our hands - with each other."
Natalie: Taro, делай перепост статей с источников, указывая ссылку, а не просто выкладывай один линк в сообщении.
Taro: David Cronenberg on How the $20 Million 'Dangerous Method' Got Made 12:55 PM PDT 9/7/2011 by THR Staff In the new issue of The Hollywood Reporter, the controversial filmmaker reveals which stars dropped out, the details behind a Viggo Mortensen casting coupe and how Martin Scorsese was scared to meet him. David Cronenberg's films have a notorious reputation, with graphic sex and violence, outre images and disturbing themes. The Canadian parliament has called his work "disgusting" and one critic said his 1996 film Crash existed "beyond the bounds of depravity." our editor recommendsA Dangerous Method: Venice Film Review Venice Film Festival Day 3: Viggo Mortensen Plays Freud; Kate Winslet Honored The Hollywood Reporter Cover Stories Telluride Film Festival: 12 Movies to Know Venice Film Festival: 10 Movies to Know Canada Rewards David Cronenberg For Not Moving To Hollywood David Cronenberg takes on 'Cosmopolis' However, after visiting with the 68 year old Canadian director near his home in Toronto, The Hollywood Reporter's executive editor, feaures Stephen Galloway found him to be calm, courteous and downright mellow. His latest film, A Dangerous Method, stars Viggo Mortensen as Sigmund Freud, Michael Fassbender as Carl Jung and Keira Knightley as their patient, Sabina Spielrein. The historical drama premiered at the Venice International Film Festival on Sept. 2 and has received strong reviews. It will be released in theaters by Sony Pictures Classics on Nov. 23. STORY: David Cronenberg's 5 Most Intriguing Movies Is this family man -- who works regularly with his wife, sister and grown daughter -- really the same filmmaker who once showed actress Samantha Eggar licking the amniotic fluid off her psychically-controlled killer dwarf offspring in The Brood? Some of the surprising revelations from this week's THR cover story: 1. 'A DANGEROUS METHOD'S' ORIGINAL STARS, CHRISTIAN BALE AND CHRISTOPH WALTZ, DROPPED OUT "Waltz waltzed and Bale bailed," Cronenberg said. Though the director is understanding of Bale's decision to withdraw without ever being formally attached, talk of Waltz' departure shakes the director's mellowness just the tiniest bit. "Christoph [had] pursued the project," he explains. "He came to me to convince me to take him as Freud; his grandfather had been a pupil of Freud. [After] Inglourious Basterds, all the German money was built around him, and when he bailed, a lot of that money went as well." 2. THE FILM COST $20 MILLION -- HIGH FOR AN ART HOUSE MOVIE Financing came from three separate German entities; from presales arranged by producer Jeremy Thomas’ HanWay Films; and from Canada’s Telefilm and Universal Germany, among others — though all deals were still in play when shooting commenced. Cronenberg describes it this way: "It’s like a Frankenstein quilt: 15 entities were involved, and they all had to sign at the same moment." While Thomas notes: "Having the film start when you know you haven’t closed the finance, and greenlighting it when you are still in a nervous state, that is a very difficult, lonely moment for a producer." PHOTOS: The Hollywood Reporter's Cover Stories Gallery 3. CRONENBERG HAD TO CALL IN A FAVOR TO GET MORTENSEN TO PLAY FREUD Viggo Mortensen had worked with Cronenberg to great success on A History of Violence and earned an Oscar nomination for Eastern Promises. But the actor initially turned the director down when he was offered the part of Sigmund Freud. At the time, the actor said he was handling "problems with my parents' health and because I didn't picture myself playing Freud." After Fassbender and Knightley signed on, Cronenberg approached him again. This time he said yes. 4. THE GERMAN SHOOT WAS EASY COMPARED TO CRONENBERG'S EARLY FILM EXPERIENCE With one of his first features, Scanners, Cronenberg had to witness the deaths of two women who had paused to watch filming from a highway. “They slowed down, and the guy behind them didn’t,” he recalls. The man’s car went straight over theirs. “My grip jumped over the fence and pulled the women out of the car, but they were dead, and that was our first day of shooting. I thought if I could survive that, I could survive anything.” STORY: 10 Contenders Gunning for Oscars at Toronto Film Festival 5. MARTIN SCORSESE WAS SCARED TO MEET HIM “He said he was terrified,” remembers Cronenberg. “He was serious. He had seen Shivers and Rabid and thought they were devastating. I said, ‘Marty, you’re the guy who made Taxi Driver!’ ” 6. HE'S ALREADY NEARLY FINISHED WITH HIS NEXT MOVIE A Dangerous Method won't be released domestically until November, but the filmmaker is already at work editing his next movie, an adaptation of Don DeLillo's novel, Cosmopolis. 7. TED TURNER TRIED TO BURY 'CRASH' In the case of Crash, which equates sex with violent car crashes, Ted Turner was so upset, he did everything to kill the movie’s release.The mogul, who owned the picture’s distributor, New Line, “wanted to destroy it,” Cronenberg says. “He and Jane [Fonda, his then-wife] had apparently screened the film and were appalled. But they wouldn’t tell me at New Line. I was planning to come down to do publicity and they said, ‘Don’t get on the plane. We’re going to delay the release.’ I said, ‘Are you kidding me?’ ” Turner would relent. 8. CRONENBERG LOATHES HOLLYWOOD The Toronto-based filmmaker turned down films such as Flashdance, Top Gun and Interview With a Vampire and worked through 12 drafts of Total Recall, adapted from the Phillip K. Dick short story, We Can Remember It For You Wholesale before being told by producer Dino De Laurentiis, "'You know what you've done? You've done the Dick version. We wanted to do Raiders of the Lost Ark Go to Mars.'"
Taro: Yesterday, I finally got the chance to watch Terrence Malick's THE TREE OF LIFE. As soon as it was over I watched it again. I'll probably see it a third time before long. Our time on this earth is short, but some stories do bear repeated viewing. More often than not, I feel that prizes given to movies, directors, and performers in Cannes (where Malick's movie won the Palme D'or this year) and at other film festivals, not to mention at just about any award show in the world, result from wrong-headed choices based more on political, personal or public relations-driven factors than on the purely creative merits of those anointed as winners. Once the promotional fairy dust settles and eventually vanishes, usually 6 months to a year after such awards are given, one wonders how candidates that obviously were more-deserving could have so frequently been overlooked in favour of adroitly-hyped mediocrities. On further reflection, time usually tells us some of the truth about who might have been the more just candidates or winners, but the damage will have been done and there is nothing movie fans can do but move on. Move on, that is, to a new season likely to see critics, jurors and regular moviegoers all letting ourselves be hoodwinked at some point, followed by seemingly endless debates over the many poor conclusions we consequently drew in the heat of the marketing moment. I personally feel that THE TREE OF LIFE has deserved the official recognition and rewards for its extraordinary qualities. It is the kind of cinematic accomplishment that stands apart from other movies, if not necessarily above all of them. Stands apart from aspects of other works that can reasonably be compared. Seems part of another genre, another medium. Some critics have complained in so many words that this movie, though beautifully filmed, is all over the place and tries too hard to be profound. Sean Penn, one of the principal players in this story, has recently spoken out publicly against the editing choices made by Malick, lamenting in particular the way his character ends up coming across (or not coming across) in the final cut of the movie. I found no fault with Sean's or any other actor's performance, no fault with the photography, music, story-telling. All was just as it needed to be, just so and so true. All elements appeared to have melded, to have been carefully synchronised by Malick in a work of art that stands miraculously and effortlessly alone. It is, in my opinion, a movie story even more profoundly moving than the promotional trailer and early word led us to hope it might be, well beside the negative critiques that some have attempted against it. A sincere and well-enacted study of compassion with endless mercy and love of life in every frame. What's there to rail against here? Who other than Malick could have told a story with such meticulous attention to detail and musical timing, such graceful boldness, unpretentious dignity and undiluted affection for people and things? Difficult times have helped me to understand better than before how infinitely rich and beautiful life is in every way, and that so many things that one goes worrying about are of no importance whatsoever. —Karen Blixen Needless to say, I strongly recommend this movie to anyone who has not seen it, and also to anyone who has seen it but perhaps did not take much inspiration from it on first viewing - or was swayed by the more negative reviews it received from some journalists. V.M. http://www.percevalpress.com/index.html
Taro: By Ariel Dorfman - at Stadttheater Walfischgasse Vienna (Stadttheater) - Roman Polanski made the film adaptation in 1994 with Sigourney Weaver, Ben Kingsley and Stuart Wilson, the theater play was translated into more than 50 languages and performed in more than 30 countries - "Death and the Maiden" written by Chilean dramatist Ariel Dorfman is one of the most successful plays in recent years. Dorfman also was co-author of the screenplay for the movie which made him world famous. Soon his play "Purgatorio" will premiere in Madrid with Viggo Mortensen (who speaks Spanish perfectly) in the lead role and also in October a new production of "Death and the Maiden" will start at London's West End with Thandie Newton as Paulina. In the Stadttheater Walfischgasse's own new production artistic director Anita Ammersfeld will play that role, Hannes Gastinger and Willy Höller will be supporting and Thomas Schendel will again be directing. http://www.oe-journal.at/index_up.htm?http://www.oe-journal.at/Aktuelles/%212011/0911/W2/51309stadttheater.htm перевод Carolina200
Taro: Цитата из статьи-что касается "Порока-2 The calm, relaxed working environment also helped for a film that could have become a staid period piece. “When he shoots there’s a time constraint, but he’s so well prepared that he makes it seem effortless,” Mortensen says. “This kind of dialogue, this kind of period piece, these kinds of people, these historical personalities, a director could easily get lost living in the forest for the trees and feel like they have to show off all the time to the camera and make for lots of complicated sequences visually. David was so comfortable with the knowledge he had about the period and so well prepared that you realized that the perfect contrast was to shoot it as simply as possible.” Shooting with Cronenberg was such a good experience that Mortensen is sure that the two will continue to work together, possibly even on the promised “Eastern Promises” sequel. When we asked the actor about that film, he responded “I think that’s still a possibility, but something we’ll definitely do [together] I’m sure and I’m looking forward to it already, whatever it is.” http://blogs.indiewire.com/theplaylist/archives/2011/09/14/viggo_mortensen_says_hell_work_with_david_cronenberg_again_possibly_on_east/#
Taro: The 2012 Superman movie from Christopher Nolan and Zack Snyder heats up as casting rumors abound! Kevin Costner is up for the role of Jonathan Kent, while Viggo Mortensen is up for the role of General Zod…or Lex Luthor? Are Henry Cavill, Kevin Costner and Viggo Mortensen Zack Snyder’s dream team? And who will be cast as Lois Lane or Ursa? Movie Bytes is the latest movie news from Beyond The Trailer, distributed by Indy Mogul and Next New Networks! Video Rating: 4 /5 http://2012universetoday.com/movie-bytes-superman-2012-casting-kevin-costner-viggo-mortensen-movie-byte/
Taro: NYFF: 'A Dangerous Method' with Keira Unleashed Tuesday, September 27, 2011 at 6:23PM Kurt here. I'll admit I'm not as well-versed in the work of David Cronenberg as a 27-year-old cinephile should be, but I know enough to confidently conclude that A Dangerous Method, while every bit worth seeing, won't go down as a definitive entry in the Canadian maestro's oeuvre. A bubbling marriage of the sexual and the cerebral, the material surely speaks to Cronenberg's penchant for exploring the curious links between mind and body, but the resulting film doesn't haunt, nor does it even consistently provoke, short of whatever reactions are elicited from the recurring spanking of Keira Knightley's bum. A prestige piece through and through, A Dangerous Method is the intersection of a handful of prior collaborators, teaming Cronenberg with muse Viggo Mortensen, Dangerous Liaisons and Atonement screenwriter Christopher Hampton (who here adapts his own 2002 play, The Talking Cure), and Atonement leading lady Keira Knightley. It seems an almost experimental assemblage of talent, with Cronenberg's newfound Oscar-friendliness put into the mix with some very Oscary playmates. It could be grander, it could be harder, it could be better But damn, is it watchable, especially in regard to Knightley's performance as Sabina Spielrein, the unhinged, yet shrewd, Russian fetishist who ultimately comes between psych titans Sigmund Freud (Mortensen) and Carl Jung (Michael Fassbender). A violently screaming Sabina is the first thing you see after some ink-on-paper credits, and it's immediately arresting, if only because you've never seen Knightley so...loud. This is easily Knightley's most impassioned and most transformative performance, one that's sure to have Oscar calling in whatever category she lands in (note to voters: it's a leading role). For a long while, I was having a hard time deciding if her turn was too shrill or dead-on, but I'm leaning toward the latter, despite the lingering sense that she's operating on a wild plane independent of the film. Ably tackling a convincing accent, and looking even more gorgeously gaunt than usual, Knightley plays the sexually-scarred Sabina like a slinky Linda Blair, her deep, dark and gyrating confessions to Jung trickling out as if part of a deep-seated, slow-motion seizure that's long been brewing in her groin. It's uncomfortably compelling, and it gains interest as the film proceeds, as Sabina proves to be much more than her demons.Mortensen also slips deep into his character, in a performance that's also likely to have at least some amount of gold thrown at it. Behind dark contacts and a good bit of facial hair, he steps into uncommon character-actor territory, to which his handsomely-aging face lends itself well (he's also best with the movie's easy, unassuming humor, which finds a mature, yet playful, way to fool with so much clinical sex talk). Faces, I'd say, are Cronenberg's greatest collective asset here, and one he exploits like a pro. I'm avoiding a great deal of plot, because I don't feel that gripping storytelling is the movie's strong suit. But the not-quite-million-dollar mugs of Knightley, Mortensen and Fassbender, all of whom have enough uncannily symmetrical beauty to ensnare you, but enough slightly-offbeat features to keep things interesting, are what hold you from moment-to-moment and stick with you when you leave. Fassbender, bless him, is clean-cut and awkwardly dashing, yet he shares Knightley's cadaverous look, his well-formed bones exceptionally pronounced. And Mortensen gets a lot of mileage out of those wrinkles, swapping out smolder for aloof wisdom. Of the milieu on display, I found it most interesting to consider a group of characters evaluating their behaviors while Freudian explanations were still being established. Can we imagine a world without them now? Where motivations and actions aren't looked upon with some degree of id assessment? Such thoughts make A Dangerous Method feel important, at the very least in relation to the whole of 2011's output. What burrowed into my head, though, were those faces and that feral performance from Knightley. Getting in the spirit, I kept wondering what she drew from to get into character, what conscious and unconscious Knightley demons brought Sabina to life. Whatever the answer, it worked, as Knightley's method, pardon the pun, is a dangerous one indeed. http://thefilmexperience.net/blog/2011/9/27/nyff-a-dangerous-method-with-keira-unleashed.html
Taro: David Cronenberg Says ‘A Dangerous Method’ Is An “Intellectual Ménage à Trois” Still Hoping To Make ‘Eastern Promises 2’ With Viggo Mortensen It has been a very busy fall so far for David Cronenberg. His latest film “A Dangerous Method” has been traveling the globe, premiering at the end of August at the Venice Film Festival, going to Telluride and then TIFF last month for its North American debut and now, hitting the New York Film Festival. For a director whose filmography generally displays a tendency towards the freakier end of the spectrum, his new movie is bit straighter than we’re used to from Cronenberg. Starring Michael Fassbender, Viggo Mortensen and Keira Knightley, the film centers on the relationship between Carl Jung (Fassbender) and Russian-Jewish patient Sabina Spielrein (Knightley), which turns sexual, ultimately causing a rift between Jung and his mentor Sigmund Freud (Mortensen), but also catalyzing strong findings in regards to Jungian psychoanalysis. We recently had a chance to speak with David Cronenberg at the New York Film Festival and he revealed that it was Christopher Hampton‘s play, which serves as the foundation, which opened the door into the story the director had long wanted to tell. “I’ve always wanted to do a movie about Freud and the birth of psychoanalysis, but to say that is of course to say nothing, because there’s no structure in that,” he explained. “But [with this play], suddenly there is a structure. And this was my first introduction to Sabina and she is part of what I call an ‘intellectual menage a trois,’ and that structure was terrific—the span of it, the relationship between Freud and Jung that went over six or seven years.” “So here’s this wonderful structure with this incredible character Sabina who I had never heard of and that’s really what drew me to the story,” Cronenberg added. Indeed, the dimension that Sabina brings to the relationship between Freud and Jung provides a fascinating entry into the common and conflicting mindsets between the two great psychoanalysts. But if you think Cronenberg will get a chance to rest after these press rounds are over, guess again. The ever busy helmer is already in post-production on his next film, “Cosmopolis,” starring Robert Pattinson and while he’s not yet decided on his next film after that, the long talked about “Eastern Promises 2” still remains on the table. When we spoke with Viggo Mortensen at TIFF he said about the project, “I think that’s still a possibility, but something we’ll definitely do [together] I’m sure and I’m looking forward to it already, whatever it is.” And when we asked Cronenberg directly, he revealed that it’s very much in development. “We’re trying,” Cronenberg said when asked if he and Viggo would return for a sequel. “Steven Knight has written one draft, he’s working on another one. Focus Features is interested and Viggo is interested so, we’ll see.” But either way, Cronenberg and Mortensen will find a way to keep their working relationship going. “Oh yeah,” Cronenberg said emphatically when asked if they’d collaborate again regardless of whether “Eastern Promises 2” gets made. “We figure we will reunite [on something eventually].” We’ll have more from this interview soon, but for now, if you’re in New York, “A Dangerous Method” plays NYFF this week and hits theaters in limited release starting November 23rd. Kevin Jagernauth posted to Directors, David Cronenberg, Film Festivals, New York Film Festival, Films, A Dangerous Method, Interview at 1:07 pm on October 3, 2011 http://blogs.indiewire.com/theplaylist/archives/david_cronenberg_says_a_dangerous_method_is_an_intellectual_menage_a_trois/#.Ton0Ry6NX8c.twitter
Taro: Synopsis David Cronenberg, a filmmaker with a peerless grasp on the mysteries of the mind and the body, turns his attention to a seminal chapter in the founding of psychoanalysis. Adapted from Christopher Hampton’s play A Talking Cure, A Dangerous Method charts the relationship between Sigmund Freud (Viggo Mortensen) and his protégé turned dissenter Carl Jung (Michael Fassbender), as it was shaped by the case of Sabine Spielrein (Keira Knightley), a young Russian Jewish patient of Jung’s. Cronenberg brilliantly dramatizes not just the rivalry and rupture between two pioneers who defined a field but also the birth of their groundbreaking theories of the unconscious and the forces of Eros and Thanatos. Featuring an electrifying trio of lead actors, who turn near-mythic figures into flesh and blood, this is a film of tremendous vigor and ambition, a historical drama that brings ideas to life. –NYFF http://mubi.com/films/a-dangerous-method
Taro: NYFF 2011. David Cronenberg's "A Dangerous Method" Written by David Hudson Published on 05 October 2011 "Repression runs rampant in A Dangerous Method, with sexual and romantic desires subsumed beneath societal and ethical constructs in a manner echoed by David Cronenberg's expertly composed direction," begins Nick Schager in Slant. "For his tale of the intellectual relationship — and, later, battle — between Carl Jung (Michael Fassbender) and his idol/mentor Sigmund Freud (Viggo Mortensen), Cronenberg employs a cool, refined period-décor formalism, his camera movements as deliberate as his characters' external appearances are polished and restrained, and yet his placement of figures within his frame — always slyly conveying their shifting dominator/subjugated dynamics — boast the same electric charge as his subjects' roiling thoughts and passions. Despite its turn-of-the-century setting and visual/tonal modesty, however, Cronenberg's focus remains, as always, on issues of mind/body invasion, corruption, and rebirth, which here revolves around Jung's increasingly knotty relationship with patient Sabina Spielrein (Keira Knightley), who, over the course of the next decade, eventually takes Jung into her bed before finding herself inadvertently in the middle of his war with Freud." Stephen Holden in the New York Times: "Adapted by Christopher Hampton from his stage play The Talking Cure, which was based on John Kerr's book, A Most Dangerous Method, it is a talky movie that largely transcends its stage origins because the moral and ethical disagreements between the two are so clearly laid out. And Keira Knightley's portrayal of Sabina Spielrein, a kinky, initially demented patient who becomes Jung's mistress and, later, a psychoanalyst, gives the movie a searing emotional spark." "Sabina is the true lead of the movie: its conscience, its brain, its heart, and its tempting body," writes Dan Callahan for Fandor. "Fassbender has the most difficult of the three roles because he has to play straight man in some scenes, then suggest Jung’s ambiguous feelings for Sabina and finally his undying love for her. He doesn’t always succeed…. Words, though, can barely express just how wonderful Mortensen is as Freud, except to say that this is a truly Brando-like performance in its serene amusement and its subtle habitation of a lofty, intractable man. Look especially at the moments when the cash-strapped Freud tries not to be bothered by Jung’s financial security. Most actors would be tempted to signal Freud’s unrest to get easy laughs, but Mortensen doesn’t show the indicated unrest at all. He just allows Freud to feel it behind a stony face and lets us provide the particulars of this joke." "Fassbender and Mortensen embody all the entitlements of their influence, each doing smart work against the other's buttoned-down, tobacco-huffing academe," writes Movieline's ST VanAirsdale. "But they can only stand back as Knightley takes over, Jung's admitted 'catalyst' who sparks everything from revolutionary advancements on his 'talking cure' (which is basically just him sitting behind Spielrein as she juts, jolts and contorts the contents of her soul upon admittance to his university's hysteria clinic) to eye-popping, bodice-ripping, ass-whipping kink. 'It's a lot of acting — maybe not good acting — but it sure gets the point across,' my colleague Stephanie Zacharek wrote following Method's Venice Film Festival premiere. Indeed, it's insufferable in the early going, which also — not coincidentally, for the filmmaker whose canon is synonymous with the phrase 'body-horror' — happens to be Cronenberg's most visually adventurous span, experimenting with depth of field in rich, deep slate- and molasses-hued interiors." "Cronenberg deftly layers A Dangerous Method with complex sociopolitical explanations explaining the difficult paternal relationship Freud has with Jung, and the ways Jung rebels against it," writes Tony Dayoub. "For example, when the two board an ocean liner on a lecture tour to America, class distinctions become apparent when Freud realizes Jung booked a private stateroom for himself while he must share a lower cabin with one of his assistants. Jung is ignorant that this incident might be the underlying reason Freud snidely refuses to share one of his dreams with him after Jung has done the same. 'If I share it with you,' Freud says, 'I might lose my authority.' There is also the matter of the growing climate of anti-semitism in early 20th-Century Europe, which manifests itself in different ways between the three lead characters. Freud is hyperconscious of the fact that he is Jewish, and that much of the criticism his theories have received is a disguised form of bigotry. The Aryan Jung is oblivious to that and the fact that Spielrein, and subsequent women he conducts affairs with, are Jewish women which, being patients of his, are in a position subservient to him. The rupture between Jung and Freud, and Jung's abrupt break-up with Spielrein, could easily be reframed as that of the aristocratic Jung retreating from very public relationships with two Jews in an era where German nationalism was beginning to take root." Salon's Andrew O'Hehir met Knightley in Toronto, where she "talked fluently about the history of psychoanalysis, Wagner's Ring Cycle, masturbation and the ethics of filming a spanking scene." Earlier: Daniel Kasman from Venice and more reviews from Venice, Telluride and Toronto, making for a pretty large roundup. Updates: "Les bon temps at the NYFF could not possibly roule forever, and on Tuesday they hit a brick wall named Keira Knightley. Not since Nicolas Cage and his adenoids damn near ruined Peggy Sue Got Married has the Siren witnessed a movie so heavily damaged by a lead performance." Viewing (1'56"). Cronenberg tells the NYT's Mekado Murphy about implementing the source material. "The restraint of each scene shows the discipline of a filmmaker who is absolutely at his peak," finds Miriam Bale at the L. http://mubi.com/notebook/posts/nyff-2011-david-cronenbergs-a-dangerous-method
Rita-chka-1: А где медицинская? Наташа удалила)))
Taro: Жаль-прелестная темка-Вигго и колоноскопия..
Natalie: Я перенесла все в новую тему "Из письма Фабиану". Харе уже флудить во всех темах подряд
Taro: Viggo Mortensen, Isabelle Huppert and director Luc Besson among the VIPs set to attend the Swedish festival. COLOGNE, Germany – British spy film Tinker, Tailor, Soldier, Spy from Swedish director Tomas Alfredson will open the 22nd Stockholm International Film Festival (Nov. 9 - 20) while the fest will close with Pedro Almodovar’s horror thriller The Skin I Live In. Scandinavian directors will have a more prominent place than usual in this year’s lineup, with L.A. noir drama Drive from Denmark’s Nicolas Winding Refn; Swedish period drama Simon and the Oaks from Lisa Ohlin and Joachim Trier’s Cannes entry Oslo, 31 August among the more prominent titles screening. American indie director Whit Stillman will chair the festival jury and will present his latest, Damsels in Distress in an out of competition screening. The drama is Stillman’s first film since his acclaimed The Last Days of Disco in 1998. Among the VIPs heading to Stockholm this year are French actress Isabelle Huppert, who will receive a lifetime achievement award; Mexican helmer Alejandro Gonzalez Inarritu, the recipient of this year’s Visionary Award; actor Viggo Mortensen, attending to screen David Cronenberg’s A Dangerous Method and French director Luc Besson, who will screen his Aung San Suu Kyi biopic The Lady. http://www.hollywoodreporter.com/news/tinker-tailor-soldier-spy-open-250635
Taro: Abu Dhabi Film Festival’s Guests and Featured Films Two big names may be added to the list; Viggo Mortensen has just made this film called A Dangerous Method where he plays Sigmund Freud and Woody Harrelson has just given the performance of his life in a film called Rampart. Scarlet hinted in a recent press conference “Both films are showing this year and I think both actors will be getting a lot of awards. There is a good chance we will be seeing them in Abu Dhabi." http://entertainment.anayou.com/movies/news/showsandlaunches/41021
Taro: Hollywood Movie Draft Pitch III: Untitled Sci-Fi by Duncan Jones Viggo Mortensen is Bhumi’s Commander in Chief Damien and the film’s main villain. He’s the leader of the alien beings who are highly-intelligent and has shape-shifting abilities. Damien has the appearance of a man in his late 40s, charismatic with a quiet grace but is relentlessly ambitious to create a perfect ‘breed’ between his own kind and the ‘best’ of the human race. http://flixchatter.net/2011/06/06/hollywood-movie-draft-pitch-iii-untitled-sci-fi-by-duncan-jones/
Rita-chka-1: Вот это пассаж!
Тэсс: Зачем ему это нужно??? (это к вопросу, что же еще кинематограф может ему предложить и куда двигаться дальше )
corall: Девочки, ну уж не забывайте про нешибко грамотных, вкратце переведите, что там о роли Вигго в голливудском проекте. И почему ему это не нужно? Пожалуйста.
Tinavi: Понимаешь, после всех наших рассказов про неучастие в мейнстриме, получена информация, что Вигго снимется в роли командира отряда пришельцев, который вторгается... Ох, уж не мейнстрим ли?!!!
Rita-chka-1: Нарочно не придумаешь! Еще и сайнс-фикшн ... Поговорили!
corall: А для разнообразия и неплохо бы вроде. Да и денежками от подобного проекта (коммерческого однозначно) отчётливо попахивает.
Тэсс: Деньги, деньги... кончаются...а жизнь сама подбрасывает что-нибудь новенькое...так и живет Неужели на горизонте выпуск новых альбомов/книг?
Taro: Мне интересно,что нужно делать,что б у него закончились деньги??Скорее просто нечто необычное для его карьеры??
corall: Главное, что нам опять будет чего ждать! Похоже, что-то вроде Арагорна, близкий к совершенству персонаж. Или я неправильно поняла?
Tinavi: Мне кажется, бригадир пришельцев может быть всяким))
Imagine: §І§Ц§и§Ц§Я§Щ§Ъ§с §Я§С "§°§б§С§г§Я§н§Ы §Ю§Ц§д§а§Х" §г§Ь§а§б§Ъ§в§а§У§С§Я§Я§С§с §г §г§С§Ы§д§С §-§а§Я§Х§а§Я§г§Ь§а§Ф§а §ж§Ц§г§д§Ъ§У§С§Э§с, §Ф§Х§Ц §г§Ц§Ф§а§Х§Я§с, §ж§С§Ь§д§Ъ§й§Ц§г§Ь§Ъ §ґ§°§-§ѕ§¬§° §№§ґ§° §Т§н§Э §б§а§Ь§С§Щ§С§Я "§°§б§С§г§Я§н§Ы §Ю§Ц§д§а§Х" §У §Ь§Ъ§Я§а§д§Ц§С§д§в§Ц §°§Х§Ц§а§Я §Ј§Ц§г§д §ї§Я§Х 2. §©§С§У§д§в§С §Х§Я§Ч§Ю §У 14-45 §ж§Ъ§Э§о§Ю §Т§е§Х§Ц§д §б§а§Ь§С§Щ§С§Я §Ц§л§Ч §в§С§Щ - §У §Ь§Ъ§Я§а§д§Ц§С§д§в§Ц Vue Screen 5. Ў°Sigmund Freud (Mortensen), Carl Gustav Jung (Fassbender) and the largely forgotten Jewish-Russian psychoanalyst Sabina Spielrein (Knightley) form a mЁ¦nage Ё¤ trois of many dimensions in CronenbergЎЇs masterly period piece, which sets out to uncover the historical and philosophical backbone of modernity, not to mention the core of human natureЎ- Ў°For all the meticulous historical framing, CronenbergЎЇs exploration of the irrational, and of psychoanalysis as the radical turning point in the history of the mind, offers all kinds of joyful and painful transfers into the world (and body) we live in. ThereЎЇs something awesome about the delicate yet utterly open way Jung, his wife (Sarah Gadon, blissful) and his patient/mistress/true love/analyst Spielrein handle the rise and dismantling of relationships. Ў°The same holds true for the triangle between Jung, Spielrein and Freud, played out on the writing grounds of psychoanalytical theory. ItЎЇs a relief to return to a time when dignity and graceful manners were not considered incompatible with (to use our vocabulary) Ў®hardcoreЎЇ sex. Ў°Even more comforting is the fact that the portrayal of Spielrein as the only character with credibility in bed and in psychoanalysis (as opposed to JungЎЇs esoteric erring and FreudЎЇs asexual existence) makes A Dangerous Method that rarity, a film with a charming feminist touch.Ў± ЎЄ Barbara Wurm, reviewing from Venice on this website
Imagine: В предыдущем посте я написала, что на Лондонском фестивале , фактически только что быдл показан "Опасный метод". Второй показ - завтра в 14-45. Отчего-то сайт закодировал это сообщение... Наверное, Скотланд ярд вмешался, не иначе.
corall: Девочки, критическая статья на "Чистилище". http://www.elpais.com/articulo/cultura/somos/elpepicul/20111107elpepicul_2/Tes Может, кто растолкует вкратце?
Rita-chka-1: Попробовала запустить переводчик - все , что поняла , это то , что Элиас показалась автору в 1-й части несколько неубедительной из-за черезмерной внешней экспрессивности , игру Вигго автор оценил более высоко( в т.числе и во 2-й части) , 3-я часть - вполне на уровне, пьеса сорвала апплодисменты и всем сестрам досталось по серьгам: и автору , и режиссеру , и актерам ! Вообщем , Вигго хвалят!
corall: Спасибо, милок, за отзывчивость. Уже хорошо.
Taro: VIGGO MORTENSEN es Sigmund Freud en UN MÉTODO PELIGROSO Автор Universal Pictures Spain, написано 14 Ноябрь 2011 г. в 20:34 Viggo Mortensen, nominado a un Oscar, un Globo de Oro, al Premio del Sindicato de Actores de la Pantalla (SAG) y a un BAFTA por su papel en Promesas del este, de David Cronenberg, no dudo en volver a colaborar por tercera vez con el director para interpretar a la icónica figura de Sigmund Freud. Se sumergió en un estudio personal de Freud, siguiendo su habitual método de documentación. Visitó el lugar de nacimiento de Freud, sus casas de Viena y Londres, y el hospital Burghölzli, además de leer la obra del padre del psicoanálisis, ver fotografías e imágenes de archivo para poder reproducir sus gestos, e incluso buscar la marca de puros que fumaba. El actor también se preocupó por su forma de vestir y su humor. “Freud siguió vistiéndose del mismo modo durante muchas décadas, al estilo del XIX”, dice. “Escribía de una manera muy formal, y en la correspondencia con Jung, su inteligencia se hacía patente. Pero era un conversador ingenioso y agradable. Siempre es atractivo interpretar a un personaje así. Jung también era inteligente, pero muy diferente de Freud”. Freud creía que era importante decir la verdad a los pacientes para que supieran a qué debían enfrentarse. Jung pensaba que era más importante explicarles el proceso que les había llevado a su condición actual. En opinión de Viggo Mortensen, la diferencia entre ambos métodos residía en que Freud se esforzaba más en hacer entender el problema al paciente que en darle una posible solución. “Freud no estaba tan seguro de que podía curar, no era su meta. Su meta era escuchar y entender a los pacientes para que estos comprendieran por qué actuaban y se sentían de una determinada manera, y así aceptar su condición”. https://www.facebook.com/notes/universal-pictures-spain/viggo-mortensen-es-sigmund-freud-en-un-método-peligroso/10150366311595415
Tinavi: К сожалению, несмотря на чувство глубокой благодарности за возможность прочитать, никаких чувств больше не испытываю, в общих чертах, всё то же...
Taro: На испанском..Черт возьми,это было бы интересно,да и бюджет неплохой,по сравнению с тем же "Планом"..Интересно согласится или нет?? Viggo Mortensen, el elegido. El cineasta español no dudó en reconocer que desde un inicio pensó en el actor estadounidense Viggo Mortensen para llevar a cabo el papel de Roberto Bubas en la película. “Él es nuestra primera opción para este papel. Para mí, como director y guionista, cuando inicio el trabajo automáticamente se me viene a la mente la imagen del actor a llevar a cabo el personaje. Viggo Mortensen se me vino desde el principio y nos gustaría que se concrete porque queremos darle a la película un carácter muy internacional que no sólo se estrene en España y Argentina, sino en todo el mundo, porque confiamos en que la historia que tenemos entre manos es muy potente y cautivante”, destacó Gerardo Olivares. http://www.diariojornada.com.ar/28845/Sociedad/15_millones_de_euros_para_una_pelicula_de_orcas
corall: Девочки, там про старую его номинацию на "Оскара" или новую?
Taro: Там речь идет о том что планируется пригласить Вигго на роль в фильме по книге"El faro de las orcas"-"Маяк касаток",о матери мальчика ,страдающего аутизмом.Они перепробовали все для лечения,но ничего не помогает,и вот в один день ребенок видит по телевизору передачу о касатках и начинает реагировать,и у неё появляется надежда,и о "отношениях" больного ребенка и касатки..Они так же упоминают,что уже существуют дельфинарии,где курс реабилитации с дельфинами проходят такие"особенные"дети..Книга Роберто Бубаса.
BizaRRe_LolliPoP: интересно, какую роль пророчат Вигго.. КАСАТКА!)))
Tinavi: Не сомневаюсь ни минуты. Solo la orca!!! Для тех, кто еще не освоил азов испанского - Даешь касатку!!!
Taro: Ну,если танцевать от печки,то роль-КАСАТИКА!!
Tinavi: Касатик - муж касатки
Taro: Почему у козы глаза грустные..Потому что муж-....!!!!
Rita-chka-1: А как это звучит по испански : ла орса или ла... ОРКА??????
Taro: Звучит именно так,только не ла ,а между ла и ля..но все же орка!!
Rita-chka-1: Тогда , это именно то , что ему нужно!
Taro: Viggo Mortensen: "Cronenberg no aburre como otros directores" El laureado actor se ha puesto por tercera vez a las órdenes de David Cronenberg en "Un método peligroso", una cinta que analiza las complicadas relaciones entre Sigmund Freud y Carl Jung por culpa de una tercera en discordia: Sabina Spielrein.En esta entrevista, Mortensen confiesa su simpatía por el psicoanálisis y hasta revela su propia necesidad de acudir al psicólogo en alguna ocasión a lo largo de su vida. Además, nos habla de su estrecha relación con Cronenberg y, en primicia, nos comenta sus impresiones sobre "El hobbit" y hasta confiesa sus deseos por ser convocado para el filme."Un método peligroso" es una película cargada de diálogos reflexivos y altamente recomendable para los apasionados de los biopics. Su estreno en España tendrá lugar el próximo viernes 25 de noviembre. ¡No te la pierdas! фото и видео- http://es.cine.yahoo.com/noticias/viggo-mortensen-cronenberg-aburre-directores-162400082.html
Tinavi: Здеся только по-английски!
Taro: Ну,у нас просто испанский не заявлен... Но Вигг то от этого хужее не становится??Черт,он что ,средство Макропулоса в мате подмешивает??
Natalie: Tinavi пишет: Здеся только по-английски! Спешиал по этому поводу вчера переименовала тему из "Статьи на англ" в "Статьи на англ и других языках"
Natalie: Viggo Mortensen Finds Parallels Between Sigmund Freud In 'A Dangerous Method' & William S. Burroughs In 'On The Road' Source: http://blogs.indiewire.com/theplaylist/viggo-mortensen-finds-parallels-between-sigmund-freud-in-a-dangerous-method-william-s-burroughs-in-on-the-road# David Cronenberg's "A Dangerous Method" has been met with a somewhat mixed reception as it's done the rounds at Venice, Telluride and Toronto: some admire the uncompromisingly brainy nature of it, others find it stiff and mannered (we landed somewhere in between when we saw it on the Lido). But if there's one thing the critics can agree on, it's that Viggo Mortensen, in his third film on the trot with the Canadian maverick, gives another brilliant turn as Sigmund Freud. Buried beneath a prosthetic nose and playing older than he's usually allowed to, he's easily the highlight of the film, giving a beguiling turn worlds away from the professional killers he played for Cronenberg in "A History of Violence" and "Eastern Promises." We caught up with Mortensen in Toronto to talk about the project and found all kinds of insight from arguably the most unconventional, maverick A-list actor around, a polymath as happy dabbling in photography, poetry and painting as he is on the big screen. Below are five highlights from our conversation. 1. The biggest discovery about Sigmund Freud was how warm and witty he was. Like most of us, Mortensen came to Freud with certain preconceptions, but swiftly found that they weren't necessarily true. "When you start to read about him and learn about him," the actor said, "you learn that at the age that I play him, early fifties, he was very robust and healthy, and described as being magnetic and handsome and personable. Socially engaging, a great conversationalist with a piercing gaze, who had a melodious strong voice, and was eloquent and humorous, you know?" 2. Freud's wit is mirrored in "A Dangerous Method" director David Cronenberg, a man seemingly much funnier than his reputation might suggest. Considering the ultraviolence, perversion and vaginas-in-unusual-places that make up his films, you could be mistaken for thinking that David Cronenberg would be a tortured soul. But after three films together Mortensen has learned that the helmer is, like Freud, a warmer person than you might imagine. "[Freud's sense of humor is] not unlike David’s sense of humor actually. I sort of had a model there to help me anytime I had any doubts about the approach. David has that wit, and you know I think it’s healthy on a set to have a director to whom nothing really is sacred, but is always done in a general way. Sort of making fun of everything including himself, is very healthy and relaxes people and makes for a good work environment. The calm, relaxed working environment also helped for a film that could have become a staid period piece. "When he shoots there’s a time constraint, but he’s so well prepared that he makes it seem effortless," Mortensen says. "This kind of dialogue, this kind of period piece, these kinds of people, these historical personalities, a director could easily get lost living in the forest for the trees and feel like they have to show off all the time to the camera and make for lots of complicated sequences visually. David was so comfortable with the knowledge he had about the period and so well-prepared that you realized that the perfect contrast was to shoot it as simply as possible." Shooting with Cronenberg was such a good experience that Mortensen is sure that the two will continue to work together, possibly even on the promised "Eastern Promises" sequel. When we asked the actor about that film, he responded "I think that’s still a possibility, but we’ll definitely do something [together] I’m sure and I’m looking forward to it already, whatever it is." 3. Despite having mostly shied away from studio pictures in recent times (including allegedly turning down the role of General Zod in "Man of Steel"), Mortensen isn't against them in principle. The actor hasn't made a film with a major studio since 2008's "Appaloosa," and has only made a handful since breaking through with "Lord of the Rings" a decade ago. But that doesn't mean he's necessarily averse to them. Mortensen told us "I just look for good stories, generally you don’t find them [there]. It’s unusual, it’s a relief to go see a big studio movie and actually walk out thinking that was a great movie, really thought-provoking. It doesn’t usually happen, it’s just not the nature of the beast because so much money’s at stake that it’s understandable they want to fall back on tried and true formulas and often that’s something you see. To find a good story, you’re generally going to find it in independent or lower-budget movies. That’s probably why. I wouldn’t mind doing a big-budget movie if it had a great story." 4. There are more than a few parallels between Freud in "A Dangerous Method" and Mortensen's next role, Old Bull Lee, the fictionalized version of William Burroughs, in Walter Salles' "On the Road." When Mortensen was offered the role in Salles' long-awaited beat generation adaptation, it, like that of Freud, initially gave him pause. "If someone else had offered me Freud I might not have taken the plunge, but David, I trusted him, Walter I didn’t know Walter, so I thought really?" But actually, a kinship between the two characters enabled him to find his way into the part. "Both Freud and Burroughs were mentors in a sense. [People] went to visit Burroughs and he would share his books with them and they loved to pick his brain when he was down in Louisiana. They all came down to have a good time but also because they knew they could ask lots of questions and sort of glean a few pearls of wisdom from this crazy old guy. He seemed like an old guy to them, he wasn’t that old at the time, he was 10, 15 years older. Just like Freud was older than Jung." 5. Mortensen consulted Cronenberg on the best way to approach playing twins. The star's taking another venture into Spanish-language cinema, after being approached by a first-time filmmaker for "Everyone Has a Plan," set in Argentina. "I had never shot a movie in Argentina and I thought, well, it will probably be like many of the scripts I read that are maybe well-intentioned but not that good, and I read it and thought this is an amazing script, a really tight, well-written film noir and I thought sure, let’s try and get it done. It took almost four years to get financing and it’s a great low budget movie." But it came with its own set of challenges; Mortensen plays twins in the film, one of whom impersonates the other. But who better to go to for advice than Cronenberg, the man behind one of the great twin movies. "I actually called David to ask him about 'Dead Ringers,' just from a technical thing, you know in terms of the scenes where you see the two brothers together," Mortensen said. "It was a great shoot, it was a hard shoot. Winter, outdoors in Argentina, great character, very ambitious for a first time director [Ana Piterbarg], but I think she pulled it off. She has a great future as a director. "A Dangerous Method" is in theaters now.
Taro: Hossein Amini, who wrote the screenplay for the Oscar-nominated The Wings Of The Dove — and many others, including Drive and Snow White And The Huntsman, now shooting with Kristen Stewart — will make his directing debut on the film version of Patricia Highsmith’s psychological thriller The Two Faces Of January. Viggo Mortensen, who is currently starring as Sigmund Freud in the film A Dangerous Method, will play the lead. I’m expecting an astute analysis of the central role from the actor. http://www.dailymail.co.uk/tvshowbiz/article-2065979/A-lesson-forgiveness-Rachel-Weisz.html
Natalie: Taro, насколько я знаю, участие Вигго в этом фильме пока на уровне слухов. Или уже что-то конкретное появилось?
Taro: Нет,только словеса..Его привлекает возможность попробовать себя в качестве со-сценариста,но и документальный фильм в Испании,и в Барселону просят "Чистилище",и еще есть наметки проектов,о которых он пока не говорит..Так же зависщий проект по Кингу,где все неясно,скорее-туманно..Точно пока ответа нет..
Natalie: На заметку... Oscars 2011: Viggo Mortensen Sets The Standard Viggo Mortensen Talks Working With Kristen Stewart in On the Road Взяла для перевода. У меня какой-то прям английский бум начался, ни дня без переводов В загашнике уже лежит два текста для сайта, в скором времени выложу. А Вигго тоже разошелся.. Каждую неделю столько новых интервью.
Taro: И не говори,черт ногу сломит..
Rita-chka-1: На сайте хорошее интервью - конкретный вопрос- конкретный ответ...
Natalie: Девочки, я уже которое по счету интервью перевожу и тихо сползаю под стол. Как же он любит Кроненберга-то. Одно из последних, где про Оскар, вот там никаких конкретных ответов, одна сплошная ода Дэвиду. Разными словами, но смысл везде один и тот же.
Rita-chka-1: А Дэвиду - сделать ответный жест : снимать Вигго почаще))
Natalie: Если вдруг у кого-то возникнет желание перевести, будем рады Viggo Talks and Talks Culture |By ZOE HELLER | December 2, 2011, 12:39 pm High up in an apartment block in Toronto, Viggo Mortensen was padding around barefoot, cleaning up the kitchen after lunch and speaking, in his soft-voiced way, about his longing for immortality. “I’m not afraid of death,” he said, wiping down a counter with a damp cloth, “but I resent it. I think it’s unfair and irritating. Every time I see something beautiful, I not only want to return to it, but it makes me want to see other beautiful things. I know I’m not going to get to all the places I want to go. I’m not going to read all the books I want to read. I’m not going to revisit certain paintings as many times as I would like. There’s a limit.” He paused. “I mean, I understand limits are good for character and all that, but I would rather live forever.” Mortensen’s combination of cheekbones and limpid-eyed sincerity has tended to inspire a slightly awestruck tone in journalists over the years. Some of their more breathless accounts of his chilled-out, barefoot demeanor have come perilously close to making him sound a bit of a pill: a parody of the soulful gypsy artiste, all flared nostrils and rippling Kant quotations. Happily, he is not really as oppressively soulful or as grandiose as such reports might suggest. He is earnest, God knows, and his pronouncements on life and art verge, occasionally, on the sententious. But he’s not a preening nostril-flarer. What he brings to mind, more than anything, is your older brother’s hippie friend from childhood — the one who played you your first Velvet Underground album and instructed you in Trotskyist politics. He has the same lank-haired seriousness, and — oddly enough — the same shyness. He also has, for what it’s worth, one of the strangest and unsexiest laughs in America: a kind of abrupt, feminine cackle that is liable to make you jump if you’re not expecting it. The counter being clean now, Mortensen rinsed out his cloth and turned his attention to the dirty dishes. (The reporter ought to have offered some assistance at this point, but the sight of Aragorn with his hands in a sinkful of Fairy Liquid was too beguiling: reader, she sat back and watched.) The original plan was to meet Mortensen for lunch at the Ritz-Carlton, where he was staying during the Toronto Film Festival, and then to visit an exhibition of Robert Motherwell drawings at the Art Gallery of Ontario. But by the time the appointed day rolled around, Mortensen had moved out of the Ritz-Carlton. (Life, he said, was too short to stay in a “prison” where you couldn’t open the windows and where the lobby was always full of industry people.) We met instead at the apartment he was borrowing from a friend and ate a picnic lunch of cold salmon and broccoli rabe. As for the art outing, Mortensen thought it would be better to go and see an exhibition of work by the Group of Seven, a lesser-known school of Canadian painters. There were plenty of opportunities in life to see Motherwells, he said. But if we didn’t drive out to the McMichael Canadian Art Collection in Kleinburg today, we might never get a chance to see these particular works again. The brevity of life and the importance of grasping the day are, one quickly learns, big themes for Mortensen. The sound of time’s winged chariot is very loud in his ear, it seems, and the imperative to “use time well” crops up repeatedly in his conversation — particularly, when he is explaining some of the more unorthodox ways in which he has chosen to handle movie stardom. In the decade since his leading role in the “Lord of the Rings” trilogy turned him into a household name, he has studiously resisted acquiring any of the standard accouterments of Hollywood success. With some of his “Rings” earnings, he founded Perceval Press, a small L.A.-based publishing house specializing in art books and poetry. Other than that, he has continued to lead much the same modest, under-the-radar existence that he did before. He paints, he writes poetry, he plays piano, he takes arty photographs. He hangs out with his 23-year-old son, Henry (by his former wife, Christine “Exene” Cervenka, lead singer of the L.A. punk band X). He campaigns for various human rights and political causes. (During the 2008 election, he endorsed Dennis Kucinich.) He travels a lot: for most of the last year, he has been living in Madrid,where he is rumored to be involved with the Spanish actress Ariadna Gil. When he’s in Los Angeles, he crashes in the Perceval office and socializes with what his friend, the political activist and urban historian Mike Davis, calls “Southern California’s grass-roots cultural scene.” (“Most of Hollywood ignores or disdains . . . the Venice poets and Leimart Park painters,” Davis says, “but Viggo is a passionate homeboy. Multiply him by one hundred, and Hollywood might be worth sparing when the Red Cavalry next rides down Sunset Boulevard.”) None of this is quite, perhaps, what little boys and girls dream of when they dream of becoming a star, but it’s Mortensen’s idea of fun. He never had Champagne dreams and caviar wishes, and much of what passes for “a celebrity lifestyle” is, he thinks, rather banal and grim. “I don’t have lots of friends in the business, and the ones I do have are probably more like me, in that they’re not the kind of people to go places just so they can be seen. I see people doing that stuff and to me, it seems pathetic and ridiculous and kind of . . . well, humiliating. Life’s too short.” His contempt for actors who engage in superfluous acts of self-promotion also extends to actors who appear in dopey blockbuster movies, just for the paycheck. “Sometimes you look at a movie and you can see that the actor or actress said, ‘I’m taking this onboard because I’m making a ton of money, and not because it’s going to be something special,’ ” he said, sounding scandalized. In choosing his own projects, his chief criterion is always “a good story.” But with the exception of the odd Tolkien adaptation, his notions of what constitutes a satisfying narrative tend not to coincide with those of the multiplex audience. He told me at one point about a script that he wrote back in the ’90s — “a silent movie set a thousand years ago” — that he had hoped to direct himself. (He sent it to Leonardo DiCaprio, with a view to getting him to play the lead, but not entirely surprisingly, DiCaprio, fresh from starring in “Titanic,” declined the part.) “An agent will say, if you have the option, it’s good to do a big movie and then a little one. I understand that and within reason, I’ll try to, but 90 percent of the time, I’ll end up in low-budget movies that are difficult to finance and often won’t get distributed very well. I could have done one big-studio movie after another if the goal was to stay as visible as possible, to make as much money as possible. I guess, because of my temperament, I didn’t want to. I wouldn’t have been telling good stories. The challenge would have always been to try not to make a total ass of myself, even though I knew the story was really stupid.” Next year, he will appear in Walter Salles’s adaptation of “On the Road” as Old Bull Lee, the William S. Burroughs character, and in a low-budget Argentine film noir, “Everyone Has a Plan,” as a pair of identical twins. The movie he was promoting at the Toronto festival was “A Dangerous Method,” a spiky little psychiatric costume drama directed by David Cronenberg, in which he plays Sigmund Freud, locked in intellectual battle with Michael Fassbender’s Carl Jung. Mortensen has worked with Cronenberg twice before, on “A History of Violence” and “Eastern Promises,” and he relished the opportunity to do so again. But the real appeal of this film, he says, was the chance to play someone who talks. Mortensen is a voluble man, off-screen — he frequently responds to questions with dense, uninterruptible monologues — but as an actor, he is usually allotted taciturn, still-rivers-run-deep roles. “I haven’t been given the chance to play men who speak much. The parts that people — including David [Cronenberg] — normally give me are men of few words, people who express what they’re thinking or what they’re afraid of or what their goals are, physically. With Freud, it was all words.” Choosing Mortensen to play the Viennese doctor was not “obvious casting,” Cronenberg says, but he thought it was a useful way of injecting some “charisma and virility” into a character who has become ossified in the public imagination as a fragile old man. There were moments, he concedes, when he feared Mortensen might be bringing a little too much virility to the part. “I remember standing in the Belvedere Gardens in Vienna and stopping the shoot to tell him, ‘You’re not walking like a Jew, Viggo.’ He had this kind of rangy, athletic thing going on.” Mortensen not only worked fastidiously on acquiring an appropriately “Jewish” gait, but he also took calligraphy lessons in order to be able to emulate Freud’s elegant script. (The hand that you see writing letters in the film is Mortensen’s own.) He studied Freud’s work, and — because he wanted to know “what Freud read for pleasure” — he researched the work of contemporary Austrian and German playwrights and humorists. (He can now talk authoritatively and at length about the oeuvres of Johann Nestroy and Wilhelm Busch.) “Viggo and I both get very enthusiastic about the details,” Cronenberg says. “On this movie, we must have exchanged 40 e-mails about the kind of cigars Freud smoked. Viggo will bring props to the set. I mean, he basically does his own set decoration. He’d come in with these rare books — editions that Freud actually had in his own study — and the production designer would say, ‘Where did you find these?’ ” Mortensen has acquired a small legend for the elaborate lengths to which he goes in his preparation and research. For “Eastern Promises,” he read Russian poetry and novels, studied Russian history and researched the significance of every one of the 43 Russian gangster tattoos he wore in the movie. For the movie “Good,” in which he played a German professor co-opted by the Nazi regime, he drove over a thousand miles across Germany and Poland, visiting concentration camps. When he played a con-man artist in “A Perfect Murder,” he ended up painting all the canvases that appeared in the movie. He is not particularly dogmatic about his own preparation techniques. He acknowledges that actors achieve excellent results with all sorts of strategies, including doing nothing but reading the script a lot of times. The meticulous research is, he says, its own reward: “It’s enjoyable and stimulating. I learn things. It’s particularly important to me, because I have had experiences where the shoot has been really annoying and unprofessional, and the director has made poor choices and the movie has not turned out well. But however it turns out, I always feel that I’ve got something out of it, because of the experiences I’ve had and the knowledge I’ve got from the preparation stage.” Mortensen has been acting for a very long time. He’s 53 years old now, and he went up for his first film audition in his early 20s. Before 1999, when Peter Jackson made a last-minute decision to cast him as Aragorn, he had been toiling, and often “resting,” in the Hollywood trenches for a good 20 years. “For a long time after I started out, I couldn’t get anything. I mean, I’d do a small play, or one scene in a TV thing — I’d get just enough encouragement to keep me going — but I wasn’t making a living at it.” There were many false starts. Twice, he said, he had scenes in movies — Jonathan Demme’s “Swing Shift” and Woody Allen’s “Purple Rose of Cairo” — that ended up on the cutting-room floor. “I wasn’t told. Months go by, the movie comes out, I tell my parents — you know, my whole family. They go see it, and I’m not in it. The scene isn’t there. They think I’ve lost my mind. They’re like, What are you really doing in Los Angeles?” In 1990, he got the lead in “The Indian Runner,” directed by Sean Penn. “And everyone said, ‘Oh, boy, you’re set.’ But I wasn’t. I don’t know, maybe I didn’t capitalize. I don’t know what I was supposed to do. People would tell me do this, do that, fire this guy. . . .” It was not until 1993 that he began getting a steady flow of work — “supporting parts in studio movies, a job or two a year.” He admits to having become demoralized on occasion. “But I guess I kept being curious. I was curious as to how movies were made. It wasn’t, like, I wanted to be famous or anything like that. I liked the idea of telling these stories, the make-believe aspect. I wanted to do it, to try it. I don’t know.” Cronenberg speculates that the years Mortensen spent as a “B actor” have made him gracious and grateful in success: “It helps that he got it late. He has an appreciation of his luck.” Certainly, his years working in relative obscurity gave him plenty of examples of how not to behave as a famous actor. He remembers every bit of on-set misbehavior he ever observed, with astonishing clarity. (Holding grudges is one of his vices, he says.) He remembers the actors who didn’t come to set because they were hung over after a night of drinking, or who came and behaved horribly. He remembers the leading actors who did little tricks to throw him off. “I see it now with veteran actors doing it to younger actors, and the young guys don’t even know that it’s happening. I’ll say to them, ‘Watch out, he’s already done his close-up, and he did a great job. Now it’s your close-up, and he’s tickling you and distracting you and telling you stories.’ The young guy will be like: ‘Really? You really think he’s doing that?’ And I’m like, ‘Yeah!’ ” He also remembers the actors who didn’t even bother to show up when it was time to do their off-camera work. “Earlier in my career, I saw a lot of important actors and actresses splitting when they had done their close-ups. You’d say, ‘Where’s so and so?’ and they’d have gone home, so you’d end up doing your close-up with an assistant director. It makes your work harder and it also makes you feel disrespected.” He no longer tolerates this sort of thing. “If someone comes up to me and says, ‘Do you mind if I go?’ I’ll look them right in the eye and say, ‘I don’t want you here, if you don’t want to do it.’ If they say, ‘Oh, fine, I’ll stay,’ I’ll be like: ‘No, go. You’ve told me who you are, get out of here.’ I’d rather do it without them. When someone does that to me, it’s like, Boom, I’m not working with you again.” That seemed a bit harsh. “Yeah, well, about that stuff I am harsh. There’s no excuse for that behavior. You’re tired? Come on! The crew isn’t tired? The crew who got here two hours before you, and who’ll be here two hours after you leave and who are being paid, in many cases, one thousandth of what you’re being paid? Come on! “I always thought treating people well was probably the most important thing, but now I’m convinced,” he adds. “Life is too short to work with idiots — well, not idiots, but people who are rude and selfish.” We took rather longer over lunch than we had planned, and by the time we set off to Kleinburg, it was already late in the afternoon. We drove through the drizzle, with Mortensen occasionally checking the directions he had scribbled down from the Internet. When we arrived, the museum was about to close. We whizzed through the exhibition rooms, diligently taking in as much as could be taken in of the Group of Seven in half an hour. Then we took a bathroom break and got back in the car. “Where did the time go?” Mortensen lamented as we inched back through rush-hour traffic to Toronto. “I’m glad we went, though. Are you glad? I think it was worth it. My feeling is, you’ve got to see these things when you can. I mean, if you’re riding along the road and you see a sign saying ‘Mark Twain lived here,’ you should stop and take a look. Sometimes, you’ll think, Ah, I’ll leave it, and come back another time. But you might not be back. You might die.” A few days after our meeting, Mortensen called and left a message on voice mail. He had been thinking about what he’d said regarding immortality and he was concerned now that perhaps he had taken too vehement a position: “I know I said I wanted to live forever and I would never be bored, but the reality is, it’s probably kind of sad to live forever if you’re the only one sticking around. I guess living through injury and disease is pretty hard too, so I don’t know — maybe immortality is not such a great thing. You know, Freud accepted his lot very stoically and very well and with a sense of humor. He aged and died gracefully and there’s a lot to be said for that. Still, it would be nice to live a little longer, with your mind intact and your body reasonably functioning. . . .” The message went on in similar vein, for a while. Toward the end, Mortensen seemed to become vaguely embarrassed by his own meandering. “Anyway, whatever,” he said. “I don’t know if any of this matters.” There was a long, crackly pause. “But I guess what I’m saying is, I’d settle for another 150 years.”
Taro: Golden Globes: Viggo Mortensen discusses his methods December 15, 2011 | 11:28 am To get inside the mind of the famed psychoanalyst Sigmund Freud for "A Dangerous Method," Viggo Mortensen did extensive research and mulled the details with director David Cronenberg. The effort has paid off with a Golden Globe nomination for supporting actor. Mortensen spoke by phone to 24 Frames' Elena Howe about how he found out, how he feels and what else he's up to. PHOTOS: Golden Globe top nominees E.H.: How did you find out about your nomination? V.M.: I’m in Madrid. It’s nine hours later, but they don’t show that here anyway. I was headed to work — I’m doing a play — and a friend called and told me. I’m very grateful, but I would have been even happier if [director] David [Cronenberg] had been included. I owe it to him. He made a risky decision to cast me as Freud, and I’m glad to see his hunch paid off. I’m proud to represent “A Dangerous Method” at the Globes. E.H.: What is the play you’re doing? V.M.: Ariel Dorfman, who wrote that play “Death and the Maiden,” he wrote one called “Purgatorio,” which is what I’m doing. It’s heavy on dialogue, like Freud, so I got that back to back. I haven’t been in a play for over 20 years, and there’s lots of dialogue. At first I regretted [signing on for it]. But it’s going well now. E.H.: How did you prepare to play Sigmund Freud? V.M.: I had real concerns that it wasn’t a good fit for me. I did it because it was David. Had another director proposed this, I wouldn’t have. But once I got my mind around how to present him — he had a good sense of humor and a sense of irony, which I could relate to — and I actually enjoyed having a lot of dialogue, and now doing the play, it’s like out of the frying pan and into the fire. I always do a lot of research. I read everything I could that Freud had written and what his contemporaries had written and just informed myself about the period and Western Europe of the time. E.H.: You’ve worked with David Cronenberg three times now. How did this production go? V.M.: David is like-minded, so we share hundreds and hundreds of emails — we talk about Freud’s cigars, his influences, how we were going to transform me, anything to do with it, even peripherally. We do that with all of the movies we’ve done. The more we work, the more in tune we are. He’s a great artist, but I like him as a man as well, which unfortunately isn’t all that common [in this business]. He’ll listen to anybody — me, the crew. He’s just trying to make the best film possible. E.H.: Do you have plans for another project together? V.M.: We’re talking about a sequel to “Eastern Promises,” and a couple of other things are possible. It depends on what he gets the money for first. E.H.: Was it hard to shake off Freud when filming was completed? V.M.: I never have any desire to. I never think in terms of shaking anything off. We all lose our memories anyway, so I’m happy to remember what I’ve learned from playing him. I learn something from every character I play, and I like to keep that. I had fun playing Freud, so I’m not in any hurry to shake it off. http://latimesblogs.latimes.com/movies/2011/12/golden-globes-viggo-mortensen-discusses-his-methods.html
Taro: “I was very pleased to learn that my Sigmund Freud was nominated today to be part of the Golden Globes ceremony. It would have made me even happier if our director, David Cronenberg, and the remarkable performance by Keira Knightley also had been invited to the party, but I will be extremely proud to represent A Dangerous Method. Fortunately our fine Carl Jung, Michael Fassbender, was nominated for his work in Shame. David made a risky choice when he cast me to play Dr Freud, and I’m glad that his instincts have paid off in the eyes of the Hollywood Foreign Press Association.” Viggo Mortensen, A Dangerous Method http://www.screendaily.com/5035841.article
Taro: Best Actors Keep It Real While Playing An Icon In “A Dangerous Method,” opening Friday, Viggo Mortensen plays Freud, not as the balding, white-bearded man with a scowl most people conjure when they think of the Austrian neurologist, but as a middle-aged family man of warmth and even humor. (“What an exquisitely Protestant remark,” Freud says when Jung betrays his naivete about anti-Semitism.) Mortensen’s co-star, Michael Fassbender, didn’t need to clear the same preconceptions about Jung as Mortensen did about Freud, which makes Mortensen’s performance all the more accomplished. Playing the psychiatrist at a moment when his theories about sexuality and human psychology were controversial and precariously fragile, he imbues the real-life man with the stately reticence of a Viennese bourgeois, not the inner fire-bomb-thrower. It’s an approach that allows the film’s true stars — ideas — to shine. Fassbender and Keira Knightley, as Jung’s patient-slash-lover Sabina Spielrein, get the showiest scenes, but “A Dangerous Method” works thanks to the quiet, self-effacing work Mortensen does to take Freud out of the pantheon and into the cozy, well-worn living room. Mortensen was deservedly nominated for a Golden Globe on Thursday for his performance in “A Dangerous Method.” © The Washington Post.
Taro: Статья на французском,вот ссылка..Натали меня прибьет,и будет права,между прочим.. http://next.liberation.fr/cinema/01012378396-le-totem
Green: Таro, спасиб!)
Green: Серьезная номинация, даже без окончательной победы..."пустячок, а приятно"), шучу, круто!
Taro: Interview sur le divan avec Viggo Mortensen Il est un Sigmund Freud convaincant dans le thriller psychanalytique A dangerous method, de David Cronenberg, avec qui il en est à sa troisième collaboration. Confidences d'un artiste polymorphe et polyglotte, rompu à l'exercice de la confession. Viggo Mortensen, acteur culte de 53 ans, déboule dans une suite du Bristol en jean et marinière de Viking cool, pieds nus, ses Weston (trop serrées) sous le coude. Beau gosse scandinave – yeux bleus délavés, coupe au carré –, il parle vrai, se moque des apparences et respire l’intelligence. Hier, il conduisait son peuple, fier Aragorn, vers la Terre du Milieu dans Le Seigneur des anneaux, de Peter Jackson. Aujourd’hui, il enfile pour David Cronenberg, avec lequel il a tourné trois films et non des moindres, la panoplie du patriarche Sigmund Freud. Enlaidi, vieilli, ironique, mâchouillant son cigare et disséquant l’inconscient de ses partenaires (Michael Fassbender et Keira Knightley), Viggo Mortensen impressionne. « J’avais vu Freud, passions secrètes, de John Huston, dit-il. Montgomery Clift y était saisissant. J’estime que Clift fut bien plus que Brando le génie de l’Actors Studio. » Mortensen, lui, est un as de la zen attitude, un passionné serein, un modeste à qui tout réussit. Далее-здесь...Если будет время,завтра рискну попробовать перевод..Коли надо?? http://madame.lefigaro.fr/celebrites/interview-sur-divan-avec-viggo-mortensen-251211-206362
corall: Конечно, надо. Не все же полиглоты в нашем дружном коллективе.
Taro: A Dangerous Method "A Dangerous Method is so strange and unnerving precisely because the world it depicts is, for better and for worse, the only one we know." (A.O. Scott, NY Times) Viggo Mortensen (Eastern Promises) and Michael Fassbender (Shame, Hunger) star as Sigmund Freud and Carl Jung in a film depicting their contentious episode with patient Sabina Speilrein (Keira Knightley). The latest from director David Cronenberg, A Dangerous Method portrays the epic rivalry between Jung and his mentor Freud, capturing the birth of their groundbreaking theories and eventually the disintegration of their collaboration as it plays out through Jung’s relationship with Sabina Spielrein, the brilliant, beautiful, and disturbed young woman who slowly overwhelms him. David Cronenberg. 2011. 93 m. R. Canada/Germany/Switzerland/UK, English/German. Sony Pictures Classics. Official Website / Trailer | NY Times review Thurs. Dec. 29 2:40 PM 5:10 PM 7:20 PM 9:30 PM Fri. Dec. 30 12:10 PM 2:40 PM 5:10 PM 7:20 PM 9:30 PM Sat. Dec. 31 12:10 PM 2:40 PM 5:10 PM 7:20 PM 9:30 PM Sun. Jan. 1 12:10 PM 2:40 PM 5:10 PM 7:20 PM 9:30 PM Mon. Jan. 2 2:40 PM 5:10 PM 7:20 PM Tues. Jan. 3 2:40 PM 5:10 PM 7:20 PM Wed. Jan. 4 2:40 PM 5:10 PM 7:20 PM Thurs. Jan. 5 2:40 PM 5:10 PM 7:20 PM http://www.burnsfilmcenter.org/films/new-releases#47091
Taro: Oscar predictions: Ballots are out! Yesterday the Academy of Motion Picture Arts and Sciences mailed its nomination ballots to 5,783 voters. So where do things stand in the Oscar race? Not much has changed in the last week, but here are my current predictions in the six major races. BEST SUPPORTING ACTOR 1. Christopher Plummer, Beginners (last week: 1) 2. Kenneth Branagh, My Week With Marilyn (last week: 2) 3. Albert Brooks, Drive (last week: 3) 4. Jonah Hill, Moneyball (last week: 5) 5. Nick Nolte, Warrior (last week: 4) 6. Max Von Sydow, Extremely Loud and Incredibly Close (last week: 6) 7. Armie Hammer, J. Edgar (last week: 7) 8. Ben Kingsley, Hugo (last week: 8) 9. Patton Oswalt, Young Adult (last week: 9) 10. Viggo Mortensen, A Dangerous Method (last week: — ) 11. Andy Serkis, Rise of the Planet of the Apes (last week: 10) 12. George Clooney, The Ides of March (last week: 11) Falling off: Robert Forster, The Descendants
Taro: GG: Best Supporting Actor - Viggo Mortensen 01 January 2012 Name: Viggo Mortensen Age: 53 Character: Sigmund Freud in A Dangerous Method Film: Seduced by the challenge of an impossible case, the driven Dr. Carl Jung (Michael Fassbender) takes the unbalanced yet beautiful Sabina Spielrein (Keira Knightley) as his patient in A Dangerous Method. Jung's weapon is the method of his master, the renowned Sigmund Freud (Viggo Mortensen). Both men fall under Sabina's spell. Previous Golden Globe Wins: Mortensen has no previous Golden Globe wins Previous Golden Globe Nominations: He has one other nomination: Best actor for Eastern Promises. Award/Nominations for role: He has also been nominated for Best Supporting Actor at the Satellite Awards. Critics: “It's fascinating to see the exceptionally charismatic Fassbender squeeze himself into the role of the aristocratic, restrained Jung, and it's just as enjoyable to see Mortensen bring an unexpected virility to his sybaritic, cigar-chomping Freud.” - Los Angeles Times “David Cronenberg's career-long fascination with matters of the mind manifests itself in compelling but determinedly non-mind-bending fashion.” - Variety “Using a dialogue-heavy approach that's unusual for Cronenberg, his film is skilled at the way it weaves theory with the inner lives of its characters.” - Chicago Sun-Times http://www.femalefirst.co.uk/movies/Viggo+Mortensen-11245.html
Taro: David Cronenberg on ‘A Dangerous Method,’ Viggo Mortensen Love and Defending Canadian executive David Cronenberg‘s latest, ‘A Dangerous Method,’ takes us into a universe many of us haven’t busy given college — passionate psychology, Sigmund Freud, a id and a superego. Never one to bashful divided from a tough stuff, Cronenberg introduces us to fledgling cringe Carl Jung (Michael Fassbender) as he attempts to assistance a labelled psychopath Sabina Spielrein (Keira Knightley), who is traffic with restricted passionate abuse during a hands of her father. Along a way, we get several tasty appearances by Viggo Mortensen as Freud himself, who muddies a waters with his interjections into a Jung-Spielrein relationship. Based on a loyal story, ‘Method’ follows Jung from a commencement of his career to his contingent skirmish into madness. All intelligent and infrequently kinky, ‘A Dangerous Method’ strives to be totally accurate, right down to Spielrein’s tics. Moviefone spoke with Cronenberg about his Viggo love, his Keira adore and, yes, his Robert Pattinson love. What a pleasure it is to speak to you. we grew adult examination ‘The Fly.’ [Laughs] Oh, good! we wish it hasn’t mangled we totally. Not totally. But vocalization of mental health – Freud. Jung. Sex. Psychology. Are these areas of seductiveness for you, a prejudiced procedure for creation ‘A Dangerous Method’? How could they not be areas of seductiveness for everyone? Obviously, this is a initial film I’ve finished that’s privately about Freud and Jung, yet a initial film we ever finished was a brief called ‘Transfer,’ that was about a clergyman and his patient. Obviously that singular attribute that Freud invented, between a psychotherapist and his patient, is of seductiveness to me. We accept that as a unequivocally customary communication between dual people, yet it’s unequivocally rather a bizarre one if we consider about it. On some level, were we perplexing to communicate a ravages of privacy and repression, and operative those out by psychotherapy? The initial suspicion in all of a minds was accuracy. The film was very, unequivocally accurate. We have 50 pages of support by Jung himself about what Sabina Spielrein’s symptoms were when she came to a Burgholzli, and he describes her facial tics in good detail. He calls them deformations. We wanted to be neutral as well, given these characters were so engaging and charismatic. If we wish to investigate it, of course, we can contend here’s a lady who’s being asked for a initial time to speak about her problems — since it’s a “talking cure.” Up to that point, no one ever listened to crazy people, yet here’s Freud positing, “You unequivocally should listen to crazy people since what they contend is a pivotal to how we can assistance them.” The stage we shot with Sabina [Keira Knightley] and Jung [Michael Fassbender] was fundamentally a initial time a articulate heal had ever been used on a patient. That stage is utterly powerful, and interestingly shot. Again, we wanted it to be as accurate as possible. This is a lady who comes from a rich family, who is being asked to demonstrate these things that, for her, have always been unspeakable, only hideous, terrible things that she’s been worried by. She’s perplexing to get a difference out, yet she’s also perplexing to get them behind in during a same time. Some critics have been rather — well, vicious — of Knightley’s depiction of Spielrein, observant her opening is over-the-top and exaggerated. Any thoughts about that? We felt her description was accurate. There are indeed photographs from a spin of a century, that a French psychiatrist took of his patients, and there is some shot footage too, that we worked off of. People are ignorant about this, and they have a response that has some-more to do with what their suspicion of behaving is, rather than a correctness of a movie. I consider a lot of people are worried with a tics, too. Oh yes, that is positively true. When we see those patients, you’re finished to be uncomfortable, since in a proceed it’s like examination somebody ruin themselves, twist themselves. Another smashing component of this film is a importance on examination and analysis. Do we feel, in contemporary times, this proceed has been commercialized and, in a way, finished redundant? When we consider about it, it always had to be commercialized. Jung was advantageous in that he had a rich mother and he didn’t have to make income from psychotherapy, yet Freud did. He was in an engaging position since he radically had to monetize psychotherapy. People knew about profitable to go see a unchanging doctor, yet people didn’t know since we would have to compensate a alloy to lay behind we and listen to you. Unfortunately, that’s always been a doubt about psychoanalysis, right from a unequivocally beginning. It’s interesting, we only examination an essay in The New York Times about how it’s now apropos utterly renouned in China. Freud is unequivocally prohibited in China! [Laughs] Critics are also observant this is a bit kind for a Cronenberg film. That has zero to do with me, it has to do with them. As I’ve mostly said, when we make a movie, it’s like I’ve never finished another film before. we give a film what it needs, what it wants. This is unequivocally informed to me. When we finished ‘The Dead Zone,’ that was unequivocally kind for me, deliberation what I’d finished before. The things we would do in ‘Shivers,’ for example, is zero like what we would do for ‘Dead Zone.’ You don’t levy things on your other cinema only since people like those cinema or design whatever component in them. we have to omit that, we know? I’ve always been of that school, too. Each film is a possess island. It’s true. Creatively, that is accurately a truth. Those other considerations — genre, themes — those are vicious and selling questions, not artistic questions. Viggo Mortensen was recently on a record observant that we don’t accept adequate approval from a Academy. Is this something that concerns we during all? No. It unequivocally doesn’t. Viggo and we talked about this. We pronounced that we’ve both had adequate courtesy to final a lifetime. Of course, if we do a movie, we wish people to like it, we wish them to see it, we wish them to be meddlesome in it. You wish your film to get attention, yet in terms of awards, we put them on a shelf somewhere and that’s it! Even with an Oscar, it’s a same thing. And it’s not like your cinema are totally deserted during a Oscars… Yeah, and a examination we got from AO Scott during a New York Times for this film … we can’t get a improved examination than that. Would we ever determine to job Viggo one of your muses? No, yet it is a honeyed thought. we like Viggo. In fact, we adore Viggo and we get along great. But we only shot ‘Cosmopolis’ and Viggo’s not in it! [Laughs] we would hatred to consider we deserted my troubadour to make that movie. No, yet seriously, we adore to combine and we adore to be colleagues creation a movie, there’s no doubt about that. But we do an actor a good harm by miscasting. Your casting of Robert Pattinson in ‘Cosmopolis,’ someone whose behaving competence not be as critically lauded as Mortensen’s, was obviously a well-thought-out decision, then. Well, Keira’s behaving doesn’t always get regard from high-brow critics, either. we would use that parallel. You have a immature actor who’s found success with a authorization only like Keira did with ‘Pirates of a Caribbean,’ who’s underrated since of that. In any case, they’re too flattering and too successful so people are jealous. As a result, people assume that they can’t presumably be good actors. So what was a accurate proclivity for casting Pattinson in ‘Cosmopolis’? He’s a right age, he’s got a right shade presence, and when we looked during his other work we suspicion he’d be unequivocally engaging for a role. Casting is a black art – it’s a bit puzzling how we come to these things – and it’s subjective, too, of course. As a director, there are no manners to beam you. You have to go with your gut, ultimately. [Photo: E1 Entertainment] http://www.sexyhollywoodcelebrity.com/david-cronenberg-on-a-dangerous-method-viggo-mortensen-love-and-defending/
Rita-chka-1: Может в этот раз повезет!
Taro: A light touch with 'A Dangerous Method' Viggo Mortensen, David Cronenberg, Michael Fassbender and screenwriter Christopher Hampton talk about the twists and turns of the film. By Michael Ordoña, Special to the Los Angeles Times January 3, 2012 "A Dangerous Method," the intellectually stimulating look at the formative days of psychoanalysis, presents Viggo Mortensen in a transformative performance as Sigmund Freud, Michael Fassbender as his restrained protégé and rival, Carl Jung, and a bold Keira Knightley as the patient-turned-practitioner who came between them. But it was almost a Julia Roberts movie. "I first heard of and was intrigued by the story of Sabina Spielrein in a book by Aldo Carotenuto, 'A Secret Symmetry,'" says screenwriter Christopher Hampton of the character played by Knightley. "In the '90s, Julia Roberts' company sent me John Kerr's [related] book ["A Most Dangerous Method"], and I jumped at the chance of using it as the basis for a screenplay. The resulting script was called 'Sabina,' and for one or another of the usual reasons, was not going to get made." Hampton's partner persuaded him to transform the story into a play, "The Talking Cure," which he focused on Jung and which starred Ralph Fiennes in its London production. "What fascinated me most … was that this more-or-less-unknown woman had in some sense been responsible for bringing together Freud and Jung, had suggested or at least discussed with them many of their most seminal ideas and then played at least some part in their final tumultuous split, which she greatly deplored." The film opens with Spielrein's arrival in 1904 at Jung's clinic in Zurich in the throes of body-wrenching, face-distorting hysteria. Jung accepts her as a patient who might respond to a type of treatment proposed by Freud: talking. As Spielrein's issues become clear — beatings by her father lead to sexual arousal — so too does her intellect and her attraction to the buttoned-down Jung. Fassbender says of Jung and Spielrein, "It's a classic sort of transference going on there, between doctor and patient. And it is even beyond that, because when we meet Jung he's a young, ambitious doctor who feels like he's still got a lot to prove … you've got a guy who's very proper, and he's keeping everything seemingly controlled. But I sort of like the fact that he loves eating … so that means that there is a sensual quality to him. So it's in there. "And then he meets Sabina … and then the opportunity for him to have a willing and very responsive patient to prove that this is the way that he should be going forward — they have a bond there immediately. And then her intellect and her courage, I think, start to attract him." To some, the selection of director David Cronenberg — known for works sometimes graphically violent or otherwise disturbing — might have seemed odd. Not to Hampton. "I've always liked and admired David Cronenberg's work; my only hesitation was that, having spent so long with the subject, I quite wanted to direct it myself," the writer says. "Fortunately, reason prevailed. I was surprised (and delighted) by his total confidence in the text, his feeling that an enclosed, hermetic atmosphere would benefit the story: It means that the explosion of emotion that occurs as the camera finally closes in on Jung, as he realizes what he has lost and struggles with the breakdown that for a time was to overwhelm him, is totally earned." Frequent Cronenberg collaborator Mortensen, a Golden Globe nominee for his role, agrees that the director brought a deft touch to the proceedings. "He feels no need to prove with the camera, with how many setups and how complicated and strange and moody the camerawork is, that he knows a lot about the subject and knows how profound some of the things being said are. He shoots with an expert, light hand," the actor says. "The dialogue is dense, complex; the scenery, the costumes — everything about the movie is layered, psychologically, visually, so why do the same with the camera? Very smart, I thought." It was his own participation in the project that brought him concern. Both director and actor knew casting "The Lord of the Rings'" swaggering Aragorn as the father of psychoanalysis was a stretch, but they overcame their misgivings. Surprisingly, it wasn't the physical changes that were most daunting for Mortensen. For him, it was the nonstop dialogue. "The way Freud speaks and that he speaks so much compared to most of the characters I've played … he was a gifted wordsmith, a great conversationalist. Able to speak for two or three hours at a clip without a single mistake. Often infusing his speeches or conversations with wry humor you either get or don't get; he just plows ahead anyway without cracking a smile," says Mortensen. "To some degree, an intimidating role to take on if you're not used to it." As for Fassbender, he was fascinated by the psychoanalysts' confrontation of social norms. But as the actor puts it, resistance to their movement wasn't limited to the squeamish; Freud himself had concerns about how to proceed. "Freud, he was, like [to Jung], 'Look, this is a science, man, don't be bringing religion in here because [the gentiles] were already. like, "This is a Jewish thing, this sort of psychoanalysis. It doesn't relate to the Aryan people."' And so he was already fighting that prejudice." One of Cronenberg's favorite scenes, in Hampton's script and Mortensen's performance, addresses that with a light touch: "In the cafe, when Freud leans in and says to Jung, 'Of course, the problem is that all of us here in Vienna are Jews,' and Jung says, 'Well, I don't see what difference that makes.' Freud says, 'Well, that, my dear Mr. Jung, is an exquisitely Protestant remark.' It's not flashy; it's a delicate moment. He's confiding something, a weakness, a vulnerability, a fear, to this man he hopes will take over his movement because he's not Jewish. Yet this guy is completely oblivious to that factor," says the director. "It's a lovely, delicate moment, and Viggo does it so beautifully and convincingly, with such humor." http://www.latimes.com/entertainment/news/la-en-method-20120103,0,1653397.story?mid=56
Taro: А так же... SERIES David Cronenberg January 21–February 12 From his early horror movies—with their exploding heads, mutating sex organs, rampaging parasites, and scientists turning into insects—to his latest, A Dangerous Method, a deceptively classical period film about Sigmund Freud, Carl Jung, and the birth of psychoanalysis, David Cronenberg has consistently dramatized the struggle between the aspirations of the mind and the messy realities of the flesh. “I think of human beings as a strange mixture of the physical and the non-physical, and both of these things have their say at every moment we’re alive,” says Cronenberg. “My films are some kind of strange metaphysical passion play.” Moving deftly between genre and arthouse filmmaking, between original screenplays and literary adaptations, Cronenberg’s work is thematically consistent and marked by a rigorous intelligence, a keen sense of humor, and a fearless engagement with the nature of human existence. He has been exploring the most primal themes since the beginning of his career, and continues to probe them with growing maturity and depth. http://www.movingimage.us/films/2012/01/21/detail/david-cronenberg/?mid=56
Taro: Viggo Mortensen Interview the first thing you will notice is how polite and quiet he is. That may not surprise you about the soft-spoken actor, since his characters tend to be men of few words. which earned the actor an Oscar nomination. Viggo turned it down, even though the two are dear friends. But when Waltz dropped out of the movie right before shooting, Mortensen answered Cronenberg’s call. We caught up with the whispery Viggo at the Toronto International Film Festival, where he talked about his relationship with Cronenberg and his newfound appreciation for Sigmund Freud. http://www.a-zchannels.com/home/entertainment/celebs/104683-david-cronenberg-interview
Taro: Interview: David Cronenberg and Viggo Mortensen Director and star unearth the roots of psychoanalysis By Norman Wilner You could argue that all of David Cronenberg’s films are psychodramas. Think of the unleashed bloodthirsty ids of Shivers, Rabid and The Brood; the slippery interior journeys undertaken in Naked Lunch, eXistenZ and A History Of Violence; the secret societies explored in Videodrome, Crash and Eastern Promises; the identity crises of The Fly, Dead Ringers and M. Butterfly. The landscape of the mind has always fascinated the director as much as the canvas of the body. In A Dangerous Method, Cronenberg tries something different, looking back to the early 20th century, when Sigmund Freud (Viggo Mortensen) and Carl Jung (Michael Fassbender) debated the inner workings of the mind. Adapting Christopher Hampton’s play The Talking Cure, the film traces the development of psychotherapy through the contentious relationship of its pioneers – and through Jung’s thorny relationship with Sabina Spielrein (Keira Knightley), a patient who became his pupil and eventually his lover. “It is all resurrection, for me,” Cronenberg says in an interview at the Toronto Film Festival, “to bring them all back to life, so we can see and hear them in intimate moments we would never actually have seen – but the era as well, the epoch just before the First World War, so rich and pregnant with both disaster and potential.” Mortensen, who played tight-lipped heavies for Cronenberg in History and Promises, says he was less worried about bringing Freud to life than he was about pulling off the character’s long speeches. “It’s always that way,” he says. “The biggest obstacle, the thing you think, ‘Oh, shit, how am I going to do this?’ Once you make friends with it, it becomes your favourite thing about the project. To find a contrast between the more staid, austere, Lutheran [Jung] and this Viennese-Jewish urbane guy, it was really fun, and the way to do that was with the words.” Mortensen had the good fortune to play the one character in A Dangerous Method who’s allowed to enjoy himself. The others are so repressed, they won’t even fully undress for sex. “The way they dressed was hugely important,” Cronenberg says. “It was an era of very formal elegance. Women were corseted, with high, tight collars. [It’s] the repressiveness of the era – but there was also an elegance and a beauty to it. You needed [the costumes and sets] to deliver not just the people but the tone of the era as well.” The attention to detail makes for an elegant drama, if an inflexible one. I ask if he was tempted to find a way to let his actors express some of their characters’ tension. “No,” he says. “No, absolutely not. I mean, the tight, controlled structure of the movie replicates the society of the time, and the relationships. They never did allow themselves to go completely crazy, and for me to impose that on them would spoil this process of resurrection. They were always proper; they never let go completely. “Even in the sex scenes,” he adds, “it’s never complete, wild abandon. Ever. To me, that’s once again being accurate and faithful rather than trying to, you know, put rock and roll music over a period piece, saying, ‘Well, I’m gonna impose some contemporary taste and ideas onto something that would never have happened then.’” http://www.nowtoronto.com/movies/story.cfm?content=184664
Taro: 32nd Genie Awards Nominations Revealed January 17, 2012 By Calum Shanlin Last year's Genie Awards saw a battle between Incendies from Denis Villeneuve and Richard J. Lewis' adaptation of Mordecai Richler's Barney's Version. The latter won the majority of the acting awards, while the former won Villeneuve the Achievement in Directing and Adapted Screenplay awards. His film also took home the prize for top film. Today, the Academy of Canadian Cinema and Television have announced the nominations for the 32nd Genie Awards, and it's John-Marc Vallée's Café de Flore leading the way with thirteen nominations in total. David Cronenberg's A Dangerous Method comes away with eleven nominations. Check out our Q&A with Cronenberg and our video with Sarah Gadon. The nominations for Best Motion Picture are A Dangerous Method, Cafe de Flore, Monsieur Lazhar (named best Canadian feature at TIFF), Starbuck and The Whistleblower. Four of these directors, save for Ken Scott for Starbuck, are up for the Achievement in Directing prize. Joining Cronenberg, Vallee, Larysa Kondracki (The Whistleblower) and Philippe Falardeau (Monsieur Lazhar) is Steven Silver for The Bang Bang Club. In acting, Michael Fassbender, Viggo Mortensen, Kevin Durand, Taylor Kitsch and Scott Speedman are among some of the male nominees, while Rachel Weisz, Vanessa Paradis and Michelle Williams are nominated for their roles. Check out the full list of nominations: BEST MOTION PICTURE A Dangerous Method - Martin Katz, Marco Mehlitz, Jeremy Thomas Café de Flore - Pierre Even, Marie-Claude Poulin, Jean-Marc Vallée Monsieur Lazhar - Luc Déry, Kim McCraw Starbuck - André Rouleau The Whistleblower - Christina Piovesan, Celine Rattray ACHIEVEMENT IN DIRECTION David Cronenberg - A Dangerous Method Steven Silver - The Bang Bang Club John-Marc Vallée - Café de Flore Philippe Falardeau - Monsieur Lazhar Larysa Kondracki - The Whistleblower PERFORMANCE BY AN ACTOR IN A LEADING ROLE Fellag - Monsieur Lazhar Garret Dillahunt - Oliver Sherman Michael Fassbender - A Dangerous Method Patrick Huard - Starbuck Scott Speedman - Edwin Boyd PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE Antoine Bertrand - Starbuck Kevin Durand - Edwin Boyd Marin Gerrier - Café de Flore Taylor Kitsch - The Bang Bang Club Viggo Mortensen - A Dangerous Method PERFORMANCE BY AN ACTRESS IN A LEADING ROLE Catherine De Lean - Nuit #1 Pascale Monpetit - The Girl in the White Coat Vanessa Paradis - Café de Flore Rachel Weisz - The Whistleblower Michelle Williams - Take This Waltz PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE Roxana Condurache - The Whistleblower Hélène Florent - Café de Flore Julie Lebreton - Starbuck Sophie Nelisse - Monsieur Lazhar Charlotte Sullivan - Edwin Boyd ACHIEVEMENT IN ART DIRECTION/PRODUCTION DESIGN Jean Becotte - Funkytown Aidan Leroux, Rob Hepburn - Edwin Boyd James McAteer - A Dangerous Method Patrice Vermette - Café de Flore Emelia Weavind - The Bang Bang Club ACHIEVEMENT IN CINEMATOGRAPHY Miroslaw Baszak, C.S.C. - The Bang Bang Club Pierre Cottereau - Café de Flore Jon Joffin - Daydream Nation Jean-François Lord - Snow & Ashes Ronald Plante - Monsieur Lazhar ACHIEVEMENT IN COSTUME DESIGN Denise Cronenberg - A Dangerous Method Farnaz Khaki-Sadigh - Afghan Luke Ginette Magny, Emmanuelle Youchnovski - Café de Flore Heather Neale - Keyhole Marie-Chantale Vaillancourt - Funkytown ACHIEVEMENT IN EDITING Jean-François Bergeron - The Year Dolly Parton Was My Mom Michael Czarnecki - In Darkness Patrick Demers - Jaloux Stéphane Lafleur - Monsieur Lazhar Ronald Sanders, C.C.E. A.C.E. - A Dangerous Method ACHIEVEMENT IN MAKE-UP Christiane Fattori, Frederic Marin - Café de Flore Amber Makar - Amazon Falls Virginie Paré - BumRush Tammy Lou Pate - Snow & Ashes Leslie Ann Sebert, David R. Beecroft - Take This Waltz ACHIEVEMENT IN MUSIC - ORIGINAL SCORE Ramachandra Borcar - Jaloux Mychael Danna - The Whistleblower Martin Léon - Monsieur Lazhar Philip Miller - The Bang Bang Club Howard Shore - A Dangerous Method ACHIEVEMENT IN MUSIC - ORIGINAL SONG Jay Brannan - Cloudburst - My Love My Love Carole Facal - Starbuck - Quelque part Malajube - Good Neighbours - Oeil pour Oeil Steven Page - French Immersion - A Different Sort of Solitude Jean Robitaille, Steve Gallucio - Funkytown - Waiting for your Touch ACHIEVEMENT IN OVERALL SOUND Marécages / Wetlands Monsieur Lazhar Café de Flore The Bang Bang Club A Dangerous Method ACHIEVEMENT IN SOUND EDITING You Are Here Marécages / Wetlands A Dangerous Method Café de Flore In Darkness ORIGINAL SCREENPLAY Anne Émond - Nuit #1 Eilis Kirwan, Larysa Kondracki - The Whistleblower Ken Scott, Martin Petit - Starbuck Jean-Marc Vallee - Café de Flore Ryan Ward, Matthew Heiti - Son of the Sunshine ADAPTED SCREENPLAY Phillipe Falardeau - Monsieur Lazhar Ryan Redford - Oliver Sherman David Shamoon - In Darkness Steven Silver - The Bang Bang Club ACHIEVEMENT IN VISUAL EFFECTS A Dangerous Method Snow & Ashes Café de Flore BumRush Edwin Boyd BEST FEATURE LENGTH DOCUMENTARY Beauty Day - Jay Cheel, Kristina McLaughlin, Kevin McMahon, Roman Pizzacalla Family Portrait in Black and White - Julia Ivanova, Boris Ivanov The Guantanamo Trap - Thomas Wallner, Amit Breuer, Patrick Crowe La Nuit, Elles Dansent / At Night, They Dance - Isabelle Lavigne, Stéphane Thibault, Lucie Lambert Wiebo's War - David York, Nick Hector, C.C.E., Bryn Hughes, Bonnie Thompson BEST SHORT DOCUMENTARY 75 Watts - John Cullen Derailments - Chelsea McMullan Sirmilik - Zacharias Kunuk, Joel McConvey, Kristina McLaughlin, Kevin McMahon, Michael McMahon, Geoff Morrison, Ryan J. Noth BEST LIVE ACTION SHORT DRAMA Doubles With Slight Pepper - Ian Harnarine Hope - Pedro Pires, Phoebe Greenberg, Penny Mancuso Ore - René Chénier, Philippe Baylaucq La Ronde - Élaine Hébert, Sophie Goyette BEST ANIMATED SHORT Choke - Michelle Latimer La Cité Entre Les Murs / Inner City - Alain Fournier Muybridge's Strings - Koji Yamamura, Michael Fukushima, Shuzo John Shiota, Keisuke Tsuchihashi Romance - Georges Schwizgebel, René Chénier, Marc Bertrand Wild Life - Amanda Forbis, Wendy Tilby, Marcy Page, Bonnie Thompson SPECIAL AWARDS CLAUDE JUTRA AWARD Winner: Anne Émond, Nuit #1 GOLDEN REEL AWARD http://www.cbc.ca/live/32nd-genie-awards-nominations-revealed.html
Taro: FIP Berlin slate includes Mortensen thriller Plan 21 January, 2012 | By Jeremy Kay Mortensen plays a man who performs a mercy killing on his terminally ill twin and assumes his identity, only to fall foul of his brother’s criminal past. Soledad Villamil and Alberto Ammann also star and Ana Piterbarg directs the film, which is currently in post. A promo is available for Child’s Play, a remake of the 1976 Spanish film Who Could Kill A Child? Vinessa Shaw stars as a pregnant woman whose remote island getaway is terrorised by possessed children. Makinov directs and Ebon Moss and Daniel Gimenez Cacho round out the key cast. Askin-Schreger will screen Federal Bank Heist (Assalto Ao Banco Central) the Brazilian box office smash and true story about the country’s biggest bank robbery. Milhem Cortaz, Lima Duarte, Hermila Guedes, Heriberto Leao, Giulia Gam and Tonico Pereira star and Marcos Paulo directed. Rounding out the slate is Gerardo Naranjo’s acclaimed thriller Miss Bala (pictured), about an aspiring beauty queen who gets involved with a warring criminal gang. Stephanie Sigman, Noe Hernandez, James Russo and Jose Yenque star. http://www.screendaily.com/news/distribution/fip-berlin-slate-includes-mortensen-thriller-plan/5036768.article
Tinavi: Спасибо! Ты наш неиссякаемый источник информации! Хотя она довольно скудная
Taro: Вы хочите песен??-их есть у меня!!! Viggo's latest movie to hit Watertown By CHRIS BROCK TIMES STAFF WRITER FRIDAY, JANUARY 20, 2012 For Viggo Mortensen fans like LuAnne M. Beutel of Adams Center, Jan. 27 will be a great day. “I think his hometown should support him,” she said. In a November interview with the Watertown Daily Times, Mr. Mortensen, a 1976 graduate of Watertown High School and 1980 graduate of St. Lawrence University, Canton, complained that many of his movies, such as 2009's critically acclaimed “The Road,” don't make it to Watertown. He urged his fans to lobby for his movies if they wanted them to be shown here. Mr. Mortensen plays Sigmund Freud in his new film, “A Dangerous Method.” It is based on a true story and was shot on location in Vienna. It looks at how the intense relationship among Dr. Carl Jung, patient/student Sabina Spielrein and Mr. Freud gave rise to psychoanalysis. Mr. Mortensen received a Golden Globe best supporting actor nomination for his role as Freud. The award, given Sunday, went to Christopher Plummer for his role in “Beginners.” “A Dangerous Method” opens Jan. 27 at Regal Salmon Run Stadium 12 theater. Tickets and times will be available Tuesday. Fans like Mrs. Beutel were more than happy to lobby on behalf of Mr. Mortensen. “Thanks to that article, it really got me into high gear,” she said of the November Times story. “I started e-mailing the cinema, asking how we could get the movie here and posting info on my Facebook page, telling everyone to call the cinema.” Mrs. Beutel graduated from WHS a year before Mr. Mortensen. She didn't know him in high school. She didn't follow his career until his “Lord of the Rings” films. “Then I started to look him up and read stuff about him,” she said. “And then I realized I went to school with him, and I kept reading more articles about him. He's really quite an interesting fellow.” She noted that Mr. Mortensen is also a painter and a poet. She has a copy of his 2004 photography book, “The Horse is Good.” “He's not your typical actor, which is why I'm intrigued by him so much,” she said. Russell Nunley, vice president of marketing and communications of Regal Cinemas, based in Knoxville, Tenn., said customer input such as Mrs. Beutel's drive can make a difference in local film selection. “We listen to all input from customers,” he said. But he said the decision to bring “A Dangerous Method” to Watertown wasn't based solely on her efforts. “Our managers had heard from people individually, and it was on the radar,” he said. “But it is up to the studios to decide what they are going to do with the film.” Mr. Nunley said Sony Classics, distributor of “A Dangerous Method,” had decided to release the movie in a “limited release” format — “where they start in a large market and spread.” “It's pretty quick release to come to Watertown as it expands,” Mr. Nunley said. “Right now, I believe it's only on 100 screens around the country.” The film will be in Watertown for at least a week. “The public votes with their box office dollars every week,” Mr. Nunley said. Mortensen pleased When Mr. Mortensen heard about “A Dangerous Method” opening locally, he called it “great news.” “It has bothered me in recent years that some of the movies I have been in have never reached the north country, at best only getting as close as Syracuse or Kingston, Ontario, for relatively short runs,” he said in an e-mail to the Times. “Although I have complained about this to movie distribution companies in the past, saying that I know a certain amount of people would go see the movies because of my connection to the area, there is little I can do to persuade them unless moviegoers make a fuss.” He said Mrs. Beutel must have been “very persistent indeed!” and that he is “most grateful” for her efforts. “I am very proud of this production, the third one I have had the good fortune to work on with Canadian director David Cronenberg after ‘History of Violence' and ‘Eastern Promises,' ” Mr. Mortensen wrote. “Even though David is a fan of the Toronto Maple Leafs and I am a die-hard Montreal Canadiens fan, I think we have become a very good movie-making partnership. I hope those who end up going to see this movie will feel that their time and money were well spent." http://www.watertowndailytimes.com/article/20120120/NEWS03/701209923
Taro: Le Québec pourrait avoir Kristen Stewart, Kirsten Dunst et Viggo Mortensen en 2012. C'est le rêve des... Le Québec pourrait avoir Kristen Stewart, Kirsten Dunst et Viggo Mortensen en 2012. C'est le rêve des organisateurs d'un hommage à Jack Kerouac qui souhaitent l'organiser dans la capitale, une présentation spéciale de "sur la route", l'adaptation du célèbre livre de l'auteur américain. Simon Couillard, directeur des communications pour le restaurant Largo, a confirmé qu'une présentation spéciale du film, dont la sortie est prévue pour 2012, fait partie du projet. Les stars du film, réalisé par Walter Salles et dans lequel la québécoise Marie-Ginette Guay a un rôle, seraient invités au Québec pour la pré-sélection, affirme M. Couillard. « C'est avec certitude que nous enverrons les invitations. Si c'est possible, et nous ferons tout pour les amener ici. » Les administrateurs de Largo ont communiqués avec les organisateurs du Festival du Film de Québec pour demander de l'aide dans le cadre de leur projet. Ils ne ferment pas une association avec la FCVQ (Festival de Québec). En novembre, ou au printemps « C'est un projet en cours. Il y a des pour parlers. » Dit Annie Fernandez, porte-parole de la FCVQ. La pré-sélection des « Sur la route » aura lieu durant le Festival du Film le 24-27 novembre 2012, pendant les célébrations du 25e anniversaire de la réunion internationale de Jack Kerouac qui a eu lieu en octobre 1987 dans la ville de Québec. « Mais elle pourrait aussi être tenue au printemps ». Simon Couillard, qui est prêt à ajuster la présélection pour l'équipe de production « Sur la route », s'explique. Il a également confirmé qu'un spectacle mettant en vedette Yann Perreau et Eve Cournoyer se tiendra en novembre pour le 25e anniversaire qui aura lieu durant le Festival de Jazz de la ville de Québec. Le programme complet pour ce festival sortira le 12 mars. Première Adaptation La date de sortie officielle pour « Sur la route », est encore inconnue. Sam Riley, Garrett Hedlund et Amy Adams font également partie de la distribution. C'est la première adaptation de l'auteur dont les parents sont de la province de Québec. Francis Ford Coppola détient les droits depuis 1980, mais c'est seulement il y'a quelques années que le films a été matérialisée avec Walter Salles comme directeur. http://www.facebook.com/photo.php?id=257139117661681&l=c9fe43c9f1&pid=853169
Taro: Posted: Sat., Jan. 21, 2012, 11:41am PT Miller, Murphy set for Sony sci-fier 'Apollo 18' scribe and 'Glee' co-creator will pen pic; details under wraps By Jeff Sneider "Apollo 18" scribe Brian Miller and Ryan Murphy, the co-creator of "American Horror Story" and "Glee," are set to pen an untitled sci-fi/horror movie for Sony Pictures. Murphy will produce with John Palermo ("Drive"), and story details remain under wraps. Murphy is currently balancing two TV shows in addition to casting his next feature "The Normal Heart," an adaptation of Larry Kramer's AIDS-related play that will star Mark Ruffalo, Julia Roberts, Alec Baldwin, Matt Bomer and Jim Parsons. With a summer start date looming, Murphy is targeting A-list actors including Viggo Mortensen for the role of Bruce Niles, a gay ex-Green Beret. Miller wrote the found footage sci-fi pic "Apollo 18" for The Weinstein Company and is also writing an untitled sci-fi thriller for Paramount and producer Brad Weston. Palermo, who recently produced the Ryan Gosling-starrer "Drive" and the hit superhero pic "X-Men Origins: Wolverine," will next produce James Mangold's "Wolverine" sequel for 20th Century Fox. CAA reps Murphy and Miller, who is also repped by 3 Arts Entertainment and Ginsburg Daniels. http://www.variety.com/article/VR1118048974
Taro: Итак,чат с Вигго.. *** (13:07:30):The moderator activated the moderated mode. Phil de Semlyen says to (13:08): He's here! Fire away (not literally) Rosjuni says (13:08:06): In a recent interview David Cronenberg revealed he were not uninterested in the idea of casting you as Karl Marx or Albert Einstein. If you were going to direct any movie for which role/s would you like to cast Cronenberg? papwortl says to (13:08): What do you think Sigmund Freud would make of Tom Stall? Boz says to (13:09): Hello Viggo. How did you find working with David Cronenberg? What excites you about working with him? Viggo Mortensen says to (13:09): It would probably be good for Tom to come in and have a talk. Viggo Mortensen says to (13:09): Well, he has a very good sense of humour. I liked the character I play in A Dangerous Method, Sigmund Freud, and that always makes the job more enjoyable. Pearljamlover says to (13:09): Viggo, a massive fan of your back log of movies, the ones that stands out for me is Young Guns 2 and Appaloosa. Will you be venturing back in that genre any time soon? RagingRagnar says to (13:10): Hi Viggo, I know you have strong talents outside of acting, so my question is how would you have paid the bills if you were not a professional actor? Viggo Mortensen says to (13:10): It'd be fun to do another Western; unfortunately most of them are not necessarily great stories, but the ones that are good are among the best movie stories, so I would love to get back on a horse and return to the 19th century North American West. Viggo Mortensen says to (13:11): Well, I like to write but that's difficult to make a living at as well. Not sure. Perhaps a truck driver or cab driver? I love driving, travelling. The Jackal says to (13:11): Hi Viggo - How you doing? We all know that your son convinced you to take the Aragorn role (hurrah!) at the very last minute, and you did a superb job. Just how daunted were you when you saw the size of that book, and how did you do it? What was your way in to the role? Viggo Mortensen says to (13:12): I recognised that a lot of Tolkien's material was based on the Scandinavian sagas which I was familiar with, having read them and having had them read to me as a child. That helped me get comfortable to start with, that knowledge. Viggo Mortensen says to (13:12): I'm always daunted. If I wasn't, there'd be something wrong. Viggo Mortensen says to (13:13): Never been more daunted than I was at the prospect of having to play Sigmund Freud, for example. And yet that has turned out to be one of the most enjoyable jobs I've had in this business. Arwen says to (13:13): Hi Viggo, you must have had to read around Freud to play the part. Did you end up on the Freud or the Jung side of the debate? Viggo Mortensen says to (13:14): Well, they both were very nitelligent and initially not so far apart in terms of ideas. I always look for positive rather than negative comparisons. But I must say that I have always leaned toward Freud's realistic acceptance of individual fate. The reluctance to ever say that we can be "cured" of our individual existential problems. lennyukdeejay says to (13:14): And what did Henry think of the final work? Can he read the books with a straight face anymore? (And when he does, does he picture Dad as Aragorn in his head, or who he had in there in the first place??) Viggo Mortensen says to (13:15): He gave us a nod of approval, which I was grateful for. nery19 says to (13:15): Hi Viggo, you're an amazing actor, one of the best I've ever seen. I was just wondering, how hard was it for you to learn Elvish and if someone came up to you on the street one day and randomly spoke it would you be able to talk back to them in Elvish? Thank you rich_mcditch says to (13:15): Hi Viggo, how important is awards recognition to your career? Has being an Oscar-nominated actor helped you pursue projects that would otherwise have not been possible? Viggo Mortensen says to (13:17): Any nominations a movie gets helps to raise the level of curiosity in the public, so in that sense awards and nominations are important. But all you have to do is take an honest look at the quality level of many nominees and even winners to see that good work is not always recognised. Stencil says to (13:17): Hi Viggo, you were fantastic in The Road, what was the most fun part about doing this film for you? Quentin says to (13:18): What was it that got you interested in A dangerous method ? was it morstly working again with Cronenberg, or the psycholigical theme ? or both ? Viggo Mortensen says to (13:18): Working with Kodi Smit-McPhee, who is an extraordinarily talented young actor. For those who haven't seen the movie yet, he played my son, a very difficult role. Viggo Mortensen says to (13:20): Firstly, working with David Cronenberg again. Secondly, the bait that David threw my way, in the form of an elaborate system of undergarments that Sigmund Freud was reputed to have employed on some of his summer excursions deep into the Alps. They included an elaborate system of miniaturised pulleys and wires that assisted in muscular stimulation for the steeper climbs. I was allowed to wear these undergarments in all scenes whether I was climbing or not. Egg says to (13:20): Did you, perhaps, spend soem time in the analysts couch to prepare for the role? Viggo Mortensen says to (13:21): Not to prepare for the role, but I did have one relatively brief experience going to see an analyst some 20 years before working on this movie. I thought it was a potentially very helpful exercise for anyone that might feel inclined. andrei_popa says to (13:21): I was always intrigued by some actor/director marriages, like Scorsese/DeNiro/DiCaprio or Burton/Depp, and it was cool to see your ongoing collaboration with Cronenberg, one of my favorite directors. Can you explain this relationship? what makes it work and if we can expect more Cronenberg/Mortensen movies? Thank you! Viggo Mortensen says to (13:22): You can definitely expect more. We enjoy working together because no matter how serious the subject matter is, and how much pressure there is on any given day of shooting, we always find a way to have fun doing our jobs. Marijn5878 says to (13:23): Hello Viggo, when you have to choose, what would it be:Acting, photography, painting or poetry? Viggo Mortensen says to (13:23): They're all the same activity so I don't feel I have to. bekithomas says to (13:23): Hello Viggo, Any news on Eastern Promises 2? Viggo Mortensen says to (13:24): I wouldn't say it's a definite, but it's looking more possible that that may be our next job together. but you never know with David, because he always has several projects in the works, hoping that one of them will come to pass. dylanisis says to (13:24): One of my favourite movies of yours is American Yakuza what drew you to that part and can you share any stories on making it? Cheers ElvishPresley says to (13:24): hi whats your favourite Sandwich? mines a fried peanut butter and banana. Viggo Mortensen says to (13:26): I was quite broke and needed a job. It turned out to be a very good experience,. Although a very brief shoot, I ended up becoming very good friends with Ryo Ishibashi, my co-star in that movie. I have since visited him in Japan a few times, and he has also come to the US. My son was inspired to learn Japanese as a result of our getting to know Ryo, a language he writes, reads and speaks. Misti says to (13:26): re: the mechanised underwear - did you get to keep them? Viggo Mortensen says to (13:27): Cheddar cheese,tomato and onion on toasted black bread with butter. Viggo Mortensen says to (13:27): David insisted I return them. Apparently he employs them regularly. vonch says to (13:27): Hello Viggo,tell us something abt your experience working w/ On the Road..ow it's different from your previous film?how is it working w/ Salles? Viggo Mortensen says to (13:29): Well, like the role of Freud for David, I was surprised when Walter Salles offered me the role of Bull Lee, the character based on William Burroughs. But then I thought that there were certain things that the two characters had in common, in particular the fact that they both were mentor figures for younger like-minded thinkers. Since I had just completed playing Freud, and had enjoyed that experience, I thought why the hell not? Frododido says to (13:29): "Hi Viggo- I finally got round to seeing Alatriste (horribly called The Spanish Musketeer here), where you reteamed with the late great Bob Anderson. He famously said you were one of the best sword-wielding actors he ever worked with, what was it like working with him and when will we next seeing you waving a sword?" Viggo Mortensen says to (13:31): It was wonderful working with Bob, and all of us who had the good luck to work with him as well as legions of his fans worldwide, miss him greatly. There was an amazing zen-like or Yoda-like, if you will, event that I witnessed in working with Bob. We were rehearsing a complicated scene, in which several swordsmen attack me, and one of these swordsmen was an accomplished competitive fencer. Bob stopped the rehearsal action to ask this fencer if he might not consider changing his grip just slightly in order Viggo Mortensen says to (13:33): to be more effective. The fencer wryly answered that his particular grip had stood him in good stead for a long time, so he was reluctant to change it. Bob, who was not physically well at the time, asked for a sword, brandished it, and from his sitting position, requested that the fencer put himself en garde. He asked him if he was ready, the fencer smiled and said yes of course. Really ready? Yes, sir. With a very light but very rapid flick of his wrist, Bob disarmed the fencer and sent his weapon some 20 dylanisis says to (13:34): Hello Sir, Did you get on with Stallone while making Daylight? Thanks Viggo Mortensen says to (13:35): feet across the rehearsal space. Needless to say the fencer was surprised and somewhat embarrassed. Bob said, "You must have been distracted by something; go get your sword and we'll try again. " the fencer put himself firmly in a defensive position, once more in front of Bob and his chair. Bob asked if he was ready, the fencer said yes I am. And to make a long story short, knocked the sword out of his hand once again with an even faster flick of his wrist, and sent the sword flying all the way across the Viggo Mortensen says to (13:35): rehearsal hall. He asked the fencer if he might not consider slightly altering his grip. And the fencer said, "Yes I would sir." Had I not been there, I would have thought this story was a load of crap. But it happened. Viggo Mortensen says to (13:36): I didn't have much interaction with him outside of our one scene. Egg says to (13:36): What sir, is your weirdest dream, and what did you make of it? Viggo Mortensen says to (13:36): He seemed friendly and capable enough. morleysaurus says to (13:36): You have done two Hitchcock remakes, as a massive Hitchcock fan I think you would have been amazing working with him, you have that classic and timeless vibe about you! Would you have liked to worked with Hitchcock back in the day and is there any of his films in particular you wish you had been in back then? Viggo Mortensen says to (13:38): I may be mistaken, but my understanding is that he was loath to allow actors to do much thinking for themselves, so I don't know that i would have been that comfortable working for him. However, given his track record, and were he still alive, it would be hard to pass up the opportunity to find out for myself what being directed by him would be like. agincourt says to (13:38): HI Viggo have you ever got to keep the swords that you have used in films like Anduril, and what do you think about motion capture actors like Andy Serkis not being oscar nominated? Viggo Mortensen says to (13:39): I have an authentic Lord of the Rings sword and my first practice sword, and I have the sword and dagger from Alatriste as well. Prized possessions. Andy Serkis is a very gifted actor and is getting a lot of much-deserved recognition. Nice as awards are, I'm sure that's not the main goal in life for him. elizabetti says to (13:39): Viggo, is there a director you never had a chance to work with before, who you now like to work with? Viggo Mortensen says to (13:41): There are a lot. A movie I really liked this year was the Iranian movie A Separation. I had the good fortune to meet that movie's director and lead actor recently. He seemed like a very intelligent, kind person, and obviously knows what he's doing as a director. That might be a fun challenge, but I'll have to work on my Farsi. Buncuga says to (13:41): hello sir :-) Pro photographer (not paparazzi) here. Are we going to see some photography exhibition soon? I heard you are doing a great pictures. Any favorite brand or camera format? =) thx for answer FantasticMrEthan says to (13:41): Hello Sir, You have been described as the Robert DeNiro of your generation, what are your views on that? And how much are you looking forward to becoming a lego figure? Viggo Mortensen says to (13:42): I'm hoping to put on an exhibition this year, not sure when though. I have been shooting a lot of digital in recent years, but I love my 30 year old Hasselblad and my 100 year old Graflex cameras as well. Viggo Mortensen says to (13:43): I already am a lego figure! Very proud to be a part of Danish industry in that way. I'm not sure that Robert De Niro is a Lego figure yet, so he's got some catching up to do. Sean Twomey says to (13:43): Hi Viggo, aside from knowing your lines. what's the most important thing you do to prepare yourself before you go in front of camera? Thanks, Sean Viggo Mortensen says to (13:44): Breathe. Robin Banks says to (13:44): Whilst working on The Road did you have much contact with Cormac McCarthy? and if so what advice did he give you on playing the Man? Phil de Semlyen says to (13:44): Last couple peeps... Egg says to (13:45): what line do you get quoted at you the most in the street when your fans see you? Viggo Mortensen says to (13:46): I met him towards the end of our shoot, when we were filming the last sequences by the sad seaside. He came with his son, who inspired the book. That evening I had dinner with him, and we spoke about all sorts of things, mostly to do with other books of his and the state of the country at that time. He seemed kind and respectful and especially curious about all things. A very good listener and observer, which are the best things any writer can be. Bilbonics says to (13:47): What are you memories of the Oscar night to end all Oscar nights? Viggo Mortensen says to (13:47): Surprisingly, from a movie in which I only have one scene that came out in 1993, Carlito's Way. Often the entirety of my dialogue in that scene, including the part about having to wear diapers and not being able to hump or dance anymore, is quoted to me with surprising accuracy of content and tone. Viggo Mortensen says to (13:48): I was pleasantly surprised and very happy that it was a clean sweep of every award the movie was nominated for, fair or not. Viggo Mortensen says to (13:49): Thanks for all your questions, sorry we couldn't answer more in the time allotted. Maybe I'll get to come back and answer some more. Good luck in the Six Nations, wherever you're from! *** (14:06:21):The moderator disabled the moderated mode, you may freely chat now.
Imagine: В этом чате я обратила внимание на то, что существует Лего-фигура Арагорна. Вот как они выглядят, игрушки-персонажи из ВК!
Taro: Viggo Mortensen mentionne On The Road lors d'un question/réponse avec des internautes. Viggo Mortensen a répondu aux questions des internautes pour le site Empire.com. Une personne lui a posé une question sur On The Road. ''vonch says: Hello Viggo, could you tell us something about your experience working on On The Road? Well, like the role of Freud for David, I was surprised when Walter Salles offered me the role of Bull Lee, the character based on William Burroughs. But then I thought that there were certain things that the two characters had in common, in particular the fact that they both were mentor figures for younger like-minded thinkers. Since I had just completed playing Freud, and had enjoyed that experience, I thought why the hell not?'' Traduction (C) OnTheRoad-ThemovieFr : Bonjour Viggo, pourrais-tu nous dire quelque chose à propos de ton expérience sur On The Road ? Et bien, comme pour le rôle de Freud pour David, j'ai été surpris quand Walter Salles m'a proposé le rôle de Bull Lee, le personnage inspiré de William Burroughs. Mais ensuite j'ai pensé qu'il y a certaines choses que les deux personnages ont en commun, en particulier le fait qu'ils étaient tous deux des mentors pour de jeunes penseurs. Comme je venais juste de terminer le tournage de Freud et que j'avais aimé cette expérience, je me suis dit pourquoi pas ?! http://ontheroad-themoviefr.blogspot.com/2012/02/viggo-mortensen-mentionne-on-road-lors.html?spref=tw
Taro: Viggo Mortensen to accept Coolidge Award on March 5 02/02/2012 11:32 AM A Dangerous Method” star Viggo Mortensen has been named the recipient of the 2012 Coolidge Award, a film honor that in past years has gone to Meryl Streep and Oscar-winning film editor Thelma Schoonmaker. Mortensen, whose credits include “A History of Violence,” “Eastern Promises,” the “Lord of the Rings” trilogy, and the upcoming adaptation of Jack Kerouac’s “On the Road,” in which he’ll co-star with Kristen Stewart and Kirsten Dunst, will be in town to accept the honor on March 5. We hear that the Coolidge will play all of the LOTR movies in anticipation of his arrival. http://www.boston.com/Boston/names/2012/02/viggo-mortensen-accept-coolidge-award-march/Q75YnyPnxduiGOHDQQUi4L/index.html?camp=misc:on:twit:names
Taro: "La piel que habito", "El barco" y Blanca Suárez, posibles "Fotogramas" 2/02/2012 Madrid, 2 feb (EFE).- Elena Anaya y Antonio Banderas, por "La piel que habito"; Blanca Suárez y Mario Casas, por "El barco"; Viggo Mortensen, por "Purgatorio" y Natalia Millán, por "Cinco horas con Mario", son algunos de los actores finalistas a los Fotogramas de Plata 2012 que se entregarán el próximo 12 de marzo. Será la edición número 62 de los prestigiosos premios, que también premiarán como mejor película española del año pasado "No habrá paz para los malvados", de Enrique Urbizu, y como mejor película extranjera "Drive", de Nicolas Winding Refn, según la decisión de 38 críticos convocados por la revista Fotogramas. Como es habitual, estos Fotogramas se entregarán en la misma gala donde se darán a conocer los Fotogramas de Plata 2011 a los mejores actores de cine, teatro y televisión, en esta ocasión, votados por los lectores a través de la revista o de la web fotogramas.es. También se conocerá el ganador del premio al intérprete más buscado en la web, www.fotogramas.es, que se entrega por cuarto año consecutivo, entre los más "perseguidos" de este año: Inma Cuesta, Maxi Iglesias y Blanca Suárez. Elena Anaya por "La piel que habito"; Marta Etura, por "Mientras duermes" y María León, por "La voz dormida", competirán por el Fotogramas de Plata como mejor actriz, mientras el mejor actor se decidirá entre Antonio Banderas, por "La piel que habito"; Jose Coronado, por "No habrá paz para los malvados", y Luis Tosar, por "Mientras duermes". Para el premio a la mejor actriz de televisión se ha seleccionado a Inma Cuesta, por "Águila Roja"; Ana Duato, por "Cuéntame cómo pasó", y Blanca Suárez, por "El barco". En la misma categoría, competirán como mejor actor Mario Casas, por "El barco"; Yon González, por "Gran Hotel" y David Janer, por "Águila Roja". A los Fotogramas de Plata como mejor actriz y actor de teatro concurren Amparo Baró, por "Agosto"; Natalia Millán, por "Cinco horas con Mario" y Concha Velasco, por "Yo lo que quiero es bailar", y Héctor Alterio, por "La sonrisa etrusca"; Paco León, por "The hole" y Viggo Mortensen, por "Purgatorio". El Premio Especial Homenaje de este año lo recibirá el productor Elías Querejeta. Fotogramas, con 410.000 lectores y una difusión de 85.418 ejemplares, es la primera revista española dedicada al cine. EFE aga/cat http://www.elconfidencial.com/ultima-hora-en-vivo/2012/02/habito-barco-blanca-suarez-posibles-fotogramas-20120202-675084.html
Taro: The Graham Norton Show Season 0 Episode 4 (S00E04) “Reese Witherspoon, Reginald D. Hunter, Alex Kingston, Viggo Mortensen” Comedy February 03, 2012, 22:35 pm ET BBC One (UK) IMDb The Graham Norton Show Graham is joined on the show by Reese Witherspoon, Reginald D. Hunter, Alex Kingston and Viggo Mortenson. http://online-live-stream.com/the-graham-norton-show-s00e04-reese-witherspoon-reginald-d-hunter-alex-kingston-viggo-mortensen-03-february-2012/
Taro: A Dangerous Method: Viggo Mortensen Talks Freud In Q&A Session It’s a mid-week evening at the Freud Museum just off Finchley Road in London, and the institute is hosting a screening of David Cronenberg’s very apt A DANGEROUS METHOD; before all that, Viggo Mortensen spends a few minutes talking about his portrayal of Sigmund Freud within the film, and the process of making it all happen. THN was there to listen in. A DANGEROUS METHOD is Cronenberg’s latest feature film, and is based on the blustery relationship between the two godfathers of psychoanalysis, Carl Jung (played by Michael Fassbender), Mortensen’s Sigmund Freud, as well as with Sabina Spielrein, Jung’s patient and romantic complication (played by Keira Knightley). The film marks Cronenberg’s first foray into historical filmmaking, ever widening to gap between the director’s more recent high-minded entertainments and the body-horror that made him famous. “If someone else other than David Cronenberg had offered me the role, I would have most likely turned it down. For a moment I thought he was even crazier than I knew him to be, because I don’t look like Sigmund Freud, at any age. I thought it was an odd idea but I trust him and his instinct; I’ve had a good time working with him twice before and I knew he didn’t take casting his movies lightly. Then the fear set in, obviously: ‘How do I do this, exactly?’ The first obvious fear was the exterior aspect of the character, how do I come to look like him; so once I got some help, some make-up experts […] in order to resemble Freud at fifty, when he was a lot more robust than many people think he was.” “Then the problem was how to deal with all this dialogue; I had to speak as this character. I’m not given that much to say in movies, usually! [laughs] Once I started learning about him, I did what I usually do to find out for myself, to form an idea of what happened between the cradle and the first page of the script. So I went to Vienna, I went to his birthplace in what is now the Czech Republic, and I went to lots of antiquarian bookshops to find the kind of books he would have had in his house. Not just academic material but, you know, Oscar Wilde, Nestroy, the people that he seemed to be interested in. The more I read about him the more I realised he was funny, he had a great sense of humour. […] And that helped me a lot, as an actor, technically, it was a way in, it was a way to make him human.” Still reaping the ample rewards of his star turn in Peter Jackson’s epic LORD OF THE RINGS trilogy, Viggo Mortensen has found himself able to take on sensitive, less-than-mainstream roles whilst still managing to retain a bankable public image. Most recently he has been seen in 2009’s THE ROAD, an adaptation of Cormac McCarthy’s Pulitzer-winning novel; and 2008’s GOOD, a drama about the effects of the rise of National Socialism in Germany. A DANGEROUS METHOD also marks his third film in a row featuring Viggo Mortensen in a lead role, after 2005’s A HISTORY OF VIOLENCE and 2007’s EASTERN PROMISES. Mortensen said: “I have a good time working with [Cronenberg]. He makes it fun, he never seems to lose sight of the fact that [the film’s storyline is] really a game, a refined version of a childish activity that’s universal, and that we can believe. When you go into it with that approach on a daily basis, it doesn’t look impossible, and if it doesn’t work it’s not the end of the world. He creates an atmosphere that’s relaxed, […] where you have the feeling that there’s all the time in the world and there’s no pressure.” “Actually, the more I tried to infuse the dialogue and the behaviour of the character with a certain amount of humour, the more I started looking at David and thinking ‘You know, I have the model, to some degree, in front of me!’ [laughs] He is the kind of person who would say something funny without cracking a smile; he’s just keep going, and if you got it then there’s some complicity, you’re there, and if you didn’t he just goes on anyway. And from my reading of Freud, I think he was kinda that way.” The Q&A was conducted by Lisa Appignanesi, who serves as the Chair of the Freud Museum, as well as President of English PEN, the world’s oldest human rights organisation. She commended Mortensen’s portrayal of Freud, saying: “In fact, I now have to do a little shift in my imagination every time I think of the professor!” The Freud Museum is located within the Freud family home from 1938 to 1982, when Anna Freud, the youngest daughter of Sigmund, died. The museum was a useful tool for Mortensen’s research process, getting into the history of his illustrious character. “Yesterday I came in and I did a couple of interviews, and they said ‘Well, come on in,’ and I said, ‘You know, I’ve been here before,’ so they said, “We’re going to go into his office.’ So we go in and suddenly there’s no rope [laughs]. They said I should go on in, and I though ‘No! This is wrong.’ It felt very transgressive; but then again Freud was pretty transgressive himself, he might have been amused by this whole thing of a movie and the actors and everything, just ridiculous really. So I took advantage, I asked if we could do it walking around, and they said, ‘Sure,’ so I took a chance to get up close and look at all the things that I’d only seen from behind the rope.” It would have been nice to hear more (or indeed anything) about working with Michael Fassbender and Keira Knightley, but unfortunately the Q&A session was not opened up to questions from those gathered. Regardless, for an insight into Mortensen’s approach to the role, it was certainly revealing. The actor received his audience with grace and good humour, cracking a joke when someone dropped a wine glass to the floor and never missing a beat. A DANGEROUS METHOD is released in UK cinemas on 10th February 2012 http://www.thehollywoodnews.com/2012/02/02/a-dangerous-method-viggo-mortensen-talks-freud-in-qa-session/
Taro: "What's it like to be a lego figure, Viggo?" http://www.bbc.co.uk/podcasts/series/kermode
Taro: Viggo Mortensen blasts editing February 11, 2012, 4:00 pmBang Showbiz Viggo Mortensen believes an actor's performance can be ruined by editing. The 'A Dangerous Method' actor revealed he was shocked when watching a film he had made to find that the director had cut his lines and put in a whole new sentence by putting together words he had said in other scenes. He explained to Shortlist magazine: "A director decided he didn't like me saying what he had shot and took words I'd said on other scenes and cobbled a new sentence together. I was stunned." Filmmaker David Cronenberg who has worked with Viggo on three movies, crime thrillers 'A History of Violence' and 'Eastern Promises' and most recently 'A Dangerous Method', admitted directors do have the power to completely change an actor's performance in the editing suite. He said: "I spend weeks with the actor in the editing room, looking at every nuance. Even the rhythm of their breathing as they speak. It can really reshape a performance. You hear people say, 'My performance was destroyed in the editing room' It can actually happen." http://nz.entertainment.yahoo.com/celebrity/news/article/-/12875411/viggo-mortensen-blasts-editing/?utm_source=twitterfeed&utm_medium=twitter&utm_term=wikyou&utm_content=http://wikyou.org/info/ituneBEST100/iTunes.php
Taro: Café de Flore leads Genie32 race with A Dangerous Method in hot pursuit PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE Antoine Bertrand - Starbuck Kevin Durand - Edwin Boyd Marin Gerrier - Café de Flore Taylor Kitsch - The Bang Bang Club Viggo Mortensen - A Dangerous Method http://www.genieawards.ca/genie32/press/G32_Nominees.pdf
Taro: Already a literary hero, Viggo Mortensen is set for apocalyptic journey David Gritten Mar 24, 2012 When director Peter Jackson called Viggo Mortensen to offer him a part, it changed his life from bit-part actor to household name. Now the multitalented star of The Lord of the Rings has turned his hand to another cinematic version of a literary classic, Jack Kerouac's On the Road. David Gritten reports People's lives or careers can be changed by by something seemingly trivial - making a left turn instead of a right, the toss of a coin, or walking into a room at precisely the right moment. Viggo Mortensen's life changed in 1999 because of a book - one he hadn't even read back then. At the time, Mortensen had been eking out a career in films of variable quality for 15 years, always in supporting roles. But then he received a call from the director Peter Jackson in New Zealand, who was already two months into shooting the film version of JRR Tolkien's epic fantasy trilogy, The Lord of the Rings. Jackson had a problem: as Aragorn, a noble warrior king and expert swordfighter who exuded quiet authority, he had cast the Irish actor Stuart Townsend. And he felt Townsend, then 27, was too young to carry off the role. At 40, Mortensen was the right age. But the previous year he had separated from his wife, Exene Cervenka, once the singer with the Los Angeles punk band X, after 11 years of marriage. They had a son, Henry, to whom Mortensen was close. Shooting The Lord of the Rings involved 15 long months in New Zealand and he was reluctant to be parted from the boy. But ironically it was Henry, then 11, who urged his father to take the role; by pure chance he was reading Tolkien's epic at the time, and was thrilled at the prospect of his father playing the heroic Aragorn. Mortensen, concluding that at least this was a role in a film his young son would be able to see, agreed. "I thought if I didn't do it, I'd always regret it," he said. "I knew it was a one-time chance." (He finally read The Lord of the Rings on the plane to New Zealand.) As it turned out, Mortensen was the ideal Aragorn. He is handsome and intense-looking, with a sharp thoughtful gaze; he didn't need to speak much to make an impression. He added the ingredient of sex appeal to a film trilogy that otherwise lacked it. He did his own stunts, unconcerned by the minor injuries he sustained; the sword master on The Lord of the Rings, Bob Anderson, described him as "the best swordsman I've ever trained". The role made him a star and a household name. And if literature was the indirect cause - via Henry's enthusiastic endorsement of Tolkien's book - then Mortensen has repaid the debt to literature. With the money he earned from The Lord of the Rings, he founded his own company, Perceval Press, based in Santa Monica, California. It publishes books by mostly unknown authors that encompass painting, photography, poetry and essays, along with music CDs, including a variety of work by Mortensen himself. Perceval has now been in business for a decade. If you were to conclude from this that Viggo Mortensen is not your typical screen actor, you'd be correct. His interests go far beyond emoting for film cameras. He is also a poet, photographer, musician and painter - and he made his mark in all these fields before Perceval Press was born. "For me, acting in movies is a complete universe," he tells me. "It includes photography, painting and design, and the collaborative aspect of it is interesting. But I think maybe because I do other things that mean as much to me as movie acting, it takes the onus off me. "So it isn't the end of the world if I can't get a film job or if a movie doesn't turn out well, even though I don't like it when that happens. There are plenty of other things I enjoy doing." Still, when he is acting, his literary inclinations spur him to get inside the characters he plays, the better to understand them. He did it with Aragorn, carrying his sword around with him, even camping out in the woods and sleeping with it by his side. He went even further in The Road, the film adaptation of Cormac McCarthy's Pulitzer Prize-winning novel of the same name, a story of an unnamed father and son doing their utmost to survive while voyaging through a blasted, post-apocalyptic landscape. "The story has a universal appeal," he reflects. "It's that fear that all parents can have. What's going to happen to your child if you're not around? It takes those concerns to an extreme. In that story, without me, the boy has no food, no shelter and no resources. The young actor who played my son (Kodi Smit-McPhee) was 11 years old, but he's quite slight, so he looked even younger." But to test himself for playing the role, to gain a greater insight into this father's character in such bleak circumstances, Mortensen prepared by wrapping himself in a tarpaulin and sleeping outdoors in subzero temperatures. For someone who sinks himself so thoroughly into his roles, it was a gift for Mortensen when the director David Cronenberg offered him the chance to play Sigmund Freud, the father of psychoanalysis, in the recent A Dangerous Method, which examined the relationship (and the rivalry) between Freud and his disciple Carl Jung. He threw himself into researching Freud's life and writings. "I found a lot of books that would have been in Freud's library in Vienna in antiquarian bookshops," he recalls. "We used them in scenes. You accumulate them. And even if you never use them directly, they inform what you're doing." (Cronenberg has said that Mortensen was the only actor he knew who would buy props for a film scene and bring them to the set, hoping they might be useful.) Mortensen devoured biographies, essays and newspaper accounts of Freud, looking for small clues to his character that he could fasten onto in his performance. He spent time at the Sigmund Freud Museum in Vienna, where the great man lived and worked for almost 50 years. When the film was over, he chose to carry out a few interviews about it at the Freud Museum in north London. In the presence of one journalist, he lifted the velvet rope that cordoned off Freud's study and reverently touched the psychoanalyst's couch on which Freud's patients had reclined. He knows not every actor becomes so obsessed by the storytelling process of films. (In contrast, Michael Fassbender, who played Jung, cheerfully admitted he had done no research at all for it: "I didn't have the time to do much research, so I just let the script guide me.") Mortensen doesn't have this breezy confidence in approaching a role."It's probably out of insecurity, out of habit," he says of his diligence. "But then leaving no stone unturned is a good idea. You never know what might turn up." Still, whatever he's doing, it seems to work. Mortensen, who is now 53, was born in New York City to a Danish father and an American mother. His family were well-travelled; they moved to Venezuela, Denmark and then to Argentina, where he became fluent in Spanish as well as the two languages he already spoke - English and Danish. When he was 11, his parents split up, and he and his mother returned with his two younger brothers to the US, settling in Watertown, in upstate New York. After college, he travelled around Europe, dabbling in odd jobs before returning to the US to try for an acting career. By his mid-20s he was being offered small parts. He joined the cast of Woody Allen's The Purple Rose of Cairo, but his one scene ended up on the cutting room floor. His first screen appearance was in Witness, starring Harrison Ford, as a young Amish farmer. For a decade and a half he appeared in a few notable films (The Indian Runner, Carlito's Way, Crimson Tide) in relatively small roles. His best part was in A Walk on the Moon (1999), playing Diane Lane's lover, but the film was not a hit. By the time the offer to play Aragorn came along, Mortensen had already put acting into perspective. His outside interests are not all literary or artistic. While living in Argentina as a boy, he became a fan of the Buenos Aires football team San Lorenzo. To this day he always wears some item in the club's red-and-blue colours, usually a thin cord around his wrist. When A Dangerous Method opened at the Venice International Film Festival, Mortensen joined the cast at a long table for a press conference, placed a little knitted puppet in San Lorenzo colours in front of him and waited for someone to ask about it. While shooting the film Good in Budapest in 2008 (he played a compliant Nazi who gradually learns the price of his obedience to the Third Reich), he went to great lengths to track down a broadcast of a San Lorenzo game in a side-street cafe, on Italian cable TV. Why football? "I abhor the violence that goes with passion," he says, "but most fans aren't that way. It's one of the only groups of people outside family members where there's unconditional love and acceptance. It's an unwavering team." In recent years he has also been on the team of Cronenberg, who before A Dangerous Method directed Mortensen in two highly praised films: A History of Violence (2005) as a mild-mannered, small-town American with a vicious past, and Eastern Promises, set in London, as a fearsome, Russian mob enforcer who turns out to have a shred of decency. (He was Oscar-nominated for this role.) His next film, for the Brazilian director Walter Salles, takes him back to literature: It's the long-awaited film version of On the Road, Jack Kerouac's classic Beat Generation novel from 1957. Mortensen plays a relatively minor character, Old Bull Lee, who is known to be based on William S Burroughs, another, infamous Beat Generation novelist and a morphine addict. (His best known work was The Naked Lunch, filmed by Cronenberg.) However it turns out, it's a sure bet that Mortensen will have done his homework on Burroughs. "I've always loved the research," he says, "trying to work out why characters are the way they are. Immersing myself in the story - that's what I like best of all." http://www.thenational.ae/arts-culture/film/already-a-literary-hero-viggo-mortensen-is-set-for-apocalyptic-journey#page1
Taro: El mundo de Viggo Mortensen El actor habla con Esquire sobre cine, política, futbol, su último filme con David Cronenberg (A Dangerous Method) y más Por: Manuel Martínez | Fecha: 15/03/12 Viggo Mortensen es un encantador de periodistas. Ya lo había notado en las entrevistas que otros medios le han hecho y que leí para prepararme. En esos textos hay elogios a su trabajo y admiración por su forma de vida, alejada de la fama, y por su pasión creativa. Cuando conversé con él pude comprender las razones de su poder magnético. 1. Del otro lado de la línea telefónica estaba, ajá, Viggo Mortensen, a quien nunca me cansaré de ver interpretando al mejor mafioso-no mafioso de la historia del cine en Eastern Promises, de David Cronenberg. 2. Es un tipo generoso con su tiempo (nuestra conversación duró casi dos horas) y con sus ideas, no rehúye ningún tema y critica lo que no le gusta. 3. Cuando supo que nuestro plan original era que lo entrevistara un periodista estadounidense, dijo que prefería hablar en español. 4. Su dominio del español es perfecto (vivió en Argentina durante su niñez y conserva el acento). 5. No sólo actúa, sino que es poeta (publicado), músico (con discos), pintor (con exposiciones), fotógrafo (ídem) y editor (fundó la editorial independiente Perceval Press). 6. Está irremediablemente loco por el futbol, como puede verse en nuestras fotos, para las que posó con una remera y una bandera del equipo argentino San Lorenzo de Almagro (donó una capilla para la Ciudad Deportiva del club y tiene una columna en su página de internet sanlorenzo.com.ar). Bienvenidos al mundo de Viggo Mortensen, el encantador de periodistas y de lectores. Pasen ustedes. De niño, yo jugaba a ser otras personas sin pensar que era algo creativo. Y no sólo no lo pensaba, sino que creía sin dudas que era el personaje que tocara ese día: un vikingo, un pirata, un aventurero, un soldado que se muere, un gaucho... Los niños son muy buenos actores porque creen totalmente en lo que están haciendo, se entregan sin vergüenza, sin miedo, bailan, cantan, hacen de todo. Me gusta actuar porque es una manera de seguir jugando. Que yo me deje crecer la barba y me ponga lentes; que engorde y me coloquen una nariz falsa; que hable con cierto acento, todo para interpretar a Sigmund Freud... Yo no me parezco nada a Freud, pero lo hice muy seriamente y también me divertí. Es una manera más avanzada y detallada, más consistente y prolongada de hacer lo mismo que hacía cuando a los cinco años imaginaba que era Martín Fierro. Es mucho más probable que al espectador le guste mi trabajo, o que por lo menos me crea que soy Freud, si yo hago todo para creérmelo y para casi, casi ser él. Lo que más me interesa como actor es contar historias. Por eso siempre busco historias interesantes, que no conozco o contadas a través de un tipo de personaje que no haya hecho antes. Eso siempre me da un poco de miedo, porque existe la posibilidad de fracasar, algo de lo que estamos muy conscientes como adultos pero como niños no nos importa. Un niño piensa, "hoy voy a hacer de Martín Fierro", y es posible que no sea un Martín Fierro convincente, pero no le importa. Va y lo hace. Y quizá le sale muy bien porque no le importa. Siempre tengo miedo de fracasar, pero lo veo como una señal buena. Si no hay otro impedimento para hacer un personaje aparte de ese temor, entonces digo que sí, porque esos papeles son de los que aprendes. Los obstáculos a los que me debo enfrentar para hacer bien un papel, al final se convierten en las cosas que más me gustan de la experiencia. Con el papel de freud me terminó encantando tener tantos diálogos, muchos más de los que había tenido antes. También me gustó que tuve que buscar un tono no sólo de inteligencia, sino irónico, una facilidad, una cierta gracia. Porque todas las descripciones que encontré de Freud dicen que era un tipo muy vivo y gracioso, que cuando hablaba o daba un discurso enganchaba a casi todos, aunque estuviera presentando ideas muy raras. Era muy listo, muy bueno para la autopromoción y para impulsar el psicoanálisis. Me siento afortunado de haber hecho a Freud para probar eso de tener tantos diálogos; a lo mejor ahora me dejan hacerlo otra vez [risas]. Creo que David Cronenberg es el único director que me hubiera ofrecido ese papel. No era el candidato más lógico, y con razón. No había demostrado ni la pinta de Freud, ni su facilidad verbal en ningún otro papel, pero Cronenberg me conocía. Cronenberg es capaz de trabajar con cualquier tipo de actor. Si piensas en los actores que han estado en sus películas, todos ellos -y me incluyo- hacen su mejor trabajo, o casi su mejor trabajo, con él. Y no es un accidente. Ha pasado tantas veces que te das cuenta de que este tipo sabe trabajar con los actores, que le interesa lo que hacen, los entiende y sabe cómo ayudarles a sentirse cómodos. Y le ayuda mucho que quiere a los actores, le gustan, no les tiene miedo. Hay directores que parece que le temen a los actores, y por eso no los ayudan o los tratan mal. Son inseguros y no saben qué hacer con esa gente rara que finge ser otras personas. Los ven como herramientas, y piensan: "Bueno, cuando termine el rodaje por fin podré irme a la sala de montaje y no tendré que hablar con ellos". El problema es que cuando no hay una buena comunicación con los actores y no se les presta atención, se les desaprovecha. Cuando hicimos la rueda de prensa para la obra Purgatorio en Madrid, surgieron temas como el de los alemanes y la Segunda Guerra Mundial. Estábamos hablando del perdón, porque la pregunta de la obra es: ¿podría yo, podrías tú perdonar cualquier cosa? En principio deberíamos poder hacerlo, pero si alguien rapta o mata a tu hijo, ¿serías capaz de perdonarlo, incluso cuando tal vez no está arrepentida? A mí me parece lo más cristiano decir "sí, se puede, no hay obligación, pero se puede". Y entre muchas otras cosas nombré a ETA, y no sabés lo que se me vino encima [risas]. Para mí lo más cristiano que hay es el perdón sin condiciones. Y se los dije ahí, y también les dije que a veces los más católicos, los más conservadores, son los que se oponen a este perdón. Me dijeron: "No, señor, en la iglesia católica hay que hablar de arrepentimiento, para que haya perdón". Y puede ser que técnicamente sea verdad, pero no me parece lo más cristiano. La gente sacaba de contexto lo que yo había dicho, dependiendo de su punto de vista político. Unos decían "Viggo es un pro eta, es un etarra porque dice que hay que perdonar a ETA", y otros decían "no, Viggo dice que hay que perdonar al Estado". Yo decía las dos cosas [risas]: ETA tiene que perdonar y vosotros tenéis que perdonar a eta, sin condiciones. "¡¿Cómo que sin condiciones?!". No digo que no tengan que ir a la cárcel, pero también se les puede perdonar desde el alma, desde el corazón. Si no hablamos de estas cosas -con respeto, educación e informándonos lo mejor posible-, se ponen cada vez peor, más oscuras, hay más malentendidos y problemas. Como en cualquier relación: las cosas que no se hablan, salen luego de otra manera. Me interesan las ideas que hay detrás de casi todas las religiones. En el fondo no tienen tantas diferencias en las cosas buenas, como tratar al prójimo como quieres que te traten a ti, respetar a la gente, ayudar a los necesitados, la hermandad e incluso tratar bien a los animales y a la Tierra. Hay muchas religiones que tienen las mismas ideas, pero en el momento en que se escriben como leyes, como reglas de comportamiento, se convierten en palabras muertas que no tienen sentido a menos que uno les dé vida con actos sinceros. Y con base en estas reglas, todo el mundo se pelea, se mata, se hacen más daño que cosas buenas. Lo que nos da miedo es, casi sin excepción, lo que no conocemos. Me parece que a eso se deben el racismo, las peleas estúpidas entre adeptos de diferentes religiones o equipos atléticos o cualquier otra cosa. Es la ignorancia, el miedo al otro, a lo otro. Yo soy de san lorenzo de almagro, pero no soy de ninguna iglesia, de ningún templo ni equipo religioso. Si hay un dios está en los actos buenos de la gente, y si tiene cara no sé de qué color es; no tengo la menor idea de si es hombre o mujer, coyote o lombriz. Dios es una idea del buen comportamiento, del perdón, por ejemplo. Si hay dios creo que estaría de acuerdo con el perdón sin condiciones. El amor incondicional, la lealtad incondicional, no los siento por ningún equipo ni país ni nada, sólo por San Lorenzo. Aunque fracasen una y otra vez, y sólo salgan campeones de vez en cuando; aunque tengamos una historia gloriosa pero dura y a veces trágica. Me gusta cómo se porta el hincha de San Lorenzo, me gustan sus tradiciones. Tienen las mejores canciones y son los más ingeniosos, y eso lo reconocen las otras hinchadas. Y además cantan sin parar, no importa si perdemos 0 a 7. La hinchada de San Lorenzo tiene una historia muy rica, de aguante sobre todo, y una dignidad especial. Hay gente a la que no le gusta el fútbol, y eso también se acepta, por raro que sea [risas]. En Estados Unidos, donde he vivido muchos años, hay gente que dice que lo odia, comentaristas que dicen que es un juego absurdo lleno de mariconadas, que la gente se tira -lo que es verdad, hay jugadores que son insoportables porque se tiran mucho-, que es muy aburrido. No entienden cómo puede ser interesante un partido que termina 0 a 0, y que la gente salga gritando. No sé. Para mí, el fútbol es una metáfora de muchas cosas, como la lucha en la vida. Es un deporte en el que alguien muy petiso como Messi -que parece un tipo normal que podría andar en una bicicleta entregando diarios o sándwiches, qué sé yo-, hace cosas inolvidables cada vez que sale a jugar. Es impresionante. Antes de quedar ciego, Borges, el gran escritor argentino, trabajaba en una biblioteca pública en la zona de Boedo [un barrio de Buenos Aires] y almorzaba en un bar de ahí. Era un bar al que iban mucho los hinchas de San Lorenzo. Y siempre se acercaban a él y lo molestaban. "Maestro, maestro", le decían. "¿De qué equipo es usted?". "¿Cómo que de qué equipo?". "De fútbol, de fútbol". "Odio el fútbol, no soy de ninguno, déjenme en paz". "Tenés que ser de San Lorenzo, tenés que hacerte de San Lorenzo, maestro". Así pasaba todos los días. Hasta que Borges les dijo: "Miren, si me prometen que no tengo que ir nunca a un partido de fútbol, me hago hincha del San Lorenzo". "¡Dale!". Entonces decimos que Borges también es de San Lorenzo, aunque hacemos un poco de trampa. Leí en algún lado que Borges fue con otro escritor a ver un partido entre las selecciones de Uruguay y Argentina. Ninguno de los dos sabía nada de fútbol y les interesaba poco, y al medio tiempo se fueron. No sabían que había otra mitad [risas]. Empecé a sentir los colores de San Lorenzo a mediados de los años sesenta, y fue entonces cuando me hice cuervo de verdad. No salían campeones, pero se apoyaba el esfuerzo que hacían, metían muchas ganas, tenían mucha garra y era un equipo muy bueno. Durante esa década sufrieron mucho, pero salieron jugadores muy famosos, como "El loco" Doval, que se fue a Brasil y triunfó con Flamengo, o "El Bambino" Veira, que es una leyenda. En 1968 salieron campeones invictos, y por eso, en el colegio, los chicos ya me respetaban un poco más. Estados Unidos es un imperio que, como cualquier otro, se mantiene por su poder militar. Y nada más. Aunque sus políticos quieren que la gente piense que el resto del mundo respeta a la democracia estadounidense... ¡Eso es un chiste! En el exterior no se les respeta por eso, porque no se portan así. No me gusta nada lo cínico que se ha vuelto Obama, aunque a lo mejor siempre fue así. Hay gente que dice: "Pero claro que tiene que hacer lo que está haciendo, si no, no lo van a votar en 2012; ya que lo voten, va a cambiar y hará muchas cosas diferentes, porque no tendrá que preocuparse por la reelección en 2016". Es lo mismo que dijeron sobre [Bill] Clinton, y la política exterior de Clinton siguió siendo la misma después de que lo reeligieron: muy cobarde en África con la masacre de Ruanda, bastante cobarde en Yugoslavia hasta el último momento, muy fea con Irak.No cambió, e incluso tuvo un comportamiento más imperialista. La política exterior de Obama no es tan diferente a la de Bush. Es igual de injusta y de unilateral hasta cierto punto. Obama habla mejor que Bush, pero sus actos no son tan distintos: cómo usa la fuerza militar fuera de su país; los asesinatos medio clandestinos o nada clandestinos; no ha cerrado la base de Guantánamo; sigue en Afganistán creando líos que cuestan vidas y dinero. Y luego se preguntan por qué hay gente que dice que esa guerra es otro Vietnam... porque lo es, tarde o temprano se van a ir, y Afganistán va a salir adelante, igual que Irak. Estas cosas no me sorprenden del todo, porque, en su campaña electoral, Obama ya se estaba juntando con personas... La gente que apuntó para resolver la crisis económica, a fines de 2008, eran algunos de los que habían causado el problema, y va y les da la llave del control de la economía nacional. Estaba claro que iba a ser un desastre, y lo ha sido para la mayoría de la gente. Entre la gente que trabaja con Obama hay muchos que dan miedo y que podrían estar en el Partido Republicano. Pero aunque me moleste eso, prefiero que esté Obama [en la presidencia] antes que cualquiera de los precandidatos republicanos. Por lo menos hay alguna posibilidad de que no se vaya a enloquecer totalmente y hacer una cosa horrible en el mundo. Los candidatos [republicanos] son cada vez más inferiores intelectualmente. Este año no va a ser más bonito de lo que fue en 2004, con [John] McCain y la loca esa de Alaska, [Sarah] Palin. Si no fuera tan peligroso para el mundo y para los estadounidenses, sería muy divertido cada vez que hay una elección en Estados Unidos. La mayoría de la gente que habla en la radio estadounidense no respeta al resto del mundo. Es como si no hubiera cambiado nada, como si Estados Unidos siguiera siendo el rey de todo. Y no es así, ya no es así, y nunca fue buena idea. Hay muchos canales de tv y muchas estaciones de radio en el país, pero repartidas entre muy pocos dueños, así que la información casi siempre es la misma. Por eso es fácil para los políticos manipular a la gente y putear a los mexicanos o a los franceses o a quien toque ese día. Cualquier tipo de gobierno, por democrático que sea, está naturalmente contra la libertad, porque su objetivo número uno es mantener el poder. Entonces, para que el gobierno funcione bien, la gente tiene que involucrarse, que insistir en la libertad de expresión, en la igualdad entre géneros, en todo eso. Porque no son cosas que ya sean un hecho, que las ganamos y ya está. Se renuevan cada día. Me sorprende la contradicción que hay entre la supuesta nueva libertad que nos dan los avances tecnológicos como Internet, Twitter y las mil cosas que existen para comunicarse más rápido, y el hecho de que haya un miedo a la libertad, incluso en Europa y Estados Unidos. Las personas no se esfuerzan para ser libres. Aunque hay todas estas oportunidades, la gente se está cerrando más y más, parece que está más conforme que nunca con dejar que los que mandan decidan por ellos. Me parece que, en general, había más esfuerzo para ser libres en los años sesenta y comienzos de los setenta, que ahora. Estoy consciente de que hay indignados por todas partes, de que ese movimiento en gran parte salió de España, pero también es cierto que aquí la gente votó contundentemente por un partido [el Partido Popular] que no está nada a favor de lo que piden los indignados. Es interesante que las personas voten así cuando es obvio que las cosas no están bien. Pero soy optimista, y hay cosas que son tan absurdas que uno tiene que reírse de ellas. Y a veces las cosas son tan serias que uno se ríe sin remedio, lo que también es muy sano. Soy optimista, y creo que la gente poco a poco se va a ir enterando y se va ir hartando de las desigualdades que existen. http://www.esquirelat.com/features/417576/viggo-mortensen/1
corall: Хотелось бы понять содержание и вот этих публикаций:http://www.estadao.com.br/noticias/impresso,viggo-longe-do-padrao,853073,0.htmhttp://www.facebook.com/l.php?u=http%3A%2F%2Fwww.sanlorenzo.com.ar%2Fcolumnadeviggo%2F23%2F&h=BAQERhW-FAQF3TvftFDsbHZN5IWxDc_xLYHzZmm1hJgRfJw&enc=AZO8ixmQ_V_9fRw4ALIcO-2MvPLwEoLbVoB7u37hyy-y6wlV3kI4fJZrcw6QOXs1awtvLoFWJ8AkV87n2fNAq06C
corall: Нет. Вот так, наверное: http://www.facebook.com/l.php?u=http%3A%2F%2Ft.co%2FuZei40b4&h=7AQFzP-EA http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.sanlorenzo.com.ar%2Fcolumnadeviggo%2F23%2F&h=dAQFNGzq8
Taro: Ну,вторая -это колонка Вигго о футболе-называется Это у нас внутри..Там свои терки,я если хочешь,завтра днем тебе напишу поподробней..Первая -это на португальском,так что мне тоже надо разобратся,но это почти испанский,так что -примерно о том как работалось с Кроненбергом над "Методом" и Сайлесом над Керуаком..О Фрейде,это интервью сделанное в Лондоне,в Сохо..ничего особенно нового..
corall: Может, кто и в венгерском силён? http://www.facebook.com/l.php?u=https%3A%2F%2Fdigitalstand.hu%2Ftermeszetgyogyaszmagazin%2F%3Futm_source%3Dajanlo_kicsi%26utm_medium%3Ddigi_kampany%26utm_term%3Dajanlo%26utm_campaign%3DDigitalstandKampany&h=XAQFedYSj
Taro: Там просто приводится анонс статьи(тема номера-Вигго Мортенсен,стр 16-17,что то про красоту ног )если я не ошибаюсь,но что б прочесть,надобно купить..
corall: Наташечка, а тут о чём толкуют? http://www.facebook.com/l.php?u=http%3A%2F%2Flosandes.com.ar%2Fnotas%2F2012%2F4%2F5%2Fquedo-destruida-capilla-donada-lorenzo-viggo-mortensen-634352.asp&h=lAQEr945T
Taro: Во время последнего шторма в БуэносАйресе пострадала часть часовни Св.Лоренцо Масса,покровителя Сл,на которую Вигго дал деньги два года назад(80 тыс.долларов),пострадала колоколенка и часть стены, а так же крыша и приглашают фанов СЛ помочь в востановительных работах..Есть еще обьявление о месте и времени сбора желающих помочь..Это примерно.
Taro: El señor de los enigmas 25.08.2012 | Por Adriana Schettini Son extraños los caminos del zapping. Suele ocurrir que en ese deambular sin rumbo, una imagen o una voz nos llame la atención, y detengamos allí el zarandeo del control remoto, por un buen rato. Ayer, en cambio, no puse freno a mi zapping por obra de un impacto repentino sino a raíz de una decisión anticipada. A eso de las 20, en una recorrida por el espinel televisivo, pasé por TN, justo cuando promocionaban la presencia de Viggo Mortensen en “Tiene la palabra”. Entonces, decidí que a las 22, acudiría a esa cita. Me interesaba escucharlo. El jueves se estrenará “Todos tenemos un plan”, la película argentina que protagoniza, acompañado por Soledad Villamil, Daniel Fanego y Sofía Gala Castiglione, entre otros. Pero el centro de mi interés no estaba en indagar en Mortensen como actor, sino en su personalidad y, sobre todo, en su fanatismo por San Lorenzo. Siempre asocié la pasión futbolística con personas de temperamento sanguíneo, extrovertidas, grandilocuentes. Por eso nunca pude comprender cabalmente que Mortensen, ese caballero de ascendencia danesa, nacido en Nueva York, criado durante algunos años en la Argentina, y lanzado a una vida cosmopolita, con su medio tono y su decir pausado, pudiera ser un hincha de ley, un hombre obsesionado por la suerte de su club, capaz de quedarse sin aliento por un gol o sin lágrimas por una derrota en el campo de juego. En el ciclo que conducen Lorena Maciel y Luis Otero, los periodistas del panel –Silvia Fesquet, Cecilia Absatz y Fernando Cerolini-, le preguntaron, casi de entrada, por el origen de su debilidad azulgrana. Y Mortensen evocó su primera visita a una cancha de fútbol, la de River, a la edad de 4 o 5 años, junto a su padre: “Era un día luminoso, espléndido –relató-. De pronto, se largó a llover. Me preocupé, y dije: ‘Papá, está lloviendo’. Y él me contestó: ‘No llueve, mirá el partido’. En verdad, no llovía: un gallina, medio borracho, me estaba meando encima”, concluyó, divertido. Fue a los 7 u 8 años, dijo, que comenzó a escribir pequeños cuentos y a descubrir el placer de la lectura. Y enseguida, sorprendió con una excentricidad de aquella época. “Mi mamá me leía cuentos, pero yo le pedía que me contara cosas sobre accidentes y enfermedades que hubieran ocurrido en la familia”, evocó Viggo, con toda naturalidad. Como era de esperar, los periodistas quisieron conocer el motivo de tan raro pedido. “Me interesaba el cuerpo humano… lo que pasa en la vida”, respondió, sin sobresaltarse. Hizo un breve silencio, y habló como quien piensa en voz alta: “Prefiero no morir, porque hay tantas cosas para hacer…”. A esa altura de la entrevista, estaba claro que el niño Viggo había sido, cuanto menos, un chico singular. Para avalar la hipótesis, comentó que sus huesos se han fracturado muchas veces, y que la primera, a los 7 años, fue durante un partido de fútbol. Hasta allí, nada fuera de lo ordinario. Lo asombroso vino cuando contó el diálogo que había mantenido con su padre, camino al hospital: -¿Qué van a hacer con mi pierna?-preguntó Viggo. -Te la van a arreglar- contestó su papá. -No, pero después, ¿qué van a hacer con mi pierna?-se empacó. -Te la van a arreglar-repitió el padre. -Pero, después, ¿yo me puedo quedar la pierna? Deciles que no la tiren. Ese diálogo surrealista entre el pequeño Viggo y su papá tenía como telón de fondo una fantasía infantil que Mortensen, anoche, explicó así: “Yo siempre había imaginado montones de piernas y brazos detrás del hospital… y no quería que mi pierna fuera a parar ahí”. Convertido en un actor de fama internacional a partir de su trabajo en la trilogía de “El señor de los anillos”, no se siente agobiado por el peso de la popularidad. Cuando le preguntaron por la situación que había tenido que soportar de parte de una fan japonesa que le escribía tres cartas diarias, aceptó que eso había ocurrido, pero minimizó las dificultades que acarrea el estrellato. “En general, la gente es buena”, sostuvo, y subrayó que es gracias a esa gente, interesada en su trabajo y su persona, que puede “tener éxito” y ganarse “muy bien la vida” haciendo lo que le gusta. “Agradezco la atención de los hinchas del cine”, remató, con jerga futbolística. Y enseguida, pasó a hablar de su reciente discusión con el técnico de San Lorenzo, Ricardo Caruso Lombardi. Sobre sus amores, prefirió guardar silencio, y vanos fueron los intentos de hacerle confirmar la difundida versión de su noviazgo con la española Ariadna Gil. En otros temas, se mostró locuaz: la creciente violencia en los Estados Unidos, su experiencia como actor en Hollywood, la relación con su hijo de 24 años (“Somos buenos amigos y podemos hablar de todo”, aseguró). Apasionado por la literatura, la música y la fotografía, además del fútbol, se diría que ha logrado el perfecto equilibrio entre la sensatez y el sentimiento. ¿Cómo lo consiguió? Eso seguirá siendo el gran enigma. Обращаю внимание интересующихся на последний абзац-в нем говорится о том, что журналисты пытались выпытать правду о его отношениях с Ариадной Хиль-но Вигго предпочел молчать.А вот на другие темы -говорил охотно-рост насилия в Сша, о опыте работы в Голливуде,о сыне..о футболе,литературе, музыке и как найти правильный балланс межу всем этим.."El señor de los enigmas"сеньер -загадка..(Я вся такая загадочная, непредсказуемая вся..) http://www.clarin.com/espectaculos/tv-y-radio/senor-enigmas_0_761924011.html
Imagine: Да, не зря назвали статью "Господин-загадка". Вигго, при всей его любви поговорить, явно терепеть не может разговоров о личной жизни.
corall: А, может, это тактика такая хитрая - сохранять интригу?
Rita-chka-1: А как к таким вопросам его пресс-агент относится ( если он есть) ? Можно-же заранее оговорить список вопросов - что-бы лишнего не спрашивали...
Imagine: C другой стороны, казалось бы, чего проще: подтвердить то, что Ариадна его (уже теперь многолетняя) подруга, и у пары всё хорошо. И все вопросы автоматически отпали. Но тут, возможно, именно такая тактика, как уже заметила Corall, чтобы поклонницам было над чем голову поломать...
Rita-chka-1: Да над чем тут голову ломать? Кто давно на фан-сайтах зависает знает о нем все подробности , разве - что , кроме цвета трусов... А других любителей у него , по-моему , нет, может , просто любопытствующие?
Imagine: А откуда ты заешь, что других любителей нет Если посмотреть на его выходы на кинофестивалях в группе коллег по съёмкам, то слышишь вопли и возгласы имени Вигго куда чаще, чем, к примеру, Майкла, Кейры или Винсента (это об "Опасном методе")
Taro: Ну ,я думаю- как раз о цвете трусов все могут догадатся..
Rita-chka-1: слышишь вопли и возгласы имени Вигго куда чаще, чем, к примеру, Майкла, Кейры или Винсента Вот-вот! И я о том-же : Многие из этих дам ездят за ВМ по всему миру( наверное средства позволяют)) ) они и вопят Фаны! Ну ,я думаю- как раз о цвете трусов все могут догадатся.. Каким образом
Нэнья: Каким образом Это элементарно, Ватсон Сине-красные, наверняка
Rita-chka-1: Семен Семеныч!
Taro: "Viví en muchos lados pero con la Argentina tengo algo especial" El actor que triunfa en Hollywood filmó por primera vez una película en la Argentina, donde vivió hasta los once años. Asegura que su infancia determinó el vínculo y, fana del "Ciclón", se enoja cuando ve a Carrefour en Boedo. Viggo Mortensen es una de esas pocas estrellas de Hollywood que no se comporta como tal. Un actor (y fotógrafo y poeta y editor independiente) que no vive obsesionado por su seguridad ni da muestras de divismo. Y que cuando le toca atender a la prensa, en este caso por el estreno de Todos tenemos un plan, el thriller argentino que protagoniza y llega este jueves a los cines, lo hace con amabilidad y la simpatía que se le conoce. La misma que lo llevó a revelar su fanatismo por San Lorenzo en un móvil de CNN durante la promoción de El Señor de los Anillos (y en plena crisis de 2001) o verse demorado en un aeropuerto por gritar como desaforado un gol del Pipi Romagnoli que salvaba del descenso a los de Boedo. La alegría colectiva de que Aragorn sea argentino, se desespere por el mate y cante tangos. "Vivo este reencuentro con la Argentina de una manera distinta a las anteriores", cuenta con una sonrisa. "Porque desde que me fui del país, a los once años, siempre había regresado por poco tiempo, ya sea para promocionar una película, presentar un libro de mi editorial o ver a San Lorenzo, pero nunca para instalarme a vivir de nuevo, aunque fuera por unos meses. Y para esta película pasé todo el último invierno acá. Obviamente que la vida de filmar una película no es del todo la vida real. Pero casi." –¿Y cómo lo viviste? –Me gustó mucho. A eso sumale el hecho de ser la primera vez que filmé en Argentina una película hecha por argentinos y con un guión muy argentino. Era algo que tenía pendiente. Que me debía. Y que disfruté muchísimo. En la ópera prima de Ana Piterbarg (que también cuenta con Daniel Fanego, Soledad Villamil y Sofía Gala Castiglione en los papeles principales), Viggo Mortensen interpreta dos personajes: Agustín, un médico de buen porvenir y vida resuelta, que planea adoptar un hijo junto a su esposa Claudia (Villamil); y Pedro, su hermano, que lleva una vida modesta en las islas del Tigre, mantiene una relación destemplada con Rosa (Sofía Gala Castiglione) y se involucra en una serie de secuestros comandados en la zona por Adrián (Daniel Fanego). En principio, dos mundos completamente distintos pero que, con el correr de la película, no tardan en conectarse entre sí para ¿salvación? ¿condena? de Agustín. Una película de suspenso abierto que, como el Delta, no siempre permite pisar sobre tierra firme, en palabras de la propia directora (ver recuadro). –¿Fue un desafío interpretar dos papeles tan diferentes dentro de la misma película? –Sí. Fue interesante encontrar los matices de dos maneras de vivir tan distintas más allá de que geográficamente no estuvieran tan lejos: Agustín en la ciudad y Pedro en el Delta. Matices que probablemente sólo puedan distinguir un argentino o un uruguayo, pero que tenían que estar en la postura, la mirada y la voz de los personajes. –¿Hay algo de la doble vida y los cambio existenciales abruptos que te interese particularmente? Por que ya en Una historia violenta, de David Cronenberg, habías interpretado un personaje con una inquietud similar... –Sí, me interesa cómo vive ese tipo de situaciones una persona normal, más allá de que no creo que exista "una persona normal". Como tampoco creo que haya un plan tan específico que te permita decidir el día exacto en que querés cambiar tu vida. No es fijo. Son, más bien, como sueños conscientes. Deseos que tienen mucha voluntad. Situaciones que por ahí querés que ocurran y planificás pero que al final nunca salen como planeás o querés. Siempre aparece algo que te desvía. Y más con todo el tiempo que transcurre entre el momento en que se te ocurre ese cambio y cuando lo concretás. –¿Tuviste ese tipo de cuentas pendientes en tu vida? –Sí, hay cosas personales que todavía guardo o lamento o que aun no me siento cómodo. Puede ser una conversación, un desencuentro, la forma de haber dicho adiós o de no haber podido decir adiós. Cosas que están ahí. En lo profesional me pasa que veo una película y por ahí me lamento de por qué pusieron una toma o por qué no la hice de vuelta. Te volvés loco si te matás pensando en esas cosas, pero están. –¿Y en lo personal? –Y... Hay cosas que yo las siento como personales más allá de que a alguien puede parecerle una tontería y es que a mí, como hincha de San Lorenzo, me molesta que este el Carrefour todavía. Por eso cada vez que aterrizo en Ezeiza le pido al tachero que pase por la Avenida La Plata. Necesito echar un vistazo, sólo verlo que sigue ahí y después seguir con las cosas que tengo que hacer. No me mata que esté el Carrefour, lo acepto hasta cierto punto. Pero lo quiero cambiar. –Algo curioso que se da en la película es que, a priori, Agustín tiene una vida mucho mejor que la de Pedro. Sin embargo, la prefiere... –Sí. A Agustín la vida de Pedro lo libera. Le parece sencilla. Igual es una situación improvisada, una oportunidad que le surje en el momento, una circunstancia. Hasta ese momento no tenía idea que iba a cruzarse con el hermano. Ahí se da cuenta que todo lo que tiene, una vida tranquila, una mujer linda, un departamento bien ubicado y un bebé en camino, todo lo que a cualquiera le encantaría tener, no lo satisface. Está paralizado. Y se miente todo el tiempo hasta que aparece el hermano. –Es el detonante... –Sí. Ahí se ilusiona con estar más sencillo, más libre. Ahí dice: nos parecemos, puedo hacer de él, conozco el Tigre, volveré a aprender cómo se maneja una lancha. Aunque luego se da cuenta de que no es lo suyo esto de la mentira porque requiere un trabajo continuo y lo que termina haciendo es una mentira total. Desde el nuevo nombre que lleva hasta las botas que se pone. Cada persona que se cruza lo obliga a preguntarse: ¿lo conozco? ¿somos amigos? ¿me odia? No tiene idea de cómo era esa vida antes y todo le parece falso. Hasta que en un momento empieza a sentirse cómodo con la mentira, se tranquiliza y acepta el paisaje, cómo está y dónde está, y ahí nace un nuevo personaje. Desaparece la mentira y aparece una verdad. –¿Conocías el trabajo previo de Daniel Fanego y Soledad Villamil? ¿Cómo fue grabar con ellos? –Conocía un poquito el trabajo de Fanego, no mucho, y un poco más el de Soledad. Fue muy, muy divertido trabajar con ellos. Conversamos mucho. Charlamos bastante entre nosotros y sobre los personajes que nos tocó hacer. Me encantó el villano que hizo Fanego, me pareció muy logrado e interesante. Ambos fueron muy buenos compañeros de filmación. –Fue un rodaje que tuvo mucho que ver con la naturaleza. El haber tenido una infancia en el Chaco, ¿te dio un plus a la hora de manipular las abejas, la lancha, los machetes? –Sí, puede ser. Un poco. Sobre todo cuando hacés una toma y tenés que volver al inicio y prender de nuevo un motor y bueno, saber de eso, te ahorra tiempo. El tema es que el personaje de Agustín, justamente, se había olvidado de todo lo que había aprendido de chico. Entonces también tenía que hacer parecer que no sabía hacer esas cosas tan bien. –¿Qué tiene la Argentina para que te haya marcado como te marcó? –Supongo que porque la primera década de tu vida no es la definitiva pero es la que te forma y te marca. Viví en muchos lados y tengo un lado danés por parte de mi padre y otro americano, por haber vivido allá, entender la cultura y el idioma. Pero con Argentina tengo algo especial. –¿Qué sentís que aportó a tu personalidad? –No sé si lo puedo identificar bien. Pero a veces lo veo en la reacción de los otros. Por ejemplo, cuando me pronuncio de determinadas maneras sobre Obama me dicen: 'Bueno, lo que pasa es que vos no sos americano, sos medio argentino' (risas). Y obviamente tengo un vínculo fuerte con la Argentina, en la forma de hablar, las referencias, los lugares que ahora vos podés nombrarme y conozco. Me siento muy comodo acá. Siento que es mi casa, más allá de que la casa vaya cambiando porque lo que viví acá cuando era chico tiene poco que ver con lo que vivo ahora. –¿Dónde estabas cuando fue lo de 2001? ¿Cómo lo viviste? –Estaba en Estados Unidos. Y obviamente me preocupé mucho cuando me enteré, me dolió mucho. Fue justo cuando se estrenaba El señor de los anillos, la primera parte. Y hasta ese momento no había tenido oportunidad de hacer prensa en la Argentina. Pero en un móvil de la CNN en español, cuando terminó la nota, mandé un saludo para toda la hinchada del cuervo. Y ahí empezó el vínculo. –Filmaste con grandes directores todo tipo de películas, pero para la mayoría siempre vas a ser Aragorn, el gran guerrero de El Señor de los Anillos. ¿Es una carga o una bendición? –La verdad no me molesta. Yo entiendo que hay gente a la que sólo le gusta ver ese tipo de películas y por suerte hay gustos para todos. A mí, Aragorn me dio muchas oportunidades. Por más comercial que alguien pueda decir que fue El señor de los Anillos tocó culturalmente una fibra muy fuerte. Una cosa impresionante que me pasó relacionado con el personaje y la película fue cuando estrenamos la tercera parte en Oslo, Noruega. Como la saga de Tolkien tomó mucho de la mitología escandinava, allá se vive todo el fenómeno mucho más. Al punto que cuando llegamos a la ciudad nos enteramos de que un grupo importante de gente había estado acampando en la calle durante semanas, pasando frío, perdiendo el trabajo, divorciándose para esperar la avant première y ver las tres películas juntas. Yo tenía que irme al día siguiente, pero decidí quedarme y sorprenderlos. No te puedo explicar la emoción cuando esa noche ingresé a la sala a oscuras, prendieron las luces y empecé a narrarles un poema sobre la historia. Se pusieron como una hinchada de fútbol en la Argentina. Todos locos, llorando. Ese tipo de cosas genera todavía hoy la película y me pone contento. « Obama y el gobierno –En 2008, apoyaste a Dennis Kucinich, el más radical de los candidatos demócratas, aunque terminaste avalando a Obama cuando ganó la interna. ¿Qué te pareció su gobierno? –No me sorprendió su gestión. Ya desde el momento de la gente que fichó para su Gabinete como Hillary Clinton y otros, ya sabía que la política exterior no iba a cambiar mucho. Ni con Oriente Medio, Israel, Irak o Afganistán. Tampoco la relación con Wall Street o los bancos. Sabía que en ese sentido iba a ser parecido a Bush, Clinton, Reagan. Pero sí tenía esperanzas de que cambiara cosas de la sanidad, el nuevo sistema social de ayuda medica. Pensé que eso podía cambiar. Y sé que él de verdad tenía intenciones de hacerlo. Pero al final no cambió mucho. En eso me decepcionó, no tanto como a otros que sintieron una decepción total. No esperaba algo muy revolucionario pero sí un poco más. Es cierto también que sufrió la estrategia de los republicanos, que le hiceron una oposición feroz y no les importaba que se fuera a la mierda el país. Tuvieron éxito en eso. –¿Cómo ves la situación acá? –Bueno, pasó un año y medio de lo que había sido mi última visita y veo que esta todo un poco más apretado económicamente. Le está costando un poco más al gobierno federal seguir adelante con ciertas medidas que veía positivas. Está más difícil la cosa. El gobierno sufre una oposición constante, no sólo de Macri sino también de los medios. Creo que debe ser agotador tener que lidiar con todo eso. EL SEÑOR DE LOS ANILLOS (2001/02/03) Fue Aragorn, el personaje más valiente del film. Entre espadas, bestias y armaduras, Viggo se saca chispas con el resto del universo Tolkien. UNA HISTORIA VIOLENTA (2005) Thriller psicológico dirigido por David Cronenberg. Protagonizó a un hombre con un pasado asesino. Por el personaje, recibió nominaciones y premios en todo el mundo. ALATRISTE (2006) Basada en la novela de Arturo Pérez-Reverte, este film español significó un gran desafío actoral para Viggo por tratarse de su primer protagónico en castellano. De moderado éxito en España, pasó bastante inadvertido por Latinoamérica. ana piterbarg, directora de todos tenemos un plan –¿Cómo lograste que Viggo participara de la película? –Me obsesioné. Le dije que si no la hacía le iba a pasar lo que al personaje de la película (risas). No sé bien cómo fue. Le gustó la historia. Nos entendimos. Tenía ganas de filmar una película en la Argentina y conocía el Tigre. Se juntaron muchas cosas –¿Pero cómo fue ese momento en el que le acercaste el guión? –Me lo encontré de casualidad cuando lo fui a buscar a mi hijo Felipe que tomaba clases de natación en San Lorenzo. Justo me lo crucé en el ascensor, lo miré y me dije ¡es él! (risas). Yo ya había pensado en él para el protagónico como quien elige un sueño. No me animaba a contactar al agente. Me parecía delirante de mi parte –¿Y qué hiciste cuando finalmente te lo encontraste? –Fue un momento muy adrenalínico. Porque después de verlo, me cedió paso y seguí caminando. Él fue para el lado del kiosquito de merchandising y yo para afuera. Pero entonces retrocedí sobre mis paso y lo encaré: "Hola. Tengo un guión que quiero que leas", le dije. Ahí él se rió y me preguntó: "¿Lo tenés aca?" Le dije que no. Pero me pasó su contacto y se lo envié por correo. Y a los tres o cuatro meses me llegó su respuesta. No lo podía creer. –Sin Viggo hubiera sido muy difícil filmar la película, ¿no? –Sí. Sobre todo porque es también una ópera prima. No creo que la hubiera podido filmar en este momento de mi vida. –Las óperas primeras suelen sintetizar un poco lo que el director quiere mostrarle al mundo. ¿Cómo fue en tu caso? –Sí, creo que en la película aparecen muy fuerte mis ganas de contar una historia como la que conté. Una película trabajada mucho tiempo. Todo el tiempo que pasó la hizo crecer y la transformó en algo más sólido. –¿Cómo fue rodar con una estrella de Hollywood? –Fue muy emocionante. Pero no tanto por ser una estrella de Hollywood, sino porque es muy reconocido por su trabajo y porque inmediatamente descubrí que era una gran persona además de un gran artista. Por ejemplo, en las escenas de Sofía Gala con las abejas o la lancha fue un gran apoyo porque la ayudó a que perdiera el miedo en ambas situaciones. Yo no sé si es por los años que pasó de chico en el Chaco o qué, pero se nota que tiene un contacto muy directo con lo salvaje y la naturaleza. –¿Coincidís con que es una película de suspenso abierto que te obliga a generar tus propias hipótesis? –Sí. Desde el momento en que el mismo personaje de Agustín no sabe bien lo que le está pasando y que las acciones que toma no son totalmente decididas, hay una ambigüedad y una dualidad ahí. No es una película que prometa llegadas a tierra firme. Pasión por el ciclón Fanático de San Lorenzo, la devoción de Viggo Mortensen por el 10 del Ciclón llegó a su pico cuando, meses atrás, festejó con tanto alboroto un gol del ídolo en un aeropuerto de Washington, que casi cae preso por disturbios. "Fue el gol que nos salvaba del descenso", intentó explicar 'Guido', como le dice Veira. Pero no había caso. Ahora, superada la polémica con Caruso Lombardi, le manda fuerzas al mediocampista, quien se encuentra lesionado. http://tiempo.infonews.com/2012/08/26/espectaculos-84273-vivi-en-muchos-lados-pero-con-la-argentina-tengo-algo-especial.php
Taro: Viggo Mortensen: 'I'm obsessive preparing for roles' The star of 'The Lord of the Rings' trilogy commits to characters heart and soul, but is famously laidback. Just don’t go calling him a method actor By Cath Clarke Fri May 31 2013 Viggo Mortensen is a man who likes his freedom. Always has. His first memory is of being alone in the woods at night. ‘I would literally climb out of the cradle while my parents slept, go and crawl off,’ he grins wonkily. ‘I did this a couple of times apparently. I’d cross the road and into someone’s house, wake them up banging pots and pans in the kitchen.’ Mortensen chuckles. ‘Disturbing, huh?’ Somewhere between his hotel room and the library he has parted company with his shoes and sinking back into a sofa stretches his rainbow-socked feet on the table. Mortensen was 43 when he landed the part of Aragorn in ‘The Lord of the Rings’, ending a longish career as a character actor. Since then he’s mostly picked smallish independent films. ‘I like original stories,’ he shrugs. And he carries success with the hippy-ish air of a man who could take it or leave it. When he’s not filming he’s writing poetry or making music or painting – and even has his own publishing house. A few years ago a journalist asked him where he lived. ‘Planet Earth, mostly,’ he answered. When I ask him the same question he’s more specific: ‘Madrid.’ What took him there? ‘Love,’ he says so quietly I have to ask him to repeat it. He’s in London on a whistle-stop visit to champion his new film – one of those indies. It’s an Argentinian noir with shades of the Coen brothers, called ‘Everybody Has a Plan’: ‘It needs all the support it can get.’ Unless you’re familiar with Mortensen’s Wikipedia page, you probably won’t know that he spent part of his childhood in Argentina. His family moved from New York when he was three – his Danish dad managed chicken farms and ranches. Mortensen and his two brothers grew up bilingual (‘at school kids would make fun of me, call me “Gringo” or “Yankee”’). He was 11 when his parents divorced and his American mum took the kids back to America. ‘I think quite a few actors have that itinerant background. You look at the world from different points of view.’ He’s always wanted to make a film in Argentina and met director Ana Piterbarg on a visit a few years ago – at the ground of San Lorenzo, the Buenos Aires football team he supports. The film gives him exactly the kind of meaty, challenging role he relishes. Two of them in fact – since he plays identical twins. One brother, Agustín, is a doctor having an identity crisis in Buenos Aires. The other, Pedro, is a rum sort who is wader-deep in a kidnap racket in the swampy backwater where they grew up. Mortensen is an utterly convincing actor: terrifying as a Russian fixer in ‘Eastern Promises’; shockingly gaunt in ‘The Road’. People always call him a method actor, which winds him up. ‘I have no idea what method actor means,’ he says wearily. ‘Okay, I know what they’re driving at. That I’m obsessive preparing for roles.’ Stories of how far he’ll go getting into character are legendary. For the record, he never slept with his sword filming ‘LOTR’ – though he did keep his costume on during filming to give it a lived-in feel. ‘I try to research or make up for myself what happened in any character’s life,’ he explains. ‘From when he was born until the first page of the script. I fill in the blanks.’ He stops to knock back the last of drop of espresso. ‘And not to be underestimated in all this is showing up on time. And treat people like you’d like to be treated. Those are my methods. Show up on time and be nice.’ http://www.timeout.com/london/film/viggo-mortensen-im-obsessive-preparing-for-roles
Taro: Листаем ниже, фото пост-продакшн "Двух лиц".. http://www.studiocanal.com/media/lineup/INTERNATIONAL.pdf
Annette: Судя по всему, фильм уже почти полностью готов. По информации с кинопоиска, премьера в мире состоится 18 декабря 2013 года, в России - 23 января 2014.
Taro: Viggo Mortensen presenta en Buenos Aires el libro “Hijos de la Selva” on 11 septiembre, 2013 at 17:42 EL actor de hollywood de raíces argentinas Viggo Mortensen presenta este 16 de septiembre a las 19 el libro Hijos de la Selva, de Federico Rossert y Diego Villar. En Centro Cultural de España en Buenos Aires (Bernardo de Irigiyen 672). Entrada libre y gratuita. El CCEBA Centro Cultural de España en Buenos Aires invita el 16 de septiembre, a las 19 horas en su sede La Patriótica (Bernardo de Irigoyen 672), a la presentación de Hijos de la selva, un libro de los antropólogos argentinos Federico Bossert y Diego Villar sobre la fotografía etnográfica de Max Schmidt editado por Perceval Press. Con entrada libre y gratuita, el lanzamiento cuenta con la presencia de, además de los autores, Viggo Mortensen, como editor del volumen. Pertenecientes a su legado en el Museo Etnográfico Andrés Barbero de Asunción (Paraguay), el libro incluye fotografías y documentos de Max Schmidt, científico alemán dedicado a la investigación de pueblos originarios de Sudamérica durante la primera mitad del siglo XX, después de someter los originales negativos en placas de vidrio a un proceso de reproducción y restauración digital en Estados Unidos. “La esperanza de los autores y de Perceval Press es que este libro tenga un valor tanto académico como artístico, y confiamos en que el trabajo etnográfico pionero y las excepcionales imágenes de Max Schmidt permitan alcanzar ese objetivo”, subraya Viggo Mortensen. “Conseguí convencer a uno de los caciques del carácter inofensivo de mi aparato fotográfico. Le pedí que mirara en el espejo de la cámara y me coloqué delante de la lente. Al comprobar que ser reflejado así no me provocaba ningún daño, siguió mi ejemplo y así pude fotografiar a todo el grupo”.
Imagine: Хотелось бы ещё перевод...
Taro: Янка, ты меня ж без ножа режешь..,времени и возможностей нет..Вкрадце-16 сентября, в 19:00,в культурном центре Испании, в БА, будет презентация книги Федерико Россета и Диего Вильяра " Дети леса"?(можно перевести и как "Книга сыновей сельвы")Это аргентинские авторы-ученые антропологи, о племенах индейцев Южной Америки, а так же воспоминания Шмидта, немецкого ученого, работавшего а ЮА в первой половине двадцатого века..Вигго -редактор книги. Я попробую найти фото, но позже..Кстати, для желающих-вход свободный ..
Imagine: Может, кто-нибудь в Барселону собирается на следующей неделе? Взяли бы автограф для сайта...
Taro: querida,это в Буэнос Айресе
Imagine: Ха-ха, так вот, что ты имела в виду под БА! Ну, значит, будут "Интервью в Буэнос Айресе"! :
Taro: Viggo Mortensen presenta libro en Paraguay 14 September 2013 El actor estadounidense Viggo Mortensen presentó hoy en Paraguay el libro "Hijos de la selva", de los antropólogos argentinos Federico Bossert y Diego Villar, que recopilaron el acervo fotográfico y los documentos del científico alemán Max Schmidt sobre indígenas paraguayos y brasileños. El libro presentado hoy en Asunción y que saldrá a la venta el próximo 15 de octubre pretende recuperar la figura del aventurero investigador Schmidt, quien recorrió el Chaco paraguayo y la región del Mato Grosso brasileño de forma incansable a principios del siglo XX, según explicaron sus autores en una rueda de prensa. Las fotografías de Schmidt, elegidas personalmente por Mortensen, muestran a miembros de comunidades indígenas, casi desconocidas antes de que el investigador alemán las documentara, en acciones de su día a día y con talentosos retratos hechos con una pesada y antigua cámara de placas de vidrio con la que él recorría la selva. Schmidt dirigió el Museo Etnográfico Andrés Barbero de Asunción, que ahora alberga toda su colección de imágenes y de objetos recabados y clasificados, y donde este viernes se celebró la presentación de la obra. Los autores narran las desventuras del investigador alemán en Suramérica, en sus viajes a recónditos parajes de la selva brasileña y de la árida región del Chaco en la zona noroccidental paraguaya, que le provocaron enfermedades como la malaria y la lepra. "Sus viajes eran insólitos catálogos de desgracias, pero logró reunir una cantidad enorme de información con mucho detalle", destacó Diego Villar. "Incluso cuando tuvo éxito, llegó la mala suerte, perdió montones de documentos, y su trabajo no fue reconocido hasta años más tarde de su muerte, a diferencia de otros antropólogos de la época", añadió el autor. Bossert resaltó que el principal objetivo del libro es lo etnográfico y que esperan así "recuperar rostros y escenas cotidianas ya perdidas en Brasil y Paraguay". "Estas fotos son un testimonio privilegiado de una forma de vida que se extinguiría rápidamente", añadió Bossert, quien calificó de "humanista, romántica y hasta humorística" la visión de Schmidt sobre la vida indígena. Schmidt recorrió también la zona noroccidental de Paraguay tras la guerra del Chaco, que enfrentó a ese país y Bolivia entre 1932 y 1935 por este territorio, documentando la vida de los indígenas que habían sido desplazados por las batallas, refugiados y exiliados de sus hogares. "Con estas fotos volvemos a los indígenas menos transparentes, menos invisibles", sentenció Bossert. Mortensen, intérprete conocido por la saga cinematográfica "The Lord of the Rings", explicó cómo hace cinco años se enganchó en el proyecto de recuperar el acervo de Schmidt en un libro al quedar impactado con sus fotografías. "Las fotos son increíbles, es lo primero que me atrajo. Con este libro se hace un aporte académico y artístico, con los retratos llenos de belleza estética más allá de la documentación visual", añadió Mortensen, quien dijo que el alemán "está a la altura" del estadounidense Edward Curtis, que en la misma época documentó a los pueblos originarios norteamericanos. "Estas fotos son un legado al pueblo de Paraguay y pido a sus autoridades culturales que aporten fondos al Museo Etnográfico porque trabajan con mucho amor pero con poquísima plata", sentenció el actor. http://pulsoslp.com.mx/2013/09/13/viggo-mortensen-presenta-libro-en-paraguay/
Taro: Rostros olvidados de indígenas reviven en un libro editado por Viggo Mortensen Buenos Aires, 16 sep (EFE).- Los rostros olvidados de indígenas de Paraguay y Brasil captados hace casi un siglo por la lente del investigador alemán Max Schmidt reviven en "Hijos de la selva", un libro editado por el actor estadounidense Viggo Mortensen y presentado hoy en Buenos Aires. Buenos Aires, 16 sep (EFE).- Los rostros olvidados de indígenas de Paraguay y Brasil captados hace casi un siglo por la lente del investigador alemán Max Schmidt reviven en "Hijos de la selva", un libro editado por el actor estadounidense Viggo Mortensen y presentado hoy en Buenos Aires. El trabajo, obra de los antropólogos argentinos Federico Bossert y Diego Villar, presenta una selección de fotografías tomadas por Schmidt que forman parte del acervo del Museo Etnográfico Andrés Barbero, de Asunción de Paraguay. Como parte de su trabajo de investigación sobre el Chaco paraguayo, los dos antropólogos argentinos dieron con este verdadero tesoro documental y contactaron hace cinco años con Mortensen, dueño de la editorial Perceval Press, para interesarlo en un proyecto para hacer un libro sobre la labor etnográfica de Schmidt. "He aprendido mucho durante este viaje", dijo el actor durante la presentación del libro en la capital argentina, en la que se vendieron ejemplares de la obra con el objetivo de donar el dinero al museo Andrés Barbero. Mortensen destacó la riqueza "histórica y estética" de las fotografías y que el objetivo era hacer un libro que tenga valor como publicación "de arte como por su aporte académico". Max Schmidt, que nació en Altona (Alemania), fue un abogado que, tras estudiar antropología, se mudó a Sudamérica para investigarlos pueblos originarios de Sudamérica durante la primera mitad del siglo XX, hasta su muerte, en Asunción, en 1950. "Schmidt empezó a viajar al Mato Grosso (Brasil) y luego se mudó a Paraguay, donde dirigió el museo que hoy se llama Andrés Barbero. Allí dejó su colección de placas de vidrio con las fotografías que ahora figuran en el libro", contó a Efe Diego Villar. Las fotos muestran escenas de tribus de Brasil, tomadas entre 1901 y 1928, de Paraguay, obtenidas en 1935. "Schmidt es un antropólogo algo olvidado, una figura no muy reconocida y con este libro queremos rescatarla", señaló el experto argentino. Los dos antropólogos y Mortensen viajaron a Asunción para visitar el Museo Etnográfico Andrés Barbero y hacer una selección de las fotografías de Schmidt. El propio Mortensen se encargó de llevar todo el material a Estados Unidos para restaurarlo y digitalizarlo. El actor contó que cuando tuvo que transportar consigo las fotos dentro de su equipaje de mano en un vuelo a los Estados Unidos se sintió "bastante nervioso", tanto como la primera que llevó a su "hijo en un viaje de avión". "El pasado fin de semana llevamos de regreso el material al museo, en Asunción, y no lo podían creer, porque han aparecido hasta rostros nuevos que estaban ocultos detrás del moho que tenían las fotos", contó Villar. Las imágenes muestran a miembros de comunidades indígenas, casi desconocidas antes de que el investigador alemán las documentara, en acciones de su vida cotidiana. Schmidt sacaba esas fotos con una pesada y antigua cámara de placas de vidrio, con la que recorría la selva en intrépidas aventuras. "Conseguí convencer a uno de los caciques del carácter inofensivo de mi aparato fotográfico. Le pedí que mirara en el espejo de la cámara y me coloqué delante de la lente. Al comprobar que ser reflejado así no me provocaba ningún daño, siguió mi ejemplo y así pude fotografiar a todo el grupo", relató alguna vez Schmidt al contar alguna de sus tantas hazañas para lograr las tomas. Según Bossert, el principal objetivo de este libro es etnográfico, esto es, "recuperar rostros y escenas cotidianas ya perdidas" en Brasil y Paraguay. Pata el antropólogo argentino, estas fotos son un testimonio "privilegiado" de "una forma de vida que se extinguiría rápidamente" pero que quedará por siempre documentada gracias a la labor de un "humanista" como Schmidt. Mortensen reveló que tiene en preparación otro libro similar, pero sobre los pueblos originarios de la norteña provincia argentina de Salta. El actor dijo que le gustaría que "todos los gobiernos suramericanos pudieran colaborar" en iniciativas de este tipo, para rescatar la cultura de los pueblos indígenas. (Agencia EFE)
Rita-chka-1: На английском???
Taro: да, блин жеееее..я тебе переведу, хочешь, потом?!!!!
Нэнья: несколько корявый, но перевод... Буэнос Айрес, 16 сентября. Забытые лица коренных народов Парагвая и Бразилии захваченные почти сто лет назад объективом немецкого исследователя Макса Шмидта возродились в «Дети леса» , книгу, изданную американским актером Вигго Мортенсеном , которая была представлена сегодня в Буэнос-Айресе . Это работа двух аргентинских антропологов Фредерика Боссерта и Диего Вильяра, представляет собой подборку фотографий, сделанных Шмидтом как часть коллекции Этнографического музея Андреса Барберо, который находится в Асунсьон, Парагвай. В рамках своей работы по исследованию парагвайского Чако, аргентинские антропологи получили это настоящее документальное сокровище и пять лет назад связались с Мортенсеном, владельцем издательства Персеваль Пресс чтобы заинтересовать его проектом издания книги об этнографическом труде Шмидта. "Я узнал много нового во время этой путешествия," сказал актер во время презентации книги в столице Аргентины, где продавал экземпляры произведения для того, чтобы пожертвовать деньги в музей Андреса Барберо. Мортенсен подчеркнул, что фотографии являются "историческим и эстетическим" богатством , и что целью было сделать книгу, которая имеет ценность в качестве издания "искусство и его академический вклад". Макс Шмидт родился в Альтоне (Германия), был адвокатом, который после изучения антропологии, переехал в Южную Америку для исследования коренных народов Южной Америки в первой половине ХХ века и до самой своей смерти, в Асунсьоне в 1950 году. "Шмидт начал свое путешествие в Мату-Гросу (Бразилия), а затем переехал в Парагвай, где он возглавлял музей, который сейчас носит имя Андреса Барберо. Там он оставил свою коллекцию фотопластин с фотографиями, которые сейчас содержатся в книге", сказал Диего Вильяр. На фотографиях изображены сцены из жизни племен в Бразилии, снятые между 1901 и 1928 годами и Парагвая, снятые в 1935 году. "Шмидт несколько забытый и не очень известный антрополог и с помощью этой книги мы хотим исправить ситуацию", сказал аргентинский эксперт. Оба антрополога и Мортенсен ездили в Асунсьон для посещения Этнографического Музея Андреаса Барберо и для отбора фотографий Шмидта. Мортенсен взялся сам привезти все материалы в Соединенные Штаты, для реставрации и оцифровки. Актер рассказал, что, когда он вез фотографии в ручной клади во время полета в США чувствовал себя "достаточно нервным", также, как когда впервые взял своего "сына в путешествие на самолете." В минувшие выходные мы вернули материалы в музей, в Асунсьоне, и они не могли поверить, потому что проявились настолько новые лица, которые были скрыты за плесенью (?) которая была на фотографиях", сказал Вильяр. На фотографиях показаны члены общин коренных народов, почти неизвестные до того, как немецкий исследователь задокументировал их деятельность в своей повседневной жизни. Шмидт сделал эти фотографии тяжелой старой камерой на фотопластинах, с которой он совершил путешествие по джунглям в бесстрашных приключениях. "Мне удалось убедить одного из вождей в безвредности моего фотографического аппарата. Я попросил его посмотреть в зеркало камеры, а сам встал перед объективом. Проверив, что отражение не причинило мне никакого вреда, они последовали моему примеру и так я смог сфотографировать всю группу ", рассказал однажды Шмидт, говоря о нескольких из его многочисленных подвигов по получению снимков. По словам Боссерт, основная цель этой книги этнографическая, т.е. "восстановить потерянные лица и сцены повседневной жизни" Бразилии и Парагвая. Для аргентинского антрополога, эти фотографии являются свидетельством "избранного" из "образа жизни, который быстро умрет", но который будет навсегда сохранен благодаря работе такого "гуманиста", как Шмидт. Мортенсен упомянул, что готовит другую подобную книгу, но о коренных народах северной аргентинской провинции Сальта. Актер сказал, что ему бы хотелось, чтобы "все южноамериканские правительства сотрудничали" в подобных начинаниях для спасения культур коренных народов. (Agencia EFE)
Rita-chka-1: Оксан , твой перевод? Виггович - умничка)) полезный вид деятельности Приятно узнать было.
Нэнья: да, мой ))
Annette: Спасибо за перевод! Да, Вигго молодец, хорошими и полезными делами занимается :)
Imagine: Какой Вигго молодец! Я всегда была высокого мнения о его просветительской деятельности.
Taro: gracias, querida..que lindo!!!
Нэнья: de nada
Rita-chka-1: Опять ,иносраные слова(((
Taro: во-во..неприличными словами не выражаться!!!
Taro: статья на французком а именно -Вигго начинает сьемки в главной роли по Камю 21 октября "L'hôte" d'Albert Camus transposé au cinéma Publié le 18 octobre 2013 par vt La nouvelle d'Albert Camus est adaptée par David Oelhoffen sous le titre Loin des hommes, avec Viggo Mortensen et Reda Kateb dans les rôles principaux. Annoncé au dernier Festival du Cannes, l'adaptation de L'hôte, l'une des nouvelles du recueil d'Albert Camus, L'exil et le Royaume, se concrétise dès ce lundi 21 octobre. David Oelhoffen commence le tournage du film, qui sera intitulé Loin des hommes. Le scénario est écrit par le cinéaste français, qui n'avait rien réalisé depuis Nos retrouvailles il y a 6 ans et Antoine Lacomblez (auteur de Idaho, hiver 73, Robert Laffont), qui a souvent collaboré avec Alexandre Arcady. Viggo Mortensen (Le Seigneur des anneaux, History of Violence, La route) incarne le rôle principal du film. Reda Kateb (Mafiosa, Zero dark Thirty) s'est ajouté au générique de cette production de 5,3 millions d'euros, selon les informations du Film Français. L'hôte est l'un des six textes du recueil de nouvelles L'exil et le royaume. Il raconte l'histoire d'un instituteur européen d'Algérie, isolé dans son école par l'hiver, et confronté malgré lui aux problèmes de la colonisation française. Les gendarmes le chargent de conduire un prisonnier de droit commun aux autorités locales mais il préfère offrir au criminel la liberté. Celui-ci se rend de lui-même en prison… L'exil et le royaume est paru chez Gallimard en 1957. Le recueil est disponible dans tous les formats, y compris numérique. Né il y a 100 ans, Albert Camus fait l'objet de multiples publications, commémorations et hommages en France cet automne. http://www.livreshebdo.fr/actualites/edition/actualites/-l-hote--d-albert-camus-transpose-au-cinema-/11527.aspx
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