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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/

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