In the first season of Disney+’s Percy Jackson and the Olympians, the titular teenaged demigod and his compatriots travel across the country, with stops from St. Louis to Las Vegas, on a mission to prevent war among the Greek gods. However, cinematographer Pierre Gill and his crew never left the vicinity of Vancouver. Percy Jackson is the first show to use Industrial Light & Magic’s new 20,000-square-foot StageCraft Volume in the Canadian city. Gill estimates 30 percent of his episodes were shot in the virtual production environment on its 95-foot LED wall. With the show now streaming in its entirety […]
The post Shooting in Ilm’s New StageCraft Volume Virtual Production Facility: Dp Pierre Gill on Percy Jackson and the Olympians first appeared on Filmmaker Magazine.
The post Shooting in Ilm’s New StageCraft Volume Virtual Production Facility: Dp Pierre Gill on Percy Jackson and the Olympians first appeared on Filmmaker Magazine.
- 3/28/2024
- by Matt Mulcahey
- Filmmaker Magazine - Blog
In the first season of Disney+’s Percy Jackson and the Olympians, the titular teenaged demigod and his compatriots travel across the country, with stops from St. Louis to Las Vegas, on a mission to prevent war among the Greek gods. However, cinematographer Pierre Gill and his crew never left the vicinity of Vancouver. Percy Jackson is the first show to use Industrial Light & Magic’s new 20,000-square-foot StageCraft Volume in the Canadian city. Gill estimates 30 percent of his episodes were shot in the virtual production environment on its 95-foot LED wall. With the show now streaming in its entirety […]
The post Shooting in Ilm’s New StageCraft Volume Virtual Production Facility: Dp Pierre Gill on Percy Jackson and the Olympians first appeared on Filmmaker Magazine.
The post Shooting in Ilm’s New StageCraft Volume Virtual Production Facility: Dp Pierre Gill on Percy Jackson and the Olympians first appeared on Filmmaker Magazine.
- 3/28/2024
- by Matt Mulcahey
- Filmmaker Magazine-Director Interviews
The inaugural season of CBC and HBO Max series “Sort Of” leads both the television and overall 2022 Canadian Screen Award nominations with 13 nods. CBC’s “Pretty Hard Cases” and CTV Sci-Fi Channel’s “Wynonna Earp” with 11 each, and CBC’s “Coroner” and “Kim’s Convenience” with 10 each are the other leading television nominees.
The Academy of Canadian Cinema and Television revealed on Tuesday 145 nominations across television, film and digital media categories. In film, Shasha Nakhai and Rich Williamson’s “Scarborough” and Danis Goulet’s “Night Raiders” top the nominations with 11 each, while Michael McGowan’s “All My Puny Sorrows” has eight and Bretten Hannam’s “Wildhood” and Ivan Grbovic’s “Drunken Birds” six each.
“21 Black Futures” and “For the Record” lead the digital media nominations with eight each, followed by “The Communist’s Daughter” with six.
Beth Janson, CEO, Academy of Canadian Cinema and Television, said: “We are so fortunate to...
The Academy of Canadian Cinema and Television revealed on Tuesday 145 nominations across television, film and digital media categories. In film, Shasha Nakhai and Rich Williamson’s “Scarborough” and Danis Goulet’s “Night Raiders” top the nominations with 11 each, while Michael McGowan’s “All My Puny Sorrows” has eight and Bretten Hannam’s “Wildhood” and Ivan Grbovic’s “Drunken Birds” six each.
“21 Black Futures” and “For the Record” lead the digital media nominations with eight each, followed by “The Communist’s Daughter” with six.
Beth Janson, CEO, Academy of Canadian Cinema and Television, said: “We are so fortunate to...
- 2/15/2022
- by Naman Ramachandran
- Variety Film + TV
"We're so bounded by time, by its order. But now I am not so sure I believe in beginnings and endings." There's a lovely new video on YouTube to watch titled "The Beauty of Denis Villeneuve." It's made by a French movie lover who runs a Yt channel called "The Beauty Of" making short videos about the beautiful cinematography found in various films & TV & games. This one is all about Villeneuve and his movies, from Incendies to Dune and everything else (he has made 10 features in total so far). All set to the music "On the Nature of Daylight" also heard in Arrival. Villeneuve has worked with these great cinematographers: Greig Fraser, Roger Deakins, Bradford Young, André Turpin, Nicolas Bolduc, and Pierre Gill. There's many other memorable shots not seen in this video, but this just makes me want to rewatch every last one of his movies. Thanks to Kottke for the tip on this.
- 11/15/2021
- by Alex Billington
- firstshowing.net
An object is never just an object in a Jean-Pierre Jeunet film, every artifact visible in his frames represents a piece of his wondrous imagination transmuted into its tangible form. Assertively, Jeunet refers to the collection of elements that compose a film not as a toolbox, but as a toy box in which every vibrant component serves a purpose to create a greater treasure. The auteur revels in the enchanting playfulness of his craft and propels it to new inventive heights with painstaking artistry. Each magical thought populates his worlds like unexpected gifts waiting to be continuously discovered with every viewing.
Such meticulously devotion for detail is as prevalent in the physical elements that construct his narrative as in the characters that emanate from his boundless ingenuity. Delightfully offbeat and adorned with endearingly eccentric qualities, they are all idiosyncratic children of his dark preoccupations and uplifting fantasies. From Amélie Poulain and her mission to spread joy, to Louison’s quirky quest for love in “Delicatessen,” or Mathilde’s unbreakable hope in “A Very Long Engagement," and even T.S. Spivet’s desire to use his genius for practical purposes to bond with his family. Each one struggling to achieve a triumph much bigger than themselves, while roaming Jeunet’s sublimely beautiful spaces.
Jeunet is magician who channels his visionary powers into stylistic marvels and poignant storytelling. Therefore, when after several years of arduous work he releases a new feature, it becomes a major event for cinema lovers around the world. Unsurprisingly, when I found out his most recent film was finally being in released stateside an overwhelming feeling of excitement took over me. However, it was strange that I had not heard anything about this release until the week of. It was only when searching that week’s releases that “The Young and Prodigious T.S. Spivet” appeared – two years after its original release in most countries.
On The Weinstein Company’s official site there was no mention of the film, neither on their Facebook page, YouTube channel, or Twitter account. It was as if they had no association with Jeunet’s film, yet it was well known that the company had acquired the rights early on. The director had been verbal about the uncertainty of the film’s U.S. release due to Harvey Weinstein’s desire to create his own cut of the film. Still, I refused to believe that a film by such an important filmmaker could simply be quietly dumped into theaters without any effort to promote it.
TWC never replied to any of my emails, and every PR person and fellow journalist I asked had no idea the film was even scheduled to open that week on Friday July 31st. After tracking down Jean-Pierre Jeunet’s French representatives, they pointed me to Gaumont, the French distributor and sales agent that handled the film. Both mentioned that neither they nor Mr. Jeunet were even aware of the U.S. release. “As you know, the worst or the best can happen with TWC. For this release we definitely face the worst,” added one them.
It’s outrageous and insulting to think that a filmmaker of Jeunet’s caliber still has to endure a distributor’s pressures to reedit a film or face retribution that directly affects the release of his work in a major market. Unfortunately, in the spectrum of Harvey Weinstein’s vengeful antics this has not been the worst. Regardless of whether or not critics dislike Olivier Dahan's “Grace of Monaco,” it’s ludicrous to think that the film that opened the 2014 Cannes Film Festival, starring Nicole Kidman, and bought by one of the U.S. most important distributors, could end up premiering on Lifetime. This paints a scary picture for filmmakers, as it seems that in order to receive a successful release from certain distributors they must compromise their artistic integrity.
To discuss this terrible occurrence and the film itself, Mr. Jeunet graciously agreed to speak with me via Skype from Europe. Despite the circumstances, it was a dreamlike experience to have the opportunity to chat with one of cinema’s greatest directors, whose films have filled so many with mesmerizing wonder.
Once I had introduced myself and thanked him for his time, Mr. Jeunet began the interview inquiring about the release of his latest film "The Young and Prodigious T.S. Spivet," which is ironically his most American work to date and has been blatantly disowned by its U.S. distributor.
Read More: Jeunet's Disarmingly Imaginative 'The Young and Prodigious T.S. Spivet' Analyzes American Duality with Dark Undertones and Awe-Inspiring 3D Cinematography
Jean-Pierre Jeunet: Have you seen the film?
Aguilar: Yes, I've seen it twice now.
Jean-Pierre Jeunet: Did you see it in 3D?
Aguilar: Yes, I was lucky enough to be able to see it on the big screen and in 3D
Jean-Pierre Jeunet: Where did you see it?
Aguilar: I went to the only theater in L.A. playing the film in 3D, the Downtown Independent.
Jean-Pierre Jeunet: How many theaters in L.A. are playing "T.S. Spivet"? Is it only playing in one theater?
Aguilar: I think about 4 or 5 theaters in total, but only one of those played it in 3D.
Jean-Pierre Jeunet: But there was no advertisement, no commercials, no promotion, no nothing, right? So I suppose the theaters were empty.
Aguilar: Yes, sadly there were only a few people there. I'm not sure if you are aware but the U.S trailer for the film came out on Thursday July 30th, just a day before the release. Nobody knew about the release as there were no press screening, a press release, or even any mention of the film in The Weinstein Company’s website. I found out the film was opening by chance. TWC was not replying to any press inquiries related to your film. Were you aware of any of this?
Jean-Pierre Jeunet: Absolutely not. We learned about this by chance because they have a contract with Netflix. The contract says that you have to release the film in 100 theaters, no more and no less. This is the only reason they released the film, to keep that contract and keep a good relationship with Netflix. It's also probably because Harvey Weinstein is still pissed off because I refused to reedit my film. "T.S. Spivet" is a fake American movie because it's a movie produced in Europe and Canada, so I have the final cut. I always choose this specifically to avoid this kind of problem, but with Mr. Weinstein you never avoid this kind of problem, of course [Laughs]. You know, we had exactly the same story with "Delicatessen," a long time a go. With "Amelie" he wanted me to reedit it, but because it was a success he decided to release the film in the same version as Europe. He wanted Caro and me to reedit "Delicatessen" but we said, "Ok. We have another idea for a modification, you cut our names out of the credits," so they never cut "Delicatessen" either. However, "Delicatessen" only became a success on video because it had a very bad theatrical release. But this release of "T.S. Spivet" is just a caricature. [Laughs].
Aguilar: This is your most American film, which could have had a better chance with audiences here in the U.S. It's in English and you have big names like Helena Bonham Carter and Judy Davis. It's a shame the release took so long and was handled like this.
Jean-Pierre Jeunet: It was an American movie. Kyle Catlett, the kid, is from New Jersey. He is an American kid. It's a pity because this is my only American movie and it was not distributed in the U.S. Now it's being distributed but not under good conditions. It's also a pity because when Harvey Weinstein signed the deal he said, "We will do something even better than with 'Amelie'" and when he learned I didn't want to modify the film he gave up because he wanted to reedit the film. He needs that to survive. He is like a dog who needs to pee on a tree.
Aguilar: What did he want you to cut or modify? Was it about the darker undertones in the film?
Jean-Pierre Jeunet: We don't know! It's a question of principle. He doesn't even know it himself probably. He needs to give the film to an American editor and say, "Do something!" There is not a specific problem, he just needs to reedit the film. He does that with every movie except "The Artist." You know why? Michel Hazanavicius told me it was because the score was part of the entire film and matched the entire film. If Harvey Weinstein had reedited the film he would have had to rerecord the whole score one more time and it would have been very expensive. So he didn't reedit the film [Laughs]. It was very clever of Hazanavicius in fact.
Aguilar: Were you angry that the film wasn't getting released in the U.S. for so long?
Jean-Pierre Jeunet: I was very sad, not angry, but very sad. Now it's been two years and I accept it. You can never deal with Mr. Weinstein. Of course I didn't do that, it was Gaumont the French distributor. Other U.S. distributors wanted "T.S. Spivet" and when they told me that Weinstein wanted it I told them, "Be careful, because we know him and he will want to reedit." They said, "No, no, he will respect your film. He knows that. He won't touch a frame." Of course, he cheats all the time.
Aguilar: Now tell me about the film. I know it's been two years, so hopefully you remember the details. But since you never got the chance to do any U.S. press for the films, I'm sure people want to know more. How did you become aware of the book? It feels like a perfect match. It's like if the book was written exactly for your sensibilities.
Jean-Pierre Jeunet: I have a reader. He read the book and said it was for me. I was in Australia shooting some commercials and he send me the book and told me, "Read as soon as as possible because it's a book for you." Maybe it was a book too much for me because it's very close to my own preoccupations. I knew it wasn't going to be too easy because the main character is a kid and it's not a film for kids. That's probably the reason it wasn't a huge success everywhere. It's always the same story with films with kids, like the Stephen Daldry movie,"Extremely Loud & Incredibly Close," or the Terry Gilliam's movie, "Time Bandits." Every time that you have the main character be a kid it's not so easy.
Aguilar: I feel there's a connection between T.S. Spivet and Amelie Poulain. They both have this broken relationship with their parents after a tragic event and they are both incredibly creative. Is that something that drew you into the book?
Jean-Pierre Jeunet: Yeah. You know, when I met Reif Larsen, the author of the novel, he told me, "When I saw 'Amelie' I had the feeling that someone had scratched my head." We have he same feelings, we use the same references, and we are now very close. He is kind of like a son to me.
Aguilar: Do you feel like you gravitate to these type of characters and stories whether you are writing them or adapting them?
Jean-Pierre Jeunet: It's very difficult to find a story for a feature because you are going to spend 3 or 4 years of your life on it. In some ways the story of T.S is always the same story of all my films. It's a story of a kid fighting against a monster. That's the theme of all my films. But this one was an opportunity to make something different for me because it was in English and with big American landscapes. It was also the opportunity to shoot in 3D because T.S. Spivet's objects or creations were an opportunity to create something original in 3D, so I was very happy to make this adaptation.
Aguilar: Tell me about working in 3D. It feels like today films use it in a gratuitous way or simply for commercial purposes, but in "T.S. Spivet" there is a specific reason for its use and it's always motivated by the story.
Jean-Pierre Jeunet: Absolutely, it was part of the concept from the beginning. During the writing and during the storyboard process I was thinking about 3D. It wasn't just a commercial reason because it's complicated, especially when you are picky. You spend a lot of time on it and you lose some time on set, you lose some time during the post-production to fix every detail to avoid, for example, anything that could cause headaches. We made something, I would say, almost perfect technically, although it's never perfect but it's not bad. We had the stereographer Demetri Portelli, he worked on "Hugo," the Scorsese movie.
Aguilar: So you got the best of the best in terms of 3D
Jean-Pierre Jeunet: Yes, and we got every award related to 3D. We got three or four awards. One from the Advance Imaging Society, one from Camerimage, one Lumiere Award, and we got the French César for the Cinematography. We got a lot of awards for both the cinematography and the use of 3D.
Aguilar: For me the film is about a certain American duality, the one driven by intellectual pursuits, modernity, and invention, and the other that's more traditional, rural, and almost mythical. T.S.'s father is a cowboy and his mother is a scientist, but he is in between these two realities. .
Jean-Pierre Jeunet: Yes. In someways I am T.S. Spivet because, like him, I love to draw sketches and to create some inventions. Sometimes I win an award like he does. I don't take the train - I'm afraid of trains - but I take an airplane to get my award and, like T.S., I like to go back to my ranch to draw sketches because I love doing that. I'm a lot like T.S. Spivet, but I'm not a genius.
Aguilar: It's also a film about American culture and some of its negative aspects. There is evidently a certain commentary about the culture of guns in this country, but there is also the talk show sequence, which is very much about how the media seeks conflict and exploits emotions as an spectacle.
Jean-Pierre Jeunet: The guns especially are very American, but I didn't think about that when I made the film. But then, when you have an accident or a event involving guns happening in the U.S. almost every week, I realized I was speaking about that. The TV aspect is not only in the U.S., it's everywhere, even in France now. They are interested in controversy, scandal, polemic. That's everywhere now.
Aguilar: Tell about the production design, which is always perfect in your films. Every frame in every film you make is packed with so many whimsical details.
Jean-Pierre Jeunet: I love that. I love to spend a lot of time to prepare and to create some objects just for the film. Now all these things are in my office in Paris. I have a collection of objects from all my films. I love details and I love to invent and be picky with everything. It's a kind of toy box. Orson Welles spoke about his electric train. It's kind of like a Meccano set in which everything is about making the most beautiful film you can. In this box you have the costumes, the dialogue, the music, the production design, you have everything, and the game is to use everything to build this toy.
Aguilar: Regarding "T.S. Spivet," were you concerned about the fact that one of the main plot points in the story is a young boy's death? Did you worry about how this would be perceived by the audience?
Jean-Pierre Jeunet: That was something in the book that I knew from the beginning wouldn't be easy. Of course, when you speak about the death of a kid it's not easy, especially for kids. But I accepted that because I was very moved by the speech at the end of the novel. That was a big moment to shoot with Kyle Catlett.
Aguilar: Dominique Pinon is in this film as in every one of your films. You always find a great role to include him.
Jean-Pierre Jeunet: He can speak like an American because he was a student in the U.S, so I didn't see any reason not to include Dominique Pinon because he surprises me every time. This time it was very difficult because he only had two days and he came from Paris to do it. We shot for two nights and he came back for the premiere of the film in Paris tight before his theater play. Just in case Ron Perlman was ready to replace Dominique Pinon.
Aguilar: Kyle Catlett is incredibly charming in the film. How did you find the ideal young actor to play T.S. Spivet?
Jean-Pierre Jeunet: It's always the same story. You see thousands of kids and suddenly you have a surprise in front of you, by Skype now of course. My first reaction was, "He is too small, too little, too young. He is not T.S. Spivet" But when you have a kid who is a world champion in martial arts, he speaks five languages, and who is able to cry on command, you think, " Oh my God, this is an interesting kid. I have to meet him!" Little by little he became T.S. Spivet
Aguilar: Can you tell me about shooting the Amazon TV pilot, "Casanova."? I can't wait to see what you did with this story.
Jean-Pierre Jeunet: Yes. It's finished. They are be close to releasing it on Amazon. If I understand the rules of the game, if the spectators are happy with it they vote on the internet and say, "We want to see the first season of the series." If they don't say that it will be dead [Laughs]. Those are the rules of the game with Amazon, they are used to doing that. It's strange because they spent $10 million dollars to make something beautiful, and it's a project that makes me think about "Barry Lyndon" or "Dangerous Liaisons." I shot it like if it was a feature, thinking about the details, the costumes, and it was with my usual crew, almost everybody, and we made something beautiful. The director of photography is Pierre Gill, who was in charge of Second Unit in "T.S Spivet."
Aguilar: Diego Luna is the protagonist of "Casanova," and this is your first time working with him. How did that go?
Jean-Pierre Jeunet: I had a great relationship with him. We became friends. Every night we were watching soccer together - the Champions League. He is a great actor and a good guy.
Aguilar: Are you working on a new feature film at all or are you waiting for the right project?
Jean-Pierre Jeunet: I was expecting an idea from you [Laughs].
Aguilar: You've worked in French and English, now you need to make a Jean-Pierre Jeunet film in Spanish.
Jean-Pierre Jeunet: Sure [Laughs]. I'm looking for something but it's very difficult because I would like to surprise myself. I always try to find something new and it's not so easy.
Aguilar: What's your take on the current state of cinema? TV is becoming more important and cinema is changing rapidly.
Jean-Pierre Jeunet: There are so many movies now. When you want to watch a movie on VOD you have some many films to chose from, it's crazy. Now it's so difficult to make something that will endure like "Delicatessen" or "Amelie." Now it's very difficult because you have so many films. But I continue to think that I have to work just for my pleasure, which is very selfish in fact.
Aguilar: After so many years making films and facing all the struggles it involves, why are you still in love with cinema?
Jean-Pierre Jeunet: It's a pleasure to make. I also make something else just for the pleasure of it, and you can find it on my official site, which is English as well. In the news section you will find some pictures of animals I make with stuff found in nature. My wife finds some sticks, wood, or leaves, and I make animals out of them and it's the same process. It's a pleasure to make. Except with my animals I don't need financiers, I don't need money, I don't need a producer, and I don't need Harvey Weinstein to kill it. It's just a pleasure to make.
Aguilar: It's so unfortunate that the "T.S. Spivet" didn't get the released it deserved becasue of someone's control issues
Jean-Pierre Jeunet: It's a question of honor for him. He wants to reedit. He needs to reedit.
Aguilar: At least those lucky enough to see it will see your version. You've kept your creative integrity.
Jean-Pierre Jeunet: Exactly. People will see it on Netflix maybe, in 2D unfortunately, but it will be my film. It won't be Harvey Weinstein's movie.
"The Young and Prodigious T.S. Spivet" is still playing in select theaters around the country.
Such meticulously devotion for detail is as prevalent in the physical elements that construct his narrative as in the characters that emanate from his boundless ingenuity. Delightfully offbeat and adorned with endearingly eccentric qualities, they are all idiosyncratic children of his dark preoccupations and uplifting fantasies. From Amélie Poulain and her mission to spread joy, to Louison’s quirky quest for love in “Delicatessen,” or Mathilde’s unbreakable hope in “A Very Long Engagement," and even T.S. Spivet’s desire to use his genius for practical purposes to bond with his family. Each one struggling to achieve a triumph much bigger than themselves, while roaming Jeunet’s sublimely beautiful spaces.
Jeunet is magician who channels his visionary powers into stylistic marvels and poignant storytelling. Therefore, when after several years of arduous work he releases a new feature, it becomes a major event for cinema lovers around the world. Unsurprisingly, when I found out his most recent film was finally being in released stateside an overwhelming feeling of excitement took over me. However, it was strange that I had not heard anything about this release until the week of. It was only when searching that week’s releases that “The Young and Prodigious T.S. Spivet” appeared – two years after its original release in most countries.
On The Weinstein Company’s official site there was no mention of the film, neither on their Facebook page, YouTube channel, or Twitter account. It was as if they had no association with Jeunet’s film, yet it was well known that the company had acquired the rights early on. The director had been verbal about the uncertainty of the film’s U.S. release due to Harvey Weinstein’s desire to create his own cut of the film. Still, I refused to believe that a film by such an important filmmaker could simply be quietly dumped into theaters without any effort to promote it.
TWC never replied to any of my emails, and every PR person and fellow journalist I asked had no idea the film was even scheduled to open that week on Friday July 31st. After tracking down Jean-Pierre Jeunet’s French representatives, they pointed me to Gaumont, the French distributor and sales agent that handled the film. Both mentioned that neither they nor Mr. Jeunet were even aware of the U.S. release. “As you know, the worst or the best can happen with TWC. For this release we definitely face the worst,” added one them.
It’s outrageous and insulting to think that a filmmaker of Jeunet’s caliber still has to endure a distributor’s pressures to reedit a film or face retribution that directly affects the release of his work in a major market. Unfortunately, in the spectrum of Harvey Weinstein’s vengeful antics this has not been the worst. Regardless of whether or not critics dislike Olivier Dahan's “Grace of Monaco,” it’s ludicrous to think that the film that opened the 2014 Cannes Film Festival, starring Nicole Kidman, and bought by one of the U.S. most important distributors, could end up premiering on Lifetime. This paints a scary picture for filmmakers, as it seems that in order to receive a successful release from certain distributors they must compromise their artistic integrity.
To discuss this terrible occurrence and the film itself, Mr. Jeunet graciously agreed to speak with me via Skype from Europe. Despite the circumstances, it was a dreamlike experience to have the opportunity to chat with one of cinema’s greatest directors, whose films have filled so many with mesmerizing wonder.
Once I had introduced myself and thanked him for his time, Mr. Jeunet began the interview inquiring about the release of his latest film "The Young and Prodigious T.S. Spivet," which is ironically his most American work to date and has been blatantly disowned by its U.S. distributor.
Read More: Jeunet's Disarmingly Imaginative 'The Young and Prodigious T.S. Spivet' Analyzes American Duality with Dark Undertones and Awe-Inspiring 3D Cinematography
Jean-Pierre Jeunet: Have you seen the film?
Aguilar: Yes, I've seen it twice now.
Jean-Pierre Jeunet: Did you see it in 3D?
Aguilar: Yes, I was lucky enough to be able to see it on the big screen and in 3D
Jean-Pierre Jeunet: Where did you see it?
Aguilar: I went to the only theater in L.A. playing the film in 3D, the Downtown Independent.
Jean-Pierre Jeunet: How many theaters in L.A. are playing "T.S. Spivet"? Is it only playing in one theater?
Aguilar: I think about 4 or 5 theaters in total, but only one of those played it in 3D.
Jean-Pierre Jeunet: But there was no advertisement, no commercials, no promotion, no nothing, right? So I suppose the theaters were empty.
Aguilar: Yes, sadly there were only a few people there. I'm not sure if you are aware but the U.S trailer for the film came out on Thursday July 30th, just a day before the release. Nobody knew about the release as there were no press screening, a press release, or even any mention of the film in The Weinstein Company’s website. I found out the film was opening by chance. TWC was not replying to any press inquiries related to your film. Were you aware of any of this?
Jean-Pierre Jeunet: Absolutely not. We learned about this by chance because they have a contract with Netflix. The contract says that you have to release the film in 100 theaters, no more and no less. This is the only reason they released the film, to keep that contract and keep a good relationship with Netflix. It's also probably because Harvey Weinstein is still pissed off because I refused to reedit my film. "T.S. Spivet" is a fake American movie because it's a movie produced in Europe and Canada, so I have the final cut. I always choose this specifically to avoid this kind of problem, but with Mr. Weinstein you never avoid this kind of problem, of course [Laughs]. You know, we had exactly the same story with "Delicatessen," a long time a go. With "Amelie" he wanted me to reedit it, but because it was a success he decided to release the film in the same version as Europe. He wanted Caro and me to reedit "Delicatessen" but we said, "Ok. We have another idea for a modification, you cut our names out of the credits," so they never cut "Delicatessen" either. However, "Delicatessen" only became a success on video because it had a very bad theatrical release. But this release of "T.S. Spivet" is just a caricature. [Laughs].
Aguilar: This is your most American film, which could have had a better chance with audiences here in the U.S. It's in English and you have big names like Helena Bonham Carter and Judy Davis. It's a shame the release took so long and was handled like this.
Jean-Pierre Jeunet: It was an American movie. Kyle Catlett, the kid, is from New Jersey. He is an American kid. It's a pity because this is my only American movie and it was not distributed in the U.S. Now it's being distributed but not under good conditions. It's also a pity because when Harvey Weinstein signed the deal he said, "We will do something even better than with 'Amelie'" and when he learned I didn't want to modify the film he gave up because he wanted to reedit the film. He needs that to survive. He is like a dog who needs to pee on a tree.
Aguilar: What did he want you to cut or modify? Was it about the darker undertones in the film?
Jean-Pierre Jeunet: We don't know! It's a question of principle. He doesn't even know it himself probably. He needs to give the film to an American editor and say, "Do something!" There is not a specific problem, he just needs to reedit the film. He does that with every movie except "The Artist." You know why? Michel Hazanavicius told me it was because the score was part of the entire film and matched the entire film. If Harvey Weinstein had reedited the film he would have had to rerecord the whole score one more time and it would have been very expensive. So he didn't reedit the film [Laughs]. It was very clever of Hazanavicius in fact.
Aguilar: Were you angry that the film wasn't getting released in the U.S. for so long?
Jean-Pierre Jeunet: I was very sad, not angry, but very sad. Now it's been two years and I accept it. You can never deal with Mr. Weinstein. Of course I didn't do that, it was Gaumont the French distributor. Other U.S. distributors wanted "T.S. Spivet" and when they told me that Weinstein wanted it I told them, "Be careful, because we know him and he will want to reedit." They said, "No, no, he will respect your film. He knows that. He won't touch a frame." Of course, he cheats all the time.
Aguilar: Now tell me about the film. I know it's been two years, so hopefully you remember the details. But since you never got the chance to do any U.S. press for the films, I'm sure people want to know more. How did you become aware of the book? It feels like a perfect match. It's like if the book was written exactly for your sensibilities.
Jean-Pierre Jeunet: I have a reader. He read the book and said it was for me. I was in Australia shooting some commercials and he send me the book and told me, "Read as soon as as possible because it's a book for you." Maybe it was a book too much for me because it's very close to my own preoccupations. I knew it wasn't going to be too easy because the main character is a kid and it's not a film for kids. That's probably the reason it wasn't a huge success everywhere. It's always the same story with films with kids, like the Stephen Daldry movie,"Extremely Loud & Incredibly Close," or the Terry Gilliam's movie, "Time Bandits." Every time that you have the main character be a kid it's not so easy.
Aguilar: I feel there's a connection between T.S. Spivet and Amelie Poulain. They both have this broken relationship with their parents after a tragic event and they are both incredibly creative. Is that something that drew you into the book?
Jean-Pierre Jeunet: Yeah. You know, when I met Reif Larsen, the author of the novel, he told me, "When I saw 'Amelie' I had the feeling that someone had scratched my head." We have he same feelings, we use the same references, and we are now very close. He is kind of like a son to me.
Aguilar: Do you feel like you gravitate to these type of characters and stories whether you are writing them or adapting them?
Jean-Pierre Jeunet: It's very difficult to find a story for a feature because you are going to spend 3 or 4 years of your life on it. In some ways the story of T.S is always the same story of all my films. It's a story of a kid fighting against a monster. That's the theme of all my films. But this one was an opportunity to make something different for me because it was in English and with big American landscapes. It was also the opportunity to shoot in 3D because T.S. Spivet's objects or creations were an opportunity to create something original in 3D, so I was very happy to make this adaptation.
Aguilar: Tell me about working in 3D. It feels like today films use it in a gratuitous way or simply for commercial purposes, but in "T.S. Spivet" there is a specific reason for its use and it's always motivated by the story.
Jean-Pierre Jeunet: Absolutely, it was part of the concept from the beginning. During the writing and during the storyboard process I was thinking about 3D. It wasn't just a commercial reason because it's complicated, especially when you are picky. You spend a lot of time on it and you lose some time on set, you lose some time during the post-production to fix every detail to avoid, for example, anything that could cause headaches. We made something, I would say, almost perfect technically, although it's never perfect but it's not bad. We had the stereographer Demetri Portelli, he worked on "Hugo," the Scorsese movie.
Aguilar: So you got the best of the best in terms of 3D
Jean-Pierre Jeunet: Yes, and we got every award related to 3D. We got three or four awards. One from the Advance Imaging Society, one from Camerimage, one Lumiere Award, and we got the French César for the Cinematography. We got a lot of awards for both the cinematography and the use of 3D.
Aguilar: For me the film is about a certain American duality, the one driven by intellectual pursuits, modernity, and invention, and the other that's more traditional, rural, and almost mythical. T.S.'s father is a cowboy and his mother is a scientist, but he is in between these two realities. .
Jean-Pierre Jeunet: Yes. In someways I am T.S. Spivet because, like him, I love to draw sketches and to create some inventions. Sometimes I win an award like he does. I don't take the train - I'm afraid of trains - but I take an airplane to get my award and, like T.S., I like to go back to my ranch to draw sketches because I love doing that. I'm a lot like T.S. Spivet, but I'm not a genius.
Aguilar: It's also a film about American culture and some of its negative aspects. There is evidently a certain commentary about the culture of guns in this country, but there is also the talk show sequence, which is very much about how the media seeks conflict and exploits emotions as an spectacle.
Jean-Pierre Jeunet: The guns especially are very American, but I didn't think about that when I made the film. But then, when you have an accident or a event involving guns happening in the U.S. almost every week, I realized I was speaking about that. The TV aspect is not only in the U.S., it's everywhere, even in France now. They are interested in controversy, scandal, polemic. That's everywhere now.
Aguilar: Tell about the production design, which is always perfect in your films. Every frame in every film you make is packed with so many whimsical details.
Jean-Pierre Jeunet: I love that. I love to spend a lot of time to prepare and to create some objects just for the film. Now all these things are in my office in Paris. I have a collection of objects from all my films. I love details and I love to invent and be picky with everything. It's a kind of toy box. Orson Welles spoke about his electric train. It's kind of like a Meccano set in which everything is about making the most beautiful film you can. In this box you have the costumes, the dialogue, the music, the production design, you have everything, and the game is to use everything to build this toy.
Aguilar: Regarding "T.S. Spivet," were you concerned about the fact that one of the main plot points in the story is a young boy's death? Did you worry about how this would be perceived by the audience?
Jean-Pierre Jeunet: That was something in the book that I knew from the beginning wouldn't be easy. Of course, when you speak about the death of a kid it's not easy, especially for kids. But I accepted that because I was very moved by the speech at the end of the novel. That was a big moment to shoot with Kyle Catlett.
Aguilar: Dominique Pinon is in this film as in every one of your films. You always find a great role to include him.
Jean-Pierre Jeunet: He can speak like an American because he was a student in the U.S, so I didn't see any reason not to include Dominique Pinon because he surprises me every time. This time it was very difficult because he only had two days and he came from Paris to do it. We shot for two nights and he came back for the premiere of the film in Paris tight before his theater play. Just in case Ron Perlman was ready to replace Dominique Pinon.
Aguilar: Kyle Catlett is incredibly charming in the film. How did you find the ideal young actor to play T.S. Spivet?
Jean-Pierre Jeunet: It's always the same story. You see thousands of kids and suddenly you have a surprise in front of you, by Skype now of course. My first reaction was, "He is too small, too little, too young. He is not T.S. Spivet" But when you have a kid who is a world champion in martial arts, he speaks five languages, and who is able to cry on command, you think, " Oh my God, this is an interesting kid. I have to meet him!" Little by little he became T.S. Spivet
Aguilar: Can you tell me about shooting the Amazon TV pilot, "Casanova."? I can't wait to see what you did with this story.
Jean-Pierre Jeunet: Yes. It's finished. They are be close to releasing it on Amazon. If I understand the rules of the game, if the spectators are happy with it they vote on the internet and say, "We want to see the first season of the series." If they don't say that it will be dead [Laughs]. Those are the rules of the game with Amazon, they are used to doing that. It's strange because they spent $10 million dollars to make something beautiful, and it's a project that makes me think about "Barry Lyndon" or "Dangerous Liaisons." I shot it like if it was a feature, thinking about the details, the costumes, and it was with my usual crew, almost everybody, and we made something beautiful. The director of photography is Pierre Gill, who was in charge of Second Unit in "T.S Spivet."
Aguilar: Diego Luna is the protagonist of "Casanova," and this is your first time working with him. How did that go?
Jean-Pierre Jeunet: I had a great relationship with him. We became friends. Every night we were watching soccer together - the Champions League. He is a great actor and a good guy.
Aguilar: Are you working on a new feature film at all or are you waiting for the right project?
Jean-Pierre Jeunet: I was expecting an idea from you [Laughs].
Aguilar: You've worked in French and English, now you need to make a Jean-Pierre Jeunet film in Spanish.
Jean-Pierre Jeunet: Sure [Laughs]. I'm looking for something but it's very difficult because I would like to surprise myself. I always try to find something new and it's not so easy.
Aguilar: What's your take on the current state of cinema? TV is becoming more important and cinema is changing rapidly.
Jean-Pierre Jeunet: There are so many movies now. When you want to watch a movie on VOD you have some many films to chose from, it's crazy. Now it's so difficult to make something that will endure like "Delicatessen" or "Amelie." Now it's very difficult because you have so many films. But I continue to think that I have to work just for my pleasure, which is very selfish in fact.
Aguilar: After so many years making films and facing all the struggles it involves, why are you still in love with cinema?
Jean-Pierre Jeunet: It's a pleasure to make. I also make something else just for the pleasure of it, and you can find it on my official site, which is English as well. In the news section you will find some pictures of animals I make with stuff found in nature. My wife finds some sticks, wood, or leaves, and I make animals out of them and it's the same process. It's a pleasure to make. Except with my animals I don't need financiers, I don't need money, I don't need a producer, and I don't need Harvey Weinstein to kill it. It's just a pleasure to make.
Aguilar: It's so unfortunate that the "T.S. Spivet" didn't get the released it deserved becasue of someone's control issues
Jean-Pierre Jeunet: It's a question of honor for him. He wants to reedit. He needs to reedit.
Aguilar: At least those lucky enough to see it will see your version. You've kept your creative integrity.
Jean-Pierre Jeunet: Exactly. People will see it on Netflix maybe, in 2D unfortunately, but it will be my film. It won't be Harvey Weinstein's movie.
"The Young and Prodigious T.S. Spivet" is still playing in select theaters around the country.
- 8/9/2015
- by Carlos Aguilar
- Sydney's Buzz
The Academy Of Canadian Cinema & Television has announced the Canadian Screen Awards nominees.
“We are exceedingly proud today to reveal the nominees for the 2014 Canadian Screen Awards,” said Academy chair Martin Katz.
“This was a year marked by a record-breaking number of submissions, reflecting a robust level of activity in the screen-based industries in Canada which we will celebrate during Canadian Screen Week, March 3-9. Congratulations to all.”
David Cronenberg will receive the lifetime achievement award. For the full list of winners invcluding television, digital and special awards click here.
The feature nominees in full:
Best Motion Picture
The Dismantlement (Le Démantèlement) – Bernadette Payeur, Marc Daigle
Empire Of Dirt – Jennifer Podemski
Enemy – Kim McCraw, Luc Déry, Miguel A Faura, Niv Fichman, Sari Friedland
The F-Word – Andre Rouleau, David Gross, Macdara Kelleher
Gabrielle – Kim McCraw, Luc Déry
The Grand Seduction – Barbara Doran, Roger Frappier
Maïna – Karine Martin, Michel Poulette, Yves Fortin
Tom At The Farm (Tom À La Ferme) – [link...
“We are exceedingly proud today to reveal the nominees for the 2014 Canadian Screen Awards,” said Academy chair Martin Katz.
“This was a year marked by a record-breaking number of submissions, reflecting a robust level of activity in the screen-based industries in Canada which we will celebrate during Canadian Screen Week, March 3-9. Congratulations to all.”
David Cronenberg will receive the lifetime achievement award. For the full list of winners invcluding television, digital and special awards click here.
The feature nominees in full:
Best Motion Picture
The Dismantlement (Le Démantèlement) – Bernadette Payeur, Marc Daigle
Empire Of Dirt – Jennifer Podemski
Enemy – Kim McCraw, Luc Déry, Miguel A Faura, Niv Fichman, Sari Friedland
The F-Word – Andre Rouleau, David Gross, Macdara Kelleher
Gabrielle – Kim McCraw, Luc Déry
The Grand Seduction – Barbara Doran, Roger Frappier
Maïna – Karine Martin, Michel Poulette, Yves Fortin
Tom At The Farm (Tom À La Ferme) – [link...
- 1/13/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The Academy Of Canadian Cinema & Television has announced its nominees.
“We are exceedingly proud today to reveal the nominees for the 2014 Canadian Screen Awards,” said Academy chair Martin Katz. “This was a year marked by a record-breaking number of submissions, reflecting a robust level of activity in the screen-based industries in Canada which we will celebrate during Canadian Screen Week, March 3-9. Congratulations to all.”
David Cronenberg will receive the lifetime achievement award. For the full list of winners invcluding television, digital and special awards click here.
The fearure nominees in full:
Best Motion Picture
The Dismantlement (Le Démantèlement) – Bernadette Payeur, Marc Daigle
Empire Of Dirt (pictured) – Jennifer Podemski
Enemy – Kim McCraw, Luc Déry, Miguel A Faura, Niv Fichman, Sari Friedland
The F-Word – Andre Rouleau, David Gross, Macdara Kelleher
Gabrielle – Kim McCraw, Luc Déry
The Grand Seduction – Barbara Doran, Roger Frappier
Maïna – Karine Martin, Michel Poulette, Yves Fortin
Tom At The Farm (Tom À La Ferme) – [link...
“We are exceedingly proud today to reveal the nominees for the 2014 Canadian Screen Awards,” said Academy chair Martin Katz. “This was a year marked by a record-breaking number of submissions, reflecting a robust level of activity in the screen-based industries in Canada which we will celebrate during Canadian Screen Week, March 3-9. Congratulations to all.”
David Cronenberg will receive the lifetime achievement award. For the full list of winners invcluding television, digital and special awards click here.
The fearure nominees in full:
Best Motion Picture
The Dismantlement (Le Démantèlement) – Bernadette Payeur, Marc Daigle
Empire Of Dirt (pictured) – Jennifer Podemski
Enemy – Kim McCraw, Luc Déry, Miguel A Faura, Niv Fichman, Sari Friedland
The F-Word – Andre Rouleau, David Gross, Macdara Kelleher
Gabrielle – Kim McCraw, Luc Déry
The Grand Seduction – Barbara Doran, Roger Frappier
Maïna – Karine Martin, Michel Poulette, Yves Fortin
Tom At The Farm (Tom À La Ferme) – [link...
- 1/13/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
HBO and Starz garnered three nominations each as the American Society of Cinematographers announced its TV nominees for the Asc Awards today. Winners will be announced at the 28th Asc Awards for Outstanding Achievement in Cinematography set for February 1 at Hollywood & Highland Ray Dolby Ballroom. Here are the noms: One-Hour Episodic Television Series Steven Bernstein, Asc for Starz Network’s Magic City (“The Sins of the Father”) David Franco for HBO’s Boardwalk Empire (“Erlkönig”) Jonathan Freeman, Asc for HBO’s Game of Thrones (“Valar Dohaeris”) Pierre Gill, Csc for Showtime’s The Borgias (“The Purge”) David Greene, Csc for The CW’s Beauty And the Beast (“Tough Love”) Anette Haellmigk for HBO’s Game Of Thrones (“Kissed by Fire”) Kramer Morgenthau, Asc for Fox’s Sleepy Hollow (“Pilot”) Ousama Rawi, Bsc, Csc for NBC’s Dracula (“The Blood is the Life”) Half-Hour Episodic Series Peter Levy, Acs, Asc for...
- 11/20/2013
- by THE DEADLINE TEAM
- Deadline TV
The American Society of Cinematographers has revealed the television nominees for its 28th annual Outstanding Achievement Awards, which will be held Feb. 1, 2014 at the Hollywood & Highland Ray Dolby Ballroom. The nominees in the category for one-hour episodic television series including a pair from Game of Thrones: Jonathan Freeman for the episode “Valar Dohaeris” and Anette Haellmigk for “Kissed by Fire.” Nominees also include Steven Bernstein for Magic City (“The Sins of the Father”), David Franco for Boardwalk Empire (“Erlkönig”), Pierre Gill for The Borgias (“The Purge”), David Greene for Beauty and the Beast (“Tough Love”), Kramer
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read more...
- 11/20/2013
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
The Colony is a post-apocalyptic thriller that is set for release in theatres April 26th. The film stars Laurence Fishburne and Bill Paxton. Entertainment One and Alliance Films will distribute this film in Canada and these distributors have released a behind-the-scenes featurette for The Colony. The reel covers some of the challenges of production. Cinematographer Pierre Gill relates how certain visual effects shots were set up. Several bridge scenes were particularly difficult to shoot. As well, the actors relate their experiences shooting several hundred feet below ground, in one of N.O.R.A.D.'s decommissioned facilities. This four minute reel also houses extra footage from the film. Film fans can view the entire reel below. Release Date: April 26th (Theatrical). Director: Jeff Renfroe. Writers: Jeff Renfroe, Svet Rouskov, Patrick Tarr, and Pascal Trottier. Cast: Laurence Fishburne, Kevin Zegers, Bill Paxton, Charlotte Sullivan, John Tench, Atticus Dean...
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[[ This is a content summary only. Visit my website for full links, other content, and more! ]]...
- 5/1/2013
- by noreply@blogger.com (Michael Allen)
- 28 Days Later Analysis
Nicolas Bolduc, Paul Sarossy, and the other nominations for the 2011 Canadian Society of Cinematographers Awards have been announced. The Canadian Society of Cinematographers (Csc) is used “to promote the art and craft of cinematography and to provide tangible recognition of the common bonds that link film and video professionals, from the aspiring student and camera assistant to the news veteran and senior director of photography. Csc members are involved in the production of feature films, documentaries, television series, specials and commercials.” The Csc Awards will be handed out on April 2, 2011 at the Frontenac Ballroom, Westin Harbour Castle in Toronto. The full listing of the 2011 Canadian Society of Cinematographers Awards nominations is below.
The Roy Tash Award For Spot News Cinematography
Adam Blair Obstacles in Haiti, CTV News
Gord Edick G20 Shots Fired/Protestors Confronted, Global News
George Papadionysia Despair in Port-au-Prince, CTV News
The Stan Clinton Award For News Essay...
The Roy Tash Award For Spot News Cinematography
Adam Blair Obstacles in Haiti, CTV News
Gord Edick G20 Shots Fired/Protestors Confronted, Global News
George Papadionysia Despair in Port-au-Prince, CTV News
The Stan Clinton Award For News Essay...
- 3/4/2011
- by filmbook
- Film-Book
Yesterday, the Genie Awards, Canada's equivalent of the Oscars for those who don't know, were handed out. This year, Polytechnique dominated the Genie Awards and even took the award for Best Motion Picture. However, the presentation of the award on TV and on webcast was too short. Besides, it wasn't a live presentation and not all the awards were shows on TV/webcast. Second Besides: When will a TV network (and not some cable network that few Canadians have) broadcast the Genie Awards? Anyway, without further ado, here's the presentation of the winners.
1. Best Motion Picture
* 3 saisons.
* Before Tomorrow.
* Fifty Dead Men Walking.
* Nurse.Fighter.Boy.
* [Winner] Polytechnique.
2. Achievement in Direction:
* Marie-Hélène Cousineau and Madeline Piujuq Ivalu for Before Tomorrow.
* Kari Skogland - Fifty Dead Men Walking.
* Charles Officer - Nurse.Fighter.Boy.
* [Winner] Denis Villeneuve - Polytechnique.
* Bruce McDonald - Pontypool.
3. Best Original Screenplay:
* Atom Egoyan - Adoration.
* Émile Gaudreault and Ian Lauzon - De père en flic...
1. Best Motion Picture
* 3 saisons.
* Before Tomorrow.
* Fifty Dead Men Walking.
* Nurse.Fighter.Boy.
* [Winner] Polytechnique.
2. Achievement in Direction:
* Marie-Hélène Cousineau and Madeline Piujuq Ivalu for Before Tomorrow.
* Kari Skogland - Fifty Dead Men Walking.
* Charles Officer - Nurse.Fighter.Boy.
* [Winner] Denis Villeneuve - Polytechnique.
* Bruce McDonald - Pontypool.
3. Best Original Screenplay:
* Atom Egoyan - Adoration.
* Émile Gaudreault and Ian Lauzon - De père en flic...
- 4/13/2010
- by anhkhoido@hotmail.com (Anh Khoi Do)
- The Cultural Post
Maxim Gaudette Polytechnique (top); Joshua Jackson One Week (bottom) Denis Villeneuve’s Polytechnique, about a lone gunman’s 1989 massacre of 14 women at Montreal’s École Polytechnique, swept the Genie Awards, Canada’s Oscars, on Monday night at Toronto’s Guvernment/Kool Haus Entertainment complex. Shot in black and white and with sparse use of dialogue, Polytechnique won nine of its 11 nominations: Best Film, Best Director, Best Actress (Karine Vanasse), Best Supporting Actor (Maxim Gaudette, who plays mass murderer Marc Lépine), Best Original Screenplay (Jacques Davidts), Best Cinematography (Pierre Gill), Best Editing (Richard Comeau), Best Sound and Best Sound Editing. According to Peter Howell in the Toronto Star, the controversial production "was kept under tight security to avoid protests or other disruptions." Although Polytechnique grossed "a respectable" [...]...
- 4/13/2010
- by Andre Soares
- Alt Film Guide
Anne Dorval in I Killed My Mother Best film J’ai tué ma mère Best animated film Robe de guerre by Michèle Cournoyer Best documentary film Last Train Home Best director Denis Villeneuve for Polytechnique Best actress Anne Dorval for J’ai tué ma mère Best actor Sébastien Ricard for Dédé à travers les brumes Best supporting actress Sandrine Bisson for 1981 Best supporting actor Maxim Gaudette for Polytechnique Best screenplay Xavier Dolan for J’ai tué ma mère Best short film Danse Macabre Best cinematography Pierre Gill for Polytechnique Best music Dédé à travers les brumes Best costumes Judy Jonker for Dédé à travers les brumes Best editing Richard Comeau for Polytechnique Art direction David Pelletier for Dédé à travers les brumes Best sound Pierre Blain, Claude Beaugrand, Stephane Bergeron for Polytechnique Best makeup Colleen Quinton for Cadavres Best hairdressing Linda Gordon for 1981 Most successful film outside Quebec J’ai...
- 4/3/2010
- by Steve Montgomery
- Alt Film Guide
Xavier Dolan's I Killed My Mother edged out Denis Villeneuve's Polytechnique, claiming the top prize and collecting a total of five trophies, beating Villeneuve's film by one. Since Cannes last May, both films have been pitted against each other: while Villeneuve's film had the edge on the Quebecois box office front and received acclaim at Canada's Oscars (Genies), it was the debut film from Dolan that overwhelmed audiences on a global level, winning at several film festivals including three in Cannes - Xavier Dolan's I Killed My Mother edged out Denis Villeneuve's Polytechnique, claiming the top prize and collecting a total of five trophies, beating Villeneuve's film by one. Since Cannes last May, both films have been pitted against each other: while Villeneuve's film had the edge on the Quebecois box office front and received acclaim at Canada's Oscars (Genies), it was the debut film from...
- 3/29/2010
- IONCINEMA.com
This morning, the Academy of Canadian Cinema and Television (Acct) had announced the nominees for the 30th Genie Awards. For those who don't know, this is the Canadian equivalent of the Oscars. This year, the leader in the race is Polytechnique with 11 nominations. Moreover, the winners will be announced on April 12, 2010.
1. Best Motion Picture
* 3 saisons.
* Before Tomorrow.
* Fifty Dead Men Walking.
* Nurse.Fighter.Boy.
* Polytechnique.
2. Achievement in Direction:
* Marie-Hélène Cousineau and Madeline Piujuq Ivalu for Before Tomorrow.
* Kari Skogland - Fifty Dead Men Walking.
* Charles Officer - Nurse.Fighter.Boy.
* Denis Villeneuve - Polytechnique.
* Bruce McDonald - Pontypool.
3. Best Original Screenplay:
* Atom Egoyan - Adoration.
* Émile Gaudreault and Ian Lauzon - De père en flic (Father and Guns).
* Charles Officer and Ingrid Veninger - Nurse.Fighter.Boy.
* Jacques Davidts - Polytechnique.
* David Bezmozgis - Victoria Day.
4. Best Adapted Screenplay:
* Marie-Hélène Cousineau, Susan Avingaq and Madeline Piujuq Ivalu - Before Tomorrow.
* Kari Skogland - Fifty Dead Men Walking.
1. Best Motion Picture
* 3 saisons.
* Before Tomorrow.
* Fifty Dead Men Walking.
* Nurse.Fighter.Boy.
* Polytechnique.
2. Achievement in Direction:
* Marie-Hélène Cousineau and Madeline Piujuq Ivalu for Before Tomorrow.
* Kari Skogland - Fifty Dead Men Walking.
* Charles Officer - Nurse.Fighter.Boy.
* Denis Villeneuve - Polytechnique.
* Bruce McDonald - Pontypool.
3. Best Original Screenplay:
* Atom Egoyan - Adoration.
* Émile Gaudreault and Ian Lauzon - De père en flic (Father and Guns).
* Charles Officer and Ingrid Veninger - Nurse.Fighter.Boy.
* Jacques Davidts - Polytechnique.
* David Bezmozgis - Victoria Day.
4. Best Adapted Screenplay:
* Marie-Hélène Cousineau, Susan Avingaq and Madeline Piujuq Ivalu - Before Tomorrow.
* Kari Skogland - Fifty Dead Men Walking.
- 3/1/2010
- by anhkhoido@hotmail.com (Anh Khoi Do)
- The Cultural Post
- Long-time cinematographer Pierre Gill (he was on the money with Denis Villeneuve's Polytechnique) will be making his feature film debut directing Adrien Brody, veteran actress Isabelle Adjani, and Twilight alumni Rachelle Lefevre in Vk - all the actors are of course attached at this point. The period piece, Canadian-French co-production with a 35 million dollar price tag that will begin lensing in either 2010 or Spring of 2011. Written by Doug Taylor, the period piece is about baron Wolfgang von Kempelen who created "The Turk" - a fake chess-playing machine constructed in the late 18th century. When a gifted engineer's comfortable life is ruined by a rival, the chess-playing automaton he invents gives him and his family a chance to start a new one. Inspired by the true story of Baron Von Kempelen (Brody), who traveled through Europe to play against famous historical figures, from Catherine II of Russia to Benjamin Franklin,
- 10/5/2009
- IONCINEMA.com
Canada's Movie Central and The Movie Network today announced that they have given the greenlight to a four-hour mini-series adaptation of the long-running superhero 'The Phantom'. The series will be a co-production with Sci Fi Channel (soon to be renamed Syfy). It will debut on Movie Central and The Movie Network in spring 2010.
The Phantom was created by Lee Falk and first appeared in 1936 as a newspaper strip. Since then a character with that name has appeared in comic books by numerous publishers throughout the world. The Phantom has also starred in animated and live-action screen adaptations. The latter include a 1940s movie serial, a 1996 theatrical film and a 1961 TV pilot. Another feature film adaptation, The Phantom: Legacy, is also in the works. Speaking to Moviehole, screenwriter Tim Boyle said that the movie is still at the scripting stage and he believes it will go into pre-production...
The Phantom was created by Lee Falk and first appeared in 1936 as a newspaper strip. Since then a character with that name has appeared in comic books by numerous publishers throughout the world. The Phantom has also starred in animated and live-action screen adaptations. The latter include a 1940s movie serial, a 1996 theatrical film and a 1961 TV pilot. Another feature film adaptation, The Phantom: Legacy, is also in the works. Speaking to Moviehole, screenwriter Tim Boyle said that the movie is still at the scripting stage and he believes it will go into pre-production...
- 6/8/2009
- CinemaSpy
"Lost and Delirious" is drenched in the passions of teenage girls shacked up in a posh boarding school. It's an atmosphere lush with supercharged emotions, adolescent rebellion, lesbian eroticism and much heavy breathing. At times, this first English-language film from French-Canadian director Lea Pool feels like those hermetically sealed Hollywood dramas of old where nothing happens that is not about its heroines. Even the fate of a wounded falcon and the affable friendship of the school gardener are mere reflections of the turmoil in these young women's lives.
Pool's lovely actresses do a sensitive job portraying adolescent angst, suggesting how every emotional wave that strikes -- from homesickness to jealousy -- hits with tsunami-like intensity. Female audiences might respond to the overripe melodrama, but the audience for the Lions Gate release necessarily will be limited to those who can't resist Gothic tales.
The film, written by Judith Thompson, derives from Susan Swan's novel "The Wives of Bath". Most of its characters appear as refugees from the book's more detailed narrative, missing much of their baggage and looking a little lost. Teachers, parents and the gardener drop in and out of the heroines' lives without the viewer understanding their relationships to the young women. When, in an early scene, one young woman rudely challenges a teacher in her classroom, we don't grasp what has caused the outburst or how we're supposed to feel about the confrontation.
The story is narrated by Mary Bradford (Mischa Barton), known as Mouse. The shy small-town girl is adopted quickly by her senior roommates, the temperamental Pauline (Piper Perabo) and ever-so-perfect Victoria (Jessica Pare).
Mouse soon realizes Paulie and Tory are lovers, and the two don't really bother to hide their physical affection. So when Tory's younger sister and her pals catch the two in bed one morning, we're understandably bewildered why this could mean social ruin for Tory.
Tory's strict parents would never understand such an infatuation, she explains. So Tory cuts Paulie off and dates a boy to prove she is "normal." Shattered, Paulie seeks solace in nursing an injured falcon back to health. Meanwhile, Mouse leads an uneventful life except in her duties as referee and go-between for her troubled roomies.
Things are clearly marching toward tragedy, with ominous signs and portents involving falconry, fencing and quotations from Shakespeare pointing the way. But much of this feels false, a lugubrious artifice in which the filmmakers are caught up more in atmosphere than in character logic. In a go-for-broke conclusion, Paulie envisions herself as a warrior-woman and challenges her male rival to a fencing duel.
The actresses -- each a little too old for her role, but what else is new? -- nicely capture the innocent determination and headstrong arrogance that lead to damaging obsessions. Pierre Gill's lyrical though self-conscious cinematography skillfully blends the soulful glances, musical montages and artful lovemaking. And designer Serge Bureau takes full advantage of the sprawling grounds in and around Bishop's University in Quebec.
LOST AND DELIRIOUS
Lions Gate Films
Seville Pictures presents
a Cite-Amerique/Dummett Films production
Producers: Lorraine Richard, Louis-Philippe Rochon, Greg Dummett
Director: Lea Pool
Screenwriter: Judith Thompson
Based on the novel "The Wives of Bath" by: Susan Swan
Director of photography: Pierre Gill
Production designer: Serge Bureau
Music: Yves Chamberland
Costume designer: Aline Gilmore
Editor: Gaetan Huot
Color/stereo
Cast:
Pauline: Piper Perabo
Victoria Moller: Jessica Pare
Mary: Mischa Barton
Faye Vaughn: Jackie Burroughs
Joseph Menzies: Graham Greene
Eleanor Bannet: Mimi Kuzyk
Running time -- 105 minutes
No MPAA rating...
Pool's lovely actresses do a sensitive job portraying adolescent angst, suggesting how every emotional wave that strikes -- from homesickness to jealousy -- hits with tsunami-like intensity. Female audiences might respond to the overripe melodrama, but the audience for the Lions Gate release necessarily will be limited to those who can't resist Gothic tales.
The film, written by Judith Thompson, derives from Susan Swan's novel "The Wives of Bath". Most of its characters appear as refugees from the book's more detailed narrative, missing much of their baggage and looking a little lost. Teachers, parents and the gardener drop in and out of the heroines' lives without the viewer understanding their relationships to the young women. When, in an early scene, one young woman rudely challenges a teacher in her classroom, we don't grasp what has caused the outburst or how we're supposed to feel about the confrontation.
The story is narrated by Mary Bradford (Mischa Barton), known as Mouse. The shy small-town girl is adopted quickly by her senior roommates, the temperamental Pauline (Piper Perabo) and ever-so-perfect Victoria (Jessica Pare).
Mouse soon realizes Paulie and Tory are lovers, and the two don't really bother to hide their physical affection. So when Tory's younger sister and her pals catch the two in bed one morning, we're understandably bewildered why this could mean social ruin for Tory.
Tory's strict parents would never understand such an infatuation, she explains. So Tory cuts Paulie off and dates a boy to prove she is "normal." Shattered, Paulie seeks solace in nursing an injured falcon back to health. Meanwhile, Mouse leads an uneventful life except in her duties as referee and go-between for her troubled roomies.
Things are clearly marching toward tragedy, with ominous signs and portents involving falconry, fencing and quotations from Shakespeare pointing the way. But much of this feels false, a lugubrious artifice in which the filmmakers are caught up more in atmosphere than in character logic. In a go-for-broke conclusion, Paulie envisions herself as a warrior-woman and challenges her male rival to a fencing duel.
The actresses -- each a little too old for her role, but what else is new? -- nicely capture the innocent determination and headstrong arrogance that lead to damaging obsessions. Pierre Gill's lyrical though self-conscious cinematography skillfully blends the soulful glances, musical montages and artful lovemaking. And designer Serge Bureau takes full advantage of the sprawling grounds in and around Bishop's University in Quebec.
LOST AND DELIRIOUS
Lions Gate Films
Seville Pictures presents
a Cite-Amerique/Dummett Films production
Producers: Lorraine Richard, Louis-Philippe Rochon, Greg Dummett
Director: Lea Pool
Screenwriter: Judith Thompson
Based on the novel "The Wives of Bath" by: Susan Swan
Director of photography: Pierre Gill
Production designer: Serge Bureau
Music: Yves Chamberland
Costume designer: Aline Gilmore
Editor: Gaetan Huot
Color/stereo
Cast:
Pauline: Piper Perabo
Victoria Moller: Jessica Pare
Mary: Mischa Barton
Faye Vaughn: Jackie Burroughs
Joseph Menzies: Graham Greene
Eleanor Bannet: Mimi Kuzyk
Running time -- 105 minutes
No MPAA rating...
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