The Dark Knight de Christophe Nolan! ( Batman Begins 2 )

je parlais de la fin du message...

http://forum.newsarama.com/showthread.php?t=90305

Heath ledger révele quel bouquin la prod lui a filé

Citation :

HL: The Killing Joke was the one that was handed to me. I think it’s going to be the beginning of The Joker. I guess that book explains a little bit of where he’s from but not too much. From what I’ve gathered, there isn’t a lot of information about The Joker and it’s left that way.

Manip attention , que j'aime bien .. iLuijo de superhéros hype sont partis dans l'idée que les rumeurs disent que le costume serait plus léger et ferait moins armure..


Sympa aussi (de The saint tjrs du hype), mais fait trop comic books je trouve .. l'autre est plus intimidant je trouve ,et plus fonctionnel et crédible dans l'environnement que Nolan a crée..

Pas mal non?

Pas mal oui... Bon ca fait un peu combinaison de plongée tu trouves pas?

un peu , mais je sais pas j'aime bien (fait a partir des costumes des ff en fait.. en action ils sont élégants et ont l'air fonctionnel )

On dirait que y en a un qu'est déja dans son perso.

oui c bien Heath Ledger a quelques sermaine du tournage de Dark knight

!!On a peu etre Harvey Dent en la personne de Aaron Eckard!!!Exellent choix car il a le look et ce le talent pour jouer Harvey Dent et Two Face !!

source latino news (qui ont les exclus sur les films Dc la plupart du temps ) .

[url]http://www.latinoreview.com/news.php?id=1396 [/url]

ps: un aperçu de ce que peut faire Eckard dans la bande annonce de" Thank you for smoking"

https://www.youtube.com/watch?v=uliL5SDZRSo

Alors la! excellente nouvelle

J'adhère complétement! et il a un charisme monstre

Interview de Chris Nolan très interessante , mais portant surtout sur son cinéma.

Citation :

Christopher Nolan
Photo by D. Kirkland

"I started making films when I was 7 years old, when my dad was kind enough to let my brother and I use his Super 8 camera. I believe that you should work on films because you love the stories, and not because you think they will be stepping stones to bigger or better movies. Filmmaking is an unique art form because every movie is a collaborative effort involving people with different personalities and visions who are working together. As a director, I'm sort of a human lens through which everyone's efforts are focused. A big part of my job is making decisions about how all the great talent that I'm working with blends into a single consciousness. To me, a beautifully executed film is one where the sum of all the images leaves a lasting impression. I'm optimistic about the future of the cinema because it's a communal experience. There is a special excitement that comes from sitting with a group of strangers and watching a story that engages the imagination and transports you to another world. From the beginning, I have shot everything on film because I feel responsible for putting the best possible images on the screen."

Christopher Nolan earned his first credit for directing a motion picture in 1998 for Following, a 16 mm black-and-white movie. He has subsequently directed Memento, Insomnia, Batman Begins and The Prestige. His next film, The Dark Knight, is in production.

[All these films were shot on Kodak motion picture film.]

A Conversation with Christopher Nolan
by Bob Fisher


QUESTION: When and how did you get interested in movies?
NOLAN: I started making films when I was seven years old in London. My dad was kind enough to let my brother and I use his Super 8 camera. We shot mini-epic science fiction and war movies with action figures. We sent the Super 8 cartridges off for processing and waited anxiously for two weeks to see what we got. It was great fun.

QUESTION: Do you recall what inspired you to make films?
NOLAN: I just loved movies, and my parents encouraged that interest. They are very creative people. My father is English and my mother is American. We lived in Chicago for a while and then moved back to London where I attended University College.

QUESTION: Did you study filmmaking in college?
NOLAN: No. I studied English literature, but that got me thinking about the narrative freedoms that authors have enjoyed for centuries. It seemed to me that filmmakers should enjoy those freedoms as well. Emma Thomas and I were members of the university film society. We showed 35 mm feature films during the school year, and used the money earned from ticket sales to shoot our own 16 mm during the summers. Emma is my wife and collaborator. She has produced all of my feature films.

QUESTION: You mentioned that you have loved movies since you were a child. Who are some of the filmmakers whose works have influenced your thinking and feelings?
NOLAN: It is difficult to single out just a few. I have always admired Stanley Kubrick, Terrence Malick, Ridley Scott and Nicholas Roeg to name as few. I loved 2001: A Space Odyssey, Chinatown and Lawrence of Arabia. Alien and Blade Runner blew me away. All of those films created extraordinary, completely immersive worlds.

QUESTION: Do you recall when you decided to become a professional filmmaker?
NOLAN: When I was about 12 years old, I kind of figured out what a director did and realized that an actual job existed. I can trace my decision back to that realization.

QUESTION: We heard that you had a Super 8 film on PBS while you were in your teens.
NOLAN: I made a Super 8 short called Tarantella with a friend, Roko Belic, who is a documentary filmmaker. It was on Image Union, a PBS show in Chicago that aired short films.

QUESTION: How did you get started in the industry?
NOLAN: My first feature was called Following. It's a 16 mm black-and-white drama about a writer who follows a thief around and gets involved in his crimes. I was the writer, director and cinematographer. Emma was one of the producers. It got some attention at film festivals, which got the interest of a distributor. That got us the funding to get started on Memento, a script that I wrote while we were finishing Following.

QUESTION: Memento is such a unique story. What inspired it?
NOLAN: It was based on a short story that Jonah was writing. He hadn't finished yet, but he told me about it, and I immediately told him that I wanted to write a screenplay. The first thing that I had to do was figure out how to tell a story on film about a man who had lost his short term memory. That in itself presented some interesting challenges.

QUESTION: What kind of research was involved? Did you reference older movies?
NOLAN: It wasn't research, but some of Nicholas Roeg's films influenced my thinking from a visual point of view. I also remember talking to Wally Pfister (ASC), the cinematographer who shot Memento, about the simplicity and cinematic purity of the images in The Thin Red Line, a Terrence Malick movie that had just come out. They were very clear and clean images without filtration.

QUESTION: You and Wally are about to start your fifth film together. After Memento, you collaborated on Insomnia, Batman Begins, The Prestige and now The Dark Knight. We were wondering how you and Wally originally connected with each other?
NOLAN: I was at the Slamdance Festival with Following while Ron Judkin's Hi-Line was being shown at Sundance. I thought it was a beautifully executed film that was clearly produced with limited resources. I had to meet the guy who shot it. I decided during our first conversation that I wanted to work with Wally. We just clicked the way you sometimes do with people. We know each other better today, but our relationship hasn't changed. There is a synergy that affects our ability to translate ideas into images.

QUESTION: Can you explain what you mean when you say, "a beautifully executed film?"
NOLAN: To me, a beautifully executed film is a movie where the sum of all the images leaves a lasting impression on you, rather than the individual shots. It's how you use cinematography to tell a story. Wally is not just wrapped up in the shot of the moment. He is thinking about the whole story during every shot we make.

QUESTION: You have also chosen to collaborate with various other people on multiple projects, including your brother Jonah, who has worked on stories and scripts, editor Lee Smith, production designer Nathan Crowley, and your wife, Emma.
NOLAN: When you find great people, I believe that it is a huge advantage for a director to try and keep the team together because trust and communication are so important in filmmaking. Moviemaking is a unique art form because every film is a collaborative effort involving people with different personalities and visions who are working together. A big part of my job is making decisions about how all this great talent that I'm working with-actors, cinematographers, production designers, and everyone else-blends into a single consciousness. I try to make the most of what everyone has to offer. I'm sort of a human lens through which everyone's efforts are focused.

QUESTION: Directing a feature film is a huge commitment. How do you decide a project is something that you're willing to dedicate years of your life to doing?
NOLAN: For me, it comes down to deciding whether it is a film that I feel I have to make. I ask myself, will I be sorry if I miss this chance? Is it a film that I would be excited to see? Will the story stick in my mind years and years after it is done? Those are the types of things I think about. The irony is that once you get into the process, sometimes the story leads you into a different direction than you initially imagined.

QUESTION: Do you think of filmmaking as purely entertainment or is it more than that?
NOLAN: I think film is first and foremost entertainment. But, all forms of entertainment throughout history have always produced works that last and transcend the concept of entertainment. All entertainment can take many different forms. It can be serious and intellectually stimulating, and it can also be a temporary way to forget our everyday worries. There is a whole spectrum of possibilities encompassed by the word entertainment, but I do believe that film has developed into the most important story-telling medium of our age. I am certain about that statement.

QUESTION: Can you give that last thought a broader explanation?
NOLAN: As much as I love books and the theater, I think the cinema is a uniquely modern medium that we look to for the stories of our times.

QUESTION: The Prestige is a unique story set in London about a conflict between two magicians at the turn of the 20th century. Where did the idea for that film originate?
NOLAN: The Prestige is based on a novel that I was given by Valerie Dean six or seven years ago. She's a producer whom I've known and worked with for years. The story grabbed me, but I didn't know what to do with it right away. I thought about it for a few years. Then, I showed it to my brother. He spent a couple of years writing the screenplay, and then I tidied it up a bit. It took a long time to get it in shape. We were actually going to shoot The Prestige before Batman Begins. We had to put plans for The Prestige on ice when we started production of Batman Begins.

QUESTION: What was the basic idea for telling a period story about magic?
NOLAN: What I wanted to do was throw the audience into an extraordinary world at the turn of the a new century, but make it a contemporary story, so they aren't thinking of it as a period film. We looked at prints of Barry Lyndon, Chinatown, Angel Heart and some other classic movies. We also shot some very early tests in my dining room and back yard, and "pushed" a 500-speed film stock two and three stops to see how it reacted. I wanted to shoot The Prestige in natural light for that period, which transitions from candles and lanterns to the earliest electric lights. We shot most of the movie with a handheld camera, and designed settings that didn't tie the actors down to hitting marks. We want it to feel loose and spontaneous with a sense of immediacy that makes people feel connected. We choose to shoot it in 35 mm anamorphic format with traditional timing at a film lab, and that produced beautiful cinematic images.

QUESTION: You also made some extraordinary use of 65 mm film in IMAX format.
NOLAN: I have always been interested in exploring the possibilities of the IMAX medium. This film gave me that opportunity. We used it for certain visual effects shots. I believe those shots look and feel more natural because we used the larger format. We wanted those scenes to be as spectacular as possible.

QUESTION: Why was that important for those particular shots?
NOLAN: I felt that we needed the highest quality images because those scenes called for a larger than life experience. IMAX today is the ultimate form of cinema. The large format also gave us a lot of room to experiment, and that in itself was fun. I feel strongly that whether you are shooting a low-budget film, or a hundred million dollar blockbuster, you have a responsibility to put the best possible images on the screen. I'm always trying to maximize the images.

QUESTION: What are your thoughts about the future of the cinema? Is the audience going to stay home and watch movies on their telephones?
NOLAN: I'm extremely optimistic about the future of the cinema. I believe there will always be a huge demand and need for a communal story-telling experience. In the past, it was theater. Today, it's the cinema. There is a special excitement that comes from sitting with a group of strangers watching a great story unfold on a big screen. It engages the imagination and transports you to another world. I think it's a universal experience.

QUESTION: You spoke earlier about working with the same team, including the production designer, editor, cinematographer and others. How have those relationships evolved over the course of four or five pictures?
NOLAN: Like any relationship there is a greater sense of ease and trust, but at the same time you try and keep the things that work well the same from film to film. For example, when we did Batman Begins, one of the things I was really passionate about was not being daunted by the size of the movie. We brought the same sensibilities to Batman Begins that we felt when we were shooting Memento and Insomnia.

QUESTION: You have directed an eclectic range of genre films.
NOLAN: I guess I have, but I think they have things in common. I don't really think in terms of genre, or whether a new film is the same genre as previous ones.

QUESTION: Have you written or co-authored scripts for all of your films?
NOLAN: Hillary Seitz wrote the script for Insomnia. I thought that was an engaging story about a darker side of humanity with a wonderful cast.

QUESTION: You are following Batman Begins with The Dark Knight. We were just wondering whether you were a Batman fan while you were growing up.
NOLAN: I was a Batman fan when I was a kid. I think the comic book superheroes fill a gap in the pop culture psyche, similar to the role of Greek mythology. For me, Batman is one of the most fascinating of those characters. He is a marvelously complex character. There is something extremely accessible about him that is timeless and universal.

QUESTION: Do you have younger filmmakers asking you to share the secret of success?
NOLAN: They'll often ask me that question. There really isn't a simple answer, except that you should work on films because you love that movie, not because you think it will be a stepping stone to getting another movie that is bigger and better. I believe that you can apply that rule on any scale, including kids shooting Super 8 movies like I did when I was seven. The same thing is true whether you are making a blockbuster 65 mm movie or a low budget, 16 mm independent film - do it for the love of telling that story.

Très bonne interview. Le gars a une super démarche. J'adhère à mort.

flooddddddddddddddddddddddd trolletisationnnnnnnnnnnnnnnnnnnnnnnnnnnnnn

mesdames et messieurs , elle ressemble un peu à Kathie Holmes elle pourrait etre prise pour sa soeur ,mais c'est Maggie Gyllenhaal la remplaçant dans le role de Rachel Dawes.

http://latinoreview.com/news.php?id=1458

ps:latino review est fiable.

Euh....Maggie Gyllenhaal a quand même sacrément plus de charisme que la très fade Kathie Holmes, faut pas abuser.
En tout cas, bonne nouvelle.

Rahh mzz , j'ai pas dit qu'elle avait moins ou plus de charisme (yop elle est en a plus et est meilleure actrice ), j'ai dit qu'elle pourrait etre prise pour sa soeur .. en gros qu'elle avait des airs . ca n'a rien a voir. ( juste pour dire ca vaaa on sera pas la entrain de se dire putain c pas la meme actrice ttes les 5 minutes )

Je te prends par ex ,deux nanas qui ont des airs en commun ,Claudia Wells l'actrice de retour vers le futur 1 et Elizabeth Shue , bien meilleure ,reprenant son role dans les suites...

bien sur que Maggie Gyllenhaal a plus de charime et qu'elle est meilleure actrice de surcroit.

Tayelore a écrit:

j'ai dit qu'elle pourrait etre prise pour sa soeur .. en gros qu'elle avait des airs . ca n'a rien a voir. ( juste pour dire ca vaaa on sera pas la entrain de se dire putain c pas la meme actrice ttes les 5 minutes )

Je suis d'ac avec Tay, je trouve qu'elles ont une ressemblance physique ( sans etre des soeurs jumelles, ont retrouve les mêmes traits faciale ) et je trouve ca tant mieux pour la continuité du rôle, que les " lambda " ne disent pas toutes les minutes, " rho c'est pas rachel "!

BEN si c'est Rachel lol

Ben je dois pas arriver à faire la connexion entre elles en fait... mais je te crois ! Faut peut être que j'enlève les peaux de saucisson que j'ai devant les yeux.

lol disons que c rachel Dawes aprés s'etre pris un bus dans la tete

non perso elle me fait dix fois plus craquer que Holmes

https://www.youtube.com/watch?v=9mrXJlGR7GY

Tayelore a écrit:

lol disons que c rachel Dawes aprés s'etre pris un bus dans la tete

Et après qu'elle ait pris des cours de comédie.

Confirmé!



Aaron Eckard EST Harvey Dent


http://www.hollywoodreporter.com/hr/content_display/film/news/e3i4fa3c1e4b8d5d3630e03029e51a47ac1

ps: encore bravo à Latino review pour ce nouveau scoop

interview de Nolan sur ses influences

Citation :

The one constant passion in Christoper Nolan's life has been movies. The director of Batman Begins and The Prestige began his filmmaking career as a kid with some Action Men and a cine camera. In a sense, he's never grown out of that phase.

"To me, it's never become work. It's miraculous to me that anyone would pay me to do something like this, which I love. It's something I've always done, and something I will always do, whether or not it was a job. So it's been a constant learning progression. Hopefully the films are getting better. Certainly they're better now than when I was seven!"

Nolan is a devoted cinephile, but says he tries his best to avoid being drawn into homaging other filmmakers.

"I think I'm completely influenced by other movies, but I try not to be concious about what influences me. The thing with being influenced by things is that you don't want to do things just because other people have done them... but then you also don't want to not do things just because other people have done them! I try and have a strong point of view on how I shoot something. I don't think too much about how that point of view has been informed. Thirty years from now, if I look back at my films it'll probably be painfully embarrassing how much they're influenced by other filmmakers, but I can't see that right now!"

Nicolas Roeg
"I'm fascinated by the narrative structures adopted by Nicolas Roeg. I think he's done some extraordinary experimentation with storytelling that's been very influential on me. The Prestige has the most complicated structure I've used, cos it's narratives within narratives; much more complicated for my brother and I to write, and much more complicated to edit."

Denny O'Neill and Neal Adams
"I think the 70's era of Batman, the [writer]Denny O'Neill and [artist]Neal Adams, is an amazing time in the character's development and the tone of it. I loved the way that carried through in the 80's with Frank Miller and so forth, with a maturing of the form and of the character. The emphasis of the character chnages over time, and from the 70's on there's a grit to the character, a reality that comes into things."

Ridley Scott
"I'm a huge fan of Blade Runner and Alien. With Ridley Scott, the complexity of the world he creates, the layering that goes into it, and the care that goes into the technical side are tremendous - because it creates whole worlds that you can escape into and lose yourself in."

Terence Malick
"The photography in Terence Malick movies is amazing; he has such a feel for visual storytelling. What I love about The Thin Red Line is that it could only be a movie. It's got an abstract, cinematic narative; it's a visual form of storytelling."

Patrick McGoohan
"I'm an enormous fan of The Prisoner, and I think it has great relevance today. I found it an extraordinary adventurous type of storytelling. I first caught it when they were re-running it in the states in the late 80's, inspired by the success of Twin Peaks, cos that was blowing people's minds at that time as radical TV. And then you look at The Prisoner and say, 'Well, that was really radical TV and it was made such a long time ago.' It's just a fantastic metaphor, a fantastic example of a man standing against the system. It was very bold, and it'd be bold by today's standards. I believe the story is that [creator]Patrick McGoohan had to leave the country after the last episode, because people were so upset about the way it ended, which is pretty amazing!"

Being Reclusive
"I'm not much of a consumer other than movies. I don't use the internet. I don't have a cellphone. I used to live in a flat where I had incoming calls only. Once you've lived without a telephone the idea you have to have a phone around all time is crazy! I'm getting to the point where people are gonna make me have one! But it'd be a nightmare if people could just phone me up all the time, cos when you're working you've got 10,000 questions about everyhting anyway!


Other influences include Stanley Kubrick, Star Wars and 2000AD

merci à mad sci fi.

Ca me semble encourageant !
une photo claire du Joker devrait pas tarder

merci à picktaker

Sic....

Si c'est ça, c'est une pâle copie d'Ichii The Killer.

Yop yop , c'est vrai en meme temps on peut aussi y voir du Edward au main d'argent ou meme surtout du The Crow, qui lui meme avait été influencé par le joker (entre autre) j'imagine.. de la sans que ce soit original oui c sur , je trouve que ca donne une direction d'ou peut aller Nolan et j'aime bien ce que j'imagine en tous cas