紫爱影的个人资料

杰昆在「大师」里的角色人选曾是詹姆斯弗兰克 James Franco Was Too Confident to Star in The Master By Amanda DobbinsYesterday at 9:30 AM Once upon a time, when Joaquin Phoenix was still a fake-rapper with a hermit's beard, The Master was an untitled Scientology movie starring Philip Seymour Hoffman and Jeremy Renner. But there was another version of that lineup, it turns out — or, at least, there were some conversations between Paul Thomas Anderson and James Franco about the role of Freddie Quell. Today's installment of "What Might Have Been: Master Edition" comes from Franco himself, who told the following story at the Austin Film Festival: “Paul Thomas Anderson was getting ready to make the Master and he called me and we met ... When he started talking about the role he said ‘Do you feel like you can do this?’ And I said ‘Yeah, totally. Look, I think you’re like the best American director. I feel confident. I know I can do this.’ And he said to me ‘But I want this to scare you. I want this role, going on this journey to scare you.’ And I was like ‘Scare?! I know I can do it. And so, incredible movie, needless to say I didn’t get the part. I guess I wasn’t scared enough or something, or whatever reason I didn’t get it.” And then he said some rude things about the Oscars (specifically: "the material they gave me was CRAP"). So he and Joaquin are not all that different.

保罗麦卡特尼和迈克尔杰克逊合作的MV：say say say

一个关于保罗达诺的采访视频 Paul Dano For Flaunt

一张杰昆的图片，莫名的喜感有种撒娇的感觉

科幻新片环形使者里面有“will“ 这部影片由布鲁斯威利斯，约瑟夫高登，艾米莉布朗特主演，在北美获得很高的口碑，被誉为今年最优秀的科幻电影。之前不知道会有杰夫，看预告片的时候才发现。内地将于9.28号上映。

弦乐演奏韦斯安德森电影配乐在线试听 http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Fwww.vitaminstringquartet.com%2Fv2%2Fecom4%2Findex.php%2Fwes-anderson.html&urlrefer=77a71e110e3d6ee74abdfb767415d334 点击itunes试听挺不错的。

邓斯特真张很美!

Time杂志做的杰昆专题，里面有对杰昆的采访，谈了The Master TIME: Have you seen The Master? Joaquin Phoenix: I’ve seen a rough version, with no score. I thought it was a comedy. I did! I laughed the entire time I was watching it. I was sitting with Paul and I said to him, “This is hilarious.” I have this horrible sense of humor where I think discomfort is funny—partly because I experience discomfort a lot, and it’s a way of laughing at it and getting a release. There’s an incredible scene in which Freddie has to answer a barrage of questions from Dodd, without pausing or blinking, becoming increasingly agitated. I’ve seen the movie twice, and both times you could feel the entire audience let out their breath when Dodd finally says, “Close your eyes.” How did you, Paul, and Philip prepare for that scene? Magicians don’t talk about how their tricks work, because people would go, [affects prim, nasally tone] “Oh, that’s all you do?” [laughs] No, we work very hard! We are working. Very. Hard. Paul set up two cameras to capture us from both sides, so we could be in the moment and not be worried about shooting the one side and then re-lighting and shooting from the other side. That made a huge difference. We spent the most amount of time on the very last bit, when Phil smokes a cigarette and says, “I like Kools.” I started laughing every time he said “I like Kools” and kept blowing the take. And then you’d hear Paul start laughing and I’d start laughing again. It’s funny to think of it as an intense scene, because my memory of it is just uncontrollable laughter. (MORE: TIME’s Complete Coverage of the Venice Film Festival, including Richard Corliss’s The Master review) We learn so much about Freddie through how he walks and moves. What were the keys to his physicality for you? First, Paul will write many, many scenes that won’t make it into the movie. There were a lot of scenes where we saw what Freddie had experienced in the war, and a lot of the physical damage that had occurred. There is reference to some of that in the beginning of the film. He was physically scarred as much as emotionally scarred by his experience in the war. Then Paul kept sending me all these songs by artists from the period, Judy Garland, Nat King Cole. A lot of the songs also had references to physical damage. If you’ve ever seen a stray dog that’s skin and bones and has a limp and is on the streets—that’s Freddie. Paul gave me a film called On the Bowery [a semi-scripted depiction of Manhattan’s Skid Row]. That was astonishing to me, because I’d never seen alcoholism depicted like that. That was huge and important. Also Let There Be Light [John Huston’s documentary about traumatized World War II veterans]. These are guys who are clearly damaged. I told Paul that I was going to do things that would probably feel very uncomfortable to me, that I didn’t know if they would work, and I would rely on him to tell me. I guarantee if you saw some of the rushes you would think I was the worst thing in the world. It’s a process I don’t completely understand. I don’t know that I want to. You told the New York Times that Paul showed you a video of a monkey falling asleep and said, “That’s you.” But what does it mean to be the monkey? Paul called me Bubbles on the set. Bubbles was Michael Jackson’s pet monkey, and I was Paul’s pet monkey. The key to Freddie is an animal, just pure id. For the scene where he’s arrested and put in jail and all that, I just watched videos of wild animals that get into suburbia. If you’ve seen video of a deer or a bear that finds its way into suburbia and the cops have to tranquilize it, it seems as if the brain stops working. If they’re cornered, they’ll slam into walls, or one leg tries to go left while the other is going right. It’s complete fear and chaos. They can’t control themselves at all. That was the key to Freddie. And Paul certainly called me his pet monkey. And did you appreciate that, Joaquin? I did, I didn’t mind it at all! I love having a master. I have no problem serving my director. That’s my job. I want to make them happy.

情愿看到哈7下或者龙纹身的女孩提名都不愿是特别响非常近一直都不喜欢戴得利的电影，可一直都能提名，真是无语了，这次华纳为什么不主推哈七下？龙纹身的女孩提名都好过特别响非常近，可怜的芬奇～