list http://www.spout.com/ Recent community activity around Brazil on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Brazil/4350/default.aspx Title: Brazil
Year: 1985
Director: Terry Gilliam
Plot: Brazil constitutes Terry Gilliam's enormously ambitious follow-up to his 1981 Time Bandits. It also represents the second installment in a trilogy of Gilliam films on imagination versus reality, that began with Bandits and ended in 1989 with The Adventures of Baron Munchausen. To create this wild, visually audacious satire, Gilliam combines dystopian elements from Orwell, Huxley and Kafka (plus a central character who mirrors Walter Mitty) with his own trademark, Monty Python-esque, jet black British humor and his gift for extraordinary visual invention. The results are thoroughly unprecedented in the cinema. Jonathan Pryce stars as Sam Lowry, a civil servant who chooses to blind himself to the decaying, drone-like world around him. It's a world marred by oppressive automatization and towering bureaucracy, and populated by tyrannical guards who strongarm lawbreakers. And Lowry is stuck in the middle of this nightmare. Whenever real life becomes too oppressive, Sam fantasizes (to the tune of Ary Baroso's 1930s hit "Brazil") about sailing through the clouds as a winged superhero, and rescuing beautiful Jill Layton (Kim Greist) from a giant, Samurai warrior. The omnipresent computer that controls everything in the "real" world malfunctions, causing an innocent citizen to be arrested and tortured to death. When Sam routinely investigates the error, he meets - and pursues Jill , literally the girl of his dreams. But in real life, she's a tough-as-nails truck driver who initially wants nothing to do with him. It turns out that she is suspected of underground activities, in connection with a terrorist network wanted for bombing public places. The price Sam pays for his association with her is a close encounter with the man in charge of torturing troublesome citizens (Michael Palin). He is rescued - at the last minute - by maintenance man Harry Tuttle (Robert De Niro) who moonlights as a terrorist, but that only represents the beginning of his plight, for now the "system" is onto him. Gilliam ran into enormous problems with Brazil. Universal - which produced the picture - originally slated it for release in 1984, but the studio - intimidated by the film's whopping length of 142 minutes - demanded that Gilliam trim the film to bring it in under two hours and alter the pessimistic ending. Gilliam refused; Universal shelved the picture for a year. In response, the director took out a full page ad in Variety asking studio president Sid Sheinberg when the film would be released. Sensing tremendous pressure, Universal bowed to Gilliam's insistence on fewer cuts but still demanded a happy ending. Gilliam trimmed only eleven minutes and altered the conclusion just slightly (instead of cutting to black, it fades into puffy white clouds on a blue sky, with a reprise of the title tune). It was thus released in early 1985 at 131 minutes, and of course became a seminal work; many critics regarded it at the time as the best film of the eighties. ~ Nathan Southern, All Movie Guide
Times Tagged: 72
Number of Lists: 98
Number of blog posts: 12
Number of discussion threads: 26
SpoutRating: 3
]]>Mon, 13 Jul 2009 01:48:07 GMTBrazil1985Terry GilliamBrazil constitutes <a href="/players/P____91577/default.aspx" style='text-decoration:underline'>Terry Gilliam</a>'s enormously ambitious follow-up to his 1981 <a href=/films/35145/default.aspx style='text-decoration:underline'>Time Bandits</a>. It also represents the second installment in a trilogy of Gilliam films on imagination versus reality, that began with <a href=/films/195889/default.aspx style='text-decoration:underline'>Bandits</a> and ended in 1989 with <a href=/films/473/default.aspx style='text-decoration:underline'>The Adventures of Baron Munchausen</a>. To create this wild, visually audacious satire, Gilliam combines dystopian elements from Orwell, Huxley and Kafka (plus a central character who mirrors Walter Mitty) with his own trademark, <a href="/players/P____50219/default.aspx" style='text-decoration:underline'>Monty Python</a>-esque, jet black British humor and his gift for extraordinary visual invention. The results are thoroughly unprecedented in the cinema. <a href="/players/P____57980/default.aspx" style='text-decoration:underline'>Jonathan Pryce</a> stars as Sam Lowry, a civil servant who chooses to blind himself to the decaying, drone-like world around him. It's a world marred by oppressive automatization and towering bureaucracy, and populated by tyrannical guards who strongarm lawbreakers. And Lowry is stuck in the middle of this nightmare. Whenever real life becomes too oppressive, Sam fantasizes (to the tune of Ary Baroso's 1930s hit "Brazil") about sailing through the clouds as a winged superhero, and rescuing beautiful Jill Layton (<a href="/players/P____28697/default.aspx" style='text-decoration:underline'>Kim Greist</a>) from a giant, Samurai warrior. The omnipresent computer that controls everything in the "real" world malfunctions, causing an innocent citizen to be arrested and tortured to death. When Sam routinely investigates the error, he meets - and pursues Jill , literally the girl of his dreams. But in real life, she's a tough-as-nails truck driver who initially wants nothing to do with him. It turns out that she is suspected of underground activities, in connection with a terrorist network wanted for bombing public places. The price Sam pays for his association with her is a close encounter with the man in charge of torturing troublesome citizens (<a href="/players/P___105433/default.aspx" style='text-decoration:underline'>Michael Palin</a>). He is rescued - at the last minute - by maintenance man Harry Tuttle (<a href="/players/P____17593/default.aspx" style='text-decoration:underline'>Robert De Niro</a>) who moonlights as a terrorist, but that only represents the beginning of his plight, for now the "system" is onto him. Gilliam ran into enormous problems with Brazil. Universal - which produced the picture - originally slated it for release in 1984, but the studio - intimidated by the film's whopping length of 142 minutes - demanded that Gilliam trim the film to bring it in under two hours and alter the pessimistic ending. Gilliam refused; Universal shelved the picture for a year. In response, the director took out a full page ad in Variety asking studio president Sid Sheinberg when the film would be released. Sensing tremendous pressure, Universal bowed to Gilliam's insistence on fewer cuts but still demanded a happy ending. Gilliam trimmed only eleven minutes and altered the conclusion just slightly (instead of cutting to black, it fades into puffy white clouds on a blue sky, with a reprise of the title tune). It was thus released in early 1985 at 131 minutes, and of course became a seminal work; many critics regarded it at the time as the best film of the eighties. ~ Nathan Southern, All Movie Guide72Tag Target (>10)9812263http://www.spout.com/ProductImages/t82308wbcmq.jpghttp://www.spout.com/films/Brazil/4350/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/1/23/39844.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/23/2009 4:00:40 PM
Body: I don’t want to publish the Twitter identities of those who have won tickets to see The Dark Knight on IMAX, a contest we announced yesterday, but I will tell you what movies they told us, via Twitter, what movies they’d like to see released on the IMAX screen: Caligula Blade Runner Mulholland Drive Once Upon a Time in America / Once Upon a Time in the West Titanic Lawrence of Arabia Young Frankenstein / Close Encounters of the Third Kind Brazil Drunken Master E.T. / The Green Mile As you’d expect there are a lot of epics on the list as well as a couple of offbeat choices - I love the people who suggested Brazil and Young Frankenstein. Thanks to everyone who sent in their suggestions and look for more contests like this in the future. Make sure to keep following @spout for updates, news and more. Originally posted on:SpoutBlog
]]>Fri, 23 Jan 2009 21:00:40 GMTSpoutBlogSpoutBlog on spout.com1/23/2009 4:00:40 PMI don’t want to publish the Twitter identities of those who have won tickets to see The Dark Knight on IMAX, a contest we announced yesterday, but I will tell you what movies they told us, via Twitter, what movies they’d like to see released on the IMAX screen: Caligula Blade Runner Mulholland Drive Once Upon a Time in America / Once Upon a Time in the West Titanic Lawrence of Arabia Young Frankenstein / Close Encounters of the Third Kind Brazil Drunken Master E.T. / The Green Mile As you’d expect there are a lot of epics on the list as well as a couple of offbeat choices - I love the people who suggested Brazil and Young Frankenstein. Thanks to everyone who sent in their suggestions and look for more contests like this in the future. Make sure to keep following @spout for updates, news and more. Originally posted on:SpoutBlog http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_January_19_Neighborhood_Watch/625/39771/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 1/21/2009 8:18:05 PM
Body: [quote user="indieabby88"]and (my favorite movie EVER) Brazil. I think Ian Holm's character perfectly encapsulates the paranoid bureaucrat. [/quote] Don't suspect your friend - report him. I just got my 3 disc Criterion Collection copy of Brazil in the mail yesterday so I'm kinda super happy about it. I got a smokin' deal on it too. $20.50 on ebay and it's in immaculate condition................... yea me.
]]>Thu, 22 Jan 2009 01:18:05 GMTleeroy711Weekly Theme1/21/2009 8:18:05 PM[quote user="indieabby88"]and (my favorite movie EVER) Brazil. I think Ian Holm's character perfectly encapsulates the paranoid bureaucrat. [/quote] Don't suspect your friend - report him. I just got my 3 disc Criterion Collection copy of Brazil in the mail yesterday so I'm kinda super happy about it. I got a smokin' deal on it too. $20.50 on ebay and it's in immaculate condition................... yea me. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_January_19_Neighborhood_Watch/625/39688/1/ShowPost.aspx Post By: indieabby88
Post To: Weekly Theme
Post Date: 1/19/2009 11:53:02 PM
Body: When I think of paranoia, my mind immediately shoots to government-induced paranoia (which, when you think about it, is sort of like neighborhood watch gone mad). We're talking V for Vendetta (not my favorite of movies, but captures the vibe pretty well), 1984 and (my favorite movie EVER) Brazil. I think Ian Holm's character perfectly encapsulates the paranoid bureaucrat. Of course, a funnier, more localized version of this is the NWA from Hot Fuzz ("The Greater Good")
]]>Tue, 20 Jan 2009 04:53:02 GMTindieabby88Weekly Theme1/19/2009 11:53:02 PMWhen I think of paranoia, my mind immediately shoots to government-induced paranoia (which, when you think about it, is sort of like neighborhood watch gone mad). We're talking V for Vendetta (not my favorite of movies, but captures the vibe pretty well), 1984 and (my favorite movie EVER) Brazil. I think Ian Holm's character perfectly encapsulates the paranoid bureaucrat. Of course, a funnier, more localized version of this is the NWA from Hot Fuzz ("The Greater Good") http://www.spout.com/blogs/spoutblog/archive/2009/1/7/39219.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/7/2009 5:00:47 PM
Body: It’s only a couple of short weeks before the 2008 Oscar nominees are announced, and the internet is abuzz with prognostications. One hotly debated topic is whether or not Wall-E can pull off a Best Picture nomination, or even a win. It would be the second animated film to be nominated in the category, after Beauty and the Beast, which got the honor before the Animated Feature prize existed. Will the stodgy old Academy seat Wall-E at the kid’s table, giving it an easy win in the animation category, or will it be allowed to play with the big boys? A best pic nomination for Wall-E would be a rare honor for animation in general, but it would also be a long over due rarity for another reason: Wall-E would only be the second best pic nominated film in the history of the Oscars to be set in the future. The only one to date is A Clockwork Orange. When you consider how many nominees are period pieces (I didn’t care to count), this represents a massive bias on the part of the Academy. It’s clear that they love the past, but they hate the future. What would the history of the Academy Awards look like if the Hollywood elite wasn’t terrified of speculative fiction? Below, seven movies about the future that should have been nominated for Best Picture: 1. Metropolis The first Academy Awards, held in 1929, gave honors to films produced in both 1928 and 1927, so this should have at least been nominated. Of course the nomination process was rather primitive back then, and American audiences probably wouldn’t have been familiar with German films such as this, but for the purpose of revisionist history, we’ll say it got snubbed. There’s something very 20th century about Art Deco skyscrapers and class conflict, but Metropolis‘ depiction of 2026 still feels relevant today. The film laid the ground work for countless sci-fi tropes, including sexy female androids (see #5). 2. On The Beach This 1959 post-apocalyptic drama stars Gregory Peck as the captain of a US submarine stationed in Melbourne. Set in the near future of 1964, nuclear war has wiped out the rest of the planet, and it’s only a matter of months before the wind brings the deadly radioactive fallout to Australia. The film is a beautiful meditation on the inevitability of death, featuring a solid performance by Ava Gardner, and the most melancholy work by Fred Astaire I’ve ever seen (he does not sing or dance). On the Beach was nominated for both Best Score and Best Editing Oscars, and director Stanley Kramer won a BAFTA. 3. 2001: A Space Odyssey Kubrick’s masterpiece wasn’t completely snubbed; it received four Oscar nominations, with a win for Visual Effects. But the fact that it didn’t get a Best Picture nomination is criminal. The film is consistently listed on top 100 movie lists, and breaks the top ten on plenty of them. It’s clear that something went very wrong that year. Perhaps the snub can be blamed on the fact that the film was so far ahead of its time, that many people just didn’t get it. Pauline Kael said it was “a monumentally unimaginative movie.” 4. Solaris This 1972 Russian science fiction film is just as cerebral as 2001, and perhaps an even deeper plumb of the human psyche. The Palme d’Or nominated film, directed by Andrei Tarkovsky, follows the story of psychologist Chris Kelvin as he ventures to a distant space station, orbiting the water-covered planet Solaris. The station has fallen into disarray, and Kelvin soon figures out why. An apparition of his dead wife appears, apparently created by Solaris using Kelvin’s brain waves. The film is slow and introspective, and is one of those rare gems of science fiction that transcends the trappings of the genre. It should have at least been nominated for Best Foreign Language Film; instead, it wasn’t nominated for anything. 5. Blade Runner For some, saying that Blade Runner was one of the five best films of 1982 is stating the obvious. Perhaps the blending of sci-fi and noir seemed at the time to be nothing more than a cheap genre gimmick. But the enduring quality of Blade Runner makes it clear that it deserved more than the two nominations in received for Best Art Direction and Best Visual Effects. The snub of Blade Runner is perhaps the best way to prove the Academy’s bias toward the past, when you consider that Ridley Scott’s 2000 film, Gladiator was not only nominated for Best Picture, but it won! I repeat, Gladiator won Best Picture, while Blade Runner was not even nominated. Which did you think was the better movie? 6. Brazil Terry Gilliam’s dystopian black comedy might have had a shot at few Academy awards if Gilliam hadn’t burned every bridge in Hollywood as he made it. The film operates in the dystopian mold cast by 1984, with a healthy dose of dark humor and fantasy. It’s one of the most egregious examples of a studio re-cutting a film and essentially destroying it in the process. Fortunately, Gilliam’s cut is readily available on DVD now, but the director’s trustworthiness in Hollywood is still highly suspect. Gilliam is one of those filmmakers who, no matter how good a movie he makes, will never be welcomed into the inner sanctum. Still, Brazil deserved a Best Picture nomination. 7. Children of Men When the 2006 Best Picture nominees were announced, you may have heard a faint stream of cursing on the wind. That was me. I know that people tend to win Oscars when they’re “due,” which easily explains why The Departed took home the top prize, but the fact that Children of Men wasn’t even nominated is just silly. It was nominated for Best Cinematography and Best Film Editing, which is the Academy’s way of saying, “Wow, this movie is incredible, but it’s about the future, so let’s only honor that one really long take near the end.” Bullshit. Originally posted on:SpoutBlog
]]>Wed, 07 Jan 2009 22:00:47 GMTSpoutBlogSpoutBlog on spout.com1/7/2009 5:00:47 PMIt’s only a couple of short weeks before the 2008 Oscar nominees are announced, and the internet is abuzz with prognostications. One hotly debated topic is whether or not Wall-E can pull off a Best Picture nomination, or even a win. It would be the second animated film to be nominated in the category, after Beauty and the Beast, which got the honor before the Animated Feature prize existed. Will the stodgy old Academy seat Wall-E at the kid’s table, giving it an easy win in the animation category, or will it be allowed to play with the big boys? A best pic nomination for Wall-E would be a rare honor for animation in general, but it would also be a long over due rarity for another reason: Wall-E would only be the second best pic nominated film in the history of the Oscars to be set in the future. The only one to date is A Clockwork Orange. When you consider how many nominees are period pieces (I didn’t care to count), this represents a massive bias on the part of the Academy. It’s clear that they love the past, but they hate the future. What would the history of the Academy Awards look like if the Hollywood elite wasn’t terrified of speculative fiction? Below, seven movies about the future that should have been nominated for Best Picture: 1. Metropolis The first Academy Awards, held in 1929, gave honors to films produced in both 1928 and 1927, so this should have at least been nominated. Of course the nomination process was rather primitive back then, and American audiences probably wouldn’t have been familiar with German films such as this, but for the purpose of revisionist history, we’ll say it got snubbed. There’s something very 20th century about Art Deco skyscrapers and class conflict, but Metropolis‘ depiction of 2026 still feels relevant today. The film laid the ground work for countless sci-fi tropes, including sexy female androids (see #5). 2. On The Beach This 1959 post-apocalyptic drama stars Gregory Peck as the captain of a US submarine stationed in Melbourne. Set in the near future of 1964, nuclear war has wiped out the rest of the planet, and it’s only a matter of months before the wind brings the deadly radioactive fallout to Australia. The film is a beautiful meditation on the inevitability of death, featuring a solid performance by Ava Gardner, and the most melancholy work by Fred Astaire I’ve ever seen (he does not sing or dance). On the Beach was nominated for both Best Score and Best Editing Oscars, and director Stanley Kramer won a BAFTA. 3. 2001: A Space Odyssey Kubrick’s masterpiece wasn’t completely snubbed; it received four Oscar nominations, with a win for Visual Effects. But the fact that it didn’t get a Best Picture nomination is criminal. The film is consistently listed on top 100 movie lists, and breaks the top ten on plenty of them. It’s clear that something went very wrong that year. Perhaps the snub can be blamed on the fact that the film was so far ahead of its time, that many people just didn’t get it. Pauline Kael said it was “a monumentally unimaginative movie.” 4. Solaris This 1972 Russian science fiction film is just as cerebral as 2001, and perhaps an even deeper plumb of the human psyche. The Palme d’Or nominated film, directed by Andrei Tarkovsky, follows the story of psychologist Chris Kelvin as he ventures to a distant space station, orbiting the water-covered planet Solaris. The station has fallen into disarray, and Kelvin soon figures out why. An apparition of his dead wife appears, apparently created by Solaris using Kelvin’s brain waves. The film is slow and introspective, and is one of those rare gems of science fiction that transcends the trappings of the genre. It should have at least been nominated for Best Foreign Language Film; instead, it wasn’t nominated for anything. 5. Blade Runner For some, saying that Blade Runner was one of the five best films of 1982 is stating the obvious. Perhaps the blending of sci-fi and noir seemed at the time to be nothing more than a cheap genre gimmick. But the enduring quality of Blade Runner makes it clear that it deserved more than the two nominations in received for Best Art Direction and Best Visual Effects. The snub of Blade Runner is perhaps the best way to prove the Academy’s bias toward the past, when you consider that Ridley Scott’s 2000 film, Gladiator was not only nominated for Best Picture, but it won! I repeat, Gladiator won Best Picture, while Blade Runner was not even nominated. Which did you think was the better movie? 6. Brazil Terry Gilliam’s dystopian black comedy might have had a shot at few Academy awards if Gilliam hadn’t burned every bridge in Hollywood as he made it. The film operates in the dystopian mold cast by 1984, with a healthy dose of dark humor and fantasy. It’s one of the most egregious examples of a studio re-cutting a film and essentially destroying it in the process. Fortunately, Gilliam’s cut is readily available on DVD now, but the director’s trustworthiness in Hollywood is still highly suspect. Gilliam is one of those filmmakers who, no matter how good a movie he makes, will never be welcomed into the inner sanctum. Still, Brazil deserved a Best Picture nomination. 7. Children of Men When the 2006 Best Picture nominees were announced, you may have heard a faint stream of cursing on the wind. That was me. I know that people tend to win Oscars when they’re “due,” which easily explains why The Departed took home the top prize, but the fact that Children of Men wasn’t even nominated is just silly. It was nominated for Best Cinematography and Best Film Editing, which is the Academy’s way of saying, “Wow, this movie is incredible, but it’s about the future, so let’s only honor that one really long take near the end.” Bullshit. Originally posted on:SpoutBlog http://www.spout.com/groups/sci_fi/Re_Sci_Fi_Recommendations/4/38212/1/ShowPost.aspx Post By: ShaunHuston
Post To: sci-fi
Post Date: 12/10/2008 5:07:01 PM
Body: [quote user="rjsprague"] I'm in the mood for something with a steampunk theme! Are there even any movies that are steampunk? [/quote] I'd second the Hellboy recommendations, especially Hellboy II. I would also point to some of Terry Gilliam's early films, Brazil, 12 Monkeys, as having steampunk aesthetics even if they aren't self-consciously made to be part of the sub-genre. This is an interesting request, as it's hard to come up with recommendations that aren't more just steampunkish and not so much steampunk through and through.
]]>Wed, 10 Dec 2008 22:07:01 GMTShaunHustonsci-fi12/10/2008 5:07:01 PM[quote user="rjsprague"] I'm in the mood for something with a steampunk theme! Are there even any movies that are steampunk? [/quote] I'd second the Hellboy recommendations, especially Hellboy II. I would also point to some of Terry Gilliam's early films, Brazil, 12 Monkeys, as having steampunk aesthetics even if they aren't self-consciously made to be part of the sub-genre. This is an interesting request, as it's hard to come up with recommendations that aren't more just steampunkish and not so much steampunk through and through. http://www.spout.com/groups/sci_fi/Re_Movies_about_the_future/4/37511/1/ShowPost.aspx Post By: Risselada
Post To: sci-fi
Post Date: 11/20/2008 4:57:48 PM
Body: [quote user="csprague"] Isn't it hilarious when old movies take place in the not so distant future of 2008 and it's this weird messed up world filled with people wearing clothes mostly made out of rubber and pleather? I was trying to come up with a list, but am mostly blanking right now. Was Judge Dredd one? or maybe it was Robocop. Anyway, what are a few of your favorite movies or scenes that take place in the future? Also (sub question), any cool future gadgets? I was really amazed by the microwave in Back to the Future II that made a little thing into a huge, hot pizza. I was convinced we would have those by now. [/quote] Gattaca A Clockwork Orange 2001: A Space Odyssey Akira Brazil of course Death Race 2000 and Blade Runner is only about 10 years away. Does anyone know when Flash Gordon was supposed to take place??
]]>Thu, 20 Nov 2008 21:57:48 GMTRisseladasci-fi11/20/2008 4:57:48 PM[quote user="csprague"] Isn't it hilarious when old movies take place in the not so distant future of 2008 and it's this weird messed up world filled with people wearing clothes mostly made out of rubber and pleather? I was trying to come up with a list, but am mostly blanking right now. Was Judge Dredd one? or maybe it was Robocop. Anyway, what are a few of your favorite movies or scenes that take place in the future? Also (sub question), any cool future gadgets? I was really amazed by the microwave in Back to the Future II that made a little thing into a huge, hot pizza. I was convinced we would have those by now. [/quote] Gattaca A Clockwork Orange 2001: A Space Odyssey Akira Brazil of course Death Race 2000 and Blade Runner is only about 10 years away. Does anyone know when Flash Gordon was supposed to take place?? http://www.spout.com/blogs/spoutblog/archive/2008/10/7/36013.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/7/2008 4:01:26 PM
Body: io9 has confirmed an earlier report that Ridley Scott will direct an adaptation of Brave New World, Aldous Huxley’s classic dystopian future novel. Scott says that Leonardo DiCaprio approached him about adapting the book, and it looks like he will star in the film as well. This is exciting news; not only does it herald the return to science fiction for the director of Blade Runner and Alien, it also means that Leo, who is working on a live action adaptation of Akira, has two dystopian future projects in progress. Brave New World is one of my favorite books, and Blade Runner is one of my favorite movies, for many of the same reasons, but I’m still having trouble getting excited about this news. Scott’s work on Blade Runner was amazing, but that was 26 years ago, and he hasn’t made a science fiction film since. I’d like to believe he can jump back in the saddle, but considering what he’s been up to for the past two and a half decades, I have my doubts. While the quality of Scott’s filmography is admittedly debatable, it’s safe to say he’s made some pretty terrible movies, Kingdom of Heaven and A Good Year come to mind. Even his films that have some potential end up falling short. American Gangster, while not a bad movie, felt like only like a sufficient execution of a script Scorsese would have passed over in the nineties. Even if Scott can get his Blade Runner mojo working again for Brave New World, it could still be really bad. Blade Runner and Brave New World are very different stories, set in very different worlds. Blade Runner took cues from Neuromancer and the dystopian stories of Philip K. Dick to create a dingy future noir, complete with brutal violence and assassinations. Brave New World, on the other hand, takes place in a world where technological advances and a strict caste system have sanitized society. People are conditioned to desire nothing more than their predetermined station in life, dutifully ingesting a drug called soma to dull any inappropriate desires. While Blade Runner used rich visuals to convey the bleak state of the world, Brave New World features nearly unfilmable social situations. Family structures have been abolished and children are grown in futuristic farms. Sex is nothing but a social activity for the sterile citizens, and they are encouraged to start young. Bernard, an agitator who has the courage to suspect that something is wrong with this way of life, begins to be slightly disturbed by constantly seeing groups of children having orgies. How are you going to film that, Ridley? Brave New World also differs from Blade Runner in that there is much less violence. There’s a riot scene that could be pretty cool, but it’s safe to say that the action would look nothing like Black Hawk Down. In one scene a child is beaten senseless as part of a ritual. In another, a man flies into a rage and beats a woman he has unrequited feelings for, in front of a crowd of on-lookers. Having not been exposed to violence in their sanitized lives, this scene sends them into a frenzy, which of course results in a massive orgy. The Brave New World film will either be the most ambitious porno in history, or it will be scrubbed of its controversial content. I’m not sure which would be worse. Of course, on the page Brave New World reads nothing like porn –– on the contrary, it’s satire. Huxley, a Brit, was inspired to write it after seeing what he viewed as degenerate American youth culture and runaway industrialization on a trip to the States. It’s a dark comedy with no punch lines. In some ways it’s more similar to Terry Gilliam’s Brazil than to Blade Runner. Which raises another problem: Ridley Scott is an extremely serious filmmaker. While Nicolas Cage attempts to get some laughs in Matchstick Men, the heart of that film, and all Scott’s films, is undeniably earnest. In Brazil, on the other hand, we’re encouraged to laugh at the future, despite the fact that it’s soul-crushing and bleak. Huxley had a similar goal in mind. I do have some hope for DiCaprio’s involvement, however. His acting skills have steadily improved over the years, and the fact that he’s taken the initiative to produce both Brave New World and Akira adaptations is a good sign. We haven’t seen a lot from Leo the Producer, but there are more interesting projects on the horizon. In Atari, set for a 2009 release, Leo will play Nolan Bushnell, godfather on the video game industry. He’s also producing The Rise of Theodore Roosevelt, Martin Scorsese will direct, and Leo will play the budding young president. Sounds good. I wonder if it’s too late for Leo to offer Brave New World to Scorsese? Now that would be a dystopian science fiction movie. Originally posted on:SpoutBlog
]]>Tue, 07 Oct 2008 20:01:26 GMTSpoutBlogSpoutBlog on spout.com10/7/2008 4:01:26 PMio9 has confirmed an earlier report that Ridley Scott will direct an adaptation of Brave New World, Aldous Huxley’s classic dystopian future novel. Scott says that Leonardo DiCaprio approached him about adapting the book, and it looks like he will star in the film as well. This is exciting news; not only does it herald the return to science fiction for the director of Blade Runner and Alien, it also means that Leo, who is working on a live action adaptation of Akira, has two dystopian future projects in progress. Brave New World is one of my favorite books, and Blade Runner is one of my favorite movies, for many of the same reasons, but I’m still having trouble getting excited about this news. Scott’s work on Blade Runner was amazing, but that was 26 years ago, and he hasn’t made a science fiction film since. I’d like to believe he can jump back in the saddle, but considering what he’s been up to for the past two and a half decades, I have my doubts. While the quality of Scott’s filmography is admittedly debatable, it’s safe to say he’s made some pretty terrible movies, Kingdom of Heaven and A Good Year come to mind. Even his films that have some potential end up falling short. American Gangster, while not a bad movie, felt like only like a sufficient execution of a script Scorsese would have passed over in the nineties. Even if Scott can get his Blade Runner mojo working again for Brave New World, it could still be really bad. Blade Runner and Brave New World are very different stories, set in very different worlds. Blade Runner took cues from Neuromancer and the dystopian stories of Philip K. Dick to create a dingy future noir, complete with brutal violence and assassinations. Brave New World, on the other hand, takes place in a world where technological advances and a strict caste system have sanitized society. People are conditioned to desire nothing more than their predetermined station in life, dutifully ingesting a drug called soma to dull any inappropriate desires. While Blade Runner used rich visuals to convey the bleak state of the world, Brave New World features nearly unfilmable social situations. Family structures have been abolished and children are grown in futuristic farms. Sex is nothing but a social activity for the sterile citizens, and they are encouraged to start young. Bernard, an agitator who has the courage to suspect that something is wrong with this way of life, begins to be slightly disturbed by constantly seeing groups of children having orgies. How are you going to film that, Ridley? Brave New World also differs from Blade Runner in that there is much less violence. There’s a riot scene that could be pretty cool, but it’s safe to say that the action would look nothing like Black Hawk Down. In one scene a child is beaten senseless as part of a ritual. In another, a man flies into a rage and beats a woman he has unrequited feelings for, in front of a crowd of on-lookers. Having not been exposed to violence in their sanitized lives, this scene sends them into a frenzy, which of course results in a massive orgy. The Brave New World film will either be the most ambitious porno in history, or it will be scrubbed of its controversial content. I’m not sure which would be worse. Of course, on the page Brave New World reads nothing like porn –– on the contrary, it’s satire. Huxley, a Brit, was inspired to write it after seeing what he viewed as degenerate American youth culture and runaway industrialization on a trip to the States. It’s a dark comedy with no punch lines. In some ways it’s more similar to Terry Gilliam’s Brazil than to Blade Runner. Which raises another problem: Ridley Scott is an extremely serious filmmaker. While Nicolas Cage attempts to get some laughs in Matchstick Men, the heart of that film, and all Scott’s films, is undeniably earnest. In Brazil, on the other hand, we’re encouraged to laugh at the future, despite the fact that it’s soul-crushing and bleak. Huxley had a similar goal in mind. I do have some hope for DiCaprio’s involvement, however. His acting skills have steadily improved over the years, and the fact that he’s taken the initiative to produce both Brave New World and Akira adaptations is a good sign. We haven’t seen a lot from Leo the Producer, but there are more interesting projects on the horizon. In Atari, set for a 2009 release, Leo will play Nolan Bushnell, godfather on the video game industry. He’s also producing The Rise of Theodore Roosevelt, Martin Scorsese will direct, and Leo will play the budding young president. Sounds good. I wonder if it’s too late for Leo to offer Brave New World to Scorsese? Now that would be a dystopian science fiction movie. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/9/23/35442.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/23/2008 1:01:18 PM
Body: On October 28 the world will plunge into an irradiated nightmare, littered with the wreckage of civilization, overrun by savage super mutants. Or, my world will be, anyway. Next month is when the hotly anticipated new video game Fallout 3 will be released. It’s been over a decade since the first Fallout, a now classic post-apocalyptic role-playing game. How has the franchise maintained such a devoted fan base? Simple: great story, great characters, great setting, and killer cinematics. The games have always been deeply indebted to post-apocalyptic cinema. The opening sequence of the first game is almost identical to the one in The Road Warrior, and the similarities don’t end there. As the Max Payne movie is (hopefully) about to prove, there is an elegant solution to the problem of videogame movies sucking: make movies about games that are already steeped in cinematic influence. In other words, a Fallout movie would kick serious ass. It would have a similar feel to classics like The Road Warrior, but Fallout has its own brand of dark humor and retro-futurism. For the purpose of assembling a dream cast for such a film, I’m going to stick to characters from the first game, where it all began. The game follows The Vault Dweller, a young person raised in the safety of a large underground vault. The vault community intended on riding out the nuclear storm for 200 years, but their water purification chip broke, so our hero must go and seek another. The Vault Dweller The badass wanderer of the wastes could be almost anyone, as Fallout gave the player the option of creating an entirely original protagonist. The game also provided three pre-made heroes, any of which could translate well to the screen. Albert – Leonardo DiCaprio The option to play Albert lets the player capitalize on charisma, while still doing a fair amount of damage with small arms and unarmed combat. Albert’s strength is talking his way out of tough situations, but some situations require action when words fail. DiCaprio has a great way of wearing frustration on his face, which is perfect, as I imagine that killing ghouls while fighting an addiction to radiation-resisting drugs would be quite frustrating. Max Stone – Ron Perlman Max Stone is set up in the game to be a big dumb bruiser, but Perlman could give the character depth beyond that stereotype. This choice is obviously informed by Perlman’s work in Sin City and the Hellyboy movies. Also, Perlman had to be on the list somewhere, given his involvement in the games. He provided the voice-over narration for the openings of Fallout 1 and 2, and provided character voices. Natalia – Carrie-Anne Moss While we can all agree that the Marix trilogy went downhill, that shouldn’t ruin things for Ms. Moss. She has a lot of potential as an action star, and the role of Natalie, a thief/assassin daughter of KGB spies would serve her nicely. The other Vault Dweller option: use all three as a team! It would break from the lone-wanderer feel, but it would be pretty cool. Other Characters In the spirit of all great role-playing games, Fallout let the player wander around at his or her own pace, exploring, doing quests, making friends and making enemies. It wouldn’t make sense to include all the characters in the film, but here are some essentials: The Overseer – Brian Cox The Overseer is the leader of Vault 13, the hero’s home up until this point. He sends the Vault Dweller on a mission to save the vault by finding a replacement water purification chip before it’s too late. The Overseer starts out as a kindly father figure, offering advice and encouragement. But in the final scene of the game, he betrays the Vault Dweller in a way that’s so maddening, the game designers actually included a rare alternate ending in which the Vault Dweller blows the Overseer’s head off. Cox is really good at being both fatherly and a total dick, example: The Bourne Supremacy. Harold – Harry Dean Stanton Whole regions of the scarred world of Fallout are populated by ghouls, most of them mindless flesh-eaters. The Vault Dweller encounters one ghoul who’s different, who provides him with some key information. Harold was once a vault dweller like our hero, but was infected by a virus that both killed him and kept his consciousness alive in his animated corpse. That pretty much explains the choice to cast Harry Dean Stanton. Morpheus – Michael Palin Morpheus is the leader of The Children of the Cathedral, a sick cult that worships The Master (see below). Michael Palin is the natural choice, because he seems like a nice and funny guy whose religion you’d join, until you find out that he’s completely nuts. He pulls off this double role in Terry Gilliam’s dystopian masterpiece, Brazil. Also, there are only two people that could pull off that mustache, Michael Palin and Salvador Dali, and Dali is dead. General Maxson - Max von Sydow General Maxson is the leader of the Brotherhood of Steel, a league of soldiers with incredibly high-tech weapons and armor. With luck and a fair bit of skill, the Vault Dweller joins their ranks and gears up for the final confrontation. Max von Sydow is one of those actors who can bring the clout he carried in The Seventh Seal to a movie like Judge Dredd. Perfect. The Master – James Earl Jones and Angelia Jolie The Master is a pulsating mass of human flesh and machinery with the ability to capture and incorporate intruders into its body. It speaks with multiple voices, representing the unlucky souls who are now a part of its writhing conglomeration of body parts. The Master would have to be CG of course, but what better voices than Jones and Jolie for that perfect mix of ominous and seductive? Originally posted on:SpoutBlog
]]>Tue, 23 Sep 2008 17:01:18 GMTSpoutBlogSpoutBlog on spout.com9/23/2008 1:01:18 PM On October 28 the world will plunge into an irradiated nightmare, littered with the wreckage of civilization, overrun by savage super mutants. Or, my world will be, anyway. Next month is when the hotly anticipated new video game Fallout 3 will be released. It’s been over a decade since the first Fallout, a now classic post-apocalyptic role-playing game. How has the franchise maintained such a devoted fan base? Simple: great story, great characters, great setting, and killer cinematics. The games have always been deeply indebted to post-apocalyptic cinema. The opening sequence of the first game is almost identical to the one in The Road Warrior, and the similarities don’t end there. As the Max Payne movie is (hopefully) about to prove, there is an elegant solution to the problem of videogame movies sucking: make movies about games that are already steeped in cinematic influence. In other words, a Fallout movie would kick serious ass. It would have a similar feel to classics like The Road Warrior, but Fallout has its own brand of dark humor and retro-futurism. For the purpose of assembling a dream cast for such a film, I’m going to stick to characters from the first game, where it all began. The game follows The Vault Dweller, a young person raised in the safety of a large underground vault. The vault community intended on riding out the nuclear storm for 200 years, but their water purification chip broke, so our hero must go and seek another. The Vault Dweller The badass wanderer of the wastes could be almost anyone, as Fallout gave the player the option of creating an entirely original protagonist. The game also provided three pre-made heroes, any of which could translate well to the screen. Albert – Leonardo DiCaprio The option to play Albert lets the player capitalize on charisma, while still doing a fair amount of damage with small arms and unarmed combat. Albert’s strength is talking his way out of tough situations, but some situations require action when words fail. DiCaprio has a great way of wearing frustration on his face, which is perfect, as I imagine that killing ghouls while fighting an addiction to radiation-resisting drugs would be quite frustrating. Max Stone – Ron Perlman Max Stone is set up in the game to be a big dumb bruiser, but Perlman could give the character depth beyond that stereotype. This choice is obviously informed by Perlman’s work in Sin City and the Hellyboy movies. Also, Perlman had to be on the list somewhere, given his involvement in the games. He provided the voice-over narration for the openings of Fallout 1 and 2, and provided character voices. Natalia – Carrie-Anne Moss While we can all agree that the Marix trilogy went downhill, that shouldn’t ruin things for Ms. Moss. She has a lot of potential as an action star, and the role of Natalie, a thief/assassin daughter of KGB spies would serve her nicely. The other Vault Dweller option: use all three as a team! It would break from the lone-wanderer feel, but it would be pretty cool. Other Characters In the spirit of all great role-playing games, Fallout let the player wander around at his or her own pace, exploring, doing quests, making friends and making enemies. It wouldn’t make sense to include all the characters in the film, but here are some essentials: The Overseer – Brian Cox The Overseer is the leader of Vault 13, the hero’s home up until this point. He sends the Vault Dweller on a mission to save the vault by finding a replacement water purification chip before it’s too late. The Overseer starts out as a kindly father figure, offering advice and encouragement. But in the final scene of the game, he betrays the Vault Dweller in a way that’s so maddening, the game designers actually included a rare alternate ending in which the Vault Dweller blows the Overseer’s head off. Cox is really good at being both fatherly and a total dick, example: The Bourne Supremacy. Harold – Harry Dean Stanton Whole regions of the scarred world of Fallout are populated by ghouls, most of them mindless flesh-eaters. The Vault Dweller encounters one ghoul who’s different, who provides him with some key information. Harold was once a vault dweller like our hero, but was infected by a virus that both killed him and kept his consciousness alive in his animated corpse. That pretty much explains the choice to cast Harry Dean Stanton. Morpheus – Michael Palin Morpheus is the leader of The Children of the Cathedral, a sick cult that worships The Master (see below). Michael Palin is the natural choice, because he seems like a nice and funny guy whose religion you’d join, until you find out that he’s completely nuts. He pulls off this double role in Terry Gilliam’s dystopian masterpiece, Brazil. Also, there are only two people that could pull off that mustache, Michael Palin and Salvador Dali, and Dali is dead. General Maxson - Max von Sydow General Maxson is the leader of the Brotherhood of Steel, a league of soldiers with incredibly high-tech weapons and armor. With luck and a fair bit of skill, the Vault Dweller joins their ranks and gears up for the final confrontation. Max von Sydow is one of those actors who can bring the clout he carried in The Seventh Seal to a movie like Judge Dredd. Perfect. The Master – James Earl Jones and Angelia Jolie The Master is a pulsating mass of human flesh and machinery with the ability to capture and incorporate intruders into its body. It speaks with multiple voices, representing the unlucky souls who are now a part of its writhing conglomeration of body parts. The Master would have to be CG of course, but what better voices than Jones and Jolie for that perfect mix of ominous and seductive? Originally posted on:SpoutBlog http://www.spout.com/groups/sci_fi/Re_Tough_Chicks_of_Sci_Fi/4/33802/1/ShowPost.aspx Post By: Smooth_J
Post To: sci-fi
Post Date: 8/9/2008 6:59:08 PM
Body: [quote user="Dr_Gor"] And Denise Richards in Starship Troopers was kind of awesome... [/quote] That's my favorite. When the movie got dumber than intentionally dumb, she was a great addition to the scenery. And I agree that Milla Jovovich was siiick in The Fifth Element. That was such a good movie, no matter how slimy you feel after watching it. Jill, Lowry's dream girl in Brazil, is pretty badass too. Her contempt for him is hilarious, as is her blatant disregard for the "system"--besides Tuttle, she's probably the toughest in the movie.
]]>Sat, 09 Aug 2008 22:59:08 GMTSmooth_Jsci-fi8/9/2008 6:59:08 PM[quote user="Dr_Gor"] And Denise Richards in Starship Troopers was kind of awesome... [/quote] That's my favorite. When the movie got dumber than intentionally dumb, she was a great addition to the scenery. And I agree that Milla Jovovich was siiick in The Fifth Element. That was such a good movie, no matter how slimy you feel after watching it. Jill, Lowry's dream girl in Brazil, is pretty badass too. Her contempt for him is hilarious, as is her blatant disregard for the "system"--besides Tuttle, she's probably the toughest in the movie. http://www.spout.com/groups/Filmgaming/Re_A_new_pack_of_RESERVOIR_DOGS_1992/563/33054/1/ShowPost.aspx Post By: indieabby88
Post To: Filmgaming
Post Date: 7/24/2008 6:53:38 PM
Body: I was listening to an interview on NPR this afternoon with Eric Idle, and later, while in the shower (where all the best ideas come from, no?) I had an odd but interesting epiphany. So, here it is: Monty Python's Reservoir Dogs: (1972) Directed by Terry Gilliam Just think: shoestring budget, fake blood spurting ridiculously in every scene, especially in the scene where Blonde slashes that cop (think "Salad Days")...Plus with Gilliam at the helm, you know it's gonna be dark, funny and seriously trippy. Not to mention the possibility of having Michael Palin get shot by Graham Chapman or Terry Jones in old lady drag. The cast: Graham Chapman ... Mr. White (actually, this could be interchangable with John Cleese, they have the same kind of acting style) Michael Palin ... Mr. Orange (I think he'd have a great "I'm shot!" reaction) John Cleese ... Mr. Blonde (again, interchangable with Graham Chapman. Either one would be good for pretty much the same reasons)Terry Jones ... Nice Guy Eddie (He even bares a very very slight resemblence to Chris Penn)Eric Idle ... Mr. Pink (Idle's the perfect smartass, definitely the Steve Buscemi of the group)Spike Milligan (The Goon Show, "Life of Brian") ... Joe Cabot Charles McKeown ("Life of Brian," "Brazil"--acted and co-wrote) ... Mr. BrownTerry Gilliam ... Mr. Blue (after all, it's only appropriate that the director play this role)Neil Innes ... Young Cop (gets ear cut off) (Innes is the classic Python extra. In addition to composing most of the original songs in the show and in the movies, he's done some good bit parts--i.e. the squire who gets squashed by the Trojan Rabbit in "Monty Python and the Holy Grail." Michael Palin ... K-Billy DJ (Perhaps Blonde slices and dices to "Urban Spaceman" or "Death Cab For Cutie" by the Bonzo Dog Band?)
]]>Thu, 24 Jul 2008 22:53:38 GMTindieabby88Filmgaming7/24/2008 6:53:38 PMI was listening to an interview on NPR this afternoon with Eric Idle, and later, while in the shower (where all the best ideas come from, no?) I had an odd but interesting epiphany. So, here it is: Monty Python's Reservoir Dogs: (1972) Directed by Terry Gilliam Just think: shoestring budget, fake blood spurting ridiculously in every scene, especially in the scene where Blonde slashes that cop (think "Salad Days")...Plus with Gilliam at the helm, you know it's gonna be dark, funny and seriously trippy. Not to mention the possibility of having Michael Palin get shot by Graham Chapman or Terry Jones in old lady drag. The cast: Graham Chapman ... Mr. White (actually, this could be interchangable with John Cleese, they have the same kind of acting style) Michael Palin ... Mr. Orange (I think he'd have a great "I'm shot!" reaction) John Cleese ... Mr. Blonde (again, interchangable with Graham Chapman. Either one would be good for pretty much the same reasons)Terry Jones ... Nice Guy Eddie (He even bares a very very slight resemblence to Chris Penn)Eric Idle ... Mr. Pink (Idle's the perfect smartass, definitely the Steve Buscemi of the group)Spike Milligan (The Goon Show, "Life of Brian") ... Joe Cabot Charles McKeown ("Life of Brian," "Brazil"--acted and co-wrote) ... Mr. BrownTerry Gilliam ... Mr. Blue (after all, it's only appropriate that the director play this role)Neil Innes ... Young Cop (gets ear cut off) (Innes is the classic Python extra. In addition to composing most of the original songs in the show and in the movies, he's done some good bit parts--i.e. the squire who gets squashed by the Trojan Rabbit in "Monty Python and the Holy Grail." Michael Palin ... K-Billy DJ (Perhaps Blonde slices and dices to "Urban Spaceman" or "Death Cab For Cutie" by the Bonzo Dog Band?) http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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]]>Mon, 30 Nov 2009 02:12:13 GMT22853113Tag http://www.spout.com/members/0/tags/dreams/MemberTagFilms.aspxdreams
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]]>Fri, 18 Sep 2009 01:25:32 GMT2795096Tag http://www.spout.com/members/0/tags/terrorism/MemberTagFilms.aspxterrorism
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]]>Mon, 06 Oct 2008 18:48:37 GMT814188Tag http://www.spout.com/members/0/tags/freedom/MemberTagFilms.aspxfreedom
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]]>Wed, 16 Sep 2009 23:55:18 GMT4543860Tag http://www.spout.com/members/0/tags/magical/MemberTagFilms.aspxmagical
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]]>Wed, 22 Oct 2008 20:33:45 GMT453687Tag http://www.spout.com/members/0/tags/government/MemberTagFilms.aspxgovernment
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