Diário de Bizarrices

Eu voltei!!! ...Depois de uns 500 anos... LOL

noreply@blogger.com (Roberta) — Fri, 21 Oct 2011 07:16:52 PDT

(Eu ouvi essa música no comercial da SKY e acho muito engraçado... não sei bem porque... LOL / Achei esse vídeo amador agora mesmo, e parece que o povo tem gostado. Quero ver. ;) /./ ) (E os Titãs fizeram uma versão bonitinha (esse não é um termo pejorativo, eu gosto dessa palavra), do "O Portão") Passei a frequentar novamente o blogger ontem, porque meu pai resolveu fazer um blog pra empresa dele! =DD Mas, não fiz esse post pra isso, mas sim por outro motivo que me deixou, não digo brava, mas pensando: O porque da revolta? Eu estava olhando os comentários de moderação, (aliás, desculpa que quem não viu os seus publicados) e reparei que tinha um Anônimo que não gostou que piadinhas bobinhas que eu fiz com os Rolling Stones e dos Beatles e ele esperava que eu fosse fazer o que? Comentar que eu queria lamber a sola do sapato deles? Me poupe! Eles não são intocáveis, qualquer pode tirar um pouco de sarro deles sem ser desrespeitoso, assim como eu fui. Agora, tem muita gente que age como se fosse 8 ou 80, por exemplo: Odeia loucamente e não suporta o fato de que existem milhões de pessoas ao redor do Planeta que gostam ou então o contrário (são esses que mais me enchem a paciência) que idolatram um ser humano como outro qualquer como se fosse Deus, pelo amor de Deus, eu só rio com essa gente que acha que Eric Clapton é Deus, LOL vocês sabem que ele pode morrer um dia não é? Assim como os Rolling Stones, tem muita gente que os chama de Múmias, mas no fundo cultua e muito e muita gente que acha que eles ainda estão na década de 60 e são ainda aqueles moleques ingleses, não, eles não são mais há muito tempo, vocês já devem saber disso (eu espero, pelo menos). Eu os admiro como qualquer outro artista, seja nacional ou internacional, não irei ficar bajulando um bando de caras que há mais de 40 ganham bilhões de dólares a mais que eu. Sinceramente, eu não quero muito dinheiro, só quero fazer o que eu quero numa boa sem que eu seja criticada/julgada por algo tão infeliz. Não acho que o meu post com as fotos dos Rolling Stones seja bom, acho muito bobo, na realidade assim como maior parte do que eu escrevo aqui. Porém, eu sempre tento melhorar. E só uma dica pra você engraçadinho: Vá arranjar uma ocupação decente, ok? É só uma dica. ;)

Diário de Uma Sonâmbula... "Meu Mundo Caiu" nesses Oscars e o Carnaval de 1942

noreply@blogger.com (Roberta) — Sun, 27 Feb 2011 23:40:22 PST

O Site IMDB está assim nesse momento como coloquei abaixo... Colocarei a lista oficial mais tarde.

Best Motion Picture of the Year
Winner: O Discurso do Rei (2010) - Iain Canning, Emile Sherman, Gareth Unwin

Best Performance by an Actor in a Leading Role
Winner: Colin Firth for O Discurso do Rei (2010)

Best Performance by an Actress in a Leading Role
Winner: Natalie Portman for Cisne Negro (2010)

Best Achievement in Directing
Winner: Tom Hooper for O Discurso do Rei (2010)

Best Achievement in Music Written for Motion Pictures, Original Song
Winner: Toy Story 3 (2010) - Randy Newman("We Belong Together")

Best Achievement in Editing
Winner: A Rede Social (2010) - Kirk Baxter, Angus Wall

Best Achievement in Visual Effects
Winner: A Origem (2010) - Chris Corbould, Andrew Lockley, Pete Bebb, Paul J. Franklin

Best Documentary, Features
Winner: Trabalho Interno (2010) - Charles Ferguson, Audrey Marrs

Best Short Film, Live Action
Winner: God of Love (2010) - Luke Matheny

Best Documentary, Short Subjects
Winner: Strangers No More (2010) - Karen Goodman, Kirk Simon

Best Achievement in Costume Design
Winner: Alice no País das Maravilhas (2010) - Colleen Atwood

Best Achievement in Makeup
Winner: O Lobisomem (2010) - Rick Baker, Dave Elsey

Best Achievement in Sound Editing
Winner: A Origem (2010) - Richard King

Best Achievement in Sound Mixing
Winner: A Origem (2010) - Lora Hirschberg, Gary Rizzo, Ed Novick

Best Achievement in Music Written for Motion Pictures, Original Score
Winner: A Rede Social (2010) - Trent Reznor, Atticus Ross

Best Performance by an Actor in a Supporting Role
Winner: Christian Bale for O Vencedor (2010)

Best Foreign Language Film of the Year
Winner: Em um Mundo Melhor (2010) - Susanne Bier(Denmark)

Best Writing, Screenplay Written Directly for the Screen
Winner: O Discurso do Rei (2010) - David Seidler

Best Writing, Screenplay Based on Material Previously Produced or Published
Winner: A Rede Social (2010) - Aaron Sorkin

Best Animated Feature Film of the Year
Winner: Toy Story 3 (2010) - Lee Unkrich

Best Short Film, Animated
Winner: The Lost Thing (2010) - Shaun Tan, Andrew Ruhemann

Best Performance by an Actress in a Supporting Role
Winner: Melissa Leo for O Vencedor (2010)

Best Achievement in Cinematography
Winner: A Origem (2010) - Wally Pfister

Best Achievement in Art Direction
Winner: Alice no País das Maravilhas (2010) - Robert Stromberg, Karen O'Hara

Que fossa danada que eu tô hoje! E comecei bem a semana, meu Deus!!! Ter de ver "A Rede Social" ("The Social Network") perder tudo o que realmente tinha direito e ficar impotente, sem fazer nada... estou arrasada! Ouvir da voz de um dos meus Heróis, Steven Spielberg dizer "The King's Speech", foi a maior desgraça da noite.

As minhas alegrias de hoje foi ver Kevin Brownlow, Francis Ford Coppola (Meu Zeus do Olimpo [ehhehe]) e Eli Wallach no palco do Oscar, porque já tinha os visto no youtube recebendo o Oscar Honorário.

Algumas das Homenagens

Os discursos

Só senti falta do Jean-Luc Godard, mas fazer o que? Ele é um revoltado, não digo que ele não tenha razão, mas bem que ele podia fazer "um social" de vez em quando, só pra variar um pouco.

E ver Kirk Douglas apresentando a Melhor Atriz Coadjuvante foi tudo de bom!!

Mudando de assunto, porque eu tô tão deprê só apelando pro melhor diretor do mundo pra animar um pouquinho...

Sim! Orson Welles! Pra quem não sabe, ele deu uma visitadinha pelo Rio de Janeiro, pelo Ceará e por outros estados, mas foi uma coisa "humilde". Se eu estivesse viva naquela época ia sair caçando ele, como aquelas pessoas que caçam caranguejo no mangue!

Tentei achar uma imagem decente, só essa com gato preto. (Aff... [risos])

Quero muito ler esse livro, quero demais ver o filme que Welles fez, tá incompleto, dane-se! Estou satisfeita... há alguns anos vi um filme (não me lembro o nome e nem o diretor) que foi ~~porcamente~~ baseado na vinda dele pra cá, mostrava Welles como um cara mulherengo, que fez o filme meio que "nas coxas", que não tava nem aí pra produção. Enfim! Eu nunca achei que ele fosse santo, mas que ele só deve ter levado porrada e comido o pão que o Diabo amassou, acredito que seja um fato.

Essa foto é magnífica!

Ele veio pra cá só por motivos políticos, Getúlio Vargas e Franklin Roosevelt viraram BFF's (Best Friends Forever) e tinham que colocar um ~~"boi de piranha"~~ profissional para selar essa união tão linda... E depois que ele voltou pro States descobriu que o Filme "Soberba" foi cruelmente cortado à base de tesoura de jardineiro e os restos do filme, provavelmente viraram cinzas ~~(ou não?)~~.

Deve ter sofrido horrores com o calor daqui... Ô_Ô

Não sei porque raios eu descobri um vídeo do Clóvis Bornay em que descrevia um inusitado (e ainda por mim inacreditável) encontro com Orson Welles. Primeiro, uma explicação pra quem não conhece quem é essa figura, que não dá pra descrever só vendo, espero que goste.

Bom, o vídeo é esse

Só a nível de curiosidade: Essa é uma cena do filme "Sangue e Areia (Blood and Sand)" com o Tyrone Power, então substitui o belíssimo ator pelo Clóvis Bornay.

Maravilha hein??? (risos)

Então, não aguentava mais ver e ver o vídeo daquele infeliz, porque eu ficava imaginando como seria a cara de Welles olhando pra aquele "matador tupiniquim" e mais uma vez achei um vídeo fantástico!

Lindo, lindo! Morro de vontade de ver It's All True!

Pictures from Deep Brazil

Que lindo!!! Depois de ver essas imagens de Welles se acabando no meio do confete encerro por aqui.

(música tudo a ver com o Bornay, principalmente a parte da Maria Antonieta!)

Bom dia pra todo mundo!!!

A maratona alemã de cinema está ainda mais política

noreply@blogger.com (Roberta) — Thu, 10 Feb 2011 12:12:49 PST

A maratona alemã de cinema está ainda mais política

Festival protesta contra a prisão do diretor iraniano Jafar Panahi, impedido de participar do júri. Filme de abertura será 'Bravura Indômita', dos irmãos Coen

Fila para compra de ingressos no Festival de Cinema de Berlim
(Andreas Rentz/Getty Images)

O 61º Festival de Berlim começa nesta quinta-feira com uma das sete cadeiras do júri, a reservada a realizador iraniano Jafar Panahi, ainda vazia. O gesto é uma das formas que a organização da maratona alemã encontrou para protestar contra a prisão do premiado diretor de O Círculo (2000), decretada em dezembro pelo governo de Mahmoud Armadinejad. O pontapé inicial da programação será dado com a projeção de Bravura Indômita, refilmagem do clássico de Henry Hathaway, com John Wayne, dirigida pelos irmãos Joel e Ethan Coen e indicada a dez categorias do Oscar.

O cineasta iraniano Jafar Panahi (Carlo Allegri/Getty Images)

Em solidariedade a Panahi, conhecido por filmes que falam sobre a situação social do Irã, o festival também exibirá quatro de seus longas-metragens, incluindo Offside, que ganhou o Urso de Prata de direção em 2006. Além disso, a Berlinale abrigará um debate com cineastas iranianos que vivem no exílio. A múltipla iniciativa reforça o perfil político que o evento cinematográfico, um dos três maiores do mundo, ao lado de Cannes e Veneza, adquiriu com a gestão de Dieter Kosslick, que assumiu o posto em 2001.

Ao longo de 10 dias de atividades – que incluem uma retrospectiva do diretor sueco Ingmar Bergman - serão exibidos cerca de 400 títulos, vindos de 58 países diferentes.

Wagner Moura, em Tropa de Elite 2 (Alexandre Lima/Divulgação)

A participação brasileira se limita às mostras paralelas, com a exibição dos longas Tropa de Elite 2, de José Padilha (Panorama), Os Residentes, de Tiago Mata Machado, e do curta Ensolarado, de Ricardo Targino (Geração). Padilha volta à Berlinale três anos depois de ganhar o Urso de Ouro de melhor filme com Tropa de Elite, vitória duramente questionada na época pela imprensa internacional. O diretor carioca virá acompanhado dos atores Wagner Moura, protagonista do filme visto por mais de 11 milhões de brasileiros, e da atriz Maria Ribeiro.

Leia mais sobre o festival: O mosaico democrático da Berlinale

Wim Wenders Creates World's First 3D Art Film 3:04 PM 2/8/2011 by Scott Roxborough

noreply@blogger.com (Roberta) — Wed, 09 Feb 2011 09:53:07 PST

Click on the image to go to the website

A picture of German choreographer Pina Bausch hangs, in memoriam, in the spartan hallway of Wim Wenders' Berlin office.
Bausch, or Pina to everyone who knew her, died in 2009, just as Wenders was about to begin shooting a movie about her and her work.
What was planned as a documentary became something else: the world's first 3D art house film and Wenders' true testimonial to the woman many credit with revolutionizing the art of dance.
The film, which will screen out of competition in Berlin, is the culmination of an obssession with Pina's work that Wenders says began the moment he saw Bausch's Tanztheater in 1984.
"I saw the first piece of Pina's and immediately saw five more -- I saw everything she did," he says. "I'd seen some classical dance, but I was always bored. Here was something completely different. Even calling it modern dance is inappropriate. She created the word tanztheater, dance theater. What she does is plays where the acting is done by dancers."
Bausch's work is, on the surface, worlds away from the films of the German auteur. Although her pieces often contain snatches of dialogue -- itself scandalous for classical-dance purists -- there is no discernable narrative. Wenders had done documentaries, but the subject -- in Buena Vista Social Club and The Soul of Man -- was always music. In his huge body of work, there are no overt references to dance.
But from the moment he saw it, Wenders knew Bausch's Tanztheater belonged on the big screen. The only problem was, the director of Paris, Texas and Wings of Desire had no idea how to do it.
"It became a running joke," Wenders says. "She'd say, 'Wim, when are you doing that movie on me?' and I'd say, 'Pina, I don't know how.' "
The problem was space. Imagine shooting a dance performance: Where do you put the camera? Do a close-up of a single dancer, and you miss what's going on behind, in front of and beside them. Pull back for a wide shot, and the scene flattens out; you can see everyone, but the emotion is gone. And Pina's dances are emotional to the core.
"The more I got to know her work, the less I thought I was able to shoot it in a way that was valid," Wenders says.
Then, in 2006, he saw an early cut of the groundbreaking digital concert film U2 3D in Cannes.
"It was the first 3D film, the first to use this new technology," Wenders says. "I called Pina from the screening. I said, 'Now I know how.' "

“It’s a shame the 3D most people have seen wasn’t shot in the real world because it’s in the real world where 3D really comes into its own.” —Wim Wenders

3D might have solved the problem of space, but when Wenders did his first tests, there was another problem: movement. In 2006, the best 3D cameras still had difficulty capturing rapid motion. There was a shuttering effect: A dancer running across the stage would suddenly seem to have three legs or four arms.
"Even in Avatar, if you look at the original, real-life footage -- not the stuff done in computer -- you realize it is less elegant, clunky," he says. "Four years ago, the technology couldn't handle natural movement. So we had to wait."
By summer 2009, the technology had advanced to the point where they could start. Then Pina died of cancer in her home town of Wuppertal. She was 68.
"I had dinner with her eight days before she was taken from us," he says, his voice catching. "She looked tired. We all thought she was exhausted, which with Pina was a constant state. She checked in to the hospital for what we thought was a routine examination. Five days later, she was dead."
Wenders immediately canceled the film. How could he continue without a single second of footage with his protagonist? He had planned to follow Pina around the world and chronicle her unconventional working method. When developing a performance, she would ask her dancers questions about their characters, and they would answer with gestures and movement. From that, she would build the performance.
It was to be a film about Pina, and Pina was gone. But her worldwide fan base and dance troupe had not given up. They spoke with Wenders, telling him to keep going.
So he did. He and Bausch had selected five plays to perform at Tanztheater. He shot those, then stopped.
"I had to change the entire concept of the film; I had to find a substitute for Pina's presence," Wenders says. "Finally, I realized it had to be the people who knew her best. It had to be the dancers."
Wenders took Pina's method of interrogating her dancers and adapted it to the documentary, but with a twist: He asked them about the choreographer, and they answered with movement. The result is a doc with no narrative and practically no dialogue, but with an undeniable emotional power that's hard to deny.
Then, struggling to finish the film in early 2010, he added another wrinkle: Wenders took the dancers offstage and had them perform outside on the streets, in the factories and along the open-faced coal pits of Wuppertal, Pina's hometown.
It was an inspired move. Taking the 3D cameras outside opens up Pina. The dancers dip and bob on a traffic island as cars zip by. A woman pirouettes onto a hanging rail car. Another moves across the floor of an abandoned mine, struggling under the weight of her male partner.
"3D really thrives on space -- the 3D camera loves infinity, the horizon," Wenders says. "It's a shame the 3D most people have seen wasn't shot in the real world but in the studios because it's in the real world where 3D really comes into its own."
The result is arguably the most innovative and powerful film Wenders has made in a decade.
"I would have liked to show it to Pina," he muses, softly. "Of course, that wasn't possible. I only hope it's a proper homage to her by the people who knew and loved her best: her own dancers."

Carnaval é FOGO!

noreply@blogger.com (Roberta) — Mon, 07 Feb 2011 06:35:55 PST

Eu odeio carnaval, a melhor definição disso pra mim é aquele ditado popular "não vale o que o gato enterra", mas quem pensa que o carnaval é assim só hoje em dia tá enganado! Wikipedia não me deixa mentir.

A festa carnavalesca surgiu a partir da implantação, no século XI, da Semana Santa pela Igreja Católica, antecedida por quarenta dias de jejum, a Quaresma. Esse longo período de privações acabaria por incentivar a reunião de diversas festividades nos dias que antecediam a Quarta-feira de Cinzas, o primeiro dia da Quaresma. A palavra "carnaval" está, desse modo, relacionada com a ideia de deleite dos prazeres da carne marcado pela expressão "carnis valles", que, acabou por formar a palavra "carnaval", sendo que "carnis" do grego significa carne e "valles" significa prazeres. Em geral, o Carnaval tem a duração de três dias, os dias que antecedem a Quarta-feira de Cinzas. Em contraste com a Quaresma, tempo de penitência e privação, estes dias são chamados "gordos", em especial a terça-feira (Terça-feira gorda, também conhecida pelo nome francês Mardi Gras), último dia antes da Quaresma. Nos Estados Unidos, o termo mardi gras é sinônimo de Carnaval.
O Carnaval da Antiguidade era marcado por grandes festas, onde se comia, bebia e participava de alegres celebrações e busca incessante dos prazeres. O Carnaval prolongava-se por sete dias na ruas, praças e casas da Antiga Roma, de 17 a 23 de dezembro. Todas as actividades e negócios eram suspensos neste período, os escravos ganhavam liberdade temporária para fazer o que em quisessem e as restrições morais eram relaxadas. As pessoas trocavam presentes, um rei era eleito por brincadeira e comandava o cortejo pelas ruas (Saturnalicius princeps) e as tradicionais fitas de lã que amarravam aos pés da estátua do deus Saturno eram retiradas, como se a cidade o convidasse para participar da folia.
No período do Renascimento as festas que aconteciam nos dias de carnaval incorporaram os baile de máscaras, com suas ricas fantasias e os carros alegóricos. Ao caráter de festa popular e desorganizada juntaram-se outros tipos de comemoração e progressivamente a festa foi tomando o formato atual.
De acordo com o modo contemporâneo o carnaval ainda é considerado uma forma de festa bastante tradicional, pois persistiu por vários anos com o mesmo aspecto.

Porém, não são só os "prazeres da carne" exalados nas avenidas de São Paulo e Rio de Janeiro, pelas ruas de Salvador e de outras cidades do resto do país que me enchem a paciência e me deixam com muito, muito tédio, é principalmente na TV!
Porque eu não participo de nada do carnaval, fico de fone de ouvido as 4 noites de carnaval, fora durante o dia, que a Globo passa "os melhores momentos" da noite anterior, SBT não tem nada, Band passa o carnaval de Salvador incansávelmente, na RedeTV passa os bastidores ridículos das avenidas e daqueles bailes com aquela gente brega, sim é o baile gay e sim eu acho aquela gente muito brega, cafoníssima e nos outros dias do ano passam aqueles comerciais de cerveja, mas parece que nessa época é exibido à exaustão só se vê isso! É uma lavagem cerebral!! E nos programas de fofoca só mostram as rixas que as rainhas têm umas com as outras, as dietas, os exercícios para o corpo mais "sarado", mas na verdade você sabe que tem silicone por todo o corpo e que já fizeram 50.000 lipos esculturas e todos os outros tipos de plásticas que existem a gosto da freguesa.
Bem, pra quem TV A Cabo, não muda muito, muitas vezes não passam muitos filmes interessantes e também não tem muitas séries que eu, no caso, não acompanho, então fico "boiando" na situação.

E o pior, sim há algo pior! O País Para Por Causa Disso!!! O ano começa mesmo em Abril, Maio!!
Isso é nojento, me deixa morrendo de ira, vergonha... Você não tem o que realmente fazer na sua vida, são dias inúteis só pra satisfazer o maldito do ego! Não foi numa época de carnaval, mas eu já fui pra Salvador e foi simplesmente um horror, nem darei detalhes porque já faz muito tempo e não me lembro de muita coisa, só me lembro de uma coisa importante, não tem nada a ver com o que passa na mídia, NADA!
Só valeu ir pra Salvador pra ver o Elevador Lacerda, é uma beleza arquitetônica, muito lindo. Finito, acabou Salvador!

Todavia, o que aconteceu hoje na Cidade do Samba (1, 2, 3) com tudo que a Grande Rio, Portela e União da lha fizeram pra esse carnaval e virou cinzas, eu sinceramente sinto muito, chego até a pensar que é muito esquisito, porque só com essas escolas de samba? Mas, acontecem coisas assim e sempre nessa épocas todos os ano, porque será? Muito estranho. Se fossem com todas as escolas, seria maravilhoso, MA-RA-VI-LHO-SO!! Não teria transmissão tosca das emissoras abertas, não teriam rainhas de bateria babacas se mostrando, seria mais justo. Não se pra eles, mas pra mim seria. O maldito do meu ego estaria muito satisfeito!!

Um Mundo de Visitantes

noreply@blogger.com (Roberta) — Sat, 05 Feb 2011 17:38:09 PST

The World Is Yours ("Roubado de" Scarface 1932/83)

Eu não quero ser esnobe, é só uma coisa que me impressiona, os meus visitantes no total (Sim! São as estatísticas do Blogger! ~~Vejo cada coisa estranha por aqui que não vale a pena comentar.~~):

Brasil (Brazil) 9.170

Estados Unidos (United States) 2.596

Dinamarca (Denmark) 1.078

Portugal 658

Alemanha (Germany) 395

Reino Unido (United Kingdom) 212

Itália (Italy) 148

Canadá (Canada) 136

França (France) 117

Espanha (Spain) 64

Sinceramente, eu não tinha a pretensão de que nem os brasileiros fossem ler o meu blog, eu pensava que só eu leria, porque eu nunca achei que eu fosse postar coisas no mínimo legais, pra esse povo todo ao redor do mundo ter entrado alguma coisa boa eu devo ter feito desde o retrasado e acho que sim! Fico sinceramente muito feliz, agradeço a todos, estou aprendendo a escrever em inglês decentemente, porque pra falar é muito mais fácil, acho também que isso é óbvio...

Todavia, a visita de alguns países realmente me fizeram pular da cadeira, como Dinamarca(?), Alemanha(?), algumas vezes já vi Coréia(?) e isso é demais. Já pensou se algum ser de outro planeta também vê o meu blog? *_* Será que o ET Bilu gostou do meu post sobre ele? Ahh, espero que sim! Mas, brincadeiras à parte, eu sei quais foram os posts que me deram esse "upgrade", o primeiro foi o post da entrevista do Peter Bogdanovich (1.937 Visualizações de página) e fiquei imaginando do porque que atiçou tanto interesse, no início foram pelas fotos que estão junto com o texto e algumas vezes eu vi o nome da Dorothy Stratten e cheguei até pensar que fossem pessoas bem mórbidas por estarem procurando a entrevista dele apenas por causa dela e o segundo foi sobre as vedetes (1.319 Visualizações de página), fico imaginando um monte de gente pensando sobre coisas bastante impróprias sobre meu blog só porque tem fotos de mulheres em poses provocantes, mas quando lê o texto que eu inventei... são monte de coisas bobas que eu inventei que realmente não têm a menor importância (e até hoje não mudei de opinião, quer dizer, não mudaria nada do que está feito) e acredito até que muita gente deve ter fechado a página de raiva porque não era exatamente o que eles imaginavam, a verdade nua e crua é aquele post é bobo mesmo, tenho um carinho especial sobre tudo o que escrevi ali, por aquelas mulheres e por aqueles filmes que eu comentei.

Bom, seja lá pelos motivos que forem, desde porque quiseram entrar ou até por ter sido apenas um acidente de percurso, se gostam ou não, se me acham boba ou interessante, sinceramente não me importa só quero dizer muito obrigada a todos vocês sempre fazem meus dias cada vez melhores. E por fim, mas não menos importante, obrigada às vedetes e a Peter Bogdanovich, meus maiores triunfos!!!

Sobre números, é só isso por enquanto e estou para ver o que me aguarda... :D
Deixo vocês com uma foto que achei recentemente do Peter Bogdanovich com Cybill Shepherd na época do "A Última Sessão de Cinema (The Last Picture Show - 1971)".

Nossa.... daria pra fazer um post inteiro só usando essa foto de base....

2011 Screen Actors Guild Award

noreply@blogger.com (Roberta) — Sat, 05 Feb 2011 17:37:55 PST

2011 Screen Actors Guild Awards

Winners announced on Sunday, January 30th.

Also: Academy Awards | BAFTA Awards | Golden Globe Awards | Critics Choice Awards |Spirit Awards | Writers Guild Awards | Producers Guild Awards | Directors Guild Awards |Critics Awards Grid

Outstanding Performance by a Cast in a Motion Picture

WINNER
O Discurso do Rei (2010)

Other Nominees:
Cisne Negro (2010)
O Vencedor (2010)
Minhas Mães e Meu Pai (2010)
A Rede Social (2010)

Outstanding Performance by a Male Actor in a Leading Role

WINNER
Colin Firth for O Discurso do Rei (2010)

Other Nominees:
Jeff Bridges for Bravura Indômita (2010)
Robert Duvall for Get Low (2009)
Jesse Eisenberg for A Rede Social (2010)
James Franco for 127 Horas (2010)

Outstanding Performance by a Female Actor in a Leading Role

WINNER
Natalie Portman for Cisne Negro (2010)

Other Nominees:
Annette Bening for Minhas Mães e Meu Pai (2010)
Nicole Kidman for Reencontrando a Felicidade (2010)
Jennifer Lawrence for Inverno da Alma (2010)
Hilary Swank for Conviction (2010/II)

Outstanding Performance by a Male Actor in a Supporting Role

WINNER
Christian Bale for O Vencedor (2010)

Other Nominees:
John Hawkes for Inverno da Alma (2010)
Jeremy Renner for Atração Perigosa (2010)
Mark Ruffalo for Minhas Mães e Meu Pai (2010)
Geoffrey Rush for O Discurso do Rei (2010)

Outstanding Performance by a Female Actor in a Supporting Role

WINNER
Melissa Leo for O Vencedor (2010)

Other Nominees:
Amy Adams for O Vencedor (2010)
Helena Bonham Carter for O Discurso do Rei (2010)
Mila Kunis for Cisne Negro (2010)
Hailee Steinfeld for Bravura Indômita (2010)

Outstanding Performance by an Ensemble in a Comedy Series

WINNER
"Modern Family" (2009)

Other Nominees:
"30 Rock" (2006)
"Glee" (2009)
"Hot in Cleveland" (2010)
"The Office" (2005)

Outstanding Performance by an Ensemble in a Drama Series

WINNER
"Boardwalk Empire" (2009)

Other Nominees:
"The Closer" (2005)
"Dexter" (2006)
"The Good Wife" (2009)
"Mad Men" (2007)

Outstanding Performance by a Male Actor in a Comedy Series

WINNER
Alec Baldwin for "30 Rock" (2006)

Other Nominees:
Ty Burrell for "Modern Family" (2009)
Steve Carell for "The Office" (2005)
Chris Colfer for "Glee" (2009)
Ed O'Neill for "Modern Family" (2009)

Outstanding Performance by a Female Actor in a Comedy Series

WINNER
Betty White for "Hot in Cleveland" (2010)

Other Nominees:
Edie Falco for "Nurse Jackie" (2009)
Tina Fey for "30 Rock" (2006)
Jane Lynch for "Glee" (2009)
Sofía Vergara for "Modern Family" (2009)

Outstanding Performance by a Male Actor in a Drama Series

WINNER
Steve Buscemi for "Boardwalk Empire" (2009)

Other Nominees:
Bryan Cranston for "Breaking Bad" (2008)
Michael C. Hall for "Dexter" (2006)
Jon Hamm for "Mad Men" (2007)
Hugh Laurie for "House" (2004)

Outstanding Performance by a Female Actor in a Drama Series

WINNER
Julianna Margulies for "The Good Wife" (2009)

Other Nominees:
Glenn Close for "Damages" (2007)
Mariska Hargitay for "Law & Order: Special Victims Unit" (1999)
Elisabeth Moss for "Mad Men" (2007)
Kyra Sedgwick for "The Closer" (2005)

Outstanding Performance by a Male Actor in a Television Movie or Miniseries

WINNER
Al Pacino for You Don't Know Jack (2010) (TV)

Other Nominees:
John Goodman for You Don't Know Jack (2010) (TV)
Dennis Quaid for The Special Relationship (2010) (TV)
Édgar Ramírez for "Carlos" (2010)
Patrick Stewart for Macbeth (2010) (TV)

Outstanding Performance by a Female Actor in a Television Movie or Miniseries

WINNER
Claire Danes for Temple Grandin (2010) (TV)

Other Nominees:
Catherine O'Hara for Temple Grandin (2010) (TV)
Julia Ormond for Temple Grandin (2010) (TV)
Winona Ryder for When Love Is Not Enough: The Lois Wilson Story (2010) (TV)
Susan Sarandon for You Don't Know Jack (2010) (TV)

Ferramentas do Twitter

noreply@blogger.com (Roberta) — Fri, 28 Jan 2011 19:06:21 PST

Acho que todo mundo já deve saber disso, mas eu tive o interesse de por isso isso no meu blog porque eu uso muito e não quero ter que ficar acessando o google o tempo todo.

Então se você quiser deixar a sidebar do seu twitter transparente, clique aqui.

Seus problemas acabaram. ;)

Outra ferramenta que achei interessante é essa aqui, acredito que ela possa lhe dizer há quanto tempo você tem o twitter.

Diário de Uma Sonâmbula: Lady Gaga

noreply@blogger.com (Roberta.TMS.Cinema) — Thu, 27 Jan 2011 18:00:01 PST

Por que eu invento de falar de coisas mais nada justament quando estou com mais sono?

Proteja-me meu Deus! (Deus: Sim, filha sempre Te dou proteção, ainda mais nessas horas.

Eu: É, tem coisas que só INSPIRAÇÃO DIVINA para digitar.)

E a INSPIRAÇÃO DIVINA de hoje é: LADY GAGA! (como se não tivesse reparado no título)

No ano passado eu achava que a Lady Gaga "não fedia e nem cheirava", não dava a mínima para ela e aí ela começou a fazer mais coisas que não conseguia entender o sentido e tal estava bem perdida.

E vendo as fotos e videoclipes parecia dadaismo (1 e 2), meio Andy Warhol (3 e 4), meio "Rock Horror Picture Show" (5 e 6), meio Grace Jones se divertindo muito no mangue e cantando "Maracatu Atômico" (7) como se estivesse cantando "La Vie En Rose" (8).

Não sabia se ela tinha vindo do passado, presente ou futuro, universo paralelo, 4ª, 5ª, 6ª, 100ª dimensão!

Aí eu desencanei de tanto entender, e passei a gostar de algumas músicas, ela não é Deusa para é só uma artista que não capitei a mensagem.

Por exemplo:

(Mais ou menos como Hamlet e a cavera em sua mão)

"Da onde ela veio?

Para onde foi?

Para onde vai?"

(Sabe? Artísticamente falando?)

Todavia, sinceramente não acho que ouvir as músicas dela são perda de tempo, ela é bem divertida e por que não??

Para os fãs histéricos saiam agora, porque cada um tem a sua cruz e não me venha você e sua cruz em cima de mim que eu tenho mais o que fazer, carregar a minha cruz, tá certo?

Pelo amor de Deus, o que é que foi aquele vestido de carne?

Cher tava uma gata perto dela! Urgh! Creeeedo!!!

Repito: Pelo amor de Deus!!!

Alguém me explica por tudo que você ache sagrado (até a Lady Gaga) pode me fazer entender o que foi aquilo?

Que porcaria de sentido tinha aquilo??

E agora a "infanta" inventou de fazer um perfume com fragrâncias de sangue com sêmen!!!

Honestamente, Vá pra casa do chapéu!!

Eu não acho que tudo tem que haver sentido no mundo, mas tudo tem limite!!!

Quem usaria isso? Eu até duvido que ela usaria!!

O que há de errado com as flores, plantas, frutas?

Tem tanta coisa gostosa nesse mundo pra ser misturada, mas isso??

Quer ser diferente? Tá bom, que seja! Poderia mistura aquela belíssima de 3 metros de altura "flor-cadáver" com o bajo esfusiante do dragão de komodo, seria mais criativo, isso sim tem um tom exótico, misterioso ou melhor dizendo vindo da Indonésia, sudeste asiático!

Não pense que eu a odeio, não! De jeito nenhum, não tenho o direito disso, porque não a conheço, porém não a amo porque é um exagero! Mas, ela desmonstra que tem uns gostos muito duvidosos e acho isso completamente clichê!

Pra quem não sabe: Flor-Cadáver.

Olha, que animal de tirar o fôlego! Dragão de Komodo.

Confirmados Pra Abertura do Rock In Rio: Elton John, Rihanna, Katy Perry e Claudia Leitte

noreply@blogger.com (Roberta.TMS.Cinema) — Thu, 27 Jan 2011 11:01:56 PST

26 DE janeiro DE 2011
Confirmados: Elton John, Rihanna, Katy Perry e Claudia Leitte

O primeiro dia do Rock in Rio, dedicado principalmente à música pop, acaba de ter 4 nomes confirmados: Elton John, Rihanna, Katy Perry e Claudia Leitte, algumas das maiores estrelas da cena pop nacional e internacional.

O britânico Elton John, com mais de quarenta anos de estrada, traz na bagagem mais de 250 milhões de discos vendidos no mundo inteiro, completando 35 Discos de Ouro e 25 de Platina. Cantor e compositor que está entre os mais criativos do planeta, já ganhou prêmios como Grammy, Oscar, Tony e BRIT. Por sua influência e engajamento em causas sociais, é ainda um renomado filantropo – e foi condecorado “Sir” pela rainha da Inglaterra.

Katy Perry, que vem pela primeira vez ao Brasil, é uma jovem californiana que emplacou um dos maiores sucessos da última década: a música “I Kissed a Girl”. Eleita duas vezes consecutivas a mulher mais sexy do mundo pela revista masculina Maxin, Katy subirá no Palco Mundo pronta para mostrar ao público a irreverência que já virou sua marca registrada.

Também vem pela primeira vez ao Brasil a musa Rihanna, da ilha caribenha de Barbados, a primeira artista da década de 2000 a emplacar seis sucessos no primeiro lugar da parada Hot 100 da Billboard (hoje já são oito). Animada com o show no Rock in Rio, a artista já tinha deixado muitos fãs ansiosos quando mandou a mensagem “Brasil, estamos nos preparando para ‘arrebentar’ para vocês. Tenho esperado por isso há tempos, vai ser épico!!”. (Nós também estamos muito animados, Rihanna!)

Por fim, mas não menos importante, uma estrela da cena pop nacional que atrai em seus shows mais de três milhões de pessoas por ano: a loiraça Claudia Leitte, que já se prepara para sacudir o primeiro dia do festival. O sucesso de Claudia Leitte ultrapassa as fronteiras brasileiras, com diversas apresentações nos Estados Unidos, Inglaterra e Portugal. Seu primeiro álbum solo gravado em estúdio, lançado no ano passado, foi indicado ao Grammy Latino 2010 na categoria Melhor álbum Pop Contemporâneo, trazendo uma mistura de estilos com elementos do reggae, kuduro (ritmo angolano), samba e rock, entre outros.

Eu gostei muito da seleção que eles fizeram, mas, como nada agrada todo mundo, tem comentários cheios de coisas estúpidas! Será que precisa? Se não gostei fecha a página, troca o site e pronto!! Porém, a atração que eu mais gostei foi o Elton John, com certeza!

Why 3D doesn't work and never will. Case closed.

noreply@blogger.com (Roberta) — Wed, 26 Jan 2011 19:05:00 PST

Why 3D doesn't work and never will. Case closed.

By Roger Ebert on January 23, 2011 7:57 PM

I received a letter that ends, as far as I am concerned, the discussion about 3D. It doesn't work with our brains and it never will.

The notion that we are asked to pay a premium to witness an inferior and inherently brain-confusing image is outrageous. The case is closed.

This letter is from Walter Murch, seen at left, the most respected film editor and sound designer in the modern cinema. As a editor, he must be intimately expert with how an image interacts with the audience's eyes. He won an Academy Award in 1979 for his work on "Apocalypse Now," whose sound was a crucial aspect of its effect.
Wikipedia writes: "Murch is widely acknowledged as the person who coined the term Sound Designer, and along with colleagues developed the current standard film sound format, the 5.1 channel array, helping to elevate the art and impact of film sound to a new level. "Apocalypse Now" was the first multi-channel film to be mixed using a computerized mixing board." He won two more Oscars for the editing and sound mixing of "The English Patient."

"He is perhaps the only film editor in history," the Wikipedia entry observes, "to have received Academy nominations for films edited on four different systems:

• "Julia" (1977) using upright Moviola
• "Apocalypse Now" (1979), "Ghost" (1990), and "The Godfather, Part III" (1990) using KEM flatbed
• "The English Patient" (1996) using Avid.
• "Cold Mountain" (2003) using Final Cut Pro on an off-the shelf PowerMac G4.

Now read what Walter Murch says about 3D:

Hello Roger,

I read your review of "Green Hornet" and though I haven't seen the film, I agree with your comments about 3D.

The 3D image is dark, as you mentioned (about a camera stop darker) and small. Somehow the glasses "gather in" the image -- even on a huge Imax screen -- and make it seem half the scope of the same image when looked at without the glasses.

I edited one 3D film back in the 1980's -- "Captain Eo" -- and also noticed that horizontal movement will strobe much sooner in 3D than it does in 2D. This was true then, and it is still true now. It has something to do with the amount of brain power dedicated to studying the edges of things. The more conscious we are of edges, the earlier strobing kicks in.

The biggest problem with 3D, though, is the "convergence/focus" issue. A couple of the other issues -- darkness and "smallness" -- are at least theoretically solvable. But the deeper problem is that the audience must focus their eyes at the plane of the screen -- say it is 80 feet away. This is constant no matter what.

But their eyes must converge at perhaps 10 feet away, then 60 feet, then 120 feet, and so on, depending on what the illusion is. So 3D films require us to focus at one distance and converge at another. And 600 million years of evolution has never presented this problem before. All living things with eyes have always focussed and converged at the same point.

If we look at the salt shaker on the table, close to us, we focus at six feet and our eyeballs converge (tilt in) at six feet. Imagine the base of a triangle between your eyes and the apex of the triangle resting on the thing you are looking at. But then look out the window and you focus at sixty feet and converge also at sixty feet. That imaginary triangle has now "opened up" so that your lines of sight are almost -- almost -- parallel to each other.

We can do this. 3D films would not work if we couldn't. But it is like tapping your head and rubbing your stomach at the same time, difficult. So the "CPU" of our perceptual brain has to work extra hard, which is why after 20 minutes or so many people get headaches. They are doing something that 600 million years of evolution never prepared them for. This is a deep problem, which no amount of technical tweaking can fix. Nothing will fix it short of producing true "holographic" images.

Consequently, the editing of 3D films cannot be as rapid as for 2D films, because of this shifting of convergence: it takes a number of milliseconds for the brain/eye to "get" what the space of each shot is and adjust.

And lastly, the question of immersion. 3D films remind the audience that they are in a certain "perspective" relationship to the image. It is almost a Brechtian trick. Whereas if the film story has really gripped an audience they are "in" the picture in a kind of dreamlike "spaceless" space. So a good story will give you more dimensionality than you can ever cope with.

So: dark, small, stroby, headache inducing, alienating. And expensive. The question is: how long will it take people to realize and get fed up?

All best wishes,

Walter Murch

Salt shaker and landscape Photoshops by Marie Haws.

Sundance's best short films get awards

noreply@blogger.com (Roberta) — Wed, 26 Jan 2011 11:22:58 PST

Sundance's best short films get awards

"The Legend of Beaver Damn" Film Still. Sundance Film Festival 2011. Courtesy Image

Published on Jan 26, 2011 10:32AM

A down-and-out "super legend" and a savage submarine crew are the topics of the best short films at the 2011 Sundance Film Festival.
Matt Piedmont's animated "Brick Novax, parts 1 and 2" -- in which the title character recalls his glory days as astronaut, movie star, corporate CEO and musician -- was given the Jury Prize in Short Filmmaking at a ceremony Tuesday night at Park City's Jupiter Bowl.
The Jury Prize in International Short Filmmaking went to the Australian film "Deeper Than Yesterday," directed by Ariel Kleiman, which depicts a submarine crew that's been underwater so long that they have turned savage.
"Brick Novax" is playing in the festival's Shorts Program II, while "Deeper Than Yesterday" is in Shorts Program I.
Honorable mentions were awarded to the following films:
"Choke," by Michelle Latimer (Canada), Indigenous Shorts
"Diarchy," by Ferdinand Cito Filmomarino (Italy), Shorts Program V
"The External World," by David O'Reilly (Germany/Ireland), Shorts Program I
"The Legend of Beaver Dam," by Jerome Sable and Eli Batalion (Canada), playing in front of "Hobo With a Shotgun," Park City at Midnight
"Out of Reach," by Jakub Stozek (Poland), Documentary Showcase I
"Protoparticles," by Chema Garcia Ibarra (Spain), playing in front of "All Your Dead Ones," World Cinema Dramatic
The members of the Short Film jury are: director/writer Barry Jenkins ("Medicine for Melancholy"), movie writer and blogger Kim Morgan, and Sara Bernstein, vice president of HBO Documentary Films.
The winning shorts will be screened together Sunday, Jan. 30, at 1 p.m. at the Library Center Theatre, Park City.

"Superheroes" the hit at Slamdance

noreply@blogger.com (Roberta) — Wed, 26 Jan 2011 11:07:16 PST

"Superheroes" the hit at Slamdance

Published on Jan 26, 2011 10:42AM

Due to overwhelming demand, Slamdance is happy to announce that they've added a third screening of the documentary feature "SUPERHEROES."
The screening will be in the Main Screening Room at 2:30pm tomorrow, January 27, at the Treasure Mountain Inn.
It is a documentary, and here is Slamdance's description:
They patrol the dark and dangerous streets, seeking out criminals, evildoers and villains, veiled in secret identities... They call themselves Real-Life Superheroes, and they are out to save humanity. Superheroes is a journey inside the world of real-life caped crusaders. From all over America, these everyday citizens don masks, homemade costumes and elaborate utility belts in an attempt to bring justice to evildoers everywhere.

Director's Bio: MICHAEL BARNETT began his career working his way up through the camera department. Over the last decade his work as a cinematographer has taken him all over the world, shooting films, commercials, music videos and television for almost every major network. This his first film as a director.

noreply@blogger.com (Roberta) — Wed, 26 Jan 2011 11:02:50 PST

26 JANEIRO 2011 - Os 12 injustiçados do Oscar

A primeira coisa que acontece logo após a divulgação dos indicados ao Oscar é você perceber que alguém ou algum filme simplesmente está faltando. Como assim não indicaram fulano? Tal filme é uma obra-prima, cadê?

Essas “esnobadas” da Academia acontecem todo ano e são comuns, afinal, há um limite de indicações em cada categoria e sempre tem gente que até merecia ganhar, mas nem ao menos foi indicado. Por isso, o site Gold Derby já fez a lista das maiores faltas de sensibilidade que a Academia cometeu esse ano. Dê uma olhada, leia a matéria completa e reflita sobre quem está certo e quem errou feio.

*Melhor ator: Michael Douglas, Wall Street: Money Never Sleeps
*Melhor ator: Robert Duvall, Get Low
*Melhor ator coadjuvante: Andrew Garfield, The Social Network
*Melhor ator: Ryan Gosling, Blue Valentine
*Melhor roteiro original: Black Swan
*Melhor atriz coadjuvante: Mila Kunis, Black Swan
*Melhor atriz: Julianne Moore, The Kids Are All Right
*Melhor direção: Christopher Nolan, Inception
*Melhor filme: Shutter Island
*Melhor filme: The Town
*Melhor ator: Mark Wahlberg, The Fighter
*Melhor documentário: Waiting for Superman

Que tal colocar 10 indicados por categoria?

Sundance Institute Launches New Program to Connect Artists with Audiences

noreply@blogger.com (Roberta) — Wed, 26 Jan 2011 10:51:37 PST

Sundance Institute Launches New Program to Connect Artists with Audiences
Three-Year Plan with Kickstarter as Creative Funding Collaborator / Facebook® to Provide Guidance to Institute Alumni

Posted Jan 26, 2011

PARK CITY, UT -- Sundance Institute today announced a new program to connect its artists with audiences by offering access to top-tier creative funding and marketing backed by the Institute’s promotional support. These essential services will act as building blocks for future program components which aim to provide filmmakers access to a broad and open array of third-party digital distribution platforms. Adding to the nonprofit Institute’s acclaimed programs for Screenwriters, Directors, Film Composers, Producers and Theatre artists around the world, the new services were developed based on research and input from filmmakers, industry advisors, its Technology Committee and its Board of Directors, including President Robert Redford. The creative funding component was announced today with Kickstarter, the largest platform in the world for funding creative projects.

A new way to fund and follow creative projects, tens of thousands of people pledge millions of dollars to projects on Kickstarter every month. In exchange for support, backers receive tangible rewards crafted and fulfilled by the project's creator. Support is neither investment, charity, nor lending, but rather a mix of commerce and patronage that allows artists to retain 100% ownership and creative control of their work while building a supportive community as they develop their projects.

“Technology now allows filmmakers to fund and make films in ways we could never have even conceived. Just as we did 30 years ago, the Institute is responding to a need, with a responsibility to help the individual artist,” Redford said.

“Today’s media landscape presents opportunities for audiences and artists to connect in new and exciting ways. This program is a natural and much-needed extension of our mission,” said Keri Putnam, Executive Director, Sundance Institute. “With unparalleled recognition worldwide, Sundance Institute is in the unique position as a nonprofit to bring together a wide range of services and lend invaluable promotional support.”

Creative Funding Support

Kickstarter has agreed to provide branding, educational, and promotional support to Sundance Institute alumni. More than 350,000 people have pledged over $30 million dollars to projects on Kickstarter since its launch in spring 2009.

To launch the collaboration, the first alumni workshops took place at the Sundance Film Festival this week, conducted by Kickstarter co-founder Yancey Strickler and attended by a range of artists from first time filmmakers to seasoned veterans. Beginning this spring, the Institute will curate alumni projects at Kickstarter.com and drive alumni and fans to support projects in various stages of funding. In addition, Sundance.org will showcase projects and interviews with artists on a monthly basis for even further reach.

“We're excited to be working with the Sundance Institute and its esteemed community," said Kickstarter cofounder, Yancey Strickler. "Kickstarter has been an effective tool for artists of all stripes, and we're looking forward to the projects that this collaboration will bring to life."

Education and Resources

In the coming months, Sundance Institute will build an online hub of resources related to independent distribution options, funding strategies and other key issues. The goal is to provide for filmmakers a central location to explore case studies and best practices, in addition to live workshops and training opportunities with Institute staff, alumni, industry experts and key partners.

As the first of these partners bringing their expertise to the community, Facebook will offer Institute alumni advice, educational materials, and best-practices tips on how to build and engage audiences via the service. Earlier this week at the Sundance Film Festival, Facebook led the first in a series of hands-on workshops for Institute alumni. During these workshops, artists received unique training on free tools and apps for social engagement, education in the types of pages and profiles they can utilize, and insight into Facebook's advertising opportunities. Artists needing more direct assistance were able to share Pages while Facebook staff assisted them in making improvements and changing settings. Facebook and Sundance Institute have had a relationship for years and last year provided Page assistance for films including Waiting for Superman, A Small Act and Restrepo among 20 others.

All Sundance Institute artists from Sundance Film Festival, Labs and Grantees, will be the first to gain access to the programs. Further development will include access to a broad and open array of third-party digital distribution platforms backed by Sundance Institute promotional support. In the future, additional opportunities for theatrical exhibition will be explored in collaboration with organizations such as Sundance Cinemas, members of the national Art House Project, and others.

To execute the program, Sundance Institute has hired Christopher Horton as Associate Director of Filmmaker Services. Horton, who will relocate to Los Angeles after nearly a decade with Cinetic Media, will work closely with Joseph Beyer, Director of Digital Initiatives, Katie Kennedy, Associate Director of Development, Corporate along with the Institute’s Program Directors.

Legal Services for Sundance Institute have been graciously donated by O’Melveny & Myers LLP, headed by a team including Paul Iannicelli and Chris Brearton.

Kickstarter

Kickstarter is the largest platform for funding creative projects in the world. Every month on Kickstarter, tens of thousands of people pledge millions of dollars and help bring creative projects from the worlds of music, film, art, technology, design, food, publishing and other creative fields to life. The Kickstarter community features projects by Oscar winners, Grammy winners, TED Fellows, New York Times best-sellers, Pulitzer Prize finalists, and thousands of others. Kickstarter is open to creative projects big and small, serious and whimsical, traditional and avant-garde.

www.kickstarter.com

Sundance Institute

Sundance Institute is a global nonprofit organization founded by Robert Redford in 1981. Through its artistic development programs for directors, screenwriters, producers, composers and playwrights, the Institute seeks to discover and support independent film and theatre artists from the United States and around the world, and to introduce audiences to their new work. The Institute promotes independent storytelling to inform, inspire, and unite diverse populations around the globe. Internationally recognized for its annual Sundance Film Festival, Sundance Institute has nurtured such projects as Born into Brothels, Trouble the Water, Son of Babylon, Amreeka, An Inconvenient Truth, Spring Awakening, Light in the Piazza and Angels in America.

noreply@blogger.com (Roberta) — Wed, 26 Jan 2011 10:53:17 PST

Nominees
83rd Annual Academy Awards
Winners to be announced on Sunday, February 27th.

Also: BAFTA Awards | Golden Globe Awards | Critics Choice Awards | Spirit Awards | Screen Actors Guild Awards | Writers Guild Awards | Producers Guild Awards | Directors Guild Awards | Critics Awards Grid

Best Motion Picture of the Year
Nominees:
127 Horas (2010): Christian Colson, Danny Boyle, John Smithson
Cisne Negro (2010): Mike Medavoy, Brian Oliver, Scott Franklin
O Vencedor (2010): David Hoberman, Todd Lieberman, Mark Wahlberg
A Origem (2010): Christopher Nolan, Emma Thomas
Minhas Mães e Meu Pai (2010): Gary Gilbert, Jeffrey Levy-Hinte, Celine Rattray
O Discurso do Rei (2010): Iain Canning, Emile Sherman, Gareth Unwin
A Rede Social (2010): Scott Rudin, Dana Brunetti, Michael De Luca, Ceán Chaffin
Toy Story 3 (2010): Darla K. Anderson
Bravura Indômita (2010): Ethan Coen, Joel Coen, Scott Rudin
Inverno da Alma (2010): Anne Rosellini, Alix Madigan

Best Performance by an Actor in a Leading Role
Nominees:
Javier Bardem for Biutiful (2010)
Jeff Bridges for Bravura Indômita (2010)
Jesse Eisenberg for A Rede Social (2010)
Colin Firth for O Discurso do Rei (2010)
James Franco for 127 Horas (2010)

Best Performance by an Actress in a Leading Role
Nominees:
Annette Bening for Minhas Mães e Meu Pai (2010)
Nicole Kidman for Reencontrando a Felicidade (2010)
Jennifer Lawrence for Inverno da Alma (2010)
Natalie Portman for Cisne Negro (2010)
Michelle Williams for Blue Valentine (2010)

Best Performance by an Actor in a Supporting Role
Nominees:
Christian Bale for O Vencedor (2010)
John Hawkes for Inverno da Alma (2010)
Jeremy Renner for Atração Perigosa (2010)
Mark Ruffalo for Minhas Mães e Meu Pai (2010)
Geoffrey Rush for O Discurso do Rei (2010)

Best Performance by an Actress in a Supporting Role
Nominees:
Amy Adams for O Vencedor (2010)
Helena Bonham Carter for O Discurso do Rei (2010)
Melissa Leo for O Vencedor (2010)
Hailee Steinfeld for Bravura Indômita (2010)
Jacki Weaver for Reino Animal (2010)

Best Achievement in Directing
Nominees:
Darren Aronofsky for Cisne Negro (2010)
Ethan Coen, Joel Coen for Bravura Indômita (2010)
David Fincher for A Rede Social (2010)
Tom Hooper for O Discurso do Rei (2010)
David O. Russell for O Vencedor (2010)

Best Writing, Screenplay Written Directly for the Screen
Nominees:
Another Year (2010): Mike Leigh
O Vencedor (2010): Scott Silver, Paul Tamasy, Eric Johnson, Keith Dorrington
A Origem (2010): Christopher Nolan
Minhas Mães e Meu Pai (2010): Lisa Cholodenko, Stuart Blumberg
O Discurso do Rei (2010): David Seidler

Best Writing, Screenplay Based on Material Previously Produced or Published
Nominees:
127 Horas (2010): Danny Boyle, Simon Beaufoy
A Rede Social (2010): Aaron Sorkin
Toy Story 3 (2010): Michael Arndt, John Lasseter, Andrew Stanton, Lee Unkrich
Bravura Indômita (2010): Joel Coen, Ethan Coen
Inverno da Alma (2010): Debra Granik, Anne Rosellini

Best Animated Feature Film of the Year
Nominees:
Como Treinar o Seu Dragão (2010): Dean DeBlois, Chris Sanders
O Mágico (2010): Sylvain Chomet
Toy Story 3 (2010): Lee Unkrich

Best Foreign Language Film of the Year
Nominees:
Biutiful (2010): Alejandro González Iñárritu(Mexico)
Kynodontas (2009): Giorgos Lanthimos(Greece)
Em um Mundo Melhor (2010): Susanne Bier(Denmark)
Incendies (2010): Denis Villeneuve(Canada)
Fora da Lei (2010): Rachid Bouchareb(Algeria)

Best Achievement in Cinematography
Nominees:
Cisne Negro (2010): Matthew Libatique
A Origem (2010): Wally Pfister
O Discurso do Rei (2010): Danny Cohen
A Rede Social (2010): Jeff Cronenweth
Bravura Indômita (2010): Roger Deakins

Best Achievement in Editing
Nominees:
127 Horas (2010): Jon Harris
Cisne Negro (2010): Andrew Weisblum
O Vencedor (2010): Pamela Martin
O Discurso do Rei (2010): Tariq Anwar
A Rede Social (2010): Kirk Baxter, Angus Wall

Best Achievement in Art Direction
Nominees:
Alice no País das Maravilhas (2010): Robert Stromberg, Karen O'Hara
Harry Potter e as Relíquias da Morte: Parte 1 (2010): Stuart Craig, Stephenie McMillan
A Origem (2010): Guy Hendrix Dyas, Larry Dias, Douglas A. Mowat
O Discurso do Rei (2010): Eve Stewart, Judy Farr
Bravura Indômita (2010): Jess Gonchor, Nancy Haigh

Best Achievement in Costume Design
Nominees:
Alice no País das Maravilhas (2010): Colleen Atwood
Io sono l'amore (2009): Antonella Cannarozzi
O Discurso do Rei (2010): Jenny Beavan
The Tempest (2010/II): Sandy Powell
Bravura Indômita (2010): Mary Zophres

Best Achievement in Makeup
Nominees:
Minha Versão para o Amor (2010): Adrien Morot
Caminho da Liberdade (2010): Edouard F. Henriques, Greg Funk, Yolanda Toussieng
O Lobisomem (2010): Rick Baker, Dave Elsey

Best Achievement in Music Written for Motion Pictures, Original Score
Nominees:
127 Horas (2010): A.R. Rahman
Como Treinar o Seu Dragão (2010): John Powell
A Origem (2010): Hans Zimmer
O Discurso do Rei (2010): Alexandre Desplat
A Rede Social (2010): Trent Reznor, Atticus Ross

Best Achievement in Music Written for Motion Pictures, Original Song
Nominees:
127 Horas (2010): A.R. Rahman, Rollo Armstrong, Dido("If I Rise")
Country Strong (2010): Tom Douglas, Hillary Lindsey, Troy Verges("Coming Home")
Enrolados (2010): Alan Menken, Glenn Slater("I See the Light")
Toy Story 3 (2010): Randy Newman("We Belong Together")

Best Achievement in Sound Mixing
Nominees:
A Origem (2010): Lora Hirschberg, Gary Rizzo, Ed Novick
O Discurso do Rei (2010): Paul Hamblin, Martin Jensen, John Midgley
Salt (2010): Jeffrey J. Haboush, William Sarokin, Scott Millan, Greg P. Russell
A Rede Social (2010): Ren Klyce, David Parker, Michael Semanick, Mark Weingarten
Bravura Indômita (2010): Skip Lievsay, Craig Berkey, Greg Orloff, Peter F. Kurland

Best Achievement in Sound Editing
Nominees:
A Origem (2010): Richard King
Toy Story 3 (2010): Tom Myers, Michael Silvers
Tron: O Legado (2010): Gwendolyn Yates Whittle, Addison Teague
Bravura Indômita (2010): Skip Lievsay, Craig Berkey
Incontrolável (2010): Mark P. Stoeckinger

Best Achievement in Visual Effects
Nominees:
Alice no País das Maravilhas (2010): Ken Ralston, David Schaub, Carey Villegas, Sean Phillips
Harry Potter e as Relíquias da Morte: Parte 1 (2010): Tim Burke, John Richardson, Christian Manz, Nicolas Aithadi
Além da Vida (2010): Michael Owens, Bryan Grill, Stephan Trojansky, Joe Farrell
A Origem (2010): Chris Corbould, Andrew Lockley, Pete Bebb, Paul J. Franklin
Homem de Ferro 2 (2010): Janek Sirrs, Ben Snow, Ged Wright, Daniel Sudick

Best Documentary, Features
Nominees:
Exit Through the Gift Shop (2010): Banksy, Jaimie D'Cruz
GasLand (2010): Josh Fox, Trish Adlesic
Trabalho Interno (2010): Charles Ferguson, Audrey Marrs
Restrepo (2010): Tim Hetherington, Sebastian Junger
Lixo Extraordinário (2010): Lucy Walker, Angus Aynsley

Best Documentary, Short Subjects
Nominees:
Killing in the Name (2010): Nominees TBD
Poster Girl (2010): Nominees TBD
Strangers No More (2010): Karen Goodman, Kirk Simon
Sun Come Up (2010): Jennifer Redfearn, Tim Metzger
The Warriors of Qiugang (2010): Ruby Yang, Thomas Lennon

Best Short Film, Animated
Nominees:
Dia & Noite (2010): Teddy Newton
The Gruffalo (2009) (TV): Jakob Schuh, Max Lang
Let's Pollute (2009): Geefwee Boedoe
The Lost Thing (2010): Shaun Tan, Andrew Ruhemann
Madagascar, carnet de voyage (2010): Bastien Dubois

Best Short Film, Live Action
Nominees:
The Confession (2010/IV): Tanel Toom
The Crush (2009): Michael Creagh
God of Love (2010): Luke Matheny
Na Wewe (2010): Ivan Goldschmidt
Wish 143 (2009): Ian Barnes, Samantha Waite

Engenheiro que foi parceiro de Jobs criticou sistema defendido pela empresa

noreply@blogger.com (Roberta) — Mon, 24 Jan 2011 19:35:16 PST

publicado em 22/01/2011 às 21h26:

"Não somos melhores amigos", diz
fundador da Apple sobre Steve Jobs
Engenheiro que foi parceiro de Jobs criticou sistema defendido pela empresa

André Sartorelli, do R7

Steve Wozniak durante conferência no último dia da Campus Party 2011
(Fonte Foto: Cristiano Sant'Anna/22.jan.2011/indicefoto.com)

Steve Wozniak, um dos fundadores da Apple ao lado de Steve Jobs, disse neste sábado (22) que torce pela recuperação de seu ex-parceiro – que recentemente anunciou mais uma vez seu afastamento da empresa por problemas de saúde, mas disse que, atualmente, os dois não são melhores amigos um do outro. A parceria durou nove anos, de 1976, ano em que a Apple nasceu,e foi até 1985, quando Wozniak deixou a empresa para se dedicar aos estudos e outros projetos pessoais também ligados à tecnologia.

Sempre fomos amigos e nunca brigamos. Ele sempre me respeitou mais do que qualquer pessoa. Hoje em dia, não somos os melhores amigos um do outro, mas sempre conversamos por telefone.

A participação do engenheiro norte-americano encerrou a programação de grandes palestras apresentadas durante a Campus Party 2011, evento que termina hoje em São Paulo e reúne milhares de apaixonados por tecnologia vindos de todo o Brasil, muitos deles acampados no Centro de Exposições Imigrantes, onde acontece a feira.

Ele aproveitou sua palestra para criticar a maneira “fechada” da empresa em relação aos seus aplicativos, que só funcionam em aparelhos da própria marca.

Eu sou contra isso. Acho que qualquer pessoa pode usar um aparelho para o que quiser. Eu acredito no código livre, aberto, mas mesmo assim a Apple ainda é a melhor.

Apesar do tom crítico em relação ao sistema adotado pela Apple em seus produtos, como o iPhone e a prancheta eletrônica iPad, Wozniak foi bem humorado e incentivou o público jovem a acreditar em suas ideias.

Construí projetos de eletrônica quando jovem porque eu amava fazer isso. Passei a projetar computadores na escola numa época em que não havia revistas sobre computadores. E pensei em ser dono de um computador antes de pensar em ser dono de uma casa.

O fundador da Apple contou detalhes sobre o processo de criação da empresa e do primeiro computador pessoal, que de acordo com suas palavras, “precisa ser mais humano”.

O Steve [Jobs] sempre falava em fazer um tipo de computador cujo desenho poderia fazer com que as pessoas quisessem comprá-lo por seu desenho e sistema. Eu pensava sempre em criar e ele sempre em vender e sabíamos que esse nosso computador iria mudar o mundo.

Sua admiração e preferência pela Apple e seus produtos não o impedem de elogiar concorrentes, como o sistema Android, do Google, que “está no caminho certo e faz coisas incríveis, mas não baterá o iPhone”.

Questionado pela imprensa sobre um outro rival, o Windows 7, da Microsoft, ele preferiu não gerar polêmica e disse que não iria opinar sobre o que não usa.

Wozniak terminou sua apresentação falando sobre a importância da liberdade também na internet e “brincando” sobre o papel das corporações na rede.

Quando eu digo que a internet precisa ser livre, quero dizer para o usuário e não para as empresas, porque as empresas não são confiáveis.

Eric Schmidt deixa chefia do Google, mas ganha prêmio de R$ 167 milhões

noreply@blogger.com (Roberta) — Mon, 24 Jan 2011 19:03:23 PST

publicado em 24/01/2011 às 12h12:

Eric Schmidt deixa chefia do Google,
mas ganha prêmio de R$ 167 milhões
Larry Page, fundador da empresa, vai assumir o posto em abril

Eric Schmidt está no Google desde 2001.
(fonte foto: Getty Images)

O Google vai dar um prêmio de R$ 167 milhões (US$ 100 milhões) em ações para Eric Schmidt, que ocupa o posto de executivo-chefe da empresa desde 2001 e vai deixá-lo em abril deste ano. Larry Page, um dos fundadores da empresa, vai assumir a vaga.

O prêmio, que incluirá ações e opções de ações a serem exercidas em prazo de quatro anos, é o primeiro de Schmidt desde que começou na empresa. Na semana passada, o Google causou surpresa ao anunciar que Schmidt se tornaria presidente do conselho e que seria substituído por Page.

A notícia saiu no mesmo dia em que o Google anunciou resultado muito maior que a expectativa do mercado. Apesar de continuar dominando o setor de buscas na internet, a empresa vem enfrentando problemas nas redes sociais e uma dura competição de companhias como Facebook e Twitter, que roubam tráfego de web e talentos de engenharia

Mas Schmidt diz que a mudança não é uma reação aos concorrentes, mas sim um esforço para acelerar o processo decisório na gigante da Internet.

Copyright Thomson Reuters 2011

Monopólio na Web

noreply@blogger.com (Roberta) — Fri, 21 Jan 2011 18:18:11 PST

Campus Party: inventor da web diz que monopólio do Facebook não é para sempre

18/01/2011 às 16h04 por Thássius Veloso

O ciclo de inovação não acaba nunca. Foi com esse argumento que Tim Berners-Lee comentou a atual concentração de mercado que o Facebook no mundo inteiro, durante um encontro com jornalistas na Campus Party. Tudo bem que no Brasil ainda temos o Orkut como principal opção de quem quer ter um perfil na internets, mas em diversos outros países já é o FB de Mark Zuckerberg quem domina essa área.

Berners-Lee, considerado o pai da web, fez um rápido exercício de memória para falar do Facebookpólio. De acordo com o cientista, essa não é a primeira vez que vemos uma empresa aparentemente dominando, sem qualquer perspectiva de perder musculatura. Mas a história comprova que, em cenários como esse, a empresa acaba perdendo sua liderança em algum momento.

Lembra do Netscape? De acordo com Berners-Lee, a chegada desse navegador fez com que muita gente pensasse em desistir de continuar no mercado de internet. Até que o Netscape foi varrido do mapa, sem dó. A segunda grande onda foi da Microsoft, com seu Internet Explorer. A empresa parecia ser imbatível – ainda mais com as práticas prejudiciais ao mercado -, mas hoje sabemos que o IE não é mais o que foi um dia.

Mais recentemente, o inventor da World Wide Web disse que o Google sucedeu a Microsoft, com suas inovações em algoritmos de busca que faz com que o serviço de busca entregue bilhões de resultados diariamente. O tempo do Google, no entanto, também passou. Se o Facebook é o serviço mais visado atualmente, inclusive batendo o Google em número de acesso nos Estados Unidos, Berners-Lee afirma que isso não vai ser para sempre.

Qual é a próxima onda da web? O inventor desse meio preferiu não fazer apostas, mas garantiu que as redes sociais têm papel fundamental na nossa sociedade.

Para concluir seu raciocínio, Sir Tim Berners-Lee afirmou que “é incrível a velocidade com que as pessoas curtem as coisas na web, mas é ainda mais incrível a velocidade com que largam de mão dessas coisas”.

Steve Jobs

Claro que ser inventor da web abre muitas portas, o que faz com que Berners-Lee conheça muita gente. Ainda assim, o cientista não quis comentar a licença médica que Steve Jobs pediu ao conselho da Apple. Depois de ver uma jornalista insistir no assunto, Berners-Lee foi enfático: “Não tenho nada a declarar”.

Pra você que não conheceu: Quer saber mais sobre o Netscape?

Pra você que conhece ou não o navegador, pode baixar e só para acrescentar, nos 2 links tem a 9º versão, a última: Netscape - Baixaki

Netscape - Superdownloads

Eu me lembro do Netscape, vagamente, eu já tinha ouvido falar dele... nunca cheguei a usá-lo e quando li essa matéria que Berners-Lee mencionou o decidi dar uma conferida no programa. E também sobre o mesmo Berners-Lee, achei uma outra matéria bastante interessante:

Criador da web critica Apple e o iTunesSegundo Tim Berners-Lee, a empresa de Steve Jobs usa métodos "restritivos e centralizadores" na loja online da companhia

Por IDG News Service 22-11-2010- (Atualizado em 22 de novembro de 2010 às 19h00)

O fundador da Web, Sir Tim Berners-Lee, criticou a Apple e o iTunes pelo seus métodos "restritivos e centralizadores". "Você só pode acessar um link do iTunes utilizando o próprio programa patenteado pela Apple. Você não está mais na web, na verdade, você está restrito a uma loja e não em uma ambiente aberto. Apesar de todas as características incríveis, sua evolução é limitada ao desejo de uma única companhia", analisou ele.

Ele também disparou contra as redes sociais, afirmando que elas são "uma grande ameaça aos princípios da internet". De acordo com Berners-Lee, o Facebook e as demais mídias sociais encorajam os usuários a fornecerem suas informações. No entanto, não compartilham estes dados com os outros websites.

"Na verdade, elas [as redes sociais] são mecanismos que restringem as informações dos internautas, impedindo sua utilização pelo restante da web", disse ele à revista Scientific American.

As redes sociais se tornaram uma plataforma central de conteúdo fechado. Quanto mais esse tipo de arquitetura ganhar espaço, mais a web se tornará fragmentada e, consequentemente, menor será o ambiente onde as pessoas poderão compartilhar conteúdo de modo universal", analisou Berners-Lee.

Já sobre neutralidade na web, outro tema polêmico, Berners-Lee declarou que ela não só deve existir, como também deve incluir neutralidade nas linhas fixas e de banda larga móvel.

Seus comentários vêm apenas alguns dias depois do ministro da Cultura do Reino Unido, Ed Vaizey, sugerir que o país tivesse um projeto contrário as regras de democracia na rede, para que provedores e internautas, que pagam pelo acesso, tenham prioridade sobre o tráfego.

No entanto, Vaizey voltou atrás e alegou que seus comentários estão de acordo com os pensamentos de Berners-Lee.

What I've Learned: Johnny Depp and Tim Burton

noreply@blogger.com (Roberta) — Fri, 21 Jan 2011 17:02:43 PST

March 4, 2010, 1:35 PM

What I've Learned: Johnny Depp & Tim Burton

They are known as two of the strangest, quietest geniuses ever to work in movies. Turns out they're not that strange. Or quiet.

QUIZ: Will You Be Seeing Alice in Wonderland?

By Cal Fussman

Marc Hom

Interviewed on October 25, 2007

Tim Burton: There are partnerships where one person is good at one thing and the other is good at another. That's true in our case. But we're very connected in terms of taste.

Johnny Depp: Even when we first met, we connected on all these superabsurd levels.

TB: A fascination for weird seventies objets d'art.

JD: I remember, growing up, we had this concrete cobra spray-painted gold.

TB: We're from different parts of the country. But there is a kind of suburban white-trashy connective strand there. Isn't there?

JD: Yep.

TB: The stories that scared us as children.

JD: Mr. Green Jeans.

TB: Seeing Humphrey Bogart playing a monster. He only did one horror movie and —

JD: We both knew it.

TB: The Return of Dr. X. When something like that comes up, you realize, Yeah, perfect. Things that don't normally come up in most people's conversations are things that come up a lot in ours.

JD: We speak in a sort of shorthand.

TB: It's not literal. We'll cross-reference things that wouldn't really make sense to the normal person.

JD: One time, Tim and I were talking before we were getting ready to shoot. Afterward, one of the grips comes over to me with this really perplexed look on his face. He says, "I was just watching you and Tim talk about the scene for the last fifteen minutes." "Yeah?" And he says, "I didn't understand a fucking word either one of you said."

TB: That about sums it up.

JD: I don't think we've ever had an argument.

TB: I don't think so. There have been differences of opinion and a different take on certain things.

JD: But even in that kind of situation, Tim just says, "Okay, do it like you want and then do it the other way."

TB: Usually, we agree. Early on Sweeney Todd, Johnny said, "There is one thing I cannot do. I can't take Anthony to the hotel."

JD: I had written a big question mark on that page of the script.

TB: When I opened my script to the same page, I saw that I'd already crossed it out.

JD: Tim's had to fight to get me in his movies so many times.

TB: We always have to fight. We have to fight to get them done, we have to fight — weirdly, Sweeney Todd wasn't so hard, which it should've been. They should have run screaming for the hills with this one. An R-rated bloody musical starring someone they don't even know if he can sing. I mean, Jesus. There's a certain amount of trust that goes into backing that. It's exciting when people do that, you know? Just trusting you with something. I find that to be quite energizing and confidence building. Makes you feel good.

JD: Makes you want to do a good job for them, too.

TB: Absolutely. I've always used a sporting analogy to describe the flip side of that. You're a runner and you're just about to run the big race, and they come in and beat the fucking shit out of you and then say, "Okay, go win the race." You get the shit beat out of you right before you're supposed to go perform your best. And it happens most of the time. We have our bets on you, never mind we just broke your fucking legs. But it wouldn't be making a movie if it were easy. It should be a struggle. Otherwise, you're coasting.

JD: There's always that moment on every movie where you just go, "Okay, this is that moment. I'm about to potentially fall flat on my face, and I might as well just dive in and see what happens." That's how it was when I started singing the songs for the first time. I just felt like an idiot. It was one of the most exposing, bizarre things I've ever done. I mean, at forty-three years old, it's the first time I'd sung a song all the way through.

TB: I did some auditioning with other people, and afterward I was completely devastated and exhausted. I felt like I was casting a porno movie. I mean, having people come in to audition and sing was like having them come in and take their clothes off. It felt that exposing. It shocked me.

JD: It's true. I've married Tim's woman twice now. In Corpse Bride, Helena was the corpse. And then in Sweeney Todd.

TB: What are you, some kind of, what do they call it? Do you live in Utah? Are you one of those guys?

JD: My real last name is Osmond.

December 17, 2007, 5:48 AM

What I've Learned: Johnny Depp

Actor, 44, Los Angeles

By Cal Fussman

Marc Hom

One time a guy told me that he brought his wife to see Pirates of the Caribbean. She had lost her motor skills. I forget what you call it. It’s not autism. Jesus, they made a movie about it. You know, where you recede and your functions start to go. Anyway, they’re watching the film, and when Captain Jack Sparrow came on the screen, she started to laugh. This guy said he hadn’t heard that laugh in years. And so he took her back to see the film repeatedly. For some reason, Captain Jack made her laugh every time. That’s right up there.

My mother taught me a lot of things. The first thing that comes to mind is: Don’t take any shit off anyone, ever. When I was a little kid, we moved constantly. Bully picks on you in the new place? Don’t ever take any shit off anyone, ever. Eloquent and right.

My life is my life because of Tim. Definitely.

This is Tim Burton in a nutshell: We were doing Charlie and the Chocolate Factory and I was on the set. We were shooting, working, working, working. All great. Everything’s cool. One of my pals comes up and says, “Helena [Bonham Carter, Burton’s partner] just called. When you get a moment, she’d like you to give her a call back.” “Okay,” I say. “As soon as I’m done on set, I’ll go back to my trailer and give her a call.” So I go back to the trailer, call Helena, and say, “Hey, what’s going on?” I thought maybe Helena had a question about little boys because Billy was a little baby then and I’ve got two kids. So I say, “Is everything all right?” And she says, “Billy’s fine. Everything’s fine. But, well, you know how Tim is. He wants to know if you’d be . . . he’d like for you to be Billy’s godfather.” I say, “But I was just with Tim. I was with him three minutes ago. I had to leave him to walk back to the trailer to call you.” So she called me to ask because Tim just couldn’t. That was his way of asking. I went back to the set and said thank you, told him that I was honored. It doesn’t get heavier than saying I’d like you to be the godfather of my son. But he’s not ever going to put himself into a corny kind of situation with a pal. He’s like, “Good, yeah, yeah.” Boom. “Let’s get back into the work.”

Look, see this little carrot near the dip? Watch. I’ll put it in my mouth as if it were a cigarette holder. Now I’m Raoul Duke. I spent so much time with Hunter Thompson, it just became second nature. As soon as I put anything resembling a cigarette holder in my mouth, he starts to come out. It’s so natural and it’s so strange. It sounds kind of ridiculous to even say it.

The characters are always there and, depending on the situation, not far from the surface. So they show up every now and again. It can’t be good for you. It just can’t. Then again, who knows?

I don’t think anybody’s necessarily ready for death. You can only hope that when it approaches, you feel like you’ve said what you wanted to say. Nobody wants to go out in mid-sentence.

I’m in a very privileged position. And I’m certainly not going to bite the hand that feeds me. I like doing the work. But I’m not a great fan of all the stuff that goes along with it. I don’t want to be a product. Of course you want the movies to do well. But I don’t want to have to think about that stuff. I don’t want to know who’s hot now and who’s not and who’s making this much dough and who’s boffing this woman or that one. I want to remain ignorant of all this. I want to be totally outside and far away from all of it.

I remember one time I had done some television interview, and they asked about my family life and kids. I talked about how I’m a proud father and how much I love my kids and how they’re fun and what we do and how it’s great. I was thinking that if in twenty-five, thirty years my kids watch old footage, I’d be proud for them to see their dad saying how much he loves them. Well, the show aired, and I get a phone call. “What the fuck are you doing?” I said, “Marlon, what are you talking about?” He said, “That’s none of their business!” I tried to say, “Marlon, listen, man, I only wanted my kids to . . .” And it was like he gave me this sort of once-over. “You don’t do it, man. That’s your world and it’s nobody else’s business. It’s not anybody’s entertainment.” And he was right.

People are supernice in the street. If they want me to sign something, that’s great, I don’t mind that at all.

There’s no limit to the possibilities of what I could do to the paparazzi if I catch them photographing my children.

You don’t go through the front door of hotels anymore, you go through the garage. Or you go through the kitchen of a restaurant. Some people want to think that’s cool, that’s exciting. But it’ll definitely make you a little weird if you’re constantly being stared at. Part of the process that I’ve always enjoyed is being the observer. You know, just watching people and learning. At a certain point, the reversal took place. I was no longer the observer -- I was being observed. That’s obviously very dangerous because part of an actor’s job is to observe.

My definition of freedom is simplicity, really. Anonymity. I’m sure it will be a possibility someday again. Maybe when I get old. They get tired of you.

“Didn’t you use to be Johnny Depp?” That will be the clincher.

December 17, 2007, 6:02 AM

What I've Learned: Tim Burton

Director, 49, London

By Cal Fussman

Marc Hom

Before I started directing, I barely spoke. That was what Edward Scissorhands was about: having a lot of feelings but not being able to project them.

Most monster movies are not horror movies. They’re about outsiders. I never saw Frankenstein or King Kong or the Creature from the Black Lagoon as bad guys. They were the good guys. It was always the humans that were the motherfuckers. It was the bad B-movie actor dressed in a rubber suit who made me almost cry when he got killed.

Once, when I was a child, I faked an alien spaceship crash landing in the nearby park. I took a lot of weird-looking debris and crud and just threw it around a wooded area. I made alien footprints, and I convinced these younger kids that a spacecraft had crashed. Another time, I laid out a bunch of clothes in a pool and convinced some kids that I got into a fight with a guy and he fell in the pool, but the people who owned the pool had put too much acid in it and the guy had disintegrated when he landed. It was always the kids in the lower grades that could be convinced. Now I get to exorcise whatever demons I have by making movies. Moviemaking is like an expensive form of therapy. Only you don’t have to pay for it. Other people pay for it.

I’ve always been a bit more comfortable with my subconscious and not so comfortable when I think about things too much. It’s like when I doodle. That’s when I know it means something to me on some weird level, as opposed to sitting down with the idea of drawing a skeleton. Say I’m on the phone, just sitting around, doodling. I’ll look at what I’ve done and think, Oh, that’s a strange character. Then I’ll notice myself doing it over and over. Those are the ones that have the most power for me, because they’re coming from within.

People have said to me, “You either have a lot of confidence or you’re completely insane.” In the case of Sweeney Todd, we made an R-rated musical. I mean, the very term musical strikes fear in the hearts of studio executives. No matter how many recent successes there have been, it still gives ‘em the creeps. Then to make it R-rated? With blood? But I’ve got to say, I enjoyed making this one more than many others.

There are people who pretend like they know movies. But if somebody really knew movies, every film he made would be a success.

When I did Pee-wee’s Big Adventure, it was on several of the ten-worst-movies-of-the-year lists. Then, a few years later, the same critics who put it on those lists looked back and called it a classic. And I go, “What are you talking about? You said it was one of the ten worst movies of the year. Now it’s a classic?” So you learn that things have a way of balancing themselves out.

You can argue with somebody who says, I know this and I know that. But you can’t argue with passion.

In one of the London newspapers, there was an article that Helena and I were trying to get permission to build a fantasyland in our garden, some kind of amazing gypsy caravan. First of all, our garden is about the size of this sitting area. And second, the newspaper showed a picture of an area that looked like what a homeless person would stay in. It’s hilarious, really. They think that I’m weird, and she’s got this reputation for dressing terribly. Every other week there’s a breaking story in a newspaper under the headline: Helena Bonham Carter Dressed Like Shit. So it’s like we’ve got this reputation for being the neighborhood weirdos. But that’s happened ever since I was a child. No matter what I do, no matter what I say, I’m branded as the Prince of Darkness.

Sex scenes are usually pretty bad in movies. I’m trying to think of some that I liked, but none spring to mind. I don’t find porno movies that erotic, either. I don’t know why. Maybe it’s because people look better with their clothes on. I know I certainly do.

I sometimes meet people who say, I’m going to be this and I’m going to be that. You feel kind of bad for them because they’re limiting themselves. It’s different from having an enthusiasm for something and seeing where life takes you. I feel lucky to never have planned to go into what I did. I always just said, “All I want to do is make things, whether it’s drawing or writing.” If I’d said, “I’m going to be a director,” it probably wouldn’t have happened.

I remember a Matisse exhibition that allowed you to see his entire artistic arc. It showed you how an artist is always searching to get back to simplicity -- you know, to look at life for the first time. There’s really something to that. Whether you like it or not, a child really connects you to that time when everything’s new. It’s so important, not just for artistic endeavors, but for humanity.

I feel extremely at home in London. I keep thinking I’m going to miss it back in Los Angeles. But I don’t. The only thing I miss is driving out in the desert in the southwest. There’s something really exciting and invigorating about that open-air freedom and not knowing exactly where you’re going and staying at some cheap motel and finding weird things along the side of the road. It’s surreal and beautiful and exciting and peaceful. So I do miss that. But that’s it.

Everybody loves chimpanzees because they’re so cute and all, but when you do the research, you find that chimpanzees are terrifying. They actually murder each other, and they can be cannibals. They like to throw shit at you from their cages. But I guess if I were trapped in a zoo, I’d probably throw shit at people as well.

Robert DeNiro: What I've Learned (2003/2010)

noreply@blogger.com (Roberta) — Fri, 21 Jan 2011 12:22:53 PST

December 31, 2002, 11:00 PM

What I've Learned: Robert De Niro

Actor, 59, New York City

By Cal Fussman

I like it when interviews are brief. Are we done yet?

When I was a teenager, I went to the Dramatic Workshop at the New School. The school had a lot of actors under the GI Bill -- Rod Steiger, Harry Belafonte, the generation ahead of me. I went in there and the director said to me, "Vy do you vant to be an acteh?" I didn't know how to answer, so I didn't say anything. And he said, "To express yourself!" And I said, "Yeah, yeah, that's it. That's right."

We used to roller-skate. Not like these souped-up Rollerblades they have today. Roller skates with ball bearings. We'd hang on to the back of a truck and go for a ride for a couple of blocks until the streetlight turned red and the truck stopped. Then one day they changed the lights to a stagger system. Only we didn't know. All the lights changed up an avenue at intervals so you could go twenty or thirty blocks without stopping. Suddenly, I'm stuck on the back of one of these trucks, and after four blocks, I'm realizing that the next light isn't going to turn red. The driver doesn't know you're on the back. You have no choice but to keep hanging on till he stops. There are things you do that when you get older, you realize how stupid they were.

Some people say, "New York's a great place to visit, but I wouldn't want to live there." I say that about other places.

You have no idea that years later, people in cars will recognize you on the street and shout, "You talkin' to me?"

I don't remember the original script, but I don't think the line was in it. We improvised. For some reason it touched a nerve. That happens.

Marty Scorsese listens. He's open to unexpected things on that -- this is a flowery way of saying it -- on that voyage. He takes ideas, and he's not afraid to try them.

There's no such thing as not being afraid.

Money makes your life easier. If you're lucky to have it, you're lucky

I left a meeting right after they hit the World Trade Center. I went to my apartment, which looks south, and I watched it out my window. I could see the line of fire across the North Tower. I had my binoculars and a video camera -- though I didn't want to video it. I saw a few people jump. Then I saw the South Tower go. It was so unreal, I had to confirm it by immediately looking at the television screen. CNN was on. That was the only way to make it real. Like my son said: "It was like watching the moon fall."

I didn't have a problem with rejection, because when you go into an audition, you're rejected already. There are hundreds of other actors. You're behind the eight ball when you go in there.

At this point in my career, I don't have to deal with audition rejections. So I get my rejection from other things. My children can make me feel rejected. They can humble you pretty quick.

It's true: I spent lunchtime in a grave during the filming of Bloody Mama. When you're younger, you feel that's what you need to do to help you stay in character. When you get older, you become more confident and less intense about it -- and you can achieve the same effect. You might even be able to achieve more if you take your mind off it, because you're relaxed. That's the key to it all. When you're relaxed and confident, you get good stuff.

The hardest thing about being famous is that people are always nice to you. You're in a conversation and everybody's agreeing with what you're saying -- even if you say something totally crazy. You need people who can tell you what you don't want to hear.

Movies are hard work. The public doesn't see that. The critics don't see it. But they're a lot of work. A lot of work.

When I'm directing a great dramatic scene, part of me is saying, "Thank God I don't have to do that." Because I know how fucking hard it is to act. It's the middle of the night. It's freezing. You gotta do this scene. You gotta get it up to get to that point. And yet, as a director, you've got to get the actors to that point. It's hard either way.

What's the difference between sex and love? Hmm. That's a good question. Hey, you interviewed Al Pacino. How'd he answer that?

When a parent dies, it's the end. I always wanted to chronicle the family history with my mother. She was always interested in that. I wanted some researchers I'd worked with to talk to my mother, but my mother was a little antsy about it. I know she would've gotten into it. It would have been okay with my father, too. But I wasn't forceful, and I didn't make it happen. That's one regret I have. I didn't get as much of the family history as I could have for the kids.

As you get older, the more complicated things get. It's almost therapeutic to be doing simple things with the kids.

If you don't go, you'll never know.

December 14, 2010, 8:00 AM

Robert DeNiro: What I've Learned

As he approaches his seventies, the icon reflects on his Godfather days, his relationship to Marlon Brando, and why he'll never really retire

By Cal Fussman

Nigel Parry

CLICK HERE TO SEE MORE ON ESQUIRE'S IPAD APP

Published in the January 2011 "Meaning of Life" issue. Click here for more.

Those who say don't know. Those who know don't say. That holds up over time.

So does: If you don't go, you'll never know. I tell that to my kids.

Ten years seems only a few years ago.

If it's the right chair, it doesn't take too long to get comfortable in it.

Italy has changed. But Rome is Rome.

We made a rubber wall for the jail scene in Raging Bull. It was hard rubber foam. Smashing your head into a real wall wouldn't have been possible. You've got to do it till you're happy.

I'd like to look at all of my movies once just to do it — just to see what it makes me think, to see what the pattern was. But with all the movies I've been in, that would mean watching two or three a day for a month. I don't know where I'd get the time.

If Marty wanted me to do something, I would consider it very seriously even if I wasn't interested.

My definition of a good hotel is a place I'd stay at.

If I remember correctly, there were not many sequels at the time. The Godfather was one of the first. So we didn't think about sequels the way we do now. I remember seeing the entire street between Avenue A and Avenue B converted into the early twentieth century. The storefronts, the insides of the stores. The size of it was incredible. You knew what you were doing was ambitious.

I'll always be indebted to Francis.

When I did The Deer Hunter, I thought, Thailand is such an interesting place. I'll be back soon. But I didn't get back for something like eighteen years.

Everybody can criticize. But at the end of the day, you know Obama's intentions are in the right place.

You should've done this. You should stand up for this more than that. The president's got to deal with that every moment. Imagine what it would be like with all the different forces coming at you, having to compromise, to weigh the consequences of one decision as opposed to another. It's tricky. Come to think of it, it's kind of like being a director.

I always tell actors when they go in for an audition: Don't be afraid to do what your instincts tell you. You may not get the part, but people will take notice.

From Jodie Foster:

By the time I got the role in Taxi Driver, I'd already made more stuff than De Niro or Martin Scorsese. I'd been working from the time I was three years old. So even though I was only twelve, I felt like I was the veteran there.

De Niro took me aside before we started filming. He kept picking me up from my hotel and taking me to different diners. The first time he basically didn't say anything. He would just, like, mumble. The second time he started to run lines with me, which was pretty boring because I already knew the lines. The third time, he ran lines with me again and now I was really bored. The fourth time, he ran lines with me, but then he started going off on these completely different ideas within the scene, talking about crazy things and asking me to follow in terms of improvisation.

So we'd start with the original script and then he'd go off on some tangent and I'd have to follow, and then it was my job to eventually find the space to bring him back to the last three lines of the text we'd already learned.

It was a huge revelation for me, because until that moment I thought being an actor was just acting naturally and saying the lines someone else wrote. Nobody had ever asked me to build a character. The only thing they'd ever done to direct me was to say something like "Say it faster" or "Say it slower." So it was a whole new feeling for me, because I realized acting was not a dumb job. You know, I thought it was a dumb job. Somebody else writes something and then you repeat it. Like, how dumb is that?

There was this moment, in some diner somewhere, when I realized for the first time that it was me who hadn't brought enough to the table. And I felt this excitement where you're all sweaty and you can't eat and you can't sleep.

Changed my life.

Jodie told you that? No, I have no memory. People have memories of things that I don't remember. She was, what, twelve? Amazing ...

I'm CEO, Beatch!*¹

noreply@blogger.com (Roberta) — Fri, 21 Jan 2011 17:15:11 PST

500millionfriends.com

Eu fiquei muito injuriada que A Rede Social ganhou tudo no Globo de Ouro, porque faz muito tempo que não existe mais surpresa nas premiações em geral e isso sinceramente me deixa "P" da vida e nessa semana deixei de lado essa decepção porque tenho certeza que demorá séculos para ter alguma supresa no Globo de Ouro e no Oscar, porque já é óbvio que A Rede Social irá ganhar tudo que for indicado ao Oscar! Afinal de contas, o filme tem tudo para ser a mais nova paixão da minha vida:

Nerds Superiores: Eu sou uma nerd! Tá certo, que não tenho a síndrome de asperger e nem parento que tenha, nunca dei uma de hacker, não jogo xadrez, não sei programar um pc. Mas porque eu sou uma nerd? Por que eu vivo na internet (compro pela internet, ouço, leio...), vivo pelas redes sociais (tenho cadastro em muitas!), me interesso por tecnologia, tenho uma grande facilidade de me adaptar com essas coisas. Então, difícil pra mim é viver o mundo real, porque o virtual já é meu faz um bom tempo! E é lógico admiro os Nerds Superiores, como Bill Gates (Microsoft), Steve Jobs (Apple) e Linus Torvalds (Linux) e agora tem mais uma legião de caras que você tem que (REALMENTE) agradecer a Deus (querendo ou não) a existência deles: Mark Zuckerberg e Eduardo Saverin (Facebook); Eric Schmidt, Sergey Brin e Larry Page (Google); (Wikipedia) Chad Hurley, Steve Chen e Jawed Karim (Youtube); Orkut Büyükkökten (Orkut, óbvio não?); Jack Dorsey, Evan Williams e Biz Stone (Twitter); John Maloney (Tumblr); Pyra Labs (Blogger); Felix Miller, Martin Stiksel, Michael Breidenbruecker e Thomas Willomitze (Last.FM); Shawn Fanning e Sean Parker (Napster); etc

Revolução na Internet: A partir dessas redes sociais a vida de todos está concentrada na internet, qualquer coisa (e qualquer um, também) que você pensa em pesquisar, tem no Google, você encontra qualquer um que você conhece pelas redes sociais e acredito que a maior parte das pessoas nem sequer conheçam todos com quem se "relaciona" (o meu caso é o segundo, com certeza). No entanto, pelo fato que você desconheça a maior parte das pessoas com quem você conversa é bom ou não, eu sinceramente não sei, porque existem vários casos de golpes e outros tipos de crimes e também existem casos de amor, profunda amizade etc, então não dá para julgar. Eu só tive uma experiência que saiu da internet e veio pro mundo dos "humanos normais", uma amiga me deu um email de uma amiga dela e nós passamos a nos corresponder e trocamos mensagens por orkut, twitter, facebook, etc, então foi um fato graças a Deus, muito bom!

Link

Comentário sobre o filme: O diretor é David Fincher, que fez "Seven - Os Sete Pecados Capitais", "Quarto do Pânico", sem dúvida eu adorei o filme! Com certeza mereceu todos os prêmios que já recebeu além dos Globo de Ouro e todos os outros que receberá pelo futuro. Antes de assistir o filme eu era completamente ignorante da história do Facebook e sem dúvida eu errei feio nisso, estou indo atrás do livro que o filme foi baseado, "The Accidental Billionaires" de Ben Mezrich.

Mark Zuckerberg foi acusado de roubar a idéia de outros 3 colagas de Harvard (Cameron Winklevoss, Tyler Winklevoss e Divya Narendra) e acusado também trair o amigo, Eduardo Saverin, que é co-fundador da famosa rede social. E quando você assiste ao filme você acaba suspeitando de outras coisas que talvez ele pode ter feito, pra alcançar, digamos assim o estrelato sozinho pela criação do império que se tornou o Facebook e se aconteceu assim ou não, eu não sei, é que dá a entender que se vê o filme. Já admirava, Zuckerberg e o Saverin só pela criação, depois de saber toda essa história sensacional que só pode mesmo ter virado filme, eu os admiro ainda mais! Tem gente que adora demonizar certas pessoas e estão tratando Zuckerberg assim e o pior, estão falando essas coisas sobre ele dentro do Facebook! Como se não soubessem que foi ele quem criou (se roubou ou não, não cabe a mim julgar, não tenho cara de jurada e nem de juiz), assistiram a história da rede social que usam tanto quanto o Twitter e etc e ficam bajulando o Saverin. Tá tudo bem, vamos supor que ele é o vilão, mas não justifica o povo ficar falando mal do criador e usando como veículo disso a criatura!

É a mesma coisa que muita gente (ainda) gosta de fazer é criticar Bill Gates e/ou Steve Jobs usando o um Windows e/ou iMac! Faz sentido? Pra mim não! Coloquei ainda entre () porque isso aconteceu muito na década de 90 e também nos anos 2000, sempre achei um absurdo! Ou então endeusavam Steve Jobs usando um Windows, ah, posso estar errada, mas acredito que isso seja muita hipocrisia. Eu não ponho ninguém em pedestal, mas que minha vida seria muito diferente sem todos eles, isso é fato! Eu não estaria AQUI digitando o que eu quisesse!

Agora estou ansiosa para ver em DVD! =DD Espero que tenha bastante extras suculentos!! ;P
Obrigada a quem leu e boa tarde.

*¹

Stanley Kubrick era uma espécie de Darth Vader?

noreply@blogger.com (Roberta) — Thu, 20 Jan 2011 06:20:13 PST

02/12/2010 17h17
Robert Duvall afirma que Stanley Kubrick era um inimigo de seus atores
Da Redação

Durante uma mesa redonda promovida pela Hollywood Reporter e destacada pelo Collider, o ator Robert Duvall (Coração Louco) se mostrou muito polêmico e fez afirmações que acabaram até por surpreender os atores que estavam a seu lado durante esta entrevista.

Ao debater sobre o filme A Rede Social, chegou à luz o fato de que o diretor do longa, David Fincher, gravava cada cena cerca de 50 vezes, para extrair a melhor atuação de seus atores. Ao ouvir isso,
Duvall comparou Fincher a Stanley Kubrick (2001 - Uma Odisséia no Espaço), chamando Kubrick de “um inimigo dos atores”. “Porque alguém iria querer fazer isso?”, perguntou, indignado sobre o número de repetições da cena, “como ele vai saber a diferença entre o primeiro e o 50º take?”.

Duvall ainda continuou, classificando as atuações em clássicos como O Iluminado e Laranja Mecânica como “algumas das piores performances que eu já vi no cinema”. O ator admite que os filmes são bons, mas ainda assim não perdoou os atores dos longas.

Ele se mostrou um pouco descompassado com o cinema atual, não sabendo, inicialmente, quem era o diretor de A Rede Social. Perguntou também quais são as grandes proezas deste que é um dos realizadores mais prolíficos dos últimos anos.

Por que tanta mágoa para alguém que nem existe mais? E você acha que o Stanley Kubrick era um Sith Lord? E acha que o David Fincher está indo pro lado negro da Força (ou que já está lá faz muito tempo)? Ou não?

Globo de Ouro - Vencedores!!

noreply@blogger.com (Roberta) — Thu, 20 Jan 2011 06:07:01 PST

68th Annual Golden Globe Awards
Winners announced on Sunday, January 16th.
Also: BAFTA Awards | Critics Awards Grid | Independent Spirit Awards | Critics Choice Awards | Screen Actors Guild Awards | Writers Guild Awards | Producers Guild Awards | Directors Guild Awards |

Best Motion Picture - Drama
WINNER
A Rede Social (2010)

Other Nominees:
Cisne Negro (2010)
O Vencedor (2010)
A Origem (2010)
O Discurso do Rei (2010)

Best Motion Picture - Musical or Comedy
WINNER
Minhas Mães e Meu Pai (2010)

Other Nominees:
Alice no País das Maravilhas (2010)
Burlesque (2010/I)
Red - Aposentados e Perigosos (2010/I)
O Turista (2010)

Best Performance by an Actor in a Motion Picture - Drama
WINNER
Colin Firth for O Discurso do Rei (2010)

Other Nominees:
Jesse Eisenberg for A Rede Social (2010)
James Franco for 127 Horas (2010)
Ryan Gosling for Blue Valentine (2010)
Mark Wahlberg for O Vencedor (2010)

Best Performance by an Actress in a Motion Picture - Drama
WINNER
Natalie Portman for Cisne Negro (2010)

Other Nominees:
Halle Berry for Frankie and Alice (2010)
Nicole Kidman for Reencontrando a Felicidade (2010)
Jennifer Lawrence for Inverno da Alma (2010)
Michelle Williams for Blue Valentine (2010)

Best Performance by an Actor in a Motion Picture - Musical or Comedy
WINNER
Paul Giamatti for Minha Versão para o Amor (2010)

Other Nominees:
Johnny Depp for O Turista (2010)
Johnny Depp for Alice no País das Maravilhas (2010)
Jake Gyllenhaal for O Amor e Outras Drogas (2010)
Kevin Spacey for Casino Jack (2010)

Best Performance by an Actress in a Motion Picture - Musical or Comedy
WINNER
Annette Bening for Minhas Mães e Meu Pai (2010)

Other Nominees:
Anne Hathaway for O Amor e Outras Drogas (2010)
Angelina Jolie for O Turista (2010)
Julianne Moore for Minhas Mães e Meu Pai (2010)
Emma Stone for A Mentira (2010)

Best Performance by an Actor in a Supporting Role in a Motion Picture
WINNER
Christian Bale for O Vencedor (2010)

Other Nominees:
Michael Douglas for Wall Street: O Dinheiro Nunca Dorme (2010)
Andrew Garfield for A Rede Social (2010)
Jeremy Renner for Atração Perigosa (2010)
Geoffrey Rush for O Discurso do Rei (2010)

Best Performance by an Actress in a Supporting Role in a Motion Picture
WINNER
Melissa Leo for O Vencedor (2010)

Other Nominees:
Amy Adams for O Vencedor (2010)
Helena Bonham Carter for O Discurso do Rei (2010)
Mila Kunis for Cisne Negro (2010)
Jacki Weaver for Reino Animal (2010)

Best Director - Motion Picture
WINNER
David Fincher for A Rede Social (2010)

Other Nominees:
Darren Aronofsky for Cisne Negro (2010)
Tom Hooper for O Discurso do Rei (2010)
Christopher Nolan for A Origem (2010)
David O. Russell for O Vencedor (2010)

Best Screenplay - Motion Picture
WINNER
A Rede Social (2010): Aaron Sorkin

Other Nominees:
127 Horas (2010): Danny Boyle, Simon Beaufoy
A Origem (2010): Christopher Nolan
Minhas Mães e Meu Pai (2010): Stuart Blumberg, Lisa Cholodenko
O Discurso do Rei (2010): David Seidler

Best Original Song - Motion Picture
WINNER
Burlesque (2010/I): Diane Warren("You Haven't Seen The Last of Me")

Other Nominees:
Burlesque (2010/I): Samuel Dixon, Christina Aguilera, Sia Furler("Bound to You")
Country Strong (2010): Bob DiPiero, Tom Douglas, Hillary Lindsey, Troy Verges("Coming Home")
As Crônicas de Nárnia: A Viagem do Peregrino da Alvorada (2010): Carrie Underwood, David Hodges, Hillary Lindsey("There's A Place For Us")
Enrolados (2010): Alan Menken, Glenn Slater("I See the Light")

Best Original Score - Motion Picture
WINNER
A Rede Social (2010): Trent Reznor, Atticus Ross

Other Nominees:
127 Horas (2010): A.R. Rahman
Alice no País das Maravilhas (2010): Danny Elfman
A Origem (2010): Hans Zimmer
O Discurso do Rei (2010): Alexandre Desplat

Best Animated Film
WINNER
Toy Story 3 (2010)

Other Nominees:
Meu Malvado Favorito (2010)
Como Treinar o Seu Dragão (2010)
O Mágico (2010)
Enrolados (2010)

Best Foreign Language Film
WINNER
Em um Mundo Melhor (2010)(Denmark)

Other Nominees:
Biutiful (2010)(Mexico/Spain)
O Concerto (2009)(France)
Kray (2010)(Russia)
Io sono l'amore (2009)(Italy)

Best Television Series - Drama
WINNER
"Boardwalk Empire" (2009)

Other Nominees:
"Dexter" (2006)
"The Good Wife" (2009)
"Mad Men" (2007)
"The Walking Dead" (2010)

Best Television Series - Musical or Comedy
WINNER
"Glee" (2009)

Other Nominees:
"The Big Bang Theory" (2007)
"The Big C" (2010)
"Modern Family" (2009)
"Nurse Jackie" (2009)
"30 Rock" (2006)

Best Mini-Series or Motion Picture Made for Television
WINNER
"Carlos" (2010)

Other Nominees:
"The Pacific" (2010)
"The Pillars of the Earth" (2010)
Temple Grandin (2010) (TV)
You Don't Know Jack (2010) (TV)

Best Performance by an Actor in a Mini-Series or a Motion Picture Made for Television
WINNER
Al Pacino for You Don't Know Jack (2010) (TV)

Other Nominees:
Idris Elba for "Luther" (2010)
Ian McShane for "The Pillars of the Earth" (2010)
Dennis Quaid for The Special Relationship (2010) (TV)
Édgar Ramírez for "Carlos" (2010)

Best Performance by an Actress in a Mini-Series or a Motion Picture Made for Television
WINNER
Claire Danes for Temple Grandin (2010) (TV)

Other Nominees:
Hayley Atwell for "The Pillars of the Earth" (2010)
Judi Dench for "Cranford" (2007)
Romola Garai for "Emma" (2009)
Jennifer Love Hewitt for The Client List (2010) (TV)

Best Performance by an Actor in a Television Series - Musical or Comedy
WINNER
Jim Parsons for "The Big Bang Theory" (2007)

Other Nominees:
Alec Baldwin for "30 Rock" (2006)
Steve Carell for "The Office" (2005)
Thomas Jane for "Hung" (2009)
Matthew Morrison for "Glee" (2009)

Best Performance by an Actress in a Television Series - Musical or Comedy
WINNER
Laura Linney for "The Big C" (2010)

Other Nominees:
Toni Collette for "United States of Tara" (2009)
Edie Falco for "Nurse Jackie" (2009)
Tina Fey for "30 Rock" (2006)
Lea Michele for "Glee" (2009)

Best Performance by an Actor in a Television Series - Drama
WINNER
Steve Buscemi for "Boardwalk Empire" (2009)

Other Nominees:
Bryan Cranston for "Breaking Bad" (2008)
Michael C. Hall for "Dexter" (2006)
Jon Hamm for "Mad Men" (2007)
Hugh Laurie for "House" (2004)

Best Performance by an Actress in a Television Series - Drama
WINNER
Katey Sagal for "Sons of Anarchy" (2008)

Other Nominees:
Julianna Margulies for "The Good Wife" (2009)
Elisabeth Moss for "Mad Men" (2007)
Piper Perabo for "Covert Affairs" (2010)
Kyra Sedgwick for "The Closer" (2005)

Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
WINNER
Chris Colfer for "Glee" (2009)

Other Nominees:
Scott Caan for "Hawaii Five-0" (2010)
Chris Noth for "The Good Wife" (2009)
Eric Stonestreet for "Modern Family" (2009)
David Strathairn for Temple Grandin (2010) (TV)

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
WINNER
Jane Lynch for "Glee" (2009)

Other Nominees:
Hope Davis for The Special Relationship (2010) (TV)
Kelly Macdonald for "Boardwalk Empire" (2009)
Julia Stiles for "Dexter" (2006)
Sofía Vergara for "Modern Family" (2009)

Robert Redford: What I've Learned

noreply@blogger.com (Roberta) — Tue, 11 Jan 2011 19:01:14 PST

December 16, 2010, 12:20 PM

Robert Redford: What I've Learned

The 74-year-old actor and director on his brush with a too-close fan, his sophisticated friendship with Paul Newman, and the perfect margarita

By Matthew Belloni

Jay Thompson/Globe Photos

The movie star, circa 1965. His eighth film as director, The Conspirator, will be released in April.

Published in the January 2011 "Meaning of Life" issue, on sale now

When I was a kid, nobody told me I was good-looking. I wish they had. I would've had a better time.

You'd have to be inhuman not to be flattered. But it was so obsessive so quick that some part of me didn't trust it.

The way you really find out about the performer's seriousness about the cause is how long they stay with it when the spotlight gets turned off. You see a lot of celebrities switch gears. They go from the environment to animal rights to obesity or whatever. That I don't have a lot of respect for.

There were some hairy moments. Some strange dark character was sending me gifts. They kept coming and coming... . The guy was obsessed with me and Joan Baez. They had a SWAT team and infrared binoculars, and they threw us out of the house. They caught the guy, and he was insane. They put him away and he died in prison.

I have a lot of land. I bought it because I had a very strong feeling. I was in my early twenties, and I had grown up in Los Angeles and had seen that city slide off into the sea from the city I knew as a little kid. It lost its identity — suddenly there was cement everywhere and the green was gone and the air was bad — and I wanted out. I went to Utah because I didn't know anybody there.

Speed. I've always liked speed. I own a car that I shouldn't be talking about because I'm an environmentalist, but the 1955 Porsche Spyder 550 RS is the finest sports car ever made.

Man, it's a lot tougher. To really be out in nature in a pure way, without being directed, without being there as a result of some marketing plan, just to find yourself pure in nature — I made a film about this, Jeremiah Johnson — it is not easy.

Sometimes your gut doesn't work.

There was a woman who was obsessed in the sixties. She'd stalk me and stalk me. Finally they found a gun in her purse and arrested her. She was a dope addict.

I was in a small charter plane flying from Santa Fe to Santa Rosa, and the engines went out for nine minutes. You go through that checklist. Then you get down to what it's gonna feel like. What's it gonna feel like? I still wonder.

I grew up in a pretty cynical environment. All my friends gave each other a horribly bad time. We'd destroy each other with criticisms, but for me it was a sign of friendship. If someone gave me a hard time, I'd say, "Well, I guess he's my friend." I think Paul and I had that relationship.

It did come out of the films, and it did come out of the characters we played in the films. The characters — you knew they were friends because they gave each other such a hard time. We'd play tricks on each other. The more sophisticated the joke, the better. And of course, no one would ever acknowledge the joke. If I'd play a joke on Paul, I'd never hear about it.

I'll never forget meeting a kid I really liked in grammar school and going to his house to go swimming. I just couldn't conceive of a house with a swimming pool in the backyard. Did I stay his friend because of the pool or because I really liked him? I don't know.

Growing up, I was heavily into sports, and you're given these slogans: "It doesn't matter whether you win or lose, it's how you play the game." I realized that was a lie. You could be the worst-behaving character in the world. If you won, it didn't matter.

Scots ethic: Don't forgive easily. And I think that's a negative. Ordinary People was about that. Scots are pretty tough folks. They come from a tough land and they've got tough minds.

Life is essentially sad. Happiness is sporadic. It comes in moments and that's it. Extract the blood from every moment.

Nothing beats a margarita. It comes close in L. A., but you've got to go to New Mexico or Arizona for the right agave plant.

Speak out for what you believe and what you feel. Or don't. You have to live with yourself.

Humor. Skill. Wit. Sex appeal. That order.

Sometimes I'll look at the women on magazines in the market: They all look alike! New this, new that, top this — forget it.

The one that came the closest happened at the festival, late eighties or 1990. I was coming into the Egyptian Theatre for opening night. A guy from Tennessee had driven up with the sole intention of killing me. They found the guy next to the box office and he had a gun. He admitted it. He said, "I'm glad you got me. I was gonna kill him."

Whatever designs nature, whatever makes it work when you observe it closely, that's good enough for me.

Things don't work as well anymore. You get angry. I'm pretty blessed to be able to do a lot of things still. But there's an inevitability here.

People don't remember who the critics were.