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Слоеный пирог / Слоеный торт / Layer Cake (2004)

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почему, очень даже не на любителя. особенно учитывая моду на фильмы "Большой куш" и "Карты, деньги, два ствола".

Betina Я одинока в свойх увлечениях даже эти фильмы сложны .Я вообще йзвращенка для окружающих
:cray:  :bye:


Betina написал(а):

а вот насчет Матери не уверена

Хи-хи! Ветренная,  в матери  тоже должен понравиться, ( не обращай внимания на бороду)! Цепляет сильно!


еще 3000тыс ведер и золотой ключик наш
наконецто скоро я все это посмотрю


Пересматривала Слоенныи пирог ну просто ням ням какое кино вкусное ,а концовка!!! как он умирал !!!!!! а саунтрек!!!! :good:


Daniel Craig Talks About "Layer Cake"
From Rebecca Murray,

Apr 28 2005

Craig on "Layer Cake," Working with Matthew Vaughn, and the James Bond Rumors

Producer Matthew Vaughn takes a seat in the director’s chair for the indie thriller, “Layer Cake,” starring Daniel Craig, Daniel Craig, Colm Meaney, Kenneth Cranham, George Harris, Jamie Foreman, Sienna Miller and Michael Gambon. Centering on Craig’s character (who is never referred to by name), the film delves into the drug world with Craig starring as a successful businessman whose plans are thwarted when he tries to retire from the drug trade.
Director Vaughn acknowledges that selecting the right actor for the lead role wasn’t easy. "It’s a hard character to play as an actor. The whole point about XXXX is that he's a poker player. It doesn’t matter what’s going on around him, you never know what he’s thinking which means you’ve got to be a very good actor, a very subtle actor to play him,” said Vaughn.

J J Connolly, author of the book the film’s based on, adapted the story for the big screen. Connolly couldn’t be happier about getting Daniel Craig to play the lead in his multi-layered story. “Casting the untitled central character was always going to be hard. A lot of very good actors really wanted it but when Daniel Craig was suggested it was a done-deal. We wanted to get as far away as possible from jolly-ups and banter, guys trying to look too cool throughout the movie. We needed an actor who was prepared to go to the depths of emotion without anchors - not wanting to remain too cool for school,” explained Connolly.

Immensely popular in England and only now catching on in America, award-winning actor Daniel Craig’s name has been floating around a lot lately in connection with the role of Bond, James Bond. Known for his roles in serious British films, it’s not a huge leap to picture the talented, sexy actor filling the shoes recently vacated by Pierce Brosnan.

In this one-on-one interview, Craig discusses his role in “Layer Cake,” working with first-timer Matthew Vaughn, and those pesky Bond rumors:


You’ve described “Laker Cake” as a crime film, not a gangster movie. What’s the difference between the two?
I think gangster movies involve the behavior of gangsters and how despicable they are or how they control people. This is much more a movie which has a strong story line based upon the rise and the fall of characters, with a crime setting. Hopefully it’s more sophisticated than your average gangster movie. I believe it is. You have to think more. There [are] very complicated plot twists, which will all work out, but you have to sort of sit and concentrate if you want to follow the movie. Which, as far as I’m concerned, that’s more the type of movie that I enjoy watching.

What did Matthew Vaughn say to you to convince you “Layer Cake” wasn’t just another “Lock, Stock, and Two Smoking Barrels?”
Well, he just said that. But we also clicked early on. We share a lot of our favorite films, especially from the late 60s and early 70s that came out of the UK, but also out of the US. Sort of the classic crime films. And that this movie had to look as cinematic as possible, and that it had to have a grand scale and make London look like as cinematic as possible. And to steer away from being ‘tricksy’. Not using the camera as another character, but the camera just tells the story.

The audience never learns your character’s name in “Layer Cake.” When you were preparing to play him, how did you refer to him? Did you come up with your own name?
Only a joking name. I always called him ‘Cynthia.’ No, the point about it is that he’s someone who doesn’t have an identity. He doesn’t have an identity for a very good reason because he doesn’t want to sort of allow too much of himself to be known. So it kind of just played into the character.

So when you were working on the film, you’d tell your friends you were just playing ‘this guy’?
Yeah, just a guy. I mean, really, people call him “Four X” or “Quadruple X.’ I was talking to someone today who called him “Deleted.” And that’s probably the best name for him.

How did you get into this character? You couldn’t really create a backstory, could you?
You need a good script and that’s what we had. Most of the character and most of his traits are on the page. And then I just wanted to instill this sort of sense of mystery about him and make sure that we’re not… You know, you can’t get too close to him. But actually what I liked, what really attracted me to the movie, is that you get closer to him because of, to put it bluntly, the s**t he gets into (laughing).

Had you read the book before reading the script?
I read the script and then I read the book.

How do the two compare?
They’re quite close. The script, obviously because it’s a film, has to be sort of pared down. Quite a few of the characters become one character, and situations obviously had to get cut because it would be difficult to film the whole book. But actually it adheres quite closely to the book.

Was there anything in the book that wasn’t in the script that helped you with the character?
There might have been but to tell you the truth, I can’t remember now because once you stop filming it it sort of goes out the window (laughing).

Did you do any research on drug dealers or the drug culture?
No. All I wanted to do was make a character that you would pass on the streets and not notice. I think that’s closer to reality than having someone drive past in a car with spinning wheels and having someone wear gold chains and things. I think that these people are, as I say, businessman and they like to keep a low profile. JJ Connolly who wrote the book, although he says he hasn’t had contact with that world, seems to know an awful lot about it.

Did you use Connolly as a resource when getting into character?
Oh yeah, definitely.

Did he give you any specific input on playing this guy?
I think he was happy with the way I was going with the character. He was just very good for stories and he was very insightful as far as me asking, “Do you think this is a good behavior at this particular moment?,” and that sort of thing. He always had very good advice for me.

What will sell “Layer Cake” to an American audience? How would you describe it to get people interesting in checking it out?
Go in expecting something. If you’ve seen “Lock, Stock and Two Smoking Barrels,” go along because you won’t be disappointed on so many levels. It’s a very classy British movie and if you’re into British movies at all, I think you’re going to get a thrill out of it. If you’re not and it’s the first time, the first time you’ve been to see a British movie, you’re going to be entertained. I think this movie entertains on lots of levels but it also sort of makes you think. I think it’s quite a feel-good movie because a lot goes on. It will stimulate your brain (laughing).

Working with a producer who takes on director duties is different than working with a first time director who has either been an actor or a screenwriter. Did you find it a challenge?
Well you think there’d be a problem but Matthew’s experience in movies is quite large so he did all the right things - most of the time. He’s sitting in front of me so I have to be careful (laughing). He planned the movie incredibly well. He storyboarded the movie shot for shot and we basically did that. We shot the script and we shot his ideas. And he had a very, very, very clear vision about what he wanted to do which, thankfully, I agreed with.

He employed a great [director of photography] in Ben Davis so visually that was all very clear as far as how as he wanted to make London look, and how he wanted to make the movie look. I mean, I can’t say enough about it really. He did it brilliantly.

Does working with a first-time director make you more aware of what’s going on behind the camera?
I’m thinking about everything all the time. You have to, that’s part of the job. You can’t not think about it. For me it’s very important because of the whole process. The whole creative process is about making movies and making movies is part technical, part artistic, part emotion, part communication. You have to have an eye on all of these things when you’re making it. And hopefully when you come to do a scene, that’s just about the scene. A scene rarely goes longer than three, four, five minutes at the most, unless you’re shooting very, very long shots. It’s all part of the job.

Everyone else seems to be doing it. Do you have any desire to direct?
No! I’d rather stick needles in my eye.

The "Layer Cake" cast is loaded with top-notch actors. What’s it like working opposite actors such as Colm Meaney, Michael Gambon, and Kenneth Cranham?
It’s easy, to tell you the truth. That’s the simple answer. When you’ve got great actors in front of you, it cuts my job in half. It’s actually easy because when you know they’re going to be great, then you have to step up to the plate.

Does that elevate your game?
Sure. It’s like they say, you’ve got to aim for the stars and you might hit the treetops.

Photos of a scene featuring you and Sienna Miller seem to indicate there was an alternate ending.
There was. I don’t want to give the ending away but we shot two endings. We shot the ending that Sony wanted and we shot the ending that we wanted. And then we told Sony, or Matthew told Sony, that he’d shot the ending that they wanted and then he edited his ending into the movie. Then they [screened] the movie with Matthew’s ending and they liked it so it was kept.

And now to the Bond rumors…
And they are just that…

Definitely publications have you already cast in the role, some say you said no thanks, and others just report you’re in the running. Do you get tired of reading and addressing all the different rumors?
I’m not tired of it. Look, it’s a high class problem to have. But there’s an awful lot of smoke and very little fire at the moment. There’s a lot of names in the pot and I happen to be one of them. And you know I’ve said to people that I’d be very silly not to give it very careful consideration. But we’re not that far down the line yet. They’ve got a lot of working out to do, what they want to do. And if the call comes, then obviously we’ll think about it very carefully. But it’s… You know, the British press…I love them but they’ve decided that they wanted to call it and they’ve called it (laughing).

They’ve already got you cast as James Bond.
And trying on the suit.

It’s such a double-edged sword. It’s a role you could feel trapped in.
There is that, so that would have to come into it. It is and that’s why you have to think about these things very carefully.

What are you looking for in a role?
I’m looking for something that changes. I mean, as far as I’m concerned every piece of art or whatever you do should have some sort of political import. By politic I mean the wider meaning of politics. Something that has something to say and hopeful engages a little debate when you walk out of the cinema.

Is that why you took a supporting role in “The Jacket?”
I did that because [director] John Maybury’s a friend of mine. I did his movie “Love is the Devil” with him and he asked me to do it. It was a week’s filming in Glasgow and I was quite happy to go out there and shoot it for him. And who wouldn’t want to play a mental patient in a hospital? It’s fun.

Did you come up with your own dialogue?
That had a pretty tight script. I did little bits, but I always do.

”The Jacket” was advertised in the States as a horror film, which really hurt its chances of attracting the right audience.
Which is a shame. What I hope is that it’ll have some legs and that people will see it. Once it gets on DVD people will watch it for what it is. It’s not a horror film. It’s a psychological thriller and it’s also a bit of a fairy story, to tell you the truth.

And a romance.
Exactly. That’s what I mean. That’s the strongest part of the movie is the romantic aspect of it.

Speaking of romance, will we ever see you in lighter fare? A romantic comedy maybe?
No (laughing). I don’t know, we’ll see. It depends on the script. I never say never because I always said I’d never do a gangster movie but this one came along and this one was too difficult to resist.

But “Layer Cake’s” not a gangster movie…
Right. So I might do a romantic comedy that’s not a romantic comedy.



Thought and Action:
An Interview with Daniel Craig,
Star of Layer Cake

Though he may not be a household name yet, British stage, television and film star Daniel Craig has a presence that one doesn't easily forget. Whether in meaty roles in small films-- a burglar turned gay consort in Love is the Devil, a womanizing handyman in The Mother - or supporting roles in big films - Paul Newman's murderous son in Road to Perdition, a wily treasure hunter in Lara Croft: Tomb Raider - Craig infuses each performance with authority. There are no false notes in the repertoire of this actor who recently was at the center of a media frenzy over who will be the next James Bond. But Craig is too level-headed to be distracted by all that; instead he channels his considerable energies and intelligence into creating intriguing characters, like XXXX, the never named drug-dealing, capitalist anti-hero of Matthew Vaughn's directorial debut, Layer Cake. In person, Craig conveys the same intensity he brings to the screen; during a recent conversation his words and ideas tumbled and swirled so quickly the room around us was practically humming.

ANDREA GRONVALL: You're not even 38 yet, right, and yet you've had quite a career. Do you go by instinct? How much do you rely on the advice of your managers, your agents, friends and family in choosing roles?
DANIEL CRAIG: All of them, really. A lot of it's instinct, but I read scripts, and as I read, I want to know that something's going to change me and affect me and make me do something that I haven't necessarily done before. It genuinely has never really been about the money; I've earned a living, which for an actor to say is usually quite rare. I've had a lot of luck, and I've made some mistakes in my time, but I really believe you've got to keep yourself as busy and as interested as possible in what you do because then you can maintain it. I think as soon as you do decide to take [big] money, that's fine, but you've got to get your priorities right. If it stops you doing other things, then you have to think very carefully about which way you need to go. I suppose what I'm saying is, I just give it as much thought as I can. And it takes me a long time to decide whether I want to do something or not. Or if I do need to make a decision very quickly, I just apply the same rule, namely, will it change me?

AG: What do you mean by mistakes? Projects that turned out to be a waste of your time?
DC: I've done a lot of work to earn money, because I've had to, because I need to pay the rent, and I need to do those things. So they're not mistakes, it's just sometimes I wish they'd disappear. I've been lucky enough that with some success, I've been able to have more choices, so [more often] I do the things I know I should be doing. There's another side to that, which is that if you're in a job, and it's not working in the right way, it's part of your job to make it work in the right way. It would worry me, getting to a stage where you just do job after job after job; you tend to get jaded, and you tend to get lazy. Because some jobs take an effort, and I don't mean effort as in acting, they take effort in management, in encouraging people to do better. I just sort of put a flame under it. You can either lay back and say, well, I'm an actor, I turn up to do my job and go away, or I can get involved, which means you have to go shout, or you're going to have to sit down and have meetings. And I believe that's part of your job, but that's exhausting, and I don't want to do that all the time, because I'm not a producer.

AG: Why did you decide to do Layer Cake?
DC: First and foremost, the script, I promise you, it was in great shape, due to Matthew Vaughn - and obviously J.J. Connolly, who wrote both the book and the script - but Matthew worked with him for a whole year on the script to get it to a shooting state. I'd been offered, and been talked to about doing gangster films, or let's say, crime movies-because I'd say this is more of a crime film than it is a gangster movie-and none of them appealed to me, movie scripts with huge amounts of violence in them, with supposedly scary people, but whom I don't find scary. Yes, what they do is horrible-they shoot three people in the first scene, then you're going to start having to pull people's ears off in the sixth scene, or whatever it is, because the escalating violence is sort of what that kind of film is about. What I like about Layer Cake is its intelligent through-line. First of all, I think it's very close to the truth; I think this is what successful drug dealers are like. They don't drive around in flashy cars, they don't show off, they behave very quietly, they get on with their job and they earn lots of money. And it goes up and up and up and up the scale. Secondly - and selfishly - I like the moral aspect of the movie, which is that the violence has consequences, and you feel emotionally involved with the violence. It's not that deep-it's still a piece of entertainment-but you feel that, and so consequently you enjoy the movie more, because that adds to the sense of drama. It grabs you.

AG: It does. The film's conceit of viewing these tiers of criminals as layers on a cake is marvelous; and the food metaphor is apt because the movie is also about the food chain of scary underworld predators. You go through layers in the film to reach Eddie Temple, the Michael Gambon character who's a rich, respectable businessman -- yet he is in a way more evil than anyone else, even though he never pulls a trigger. In a very interesting duality, your character is sort of the mirror image of him. XXXX is someone moving up but trying to get clean, but here's Temple at the top, getting dirtier than before.
DC: Totally. And again, I think that in spite of the fact that it's just a movie, and that's what it is, I do believe it's an accurate portrayal. Temple is a businessman; he owns skyscrapers, he probably has politicians who are friends. He will deal in anything-anything-as long as he makes money.

AG: Because something is a popular entertainment doesn't mean it isn't art, and Layer Cake is very artful-from beginning to end, it's riveting.
DC: I really appreciate that, because I believe in it. I'm very proud of it, strangely enough-because one of your first questions is what makes me choose my jobs - well, I believe this is an art form, and every piece of work you do is political. Whether it's a big blockbuster, or a smaller movie like this, whatever it is, it has a political message to put across. And you should understand that political message, but it shouldn't get in the way of being entertaining, because that's what we do. We entertain, as well as inform. That's the crux of all this, that's the crux of what I get out of it.

AG: What are the press like in your country?
DC: [Smiling] They're wonderful.

AG: The reason I ask is, I want to know how batty the British press has gone in the last few weeks over all this speculation about the new James Bond. Have they made your life miserable?
DC: Well, I've been here [in America], you see. In a way, it's been fortuitous, and I can't knock it, because [the flurry in the press] came out just before I started doing tours around the country with this. And it came out at quite a good time, because of course that meant that probably more people wanted to talk to me than otherwise would have, so at least I can talk about Layer Cake and get that going. There's very little truth in what was said, but I'm down on the list with two or three others who are being considered, but that's as much as I know. It's nice to be on that list, but it's a decision to make down the line; I haven't really given it a great deal of thought. I think - and this is just my opinion - I think the powers that be, whoever they are, have put my name out there, because Pierce [Brosnan] is being mentioned again, just to get a debate going. And I think it's as cynical as that, because people are coming up to me saying, it's on the radio, it's on television, listing my name with other names, sort of asking people to vote.

AG: I do think planting those items in the press is a business decision on a number of levels, including starting a dialogue out there with the public. I also think it's interesting that it happened so soon after MGM was sold to Sony and its consortium. You wonder, is someone trying to prove he or she is being proactive-
DC: Yeah, for sure.

AG: Or is it one of those alpha-dog things, someone trying to show who's in charge?
DC: All of those things. You have to believe that all of those things can happen, because they do. But anyway, Sony couldn't legally get involved in anything with MGM until the sale was tied up a few weeks ago, which is when all this press shit hit the fan. "Ah!" said Doctor Watson.

AG: You're a very intense and physical actor; these two qualities, along with your intelligence, have made your rise in the industry rapid. But you haven't done much comedy. Why not? The scene in Layer Cake where after a violent confrontation with Gene (Colm Meaney) you bounce like a rubber ball before hitting the floor is hilarious.
DC: I thought I was such a tart doing that, because it's upstaging, which is just awful. See, they're talking in the foreground and I'm just screwing around in the background.

AG: It made the scene.
DC: Well, romantic comedies don't appeal to me, it's as simple as that. My comedic favorites are the Marx Brothers and Woody Allen. The Marx Brothers do something, which Woody Allen did mainly in his earlier movies, which is set the camera, and it stays set, and you have a stage. Because that's how comedy works; the camera doesn't move in for a close-up of an eyebrow arching, because that's bad comedy. Great comedy is what the Marx Brothers did, because they rehearsed, and they rehearsed, and they rehearsed, and they rehearsed, and they rehearsed. And then they just turned on the camera. I couldn't do that.

AG: Well, rehearsal in film is a luxury.
DC: That's a real luxury. But the Marx Brothers had done their routines on the road, and Woody Allen I think rehearses.

AG: I can picture you in a Woody Allen film.
DC: From your lips to God's ears. I'd love to work with him. I've just worked with Douglas McGrath, doing his film Every Word is True, about Truman Capote writing In Cold Blood, and he knows Woody very well.

AG: So, that film is wrapped now.
DC: It's over, yes. Next I'm on to the Steven Spielberg film that's starting at the end of June. It's set around '72, the Munich Olympics.

AG: When you create a character from scratch-as opposed to a character that already exists in a work being adapted to the screen -- what steps do you take to find the door into that character, to make him true?
DC: Reading it, over and over and over again. Discussing it-rehearsals, as you say, are a rarity in film, but if you get the chance to have rehearsals then grab it. It's never usually about nailing things down; it's about discussing and breaking the ice with the other actors. You know, there's still an element on the first day of filming where you have to stand up in front of thirty people and make a fool of yourself-as does everybody else, by the way, because we're all on show in a movie, it's just in the nature of how you make a film. If I do a back story [for my character], then I will make it up and think about it, write a few things down as I go through the script. Some actors plot their scripts--and I don't say that you shouldn't plot your script-but they'll say, "Here at this point, I should be feeling like this" because they look at the overall picture, and they think, what's the emotional arc of this? And I'm like-oooh, emotional arcs just terrify me, because I kind of want to do all of the work before we start shooting, and then once we start shooting, forget it, just forget it and get on with it. If I don't know my lines by then, if I don't know who I am by then, then I'm never going to know who I am. That's the fear you hold at the beginning [of a project], but hopefully when you're filming, you've done enough work and you've had enough discussion, that when you get to a scene, it's condensed. You're only doing a two- or three-minute scene, and at that point you ask, what are we trying to achieve with this scene? What are we trying to say? Let's get that said, and see if we can get somewhere else with that as well. And that's kind of the magic, that's where I like to be, so that we can do exactly what's written, do what we want in shooting, and then do a couple of takes for the sheer hell of it to see what happens, with changing some lines around, or moving or improvising. I kind of want to keep it as loose as that, because then the magic can happen sometimes.

AG: That's why your performances have a sense of flow.
DC: Maybe.

AG: That's how you avoid them feeling canned. You're serious about your work, you're not glib about it.
DC: I'm serious about it, but I'm not that serious about it. It's very, very, very important to me, but like my friend [and Enduring Love costar] Rhys Ifans said--when he was asked what do you take to every set--said, "My sense of humor." And he's absolutely right, because you can lose the bigger picture so easily. Because making a film, basically, is a collective sense of panic controlled, because who knows where the money's going to go, who knows who's going to be spending the money. I love film sets, which are like borderline hysteria, because then sparks fly.

AG: Are you an adrenaline junkie?
DC: Completely. There's no point in turning up unless you're ready to rock and roll.

May 25, 2005



Сиенна Миллер о сцене с Дэниэлом в "Слоеном торте":

But there was no way the ambitious actress was about to turn down an opportunity to work with "all those wonderful British actors". (e.g. Daniel, Michael Gambon, Kenneth Cranham)  Besides, what woman would pass up the chance to be flung on a bed by Daniel Craig?
"Aghhh! You can only imagine what it was like! (yes we can Sienna - all of us here) I loved being flung on to the bed. It wasn't difficult - I could think of worse people to be flung on beds by," she winks mischieviously. "He's really rugged. He's beautiful but not a novice. (We can see that Sienna) He'a a real man, isn't he? Great eyes. Ol' blue eyes." Innocent at the time, these comments Sienna would later regret when the tabloids linked her omantically with Craig.



Вчера наконец решила посмотреть фильм, благо мужа не было до поздна. Мне казалось, что я вприниципе уже вышла из того возраста, когда человек в телевизоре может действовать  на меня настолько магнетично. С первых кадров просто затрясло от его голоса, а когда я его увидела -  уменя просто перехватило дыхание. То есть я смотрела не фильм, не отслеживала сюжет, не оценивала игру актеров, а видела только ЕГО, эту пастичную походку, руки, глаза. БОже мой, как он смотрел на Тами в клубе, неужели мужчины могут ТАК смотреть? Выдула пол-бутылки мартини, обкурилась и НЕ досмотрела! Не могу я просто , не могу быть в таком истерическом состоянии. Если к фоткам я привыкла, то тут совсем другое дело. Я человек вполне разумный, рациональный и давно не испытывала ничего подобного.Неужели же можно сидеть и плакать в принципе без причины? Вот пишу и опять чувствую противные слезы. А что будет, когда досмотрю? Клиника...


natta написал(а):

Я человек вполне разумный, рациональный и давно не испытывала ничего подобного.Неужели же можно сидеть и плакать в принципе без причины? Вот пишу и опять чувствую противные слезы. А что будет, когда досмотрю? Клиника...

Не плачь ты не одна,Я тоже человек достаточно разумный ,но не с НИМ .И я от "Любовь это дьявол" тоже два дня больная была .


Balula,  :kiss: , спасибо!


natta, почитала твой крик души, и у самой слезы навернулись, настолько это все знакомо :kiss3:


Xev, я до сих пор в таком же  состоянии, депресиия прямо какая-то . Хотела списать на ПМС, :)   но это явно не тот случай. Я как прибитая , все в шоке, думают, что  какая трагедия у меня произошла. Спасибо за поддержку :g-r:


Да, у меня такое же состояние было, когда посмотрела КР в кино в 3й и 4й раз, 2 сеанса подряд....  :swoon2: вот поэтому я и не спешу все его фильмы сразу пересмотреть, потом долго восстанавливаться приходится...

Отдельный респект Балуле, она умеет по 3 раза тьфу фильма за ночь, я на такое не способна :good:  :D


nattaМы все с тобой это наш общий диагноз(я вчера только пересмотрела в энный раз "...Пирог"нет слов) :g-r:  :kiss3:


Xev написал(а):

Отдельный респект Балуле, она умеет по 3 раза тьфу фильма за ночь, я на такое не способна

Нет это был единственный эксперемент чуть не закончившийся летальным исходом теперь и я осторожна и не тороплива  :D


natta написал(а):

как он смотрел на Тами в клубе

самая яркая сцена в фильме  :rolleyes: а еще, когда он после совершенного им убийства приходил в себя - умереть-не-встать  :heat:

Xev написал(а):

от поэтому я и не спешу все его фильмы сразу пересмотреть, потом долго восстанавливаться приходится...

аналогично. меня после "Сильвии" до сих пор колошматит  :blink:

natta написал(а):

Я человек вполне разумный, рациональный и давно не испытывала ничего подобного.

все мы тут собрались... рациональные, перешагнувшие порог юношеских увлечений...  :blink:  :D вирус какой-то просто.

natta написал(а):

Неужели же можно сидеть и плакать в принципе без причины?

ой, а я эт умею, так что рыдаю от фильмов с Крэйгом только так.


Balula, если бы не вы- померла бы точно!

Balula написал(а):

теперь и я осторожна и не тороплива

Ну и я не буду торопиться, раз ОН так действует на меня. Потом досмотрю, никуда не денется.


Друзья посоветовали «Слоеный пирог» зная мою страсть к фильмам Гая Риччи, стиль тот же… Сказали, что там еще тот актер который играл в Ларе… я два дня ходила потом в полной прострации… не слышала ничего… один из любимейших фильмов… камера его определенно любит… где-то прочла это называется «эффект присутствия», когда он в кадре… больше нет ничего…только Дэн…

Отредактировано Alenka (2007-04-04 17:16:36)


Alenka написал(а):

когда он в кадре… больше нет ничего…только Дэн…

AlenkaF" Мечь чести " ! ТАМ только ОН и кроме него никого :D

Отредактировано Balula (2007-04-05 02:28:38)


Alenka написал(а):

это называется «эффект присутствия»,

Вот именно из-за этого и боюсь вообще смотреть что-либо. Я  выключаюсь, выпадаю из реальной жизни и это пугает. Обратно в реал возвращаться очень трудно. Н


Вчера зашла на filmz.ru посмотреть нов плакаты Пиратов и что увидела в ленте новостей...

Михаэль Шлихт, генеральный директор «Двадцатый Век Фокс СНГ», еще на Кинорынке загадочно намекал на обширные кинопроизводственные планы компании. В интервью «Деловым новостям» он конкретизировал проекты, рассказав как о совместном производстве, так и о фильмах Первого.

Силами компании Monumental Pictures, произведшей на свет комедию «В ожидании чуда» и сгинувший в длительном post-production хоррор «Путевой обходчик», будут сняты четыре картины в содружестве с телеканалом СТС – «Гувернантка» (съемки пройдут летом), неизвестный проект с Федором Бондарчуком в главной роли, римейк «Слоеного пирога» и молодежный мюзикл.

Выпала в осадок. Не знала, что наши продюсеры не только заруб блокбастеры перелопатить пытаются. Вот и добрались до достаточно неизвестных незав фильмов. А мож это не наш пирог? :blink:

Отредактировано Evenstar (2007-04-13 16:35:39)


Evenstar написал(а):

римейк «Слоеного пирога
Выпала в осадок. Не знала, что наши продюсеры не только заруб блокбастеры перелопатить пытаются. Вот и добрались до достаточно неизвестных незав фильмов. А мож это не наш пирог?

Абалдеть :O


Римейк??? Бондарчук?...  они убьют фильм... выйдет очередная разборка братанов…  :(


ничего, пусть снимают, потом народ потянется оригинал смотреть  :good:


Неа, Бондарчуковский это другой проект. Про него там потом речь ведут.


Посмотрела фильм - очень достойное кино. Дэниэл выше всяких похвал. Кто бы сомневался да? У меня к вам вопрос. Как вы думаетев конце фильма, он погибает? Я думаю, что нет.


Лисичка написал(а):

Посмотрела фильм - очень достойное кино. Дэниэл выше всяких похвал. Кто бы сомневался да? У меня к вам вопрос. Как вы думаетев конце фильма, он погибает? Я думаю, что нет.

Я думаю что погиб, такая насмешка судьбы :(


marfa написал(а):

Я думаю что погиб, такая насмешка судьбы

А я приняла финал как альтернативную концовку, чтобы решение приняли зрители. Хотя я тоже решила, что он погиб. Но уж очень хотелось дать ему шанс.


Лисичка написал(а):

А я приняла финал как альтернативную концовку, чтобы решение приняли зрители. Хотя я тоже решила, что он погиб. Но уж очень хотелось дать ему шанс

Ну каждый решает для себя. Не показывают как его накрывают простыней, так что все может быть


Лисичка написал(а):

Как вы думаетев конце фильма, он погибает? Я думаю, что нет.

думаю, погибает. в этом и вся соль - выбраться из такого количества передряг и быть убитым каким-то ревнивым идиотом.
но тем ни менее, если создатели картины захотят снять продолжение, главного героя вполне можно воскресить  :blink:  :D

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