Думаю заслуженно дали (не кидайте в меня тухлыми помидорами  ), он и правда очень хорошо сыграл свою роль в этом фильме.....мне даже захотелось сравнить с фильмом "Капоте" за роль главного героя в прошлом году Оскара дали

Почти досмотрела этот фильм. Kire, спасибо огромное!

Приду в себя, переварю и попытаюсь нацарапать впечатления!

Элен, как ты пишешь! Зачиталась! :good:  :g-r:

Жду докачки как на иголках!

Мне как-то резко поплохело

Позвольте предложить иллюстрацию (правда, он тут лежит, а не стоит, но эффект думаю не меньший):
:swoon:

Посмотрела превьюшку, мне уже понравилось! Обожаю стилистику 50х, и Гвинет просто красавица, интересно, она сама поет? Ким Бесингер, помнится, сама пела в Привычке жениться.

Думаю,она изображает какую-то, реально существовавшую, певицу тех лет, т. е. ,  относится к стилистике 50-х годов.. Ещё один штрих к портрету эпохи,так сказать

А я Гвинет очень полюбила ,как актрису, после Сильвии. Она сыграла мощно! Да и  внешне хороша!

Отредактировано Элен (2007-02-21 02:31:11)

Хи-хи! Ну да, я как раз о том же!

Спасибо, Betina! Ничего- всё равно скачается,это же у тебя временные проблемы!  Вы с Xev счастливицы - можете скачивать!  Фильмы у вас в папочке лежат!  А мне по интернет-магазинам приходиться рыскать!   Вот ,дней через пять   "Уцелевшую любовь"  пришлют и я тоже включусь в обсуждение. 

А ты посмотри тему про этот фильм,там кто-то из дам ссылку давал на питерский интернет-магазин. Вот я и воспользовалась.

Toby Jones and Douglas McGrath Discuss "Infamous"

From Rebecca Murray,

Jones and McGrath Talk About Their Truman Capote Film

It may not have been the first Truman Capote film out of the gate but Infamous is just as entertaining as last year's awards season darling - Capote. Written and directed by Douglas McGrath, this Capote film features a stellar performance by Toby Jones as the man with the voice which, according to Gore Vidal, sounds like a Brussels sprout if a Brussells sprout could talk. The story follows Capote's journey to Kansas to research the book that would prove to be the final book of his career, In Cold Blood.
Douglas McGrath Explains the Origin of His Fascination with Truman Capote: McGrath says it all sprang from watching Capote on The Dick Cavett Show. “I will tell you the thing that brought me to it is my first year out of college I worked at Saturday Night Live. I used to get home quite late and not that the show was funny the year that I worked there, but I didn’t feel like watching comedy on TV at that hour so I often watched Dick Cavett, which was amusing but I wouldn’t call it comedy. Truman was a guest one night and I’d never seen him before. Dick Cavett introduced him as a ‘master stylist’ and one of the great writers of his generation. This was my first year – I was just becoming a writer – and I thought, ‘Wow, I’d like to improve my style. What’s he like?’ He came out – and this was only a few years before he died - and he was in very bad shape, very heavy, perspiring. You know, right before you come on there’s a person stopping the perspiring and he was evidently perspiring. His head was lolling and over to the side. He didn’t seem good at all. I couldn’t reconcile that introduction with that person.

He talked quite bitterly about Tennessee Williams who had just died, sympathetically of Tennessee Wiliams but quite bitterly about the press and how cruel the press had been to him, and how America doesn’t appreciate its artists. I found him fascinating and appalling and strangely sympathetic. I felt protective of him in some way. I just remember very distinctly thinking, ‘What happened to you?’ If you’re this master stylist and this is what you seem like, something must have gone wrong. I started reading his work and started reading about him, and I came to feel that what went wrong went wrong in Kansas.”

Sympathizing with Capote: In order to get into character, Jones found it necessary to sympathize with Truman Capote. “I suppose with melodrama you don’t have to sympathize with the character, but I suppose in something like this it’s very hard acting a character where you’re having to retrace these decisions that he makes without in some way sympathizing with him. It seems to me he’s faced in this story with kind of almost a mythic problem, which is the masterpiece that he so clearly wants to write, that he’s driven to write. He knows enough about himself as a writer to know that the best ending for that is the thing that will kill the thing that seems to be on the brink of giving his life some meaning, or a new meaning. That tradeoff seems to me to be a terrible, terrible, and slightly unavoidable problem for him. It’s very easy to feel sympathy for that kind of dilemma.

Just to play a character like that, you have to look at all the contradictions within their life, within anyone’s life, to begin to feel sympathy for them. As you see, he was portrayed often as a clown. He’s often laughed at and laughed about when he appeared on the shows. As an actor, you’re looking for chinks in the persona and I found him remarkably easy to find, actually. Once I started examining his writing and examining the writing about him, I found this whole idea – this very composed person with witty putdowns and the costume and the voice and the whole very ‘done’ personality highly unconvincing. I think it’s jeopardized in our film. Our film’s about the jeopardy that mask is put under. You can see it crack because he attempts to not be sympathetic to someone.”

Jones’ Initial Reaction to the Script: “Just delight, proper excitement, mixed with terror,” recalls Jones. “He was so remote from me in so many ways. That sense of not really understanding his cultural significance in the same way that they do [in America], obviously. There is that sense of a huge job that I was about to undertake, which is also terrifying. Also as soon as he opens his mouth on film you go, ‘Oh God, what is that? What is that voice all about?’ And obviously as an actor your instinct is that this is a very performed personality, a very composite person. He very carefully studied certain things to appear a certain way. Obviously with this amazing script that read like a thriller and was about the breakdown of that mask, I was just very aware of a long uphill struggle that is exactly what you want as an actor. The thrill of transforming is the basic instinct of the actor.”

On the Set of Infamous: Sandra Bullock claims she never met the real Toby Jones until filming had wrapped. Jones thanked her for that compliment and said it was because he kept the voice going all day long. “I devised this warm up with the voice coach to get my voice in the right place. It would take me about an hour and a half every morning to get it so that the voice wasn’t in control of me, and that I was in control of the voice and I could use it properly. It was maybe just laziness but I decided that once I’d done that hour and a half, I wasn’t going to go back into this [normal] voice once I got into the Capote voice, as it were. I think that this created some confusion on the set that I might actually be being Truman 24 hours a day, which I wouldn’t wish on anyone (laughing).

And speaking of Sandra Bullock, Jones had nothing but praise for Bullock who plays his closest companion, Nelle Harper Lee (the author of To Kill a Mockingbird), in Infamous.

“It was amazing to work with someone who is such an, obviously, global star and wears that incredibly lightly. It sort of appropriate again to Harper Lee, because it’s such a surprise to see her playing someone who seems very self-contained and who has this immense strength through doing very little. Not very many people know that those amazing speeches that she delivers straight to camera, which I think are some of my favorite moments in the film, they’re very emotional, and they’re done very, very simply by someone who really knows about how little you need to do to generate a lot of emotion at that point in the story, and she did them on the first morning of the shoot. People characterize actors as being certain kinds of actors, and I think that was the extraordinary thing, to watch her come in and deliver those speeches – without that much direction. She came in very clear and very prepared. I think they’re very, very emotional – those speeches.”

The Research Process: Jones did an incredible amount of research to prepare for the role. “I became sort of neurotic about preparation. What else would he do? How did he smell? But there were scenes where I had to write in his hand, I spent some time just writing. It’s such a responsibility to play someone who’s so well-known. You find yourself if you’re dawdling in your hotel room with nothing else to do, ‘Have I done everything I can possibly do?’ I’d get the handwriting out and sort of doodle and try and get the spacing right. There’s something nice about it. It sounds lunatic and neurotic but it gives you the feeling that it’s in some way or somewhere retreading something that might be useful.”

Getting the Story Just Right:
Asked what was the most difficult part of the whole process, writer/director McGrath responded, “The thing that took the most work and the most thought was the relationship between Truman and Perry [Smith, played by Daniel Craig]. We only knew a few things, really. We knew that Dick [Hickock, played by Lee Pace] talked to Truman right away and that Perry didn’t. We knew that Perry would let him into his cell and then say, ‘I don’t want to talk to you.’ And we know that eventually he talked to him. I had to figure out how to get from there to there.

The script – I hate to use this term because it’s so false – but it had practically written itself up to that point. I grew up in Texas and I’ve lived in New York for 25 years so I knew how both would feel. I felt I knew how Kansas would feel if someone like Truman came, and then the reverse. I knew what it was like to want to drink some Scotch with a twist and a half of lemon and a splash of this. I knew all that culture, too. That part of the film was really fun to write. But then when Perry came, it was a bit of detective work and a bit of psychological work. I would think, ‘Well, why did he let him in only to tell him that he didn’t want to talk to him? He must have wanted to talk to him but there must have been some reason he couldn’t talk to him.’ Then it would be day after day after day thinking what that could be. So, then I thought, ‘Well, he’s afraid he’ll laugh at him,’ because he looks like a little peacock coming into the room and there’s Perry who looks…not like a peacock. I just had to work it through piece by piece by piece. For me, that was the hardest but I will say ultimately the most gratifying because it has to fit in with everything else and make sense with everything else.”

Comparing Capotes: Obviously Bennett Miller’s Capote beat Infamous into theaters – and nabbed an Oscar for leading man Philip Seymour Hoffman. Jones however has never seen the other Capote film. “I haven’t seen it. I feel like I’ve seen it. I haven’t seen it for the simple reason that I knew I’d be asked to compare it. I feel slightly that I’m never a very good judge of my own work anyway, so I just knew that that would happen.”

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Через флэш-плеер записала с ДВД ,я рыдала

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Тю я так старалась ,а никто и неотреагировал(может кто подскажет где взять на кинопоиске можно тока купить)