Dracula 3D - teste em 3D

testes em 3D

"My Dracula will be a film full of feeling because Dracula is also sentimental," Argento previously said. "Dracula loves, hates with strength, appeal and resolution, which reflects my way of making films. Besides Dracula, I'm also fascinated by the character of Mina, the woman he loves desperately more than anything else, for which he will sacrifice himself."

Argento also promises that his telling of the classic tale "will be a bloody, strong film.

Brian de Palma The Hunter - possivelmente

After all that talk about how Darren Aronofsky's Black Swan is similar to the cinema of Brian De Palma, it turns out that De Palma's name was actually included in the Black Swan press kit. Under the kit's bio for screenwriter John McLaughlin, one of McLaughlin's latest film projects is listed as "a movie based on the Donald Westlake underworld character Parker with Brian De Palma attached to direct." I checked with De Palma, who confirmed the project. The bio also mentions a McLaughlin project called The Man Who Killed Houdini, and someone at TampaBay.com yesterday must have misread McLaughlin's bio, because they mistakenly stated that De Palma was attached to the Houdini project (De Palma said he is not involved).

In any case, the Parker project sounds rather promising. Parker is a character created by Westlake under the pseudonym Richard Stark. The first novel to feature the character, The Hunter, was published in 1962, and subsequently adapted into two films: John Boorman's masterful Point Blank (1967), which starred Lee Marvin (as Parker) and Angie Dickinson; and Payback (1999), starring Mel Gibson (as Parker) and Gary Sinise. Robert Duvall also played a character based on Parker in John Flynn's The Outfit (1973), as did Jim Brown in Gordon Flemyng's The Split (1968).

McLaughlin has also adapted Stephen Rebello's book, Alfred Hitchcock And The Making Of Psycho, into a screenplay that is going into production this year under the direction of Ryan Murphy, and starring Anthony Hopkins as Hitchock.

- DE PALMA A LA MOD

the hole joe dante

The hole do joe dante é, bem, tardio e esquecido. Tinha tudo pra ser um sucesso, sendo o grande pequeno e divertido filme que é , mas obvio que não iriam deixar. Enfim, parece que nós, dante e todo o cinema olhou junto para tal buraco.

The Sunchaser - Michael Cimino

Cimino é jovem por dentro assim como Blue e nos faz refém de seu último respiro (prematuro) para nos ensinar o que é real - it's been real / a man's gotta what he's gotta do - assim o cinema torna-se real para nós, e o mestre vai embora, desaparecendo no seu lugar (montanhas/scope/western) com seus costumes (povos/danças/gírias) mas só de um modo físico.

William Friedkin's KILLER JOE

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"This is nothing like any of those," he told Moviefone. "This is very edgy. It is on the razor's edge. It's been called very violent. I don't think it is very violent, but it's very sexually explicit. It is about a very disturbing group of characters."

"To me, it's like a warped version of 'Cinderella,'" he continued, "in that there is this 20-year-old girl whose mother and sisters brutalized her, and she could find no love except from the prince. In this case, this girl's father and brother are pimping her out and her birth mother tried to kill her when she was a baby, and she remembers it. She finds her prince, who happens to be a hired killer and is twice her age. He's a cop and a killer. The situation is really edgy, but the metaphor to me is a contemporary, twisted version of Cinderella."

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But the director does not look back at any of his work with regret over its content. "I would only hope that I had done them better," he stressed. "My only feelings about the films that I've made, the only misgivings, are that I wish I could've made them better, all of them."

Does he worry that 'Killer Joe' might be viewed as being transgressive in the way some of his past works have been? "Who cares?" he replied. "I never think about that. I didn't think about it then. I never set out to push anybody's buttons. I only made the films for the most part -- except for the first couple and maybe one or so later in my career -- that I wanted to see. Occasionally what happened is that the public wanted to see them, too. They were in the zeitgeist. I never set out knowing I could do that or that I would fail in doing that."

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COMEÇARAM AS FILMAGENS