Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
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Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
June 3rd on Laemmle's website, for Pasadena Playhouse 7. I can wait a week instead of paying $15 to see it at The Arclight.
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Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
I'm going opening night (6/10) in Pheonix (even though the Camelview is a non-stadium seating theater, it will most likely be packed on that night). Can't wait to see this!
#229
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Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
I'll be seeing it opening weekend, too. Camelview is an awesome theater. It's very well kept and you don't have to worry about crying babies and stuff. I've found that old people talk a lot too (usually something they missed in the plot). Stadium seating is overated.
I'm glad so see that they're not pussyfooting around with the release. I think we're the sixth largest city in the USA. But we're not in the 10-15 test markets. So release dates are always up in the air around here. And with DVD becoming so readily available, I usually just end up skipping theatrical releases that don't show up within a month or two.
I'm glad so see that they're not pussyfooting around with the release. I think we're the sixth largest city in the USA. But we're not in the 10-15 test markets. So release dates are always up in the air around here. And with DVD becoming so readily available, I usually just end up skipping theatrical releases that don't show up within a month or two.
#230
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Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
This won the Palme d'Or (Best Picture) at Cannes.
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Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
I don't think it would have. While I think LVT was stupid for saying what he said, I don't think his actions would have been taken into regard towards the film and it's quality. I really wish Cannes would allow the ability to embed their videos.
#235
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Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
I'm not sure the Palme d'Or makes me want to see Tree of Life even more, as I'm pretty pumped about seeing it to being with.
Apparently Paul Thomas Anderson suggested LVT use Dunst for Melancholia.
Apparently Paul Thomas Anderson suggested LVT use Dunst for Melancholia.
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Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
PTA? really? If true, I'd like to know the why.
Also I would have gone nuts if Malick came out of hiding...I saw him once in Austin at UT. Seemed like a very quiet guy...nothing out of the ordinary visually speaking on his look..just guy w/ a beard and some books.
Also I would have gone nuts if Malick came out of hiding...I saw him once in Austin at UT. Seemed like a very quiet guy...nothing out of the ordinary visually speaking on his look..just guy w/ a beard and some books.
#237
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Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
Yep, although there's no mention as to why he recommended her. However, PTA seems to have a knack for picking actors/actresses and getting the most out of them - so maybe he just visualized Dunst as perfect for the project.
http://cigsandredvines.blogspot.com/...-lars-von.html
EDIT: I guess this discussion should be in the LVT/Melancholia thread.
http://cigsandredvines.blogspot.com/...-lars-von.html
EDIT: I guess this discussion should be in the LVT/Melancholia thread.
#238
Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
#240
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Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
Glad to see I have an early option to see it in Minneapolis. 6/3 (in a crappy theater) or 6/17 (in a better theater). Not sure yet which one I'll buy tickets for.
#241
Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
Blu Ray coming out on 10/12/11
http://www.blu-ray.com/news/?id=6284
Kind of odd to announce it so early, isn't it?
http://www.blu-ray.com/news/?id=6284
Kind of odd to announce it so early, isn't it?
#242
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Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
Blu Ray coming out on 10/12/11
http://www.blu-ray.com/news/?id=6284
Kind of odd to announce it so early, isn't it?
http://www.blu-ray.com/news/?id=6284
Kind of odd to announce it so early, isn't it?
#243
Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
That sucks. Looks like I'm going to have to wait until July freaking 8th to see this film. If it gets killed in the box office, it might not even make it to wide release.
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Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
#246
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Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
Read an interview with Jessica Chastain where she said that Terrence Malick didn't say action or cut for the entire shoot, they ran the cameras till the reel was done. This movie can't be hyped up anymore in my mind.
#247
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Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
Good article on Malick:
http://www.independent.co.uk/arts-en...k-2288183.html
http://www.independent.co.uk/arts-en...k-2288183.html
The secret life of Terrence Malick
Most directors would bask in the limelight of a Palme d'Or win, but Malick did what he always does – watch from the shadows. Luke Blackall profiles the reclusive genius
Terrence Malick wasn't around to pick up his Palme d'Or at the Cannes Film Festival for his film The Tree of Life. But it shouldn't have come as a surprise – the director wasn't there for the film's premiere, either. Never mind that this was billed as the culmination of his glittering career so far, Malick wasn't going to break his reclusive habit for anyone.
The word "reclusive", however, would seem to be an understatement for a man of whom, it is believed, barely any, and mostly dated, photographs exist. Not only that, but he almost never gives interviews, not even to promote his films, preferring to speak through his movies.
His quietness and long periods of absence seem to have elevated him to a godlike status in film-making circles, with fellow professionals desperate to get close to him. "We worked together for a period of over a year," said British documentary-maker Leslie Woodhead, who was asked by Malick to direct Endurance, a 1998 feature about the Ethiopian runner Haile Gebrselassie and his gold medal in the 10,000 metres at the 1996 Olympic Games. "I think for a while, I was the only person in America who had his phone number. He remains what he was then, an extremely mysterious figure, whose mythology in Hollywood is impossible to exaggerate."
After studying philosophy at Harvard, where he specialised in Heidegger – whose work is thought to have a strong influence in his films – he studied for a time at Oxford University, but is thought to have left before completing his studies. His name appears on a list of "lost alumni" on the Magdalen College website. He later worked as a teacher and a journalist before moving into film. The 1973 film Badlands with Martin Sheen and Sissy Spacek helped to make his name as a serious talent, in the auteur mould.
After the Oscar-winning Days of Heaven came out in 1978, Malick disappeared from the film world for some 20 years, not re-emerging until The Thin Red Line came out in 1998. Even the reasons behind his disappearance from film remain a mystery and his elusiveness has led to his being described as "the film world's J D Salinger". It has had the effect of only adding to his allure.
"After we had worked together and Terry was off filming The Thin Red Line, one film-maker wanted to come and see us in the edit suite; we told him Terry wasn't here and he said, 'I don't mind, I just want to be in the same room as he was in.'"
But while Salinger had to deal with his biggest hit coming so early in his career, Malick's rare films, always set in an America of days gone by and often with a narrator, have continued to receive critical acclaim. "Where other movies have fans, Malick's produce disciples," US film critic James Hoberman has said.
What tales do emerge about Malick, paint a portrait of a great talent encumbered by a strong eccentric streak and obsessive secrecy.
He refused to let producers keep copies of his own handwriting, and after going missing, he once called a producer to say he was walking from Texas to Oklahoma "looking at birds".
Michele Morette, his late ex-wife of 13 years, revealed that while they were together she wasn't allowed into his office, and that he would rather buy her a copy of a book than lend her his own. He also liked to leave his books and cassettes face-down, so people couldn't see what he was reading or listening to.
Another tale suggests a darkness and artistic obsession ran in the family. His youngest brother, Larry, went to Spain to study with the guitarist Andres Segovia, but the young Malick was so frustrated by his lack of progress that he broke his own hands, and later committed suicide.
Hannah Patterson, author of Poetic Visions of America: The Cinema of Terrence Malick, believes that his reclusiveness only adds to the interest in him and the values of his films. "There is that level of mystery that comes from not doing interviews and not being in the public eye; he lets his films talk for themselves," she says. "In a way, you concentrate on the films if there's less known about the director, otherwise you psychologically connect their background to the films."
With his obsessive devotion to his craft, long periods between films and recurrent themes in his works, parallels can be drawn with another recluse who made American-inspired films but with a European sensibility, Stanley Kubrick.
"He is working within a Hollywood system, but in a unique and personal way, much the same as Kubrick did," Patterson adds.
Like Kubrick, he also has many of Hollywood's biggest stars desperate to work with him. The Thin Red Line featured several prominent names, such as George Clooney, who were more than happy to sign up for what were essentially small parts, all for the honour of working with one of cinema's modern masters.
He lifted his veil of secrecy to film a walk-on part in Badlands. He is also said to be such a fan of Zoolander, the 2001 send-up of the fashion world, that colleagues say he watches it regularly and likes to quote it. Ben Stiller, the star of the film, once dressed up in character and recorded him a special birthday video message.
Not only that, the long gestation period between films seems to have been forgotten, too. His next work, known only as "Untitled Terrence Malick Project" and with a cast including Ben Affleck, Rachel McAdams, Javier Bardem and Rachel Weisz, is already reported to be in post-production, and scheduled to be released next year. But it seems unlikely that he'll break the habit of a lifetime and promote it.
A SINGULAR VISION
Badlands (1973)
"In Terrence Malick's cool, sometimes brilliant, always ferociously American film, Badlands, which marks Malick's debut as a director, Kit and Holly take an all-American joyride across the upper Middle West... One may legitimately debate the validity of Malick's vision, but not, I think, his immense talent. Badlands is a most important and exciting film." Vincent Canby, former chief film critic, The New York Times
Days of Heaven (1978)
"The film proceeds in short takes: people seldom say more than two or three connected sentences. It might be described as the mosaic school of filmmaking as the camera and the action hop around, concentrating on a bit here, a bit there." Harold C. Schonberg, Pulitzer Prize winner and former critic, The New York Times
The Thin Red Line (1998)
"Malick ... has made very few movies and they're all perfect. I mean, Badlands: brilliant. Days of Heaven: look – Richard Gere can act! The Thin Red Line: it's Saving Private Ryan for clever people... In The Thin Red Line, there was a whole thing going on about whilst war is raging, nature happens anyway. It was really beautifully done. You get these terrible scenes of [men] mutilating each other, meanwhile snails are getting about their business ... and it was actually rather profound..." Mark Kermode, film critic, BBC Five Live
The New World (2005)
"There are two new worlds in this film, the one the English discover, and the one Pocahontas discovers ... Pocahontas was given the gift of sensing the whole picture, and that is what Malick founds his film on, not tawdry stories of adventure. He is a visionary, and this story requires one." Roger Ebert, film critic, Chicago Sun-Times
The Tree of Life (2011)
"You have to admire Terrence Malick's cussedness. No other major American film-maker, not even Stanley Kubrick at his most wilful, has ever made a film quite as idiosyncratic as The Tree Of Life. This is a two-hour experimental movie that could just as easily be seen in a gallery as in a cinema. Full of interior monologues, flashbacks and flash-forwards, it is lyrical, mystical, awe-inspiring – and often quite baffling." Geoffrey Macnab, film critic, The Independent
Most directors would bask in the limelight of a Palme d'Or win, but Malick did what he always does – watch from the shadows. Luke Blackall profiles the reclusive genius
Terrence Malick wasn't around to pick up his Palme d'Or at the Cannes Film Festival for his film The Tree of Life. But it shouldn't have come as a surprise – the director wasn't there for the film's premiere, either. Never mind that this was billed as the culmination of his glittering career so far, Malick wasn't going to break his reclusive habit for anyone.
The word "reclusive", however, would seem to be an understatement for a man of whom, it is believed, barely any, and mostly dated, photographs exist. Not only that, but he almost never gives interviews, not even to promote his films, preferring to speak through his movies.
His quietness and long periods of absence seem to have elevated him to a godlike status in film-making circles, with fellow professionals desperate to get close to him. "We worked together for a period of over a year," said British documentary-maker Leslie Woodhead, who was asked by Malick to direct Endurance, a 1998 feature about the Ethiopian runner Haile Gebrselassie and his gold medal in the 10,000 metres at the 1996 Olympic Games. "I think for a while, I was the only person in America who had his phone number. He remains what he was then, an extremely mysterious figure, whose mythology in Hollywood is impossible to exaggerate."
After studying philosophy at Harvard, where he specialised in Heidegger – whose work is thought to have a strong influence in his films – he studied for a time at Oxford University, but is thought to have left before completing his studies. His name appears on a list of "lost alumni" on the Magdalen College website. He later worked as a teacher and a journalist before moving into film. The 1973 film Badlands with Martin Sheen and Sissy Spacek helped to make his name as a serious talent, in the auteur mould.
After the Oscar-winning Days of Heaven came out in 1978, Malick disappeared from the film world for some 20 years, not re-emerging until The Thin Red Line came out in 1998. Even the reasons behind his disappearance from film remain a mystery and his elusiveness has led to his being described as "the film world's J D Salinger". It has had the effect of only adding to his allure.
"After we had worked together and Terry was off filming The Thin Red Line, one film-maker wanted to come and see us in the edit suite; we told him Terry wasn't here and he said, 'I don't mind, I just want to be in the same room as he was in.'"
But while Salinger had to deal with his biggest hit coming so early in his career, Malick's rare films, always set in an America of days gone by and often with a narrator, have continued to receive critical acclaim. "Where other movies have fans, Malick's produce disciples," US film critic James Hoberman has said.
What tales do emerge about Malick, paint a portrait of a great talent encumbered by a strong eccentric streak and obsessive secrecy.
He refused to let producers keep copies of his own handwriting, and after going missing, he once called a producer to say he was walking from Texas to Oklahoma "looking at birds".
Michele Morette, his late ex-wife of 13 years, revealed that while they were together she wasn't allowed into his office, and that he would rather buy her a copy of a book than lend her his own. He also liked to leave his books and cassettes face-down, so people couldn't see what he was reading or listening to.
Another tale suggests a darkness and artistic obsession ran in the family. His youngest brother, Larry, went to Spain to study with the guitarist Andres Segovia, but the young Malick was so frustrated by his lack of progress that he broke his own hands, and later committed suicide.
Hannah Patterson, author of Poetic Visions of America: The Cinema of Terrence Malick, believes that his reclusiveness only adds to the interest in him and the values of his films. "There is that level of mystery that comes from not doing interviews and not being in the public eye; he lets his films talk for themselves," she says. "In a way, you concentrate on the films if there's less known about the director, otherwise you psychologically connect their background to the films."
With his obsessive devotion to his craft, long periods between films and recurrent themes in his works, parallels can be drawn with another recluse who made American-inspired films but with a European sensibility, Stanley Kubrick.
"He is working within a Hollywood system, but in a unique and personal way, much the same as Kubrick did," Patterson adds.
Like Kubrick, he also has many of Hollywood's biggest stars desperate to work with him. The Thin Red Line featured several prominent names, such as George Clooney, who were more than happy to sign up for what were essentially small parts, all for the honour of working with one of cinema's modern masters.
He lifted his veil of secrecy to film a walk-on part in Badlands. He is also said to be such a fan of Zoolander, the 2001 send-up of the fashion world, that colleagues say he watches it regularly and likes to quote it. Ben Stiller, the star of the film, once dressed up in character and recorded him a special birthday video message.
Not only that, the long gestation period between films seems to have been forgotten, too. His next work, known only as "Untitled Terrence Malick Project" and with a cast including Ben Affleck, Rachel McAdams, Javier Bardem and Rachel Weisz, is already reported to be in post-production, and scheduled to be released next year. But it seems unlikely that he'll break the habit of a lifetime and promote it.
A SINGULAR VISION
Badlands (1973)
"In Terrence Malick's cool, sometimes brilliant, always ferociously American film, Badlands, which marks Malick's debut as a director, Kit and Holly take an all-American joyride across the upper Middle West... One may legitimately debate the validity of Malick's vision, but not, I think, his immense talent. Badlands is a most important and exciting film." Vincent Canby, former chief film critic, The New York Times
Days of Heaven (1978)
"The film proceeds in short takes: people seldom say more than two or three connected sentences. It might be described as the mosaic school of filmmaking as the camera and the action hop around, concentrating on a bit here, a bit there." Harold C. Schonberg, Pulitzer Prize winner and former critic, The New York Times
The Thin Red Line (1998)
"Malick ... has made very few movies and they're all perfect. I mean, Badlands: brilliant. Days of Heaven: look – Richard Gere can act! The Thin Red Line: it's Saving Private Ryan for clever people... In The Thin Red Line, there was a whole thing going on about whilst war is raging, nature happens anyway. It was really beautifully done. You get these terrible scenes of [men] mutilating each other, meanwhile snails are getting about their business ... and it was actually rather profound..." Mark Kermode, film critic, BBC Five Live
The New World (2005)
"There are two new worlds in this film, the one the English discover, and the one Pocahontas discovers ... Pocahontas was given the gift of sensing the whole picture, and that is what Malick founds his film on, not tawdry stories of adventure. He is a visionary, and this story requires one." Roger Ebert, film critic, Chicago Sun-Times
The Tree of Life (2011)
"You have to admire Terrence Malick's cussedness. No other major American film-maker, not even Stanley Kubrick at his most wilful, has ever made a film quite as idiosyncratic as The Tree Of Life. This is a two-hour experimental movie that could just as easily be seen in a gallery as in a cinema. Full of interior monologues, flashbacks and flash-forwards, it is lyrical, mystical, awe-inspiring – and often quite baffling." Geoffrey Macnab, film critic, The Independent
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Re: Tree of Life (Malick, 2011): Brad Pitt and Sean Penn
after reading the article above this post and registering Popcorn's comment...
Whoa, indeed. I saw Terrence Malick. I guess I can tell the story...(insert dream sequence effect)...which now that I think about it...was pretty embarrassing and amazing
It was about a year and a half ago...maybe two? It was raining hard so I was sitting next to a building at UT (University of Texas) in Austin. I was there just...to check it out. I thought I was at some point going to transfer but...it costs way too much for me. ANYWAY....rain stops....I hang around a bit just texting and snapping pics of the campus in it's wet state. I'd look up every once in a while just to see if anyone else was poking about. I see one man carrying a few books, leather bound books. Walking past me, he was the only non college adult that passed me, I immediately look up and it's fucking Terrence Malick. I don't know wtf he was doing there...but he was there.
I'm just there w/ Malick right in front of me walking. I jolt up out of surprise and drop my backpack and yell, "fuck!". I have a bunch of change in my backpack (I've no real reason to put them there but they're there) and it makes this big noise getting Malick's attention...that and I yelled, "fuck". So I'm standing there looking at Malick, backpack on the ground, cell in one w/ cam in the other, change about, and he's looking at me calmly. I THINK he was going to help me pick it up cuz he moved towards me but I'm still staring at him (I KNOW what he looks like cuz I had seen a photo of him that was semi recent). I'm freaking the fuck out..Terrence Malick...is looking at me...and I don't know how to react.
He's the fucking Bigfoot of the movie industry..and....I'm looking at him....looking at me who is looking back at him. I immediately say something like, "Don't worry about it I'll get it"...but...I'm still looking at him not looking away and probably barely blinking. I'm not acting calm about this at all. I put my phone in my pocket but my camera is still out. I'm sure he knew that I knew who he was because I probably gave off that "I know who you are" face that's also surprised. I'm assuming he registers the face I'm making and he makes a small smile and nods at me after I tell him that I was going to pick it up. He turns around...and walks to wherever he was going. I'm still there shocked and shaking. Once he left I cursed at myself for not asking to take a photo w/ him...which I'm sure he would've denied..still....
It's fucking Terrence Malick..and I saw him.
Whoa, indeed. I saw Terrence Malick. I guess I can tell the story...(insert dream sequence effect)...which now that I think about it...was pretty embarrassing and amazing
It was about a year and a half ago...maybe two? It was raining hard so I was sitting next to a building at UT (University of Texas) in Austin. I was there just...to check it out. I thought I was at some point going to transfer but...it costs way too much for me. ANYWAY....rain stops....I hang around a bit just texting and snapping pics of the campus in it's wet state. I'd look up every once in a while just to see if anyone else was poking about. I see one man carrying a few books, leather bound books. Walking past me, he was the only non college adult that passed me, I immediately look up and it's fucking Terrence Malick. I don't know wtf he was doing there...but he was there.
I'm just there w/ Malick right in front of me walking. I jolt up out of surprise and drop my backpack and yell, "fuck!". I have a bunch of change in my backpack (I've no real reason to put them there but they're there) and it makes this big noise getting Malick's attention...that and I yelled, "fuck". So I'm standing there looking at Malick, backpack on the ground, cell in one w/ cam in the other, change about, and he's looking at me calmly. I THINK he was going to help me pick it up cuz he moved towards me but I'm still staring at him (I KNOW what he looks like cuz I had seen a photo of him that was semi recent). I'm freaking the fuck out..Terrence Malick...is looking at me...and I don't know how to react.
He's the fucking Bigfoot of the movie industry..and....I'm looking at him....looking at me who is looking back at him. I immediately say something like, "Don't worry about it I'll get it"...but...I'm still looking at him not looking away and probably barely blinking. I'm not acting calm about this at all. I put my phone in my pocket but my camera is still out. I'm sure he knew that I knew who he was because I probably gave off that "I know who you are" face that's also surprised. I'm assuming he registers the face I'm making and he makes a small smile and nods at me after I tell him that I was going to pick it up. He turns around...and walks to wherever he was going. I'm still there shocked and shaking. Once he left I cursed at myself for not asking to take a photo w/ him...which I'm sure he would've denied..still....
It's fucking Terrence Malick..and I saw him.
Last edited by Solid Snake; 05-26-11 at 02:54 AM.