**Official Harry Potter & The Goblet Of Fire Thread Nov. 18th (PICS) 56K Step Off**
10-26-05, 11:16 AM
#27
DVD Talk Legend
Originally Posted by Dr. DVD
So you admit you were a different person back then, and you changed, for the better IMO. Good man! 
Now if we can just get you into LOTR....
Now if we can just get you into LOTR....
10-26-05, 02:31 PM
#28
DVD Talk Legend
Originally Posted by GuessWho
I have the extended editions of all 3
Who are you, and what have you done with the GuessWho of 2001?!???
[Sidious voice] Watch the Buffy the Vampire Slayer series on DVD, and your journey will complete![/Sidious voice]
Last edited by Dr. DVD; 10-26-05 at 02:35 PM.
10-26-05, 03:36 PM
#29
DVD Talk Legend
Join Date: Oct 1999
Location: Second Star on the right, and straight on til' morning...
Posts: 14,808
Likes: 0
Received 3 Likes
on
3 Posts
Originally Posted by Cameron
thats a well put together thread...but you are a dirty perv...shes just a baby
Yeah - go post those pics in the Adult forum thread or something....
LOL
10-26-05, 04:18 PM
#31
DVD Talk Hero
Originally Posted by mllefoo
Daniel Radcliffe looks more and more like Kyle MacLachlan every day.
And I haven't read any of the books yet but judging from some of those posters, I'd take a guess and say Ron is magically turned into a woman at some point in Goblet of Fire
11-10-05, 08:07 AM
#42
DVD Talk Legend
Originally Posted by mllefoo
Tons of photos at mugglenet
Krum and Karkaroff
Krum and Karkaroff
Finished the book last night, so I know there's nothing between them.
The book, like all of the other Potters, is kind of medium with its speed for the first half, and then moves at the speed of a locomotive for the second. That said about the book, I can tell where they will have to make some major changes for the movie.
Spoiler:
11-10-05, 08:56 AM
#44
Needs to contact an admin about multiple accounts
Join Date: Sep 2003
Location: Las Vegas, NV
Posts: 2,730
Likes: 0
Received 0 Likes
on
0 Posts
Harry Potter and the Goblet of Fire
A Warner Bros. release of a Heyday Films production. Produced by David
Heyman. Executive producers, David Barron, Tanya Seghatchian.
Co-producer, Peter MacDonald.
Directed by Mike Newell. Screenplay, Steve Kloves, based on the novel by
J.K. Rowling.
Harry Potter - Daniel Radcliffe
Ron Weasley - Rupert Grint
Hermione Granger - Emma Watson
Rubeus Hagrid - Robbie Coltran
Lord Voldemort - Ralph Fiennes
Albus Dumbledore - Michael Gambon
Alastor "Mad-Eye" Moody - Brendan Gleeson
Lucius Malfoy - Jason Isaacs
Sirius Black - Gary Oldman
Rita Skeeter - Miranda Richardson
Severus Snape - Alan Rickman
Minerva McGonagall - Maggie Smith
Wormtail - Timothy Spall
Madame Olympe Maxime - Frances de la Tour
Igor Karkaroff - Pedja Bjelac
Argus Filch - David Bradley
Filius Flitwick - Warwick Davis
Draco Malfoy - Tom Felton
Cornelius Fudge - Robert Hardy
Moaning Myrtle - Shirley Henderson
Barty Crouch - Roger Lloyd Pack
Arthur Weasley - Mark Williams
Viktor Krum - Stanislav Ianevski
Cedric Diggory - Robert Pattinson
Fleur Delacour - Clemence Poesy
Barty Crouch Junior - David Tennant
Fred Weasley - James Phelps
George Weasley - Oliver Phelps
Ginny Weasley - Bonnie Wright
Cho Chang - Katie Leung
Neville Longbottom - Matthew Lewis
Padma Patil - Afshan Azad
Parvati Patil - Shefali Chowdhury
_____
By TODD MCCARTHY
<http://www.variety.com/index.asp?layout=bio&peopleID=1010>
_____
No more kids' stuff at Hogwarts. In "Harry Potter and the Goblet of
Fire," the budding teenage wizards-in-training grapple with incipient
romance, jealousy and mortality. Last year's "The Prisoner of Azkaban"
seemed dark, but this excellent fourth film derived from J.K. Rowling's
books is the darkest "Potter" yet, intense enough to warrant a PG-13
rating. This factor alone will prompt another modest dip in franchise
B.O. performance, as some younger viewers will steer clear, at least
until homevid release. But pic's excitement and quality bode well for
sustained fan interest and confidence through the enterprise's remaining
three installments.
Worldwide theatrical gross for the three features stands at a staggering
$2.6 billion, although totals have dropped with each subsequent film,
from $974 million for "Harry Potter and the Sorcerer's Stone" to $879
million for "The Chamber of Secrets" to $749 million for "Azkaban."
After Mexican helmer Alfonso Cuaron elevated the series so considerably
last year, producer David Heyman gave a second chance to Mike Newell,
who turned down "Sorcerer's Stone." Newell becomes the first English
director to have a go at Harry, and he doesn't let the home team down.
The books' millions of readers, youthful and otherwise, will know what's
coming: the emergence of Lord Voldemort, the ubervillain who killed
Harry's parents, was later sapped of his powers by the tyke but has now
concocted an ingenious plan to trap his nemesis at the conclusion of the
interschool Triwizard Tournament.
Screenwriter Steve Kloves, faced with the task of boiling the 734-page
book down to manageable length (157-minute running time makes it the
second-longest "Potter" picture, after "Chamber"), makes short work of
Rowling's bloated 157-page prologue devoted to the Quidditch World Cup.
In economical fashion, pic reels off Harry's nightmare about Voldemort's
return, his journey to the White Cliffs with Hermione and the Weasleys
to attend the match (in an astonishing modern stadium), the fiery
assault on the wizards' massive tent city by the Voldemort's Death
Eaters (outfitted in pointy Klan-style hats) and the threatening
apparition of Voldemort's Dark Mark -- a ghostly skull and snake -- in
the night sky.
After just 14 minutes, we're back on the Hogwarts Express with the
Fourth Years, all noticeably taller, older and more mature than in the
last installment. That this year will be different from all previous
years is announced by the arrival of a flying-horse-drawn carriage
bearing the French female students of Beauxbatons, and the emergence
from under the lake of a vintage sailing ship carrying the Middle
European boys from Durmstrang.
As Dumbledore explains, this exercise in international cooperation among
wizarding schools is meant to foster the age-old tradition of the
Triwizard Tournament, a trio of daunting tasks to be undertaken by an
exemplary representative from each institution.
General acclamation greets the selection of the representatives of the
three schools: rangy Cedric Diggory from Hogwarts, foxy Fleur Delacour
from Beauxbatons and macho Quidditch ace Viktor Krum from Durmstrang.
But the selection of a surprise fourth contestant -- none other than
Harry Potter -- creates tremendous consternation, as he's underage and
seemingly unprepared for the arduous tasks. Even Harry and Dumbledore
are upset, as no one has a clue who submitted Harry's name for the
competition.
With so much ground to cover, Kloves has had to eliminate many story
elements readers may be expecting. Absent or significantly reduced are
many of the early films' cutesier motifs, such as the animated paintings
and ghostly inhabitants (with the delightful exception of Shirley
Henderson's Moaning Myrtle). The yarn has been streamlined so that even
such significant developments as Harry and Ron's falling out are
compressed.
The upside is that the filmmakers keep the narrative screws fastened
tight, which gives "The Goblet of Fire" an intensity that rarely flags.
From the creepy, desaturated rural opening that recalls David Lean's
Dickens films to the exceptionally credible integration of effects into
the live action, Newell tries to find the emotional reality in material
that, until now, has been used more to showcase fantasy and wonder.
Altered emphasis requires more of Daniel Radcliffe, and he rises to the
occasion with a more dimensional and nuanced performance as Harry.
Having now passed decisively into adolescence, he suggests for the first
time there actually may be an actor in him, as he seems more aware of,
and responsive to, everything going on around him.
Rupert Grint's Ron is another matter, as the thesp seems caught at an
unappealingly awkward stage and must spend much of the time sulking over
Harry's and Hermione's perceived slights. And why do Ron and even Harry
wear their hair so uncommonly long? Ron's flowing red locks, in
particular, all but obscure his face at times and make him look like a
ruddy sheepdog.
Emma Watson's studious Hermione comes into her own at the fabulous
Christmas ball, which provides a breather after the first task, in which
Harry does battle with a fearsome Hungarian Horntail dragon in a
gripping sequence that will have small fry ducking for cover.
The cross-currents running up to the ball make for a mini teen
melodrama, with Harry keen on Asian student Cho, Ron into Hermione and
the latter coy about the identity of her date until she resplendently
turns up on the arm of Quidditch ace Krum.
Second task is an underwater affair with bizarre creatures that don't
measure up to the others on hand, while the third is a massive maze that
leads Harry to a long-awaited showdown with the renascent Voldemort.
Pale, hairless and noseless save for nostril slits, Ralph Fiennes makes
the series' villain-of-villains a distinctive monster, remorseless and
cunning, in a climactic scene that does not disappoint and will, like
the dragon, prove frightening to impressionable youngsters.
The other memorable addition here is Brendan Gleeson's "Mad-Eye" Moody,
this year's Defense Against the Dark Arts professor. Brandishing large
scars, a detachable leg, an ever-ready flask, an all-seeing zoom-lens
false eye and an irascible attitude, Moody is one of Rowling's most
colorful creations, and Gleeson makes him all the more so.
Except for Michael Gambon's Dumbledore, who becomes more central than
ever, some of the other delightful regulars get reduced screen time,
including Maggie Smith's McGonagall, Alan Rickman's Snape and Robbie
Coltrane's Hagrid, who enjoys a romance with Frances de la Tour's Madame
Maxime, the head of Beauxbaton, who's even taller than he. A semblance
of Gary Oldman's Sirius Black appears in a scene among burning embers in
a fireplace.
Miranda Richardson hits mostly obvious notes as the scandal-hungry
journalist Rita Skeeter, while Roger Lloyd Pack's Barty Crouch is a
superbly drawn figure, a Ministry of Magic official who conjures up an
astonishing combination of Neville Chamberlain and -- due to the
moustache -- Hitler. Eric Sykes is fierce as the renegade Barty junior.
Technical aspects are of the expected high standard, with many hands,
including production designer Stuart Craig, cinematographer Roger Pratt,
costume designer Jany Temime, creature and makeup effects designer Nick
Dudman, visual effects supervisor Jimmy Mitchell and special effects
supervisor John Richardson, returning from previous "Potter" duties.
New to the team are editor Mick Audsley and, most conspicuously,
composer Patrick Doyle, who briefly works in themes from previous John
Williams scores, albeit in a minor, dissonant mode, but otherwise
employs rich strings and a more classical frame of reference to endow
this installment with fresh emotional amplification and disturbing
undercurrents.
Very slowly unspooling end credits run 13 minutes, surely somewhere near
the record.
Camera (Technicolor, JDC widescreen), Roger Pratt; editor, Mick Audsley;
music, Patrick Doyle; production designer, Stuart Craig; supervising art
director, Neil Lamont; senior art director, Andrew Ackland-Snow; art
directors, Mark Bartholomew, Al Bullock, Alan Gilmore, Gary Tomkins,
Alexandra Walker; set decorator, Stephenie McMillan; costume designer,
Jany Temime; sound (Dolby Digital/SDDS/DTS), David Crozier; sound
designer, supervising sound editor, Randy Thom; visual effects
supervisor, Jim Mitchell; special effects supervisor, John Richardson;
special visual effects & animation, Industrial Light & Magic; visual
effects, Framestore-CFC, the Moving Pictures Co., Double Negative,
Cinesite (Europe), Buf, Rising Sun Pictures, the Orphanage, Animal
Logic; creature & makeup effects designer, Nick Dudman; associate
producers, Chris Carreras, John Trehy; assistant director, Carreras;
second unit director, Peter MacDonald; second unit camera, Mike
Brewster; stunt coordinator, Greg Powell; casting, Mary Selway, Fiona
Weir. Reviewed at Warner Bros. studios, Burbank, Nov. 3, 2005. MPAA
Rating: PG-13. Running time: 157 MIN.
A Warner Bros. release of a Heyday Films production. Produced by David
Heyman. Executive producers, David Barron, Tanya Seghatchian.
Co-producer, Peter MacDonald.
Directed by Mike Newell. Screenplay, Steve Kloves, based on the novel by
J.K. Rowling.
Harry Potter - Daniel Radcliffe
Ron Weasley - Rupert Grint
Hermione Granger - Emma Watson
Rubeus Hagrid - Robbie Coltran
Lord Voldemort - Ralph Fiennes
Albus Dumbledore - Michael Gambon
Alastor "Mad-Eye" Moody - Brendan Gleeson
Lucius Malfoy - Jason Isaacs
Sirius Black - Gary Oldman
Rita Skeeter - Miranda Richardson
Severus Snape - Alan Rickman
Minerva McGonagall - Maggie Smith
Wormtail - Timothy Spall
Madame Olympe Maxime - Frances de la Tour
Igor Karkaroff - Pedja Bjelac
Argus Filch - David Bradley
Filius Flitwick - Warwick Davis
Draco Malfoy - Tom Felton
Cornelius Fudge - Robert Hardy
Moaning Myrtle - Shirley Henderson
Barty Crouch - Roger Lloyd Pack
Arthur Weasley - Mark Williams
Viktor Krum - Stanislav Ianevski
Cedric Diggory - Robert Pattinson
Fleur Delacour - Clemence Poesy
Barty Crouch Junior - David Tennant
Fred Weasley - James Phelps
George Weasley - Oliver Phelps
Ginny Weasley - Bonnie Wright
Cho Chang - Katie Leung
Neville Longbottom - Matthew Lewis
Padma Patil - Afshan Azad
Parvati Patil - Shefali Chowdhury
_____
By TODD MCCARTHY
<http://www.variety.com/index.asp?layout=bio&peopleID=1010>
_____
No more kids' stuff at Hogwarts. In "Harry Potter and the Goblet of
Fire," the budding teenage wizards-in-training grapple with incipient
romance, jealousy and mortality. Last year's "The Prisoner of Azkaban"
seemed dark, but this excellent fourth film derived from J.K. Rowling's
books is the darkest "Potter" yet, intense enough to warrant a PG-13
rating. This factor alone will prompt another modest dip in franchise
B.O. performance, as some younger viewers will steer clear, at least
until homevid release. But pic's excitement and quality bode well for
sustained fan interest and confidence through the enterprise's remaining
three installments.
Worldwide theatrical gross for the three features stands at a staggering
$2.6 billion, although totals have dropped with each subsequent film,
from $974 million for "Harry Potter and the Sorcerer's Stone" to $879
million for "The Chamber of Secrets" to $749 million for "Azkaban."
After Mexican helmer Alfonso Cuaron elevated the series so considerably
last year, producer David Heyman gave a second chance to Mike Newell,
who turned down "Sorcerer's Stone." Newell becomes the first English
director to have a go at Harry, and he doesn't let the home team down.
The books' millions of readers, youthful and otherwise, will know what's
coming: the emergence of Lord Voldemort, the ubervillain who killed
Harry's parents, was later sapped of his powers by the tyke but has now
concocted an ingenious plan to trap his nemesis at the conclusion of the
interschool Triwizard Tournament.
Screenwriter Steve Kloves, faced with the task of boiling the 734-page
book down to manageable length (157-minute running time makes it the
second-longest "Potter" picture, after "Chamber"), makes short work of
Rowling's bloated 157-page prologue devoted to the Quidditch World Cup.
In economical fashion, pic reels off Harry's nightmare about Voldemort's
return, his journey to the White Cliffs with Hermione and the Weasleys
to attend the match (in an astonishing modern stadium), the fiery
assault on the wizards' massive tent city by the Voldemort's Death
Eaters (outfitted in pointy Klan-style hats) and the threatening
apparition of Voldemort's Dark Mark -- a ghostly skull and snake -- in
the night sky.
After just 14 minutes, we're back on the Hogwarts Express with the
Fourth Years, all noticeably taller, older and more mature than in the
last installment. That this year will be different from all previous
years is announced by the arrival of a flying-horse-drawn carriage
bearing the French female students of Beauxbatons, and the emergence
from under the lake of a vintage sailing ship carrying the Middle
European boys from Durmstrang.
As Dumbledore explains, this exercise in international cooperation among
wizarding schools is meant to foster the age-old tradition of the
Triwizard Tournament, a trio of daunting tasks to be undertaken by an
exemplary representative from each institution.
General acclamation greets the selection of the representatives of the
three schools: rangy Cedric Diggory from Hogwarts, foxy Fleur Delacour
from Beauxbatons and macho Quidditch ace Viktor Krum from Durmstrang.
But the selection of a surprise fourth contestant -- none other than
Harry Potter -- creates tremendous consternation, as he's underage and
seemingly unprepared for the arduous tasks. Even Harry and Dumbledore
are upset, as no one has a clue who submitted Harry's name for the
competition.
With so much ground to cover, Kloves has had to eliminate many story
elements readers may be expecting. Absent or significantly reduced are
many of the early films' cutesier motifs, such as the animated paintings
and ghostly inhabitants (with the delightful exception of Shirley
Henderson's Moaning Myrtle). The yarn has been streamlined so that even
such significant developments as Harry and Ron's falling out are
compressed.
The upside is that the filmmakers keep the narrative screws fastened
tight, which gives "The Goblet of Fire" an intensity that rarely flags.
From the creepy, desaturated rural opening that recalls David Lean's
Dickens films to the exceptionally credible integration of effects into
the live action, Newell tries to find the emotional reality in material
that, until now, has been used more to showcase fantasy and wonder.
Altered emphasis requires more of Daniel Radcliffe, and he rises to the
occasion with a more dimensional and nuanced performance as Harry.
Having now passed decisively into adolescence, he suggests for the first
time there actually may be an actor in him, as he seems more aware of,
and responsive to, everything going on around him.
Rupert Grint's Ron is another matter, as the thesp seems caught at an
unappealingly awkward stage and must spend much of the time sulking over
Harry's and Hermione's perceived slights. And why do Ron and even Harry
wear their hair so uncommonly long? Ron's flowing red locks, in
particular, all but obscure his face at times and make him look like a
ruddy sheepdog.
Emma Watson's studious Hermione comes into her own at the fabulous
Christmas ball, which provides a breather after the first task, in which
Harry does battle with a fearsome Hungarian Horntail dragon in a
gripping sequence that will have small fry ducking for cover.
The cross-currents running up to the ball make for a mini teen
melodrama, with Harry keen on Asian student Cho, Ron into Hermione and
the latter coy about the identity of her date until she resplendently
turns up on the arm of Quidditch ace Krum.
Second task is an underwater affair with bizarre creatures that don't
measure up to the others on hand, while the third is a massive maze that
leads Harry to a long-awaited showdown with the renascent Voldemort.
Pale, hairless and noseless save for nostril slits, Ralph Fiennes makes
the series' villain-of-villains a distinctive monster, remorseless and
cunning, in a climactic scene that does not disappoint and will, like
the dragon, prove frightening to impressionable youngsters.
The other memorable addition here is Brendan Gleeson's "Mad-Eye" Moody,
this year's Defense Against the Dark Arts professor. Brandishing large
scars, a detachable leg, an ever-ready flask, an all-seeing zoom-lens
false eye and an irascible attitude, Moody is one of Rowling's most
colorful creations, and Gleeson makes him all the more so.
Except for Michael Gambon's Dumbledore, who becomes more central than
ever, some of the other delightful regulars get reduced screen time,
including Maggie Smith's McGonagall, Alan Rickman's Snape and Robbie
Coltrane's Hagrid, who enjoys a romance with Frances de la Tour's Madame
Maxime, the head of Beauxbaton, who's even taller than he. A semblance
of Gary Oldman's Sirius Black appears in a scene among burning embers in
a fireplace.
Miranda Richardson hits mostly obvious notes as the scandal-hungry
journalist Rita Skeeter, while Roger Lloyd Pack's Barty Crouch is a
superbly drawn figure, a Ministry of Magic official who conjures up an
astonishing combination of Neville Chamberlain and -- due to the
moustache -- Hitler. Eric Sykes is fierce as the renegade Barty junior.
Technical aspects are of the expected high standard, with many hands,
including production designer Stuart Craig, cinematographer Roger Pratt,
costume designer Jany Temime, creature and makeup effects designer Nick
Dudman, visual effects supervisor Jimmy Mitchell and special effects
supervisor John Richardson, returning from previous "Potter" duties.
New to the team are editor Mick Audsley and, most conspicuously,
composer Patrick Doyle, who briefly works in themes from previous John
Williams scores, albeit in a minor, dissonant mode, but otherwise
employs rich strings and a more classical frame of reference to endow
this installment with fresh emotional amplification and disturbing
undercurrents.
Very slowly unspooling end credits run 13 minutes, surely somewhere near
the record.
Camera (Technicolor, JDC widescreen), Roger Pratt; editor, Mick Audsley;
music, Patrick Doyle; production designer, Stuart Craig; supervising art
director, Neil Lamont; senior art director, Andrew Ackland-Snow; art
directors, Mark Bartholomew, Al Bullock, Alan Gilmore, Gary Tomkins,
Alexandra Walker; set decorator, Stephenie McMillan; costume designer,
Jany Temime; sound (Dolby Digital/SDDS/DTS), David Crozier; sound
designer, supervising sound editor, Randy Thom; visual effects
supervisor, Jim Mitchell; special effects supervisor, John Richardson;
special visual effects & animation, Industrial Light & Magic; visual
effects, Framestore-CFC, the Moving Pictures Co., Double Negative,
Cinesite (Europe), Buf, Rising Sun Pictures, the Orphanage, Animal
Logic; creature & makeup effects designer, Nick Dudman; associate
producers, Chris Carreras, John Trehy; assistant director, Carreras;
second unit director, Peter MacDonald; second unit camera, Mike
Brewster; stunt coordinator, Greg Powell; casting, Mary Selway, Fiona
Weir. Reviewed at Warner Bros. studios, Burbank, Nov. 3, 2005. MPAA
Rating: PG-13. Running time: 157 MIN.
11-10-05, 09:14 AM
#45
Moderator
Originally Posted by animalmystic
.
This length makes it the second longest Potter film after Chamber of Secrets, which clocked in at 161 minutes, even though the book is twice as long.
This length makes it the second longest Potter film after Chamber of Secrets, which clocked in at 161 minutes, even though the book is twice as long.
11-10-05, 01:48 PM
#48
Moderator
Originally Posted by rennervision
Will the IMAX version be edited down to a runtime of two hours or less?
as far as I can tell from looking at the various IMAX theatres that are showing this - No, it's complete.
http://www.bigmoviezone.com/filmsear....html?uniq=445
11-10-05, 03:31 PM
#49
DVD Talk Godfather
Join Date: Jul 2000
Location: City of the lakers.. riots.. and drug dealing cops.. los(t) Angel(e)s. ca.
Posts: 54,199
Likes: 0
Received 1 Like
on
1 Post
IMAX hasn't forced a movie to be cut down for a long time now. New development in film technology allows it to have bigger reels.