#Sony Venice

[cinesludge]

Movie #81 of 2023: Sisu

[cortfey]

So many Kaleys! I've finally posted a reel for The Flight Attendant S2 on my website CortFey.com. A great season, wonderful balance of thrills and humor, all grounded by the effervescent Kaley Cuoco!⁠

[attiladamokos]

CHILDREN MAKE US MORE - director's cut

[eaunor]

Venice Beach

[leatherjacketblesseddreams]

Venezia, Italia

[vlkphoto]

Ground

Manhole cover at Palazzo Ducale, Venice, VE.

[evilsideofla]

RAIN 🌧️ DOESN’T LAND OUT HERE • • • • #conquer_la #sonya7riv #FUKKHASHTAGS #instagram #explore #venicebeach #losangelesgrammers #moodygrams #way2ill #sony #california #beach #venicecanals #XO #zeiss #losangeles #aov5k #discoverla #sonyalpha #venice #insta_losangeles #illestgrammers #zeisslens #BASik #artofvisuals (at Venice Beach, California) https://www.instagram.com/p/Cpq863ELCJh/?igshid=NGJjMDIxMWI=

[krispyweiss]

“Becoming Led Zeppelin” to Hit Theaters

- No release date yet for film Jimmy Page calls “amazing”

The long-gestating film “Becoming Led Zeppelin” is inching closer to movie houses as Sony Pictures Classics obtained the rights to the Bernard MacMahon-directed film.

Rolling Stone magazine and other outlets reported the news.

There is no release date but Sony promises “a grand theatrical experience.”

An in-progress version premiered at the 2021 Venice Film Festival. The forthcoming documentary has been upgraded with a new sonic mix; previously unseen material from the archives of Jimmy Page, Robert Plant and John Paul Jones; archival interviews with John Bonham; and performance footage dating to 1969.

“When I saw the early cut of the film .. it was amazing,” Page said of the Venice premiere. “The energy of the story and the power of the music is phenomenal.”

5/15/24

[randomluck-ofthe-universe]

"I think my first movie was difficult, for sure," he recalls. "I learnt that it wasn't important to know exactly what you wanted because then you couldn't accept what others were bringing to the table. And my second movie Melissa P was made with a studio, a local production from Sony in Europe. And I had the bitter lesson of having the film taken from me. I've learned how to avoid that. I do not allow anybody else to take control of my projects."

"Before I made this [Bones and All], I broke up with my partner of 11 years and I was desolate," says Guadagnino.

"Somebody said, I understand you. I understand your films. You are such a romantic person. But what is interesting is that being a romantic person is not a positive value per se. It may be a curse."

"I believe that a character, a performance, is carved out in a sort of mixture of elements that come from the script, the description of the character, the [directions] of what they have to do in a given scene, but also by how all these elements are reflected in the personality of the person acting," Guadagnino concludes. "You can see into the person apart from the performance. The performance is also the person."

".. this man gave me a gift that I will be thanking him for the rest of my life..

.. this man changed my life."

(Timothée about Luca, Venice Film Festival 2022)

Happy Birthday, Luca... thank you for everything. 🖤

[astralbondpro]

Saw Late Night with the Devil

And I liked it a lot, but didn't come without complaints. A movie with this type of gimmick really needed to be filmed with film, and not on a Sony Venice. Everything to try to make it look like old television was done in post. They did as good of a job as you could with it, but for someone who has watched a lot of television from that era, it was definitely off. The use of CGI for all the effects really pulled you out of the experience as well. Shooting this project in digital was already stretching it, then even more digital work further removed you from what they were trying to accomplish. There was also a lot of modern technique with the physical camera work itself. That being another aspect that took you out of this world a bit. That being said, just taking the work for what they gave you, no complaints at the people operating their equipment. Also the use of AI art... ehh. I know they had real artists and they did the editing work with the AI art, but I ask why did you even go that route when you had real people working on it? On a positive note, the acting and the story was really good. It was a lot of fun and felt pretty authentic on that side of things. Jack, Lily, and Carmichael stood out the most. I can see Ingrid Torelli (Lily) getting a lot more work after this. And it was GREAT to see David Dastmalchian in a leading role. I've never not enjoyed him in anything I've seen. He's is ab absolute delight. In closing, I definitely recommend this, flaws and all. I'm going to watch it again in a few days because a lot of things always read better on a second viewing.

[film-classics]

Myrna Loy - The Queen of Hollywood

Myrna Loy (born Myrna Adele Williams in Helena, Montana on August 2, 1905 ) was an American actress who reigned as one of America’s leading movie stars in the 1930s and the 1940s. Millions of fans idolized her as ‘the perfect wife,’ a paragon of charm, sophistication and intelligence, earning her the title as "The Queen of Hollywood."

Of Welsh, Scottish, and Swedish ancestry, Loy moved to Culver City in her early teens. She first attended the exclusive Westlake School for Girls. When her teachers objected to her extracurricular participation in theater, her mother enrolled her in Venice High School.

To help the family, she wroked at Grauman's Egyptian Theatre, where she performed in prologues, musical sequences that served as preliminary entertainment before the feature film. This led to work as an extra in Hollywood productions in 1925 and then a contract with Warner Bros. in 1926.

With the advent of sound films, she then became associated with musicals, and when they began to lose popularity, her career slumped. In 1934, after Loy's move to MGM, John Dillinger was shot to death after leaving a screening of her film Manhattan Melodrama (1934). She received widespread publicity, with some newspapers reporting that she had been Dillinger's favorite actress.

Loy gained further fame from the box office hit, The Thin Man (1934), which spawned five sequels. This marked a turning point in her career, and she was cast in more important pictures and became one of Hollywood's busiest and highest-paid actresses,

With the outbreak of World War II, Loy focused on the war effort, becoming an active member of the Hollywood Chapter of 'Bundles for Bluejackets,' helping run a Naval Auxiliary Canteen, going on fundraising tours, and volunteering for the Red Cross.

In the coming decades, she continued acting alongside her activism work. She organized opposition to the House Unamerican Activities Committee in Hollywood through radio broadcasts and petitions, worked with the federal government, and served in UNESCO.

In 1975, Loy was diagnosed with breast cancer and underwent two mastectomies. She kept her diagnosis and subsequent treatment from the public. This resulted in her progressive retirement from acting; her last film performance was in 1980 and her last acting role on TV in 1982.

In failing health, Loy died at age 88 in a Manhattan hospital during surgery following a long, unspecified illness.

Legacy:

Received an Honorary Academy Award in 1991 in recognition of her life's work both onscreen and off

Bears the likeness of the 7-foot statue outside Venice High School, titled 'Inspiration," created in 1922 and has since become a symbol of the school and the community

Has a building named after her at Sony Pictures Studios, formerly MGM Studios, built in 1935

Named Queen of the Movies in a 1936 national poll by New York Daily News

Honored with a block in the forecourt of Grauman's Chinese Theatre in 1936

Listed by the Motion Picture Herald as one of America’s top-10 box office draws in 1937 and 1938

Served as the full-time assistant to the director of military and naval welfare for the Red Cross from 1941 to 1945

Became a member-at-large of the U.S. National Commission for UNESCO from 1949 to 1954, the first Hollywood celebrity to do so

Has been the namesake of Venice High School's annual speech and drama awards, the 'Myrnas' since 1953

Served as Co-Chair of the Advisory Council of the National Committee against Discrimination in Housing from 1961 to 1962

Became a founding board member of The American Place Theatre in 1963

Commemorated with a cast of her handprint and her signature in front of Theatre 80, on St. Mark's Place in New York City in 1971

Appeared in John Springer's "Legendary Ladies" series at The Town Hall in 1973

Presented with the 1979 Career Achievement Award by the National Board Review

Honored by the Los Angeles Film Critics Association Awards in 1983 with the Career Achievement Award

Published an autobiography, Myrna Loy: Being and Becoming, in 1987

Was the winner of the 1988 Kennedy Center Honors

Honored by the Steel Pole Bath Tub with a song on their 1991 album Tulip that is both named after Loy and samples dialogue from one her film, The Thin Man Goes Home (1945).

Named by The Guardian named her one of the best actors never to have received an Academy Award nomination in 1991

Has been the namesake for The Myrna Loy Center for the Performing and Media Arts in downtown Helena since 1991

Honored as Turner Classic Movies Star of the Month for December 2016

Has a song named after her in Josh Ritter's 2017 album Gathering

Has a star on the  Hollywood Walk of Fame at 6685 Hollywood Boulevard for motion picture

[cinesludge]

Movie #19 of 2024: Boiling Point

This gem of a film was shot in one take.

[denimbex1986]

'Margot Robbie and Cillian Murphy — she the star of “Barbie,” he of “Oppenheimer” — have shared an experience, one unique in film history. On July 21, 2023, their two movies came out, and instead of cannibalizing one another during a time when box office receipts were sluggish, they actually boosted each other, creating the global phenomenon known as “Barbenheimer.”

On paper, the two movies couldn’t be more different. Greta Gerwig’s “Barbie,” produced by Robbie’s company LuckyChap Entertainment, is the story of the world’s most popular doll, who, after going on a journey to recover from an existential crisis, becomes a woman; Christopher Nolan’s “Oppenheimer” is a biopic about J. Robert Oppenheimer, the physicist who oversaw the invention of the atomic bomb. What they have in common, though, is that their directors made wholly original films, ones guided by their inventiveness, and it was the innovative spirit of “Oppenheimer” and “Barbie” that in turn inspired audiences to be creative and participatory in their fandom for both films. The memes, the double-feature TikToks, the costumes people wore to go out to theaters again and again to experience Barbenheimer — after COVID had nearly destroyed in-person moviegoing — “Barbie” and “Oppenheimer” proved joy is still to be had (as well as profits, with the box office for “Barbie” at more than $1.4 billion worldwide, and “Oppenheimer” recently crossing $950 million).

In other words, Robbie, sporting a “Barbie”-inspired pink polka-dot shirt with matching heels, and a darkly clad Murphy have a lot to discuss when they meet for Actors on Actors — a rendezvous during which Murphy professes he now knows what a meme is, after famously claiming ignorance about them in a 2017 interview.

CILLIAN MURPHY: Congratulations on your reasonably successful film. You’re a producer on the movie as well. How did you know a “Barbie” movie would connect with audiences in the manner that it did?

MARGOT ROBBIE: Yeah, 90% of me was certain that this would be a big deal and a massive hit, and 10% of me thought, “Oh, this could go so badly wrong.” It was all about Greta Gerwig. And it was like, “If it wasn’t going to be Greta, then, yeah, this could have been an absolute disaster.”

MURPHY: She was always your first choice?

ROBBIE: I just wasn’t going to let her say no. It was about six years ago we got the property. We got it out of Sony, set it up at Warner Bros., got Mattel’s blessing to let us produce, then went after Greta. Obviously, I didn’t know it was going to be the cultural phenomenon that it ended up being.

MURPHY: When did you realize that?

ROBBIE: It was all the way along. The fact that it’s Greta Gerwig, people are like, “Greta Gerwig and a ‘Barbie’ movie, what?” And then the pictures of Ryan Gosling and me Rollerblading on Venice Beach came out and went even wider than I was expecting. I’d been thinking big for it, and it still turned out bigger than I expected.

But what about you? Did you think so many people were going to watch a movie about the making of the atomic bomb?

MURPHY: No. I don’t think any of us did. Christopher Nolan was always determined that it would be released in the summer as a big tentpole movie. That was always his plan. And he has this superstition around that date, the 21st.

ROBBIE: Do all his movies come out on that date?

MURPHY: In and around the 21st of July — they always come out then.

ROBBIE: It’s a good date. We picked that day too!

MURPHY: Yeah, I know.

ROBBIE: One of your producers, Chuck Roven, called me, because we worked together on some other projects. And he was like, “I think you guys should move your date.” And I was like, “We’re not moving our date. If you’re scared to be up against us, then you move your date.” And he’s like, “We’re not moving our date. I just think it’d be better for you to move.” And I was like, “We’re not moving!” I think this is a really great pairing, actually. It’s a perfect double billing, “Oppenheimer” and “Barbie.”

MURPHY: That was a good instinct.

ROBBIE: Clearly the world agreed. Thank God. The fact that people were going and being like, “Oh, watch ‘Oppenheimer’ first, then ‘Barbie.’” I was like, “See? People like everything.” People are weird.

MURPHY: And they don’t like being told what to do. They will decide, and they will generate the interest themselves.

ROBBIE: I think they were also really excited by the filmmakers. People were itching for the next Chris Nolan film and itching for the next Greta Gerwig film. To get them at the same time was exciting. You’ve done five movies with Christopher Nolan now, right?

MURPHY: This is six, actually.

ROBBIE: So you like the guy? A big fan.

MURPHY: It seems to work. This is the first time playing a proper lead role for him. There’d always been supporting parts over the years — it’s 20 years we’re working together. Emma Thomas, his wife, the producer, she called me because Chris doesn’t have a phone. So she put me on to Chris, and he said in his very understated British way, “I’m making this movie of Oppenheimer — I’d like you to play the part.” I had just finished something; I wasn’t doing anything. I did realize then that it was different than the other jobs I’d done with him, because it was the story of Oppenheimer’s life. And then when he eventually gave me the script, it was written in the first person, which I’d never read before, and so I —

ROBBIE: The script was written in the first person? The big print would be like, “I’m going to put the cup down and walk towards the door”?

MURPHY: Exactly, exactly. Which I’d never read before. And so it was very clear that he wanted it to be truly subjective storytelling. And that did add to the feeling of “Oh, fuck, this is a biggie.”

ROBBIE: Why do you love working with him? And why do you think he loves working with you? I know you’re going to have to maybe be really humble and be like, “I don’t know, why does he like me? I can’t understand.” Take a guess.

MURPHY: With Chris, it’s just the work. He’s not interested in anything else other than the work and the filmmaking. And he’s incredibly focused, and it’s incredibly rigorous.

ROBBIE: When he called you and said, “Movie about Oppenheimer,” were you like, “Gotcha”? Or were you like, “Who’s that? I should go read a book.”

MURPHY: I knew the very basic Wikipedia level. I knew about the Trinity tests, and I knew about the Manhattan Project and then obviously what happened in ’45. But I didn’t know what happened afterwards or anything like that.

ROBBIE: So you read a lot to prep. What else did you do?

MURPHY: Walk around my basement talking to myself.

ROBBIE: Really? I prep like a psychopath as well. Did you have a thing that would get you into him?

MURPHY: Physically, there was loads of pictures of him, and he always stood with his hand on his hip. He was such a slight man, but he always stood with this very kind of jaunty angle. So I nicked that pretty early as a physical thing. And then Chris Nolan kept sending me pictures of David Bowie, like in the Thin White Duke era, with the big voluminous trousers.

And how about you? Such a difficult character. It’s this kind of 20th-century icon, but not a real person. How did you figure it out?

ROBBIE: It was so weird prepping Barbie as a character. All my usual tools didn’t apply for this character. I work with an acting coach, and I work with a dialect coach, and I work with a movement coach, and I read everything, and I watch all the things. I rely on animal work a lot. I was maybe 45 minutes into pretending to be a flamingo or whatever, and I was suddenly like, “It’s not working.”

I went to Greta, like, “Help me. I don’t know where to start with this character.” And she’s like, “OK, what are you scared of?” And I was like, “I don’t want her to seem dumb and ditzy, but she’s also not meant to know anything. She’s meant to be completely naive and ignorant.” And Greta found this episode on “This American Life,” where it was a woman who can’t introspect, who doesn’t have the voice in her head that’s constantly narrating life the way we all do. This woman’s got a Ph.D. and is extremely smart, but just doesn’t have that internal monologue.

MURPHY: Is she happy?

ROBBIE: Yeah, totally.

MURPHY: Is she happier, do you think?

ROBBIE: Oh God, I wondered about that. She kind of thinks about exactly what’s in front of her — a spotlight to what exactly is in front of her at the time.

MURPHY: Well, that’s perfect, right? We should talk about the costumes. So you’re clearly still not sick of pink then?

ROBBIE: No, I’m not done with pink yet. Yeah, the costumes were incredible. I mean, you just can’t have a “Barbie” movie without the color pink. And everyone really got on board with that. I’d make a “On Wednesdays, we wear pink” day. Do you know that reference from “Mean Girls”?

MURPHY: I had forgotten that reference.

ROBBIE: On Wednesdays, they wear pink. And so if you didn’t wear pink on set, you got a fine. And then I’d donate it to charity. It’s always the guys, I feel like, that are like, “Oh, finally I have permission to wear pink and get dressed up!” It would get crazier and crazier until Ryan would be like, “I think I need a mink.” It would just get insane.

In my opinion, there are two kinds of people in this world. There are the people who are obsessed with “Peaky Blinders,” and then there’s the people who haven’t seen “Peaky Blinders.” I obviously sit in the first category, so can we please talk about Tommy fucking Shelby for just one minute? I mean, that was years and years of your life.

MURPHY: Yeah, it’s like 10. That was also a 10-year adventure. We started shooting at the end of 2012.

ROBBIE: Is there going to be a spinoff movie?

MURPHY: I mean, I’m open to the idea. I’ve always thought that if there’s more story to tell …

ROBBIE: Please do it. Please! Obviously, I’ve now revealed that I am a big fan of yours, not just “Peaky Blinders.” I also love your sleep story on the Calm app. But because I’m a fan of yours, I have watched a lot of your things on YouTube, and it’s out there on the internet that you are not that aware of memes and things like that. First of all, is that true? And second of all, if that is true, were you even aware of the Barbenheimer phenomenon, or were you just blissfully unaware because you use a dial-up phone or something?

MURPHY: I have two teenage boys. I do know what a meme is. Now I know that there are memes about me not knowing what a meme is.

ROBBIE: It’s a great meme. It’s like the “Inception” of memes. A meme within a meme.

MURPHY: Genuinely at the time I did not know. But people forget that was a long time ago.

ROBBIE: I might not have known back then what a meme is. I’m not that tech-savvy.

MURPHY: Exactly. And I think children started that stuff, right? Now that it’s become this sort of meme that’s eating itself, I am aware. But it’s mostly because of people either sending it to me or showing me and saying, “Look, you gotta look at this.”

ROBBIE: You see any of the Barbenheimer fan art?

MURPHY: I mean, it was impossible to avoid any of that stuff.

ROBBIE: Weren’t there some great ones? People are so clever. People kept asking me, “So is each marketing department talking to each other?” And I was like, “No, this is the world doing this! This is not a part of the marketing campaign.”

MURPHY: And I think it happened because both movies were good. In fact, that summer, there was a huge diversity of stuff in the cinema, and I think it just connected in a way that you or I or the studios or anybody could never have predicted.

ROBBIE: You can’t force that or orchestrate that.

MURPHY: No, and it may never happen again.'

[joker-daughter]

Brady Corbet really worked with Tom but chose Emma Lair. It's nothing against her, but it feels like a punch in the nose. Seeing her IG posts from the Venice Film Festival, where the movie directed by Corbet is getting great reviews (he just won an award for Best Director yesterday), makes me a bit jealous. But Tom is out here having meetings with Sony's CEO, Amy Pascal, and The Russos 🫠 This shows that the idea that good directors avoid working with him because of his reputation for picking bad projects should be put to rest. This actress had barely any screen time in the series, and look where she is now. While Tom is getting back in Amy's and the Russo brothers' good graces, the people who worked on these bad reviewed projects are landing great opportunities. He’s not the problem, his choices are

https://www.instagram.com/p/C_cpgwuMUGW/

I think it’s a mixture of both 😵‍💫

also the continuous switching between directors sounded like it was quite the hassle (at least for him) during tcr’s shoot so it probably didn’t lead to him building a significant rs with the directors due to this “stress” and tight schedule while the others had fewer scenes or those were heavily concentrated in one episode or two so they would only work with one or two directors meaning more time and opportunity to keep in touch…

[thealogie]

But the thing is civil war wasn't shot on film. It was shot on prosumer digital cameras actually (DJI ronin 4D and the Sony Venice). Now that you say that anon I really have to go see it. My hypothesis right now is that it has to do with lighting and color grading styles especially related to contrast or, even more likely, lens choices (I used to be on track to become a cinematographer), but ill try to remember to keep an eye out in the next days and also watch civil war sooner rather than later. If I remember I will report back.

Interesting. Yeah again I haven’t seen civil war/didn’t read up on it but I do love the film quality of the few movies a year that are still shot on film. But the lighting/color grading thing makes sense to me too (again on account of how better call Saul is one of the most beautiful cinematography of the past 10 years to me and was shot digitally so I know it’s possible).