(Photo by © 2020 Lucasfilm Ltd. ™. All Rights Reserved.)This week, The Mandalorian gave fans of the old Star Wars Expanded Universe the same sort of buzz it gave Ahsoka Tano fans last week: the thrill of recognition. From using video game ideas to restoring the cool of a fan-favorite character, the episode gave the Star Wars galaxy back a lot of the texture it accrued in the 1990s, but lost when Disney bought the brand.Also, actor Temeura Morrison, writer Jon Favreau, and director Robert Rodriguez reminded us why Star Wars’ original wearer of Mandalorian armor exuded so much swagger. Now that Boba Fett is once again part of the story, let s dig into The Tragedy and speculate on what these EU callback may mean for the galaxy.The following contains spoilers about The Mandalorian, season 2, episode 6, “Chapter 14: The Tragedy.” Stop here if you have not watched the episode.A Jedi Encounter Set Their Path(Photo by © 2020 Lucasfilm Ltd. ™. All Rights Reserved.)Acting on a tip from Bo-Katan Kryze (Katee Sackhoff), Din Djarin (Pedro Pascal) traveled to Corvus, where he and his child ward met Ahsoka Tano (Rosario Dawson, pictured), a Force-user trained in the Jedi arts. Although she could not train the child — whose name, she informed the Mandalorian, is Grogu — she sent the pair to Tython, where the ruins of an ancient Jedi temple may allow Grogu to contact a Jedi capable of training him. With their business complete, Djarin and Grogu left Ahsoka to continue her search for Imperial Grand Admiral Thrawn.A Tragedy Occurs at the Jedi Temple(Photo by © 2020 Lucasfilm Ltd. ™. All Rights Reserved.)Arriving on Tython and reaching the temple ruins with remarkable haste, Djarin places Grogu on a central stone orb. At first, the child seems incapable of doing anything Jedi-like, but after the Mandalorian sees Slave I entering atmosphere, he notices Grogu has established contact with the temple and raised some sort of signal beam/ray shield. Unable to collect Grogu from it, he prepares for another fight.Descending into the nearby valley, he soon meets his apparent opponents: Boba Fett (Morrison) and Fennec Shand (Ming-Na Wen). Fennec reveals Fett saved her from death while Fett reveals well, not much about how he survived on the sands of Tatooine. The bounty hunter s greatest concern is the return of his armor and offers to protect Grogu in exchange. Djarin, still adhering to the Way of the Mandalore, believes Fett has lost his right to the armor as he has been unmasked.The point is academic, though, as Imperial Remnant troop carriers break atmosphere. Djarin, who took off his jetback during the exchange, runs back to the temple ruin to collect Grogu while Fennec and Fett get ready to fight the Imps.Despite their numbers, the Remnant stormtroopers are overwhelmed by Fennec s ease with a rifle and Fett s impressive skill with a Tusken gaffi stick. Djarin, meanwhile, finds he cannot push through the ray shield to get Grogru. Soon, he joins the fight while Fett sees an opportunity to collect his armor from the Razor Crest.And its a good thing he does as Djarin and Fennec are soon cornered by Imps, but Fett flies over head and uses nearly all of the tricks in his armor to inspire fear in the Imperial ranks. He also uses the rocket on his jetpack to destroy the troop carriers as they retreat.(Photo by © 2020 Lucasfilm Ltd. ™. All Rights Reserved.)Moff Gideon (Giancarlo Esposito), observing the scene from his light cruiser in the upper atmosphere, sends down a turbolaser bolt to destroy the Razor Crest and a squad of Dark Troopers to collect the child. The maneuver is successful and Gideon, finally, has possession of Grogu and his Midi-chlorian-rich blood.Fett proves he is the rightful owner of the armor and a man of his word. Since he failed to protect the child, he offers his services in retrieving Grogu from the Empire. Fennec does likewise and the trio make their way to Nevarro where New Republic Marshal Cara Dune (Gina Carano) tells Djarn where he can find former Imperial sharpshooter Mayfeld (Bill Burr); a key part of the Mandalorian s rescue plan. Also, because the child has been abducted, it appears she will aid Djarin in springing Mayfeld from prison.Ghosts of the Expanded Universe(Photo by BioWare)From Tython to Fett to the Dark Troopers, this week s episode proved just how deep into Star Wars lore Favreau and his collaborators are willing to delve for story and action.Tython is the starting planet for Jedi Knights and Jedi Consulars in the Star Wars: The Old Republic MMO. Set thousands of years before the events of Chapter 14, it is still an active hub of the Jedi Order and — at least in that game — the group s ancestral homeworld. This conflicts with the Sequel Trilogy, which states the ocean world of Ahch-To is the original home of the Jedi, but there s room for inconsistency when characters are talking about events in antiquity. Clearly, both worlds felt the presence of the Jedi early in the Order s history.Also, the Tython seen here is a much sparser world than the one in the game, suggesting Favreau reserves the right to alter EU concepts to better fit his story.Nevertheless, the callbacks continue with the look of the temple ruin, which more than resembles the Trayus Core on Malachor V; the sanctum Darth Traya escapes to in the latter parts of Star Wars: Knights of the Old Republic II — The Sith Lords. In that Sith shrine, she is able to tell the player s character, a Jedi in exile named Meetra Surik, about the far future. She even alludes to Boba Fett in her prognostications.(Photo by 20th Century Fox/Lucasfilm)Fett himself, of course, was revived in the Expanded Universe. Despite his apparent death in Return of the Jedi, writer Tom Veitch and artist Cam Kennedy were quick to bring him back in Star Wars: Dark Empire. The comic book series would lead to plenty of post-Return adventures for the famous bounty hunter. But it is important to remember the EU was cursed with various levels of continuity and in the most important tier, the so-called G-Canon (for George Lucas), Fett was still being digested in the innards of the Sarlacc.It was important, therefore, for Favreau to declare on no uncertain terms that this is, indeed, Boba Fett standing before Din Djarin. In doing so, he restored a lot of the coolness the character lost over the years. Since his major scenes in the Original Trilogy see him failing against an partially trained Jedi and a mostly blind Han Solo, he began to look dopey when compared to Mandos like Kryze and Djarin. But now that we ve seen him be a capable fighter with nothing but a Gaffi stick, we re more than glad to see he survived the Pit of Carkoon.Maybe we ll even learn how he did it someday The Dark Troopers, meanwhile, bring elements of the first Star Wars first-person shooter into canon. Star Wars: Dark Forces was a revelation for fans upon its release in 1996 thanks to its Doom-like format and its nods to the larger Star Wars story. In it, mercenary (and future Jedi) Kyle Katarn stumbles into an Imperial plot to create a new battledroids and powered armor for an elite squad of troopers. Sadly, Dark Forces and its sequels — collectively known as the Jedi Knight series — were dumped from any sort of canonicity when Disney declared the EU a collection of legends. The ships Katarn used, the Moldy Crow and the Raven s Claw, remained part of the universe thanks to some tabletop games, but Kyle was lost.The presence of the Dark Troopers several years after the events of Dark Forces suggests Gideon s resources are far more vast than we ve been led to believe. They also make the Dark Trooper project an undisputed part of Star Wars history.All of which adds to the excitement of the episode, particularly for those whose interest in Star Wars was kept alive in the early-to-mid 1990s thanks to the first games and stories emerging from the EU.Expanded Questions(Photo by 20th Century Fox/Lucasfilm)Of course, all of these EU elements returning leads to a number of questions about Star Wars history, the shape of things in the New Republic era, and other characters Djarin could meet.Is Kyle Katarn Back in the Picture? The appearance of the Dark Troopers leaves us wondering how much of Dark Forces is canon. Is there room again for Kyle Katarn? Favreau willingness to use EU ideas suggests he may appear — even if his part in recovering the Death Star plans has been erased from history. If so, he may be a capable teacher for Grogu. Then again, Star Wars: Jedi Knight — Dark Forces II gave players the option to make Kyle switch to the Dark Side. If he is back, his nature could be dubious.How Strong Is the New Republic s Hold on the Galaxy? Considering the Remant s freedom to invade an Inner Core world like Tython, the New Republic s grasp on the galaxy sure feels tenuous. This is largely in line with stories set around the same time in the EU, but it might be something worth exploring on the show; of course, the ambiguous political situation makes The Mandalorian’s ties to Lone Wolf and Cub that much stronger; that series is set in a time when regional daimyos exerted more control over feudal Japan. Nevertheless, Gideon s apparent might will requires a Republic response at some point.How Organized Is the Imperial Remnant? Boba Fett s declaration that The Empire is back suggests Gideon may have marshaled more military strength than we previously believed. Is it just a matter of Gideon knowing where Sheev Palpatine kept all of the secret projects? Or, by way of attrition, has Gideon become the heir to the Empire. If that s the case, is Thrawn on his side or is there still room for conflict within the Imps?Who Did Grogu Contact? Since the child ended the signal beam of his own accord — or because he was fatigued — did he contact a Jedi? And if so, who? The list of possible teachers is pretty slim. There is Luke Skywalker, of course, Kyle Katarn (if he s back), Ezra Bridger (if he s been rescued), and, perhaps, Jedi Master Yaddle (pictured above). This last option is the most intriguing. While she was killed in an Expanded Universe story, her continued existence is possible in the current history. Retiring from the Jedi Council (and any sort of public life) a number of years before the Clone Wars, she may have survived the Jedi Purge. Also, she is from the same species as Grogu. From a narrative standpoint, she would seem the most worthy to train him, at least in Djarin s mind, and the most convincing reason for Grogu and Djarin to part ways. Although, considering the playful scene at the beginning of Chapter 14, we seriously doubt the pair will ever split up.Well, once Djarin and his new band of outsiders rescue Grogu from the Imperial Remnant.Where Is Mara Jade? One last EU thought: the fan-favorite character from the Star Wars EU novels could emerge from the shadows thanks to all of these nods to the old continuity. She could easily be retconned as a Sith Inquisitor and serve as a mighty ally (or foe) for our heroes.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.On an Apple device? Follow Rotten Tomatoes on Apple News.亚博官方平台The most anticipated big Disney remake yet, The Lion King, arrives in theaters Friday, promising fans a visually stunning reimagining of one of their favorite tales. Ahead of the movie s release, Rotten Tomatoes editor Jacqueline Coley sat down with director Jon Favreau and the cast to talk about how they put a new spin on the classic film as well as their favorite scenes from the original movie. Want to know which Lion King moments make Donald Glover, Seth Rogen, Billy Eichner, Alfre Woodard, and Chiwetel Ejiofor laugh, cry, and drop their jaws? Check out the video interview above.The Lion King is in theaters July 19.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
4. 呼朋唤友 随心所欲
With Sunday’s Critic’s Choice Award ceremony done, all of the prominent critics groups have had their say on the best films of 2018. Each year, countless critics associations host year-end awards to recognize exceptional filmmaking, but the National Society of Film Critics, Los Angeles Film Critics Association, New York Film Critics Circle, and Broadcast Film Critics Association are carefully considered when making Oscars predictions. Each group will say they are independent to the academy in voting, tastes, and identity, but they help shape the race for the big one. And so we have our eyes on them.Our Awards Leaderboard tracks major critics groups and guilds honors, and looking at the current leaders, we think Roma, If Beale Street Could Talk, and The Favourite should feel fairly confident of some Oscar love when the nominations are announced on Tuesday. (Regina King, Olivia Colman, and Richard E. Grant in particular would not be risking much to set an early alarm.) This year, though, there have been coordinated efforts to bring lesser-known films and performances into the conversation, so we re also expecting a number of surprises among the noms. Where might those surprises come from? Below, we re looking at Oscar long shots who might just have enough buzz – and which have a couple of awards already in the bag – to break through with some Oscar voters.Toni Collette, Hereditary (2018) 89% Best ActressAlready recognized by: Gotham Awards, Film IndependentDo we need to say more about what Toni Collette did in Hereditary? It seems some may have forgotten the greatest full body performance of 2018. In the movie – which caught fire at Sundance and made an impact at the box office – Collette gifted all of us with a face-screwed-screech-filled-terrified performance that takes at least three viewings to fully deconstruct. The Aussie actress started strong this awards season with a Gotham win followed by a Film Independent nomination, but then things went quiet. Collette would be vying for the open fifth Best Actress nomination – assuming favorites Colman, Lady Gaga, Glenn Close, and Melissa McCarthy all come through as expected. She will need those horror lovers in the Academy to champion her incredible work.Yalitza Aparicio, Roma (2018) 96% Best ActressAlready Recognized by: BFCA, Gotham Awards(Photo by © Netflix)It s worth noting the star of the most awarded film of the season has gone largely unrecognized. An unknown actress, in a black-and-white foreign language film, distributed on a platform many Academy voters herald as the end of cinema, is a hard sell. Director Alfonso Cuarón has repeatedly said Roma does not exist without the women who inspired and made it, but the accolades have not exactly come streaming in. In Cuarón’s semi-autobiographical love letter to Mexico and the woman who raised him, Aparicio gave depth and aching authenticity to a character rarely featured on screen. Cuarón painted a masterpiece, but Aparicio is the canvas, paint, and brush.Steven Yeun, Burning (2018) 95% Best ActorAlready Recognized by: LAFCA, NSFC(Photo by @ Go Well USA)Yeun’s performance as a South Korean playboy in Burning is ethereal, charismatic, and unnerving. Another foreign language entry, Lee Chang-dong’s noir-thriller slowly unravels and builds to a climactic twist you don’t see coming – and so much of it rests on the former Walking Dead star s performance; our thoughts on Yuen’s character, Ben, mirror how we interpret the events of the film. Is he just a spoiled playboy formulating sinister plots for entertainment? Or is he a calculating psychopath? Or maybe just a guy who likes to burn greenhouses? It all rests on what we see in Yuen, in his gaze or sly smile. It’s a tightrope to pull off a likable Oscar-worthy villain, and Yeun makes it look effortless. The formula worked for Javier Bardem in No Country for Old Men, so fingers crossed.Debra Granik, Leave No Trace (2018) 100% Best DirectorAlready Recognized by: Film Independent, National Board of Review, LAFCA(Photo by JA/Everett Collection)In a year littered with exceptional work by female directors, it’s hard to justify their lack of inclusion come award time. The Rider, You Were Never Really Here, A Private Life, Can You Ever Forgive Me?, and Destroyer all are worthy of recognition. But Debra Granik’s Leave No Trace distinguishes itself from even those stellar entries – and not just because it still sits at 100% on our Tomatometer after 200 reviews. Director Jane Campion may have said it best in her impassioned plea for Leave No Trace: “A film filled with compassion… it has had a powerful impact on audiences. Not because it is loud, but because the truth that Granik speaks quietly can be heard even in a noisy world.”Elsie Fisher, Eighth Grade (2018) 99% Best ActressAlready Recognized by: Film Independent, Gotham Awards, DGA, BFCA, NYFCC(Photo by © A24)Cringeworthy Cinema: that’s how Bo Burnham’s Eighth Grade and its star Elsie Fisher charmed their way into our hearts. Reliving the painfully awkward moments of adolescence with such unflinching honesty, Fisher gave the best performance of the year that we had to watch through fingers and stooping down in our seats. (OK, maybe tied with Collette – but for very different reasons.) Burnham’s script is the quintessential coming-of-age story for the YouTube generation and, as with Roma, his film lives or dies by its central performance. As Kayla, Fisher is relatable and endearing for tweens and their parents, finding a perfect blend of earnestness and mortification.Ethan Hawke, First Reformed (2017) 93% Best ActorAlready Recognized by: Film Independent, Gotham Awards, NYFCC, BFCA, LAFCA, NSFC(Photo by © A24)Ethan Hawke often remarks that he doesn t want to be known just for the Dead Poets Society. But after the over 30 years, 80 credits, four Oscar nominations, and countless more beloved performances, Hawke still hears Oh Captain, My Captain on the regular. His turn as the conflicted and apathetic Reverend Toller is miles away from any previous role he has done. Many are taking notice: With a near clean sweep of the critics associations, Hawke s performance in First Reformed is second only to Regina King s in Beale Street in regards to acclaim this season. Why isn t he a lock for an Oscar nom? Hawke s lack of movement outside of the critics groups awards does not bode well. We ll be watching this one keenly.Oscar nominations are announced on Tuesday, January 22, 2019
5. HD 画质与高品质音讯
(Photo by Gaslight - The Everett Collection)Our Classic Film Catch-Up feature connects you with classic films to put on your watchlist – beloved favorites and hidden gems alike. With more time at home, there s no better opportunity to finally watch these titles that helped define cinema as we know it.In the RT comments, many of you have shared how you re catching up on classic films during the pandemic, and we happen to agree that now is the perfect time to increase your classic film viewing. Many of you are stuck at home, so, why not?Concentrating on films released before 1980 (both well-known titles and hidden gems), we re producing new guides to essential classic films curated by theme, filmmaker, actor, genre, or style – all for your classic catch-up needs. Want to see our picks for the best French farces? How about a curated list of Fresh picks from Alfred Hitchcock, Peter Sellers, or Billy Wilder? As well as curating watch lists, we re breaking down the films, telling you where you can watch them, and giving you some more recent and/or well-known films the classics might remind you of so you can gauge which movies are right for you.This week in the Classic Film Catch-Up, because we all go a little mad sometimes, we re focusing on films that chronicle the slow descent to insanity. From the works of Wilder to Hitchcock and Scorsese, madness has been the cornerstone of some of the greatest moments in the history of cinema. You ve likely already spent time with Travis Bickle in Taxi Driver, Norma Desmond in Sunset Boulevard, and Jack Torrance in The Shining, so we have left those iconic films off our list in favor of lesser-known gems.Some titles on this list have cult-like followings, while others are less popular entries from the filmographies of iconic filmmakers like David Lynch, and Akira Kurosawa. Either way, they re sure to thrill and disturb – so watch at your peril.Got another favorite classic film about madness you d add to our list? Have a suggestion for a future theme or classic film to feature in the column? Let us know in the comments. What Ever Happened to Baby Jane? (1962) 92%What is it? Two aging child-star sisters are trapped in a decrepit Los Angeles mansion clinging to past glories, mutual hatred, and growing co-dependency.Why you need to see it: Joan Crawford and Bette Davis s decades-long feud is the stuff of Hollywood legend, so much so that they dedicated an entire season of award-winning television to it. A centerpiece of the limited series Feud: Bette and Joan is the filming of Oscar-winner Whatever Happened to Baby Jane?. For her showy turn as Baby Jane, Betty Davis scored her 10th Oscar nomination, but Crawford gave as good as she got as the paraplegic Blanche. Baby Jane begins the film resentful of her sister, with delusions of an imminent comeback, and she ends the movie in the midst complete psychotic break, thinking a crowd of beach-goers staring aghast at her depravity are adoring fans. In a performance that rivals Gloria Swanson in Sunset Boulevard, Davis showed yet again why she was one of the greatest actresses in the history of Hollywood.Watch it if you like: Grey Gardens, Greta, Hush, Sunset Boulevard, Network, Birdman, Feud: Bette and JoanWhere to watch: Rent or buy on FandangoNOW, Vudu, Amazon, Google Play, and iTunes.I Live in Fear (1955) 75%(Photo by The Everett Collection)What is it? An older man goes to great lengths to move his family to South America as a way to avoid a nuclear attack.Why you need to see it: A man fearful of a global crisis goes to extreme lengths to keep his family safe that doesn t sound familiar at all. Kiichi Nakajima (Toshiro Mifune) is a man so fearful of a nuclear attack on Japan he becomes fixated on the idea of moving his family to Brazil, and his family, in turn, becomes increasingly disturbed by his bizarre proposal; Kiichi s family s dismissal of his fears and attempts to have him committed only to increase his anxiety about nuclear fallout. Later on in the film, however, the audience is forced to ponder the question of which is more insane: fearing a nuclear blast or ignoring the risks and not preparing for it. Visionary director Akira Kurosawa s first film after his epic masterpiece, Seven Samurai, I Live in Fear is a departure for the master of Japanese epics but endures as a compelling and though-provoking thriller that will have you questioning the line between paranoia and prudent preparation.Watch it if you like: 10 Cloverfield Lane, Take Shelter, It s a Disaster, The Book of Eli, It Comes At Night, A Quiet PlaceWhere to watch: Stream now on Kanopy and Criterion Channel.Eraserhead (1977) 90%What is it? A nerd-like protagonist with a very peculiar hairstyle faces a number of horrifying obstacles while trying to complete the most menial tasks.Why you need to see it: Explain Eraserhead? It would be easier to explain a rainbow to someone without sight. The groundbreaking horror film follows Henry, a peculiar man with a jaw-dropping hairstyle, as he s hit with disturbing challenges at every turn and eventually nosedives into delusion. Henry s journey is a tough watch but worth it to appreciate the artistry. Auteur director David Lynch went to extraordinary lengths to complete his debut film – even going as far as sleeping on the set – but regrettably was rewarded with mostly negative reviews for his avant-garde and experiential body horror film. Variety wrote that the mind boggles to learn that Lynch labored on this pic for five years, but some contemporary critics and audiences praised the nightmarish black-and-white film. A true cult classic, Eraserhead is required viewing for any cinephile looking to expand their brag-worthy watchlist.Watch it if you like: Gummo, Mulholland Drive, Twin Peaks, Mandy, The Wicker Man, Suspiria, VideodromeWhere to watch: Stream now on HBOMax, Kanopy, and Criterion Channel.M (1931) 100%(Photo by The Everett Collection)What is it? A thriller that follows the manhunt, capture, and trial of a child serial killer.Why you need to see it: Listed as one of the Great Movies by film critic Roger Ebert M is widely considered silent film director Fritz Lang s masterwork. Documented as the first film to marry character themes to film scoring, the serial killer thriller employs many silent film techniques to elevate its haunting imagery and limited dialogue. In another film in which the descent into madness is a short ride, our main character, the child-murdering serial killer Hans Beckert (Peter Lorre), is established as insane from his first introduction but proceeds to drift further after his capture and trial. Banned by the Nazis after taking power in 1933, the film was not widely viewed until the 1960s when it was re-evaluated as a landmark achievement in cinema. It remains 100% Certified Fresh on the Tomatometer.Watch it if you like: Metropolis, Prisoners, The Silence of the Lambs, Zodiac, Psycho, Nosferatu (1922), Shutter IslandWhere to watch: Stream now on HBOMax, HooplaDigital, Kanopy, and Criterion Channel.A Woman Under the Influence (1974) 90% (Photo by The Everett Collection)What is it? A housewife on the verge of a breakdown and her husband struggle to maintain their family as they deal with the crippling effects of her mental illness.Why you need to see it: If by chance your only exposure to Gena Rowlands is The Notebook and your only knowledge of Peter Falk is as Columbo, do yourself a favor and watch A Woman Under the Influence. Rowland pitched the idea of a contemporary drama about the plight of women to her husband, director John Cassavetes, and the result is one of the filmmaker s finest efforts. Falk and Rowlands performances as a married couple brought to their knees when the matriarch s illness renders her unable to function are equally delicate and devastating. Influence builds subtle tension with Rowlands fall into a manic psychosis, and manages some biting social commentary about gender roles in the family and marital expectations as it does. A hit at the box office, it also garnered Oscar nominations for both Rowlands and Cassavetes – an appreciated result as Cassavetes had mortgaged the family home to finance the picture.Watch it if you like: Klute, 20th Century Women, Revolutionary Road, Girl Interrupted, Ordinary PeopleWhere to watch: Stream now on HBOMax and Kanopy. Rent or buy on Vudu or Amazon.Gaslight (1944) 88%What is it? An opera singer marries a charismatic man who then subjects her to psychological torture.Why you need to see it: Don t you want to see the film that sparked the slang? Gaslighting has become a common word in the pop-culture lexicon – see the Chicks latest album – but few know that the term for repeatedly saying untruths to make someone feel like they re going insane derives from this remake of a 1940 film, in which a woman is driven insane by her husband repeatedly telling her lies in an effort to steal her fortune. In her Oscar-winning performance, Ingrid Bergman subtly deteriorates on screen from the calculated torture of her husband, played by Charles Boyer. After one viewing, you might think twice when your significant other contradicts something you said.Watch it if you like: A Beautiful Mind, Invisible Man (2020), Funny Games, Unsane, The Lodge, A Cure for WellnessWhere to watch: Stream now on IndieFlix. Rent or buy on FandangoNOW, Vudu, Amazon, Google Play, and iTunes.The Ruling Class (1972) 83% (Photo by The Everett Collection)What is it? A paranoid schizophrenic becomes an Earl in the British aristocracy.Why you need to see it: A relatively light-hearted departure from the other entries on our list, The Ruling Class uses madness as a counterpoint to the insanity of the British aristocracy and inherited power. Peter O Toole stars as the insane son of a British nobleman who inadvertently inherits a peerage. An institutionalized paranoid schizophrenic with a Messiah complex, O Toole s character delves deeper into insanity fueled in large part by the institutions around him refusing to acknowledge he s unfit to rule. The satirical black comedy was a commercial flop, but – as is the case with many films on our list – found an adoring audience and cult-like status in later years.Watch it if you like: Black Swan, We Need to Talk About Kevin, The Madness of King George, Observe and Report, Barton FinkWhere to watch: Stream now on HBOMax, Kanopy, and Criterion Channel.
It s worth noting that Angel of Darkness, while technically a sequel to the first season, works as its own standalone story. Brühl s Dr. Kreizler reunites with his rag-tag investigative cohorts Sara Howard (Dakota Fanning), now running her own detective agency, and New York Times journalist John Moore (Luke Evans) as they work to solve a string of baby murders amid a backdrop of political and cultural turmoil. The themes of women s rights, police brutality, and racism create a conflicted, yet timely, story here.Ahead of the show s return, Rotten Tomatoes spoke with Brühl about how his character has evolved since the series premiere, whether the show s disturbing subject matter gives him nightmares, how the themes explored in The Alienist: Angel of Darkness are relevant today, and if the COVID-19 shutdown delayed his work on The Falcon and The Winter Soldier.(Photo by TNT)Aaron Pruner for Rotten Tomatoes: This season focuses a lot on Sara Howard, while Kreizler is cultivating his own relationships. Has Kreizler, as a character, changed in how you interpret him since you first took on the role?Daniel Brühl: Knowing about Sara s psychological skills, Laszlo Kreizler is eventually willing to share power and to give in and to let Sarah Howard be in charge of that new mystery and of that new case. He becomes, emotionally, a more open-minded man thanks to the friendship with Sara and John and eventually even finds a kindred spirit, someone who he finds very fascinating.It s so interesting because my wife is an alienist in real life. And she told me that many times the most brilliant psychologists you know, become very nervous when they have to deal with, you know, their own introspection and their own inner life. So they may be brilliant in, you know, analyzing their environment, and yet, they have problems in expressing what they are going through.The theme of child murder continues in season 2. Is it tough to separate yourself from the dark subject matter of the show?Brühl: It didn t affect me that much when we were shooting the actual show, but watching it now gives me nightmares. I m the father of a little boy and expecting my second baby to arrive soon. The fact that this show this time around deals more with motherhood and fatherhood, respectively, felt more universal. It was also interesting to realize how engaged my wife was when she watched the show. She said that it resonated more with her than the first season.(Photo by Nelly Kiss/TNT)This is a period piece, yet the issues explored in the series continue to feel quite timely — women s rights, sensationalism in the news, police corruption, income inequality, and racism. What message are you hoping viewers will take away from watching?Brühl: It is very sad to see how long it takes for mankind to really make a change. It s funny how history goes in waves. I wouldn t say that it always goes in the wrong direction. Sometimes we advance, sometimes we evolve, and then, sometimes we go three steps back. So it is sadly fascinating to see that a story set in 1897 and a book written about that period that was published in the 1990s still feels so current.And what the story tells us is that it always takes a couple of courageous liberal modern minds to make a change. Unfortunately, mankind needs to have the worst things happen in order to move on. So the eruption that, fortunately, we witness these days internationally, due to the things that happened in the U.S., gives me a bit of optimism, because that avalanche, that eruption, and that message that racism has to stop, is being heard loudly and clearly at the moment. I hope that, finally, we will change and, hopefully, carry on doing so. We always have to hope that we will learn something from history.
亚博官方平台 New Star Trek Series Focusing on Captain Christopher Pike Ordered by CBS All Access(Photo by James Dimmock/CBS)CBS All Access has ordered Star Trek: Strange New Worlds, which will focus on the years Captain Christopher Pike helmed the USS Enterprise. Three Star Trek: Discovery season 2 actors will reprise their roles: Anson Mount as Captain Pike (pictured), Rebecca Romijn as Number One, and Ethan Peck as Science Officer Spock. The series will follow Captain Pike, Science Officer Spock and Number One in the decade before Captain Kirk boarded the U.S.S. Enterprise, as they explore new worlds around the galaxy, CBS All Access said in a statement.Akiva Goldsman wrote the series premiere based on the story by Goldsman, Alex Kurtzman, and Jenny Lumet. Strange New Worlds is the fourth Star Trek series in the franchise developed for CBS All Access after Star Trek: Discovery, Star Trek: Picard, and upcoming animated series Star Trek: Lower Decks. A CG-animated Star Trek series aimed at younger audiences is also in the works for Nickelodeon.New Trailers: Jordan Peele s The Twilight Zone Returns for Season 2 in JuneSeason 2 of CBS All Access anthology series The Twilight Zone guest stars include Tony Hale, Chris Meloni, Gillian Jacobs, and Billy Porter. Executive producer Jordan Peele returns as the narrator.More trailers:Mythic Quest: Raven’s Banquet will launch a quarantine-themed episode on May 22 (Apple TV+)Fuller House, final season, starring Candace Cameron Bure, Jodie Sweetin, and Andrea Barber (Netflix)Adventure Time: Distant Lands, animated limited series (HBO Max)The 100, seventh and final season (The CW)Hannah Gadsby: Douglas, a stand-up special (Netflix)Have a Good Trip: Adventures in Psychedelics, a documentary featuring celebrities’ anecdotes about recreational drug experiences, starring Sting, Sarah Silverman, and Ben Stiller (Netflix)Sleeping With Friends, a reality competition series about sleep (YouTube)Jeffrey Epstein: Filthy Rich, a docuseries produced by Emmy winner Joe Berlinger and author James Patterson (Netflix)Trackers, season 1, a South African crime thriller (Cinemax)For all the latest TV and streaming trailers, subscribe to the Rotten Tomatoes TV YouTube channel.Casting News: Reese Witherspoon Signs Deal to Star in Two Movies at Netflix(Photo by Toni Anne Barson/WireImage)Netflix has made a deal for two movies that will star Reese Witherspoon. In Your Place or Mine, she will play a woman who pursues a lifelong dream while her male best friend agrees to keep an eye on her teenage son. Witherspoon, via her Hello Sunshine production company will produce the movie along with Jason Bateman and Michael Costigan’s Aggregate Films, and screenwriter/director Aline Brosh McKenna. Witherspoon will also star in and produce The Cactus, an adaptation of Sarah Haywood’s bestselling novel about a woman whose life is changed dramatically by an unexpected pregnancy at age 45. (Deadline)Will Forte and James Brolin are attached to star in the eight-episode Netflix adaptation of the DC Comics drama Sweet Tooth. The live-action series is produced by Robert Downey Jr. and his producing partner and wife Susan Downey, and revolves around a half-deer/half-boy who leaves his family in the forest to examine the outside world, where he finds it in an apocalyptic state. Christian Convery (Beautiful Boy), Nonso Anozie (Game of Thrones), and Adeel Akhtar (The Big Sick) star with Forte, while Brolin will serve as the series narrator.Hilary Duff will be the star of an in-development spin-off of the TV Land comedy Younger. Sex and the City creator Darren Star is creating the series, which will revolve around Duff’s book editor character Kelsey. The new series may air on Paramount Network or another network or platform. (THR)Sarah Silverman and Seth Rogen will star in Santa Inc., an HBO Max adult animated series set at the North Pole at Christmas, where Candy Smalls (Silverman) tries to become the first female Santa Claus. Rogen is also a producer on the series, which is created by Shrill creator Alexandra Rushfield.Development News: National Treasure TV Series in the Works from Jerry Bruckheimer(Photo by Buena Vista Pictures)Jerry Bruckheimer is developing a TV series adaptation of the movie franchise National Treasure for Disney+. No cast attached yet, but Bruckheimer, who also produced the Treasure films, has confirmed the series cast will be new (that means no Nic Cage).Food Network star Guy Fieri, who has already raised an incredible million to help restaurant employees out of work because of the coronavirus shutdown, is going to raise some more via a nachos-making contest with Bill Murray. On May 15 at 5 p.m., Fieri and Murray will face off in The Nacho Average Showdown, on Food Network’s Facebook page. Carla Hall is the host, and Shaquille O’Neal and Terry Crews will judge the event, which will add more funds to Fieri s Restaurant Employee Relief Fund (RERF) and put more 0 grants in the hands of restaurant workers across the country. (EW)Ryan Murphy announced via Instagram an American Horror Story spin-off called American Horror Stories. The new show will feature one-hour, contained stories, and will apparently feature some AHS stars who participated in a Zoom reunion with Murphy, including Sarah Paulson, Jessica Lange, Kathy Bates, Denis O’Hare, Angela Bassett, and Dylan McDermott.There’s a Tiger King sequel on the way at Netflix, but Joe Exotic is being dethroned for the follow-up. Instead, THR reports the new episodes will revolve around the story of Vegas showmen Siegfried Roy, whose long-running act was ended after Roy – Roy Horn – was mauled by one of the duo’s tigers in 2003. Horn and Siegfried (Fischbacher) had reportedly been working on a movie about their careers, but Horn died on May 8 from coronavirus complications.Scrubs creator Bill Lawrence is teaming with HBO Max for a remake of the 1986-91 ABC high school comedy Head of the Class. The streaming service has order a pilot and five scripts for the series, which starred WKRP in Cincinnati alum Howard Hesseman as a teacher who tried to make sure a group of gifted students balanced grades with emotional development and outside interests.Netflix has acquired the rights to The Girls of Summer: The U.S. Women’s Soccer Team and How It Changed the World, the book by New York Times reporter Jere Longman, to adapt as a movie. The book tells the story of the 1999 U.S. women’s soccer team, which defeated China to win the World Cup.Ridley Scott, who directed the iconic “1984” Super Bowl commercial for Apple that introduced the first Macintosh computer, has signed a first-look TV deal to create projects for the company, via his Scott Free Productions. Scott Free is behind TV projects including The Good Wife, The Good Fight, and The Man in the High Castle.Ridley Scott is also re-teaming with Tom Hardy and Steven Knight for a second Charles Dickens adaptation with FX and BBC. Following last year’s A Christmas Carol adaptation, Scott and company will next produce a six-part limited series of Great Expectations, Dickens’ 1861 book about orphan Pip, for FX and BBC.Sofia Coppola is developing an adaptation of the 1913 Edith Wharton novel The Custom of the Country as a limited series for Apple TV+. The book, which has never been adapted for a screen project, revolves around a young Midwestern woman named Undine Spragg, who tries to marry into New York society, but then spends the rest of her life trying to climb social ladders around the world.ABC will follow the season finale of American Idol in May 17 with Taylor Swift City of Lover Concert, which was filmed last year in Paris, and featured performances of songs from her seventh studio album, Lover. The special will be available on May 18 on Hulu and Disney+.Game of Thrones star Hafthor Björnsson, who played Ser Gregor Clegane (aka, The Mountain) on the HBO series, will star in a new reality series called Beat the Mountain. Strong men from around the world will compete for the chance to compete against Björnsson, who recently set the world deadlifting record (1,104.52 pounds). No network is attached to the series yet. (THR)(Photo by HBO Max)HBO Max announced the second wave of original programming it will launch in June, and it includes Adventure Time: Distant Lands – BMO, the first of four hour-long breakout specials resurrecting the Emmy and Peabody award-winning animated series Adventure Time, on June 25. Other original series to be launched include Expecting Amy (July 9), a three-part documentary series following Amy Schumer on her comedy tour as she experiences a difficult pregnancy; and season 2 of the DC Universe favorite Doom Patrol (June 25), following the adventures of Cliff Steele/Robotman (Brendan Fraser), Larry Trainor/Negative Man (Matt Bomer), Rita Farr/Elasti-Woman (April Bowlby), Jane/Crazy Jane (Diane Guerrero), and Victor Stone/Cyborg (Joivan Wade).RELATED: Everything We Know About HBO Max Streaming ServiceThe Roots founders Ahmir Questlove Thompson and Tarik Black Thought Trotter have signed a three-year first-look deal with Universal Television to create scripted and unscripted programming across all platforms, via their Two One Five Entertainment company. The deal expands their relationship with Universal, as The Roots continue their gig as the house band for The Tonight Show Starring Jimmy Fallon, where Questlove is also the show’s musical director. Two One Five has already produced music-themed programming like the docuseries Hip Hop Songs That Shook America and the documentary feature Black Woodstock.Whether we want it or not, TV is giving us a second scripted series shot from castmates’ homes and totally coronavirus-themed. On the heels of the announcement of Jenji Kohan’s Social Distance, Freeform is planning Love in the Time of Corona, a scripted comedy about people trying to find love during quarantine, whether its roommates who decide to take their relationship in a romantic direction or a woman who begins to regret her decision to quarantine with her ex. The series will debut in August, and comes from The Fosters producer Joanna Johnson.Peacock, the NBC Universal streaming service, is launching a month-long variety series, The At-Home Variety Show, that will be introduced by Seth MacFarlane. Featuring celebs like, Mark Wahlberg, Kevin Hart, Amy Poehler, Chris Meloni, D’Arcy Carden, and Elizabeth Banks, the show will raise funds for Feeding America, Americares and the United Way. The At-Home Variety Show launches on May 18, and will stream every weekday for the first weeks on Peacock, which is currently available for Xfinity X1 and Flex customers. The 10-minutes episodes will also be available on Peacock s YouTube and Facebook pages.Investigation Discovery is making its popular IDCON fan convention virtual this year, with IDCON: Home Together, a free Zoom event on May 21 (6-8 p.m. ET) during which fans are “welcome to pour their favorite beverage, cuddle up with their cat and join ID for a network fan event that takes you behind the scenes of your favorite TV channel – right from the comfort of your own couch.” Though the event is free, fans are encouraged to make donations to nonprofits supported by the network, including the National Center for Missing Exploited Children (NCMEC), National Network to End Domestic Violence (NNEDV) , and One Love. Sign up for the event is at IDCON2020.And another TV fan fest going virtual this year: the ATX Television Festival. ATX TV … From the Couch will take place online June 5-7 and include panels with casts from The Bold Type, New Amsterdam, Nancy Drew, Scrubs, and Cougar Town, plus conversations about “Physical and Mental Health,” “Election Year Issues,” “Latinx Representation,” and “Creating During a Pandemic.” More panels will be announced in the coming weeks, and fans can register HERE.
Six men, 26 movies, billions in box office receipts, countless Martinis: when it comes to 007, it’s been a journey. In our latest episode of Vs., supervillain/superhost Mark Ellis is pitting James Bond vs. James Bond (vs. James Bond, and on and on) to decide who was the best of cinema’s bed-hopping British spies. Will it be Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan, or current Bond, Daniel Craig? (OK, it’s probably not gonna be Lazenby – though we only have love for On Her Majesty’s Secret Service.) The Bond boys battle it out over box office, Audience and Tomatometer Scores, the quality of their villains, and one wildcard round, before Ellis puts himself square in the cross hairs and declares a winner. Don’t agree with the ultimate decision? Slice him up with laser beams, feed him to the sharks, or… you know… let us know with a thoughtful argument in the comments.On an Apple device? Follow Rotten Tomatoes on Apple News. The Wizard of Oz (1939) 98% Number three is a movie that I think is a perfect film and it s a film that it doesn t matter whether I saw it for the first time at 2, or revisited again at 10, or 22, or 32, or this past year when I took my kids to see it on the big screen. And that s The Wizard of Oz.The word timeless is thrown around a lot, and very rarely does it actually feel like it applies to as many motion pictures as are branded with that title. But The Wizard of Oz is one of those films that it truly doesn t matter when you see it, it s still timeless. It remains timeless. And that experience is proven by the fact that my own children, seeing it in a movie theater after seeing it on the small screen when they were very young, are still as awestruck by every single moment of that film as they were the first time they saw it. And it s a movie that was made during the Great Depression. So that is a testament to great cinema. That s a testament to the power of film.Have you done The Wizard of Oz on stage yourself?I ve never done The Wizard of Oz on stage. Man, wouldn t that be great? No, never had that opportunity.We ll just put that out there into the universe for now.We ll put that out there. We ll will that into the universe. I don t know that I m going to be doing any stage anytime soon, but one day.
亚博官方平台 Watch: Director Baz Luhrmann and production and costume designer Catherine Martin on the making of Moulin Rouge! above.In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, director Baz Luhrmann and production and costume designer Catherine Martin break down how they created one of cinema s great entrances. VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLThe Movie: Moulin Rouge (2001) 76%Baz Luhrmann s breakout success, the 1992 comedy Strictly Ballroom, announced the Australian director as a bold new filmmaking talent with a wild, colorful, fast-moving style that was unlike anything anyone else was doing at the time. BAFTA and Golden Globe nominations followed, and buzz began to build for what Baz would do next. That next was Romeo + Juliet – a modern retelling that would spawn a hit soundtrack, make a star of Leonardo DiCaprio, and become the definitive version of the story for 90s and 2000s teens. Then came the big one: 2001 s Moulin Rouge!, the tale of a courtesan named Satine (Nicole Kidman) and a poet named Christian (Ewan McGregor) who meet and fall in love at Paris s Moulin Rouge, a cabaret club famous as the birthplace of the can-can. The Luhrmann-y twist was that their story was told as a musical filled with modern songs and mashups (and one beautiful original, Come What May ). The ambition was grand – to give new life to the movie musical – and Luhrmann was aided in his mission by a mammoth team of filmmakers and actors that included his wife and longtime collaborator Catherine Martin, the film s costume designer (with Angus Strathie) and production designer. Here, Luhrmann and Martin reveal how the film began to take shape, from the initial idea to building the club itself.“While I was in India had the incredible experience of experiencing a Bollywood movie… you could have drama, then high comedy – like, literal physical gags – then a musical number, then high drama again.”Baz Luhrmann: “I was debating what my next work should be. I was thinking, ‘Should I look at Shakespeare as if Shakespeare was going to make a movie, or should I look at my other great passion, which is a way of finding the musical?’ – which I loved as a child growing up in a very small country town where we had a cinema and we got very old movies. Is there a way of making the musical work at this time and at this place? At the same time, we were creating an opera of Benjamin Britten s A Midsummer Night s Dream. I went off to India to do that opera and while I was there I had the incredible experience of experiencing what would be called a Bollywood movie. I went into a cinema and there was maybe 2,500 people in that cinema. And what was astounding in the language and in the form was that you could have drama, a dramatic scene, then high comedy like, literal physical gags then a musical number, then high drama again. And it influenced me in a couple of ways.In one regard, it was Shakespearean, and on the other hand, you went, like, ‘Wow.’ This is audience participation in cinema. You are meant, as an audience, not to be looking at reality through a keyhole, but you are meant to participate in the storytelling. You re meant to boo and hiss and laugh and cry and sing along, but then you re also meant to be emotionally engaged and moved. I thought in a strange way this was completely and totally fresh. So I went off and I actually did the Shakespeare film first, and then coming a second time round, I went like, ‘It must be time to have a go at trying to make the musical work.’”Luhrmann was influenced by Bollywood films. (Photo by © 20th Century Fox Film Corp. All rights reserved. Courtesy: Everett Collection.)“There was a serious moment when I was thinking of setting Moulin Rouge! in Studio 54 in the ’70s.”Luhrmann: “I was looking at what world to set it in and there was a serious moment when I was thinking of setting Moulin Rouge! in Studio 54 in the ’70s. The character [of] Toulouse-Lautrec, I guess, would have been Andy Warhol, and there would have been a young creative writer/singer who comes to New York and gets involved in the underworld of 54. What I found was that it s too close to us You ve got to remember, at the time, the 1890s the can-can and all of that imagery in that world, you couldn t think of anything less cool or less hip. I remember CM [Catherine Martin] waking up in the middle of the night one night and saying to me, ‘Oh my God, Baz. We re doing a can-can movie. I mean, how could we possibly make that, you know, in any way aesthetically interesting?’ And I said, ‘Through a perspective.’We went to Paris. I went with Craig Pierce, my long-term co-writer, and my team, and then we lived it. Like all the movies, I live them. I literally lived the life of a 1890s Bohemian. And then reading, of course, lots of literature and research and, you know, Émile Zola s Nana and Lady of the Camellias and all that, and then starting to DNA the story. And then looking at, ‘OK. How do you decode a musical language that s going to kind of smash through the barrier that says musicals are dead?’ So that was the mission.”“I didn t know Elton John, so I rang him up and he said, ‘Oh that sounds like a fantastic idea, darling. Of course, we re going to do it.’”Luhrmann: “The device that what comes out of Christian is music that we know in our universe, started this idea of being able to be both set in a period but also take leaps of faith into the future and into our world. I m going to use this word, which was totally not around, you know, 18 years ago when I made this movie: the ‘mashup,’ slicing, montage, like mashing different things together. People weren t talking about mashups 20 years ago. So that s kind of where we were coming from in terms of finding a musical and visual and storytelling language. Publishing-wise, you technically couldn t have done it before Moulin Rouge!. The only way that Anton [Monsted, the film’s executive movie producer] and I managed to get that together with Craig and I writing, was I had to ring the actual artist. I mean, I didn t know Elton John, so I rang him up and he said, ‘Oh that sounds like a fantastic idea, darling. Of course, we re going to do it.’ And then I reached out to David Bowie and ended up working with David Bowie and Bono and all these icons and they all just thought it was a great, daring idea. If they hadn t have supported it, it would never have happened, but it did change this idea of publishing. That you could take all kinds of pieces of music and make something new out of it.”Luhrmann and Nicole Kidman. (Photo by © 20th Century Fox Film Corp. All rights reserved. Courtesy: Everett Collection.)“Heath Ledger was very much emerging and so was Jake [Gyllenhaal, for the role of Christian].”Luhrmann: “One of the most touching and beautiful stories – and it s been put out there before – was that actually at one point Heath Ledger was very much emerging and so was Jake [Gyllenhaal, for the role of Christian]. And I remember Heath and Jake, the idea of Christian being a much younger character…both of them could have played it in different ways. It just became clear that this idea of the age difference was probably putting a pressure on that wasn t exactly right. But the beautiful story is, and they often tell it, is that they became great friends and bonded over almost getting that role. I mean, when I look at [the footage I have of them] and I look at Heath and Jake – they both sing beautifully. Jake s got a beautiful baritone, I think, but Heath sang beautifully as well, and you know, that s just one of those moments that happens in the journey where you go, like, ‘Wow. Well that would have been different, too.’ But Ewan and Nicole were just perfectly matched for that role. It was very like, it s a perfect match in Casablanca, you know, between Bergman and Bogart.”Luhrmann says Kidman and McGregor were a perfect pairing. (Photo by © 20th Century Fox Film Corp. All rights reserved. Courtesy: Everett Collection.)“We actually marked out the whole of the Moulin Rouge using the stick that people use to do surveying and police tape.”Catherine Martin: “One of the first things we did was build a scale model of what we believed was our version of the Moulin Rouge and filled it with scale people to see how that number of people would feel. (Now, we would do all of this in 3D and computer.) And as a result, we shrunk the size down, because it just was huge. Then we went in front of the show grounds in Sydney, at Moore Park [where] there’s a big open area of grass. We went out with sticks and tape and we actually marked out the whole of the Moulin Rouge, using the stick that people use to do surveying and police tape, and we marked out the entire size of it. And we got every single person we could find in the production offices to come and inhabit the space. From then we tweaked the size of it again. The idea of the entrances – like the spinning mirrors for the Diamond Dogs entrance – came from a lot of research about very classical theatrical entrances. And it seemed like a great way of getting a surprising and explosive and an unexpected way of getting our cast into the body of the Moulin Rouge. I think, on our biggest day, we had like 350.”The Moment: The Sparkling DiamondLuhrmann knew he wanted to give Satine a memorable movie entrance. So it is that she first appears perched on a swing above the main dance floor of the Moulin Rouge, singing a slowed-down first verse of Diamonds Are A Girl s Best Friend before the horn section kicks in and Satine begins swirling around the room like a glittering circus performer. It s little wonder both the Duke (Richard Roxburgh) and Christian are entranced. The audience was, too, and the scene, along with Satine s costume, have become defining signatures for the film. Kidman did the whole scene stunt-free, Luhrmann and Martin explain, and executed it like a pro. (She would break a rib wearing one particular corset during shooting, and take a nasty stumble in her pink diamond costume – she handled both incidents like a trooper says Martin.) Here, the duo breaks down the moment, how they achieved it, and the many films and styles they drew on to create Satine s first look, the Black Diamond. Kidman performed the scene without a stunt double. (Photo by © 20th Century Fox Film Corp. All rights reserved. Courtesy: Everett Collection.)“The very, very last thing you see is the eyes and the face under the hat.”Martin: “Baz always starts from the storytelling of the scene, how he wants to stage it. His first question is always, Where are the entrances and exits?’ He is very technical in that sense and very exigent. You know, you can t have a doorway in the middle of the set that no one ever uses. Because the audience is always just looking at the door, wondering when someone is going to come in. All these things sound obvious. But you d be surprised how unobvious they are when you re designing something.”Luhrmann: “Film s best entrances, great film entrances, you could do a reel on it. Whether it s Lawrence of Arabia and Omar Sharif coming out of the desert, or the entrance of Marlon Brando in The Godfather, the reveal. One of the technical things about the reveal [of Satine on the swing in Moulin Rouge!], is that you see ka-bang! and then you see the flitter, and then you see the silhouette of her, and then you see her body, and then you see the hat, and then the very, very last thing you see is the eyes and the face under the hat. So it s a very slow curtain reveal: Then it’s like, the sparkling diamond. It’s quite technical.”“Nicole was like, ‘No way’… She was 100% stunt-free on that moment.”Luhrmann: “I thought, wouldn t it be great if we put her in a circus trapeze and we did a trapeze number, but we ll have to have a stunt person. But Nicole being Nicole was like, ‘No way.’ So she trained with a circus person for a good, I would say, two weeks to do that number and when you see her swing around that s her. It s her all the way through that footage. She s on the trapeze, she s being swung around, she comes down, she falls into all those guys. So she was 100% stunt-free on that moment. It was just a process of skillful circus rigging and we made the swing as simple as possible, because we wanted it to be all about her. And we also wanted it to be light and flexible and movable and to be a real piece of circus equipment, so that it would be safe as possible. Basically, it was a real stunt leap that we just decorated. I think what s great about it is that it s almost not there. It s all about Nicole and Nicole s entrance and her spectacular physical confidence.”Martin drew inspiration from the fish-scale pattern on Marilyn Monroe s dress in Bus Stop. (Photo by © 20th Century Fox Film Corp./courtesy Everett Collection)“We wanted to maintain that 19th-century feeling of being corseted, but at the same time we wanted to call on a myriad of classical movie heroines, whether it s Marilyn Monroe or Rita Hayworth.”Martin: “Nicole s costume, when she first appears on the swing, is called the Black Diamond outfit. It was very interesting, all our discussion about how to find, and make, Nicole kind of this quintessential and classical heroine. We wanted to maintain that 19th-century feeling of being corseted, but at the same time we wanted to call on a myriad of classical movie heroines, whether it s Marilyn Monroe or Rita Hayworth – that kind of classic movie glamour of musical movie stars of the ’30s through the ’40s into the ’50s. So the corset shape for Moulin Rouge was adjusted a little bit to have a slightly ’50s kind of bustier feel. You see that in Nicole s outfits. We then used, from Marilyn Monroe s costume in Bus Stop, the fish scale pattern as a little nod to her. One of the big great motifs in the design of Moulin Rouge! is the use of the tail coats and top hats, and you’ll see in the costume itself, it actually has tails in the back, and she is wearing a miniature top hat that s perched on the side. It was a big fashion in the late 19th century. It was considered very sexy and kind of lush for women to wear thin trousers and male costumes. It also plays with the idea of the equestrian, the sexual fetish about women riding horses, obviously. It’s all those things melded to create the ultimate showgirl costume. The first time I saw Nicole in the Black Diamond outfit, she was Satine. I mean Nicole is marvelous to dress for obvious reasons, but she always transcends her costume. She makes Satine who Satine is. The outfit is never as good on a dress stand as it is on her body.”The Impact: The Musical Is RebornMoulin Rouge! was something of a sensation in its time. Praise was not unanimous – while the movie is Certified Fresh at 76%, there were vocal detractors who could not get on board with its feverishness nor its earnestness – but it struck a chord with audiences who d been yearning for an audacious new musical. The movie made 0 million globally and earned eight Oscar nominations, with Martin winning two for Costume Design and Art Direction. The movie s soundtrack, which included the Lady Marmalade cover by Christina Aguilera, Mya, Lil Kim, P!nk, and Missy Elliott, went two times platinum in the U.S. and spawned a second volume. The movie s lasting impact would take some time to materialize, however. Lurhmann did, in fact, help reignite interest in the movie musical, and in the next two decades we would see successful new entrants in the genre like Chicago, Hairspray, Dreamgirls, The Greatest Showman, and La La Land. Moulin Rouge! itself remains beloved by a hardcore group of fans to this day, a passion that Broadway producers are banking on: a big-budget stage show of the movie opens at the Al Hirschfeld theater this month. For Luhrmann and Martin it s a joyful full-circle moment.“Maybe we re just getting a little bit far there. We might have to tone that down.”Luhrmann: “We did open in Cannes and that was a spectacular opening, that went terrific. But there was a time when we screen-tested it in a place called Simi Valley, CA, and nothing against Simi Valley, but at that stage we were even wilder up front about the kind of things that could happen in the Moulin Rouge. Now, I m not going to go into detail, but it was a little bit more in-your-face about the let s say “menu,” of erotic possibilities at the Moulin Rouge. So we had this kind of opening sequence in it, and for example, I think there might even have been Grace Jones ‘Slave to the Rhythm’ at some point in the opening sequence – we were putting it out in front of an audience and it was meant to be slightly tongue-in-cheek, but I m pretty sure three quarters of the audience just walked out before the first 10 minutes [were over]. We went like, ‘Maybe we re just getting a little bit far there. We might have to tone that down.’”Catherine Martin and Baz Luhrmann at the 2002 Academy Awards. Martin would win for Best Costume Design and Best Production Design. (Photo by KMazur/WireImage)“I m just thrilled that the musical is now not a subject of, ‘Should you or shouldn t you?’ The subject is: What do you do with it next?”Luhrmann: “Chicago came along [a few years later] and it just meant that we kicked the door in. It took Chicago and a lot of great musicals that then followed afterwards to keep the language going. And I did a celebration of the musical in fact I can t remember when but for the Oscars, with Hugh Jackman and Beyoncé and a whole cast of hundreds as a celebration that the musical was back. Well, that was years ago. When I started out in movies, Star Wars, science-fiction, that was the dominant genre, and the idea that the musical would be commercially successful, I mean, just nobody believed that – nobody– and I only did it because I loved them. But now, for example, Beauty and the Beast I think, did like a billion dollars, and then you go, ‘Wow. The musical really is back.’ Nobody even thinks about musicals being a challenge anymore. I mean, look at The Greatest Showman, look at La La Land. I m just thrilled that the musical is now not a subject of, ‘Should you or shouldn t you?’ The subject is: What do you do with it next? How can you keep challenging the form? How can you keep the interest in it?”“It was quite controversial when it first opened and it created a lot of polemic discussion about the cutting style, its content, the mashups.”Martin: “I m very proud to have been part of the journey. I m proud that it s part of the body of work that I ve been involved in. And I m thrilled that it has stood the test of the time and I still meet people to this day that are as enthusiastic about it as they were in the first days of it being shown. In fact, the enthusiasm has kind of grown. And it was quite controversial when it first opened, and it created a lot of polemic discussion about the cutting style, its content, the mashups, all these things. And what s fantastic is that it truly has continued to capture people s imaginations. And it s viewed more fondly now probably than when it first opened. The affection that the audience holds for the title, I think, is extraordinary. [When I saw the new musical] there was every sort of person in the audience and every age group. There were like five standing ovations. Alex Timbers [who directed the musical] has done an amazing job. It s just great to see young fresh talent reinterpret something and make it relevant again to such a broad population. I mean, there s nothing to be said apart from the audience can t be wrong. You just cannot believe how the audience connects to the show. It s mind blowing.”The stage at the Al Hirschfeld Theatre in New York City, where the Moulin Rouge! musical opens in July. (Photo by Walter McBride/Getty Images)“It s like some child that I guess I conceived and was born and has grown up, and now it s run away and fallen in love with an audience, and occasionally it drops by and says, ‘Hi Dad.’”Lurhmann: “I think to myself, ‘Well, 20 years later, there s a live stage musical version now heading to Broadway.’ I m not doing that – I mean, I had something to do with selecting the young creative team and the new creative team, and they re not just reproducing the movie, they re doing radical interpretations of it. So I think to myself, ‘It s got a life of its own and it continues.’ And you know, when we did it, its impact on fashion and on music, the idea of the musical mashup, that elephant love medley, where they all sing on top of the elephant and all the different love songs are all mashed together… For it to still be around 20 years later, it s like some child that I guess I conceived and was born and has grown up, and now it s like run away and fallen in love with an audience, and occasionally it drops by and says, ‘Hi Dad.’ And I go, ‘How you going?’ It’s got a life of it s own. It really has.”Moulin Rouge! was released June 1, 2001. Buy or rent it at FandangoNOW.