亚博手机网页版采用百度引擎3（Baidu 3）It’s been 15 years since we saw Syd Burnett (Gabrielle Union) taking names and stealing scenes from her brother Marcus (Martin Lawrence) and then-boyfriend Mike (Will Smith) in Bad Boys II. Back then, Syd was working for the federal government and toppling cartels in Miami.Now, Syd moves to Los Angeles (and television) on L.A.’s Finest, a follow-up of sorts that shares her new adventures as an L.A. cop alongside her equally badass partner, Nancy McKenna (Jessica Alba). Together, Syd and Nancy — not named for the infamous punk duo, they promise — encounter action-packed crime scenarios at work and in their personal lives. They might not trust each other with all their dirty secrets at first, but no matter what, Syd and Nancy always have each other’s backs.“It felt really modern to tell this story of this friendship and this partnership of two women in a modern time, in a modern world,” Alba said during Rotten Tomatoes visit to the show s Los Angeles-area set in February. “You don t have to call out that we re women all the time. We re just people in the world that you want to hang out with.”L.A.’s Finest premieres May 13. It’s the first original series for cable provider Charter Communications/Spectrum, and thus it’s a guinea pig of sorts for the service. The Spectrum Original series will be available on demand for customers of the cable service only, but Union isn’t worried about people missing her show.“I love a challenge,” she said. The proof is in the pudding.”From Clean-Cut Procedural to Rough-and-Real Drama(Photo by Nicole Wilder/Spectrum Originals)On paper, L.A.’s Finest might sound like a procedural: Two cops fighting crime in Los Angeles. But with Michael Bay’s 90s action flick Bad Boys as its source material — and support from Jerry Bruckheimer Television — L.A.’s Finest feels more like an action-thriller series than a clean-cut cop drama.According to its producers, though, L.A.’s Finest wasn’t always so gritty and real. The shift from procedural crime show to action-packed drama happened when L.A.’s Finest moved from NBC to Spectrum, after the team had already finished shooting the pilot.Producer Anton Cropper (Suits, Black-ish) said, in some ways, the series straddles the differences between network and cable narratives: “We always talk about the difference between network and cable, and we wanted it to have that cable feel. We wanted this to feel cinematic, Cropper said. Especially in today s age, everyone has 80-inch TVs. We wanted this to feel like a 13-episode movie. For the L.A. s Finest team, the cable vibe wasn t just about a visual look that combined TV and cinematic techniques. It also meant focusing on characters’ relationships and emotional lives rather than just the nitty gritty of their jobs as detectives.“It s different for a show like ours to tackle more of the personal relationships and less of a procedural,” Alba said. “You really get to go on that journey with us.”Alba and Union agreed that there were some real, concrete differences when the series was aiming for network distribution. Their wardrobes were more limited, their characters felt more archetypical, and Syd’s sexuality was, well, straight.“In the NBC version,” Union said, “there is no woman in my bed But in the Spectrum/Charter version, she s back!”Originally, Nancy was more “uptight” with a “perfect life,” and Syd was “the rebellious one,” Alba revealed.“It was always sort of keeping us inside of these boundaries and these roles, she said. In real life people, are a lot more fluid… and so that s how we want to see women on this show.”The Series Is Action Packed(Photo by Sony Pictures Television/Spectrum Originals, Photographer: Erica Parise)Right off the bat, L.A.’s Finest throws its audience into the heart of Los Angeles — a.k.a. right into traffic. In the first episode, Syd and Nancy are seen engaging in the most typical Los Angeles behavior possible: arguing over traffic, the GPS, and local routes of navigation. Sure, the series features on-location scenes everywhere from Santa Monica to Koreatown, but its representation of life in Los Angeles isn’t necessarily the most realistic one. Specifically, Syd’s apartment and Nancy’s house are way outside the typical budgets for L.A. law enforcement. But Union says the show is self-aware about the luxury these ladies live in. In fact, Union said that’s part of the point.“[Syd has] clearly played loose and fast with the rules, she said. She hasn’t been an L.A. detective for that long, so what exactly was she doing for the D.E.A.?”In other words, what has Syd done to afford this room with a view? What has she done to hide, or otherwise evade, potential demons from her past?L.A.’s Finest has Alba and Union driving all over the city chasing perps and evading figures from their respective pasts. While the two do some of their own hand-to-hand combat, they do have stunt doubles that face most of the action for them. But the driving? It s often really Alba behind the wheel, Union says.“I’m like, where’s the stunt driver?” she laughed. “And they’re like, Jessica has opted to do it! ”In Alba s defense, it s fun, though, the actress said.Yeah — “for her,” Union joked. “It’s one big anxiety attack for me.”Opening Up the Bad Boys Universe(Photo by Sony Pictures Television/Spectrum Originals / Photographer: Nicole Wilder)Even though L.A. s Finest is focused on Syd s life now, her partnership with Alba s Nancy, and how these women s past lead them to such turbulent and complex presents, Union is also open to including other Bad Boys characters in the mix. The Bad Boys universe exists so we can have these Avengers-type moments where can all sort of be together, that would be amazing, Union said. The door is always open for them. In fact, the new Spectrum series has already expanded the Bad Boys family by introducing Syd s estranged father (played by Ghostbusters star Ernie Hudson) into the mix. We had to figure out what would cause an estrangement to the degree where you d never met Ernie s character in the Bad Boys universe — you d never really heard of Marcus having parents, Union said. We had to come up with a mythology that really explained his absence and their relationship. (Photo by Spectrum Originals)From the get-go, it was Union leading the charge on reintroducing Syd s story and incorporating Nancy in the series.“It really did start with Gabrielle, L.A. s Finest co-executive producers and writer Brandon Margolis (pictured above left). Margolis said that he and his writing partner and fellow showrunner, Brandon Sonnier (above right), met with Union to pitch a Syd-centric TV series, and everything grew from there.“It was a real blessing to have these two strong women who can do the action, but equally hit the comedy timing and those comedy beats and moments, which are a real hallmark of the Bad Boys universe,” Sonnier said during our set visit in February.Sonnier expressed a real appreciation of Alba and Union s chemistry, too.“They right off the bat had a trust and a camaraderie, he said. They came in as equals and it immediately showed up on the screen.”(Later in February, Sonnier and Margolis were involved in an on-set accident that resulted in Sonnier s leg being partially amputated, but is still working, according to an interview Charter Content Chief Katherine Pope gave to Cablefax.com this month: He was at our final mix and in editing we treasure him. )(Photo by Sony Pictures Television/Spectrum Originals, Photographer: Erica Parise)The duo s on-screen chemistry is a translation of their real-life naughty sense of humor, as Union explained it.Alba described the show s creative working environment: “During the pilot we did a lot of ad-libbing and we would just riff off each other.”More than inside jokes, though, the two are committed to fostering a behind-the-scenes space that accommodates their lives as mothers, too.“I needed somebody that was gonna be on board with a new way of filming, a new way of doing this Hollywood thing,” Union said. And when Alba decorated her trailer as a nursery to prepare for her new baby, Union knew she’d picked the right partner.To hear their fellow producers and costars tell it, everyone benefits from that parent-safe and accommodating environment. Ryan McPartlin, who plays Nancy’s husband, Ryan, has also brought his kids — 9- and 12-year-old boys — to set.“God forbid, it s probably gonna make them want to become actors,” McPartlin joked.Partners in Crime — On-Screen and Off(Photo by Sony Pictures Television/Spectrum Originals, Photographer: Ron Batzdorff)In addition to starring in the series, Alba and Union are also executive producers.It was Union who recruited Alba to be her partner on- and off-screen. Union knew she wanted a “boss, badass woman” to be her co-star — someone who would be confident in the middle of action scenes and voicing her opinion behind the scenes, too.“There s not too many women that run a billion-dollar company, have established iconic characters, who can kick ass, who has the same work ethic I do, who s not afraid to speak her mind,” Union said. “There s only one Jessica Alba. So that s why I started calling and begging… Sending tequila.”L.A’s Finest premieres Monday, May 13 on Spectrum on Demand.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
So far critics are responding positively to the show s more adult take on superheroes. But will Doom Patrol: Season 1 (2019) 96% stay Fresh as its premiere approaches and reviews rack up? It s looking good so far How does Doom Patrol compare with Titans?(Photo by Jace Downs / 2018 Warner Bros Entertainment Inc. All Rights Reserved)Doom Patrol boasts the better premiere. Taking that into consideration, it could very well eclipse its predecessor given time, of course. – Eric Joseph, We Got This CoveredExecutive produced and written by Jeremy Carver (Supernatural, Being Human), Doom Patrol still has many of the same “mature” aspirations as Titans, including a pilot episode that not only features plenty of nudity, but also drops F-bombs as though its main point of reference for how people talk is Goodfellas and The Departed. – Kevin Yeoman, ScreenRantWhere the lack of content restrictions on DC Universe’s Titans always felt like kids getting to say curse words for the first time, [Brendan] Fraser wields them like a comedy weapon. Almost every expletive elicits a laugh, and Fraser milks them for all they’re worth. But beyond that, there’s a an incredible depth and numerous surprises to Steele’s story that you (probably) won’t see coming. – Alex Zelban, Decider I found the first hour of this oddball adventure far more enjoyable and consistent than DC Universe s Titans, enlivened by sharp direction and a great ensemble. – Brian Tallerico, RogerEbert.comDoes the Acting Measure Up?(Photo by Quantrell D. Colbert / 2018 Warner Bros. Entertainment Inc. All Rights Reserved)The strength of Doom Patrol is how the fun balances so well with the adult, dark elements, and none of that would work without both great writing and a stellar cast. – Jessica Mason, The Mary SueWhat makes it work, beyond the fun of the deconstruction, Tudyk s always welcomingly skewering narration and the non-stop weirdness are the performances and deep grounding in the emotional lives of the characters. –ZalbenNeither Fraser nor Bomer are physically present in the roles of Robotman or N亚博手机网页版Bad Boys for Life achieved two milestones this weekend. One of them was becoming the top-grossing film in the series, passing Bad Boys II’s 8 million. The second is more impressive: Until this weekend, Paul Blart: Mall Cop was the top-grossing January film of all-time with 6.3 million; in just 17 days, Bad Boys for Life took that record, eclipsing every other true January release ever with its total (so far) of 8.05 million. Though in the “for every action there is an opposite reaction” file, a new release this week set an abysmal new record for a release of its type.King of the Crop: Bad Boys For Life Officially the Biggest January Movie EverBad Boys for Life has left all of its January competitors in the rearview mirror, so we must go to the all-time lists to chart its progress going forward. At present time, the third film in the franchise is ahead of the pace of the second film in Mission: Impossible franchise (believe it or not, still the highest-grossing in that series), which had 5.7 million after 17 days, while grossing .2 million in its third weekend. The Bad Boys are up to 8.05 million with .68 million this weekend. The Will Smith/Martin Lawrence movie is also ahead of The Mummy Returns, which had 6.4 million at this point in its theatrical life, but a .4 million third weekend. While both were summer releases (and M:I2 opened on a Wednesday), Bad Boys is still doing midweek numbers close to or exceeding those films, giving it a legit shot at reaching the 0 million line and becoming the seventh Will Smith movie to do so. The film has also grossed over 4 million worldwide to date. Bad Boys II topped out at 3 million.
4. 呼朋唤友 随心所欲
5. HD 画质与高品质音讯
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.
Seminal NBC comedy The Office premiered 15 years ago to, well, mixed reviews. But you know how the story goes from there: A stellar second season cemented the U.S. remake of Ricky Gervais’ British series into a must-watch, and the series went on to become a landmark of modern TV. (You can read about just how it did that here.)One of the show s signatures are its cold opens – those hilarious sequences that opened the show and which led into the series notoriously earwormy theme song. But which was the best Office open of them all? We re asking you to help us decide. Take a look at our pick of the 40 best Office cold opens below, and rank your favorites. Let us know, too, which are your absolute faves in the comments below.
Last season on The Magicians, Quentin Coldwater died to save magic, his friends, and the world. In season 5, Julia, Alice, Eliot, Margo, and Penny must now navigate a world without him, but there s a new threat: a magical apocalypse looms. Grieving and under pressure, the magicians have to get their sh together to save the world without Q.About the show: A group of twentysomethings studying magic in New York discover a real-life fantasy world that poses a great threat to humanity in this drama adapted from Lev Grossman s book series.The series stars Stella Maeve, Olivia Taylor Dudley, Hale Appleman, Arjun Gupta, Summer Bishil, Rick Worthy, Jade Tailor, Brittany Curran and Trevor Einhorn. The series is executive produced by John McNamara, Sera Gamble, Henry Alonso Myers, Chris Fisher and Groundswell Productions Michael London and Janice Williams.The Magicians premieres on January 15 at 10/9C on Syfy.
新开三端互通传奇网站是一款单职业玩法的合击传奇手游最新的模式，每一个角色还有属于自己的天赋，完美复刻端游，来新开三端互通传奇网站挑战最不可思议的热血传奇征战之旅。 Over the years, Rotten Tomatoes has had the chance to sit down with some of the biggest stars and filmmakers on the planet, and in new video series The Vault, we’ve collected the most memorable moments from those interviews and put them in one handy place so that you can relive the big laughs, sharp insights, and questionable haircuts all in one bite.In this episode, we’re talking a trip down memory lane with the stars and creators of some of the biggest hits from Marvel Studios. Want to see what The Guardians of the Galaxy stars said about the film before they knew it was going to be a groundbreaking mega franchise? Or watch as the cast of Infinity War squirms and dodges as they avoid revealing the biggest spoiler in movie history? We’ve got you. Plus, we chatted and played games with the stars of Deadpool 2, the X-Men Films, Age of Ultron, and more, including the late great Stan Lee himself.The Vault is just one of many awesome new series you can find on The Rotten Tomatoes Channel, now available The Roku Channel and Peacock, and soon available on XUMO TV and beyond. It’s a 24/7 non-stop ode to the best in movies and TV, packed with nostalgic looks back at great moments and awesome trailers, interviews with mega-stars and game-changing filmmakers, and trivia, games, and hilarious debates. Check it out – we think you’ll like it.Learn more about The Rotten Tomatoes Channel and where to watch it.
ts from first kiss to first meal to first time meeting family and friends. As the couples live together for the first time, they must decide if they want to continue their romantic relationships leading to engagements and possibly marriage, or walk away forever.”She once competed on the Martha Stewart version of The Apprentice, and now Real Housewives and Shark Tank alum Bethenny Frankel is inviting aspiring business moguls to compete to land a job within her Skinnygirl empire. The Big Shot with Bethenny will air on HBO Max, and find contestants “tested to see how far they can push their creativity and determination to rise to the top,” which means a job on the Skinnygirl executive team. The series will be produced by Mark Burnett, Frankel’s B Real Productions, and MGM Television.The New York Post is teaming with Investigation Discovery to launch Torn From the Headlines: New York Post Reports, which will take viewers “behind the headlines into some of the city’s darkest and most inconceivable crimes of all time.” One episode will revolve around the kidnapping of New York tuxedo maker Harvey Weinstein … nope, it’s a different Harvey Weinstein. The series premieres on March 16.Netflix has acquired the global rights to the film The Life Ahead, an adaptation of the novel The Life Before Us by Romain Gary. The movie stars Sophia Loren as a Holocaust survivor who runs a daycare business, and who takes in a 12-year-old street kid who robbed her.ABC has given a pilot order to Adopted, a comedy from Jimmy Kimmel. Based on a true story, the series revolves around a Green Beret who returns to Texas from active duty and introduces his family to a 12-year-old Russian boy he has adopted. Kimmel will executive produce the series, and write it with a pair of U.S. Army veterans, Green Beret Shawn Vance and combat medic Daril Fannin. (THR)