#Roland joffe

[streamondemand]

'The Killing Fields' – surviving the Khmer Rouge on Netflix

In 1975, after the fall of Cambodia to the Khmer Rouge, Cambodian national Dith Pran, translator and journalistic partner of New York Times reporter Sydney Schanberg, was plunged into the terror of Pol Pot’s oppressive and brutal prison camps. The Killing Fields (1984), the first major western film to confront the atrocities of the Khmer Rouge and the Cambodian genocide, dramatizes Pran’s…

[watching-pictures-move]

Movie Review | Captivity (Joffe, 2007)

I grew up watching Popular Mechanics for Kids so I’ll always have a soft spot for Elisha Cuthbert, and not gonna lie, I felt pretty severe secondhand embarrassment from watching her in this. Imagine you take a role with an Oscar-nominated and Palme D’Or winning director responsible for such acclaimed films as The Killing Fields and The Mission, and as a reward you end up in this piece of shit and get a Razzie nomination for your efforts. Anyway, it speaks to the misogyny of the Razzies that she got nominated, because she isn’t even bad in this. There are a lot of problems with this movie but her performance is not one of them.

Anyway, there’s one kinda funny bit where early on her character drinks a sewage-coloured smoothie (yeah, as a fat person I shouldn’t be taking shots at smoothies and what have you, but you could not get me to drink something of that colour at gunpoint), and later the movie mirrors this by having the bad guy feed her another smoothie, this time made of blended eyeballs, earlobes, other fun parts. The laughs were not intentional, but this was the only enjoyable part. Otherwise this is a huge piece of shit. I put this on because I was hoping for a nostalgia hit from the 2000s vibes, and that maybe the director of The Killing Fields would bring something extra to the torture theme, but nope. And sometimes the worst movie from a good director can be interesting in its own way, but I don’t think Roland Joffe has a distinct enough style for his off days to be engaging.

I will say that I am very much glad that the torture porn era is over, but it strikes me that the genre’s most resilient artistic legacy is the prevalence of urine sheen. Obviously David Fincher is in part to blame for the popularity of the piss yellow filter so many movies are shot with these days, but these torture porn flicks really defined how entire movies could look like your last trip to a public washroom. But even by the standards of that genre, this is pretty shite. If you wanted to be pedantic, you could poke a billion holes in this, but it really comes down to the villain’s shtick being so ill defined that everything that transpires feels totally arbitrary. Anyway, I liked at the end when Cuthbert ***SPOILERS*** picks up a shotgun and blows away the bad guy and then a picture of herself. Really says a lot about cultural misogyny and the commodification of women. By the way, she’s playing a model. ***END SPOILERS***

[cemyafilmarsiv]

The Killing Fields directed by Roland Joffe

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[denimbex1986]

'By now, you’ve no doubt seen Christopher Nolan’s masterpiece about the life of J Robert Oppenheimer, the American theoretical physicist who was responsible for developing the first atomic bomb, as part of the Manhattan Project. Not only has it been a box office smash hit, but it has also attracted rave reviews from critics falling over themselves to praise Nolan’s combination of cerebral insight and pulse-racing thrills.

Yet, inevitably, Hollywood and factual accuracy always make uneasy companions. Although Nolan is an unusually exacting and conscientious filmmaker – and Oppenheimer is based on Kai Bird and Martin J. Sherwin’s Pulitzer Prize-winning biography of the physicist, American Prometheus – there have already been grumblings and suggestions that some of the film’s most eye-catching and striking moments and scenes have been invented. But which ones display cinematic licence, and which ones are based – however incredibly – on fact?

Did Oppenheimer really poison his tutor’s apple? Early on, there is a striking scene in which a young Oppenheimer, then a student at Cambridge, injects the professor Patrick Blackett’s apple with cyanide, in a fit of fury after Blackett causes him to miss part of a lecture by Niels Bohr (who later became a mentor of sorts to the physicist). It’s a striking scene – and bears a coincidental resemblance to the death of another brilliant, troubled man, Alan Turing, who died after supposedly eating a cyanide-laced apple. But according to Oppenheimer’s grandson Charles, it’s pure invention.

“The part I like the least is this poison apple reference,” he told Time. If you read American Prometheus carefully enough, the authors say, ‘We don’t really know if it happened… There’s no record of him trying to kill somebody.’ That’s a really serious accusation and it’s historical revision. There’s not a single enemy or friend of Robert Oppenheimer who heard that during his life and considered it to be true.”

Yet both American Prometheus and Raymond J Monk’s 2012 biography of Oppenheimer suggest that the incident occurred. As Monk writes: “In what looks like an attempt to murder his tutor, or at the very least to make him seriously ill, Oppenheimer left on Blackett’s desk an apple poisoned with toxic chemicals”. The author notes that it became part of the Oppenheimer myth: “The incident was hushed up at the time, and none of his friends knew about it until they were told of it by Oppenheimer himself, usually in some more or less misleading version. That his feelings toward Blackett mixed fervent admiration with fierce jealously, however, was obvious to those who knew him well.”

Monk suggests that, somehow, his actions were discovered, but he was allowed to continue his studies in exchange for agreeing to be seen by a psychiatrist on Harley Street. Had he been expelled from Cambridge, or imprisoned, then a seismic career would have been curtailed before it began.

One moment in the film, however, is pure cinematic invention, according to Monk. “I think we can be fairly sure that Niels Bohr did not pick up the apple and that Oppenheimer did not smack it out of his hand,” he says. Even Nolan is not immune from the temptation of fabrication for its own sake.

Was Jean Tatlock murdered? One of Oppenheimer’s most intriguing characters is Florence Pugh’s Jean Tatlock, a Communist Party member who was romantically involved with Oppenheimer before, and during, his marriage to Kitty. Although she is only in the film for a relatively short time, she makes a substantial impression – not least in the depiction of her suicide in January 1944, when, under surveillance by the FBI for her political sympathies and suffering from clinical depression, she took barbiturates and drowned herself in the bathtub.

The presence of a suicide note – “I think I would have been a liability all my life – at least I could take away the burden of a paralyzed soul from a fighting world,” it read in part – seemed to make it clear that she wished for her own end, and the inquest recorded a verdict of suicide, motive unknown.

However, Nolan provocatively includes a scene – depicted as a vision, or fantasy, of Oppenheimer’s – of a gloved hand, belonging to an unknown person, pushing Jean’s head under the water. This might be seen simply as artistic licence, were it not for the fact that this alludes to a well-known conspiracy theory suggesting that Jean’s political views, and involvement with the director of the Manhattan Project, made her dangerous, and therefore expendable to the greater good.

This theory has been bolstered by the fact that her body contained chloral hydrate when she died; combined with barbiturates, this meant that she had what might be called a ‘Mickey Finn’ in her system – a non-fatal dose of drugs that would immobilise her, before she was forcibly drowned. As American Prometheus records one doctor saying: “If you were clever and wanted to kill someone, this is the way to do it.”

The release of Nolan’s film has overshadowed an earlier picture on the same subject, Roland Joffe’s Fat Man and Little Boy, but that film’s co-screenwriter Bruce Robinson – best known for writing and directing the seminal Withnail and I – became convinced that Tatlock had been murdered, and that the public records of her autopsy were, in his words “an inadequate invention”.

As Robinson said to the writer Alistair Owen in his collection of interviews Smoking in Bed: “Piece by piece we get to the point where, had I been the cop I would have made the arrest. The G2/FBI people had her murdered. They gave her chloral hydrate to knock her out, slung her in the bathtub, faked a note, and within a day or two – because her father was a very prominent man in the Berkeley area – there are newspaper reports talking about Jean Tatlock’s suicide.”

Whatever the truth behind Tatlock’s death, Nolan’s film undeniably hints at a larger story than just a tragic self-inflicted demise – and undoubtedly will lead others to ask questions again, too.

Could the Trinity test really have ended the world? Tatlock’s interest in the poetry of John Donne inspired Oppenheimer to name the first atomic bomb test ‘Trinity’, after Donne’s religious verse. Yet it was the fear of extinguishing the planet, rather than poetic contemplation, that leads Matt Damon’s General Groves to ask Oppenheimer in the film what the chances of global annihilation are. “Near zero,” the physicist replies. In one of the picture’s lighter moments, Groves’s horror at this revelation leads Oppenheimer to say “What do you want from theory alone?” The military man replies: “Zero would be nice.”

The “atmospheric ignition” scenario that the film suggests was a genuine fear of many scientists, including Oppenheimer’s colleague Edward Teller, who worried that the splitting of the atom would lead to a chain reaction that would destroy the world. But by the time the Trinity test took place, it was universally accepted that such a seismic occurrence was impossible.

As Richard Rhodes, author of The Making of the Atomic Bomb, commented to the Washington Post: “This thing has been blown out of proportion over the years. The question on the scientists’ minds before the test wasn’t, ‘Is it going to blow up the world?’ It was, ‘Is it going to work at all?’”

The conversation between Groves and Oppenheimer is therefore a moment of dramatic licence on Nolan’s part that effectively dramatises the concerns that the military – who were funding the operation – had, but the major worry was that of the test succeeding, rather than its causing the apocalypse.

Did Oppenheimer and Einstein’s final exchange happen? A recurring motif throughout the film, and one only fully explained at its climax, is an encounter between Einstein and Oppenheimer when the latter becomes a senior figure at Princeton, under the auspices of his future nemesis Lewis Strauss. The meeting between the two men – misinterpreted by Strauss, who self-aggrandisingly assumed that they were criticising him – shows a mournful Einstein suggesting that Oppenheimer’s invention of the atomic bomb could have destroyed the world, and Oppenheimer replying: “I believe we did.”

This is, of course, an invention of Nolan’s that elegantly portrays both the shared values and the differences between the two men. But they certainly knew each other in real life, first meeting in 1932 at the California Institute of Technology, and then working together at Princeton after the war, where Oppenheimer remained until 1966. The two men were respectful colleagues rather than intimate friends, and Bird and Sherwin suggest that the younger man saw Einstein “as a living patron saint of physics, not a working scientist.”

Nonetheless, Einstein respected Oppenheimer, calling him “an unusually capable man of many-sided education”, and later defended him when his security clearance was threatened, saying publicly that “I admire him not only as a scientist but also as a great human being” and privately that “the trouble with Oppenheimer is that he loves a woman who doesn’t love him—the United States government.”

Oppenheimer returned the compliment, saying in a lecture in 1965: “Einstein is also, and I think rightly, known as a man of very great goodwill and humanity. Indeed, if I had to think of a single word for his attitude towards human problems, I would pick the Sanskrit word Ahinsa, not to hurt, harmlessness.” Although Einstein had written a letter to President Roosevelt that had convinced him of the necessity of developing an atomic programme, he was never involved in the Manhattan Project, and believed ultimately in the power of science as something to create – rather than to destroy.

Did President Truman call Oppenheimer ‘a crybaby’? In one of Oppenheimer’s most effective scenes, President Truman – as played by Nolan regular Gary Oldman – meets the physicist, ostensibly to congratulate him for his work on the Manhattan Project. But when Oppenheimer shows contrition for his involvement in the project and suggests he has blood on his hands, Truman sardonically waves a handkerchief at him, before remarking, on Oppenheimer’s ejection from the Oval Office: “Don’t let that crybaby in here again.”

It seems almost on the nose, unlike much of the rest of the elegant script, but this is one instance where a dramatic confrontation is based on documented fact. Monk’s biographer attests to Truman referring to Oppenheimer as a “crybaby scientist” to his aides, and told his Secretary of State Dean Acheson that he never wished to see him again.

While this is contracted into one brief scene, with Oppenheimer overhearing his dismissal, it is nonetheless true that Truman was angered by the scientist’s principled objection. “Blood on his hands, dammit, he hasn’t half as much blood on his hands as I have,” he was recorded saying. “You just don’t go around bellyaching about it.”

Was Kyoto not bombed because a politician went on honeymoon there? In a moment that epitomises the mixture of horror and black comedy that defined much of the Manhattan Project, the US Secretary of War Henry Stimson, deciding where will be legitimate targets for the atomic bombs to be dropped, suggests that Kyoto should be spared, partly because of its cultural and historical significance to Japan – but also, Stimson says cheerfully, because he and his wife honeymooned there.

The line – which was suggested by James Remar, the actor who played Stimson – seems like the perfect encapsulation of institutional caprice. “It has this bureaucratic quality of a group of men discussing massive destruction and how they’re going to do these awful things.” Nolan has said. “And you’re suddenly seeing a human face to these negotiations.”

It is unclear whether Stimson went on honeymoon to Kyoto, let alone whether his personal affection for the city resulted in its near-arbitrary salvation. Yet it is documented fact that Stimson visited the city several times, when he served as Governor of the Philippines in the 1920s, and that he personally lobbied Truman not to bomb it. The President was in agreement with him, as Stimson recorded in his diary on July 24 1945. Truman, he wrote, “was particularly emphatic in agreeing with my suggestion that if elimination was not done, the bitterness which would be caused by such a wanton act might make it impossible during the long post-war period to reconcile the Japanese to us in that area rather than to the Russians”.

Yet others claim that, rather than Stimson or any other politician, the credit for saving Kyoto should instead go to the archaeologist and art historian Langdon Warner – one of the inspirations for Indiana Jones – who, in his role on the Monuments, Fine Arts and Archive section of the military, made a persuasive case against bombing Kyoto, along with Nara and Kamakura. To this end, monuments to Warner have been erected in Kyoto and Kamakura; a gesture of gratitude to a man who truly understood the awfulness of what would have happened if Japanese culture had been swept away by Oppenheimer’s invention.

Did Kitty testify on behalf of her husband at the security hearings? Emily Blunt’s presence in the majority of Oppenheimer is slightly perplexing; for a film revolving mostly around men, the A-list star is largely limited to domestic scenes at home that show both her alcoholism and frustration with being sidelined to her husband’s work. Yet she has a magnificent scene towards the end that will probably earn Blunt at least an Oscar nomination, when Kitty attends the security hearings and passionately both defends her husband and attacks their right to hold the quasi-kangaroo court that will eventually result in the withdrawal of his security clearance.

It’s largely drawn from the transcript of the hearings – as is much of this narrative thread – and shows Kitty as “forthright and unflustered”, as Bird and Sherwin suggest, and that “she acquitted herself easily, coolly and precisely answering each question.” Rubbishing the idea that her and her husband’s previous association with the Communist Party might make them security risks, Oppenheimer’s biographers conclude that “Kitty did not give an inch. Not even [Roger] Robb [the attorney cross-examining at the hearing] could touch her. Calm and yet alert to every nuance, she was undoubtedly a better witness than the husband she was defending.”

Did Oppenheimer really learn Dutch in six weeks? Early in the film, there is an amusing scene when Oppenheimer is about to give a lecture to a group of Dutch students. His colleague confidently expects that he will speak in English to widespread confusion, but instead Oppenheimer delivers a complex technical talk in fluent Dutch. When asked how long it took him to master the language, Oppenheimer replies “six weeks.”

This might seem like a piece of pure invention, designed to show off Oppenheimer’s savant-level brilliance, but it is entirely true; the physicist had a facility for mastering languages that enabled him to learn Dutch and Sanskrit in record time; reading the Bhagavad Gita in the latter was what led him to come out with his famous comment, after the success of the Trinity test, “Now I am become death, destroyer of worlds.” His friend Harold Cherniss paid tribute to his ability to get to grips with any intellectual challenge, saying: “When he became interested in anything, he very quickly picked up an enormous amount of knowledge about it.”

Did he follow a martini and cigarette diet? Cillian Murphy’s brilliant performance as Oppenheimer is due, in part, to the naturally slim actor’s weight loss, which makes him look as intensely gaunt as the real-life man. Oppenheimer himself was only 127 pounds (just over nine stone) and failed an Army medical because he was considered too underweight to become an officer. At his most extreme, during the activity of the Manhattan Project, Oppenheimer’s weight dropped to a mere 115 pounds.

Bird and Sherwin wrote that “his energy level never flagged, but he seemed to be literally disappearing little by little, day after day.” He may not literally have lived off cigarettes and martinis, as the film suggests, but food was increasingly secondary to the more immediate stimulation provided by nicotine and alcohol; as one of his neighbours observed, “My God, if the man ate a thousand calories a day it was a miracle.”

Did Kitty Oppenheimer refuse to shake Edward Teller’s hand? At the film’s conclusion, there is a powerful brief scene where, as an older and rehabilitated Oppenheimer is awarded the Femi Award at the White House, his friend-turned-Judas Edward Teller (who testified against him at the security hearings) offers his hand to shake. Oppenheimer does so, apparently without resentment or anger. But when Teller offers Kitty his hand in turn, she scowls furiously at him, and he withdraws it, abashed.

It might seem like a convenient piece of dramatic invention, but onlookers testified as to its accuracy, and offers confirmation – as if it were needed – that Kitty’s passion and anger were an invaluable foil to her husband’s cooler and more analytical temperament.'

[randomrichards]

ENNIO:

Surreal musician

Turned legend film composer

Won’t repeat himself

[kubelictitles]

Goodbye lover (Roland Joffé. 1998)

[adamwatchesmovies]

Captivity (2007)

Even if its lame twist ending and even lamer final scene didn’t doom Captivity to an eternity of hot coals and pitchforks, its eye-rolling attempt to cash in on the briefly popular “torture porn” horror subgenre would. Neither tense nor scary, it won’t even appeal to those looking for sleazy trash.

Fashion model Jennifer Tree (Elisha Cuthbert) is kidnapped and brought to an unknown location. There, her captor proceeds to subject her to various forms of psychological torture. When she discovers another captive in the adjoining cell, Jennifer and Gary (Daniel Gillies) search for a way to escape together.

In all fairness, this film is not as grisly as the films it wants to emulate, like the Saw and Hostel pictures from 2003 and onwards. Jennifer may get force-fed a smoothie made of eyeballs and ears, but it’s more about the idea of how disgusting it would be to eat that sort of thing than the person whose face got shredded to make it happen. There is one scene in which a woman dies after her face is melted with acid but most of the time, Jennifer is threatened, subjected to loud noises or blasted with blinding lights when she doesn’t do what her kidnapper wants her to. Most of the torture she experiences deliberately avoids dirtying up her pretty face - for reasons that are revealed later. It’s torture but not the kind you’d expect from a movie of this genre made in 2007. That doesn’t mean it isn’t trashy, however.

About a third of Captivity has Jennifer trying to figure out why she’s woken up in this strange place, what her kidnapper wants from her, whether or not she can escape, etc. It doesn’t take you long - far less time than Jennifer - to figure out that it's all part of a sick game. If our heroine finds an object that might help her out, if a route seems to lead outside, if there’s a glimmer of hope somewhere, it’s been planted so the weirdo in charge can get his jollies tickled. This makes you immediately suspicious of Gary.

I have to pause and explain in detail one particular aspect of Jennifer and Gary's bonding because it makes no sense and bugged me to no end. Between the two is a soundproof glass window that’s been painted black. They communicate by scratching away the paint and spelling out sentences to each other. The thing is, that… just wouldn’t work. There must be paint on both sides of the glass for them to write messages to each other. Do you spot the problem with that? Unless you scratch your message in a spot where your neighbor has already removed all of their paint, they won't see anything. It doesn’t really matter but it’s a telltale sign that this movie hasn’t been thought all the way through.

As you might've guessed, Gary is in on this whole kidnap-torture thing. He and his brother, Ben (Pruitt Taylor Vince), are psychopaths who kidnap beautiful women and torture them psychologically. At their lowest, the women are introduced to Gary. Inevitably, they bond, an attraction develops, the two are allowed to be in the same room and they end up having sex (Ben gets to watch, which is what he likes). Soon after, the women are murdered - presumably turned into smoothies. I guess I can buy that premise. It explains why none of the ordeals Jennifer goes through are “that bad” - forcing her to sit down and watch H.P. Lovecraft’s The Tomb or Mummy Maniac, both of which are advertised on the DVD, would be far more painful than some of what she goes through. It does require them to have this huge area dedicated to torture rooms and bedrooms with automated doors, hidden cameras, TV screens and all sorts of equipment but you can understand pouring a lot of time and money into your hobby - sick as it is.

The real problem is that you can tell director Roland Joffé and writer Larry Cohen thought this reveal was going to have people picking up their jaws up from the floor when it’s obvious to anyone watching. At one point, Jennifer is shown a tape depicting the “origin” of Ben’s madness. He was being molested by his mother until he murdered her on camera. Here’s the thing. That footage isn’t shot from a first-person point-of-view. Someone else was there to film what happened. Put two-and-two together, Jennifer. Who do you think was there with him?

No bad movie about a female victim is complete with a groan-inducing "empowering" ending - viewable only in the unrated version of the DVD. Following her escape (no thanks to two idiot police detectives who get themselves killed faster than this movie’s chances of being good), Jennifer has slain the two brothers and re-entered society. In no time at all, she turns into the cliché to end all clichés: a serial killer who hunts serial killers! Give me a break.

The only thing worth remembering about Captivity is the scene in which Jennifer is forced to drink that eyeball and ear smoothie. It’s so gross and so ridiculous there’s no way anyone anywhere else will ever show that deranged visual on film. Even as something unpleasant you could subject someone you don’t like to, you could do better than Captivity. (Unrated version on DVD, October 31, 2021)

[kubelicatthemovies]

Goodbye lover (Roland Joffé. 1998)

[healed1337]

This isn’t hilariously bad in the same manner that any of the other movies I’m featured this month – it’s not even close. Depending on how much you care about movie accuracy when it comes to video game adaptations, you may even find this movie infuriating. If you can get past that aspect though, this movie isn’t what you would call terrible, despite appearing on several “worst films ever made”…

[h50europe]

COLIN MORGAN plays Hamton Arsenault in the upcoming tv series The Gray House. Fun fact: Colin will play Daisy Head's love interest (yes, Daisy is the daughter of sir Anthony Head, King Uther in Merlin). According to IMDb, Colin's appearance is set for all 8 episodes.

The series' first episode will premiere at the opening ceremony of the 63rd Monte-Carlo Television Festival on June 14th at 7pm.

High octane producers: Kevin Costner & Morgan Freeman

The Gray House focuses on the unsung women who turned the tide of the American Civil War in favor of the North. A Richmond Socialite and her daughter, a formerly enslaved African-American, and a courtesan build the first successful female spy ring, operating right under the noses of the Confederate High Command. They risk life and liberty to help win the war and preserve American Democracy.

The Gray House is based on an original script by Greif and Darrell Fetty (The Offer, Texas Rising) and Oscar-nominated John Sayles (Lonestar, 8 Men Out). Oscar-nominated Roland Joffe (The Killing Fields, The Mission, Texas Rising) is set to direct the series

[colinodonoghue]

3Olympia Theatre: ✨Meet the cast ✨ Colin O’Donoghue will be playing the role of ‘Sam’ in the hit play ‘2:22 – A Ghost Story’ coming to 3Olympia Theatre this summer, running from June 20th – August 11th 2024 Colin O’Donoghue can most recently be seen in the highly anticipated Appian Way/Nat Geo series The Right Stuff opposite Jake McDorman and Patrick J. Adams. He has just completed filming in civil war spy series The Gray House for Paramount that Roland Joffe has directed. In film, Colin stars in Susan Johnson’s Carrie Pilby alongside Bel Powley, as well as the independent feature The Dust Storm. He also starred opposite Anthony Hopkins in Mikael Hafstrom’s The Rite for New Line, Johannes Roberts’ independent film Storage 24, Gary Fleder’s Identity, alongside Angela Bassett and Fairytale of New York, opposite Jim Belushi and Miranda Raison. In TV, Colin can be seen in Adam Horowitz and Edward Kitsis’ hit ABC drama, Once Upon a Time, recurred on the Irish TV series, The Clinic, which has won various Irish Film and Television Awards and appeared on Showtime’s The Tudors. Do you dare to join us? Book your tickets to 2:22 A Ghost Story now 👻🎟️ https://www.3olympia.ie/whats-on/222-a-ghost-story #222AGhostStory

[colinodonoghuebrasil]

Estrelas musicais se alinham para o drama "The Gray House" – DEADLINE (Tradução)

Estrelas musicais se alinham para o drama da Guerra Civil THE GRAY HOUSE com Willie Nelson, Shania Twain, Yolanda Adams, Lainey Wilson, Killer Mike e mais na trilha sonora.

As estrelas da música estão se preparando para THE GRAY HOUSE, de Kevin Costner e Morgan Freeman.

Leslie Greif abriu a playlist da série com exclusividade para o Deadline e há uma grande potência estelar aí, incluindo uma música original interpretada pela lenda da música country Willie Nelson, que encerra a série. Além disso, Shania Twain, Killer Mike e Yolanda Adams estão entre os que participarão, e Jon Bon Jovi co-escreve uma das músicas do programa.

A matéria completa, e em inglês, você pode ler CLICANDO AQUI. Segue tradução feita pela Equipe COBR:

“Minha ideia foi, em vez de ter uma música-título [final], ter oito músicas diferentes de artistas vencedores do Grammy e de diferentes gêneros musicais, que foram escritas para o nosso programa e que contarão a história daquele episódio”, disse Greif, que é produtor executivo e escreveu o roteiro com Darrell Fetty e John Sayles.

“Heart of America”, de Nelson, foi escrito por Erin Enderlin, Jim ‘Moose’ Brown e Jeff Fahey. Ela encerra a minissérie, que conta com Costner e Freeman como produtores executivos. A série acompanha um trio de heroínas desconhecidas que fazem parte de uma rede de espionagem que tenta virar a maré da Guerra Civil Americana a favor do Norte. Mary-Louise Parker, Amethyst Davis, Daisy Head e Ben Vereen fazem parte do elenco.

“Todas essas pessoas vieram, com base no trailer, no tema do programa e no desejo de fazer parte de algo importante”, disse Greif, que co-produziu várias das músicas da série. Shania Twain ficou evidentemente impressionada. Como parte do dueto com Drake Milligan, ela apresenta uma música intitulada “I'll Be Here With You”.

Yolanda Adams, uma das artistas gospel mais vendidas de todos os tempos e estrela da série Kingdom Business do BET+, canta “Love Will Rescue Me”, que encerra o segundo episódio. Lainey Wilson, que foi eleita a artista do ano no Academy of Country Music Awards deste ano, tem uma canção chamada “Dead End Road”.

A dupla de marido e esposa War and Treaty interpreta o tema do título principal “Blood In The River” na série dirigida por Roland Joffe, bem como a música do título final “If This Day Was The Last Day”. Killer Mike participa da ação com um número chamado “Spying Eyes”.

O episódio de abertura da série termina com “Unholy Water”, interpretada por Adrienne Warren. A música vem de uma equipe poderosa de Jon Bon Jovi, Desmond Child e Butch Walker. Larkin Poe, ganhador do prêmio Grammy, participa com uma música chamada “The Devil's Boat”.

Scott Stapp, que co-escreveu uma das músicas da trilha sonora de “É Assim Que Acaba”, apresenta “Red, White, & Blue”, que ele escreveu com Marti Frederiksen e Desmond Child. O compositor e integrante do Hall da Fama, Child, tem créditos de composição em várias músicas da série.

THE GRAY HOUSE é da Paramount Global, e seu braço de distribuição está o vendendo internacionalmente. Ainda não há notícias sobre seu lançamento nos EUA. É produzido pela Territory Pictures, de Costner; pela Revelations Entertainment, de Freeman e Lori McCreary; e pela Big Dreams Entertainment, de Greif.

Confira a lista de reprodução completa de THE GRAY HOUSE abaixo:

Música: “Blood In The River” (Tema do título) Interpretada por: The War and Treaty Escrita por: Erin Enderlin, James 'Moose' Brown, Jeff Fahey

Música: “Unholy Water” (End Title – Episode 1) Interpretada por: Adrienne Warren Escrita por: Jon Bon Jovi, Butch Walker, Desmond Child

Música: “Love Will Rescue Me” (End Title – Episode 2) Interpretada por: Yolanda Adams Escrita por: Anthony Evans, Nick Pothoven

Música: “If This Day” (End Title – Episode 3) Interpretada por: The War and Treaty Escrita por: Diane Warren

Música: “Red, White, & Blue” (End Title – Episode 4) Interpretada por: Scott Stapp Escrita por: Scott Stapp, Marti Frederiksen, Desmond Child

Música: “Dead End Road” (Featured Song – Episode 5) Interpretada por: Lainey Wilson Escrita por: Lainey Wilson (ASCAP), Trannie Anderson, Paul Thomas Sikes

Música: “The Devil’s Boat” (End Title – Episode 5) Interpretada por: Larkin Poe Escrita por: Erin Enderlin, James “Moose” Brown, Jeff Fahey, Michael Trotter Jr., Tanya Trotter

Música: “Spying Eyes” (Smiling Faces) (End Title – Episode 6) Interpretada por: Killer Mike ft. Lena Byrd Miles Escrita por: Barrett Strong, Norman Whitfield, Michael Render, Vidal Garcia, Cosmo Hickox, Max Perry, Robert Mandell

Música: “I’ll Be Here With You” (End Title – Episode 7) Interpretada por: Shania Twain & Drake Milligan Escrita por: Erin Enderlin, James “Moose” Brown, Jeff Fahey, Drake Milligan

Música: “Heart of America” (End Title – Episode 8) Interpretada por: Willie Nelson Escrita por: Erin Enderlin, James “Moose” Brown, Jeff Fahey

[burningexeter]

Here's a damn fine solid amount of all the different kinds of media that I like to personally think and believe both can fit perfectly well in and could actually share the same universe as Chris Sanders & Dean DeBois' How To Train Your Dragon Series (1 - 3 & the TV Series), which you can both read and see below for yourself right about here:

• Tomm Moore & Ross Stewart's Wolfwalkers

• Gore Verbinski's Pirates Of The Caribbean Trilogy

• Jon Turteltaub's National Treasure Duology

• Stephen Sommers' The Mummy (1999)

• M.J. Bassett's Solomon Kane (2009)

• Julius Avery's Overlord (2018)

• Zack Snyder, Jay Oliva & Eric Carrasco's Twilight Of The Gods (Netflix Series)

• Guy Ritchie's Sherlock Holmes Duology

• Frank Darabont's The Shawshank Redemption (1994) & The Green Mile (1999)

• Steven Spielberg's Indiana Jones Series (1 - 4) & The Mission (Amazing Stories)

• David Fincher's Bad Travelling (Love, Death & Robots)

• Sam Mendes' Road To Perdition (2002)

• Hayao Miyazaki's Princess Mononoke

• Edward Berger's All Quiet On The Western Front

• Mel Gibson's Hacksaw Ridge

• Nils Gaup's Pathfinder (1987)

• Roland Joffe's The Mission (1986)

• John Carpenter's Big Trouble In Little China

• John Milius' The Wind and the Lion (1975)

• Martin Campbell's GoldenEye (1995)

• Phillip Dear's All Through The House (Love, Death & Robots)

• Kevin Reynolds' The Count Of Monte Cristo (2002)

• Neil Marshall's Centurion

• John McTiernan's The 13th Warrior (1999)

&

• Jonathan E. Steinberg & Robert Levine's Black Sails (TV Series)

[denimbex1986]

'Oppenheimer has reignited interest in the dropping of the atomic bombs on Japan...The atomic bomb has been the subject of all kinds of films since they were dropped in August 1945, with Japanese cinema, in particular, reminiscing on the tragedy. Oppenheimer is arguably one of the most popular films on the topic, but it is far from the first...

Christopher Nolan's Oppenheimer tells the story of real-world scientist J. Robert Oppenheimer, one of the scientists that headed the Los Alamos project as well as the Trinity test bombing. Although Oppenheimer was one of the key figures behind the development of the weapon, Nolan's Oppenheimer undeniably takes the stand that dropping the bombs was not necessary. Throughout the film, Oppenheimer realizes the horrors that he has unleashed upon the world, with the film delving into the politics surrounding the bomb...

9. A Compassionate Spy

One of the more recent entries on this list, Steve James' A Compassionate Spy is a 2022 documentary that tells the story of physicist Theodore Hall. Hall was another one of the scientists who worked on the Manhattan Project, but unlike Oppenheimer, Hall was actually Soviet spy. Hall leaked information on the development of the bombs to the Soviets, and A Compassionate Spy interestingly takes the stance that this was the correct choice. The film advocates that it would be a mistake for only one world superpower to have atomic weaponry, and since Oppenheimer and A Compassionate Spy are two sides of the same story, they're a great double feature...

7. Fat Man & Little Boy

Roland Joffé's Fat Man and Little Boy is another film about the Los Alamos project, with it following the development of the titular atomic bombs. The 1989 film features many of the same historical figures as Oppenheimer, with it focusing on General Leslie Groves' interactions with Robert and Kitty Oppenheimer as well as several other physicists. Although Fat Man and Little Boy isn't as anti-nuclear weaponry as Christopher Nolan's Oppenheimer, the film does portray the moral struggle that many of the people involved in the weapon's creation were faced with...'

[maximumwobblerbanditdonut]

Goodbye to Julian Sands, who was a lovely actor. Such a sweet man. You would have adored him, funny, generous and beautiful. ��

British actor Julian Sands, known for his films like “A Room with a View” and “The Killing Fields,” has been found dead after going missing in the San Gabriel mountains in Southern California in January. He would have been 65.

A Room with a View (1985) It was with an impulsive kiss in an Italian poppy field that the late Julian Sands achieved his version of immortality. The scene is remembered as the most iconic moment in Edwardian society the most beloved English period piece of its era.

Sands, who was born, raised and began acting in England, worked constantly in film and television, amassing more than 150 credits in a 40-year career. During a 10-year span from 1985 to 1995, he played major roles in a series of acclaimed films.

After studying at the Royal Central School of Speech and Drama in London, Sands embarked on a career in stage and film, playing small parts in films including “Oxford Blues” and “The Killing Fields.” He first gained international recognition playing British journalist Jon Swain in Roland Joffe’s far darker drama The Killing Fields (1984), set in Cambodia during the time of the Khmer Rouge’s genocide against its own people.

The film provided breakthrough roles for both Bonham Carter and Sands

He landed the starring role of George Emerson, who falls in love with Helena Bonham Carter's Lucy Honeychurch while on holiday in Tuscany, in the 1985 British romance, “A Room With a View.”

The film from director James Ivory and producer Ismail Merchant won the British Academy of Film and Television Arts award (BAFTA) for best film and was nominated for eight Oscars, winning three.

In the wake of its success, Sands moved to the United States to pursue a career in Hollywood.

RIP 💔

1958-2023

#JulianSands #ARoomWithaView #OxfordBlues #TheKillingFields #Edwardiansociety #Bafta #GeorgeEmerson #HelenaBonhamCarter #LucyHoneychurch #London #JamesIvory #OMioBabbinoCaro #KiriTeKanawa #Tuscany #IsmailMerchant