These personal interactions are fed into a kaleidoscope of evocativeshort takes: a slow pan through the skeletal infrastructure of an abandonedbuilding beside the wreck of the vintage Hotel Roosevelt (Teddy was the reputedinstigator of the trumped up Maine event); a funky ancient typewriter tall as awedding cake, placed incongruously beside a sparkling new toilet bowl cleaningbrush; and in more opaque and impressionistic reverie, silent movie era footageof a man running with wings strapped to his arms; a frame or two of a modernballet dancer whose flowing white dress billows around her as she turns; and scenesof more contemporary warfare, with bombs exploding like molten rainbowssplattered onto the camera lens.
It's hard to say. Why did I choose Mozart to open the film? The decisions are not conceptual. The ideas are, but the actual choice of characters is by encounter. How do I interact with people and what do I see in them in terms of archetypes and figures for a movie? Clarita is one of the millions of women in Cuba who are struggling. She has a kid and don't know how to make a living. Some of these [women] are pushed into real poverty and prostitution. Clarita is one of the versions that the kids could become. The tension, I hope you have as a viewer, is that you live with the kids and try to figure out what is going to happen to them. Will they live in the street and give a massage to a German tourist, or study or live abroad? That tension is interesting to me.
L'epicentro full movie
Yes, "Epicentro" is a movie. I, Hubert, am a part of the reality I'm describing. I'm obviously manipulating reality and try to enact something. But I'm also overwhelmed by what's happening around me. I'm constantly playing with the question: What is reality, or fake, or true? I reflect on it in a playful and real-time way.
It's not something I intellectualized. When you open a movie, you strike a contract with the audience. You are now in a cinema and follow a story you may not be used to following. Talking about something abstract gives you a film. You can sink into it, or you can refuse it. Both reactions are [legitimate]. The man with a cigar who opens the film is not a conceptual idea. It's an idea to create a mood. He had a cigar because many people have cigars. The association you have is the right one. I don't want to lead you to something specific. I want you to feel the rhythm and the story starting.
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El puente de la Bahía y el Golden Gate representan la puerta de entrada a San Francisco, refugio de poetas y escritores de la mítica Generación Beat y punto de partida perfecto para un recorrido hacia el sur por la Ruta Estatal 1, la Pacific Coast Highway. Un viaje que bien podría ser el guión de una road movie: 970 kilómetros de playas, bares y moteles hasta la frontera con Tijuana, México.
Attore statunitense. Ex marine con il naso da pugile, orgoglioso ed emblematico esempio di brooklyniano, studia all'Actor's Studio e lavora per dieci anni in teatro prima imporsi al cinema in Mean Streets - Domenica in chiesa, lunedì all'inferno (1972) di M. Scorsese. Per lo stesso regista interpreta anche Taxi Driver (1976), conquistando la fama di attore adatto a ruoli drammatici, dolenti e incisivi. Dopo l'ossessivo I duellanti (1977) di R. Scott, nonostante l'efficace prestazione nei panni di un commissario-psicoanalista in Il lenzuolo viola (1980) di N. Roeg, la sua stella sembra offuscarsi, ma con l'inizio degli anni '90 ritorna prepotentemente alla ribalta con gli ormai proverbiali Le iene (1992) e Pulp Fiction (1994) di Q. Tarantino e con il furibondo Il cattivo tenente (1992) di A. Ferrara. Anomalo, viscerale e sanguigno, è il maori che irrompe nella vita di Ada, muta sposa per procura di Lezioni di piano (1993) di J. Campion, e l'esperto chiamato per deprogrammare una giovane australiana in Holy Smoke (1999), diretto ancora dalla regista neozelandese. È poi l'inarrivabile gestore della tabaccheria che in Smoke (1995) e in Blue in the Face (1995) di W. Wang diventa l'epicentro dell'umanità eterogenea che vive nei pressi di Slope Park, a Brooklyn. Tra le sue ultime interpretazioni, il rozzo ufficiale americano di A torto o a ragione (2002) di I.?Szabó e il poliziotto massone di Il mistero dei Templari (2004) e Il mistero delle pagine perdute (2007) di J. Turteltaub. È anche protagonista del discutibile Il mercante di pietre (2006) di R. Martinelli. 2ff7e9595c
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