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Another fine actress. Very attractive and talented. I just wonder if she'd hop from the M:I franchise into Bond!
Maybe she could play a femme fatale and really turn it upside down. I wouldn't mind seeing that, @Goldeneye0094 !!
Why not? I'd gladly take that! Though as long as it's a noticeable few-minute-long tracking shot of any sort, I won't complain about the length.
I think fallout pretty much closed her characters arc plus I don't think her character despite being very important to Ethan Hunt was hardly in the franchise her only major roles was MI3 and fallout so I don't see a problem with her transitioning to bond.
Yah, you're right! Bring on the long oner.
Done well, a "oner" hasta tell a mini story. And that six minute scene in TD had a mini story and was done well (as was the shorter Maniac one)
The same could be done in B25-- a break-out scene, or something-- one-track and kick our ass as viewers...
It seems to be a device this director likes to use to emphasize something. It's not out of the question that it will show again in B25! And if it does?...
If they have specific action beats worked out, then the odds are they have been paid, prevized, coordinated and approved.
However, he will be allowed to decide how to actual film and shoot them. I just pray that he shoots the action in the way he did in True Detective. That one-take is amazing. I remember being in awe of that scene for years, my heart was in my mouth throughout. I was convinced they'd cut when they climbed the fence, but someone they got the camera over the fence!
Fukunaga is a bloody genius. I've been touting him for Bond for years.
I'm a bit concerned whether Fukunaga shoots in digital or film.....His film work is outstanding, his digital work is a tad worrying in comparison.
For example, compare the following:
So……let’s start with ‘Sin Nombre’.
I was mostly rather impressed with the film. Fukunaga makes an assured and confident debut. In many respects, the film is a quintessential Sundance movie and its attempts to meld together human drama with socio-political issues is compellingly executed.
Effectively, the film is an immigration drama, however, it eschews to directly discuss the politics of the region. However, the political backdrop is far from being relegated to subtext. Especially considering how relevant the story is now considering President Trump’s rhetoric on Mexico and his Twitter tirade’s concerning MS-13 (the film’s lead is a member of the notorious gang).
Part of what’s so impactful about the film is how each option — staying in one’s native community or attempting to sneak into the country illegally — is rendered extremely life threatening.
What Fukunaga is able to convey is a sense of atmosphere and place. Suddenly, the people we meet are no longer statistics but real humans with their own personal stories. Many people may consider American immigration to be an issue at the Mexican border, but in ‘Sin Nombre’ you see the perilous journey and the risks undertaken to reach that point. Fukunaga shoots the train itself with an ominous and haunting quality.
Fukunaga is also able to imbue the film with careful and interesting detail. A large part of the story concerns gang culture and many of the more intimate, observational details concerning gang rituals and behaviours are fascinating. The chance to ruminate in a fully-realised atmosphere and present the story in a stylised but documentary-like fashion adds a great air of authenticity.
In the second half the film effectively leaves the more observational quality and adopts a more conventional ‘chase, gangster film’ narrative. This element is less successful and makes ‘Sin Nomre’ slightly rote and predictable.
The movie works best when it feels like a filmed New York Times article. The genre trappings are an unnecessary distraction, which sacrifice much of the atmosphere.
The performances are terrific, with the characters proving to be constantly engaging. The decision to hire unknown Mexican actors gives the film that added sense of verisimilitude. The young man playing Casper is great and is given terrific material, however the actress playing Sarya is given less to do. Which is shame as she’s a soulful performer. Personally, I’d love to have seen more of her and spent time seeing the rapport develop between the characters. As it stands, this aspect is a tad lacklustre.
It’s a great debut and a clear sign that Fukunaga is a fantastic filmmaker who can tackle political issues but from a human perspective. This is an artfully handled film that is both stylish and harrowing.
I’d give it 4 stars out of 5.
It's a very good watch. It's beautifully made and the story is harrowing and powerful.
Essentially, Fukunaga was inspired to make the film after reading an article which depicts the events. Later when the film won acclaim at Sundance and numerous awards, Fukunaga was encouraged to make a feature based on a similar subject matter.
The film really shows Fukunaga's very humanist touch. Despite not being subtitled, there is something deeply intimate and relatable about the individuals on the truck. You can feel the atmosphere, sweat and desperation throughout. Fukunaga's cinematography is elegantly composed with a naturalistic and authentic approach.
Directorially it was certainly fine, but I didn't find anything particularly spectacular about it, apart from the Episode 4 tracking shot which was very nicely done. I would prefer not to see something like that in the next Bond film though, especially after what Mendes gave us in the SP PTS, and I doubt we will either. I read an interview where Fukunaga pretty much says that he felt there was really not much exciting about the show, and he wanted to dial it up a notch. He therefore pushed for the uncut tracking shot over Pizzolatto's objections. He acknowledges that it was a good move and created a lot of buzz for the show and for him as a director.
Next up I'll check out Maniac at some point. On the evidence of True Detective alone I can't see much to suggest he would be necessarily a great fit for Bond (Boyle's more kinetic style seemed more intriguing to me), but he is known to be versatile and likes to shake up his directorial portfolio, so perhaps the best is yet to come.
Season 3 is in production now.
The Seasons are selfcontained though and not connected. It's different casts and storylines for each season.
I know, both U still watched both seasons and they were both decent in their own ways.
Indeed they are. Prefer the first season to the second – although there were some decent stuff in season two also.
The second series had a noticeable drop in quality.
Pizzolato's writing is so overwrought and indulgent. Fukunaga was able to inject some naturalism and playfulness into the show which complimented the writing and didn't let t overwhelm the show. He gave the piece atmosphere and mood. In the end, the first series had an individualistic personality which came from the writer and director working in tandem.
In the end, series 2 felt at times like a parody of series 1. It aped the style and feel but felt insincere. Pizzolato was given full reign and show felt hokey and overly "serious". This Funny or Die sketch always comes to mind when I think of series 2:
Do we know much about his educational background?
It's a very handsomely mounted production and a considerable change of pace from Fukunaga's first picture.
Essentially, it's a character piece that explores the mind of a strong and resilient woman who refuses to play the victim in search for a home. Jane Eyre has always been viewed as a proto-feminist figure, but for the character her ambition isn't to be lauded or seen as a figurehead of any grand movement. She's simply a committed and determined woman in possession of a strong sense of morality. Jane is a rare example of a character written in a time that questions previously held gender-stereotypes by challenging the norms and the people who underestimate her.
It's coupled by a terrific central turn by Mia Wasikowska. Her wide doe-eyes are expressive and empathetic. Jane is an endearing presence and someone the audience is constantly compelled to root for. It's a brilliant central performance.
As Rorchester you have Michael Fassbender - who is perfectly cast as the mysterious, haunted byronic hero. There is a tortured and intense quality that Fassbender brings to the character, alongside a sexual charisma and machiavellian charm. Even he can make mutton chops look good (almost).
It seems that for Fukunaga, the aspect that bought him into the production was the opportunity to really focus on the 'gothic horror' aspect of the story. Those moments are by far the standout sequences of the film, there is a haunting atmospheric quality in those segments that is complemented by the terrific exterior photography and score. It's something of a shame that the film doesn't play into this angle more.
Fukunaga - a young male director from California - is someone you'd half expect to bring an irreverent outsider's take to this crusty old story set in the Yorkshire countryside. However, the adaption is very respectable and restrained. The film was released in 2011, the same year that Andrea Arnold released her adaption of another classic story from a Bronte sister, 'Wuthering Heights'. That film served to be the more edgy and iconoclastic of the pair. In some respects, Arnold's film can at times feel a little shallow and transparent in its search for 'edginess', nevertheless it possesses more vitality than Fukunaga's 'Jane Eyre'.
It's curious that Fukunaga's adaption is the more poised and orderly of the two. There is a certain appeal to the observant and unintrusive style that Fukunaga adopts as it is clear naturalism is key for the filmmaker. For example, the film more often follows Wasikowska as she quietly convalesces, opposed to relying voiceover as many previous adaptions have. It's clear the visuals and vistas are more provocative to Fukunaga. But even then there is something a little delicate about the adaption, bordering on the prosaic and uninventive.
Nonetheless, it's a beautifully crafted and classy film, but somewhat too discerning at times. Terrific performances and great score complement Fukunaga's tasteful helming. It's never dull and beautiful to look at.
I’d give it 3 stars out of 5.
Shaken but not stirred.. ?
Also very funny is that also dear it to experiment with statue of liberty
That beloved excuse again...Just to remind folk, CJF has stumbled on to 'creative differences' on a number of projects (some like The Alienist saw him removed as director). It does make me very curious what has been happening at Eon's HQ these last few weeks.
I'm hugely impressed that Eon didn't go for a journeyman helmer after Boyle dropped out. Many suspected that'd hire someone a bit rubbish to act as a 'yes man'. However, Fukunaga is anything but a boring and placid choice. He's probably one of the boldest and edgiest director choices they're ever made. I'd argue that he's a much more exciting choice than Boyle or Mendes.
Nonetheless, his unfaltering resume combined with his ego - alongside the lack of news - has made me thing that he could be a troublesome figure for Eon.
. Wow. Quite a statement. His "ego"? with lack of news... Like @ColonelSun has said just recently said, this is pre-production. And, quite frankly, if you're not involved in this production, no news will be forthcoming-- especially to fans who gather info from the various "news" outlets.