Le projet 'Anna Karenina'

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Re: Le projet 'Anna Karenina'

Message  liv le Mar 24 Avr 2012 - 21:00

Oui, affirmatif ! Very Happy
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Re: Le projet 'Anna Karenina'

Message  Matthieu le Mer 25 Avr 2012 - 7:13

Commentaire, sous le lien de la vidéo en page 14 :
Какой-то совершенно бесстрашный товарищ из наших не побоялся заснять полторы минуты в бальном зале. Огромнейший ему респект. :-) Если б его застукали, то тут же бы конфисковали айфон, и все бы удалили, а сам он был бы выгнан с позором. Там со спины в черном платье видна Кира Найтли и Матью МакФаден, играющий Стиву Облонского.
Un compagnon à nous tout à fait intrépide n'a pas eu peur de faire une prise de vues d'1 minute 30 dans la salle de bal. Le plus immense respect pour lui. :-) S'il avait été pris, on lui aurait alors confisqué son iPhone, et tout enlevé, mais lui-même aurait été chassé en disgrâce. Là, de dos en robe noire, on peut voir Keira Knightley et Matthew Macfadyen, qui joue Stiva Oblonsky.
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Post-production

Message  Matthieu le Jeu 26 Avr 2012 - 4:41

Seamus McGarvey talks 'Avengers Assemble' (UFTN, 25 avril 2012).
For now though, he is currently working on post-production of 'Anna Karenina', a period drama directed by Joe Wright, with whom he previously worked with on 'Atonement' and 'The Soloist'.
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Advanced screening

Message  Matthieu le Mer 2 Mai 2012 - 18:41


Nielsen Movie View (Nielsen est un groupe international spécialisé dans la médiamétrie).
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Fall festival circuit

Message  Matthieu le Lun 7 Mai 2012 - 18:36

New Looks At ... Keira Knightley In 'Anna Karenina' (The Playlist, 7 mai 2012).
Meanwhile, it looks like the fall festival circuit will be the place to see Joe Wright's ambitious, experimental "Anna Karenina." As previously reported, Wright has shot almost the entire film on a single location on a soundstage with toy trains and dollhouses standing in for the exteriors. Needless to say, we're intrigued. To help tell the classic tale, Wright has reteamed with his frequent collaborator Keira Knightley ("Atonement," "Pride & Prejudice") and rounded up a pretty solid cast including Jude Law, Aaron Johnson, Matthew Macfayden, Ruth Wilson, Olivia Williams and Domnhall Gleeson. "Anna Karenina" opens in the U.K. on September 7th and in the U.S. on November 9th.
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Re: Le projet 'Anna Karenina'

Message  Luce le Lun 14 Mai 2012 - 21:45

Juste un tweet daté de juin 2011 de Rosalie Craig, auteur-compositeur interprète, chanteuse de cabaret et de comédie musicale.
Exhausted after a weekend of working with the inspirational sidi larbi and joe wright. Amazing where life takes you at times.
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Re: Le projet 'Anna Karenina'

Message  Luce le Mar 29 Mai 2012 - 18:38

Trouvé sur Translantic Film - Acting for camera :
Screen Combat, £35.00
This Workshop is essential for those looking to aquire professional Screen Combat skills: Led by Cengiz Dervis, a former professional fighter and three times world kickboxing champion.

Cengiz is regularly called in to assist with actors needing to achieve a certain build, look or combat skill for an upcoming project. Here's just a few: Rosmund Pike Bond 'Die Another Day', Natalie Imbruglia 'Jonny English, Rowan Atkinson Johnny English 'Reborn', Matthew Macfadyen 'The Three Musketeers 3D' and Oblonsky 'Anna Karenina'. 2012 sees Cengiz training at Pinewood with the Bond 'Skyfall' stunt and fight team in preparation for filming.
Mais sur le site de Cengiz Dervis, Oblonsky n'est pas cité. Neutral
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Steph Oppermann, Freelance Graphic Designer

Message  Luce le Mar 29 Mai 2012 - 19:23

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A venir

Message  Luce le Dim 3 Juin 2012 - 18:55

Upcoming Q&A: ANNA KARENINA with Seamus McGarvey BSC (The Bristish Society of Photographers).
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Première

Message  Luce le Sam 9 Juin 2012 - 20:41

Tournage : Tolstoï story (Première, n° paru le 6 juin 2012).
Un dossier spécial tournage vous attend également, avec en revue le film Anna Karénine, avec Keira Knightley, dans la Russie du XIXème siècle
Jude Law et Keira Knightley en pleine Russie du XIXème siècle, ça vous tente ? Découvrez les premières images de ce tournage dirigé par Joe Wright, inspiré du roman Anna Karénine.
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Re: Le projet 'Anna Karenina'

Message  Matthieu le Dim 10 Juin 2012 - 7:12

Téléchargé la version iPad. Le dossier comporte deux doubles pages, aucune photographie inédite et rien de bien nouveau, sinon l'information que, pour le tournage, Joe Wright s'est laissé pousser la moustache par solidarité envers ses acteurs... Wink
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Re: Le projet 'Anna Karenina'

Message  Luce le Dim 10 Juin 2012 - 14:35

Je viens d'acheter la version papier. Wink Sur la photo d'Anna voilée de noir, écrit en blanc, Joe Wright redit :
Ma théorie est qu'il existe autant de versions d'Anna Karénine qu'il y a de lecteurs de roman. Un lecteur qui tourne les pages d'un livre, c'est déjà quelqu'un en train de se faire un film.
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Re: Le projet 'Anna Karenina'

Message  Luce le Jeu 14 Juin 2012 - 14:15

Keira Knightley Promises More 'Theatrical' 'Anna Karenina' (MTV, 14 juin 2012).
Director Joe Wright is once again teaming up with Knightley to bring the classic Russian novel to the big screen.
Spoiler:
Anytime Keira Knightley and director Joe Wright meet up, there's sure to be a stylish literary adaptation left in their wake. The duo has collaborated on two ambitious projects to date, Jane Austen's most famous novel, "Pride & Prejudice," and "Atonement," a so-called inadaptable novel by Ian McEwan.
And now, they're teaming up again to take on a classic work of Russian literature, Leo Tolstoy's "Anna Karenina."

Keira Knightley Really 'Gets On' With Director Joe Wright (video)

Knightley spoke with MTV News while promoting her new film "Seeking a Friend for the End of the World," and she tried to explain what it is about working with Wright that makes her tackle such ambitious stories and keep coming back for more.

The actress said she couldn't know for sure what makes the partnership work so well, but pointed to several similarities that certainly help. "I don't know what it is. We really get on. Obviously we do, otherwise we wouldn't work together so many times," she said. "We have a similar aesthetic. I think we have a similar way of viewing the world and the kind of interests in it. Clearly, we both love literature. That helps."

With this kind of working relationship, Knightley said she has never known why they work or don't work. "I just think it's one of those things. It's down to chemistry," she said. "When it's films, it's down to liking a similar sort of film and similar sort of vibe, so you can understand each other."
For their third collaboration, however, things will be different. According to Knightley, the look of "Anna Karenina" will be much more theatrical than both "Pride & Prejudice" and "Atonement."

"The only similarity, I think, in the work is that they're both based on novels. I think this one is very different, but then I would say that 'Atonement' is very different from 'Pride & Prejudice,' " she said. "This one's very different in that it's much more theatrical. It's not a naturalistic take on the piece. It's a very theatrical, dramatic take on the piece, which for when the trailer comes out that will make a lot more sense, when people start seeing it."

But like their other films together, "Anna Karenina" is a difficult novel to adapt, so Knightley is hoping for the best. "It's incredibly difficult. It's obviously a wonderful, wonderful book, but it's a massive book, and trying to get that in the film, that's tricky," she said. "Hopefully ... the stuff I've seen is good, so we'll keep our fingers crossed."



Dernière édition par Luce le Jeu 14 Juin 2012 - 16:11, édité 1 fois
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Keira Knightley Promises More 'Theatrical' 'Anna Karenina'

Message  Luce le Jeu 14 Juin 2012 - 14:40

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Re: Le projet 'Anna Karenina'

Message  Matthieu le Jeu 14 Juin 2012 - 15:24

"It's a very theatrical, dramatic take on the piece, which for when the trailer comes out that will make a lot more sense, when people start seeing it."
Quel charabia !
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Break a lens!

Message  Luce le Ven 15 Juin 2012 - 18:44

Seamus McGarvey Brings a Theatrical Look to Anna Karenina (DP Dailies, 14 juin 2012).
The production team shot on stage at Shepperton, but also ventured to a frozen landscape of stark beauty in Karelia, in northwestern Russia, near the Finnish border. “Looking at those scenes now, in the warmth of the postproduction suite, I am reminded of how the brutal conditions brought us together,” says McGarvey. “The light is so incredibly beautiful – it never got higher than ten degrees above the horizon, and the shadows after sunset have an amazing aquamarine tint and the skies have a hint of lilac. The film was able to record all that, so I think we’ve got something quite special.”
Autre article annoncé dans le prochain numéro du British Cinematographer.
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Faucheurs en ligne

Message  Luce le Lun 18 Juin 2012 - 13:57

Too wet to cut the grass, unless you have a scythe (This is Somerset, 18 juin 2012).
Joe Wright's film of Anna Karenina, starring Keira Knightley, due for release later this year, will include a sequence showing a gang of 40 mowers, shot on Salisbury Plain — the largest team in Britain for many a year.
If da Vinci had been a scyther (Scythe Association). Smile
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Total Film

Message  Matthieu le Lun 25 Juin 2012 - 15:27

Il y a une double page sur Anna Karenina dans le dernier numéro du magazine Total Film (n° 195, summer / August 2012), sorti il y a plusieurs semaines déjà. Elle fait partie d'un dossier intitulé "The Future 100", consacré aux films, personnes et événements qui vont façonner les 18 prochains mois de cinéma. L'article, à la 68e place, ne contient aucune photo nouvelle ni info inédite (sinon que la première mouture du scénario n'a été montrée qu'en février 2011).

A noter la présence, en 94e position, d'une brève sur Domhnall Gleeson. Wink
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Berceau

Message  Matthieu le Mer 27 Juin 2012 - 7:47

Victorian Mahogany Cradle en vente chez Graham Smith Antiques.
WE RECENTLY HIRED THE CRADLE OUT TO SHEPPERTON STUDIOS TO BE USED IN THE FILM ANNA KARENINA STARING KEIRA KNIGHTLEY WHICH IS RELEASED AT THE END OF 2012
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Jacqueline Durran

Message  Matthieu le Jeu 30 Aoû 2012 - 15:13

Dressing Anna Karenina (Glamour, 29 août 2012).
How did you start researching the designs for the film?

“At the first meeting I had with the director, Joe Wright, he told me that he didn’t really want to make it historically accurate, costume wise: he wanted to stylise it. The way he wanted to stylise it was to concentrate on the silhouette of each character and to take an 1870s silhouette, but simplify the surface details so that it really had the architectural simplicity of 50s couture. What I had to do immediately was look at the 1870s shape then strip away all the surface detail and just be left with that pure shape.”

Was there anything in particular that you used for inspiration?

“There were a few photographs from the 1870s that I found where the dresses had a simple quality that I liked and were quite clear on the structure. Because 1873, when we set the film, was the kind of transition point between the crinoline and the bustle. It wasn’t the narrow type bustle that you get later on, where from the front view of the woman it’s quite narrow over the hips and all of the extension is towards the back; it was in the middle and slightly bell-shaped, and it tipped forward a bit at the front but extended at the back, so it was growing into a bustle. There were a few photographs that showed that shape, and we decided pretty early on that that would be the shape of Anna Karenina, and that we would then keep it in a really simple form, and then take inspiration from the 50s, and add the 50s inspiration to the shape.”

The action centres around one theatre; did that have any impact on your work?

“The film is more than centred on the theatre in the sense that it all takes place in a theatre. So it did have a big impact really, because even though Joe said to me right from the beginning that he wanted it to be stylised, the fact that a few weeks into prep it transpired that the whole film was set in a theatrical setting and takes place on the stage and walking through sets and things like that in a very stylised way, meant that it really released you from the worry of making it look naturalistic and 1870s.”

“It really meant that you could experiment confidently in the stylisation because the audience would understand that we weren’t making it realistic. The whole thing was stylised – the rooms, the action, everything. And of course, we had Sidi Larbi choreographing a lot of the action, so the whole thing.

“It meant that you could be quite confident, because otherwise you end up worrying that people will just think that you’ve done the costumes badly and you’re not accurate, so then you can understand what period costumes should be.”

How did you work specifically with Keira on what she wore in the film?

“Because it’s my third film with Keira and also with the same director, Joe, we’ve become quite used to how we work together. Joe is very strong visually, so he sets the brief of how things will be. He sets the mood he wants the costumes to have and he sets specific details about costumes, so he’ll say, 'I want it to have a very low back', or 'I want it to have a very low neck', or 'I want it to be sleeveless'. Because he knows what he wants to shoot in the film and he knows how he’s going to shoot it before we start, he knows really what he wants the costumes to be like. So we have that straight away, and Keira and I both understand that that’s his vision, so my job is to try and make that vision concrete and make it real.”

“Keira is the same. When we come to do a fitting, Keira has become more and more aware of what suits her and what is a good costume, through her experience. She will participate in whether we think a hem is the right length, a sleeve length is right, how low the neck should be, what jewellery should go with it.

“She’s very collaborative and she’s very easy going but we are always trying to make the thing real for Joe. It’s his movie and his vision so that’s what we’re trying to make real.”

Were there any stand-out pieces, or anything that you were particularly proud of?

“I really liked the dresses where we referenced the 50s most strongly, so that you get the combination of the really strong 50s element and the 1870s silhouette. So I like it when the two things are combined, because I’m conscious that a lot of people watching a period drama like Anna Karenina won’t really be conscious of what we’re doing. They may think the costumes look a bit different to normal but they won’t really know why.”

“So I really laid on the 50s referencing, just to try and make it really apparent to even the untutored eye. The costumes I’m most pleased with are when those two elements are most strongly there. They’re in contrast to each other but they’re together in a costume, so I like that.”

What did you make of the Russian themes coming through on the autumn/winter 2012 catwalks?

“It’s an absolute parallel movement, because when we made Anna Karenina last year, that wasn’t on the catwalk, and neither were the people who were designing the clothes for this autumn/winter thinking about Anna Karenina. It’s an absolute coming together of two things at the same time.”

“It’s very hard to understand how these things happen, but I am very conscious of the fact that whenever you’re designing a costume or whenever you’re thinking about fashion, that you are always moving on with fashion, however much you think you aren’t. Even if you try to do the most pure period costumes that you ever could, that will date along with the passage of time. You’ll look back on it and think, ‘that looks really 80s’, even though you at the time were trying to make the purest thing you could. Even if you resist, you are, your eye is just trained into those shapes that are current, that look attractive now.”

Anna Karenina is released at cinemas in the UK on 6 September 2012.
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Re: Le projet 'Anna Karenina'

Message  Matthieu le Ven 31 Aoû 2012 - 18:51

The wait is nearly over for the hotly anticipated Anna Karenina (The Periscope Post, 31 août 2012).
Joe Wright’s lavish adaptation of Anna Karenina hits our screens next Friday, but will it live up to our great expectations?
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Jacqueline Durran

Message  Luce le Sam 1 Sep 2012 - 13:10

Culture corner: Diamonds and satin bring Tolstoy to life (Financial Times, 31 août 2012)
Durran’s costumes are deliberately anachronistic.
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How Joe Wright's vision of Anna Karenina was brought to life

Message  Matthieu le Dim 2 Sep 2012 - 7:22

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Jacqueline Durran

Message  Luce le Lun 17 Sep 2012 - 17:34

Designing for Anna Karenina. (The Genteel, 6 septembre 2012)
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Box office

Message  Matthieu le Dim 23 Sep 2012 - 8:48

Résultats au Royaume-Uni selon Box Office Mojo.
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Re: Le projet 'Anna Karenina'

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