inchemwetrust, on 01 May 2011 - 7:26 AM, said:

good luck! it will happen... even though there's only 2 on there right now, the one ending today might be yours!

One more left!

and winning bids growing higher again...

ChemBros said:

http://twitter.com/#...047394223108098

they could do the same here in germany once hanna gets release here

BoywiththeGoldenEyes, on 05 May 2011 - 3:49 PM, said:

if i win i'll invite the whole forum + tom, ed, joe, saoirse, eric, cate and some playboy bunnys

you don't want to say with that you hadn't any friends pum?

http://www.assignmen...mical-brothers/

"Style hasn’t trumped over substance in their brave new soundtrack world yet, even if HANNA’s mutant music is enough to make any traditionalist very, very afraid."

Q&A: Joe Wright
The director talks about his first action film Hanna, its star Saoirse Ronan and composers The Chemical Brothers.
Posted 5th May 2011, 1:09pm in Film | By Becky Reed


A film so good, we had to see it twice to take in quite how amazing it is, Hanna hits UK cinemas on 6th May.

Not only is it a breathtaking, stylish thriller, it's a profound look at identity, not dissimilar to the Bourne films (but more surreal and moving). Director Joe Wright reunites with his astonishing Atonement star Saoirse Ronan, who - at the age of 16 - plays his new heroine Hanna. A young teenager brought up by Eric Bana in isolation, with enormous strength and cunning, she sets out to face the woman who has spent years tracking her down. That would be Cate Blanchett's compelling agent, who uses Tom Hollander's sociopathic hitman on this race through Europe. When she's not fighting for her life, Hanna stows away with a loving British travelling family to discover what it's like to be "normal".

We saw it again at the BFI, and Wright was on hand for a Q&A session with Empire's Chris Hewitt, and took questions from the audience. The director of the flawless Pride and Prejudice and the disappointment that was The Soloist was fascinatingly candid. He responded to the publicised (and justified) attack he made on Zack Synder's Sucker Punch, the treatment of women in film, and revealed the secret to The Chemical Brothers' amazing score (best of the year so far). Don't worry - it's spoiler-free.

It's hard to pin you down - do you like to keep people guessing?
I like to keep pushing myself and trying new things, as much as I'm able to in the construct of a Hollywood movie. I think action is pure cinema. By which I mean its solely about montage and movement, and can only exist in the medium of film. I was interested to see what one could do with it.

What were your action influences?
A lot of French stuff, really, starting with Robert Bresson's Pickpocket. I was particularly impressed by the sequence where the pickpockets move through the train station, and just the elegance of that action. Films like Boy Meets Girl, Diva - less the America action movies. Although, obviously, without the American noir you wouldn't have had the French New Wave and the more action thriller films of the 80s. So I guess it all goes back to Hollywood in the end.

Would you ever consider doing a big Hollywood action film?
I really enjoyed action, but I don't want to become an action director. I see my career as an extension on my education. I didn't get much education, so I now have all these amazing tutors, be it Stoppard or Ian McEwan, and places like Finland. I really enjoyed working with the German actors, particularly ones that were working in East Berlin - their different take on the theatre I found fascinating. So I often view work as... what can I learn from this film? So it would have to be an action film I could learn from. I'm not sure I could throw myself into a big franchise movie. Although it is tempting! I could build a theatre. I did get offered one [a Hollywood franchise] but it was rubbish! So pants! What am I going to do with this? No thanks!

Given that, and the success of Christopher Nolan in America, would you consider going over there?
I don't think I'd be very good at it really. I find [America] plays to all my worst character defects - I very quickly become both vain and bitter! I can't imagine I'd ever move there and embrace it. It's very important to me that I live here. I'm a British filmmaker.

I take it Hanna didn't have a huge budget?
No it didn't. It had quite a small budget for this type of film. I was so naïve, I thought action probably took as long as drama to shoot, and that was a mistake! The scene with Eric Bana in the subway came about from budget constraints. A sequence like that would take roughly 40 set ups, and I don't normally manage more than 12 in a day. We had only one day to shoot that scene, and we put a lot of preparation in. With this, the fight choreographer was a guy called Jeff Imada, who's a bit of a genius. So I explained to him how I wanted the fight to work in a circular movement. I have assistant directors in costume with radios who can cue action as we're walking through. Just rehearse and rehearse - six hours rehearsing and three hours shooting. We did six takes.



What drew you to this movie?
Saoirse Ronan - the tables were turned! Saoirse offered me the job! I was excited to work with her again. I liked the sort of characters like Chauncey Gardiner in Being There, ET is really one as well, Kasper Hauser, the angels in Wings of Desire. These characters who have a completely open consciousness, who haven't been preconditioned to the ways of the world, and therefore can show us something different about the way we live. So thematically that was something I was interested in. I was also interested in the action stuff, to see what I could do with it. I had made The Soloist in America and I was really proud of it, but it hadn't been well-received and I was angry. I wanted to smash everything up a bit!

How has Saoirse changed since Atonement?
She hasn't really changed, she's evolved. She has this weirdly powerful imagination, and that's the same as it always was. She's older now, more interested in music and a bit more serious. She took me to a Lady Gaga concert from her 16th birthday, which was strange. She's such an extraordinary actress. She has a face like a medieval carving, very much like my parents' puppets, which were inspired by the carvings on Chartres Cathedral. She's one of my ideal actors, and I admire her greatly.

How involved was Saoirse with the action scenes?
You had to hold her back! She wanted to do all her own stunts. She trained really, really hard. She ran on top of the containers, wired up. She's 16 - she thinks she's immortal! A lot of the action movies have the drama going along, they stop, have a big old fight, and they finish the fight and it has no real bearing on the story. I wanted to integrate the story into the action sequences. Therefore it required actors to be doing the action sequences. When they had worked so hard on their preperation, it seemed a shame to hide their skills behind quick edits. I wanted the camera to be back a little bit to enjoy the choreography.



Can you tell us about Cate Blanchett and Eric Bana's characters?
I always do, but even more so in this movie, I created archetypes - if I were to make this character as a puppet, what kind of puppet would it be? So Eric Bana's character was the woodcutter out of Rapunzel, so I needed an actor who felt like a tree. Eric Bana feels like a tree! He's very solid, and tall and strong and protective, and not vain, but beautiful. Cate was obviously the Wicked Witch. My [puppet theatre director] mum always dressed the the witches in red and green, hence Cate is always in green and has red hair, and then layered it. Tom Hollander's character is kind of revenge on the casual kids who used to beat me up at school. They all wore Tacchini tracksuits, so I thought I'd put Tom in a Tacchini tracksuit, lip gloss, and have him beaten up by a girl! It felt quite cathartic!

What about the women in the film, including Olivia Williams' hippie and her daughter?
The film is about so many different levels and subtexts, and I'm appalled by the continued objectification of women in our culture. So I wanted to create a female protagonist who didn't use her sexuality to get what she wants. I was interested in what has become of feminism, and where it all went wrong. So for me, Sophie, Jessica Barden's character, and Olivia Williams' character are like the two polar opposites of how feminism has weirdly spawned this sexualised, celebrity-obsessed generation that I find very scary.

You've been outspoken about Sucker Punch...
I shouldn't have. I regret that. I think it's really out of order. I made the mistake of specifically pinpointing one movie, and thereby one director, and that was wrong of me. It takes so much of your soul to make a movie, so to put anyone down, I regret. I actually wrote him [director Zack Snyder] a letter, apologising. I do feel that - referring to no film in particular - sometimes within the action genre, within American filmmaking, the subtext isn't really considered enough, and a little more consideration could be paid to what you're really saying to the films you're making, and what kind of ideology you're bolstering.



Can you talk about The Chemical Brothers soundtrack?
I've known the Chemicals for a long time. It strikes me as strange when kids come up and say, oh wow what a great new modern soundtrack. I've been a groupie of the Chemicals for 20 years now! I first heard them in a club called Ra-Ras above a Saxon shoe shop in North London in about 1992. I've been mates with them for a while. I've got a broad love of music, from Beethoven to Ravi Shankar [his father-in-law] to Chemicals and everything inbetween, as long as it has intelligence and soul. So I was interested in using a contemporary, synthesised score. I like the idea of blurring sound effects and music. With an orchestral score it's a very definite division. With this we were able to get sound effects and send them to the Chemical Brothers and have them turned into music, and vice versa. I love sound - it's one of the reasons I like making feature films as opposed to television. They came on board during preproduction, and composed a couple of tracks before we started shooting. One of them was the piece Tom Hollander whistles throughout. You hear it first in the strip club in Hamburg. I gave them the brief of "I want a fucked up fairy tale theme for a hermaphrodite sadist." We had the music playing while filming the scene in the containers - it gives the actors a sense of rhythm. We did that in Atonement, with the typewriter theme played for Saoirse.

Is the decaying theme park at the end of the film real?
My sister told me about it. She was in Berlin just after the Wall came down, and got involved with a bunch of crusty anarchists. They used to have raves in Berlin, and it was one of the places they had their parties. It was the family day out for East Berliners, and when the Wall came down they decided they'd rather go shopping. So the place got abandoned. The owner and his son fell on such hard times, they came up with a genius plan. They exported the fairground rides out to South America, packed them full of cocaine, and attempted to reimport the cocaine-filled bumper cars back into Europe. They were caught and are now languishing in prison, so no one knows what to do with the park, and it's been reclaimed by nature.



Read more: http://www.thisisfak...t#ixzz1LUWPKdoK

BoywiththeGoldenEyes, on 05 May 2011 - 6:02 PM, said:

i don't have to mention them, they're involved in everything (or mostly everything)

The private screening comes with the iPad which contains the entire Chemical discography and with the unmixed versions of Further.

I knew it had to be somewhere!

The bloke off the internet, on 06 May 2011 - 12:07 AM, said:

those bastards!

My teacher has a legitimately sweet vinyl setup. Thousands upon thousands of dollars are invested in it and he is going to rip the Hanna vinyl for me. So excited

androidgeoff, on 07 May 2011 - 6:53 PM, said:

Can't you invite yourself round to hear it?

sure, but i'll also get to listen to it over and over again digitally

androidgeoff, on 07 May 2011 - 8:27 PM, said:

and you'll be able to get that C- up to an A+

So, I've just seen the movie won't be out until July here in France :'(

yes ?