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亚博全站登录采用百度引擎6(Baidu 7)(Photo by 20th Century Fox)Blockbuster movies cost a bunch of money to make – jaw-dropping special effects and big-name actors don t come cheap. In order to make the expense worth it, movie studios need to pull out all the stops to get moviegoers to buy tickets once the film premieres, and that typically involves a killer marketing campaign. These days, slick trailers, along with all sorts of unique real-world stunts and marketing gimmicks, can be as much of a production as the final movie itself.These memorable marketing campaigns take different forms — sometimes it just takes a really well-done trailer and a memorable use of a song, as seen and heard in the trailer for Jordan Peele’s Us, which retools Luniz’s “I’ve Got 5 on It” in a deliciously creepy way. Other times movie marketers will stage mysterious real-world stunts to get excited fans involved. Whatever the method, a well-done marketing campaign for a well-done movie often means box office success.Here are 10 of the most memorable movie marketing campaigns we ve seen.Jaws 2 (1978) 61% and Alien (1979) 98%(Photo by Universal Pictures/20th Century Fox Film Corp.)Studio: Universal Pictures / 20th Century FoxWhy you remember it: Because of two incredible taglines.Let’s kick things off with a tie, as both films are shining examples of an older era of promotion, before viral marketing was a thing. Jaws was the first blockbuster, but Jaws 2 was briefly the highest-grossing sequel of all time until Rocky II bested it the following year. Part of the film’s success likely has to do with one of the greatest taglines of all time — “Just when you thought it was safe to get back in the water” — the work of famed and innovative producer Andrew J. Kuehn.The following year, Alien came around with one of the other great taglines in movie history, “In space, no one can hear you scream.” Neither of these movies had real-world promotional activations, but they were united in memorable taglines that, thanks to their use of the second-person, made would-be viewers feel part of the cinematic horrors to come.Did it work? As mentioned, Jaws 2 was a huge success, pulling in 8 million. Alien’s box office figure is a little disputed, as some creative Hollywood accounting originally recorded the film as a loss for Fox, but it went on to spawn an iconic, acclaimed sci-fi horror series. And, of course, those two taglines are now forever seared into the public consciousness.Deadpool (2016) 85% Studio: 20th Century FoxWhy you remember it: Because Ryan Reynolds is Deadpool.Deadpool is known as the Merc with a Mouth, and the film’s promotional team sure did have a lot to say about the film. There was so much marketing, and all of it projected an irreverent, slightly naughty sense of fun. There were parody posters, custom emojis, a feud with Wolverine (and Hugh Jackman), a costume reveal via faux-nude spread, and a flaming bag of poop yule log, to name just a few campaign highlights. Then there was Reynolds, who, as the person most responsible for making Deadpool happen, projected his passion for the wise-cracking hero and modeled his own social presence after the Merc.Two years after Deadpool was released, Reynolds and the Fox marketing team went even harder with the promotion of Deadpool 2, taking over the DVD covers of other popular movies at Walmart and handling Stephen Colbert s late-night monologue duties, before going further yet for in its meta promotion of Once Upon a Deadpool. The marketing behind the franchise is now officially one of the reasons we look forward to another Deadpool movie.Did it work? Deadpool made 5 million at the box office and became the highest-grossing R-rated film ever. Not bad for a superhero movie.The Social Network (2010) 96% Studio: Columbia PicturesWhy you remember it: Because “you don’t get to 500 million friends without making a few enemies.”David Fincher’s moody bio-pic about Facebook founder Mark Zuckerberg is really an exceptional villain origin story, and the marketing for the film made that clear. The first trailer is scored to a haunting cover of Radiohead’s “Creep” as sung by a children’s choir, illustrating how there was something unsettling behind all this “friending.” Then there’s the poster, which features Mark Zuckerberg (Jesse Eisenberg) looking at the viewer from the shadows, his face obscured by the memorable and ominous tagline in a crisp Futura font. Both the “choral cover of pop song” and “poster with words on a face” would go on to be often-imitated promotional tropes, but they were just the Google Plus to The Social Network’s Facebook.Did it work? The Social Network made 4.9 million and was nominated for or won a host of major awards. Plus, Zuckerberg had some qualms with the movie – so that s a success.Psycho (1960) 96% Studio: Paramount PicturesWhy you remember it: Because of the secrecy and Alfred Hitchcock’s suspenseful set tour.Modern moviegoers who were too young to remember seeing Psycho in theaters probably remember Hitchcock’s iconic slasher for the famous shower scene. Hitchcock knew that would be the case. Movie trailers weren’t what they were back then — the idea of multi-level movie marketing as we know it today didn’t really emerge until the late 90s. But, Hitchcock was the master of suspense, and he knew how to get an audience shaking with curiosity and anticipation. The trailer for Psycho featured Hitchcock giving a tour of the Bates Motel, offering gory hints of what horrors might have happened there but stopping just short of giving anything away. That, along with a campaign to keep the shocking twist in the movie a secret – which went so far as preventing Paramount Studio execs from reading the script – had audiences eager to see what happened.Did it work? Psycho cost about 0,000 to make and made more than million during its initial release — and this is in 1960s dollars! It was a huge hit, went on to enjoy multiple theatrical reissues, and is generally regarded as a landmark horror movie. So, yeah, Hitchcock’s a great tour guide.Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006) 91% (Photo by @ 20th Century Fox)Studio: 20th Century FoxWhy you remember it: Because of Sacha Baron Cohen’s in-character interviews as Borat.It’s fitting that a movie that blurred the lines between comedy and documentary (not to mention acting and reality) would have a similarly meta promotional campaign. Borat wasn’t a new creation, as Cohen’s character had been on the Da Ali G Show for years, but he wasn’t widely known. That let Cohen dupe the movie’s subjects — as well as many would-be ticket-buyers – into thinking that this kooky Borat character might be on the level.Did it work? Borat made 2 million at the box office, much to Kazakhstan’s chagrin.Cloverfield (2008) 78% Studio: Paramount PicturesWhy you remember it: Because of all the rampant speculation about the top-secret mystery plot.A good marketing campaign doesn’t give everything away, it just teases some of the best stuff so that moviegoers are excited to see the rest. Cloverfield’s marketing was so memorable because it gave, well, essentially nothing away. The first trailer, which came by surprise ahead of Transformers screenings, didn’t even include the movie’s title or any plot details. This, along with some innovative virtual tie-ins (shout-out to MySpace), had fans wondering what it might be. A Lost movie? A Godzilla film? An anime adaptation? Something new?Did it work? Like The Blair Witch Project, which pioneered this type of hype-building mystery promotion, Cloverfield was a hit. The film made 0.8 million against a budget of million, and spawned a whole franchise/ universe of sci-fi films united mostly by viral marketing, though none were as successful as the original.Inception (2010) 87% (Photo by @ Warner Bros. Pictures)Studio: Warner Bros. PicturesWhy you remember it: Because of the spinning top mind-game (and the “BWWAAHHHH” sound).Warner Bros. spent 0 million to market Inception, an increasingly rare blockbuster that was wholly original, not a sequel nor an adaptation. To get people excited about an unknown quantity, the studio banked on Christopher Nolan’s post-Dark Knight appeal and made an online viral game involving the spinning top that diehard fans tried to solve. The game unlocked the official trailer, and that was a great piece of advertising too, in no small part because of the booming Inception sound that rightfully became a meme.Did it work? The marketing certainly planted the idea of going to see this movie in a lot of people s’ heads, because Inception made 8.3 million at the box office.The Dark Knight (2008) 94% (Photo by @ 20th Century Fox)Studio: Warner Bros. PicturesWhy you remember it: Because you solved an interactive mystery across a virtual Gotham City, and Heath Ledger’s untimely death.The heroes of DC Comics save the day in fictional cities, like Metropolis. But, to promote the second (and best) of Christopher Nolan’s three Batman movies, the alternate reality game company 42 Entertainment made Gotham City real. Using websites like WhySoSerious.com, fake Gothamite newspapers, and Harvey Dent campaign materials, 42 Entertainment sent fans on a scavenger hunt all over the web and the physical United States — starting with San Diego’s Comic-Con, where one reward was the first image of the movie s Joker. It gave fans a tantalizing glimpse of the drama to come, and let them feel like the Batman, the World’s Greatest Detective, himself. Add to that the tragedy of Heath Ledger’s untimely death ahead of the premiere of his incredible performance as the Joker, and you’ve got a super-powered level of expectations.Did it work? The Dark Knight made over billion at the box office and was popular enough to change the way the Academy Awards work.Paranormal Activity (2007) 83% Studio: Paramount PicturesWhy you remember it: Because you had to demand it.Paranormal Activity was an extremely inexpensive movie, one that seemed destined for a modest indie release and perhaps a chance at becoming a cult classic. But, the marketing team at Paramount had the bright idea of democratizing horror. Trailers were released featuring night-vision footage of shocked and delighted viewing audiences and promising a scary theater experience; would-be moviegoers had to vote on a website, hoping that there would be enough fan demand for Paramount to bring the film to their city or town. The website, which was made with the user-driven event calendar company Eventful’s help, added a sense of urgency and participation in what otherwise might have just been an overlooked found-footage flick.Did it work? Paranormal Activity cost just ,000 to make, and it made more than 3 million at the box office. It is, by most accounts, the most profitable movie ever made.The Blair Witch Project (1999) 86% Studio: Artisan EntertainmentWhy you remember it: Because you thought it was real.Without The Blair Witch Project’s marketing, there would be no Cloverfield, no Inception, and essentially no viral movie marketing as we know it today. In the early days of the internet, Artisan Entertainment’s scrappy online team created a website and surrounding hype campaign that claimed the story of the Blair Witch was true. There were interviews with the “missing” characters’ parents and backstories from investigators trying to solve this “true” story. In the real world, missing posters went up around colleges and at film festivals. Because of all the marketing, The Blair Witch Project wasn’t just a low-budget indie horror flick — it was a real, ongoing mystery. Moviegoers and internet users have gotten more media-savvy, so this feat likely won’t be equaled, but The Blair Witch Project was the perfect storm, a way to use technology, advertising, and psychology to turn “based upon a true story” into box office gold.Did it work? The Blair Witch Project made 8,639,099, which is more than 4,000 times what it cost to make the movie. Also, admit it — you thought, for a second, that it was a documentary.What were some of your favorite movie marketing campaigns? Let us know in the comments!Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

1. 亚博全站登录
1、运营模式上,“年货”性质的独立传统3A大作的模式改为网游/手游的运营模式,即游戏可以免费游玩(大师联赛模块除外),但部分道具和角色需要付费购买或抽取,而且游戏内增加了国内手游哪都能见到的通行证。 91传奇复古冰雪是非常经典的冰雪传奇手游最近真的是奇怪了,更加经典火爆的游戏玩法,带给你劲爆的打击感,一起来玩吧。

2. 公平游戏环境
《天地劫》手游作为一款策略战棋类的游戏,虽然游戏玩法做了一些相应的简化,但并没有因为本身的手游属性去削弱最重要的策略内容。《天地劫》手游充分吸收了曾经那些经典单机战棋游戏的精华。亚博全站登录Director Dan Gilroy re-teams with his Nightcrawler stars Jake Gyllenhaal and Rene Russo for another twisted movie, this time mixing together horror with satire for a gory takedown of the art world. Velvet Buzzsaw, which arrives soon on Netflix, debuted this weekend at Sundance to mostly favorable reviews, which celebrate the camp performances and the execution of a wild premise involving deadly paintings.Here’s what the critics are saying about Velvet Buzzsaw:How would one describe Velvet Buzzsaw?A high-end Final Destination… best viewed as pure horror camp. Travis Hopson, Punch Drunk CriticsA slasher movie with something to say. Matt Goldberg, ColliderA tarted-up throwback to a certain kind of trashy ’70s horror movie — a la Who Is Killing the Great Chefs of Europe? or Theater of Blood. Peter Debruge, VarietyIt’s like Bret Easton Ellis meeting John Carpenter in the bathroom at Art Basel. Leah Greenblatt, Entertainment WeeklyA work of art in its own right. You’ve never seen anything quite like Velvet Buzzsaw. Chris Evangelista, SlashfilmNothing if not unique, it’s an utterly bizarre film that could only have ever been made for a streamer like Netflix. Chris Bumbray, JoBlo s Movie EmporiumVelvet Buzzsaw is certainly unlike anything else you’re going to see this year on Netflix or any other streaming service. Brian Tallerico, RogerEbert.comThis is a film that can’t be described. It simply has to be experienced for all the senses. Karen M. Peterson, AwardsCircuit.com(Photo by Netflix)But is it any good?Velvet Buzzsaw is a blast from start to finish. Matt Goldberg, ColliderThis movie is so preposterous, so profoundly weird, just hilarious and merciless and black-hearted from beginning to end. Meredith Borders, Bloody DisgustingVelvet is fun and silly and enjoyably outrageous. Leah Greenblatt, Entertainment WeeklyThe sillier and bloodier it gets, the better. Travis Hopson, Punch Drunk CriticsThere’s some kind of poetry to [what] he’s made here: a trashy thriller set in the world of high art. Dan Mecca, The Film StageEvery element combines to make this a polished, glossy film that feels as expensive as the creations within it. Karen M. Peterson, AwardsCircuit.comEven if Velvet Buzzsaw starts to sputter slightly after it’s made its point, it’s plenty exciting to witness the incredibly specific madness they whip up together. Emily Yoshida, VultureIt’s all somewhat amusing but rather arch. Todd McCarthy, Hollywood ReporterGilroy’s film needed to be 60% better or 20% worse in order to transcend the forgettable silliness of its existence. Dave Ehrlich, IndieWireFor lack of a better descriptor, the whole thing is a mess. Gregory Ellwood, The Playlist(Photo by Netflix)How does it compare to Nightcrawler?[It’s] a fitting companion piece to Nightcrawler. Peter Debruge, VarietyIt’s missing the weight of Nightcrawler, but that feels right. Meredith Borders, Bloody DisgustingVelvet Buzzsaw, as gleaming and sun-drenched as Nightcrawler is dark, is even more of an invective, and even more operatically heightened. Emily Yoshida, VultureVelvet Buzzsaw is worlds removed from Nightcrawler. While Nightcrawler was going for cerebral thrills, Velvet Buzzsaw is trafficking in gore-soaked comedy. Chris Evangelista, SlashfilmHow is Jake Gyllenhaal s performance?There’s never a moment when he’s not chewing scenery, but it works for the vibe of the film. Chris Bumbray, JoBlo s Movie Emporium[He’s] relishing another of those cartoonishly camp performances he’s increasingly drawn to in his middle age. Peter Debruge, VarietyGyllenhaal, who continues his transformation into full-blown quirky character actor, is a hoot. Chris Evangelista, Slashfilm[It’s ] a performance so big that it might not be able to fit on the screen of your iPhone. Dave Ehrlich, IndieWireDoes anyone else stand out?Every single performance is hilarious and memorable. Meredith Borders, Bloody DisgustingJohn Malkovich also shows up in an enjoyable cameo. Anthony Kaufman, Screen International(Photo by Netflix)What else can we look forward to?Velvet Buzzsaw is a terrific-looking film, with striking interiors and city vistas. Meredith Borders, Bloody DisgustingThe costumes are delightful and come to life in Robert Elswit’s art pop light. Dave Ehrlich, IndieWireCostume designers Trish Summerville and Isis Mussenden provide some inspired ensembles. Gregory Ellwood, The PlaylistIsis Mussenden and Trish Summerville’s nouveau-fashion costumes and James D. Bissell’s elaborate production design also help to create a full-scale and highly detailed send-up of the film’s high-brow milieu. Anthony Kaufman, Screen InternationalIt’s also an ambitious piece of work with unforgettable imagery and an ace ensemble. Brian Tallerico, RogerEbert.comGyllenhaal’s Morf enters some kind of pantheon of quotably absurd characters alongside, say, Christopher Guest in Waiting for Guffman and all the Heathers. Emily Yoshida, VultureIs the satire effective?I would ve preferred a much stronger take from Gilroy than what we get here. Travis Hopson, Punch Drunk CriticsVelvet Buzzsaw would have been more effective as pure satire, as Gilroy doesn’t seem to have  an affinity for the [horror] genre. Chris Bumbray, JoBlo s Movie EmporiumIt’s all very low common denominator humor centered on art world cliches. Gregory Ellwood, The PlaylistThere’s nothing lampooned here that we haven’t already seen before. Anthony Kaufman, Screen InternationalIf this movie tried to carry itself as a highbrow critique, it would be far more difficult to appreciate Gilroy’s point of view. Matt Goldberg, ColliderSuch fangless satire suggests that Gilroy is either unfamiliar with the art world, or loves it too much to dig any deeper. Dave Ehrlich, IndieWireWould a smarter film with more of a message be better? Maybe, but it probably wouldn’t be this off-the-wall, and what a tragedy that would be. Chris Evangelista, SlashfilmIs it still a good horror movie?[There’s] insane gore and even supernatural horror… once his paintings start, well, literally killing people, it becomes a full-blown riot. Meredith Borders, Bloody DisgustingVelvet Buzzsaw is unabashedly supernatural in its horror, with mixed results. Emily Yoshida, VultureIt’s a horror show that lacks broader social commentary; a handful of bloody murders and occasional jump-scares, with the occasional astute one-liner. Anthony Kaufman, Screen InternationalVelvet Buzzsaw streams on Netflix beginning on February 1.

3. 激战团竞模式

4. 呼朋唤友 随心所欲

5. HD 画质与高品质音讯

6. 团队合作

7. 官方资讯

Version 0.97.02022-01-21

0.55.3 5月喜迎点进小程序端口后,迎面而来的就是一个十分熟悉的大厅界面,虽说手游的UI已经革新,但在小程序端口中,玩家依旧能够感受到CF手游曾经的魅力,好看好玩并且还很有“味道”。
Janelle Monáe Says Antebellum Is the Horror Movie We Need Right Now The filmmakers and cast also talk about their favorite horror films and honoring the seriousness of their story. by RT Staff | September 16, 2020 | Comments

Olivia Wilde s directorial debut, Booksmart, is being called one of the best high-school movies of the decade – a Superbad meets Lady Bird laugh-fest that sees two studious types making up for years of good behavior with one night of craziness. The movie blew audiences at South by Southwest away when it premiered there in March, and is currently at 100% on the Tomatometer. But how well do the people who made Booksmart know the high school movies their new movie is being so favorably compared to? We put them to the test with a special edition of our game, Name the Review. Wilde and costars Beanie Feldstein and Kaitlyn Dever each read reviews of famous teen and high school movies aloud, and then guess which movies the reviews were for. How did they fare? Let s just say it wasn t a straight-As situation.Booksmart is in theaters May 24, 2019Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
Recently, Rotten Tomatoes expanded our list of the best-reviewed LGBTQ movies of all time to 200 films. We dive deeper into one of the best movies on that list, The Birdcage, which is celebrating its 25th anniversary.As the kind of sissy boy whom my schoolmates scolded for my lack of soccer skills and my predilection for choir practice (I was a soprano, naturally), I spent much of my childhood wrestling with my own seemingly insufficient masculinity. Despite how obviously I failed at performing manliness, I was wracked with anxiety about how I knew I should act. This is not as uncommon an experience as I felt it was. Whether you grew up in Colombia, as I did, or in the South of France or in Miami, the pressures of acting like a man were as soul-crushing as they were laughable. This is what one of my favorite movies growing up taught me, though not until I revisited it decades later.The Birdcage is, above all, a farce about masculinity. About its frailty and its attendant anxieties. Based on Édouard Molinaro’s La Cage aux Folles, Mike Nichols’s broad comedy stars Robin Williams (in khakis and a Selleck-ish mustache) and Nathan Lane (in linen pants and the occasional wig) as Armand and Albert Goldman. The couple run the The Birdcage, a drag club in South Beach where Albert (as “Starina”) is its greatest star. When Armand s son Val (Dan Futterman) informs him that he’s going to  marry his girlfriend Barbara (Calista Flockhart) he caveats the good news with a request: might he go along with the white lie Barbara told her ultra-conservative parents, Senator Kevin Keeley (Gene Hackman) and his wife Louise (Dianne Wiest), that Armand is a straight cultural attaché?(Photo by MGM Home Entertainment / Everett Collection)The comedy stems from the failed attempts at keeping the charade of a heterosexual (and heteronormative) Goldman family. If Albert cannot present himself to the Keeleys as Armand’s partner, by god he’ll do it as Val’s definitely-not-gay uncle, a scenario that gives Lane every delicious comic beat he could ever hope to play. In one of the scenes that I could probably still perform from memory, Albert tries to butch himself up. He practices spreading some mustard on some toast only to be scolded by his frustrated lover: “Don’t use the spoon! And don’t dribble little dots of mustard: men smear! Smear!”The film was a staple of my teenage years. Whenever it was on cable we’d watch it as a family. We’d laugh in unison as we saw Lane’s flailing attempts to walk straight, only to end up deciding to pass himself off as Val’s mother in surprisingly convincing Old Lady drag. My laughter was, during those family viewings, comforting and discomfiting in equal measure. I laughed at Lane’s femininity in a way that I hoped inoculated my own. What a laughable stereotype, I thought. Thank god I’m not that gay, I reassured myself, still in the closet. I may be called a ‘marica’ in school, but surely I pass more easily than this out-of-drag drag queen. I loved the film precisely because it gave me room for such distance.(Photo by MGM Home Entertainment / Getty Collection)By the time I got to college, that kind of thinking led me to a revisionist understanding of the film that felt all the more insidious: it’s films like these – big broad comedies trafficking in caricature – that fuel the homophobia around me. Couldn’t we do better? Couldn’t we be more than punchlines? Did we have to be effeminate gay men with high-pitched voices who couldn’t hold their pinkies in check when “smearing” our toast?It’s only slowly dawned on me how much I came to project onto The Birdcage which, Hank Azaria’s lisping “Guatemalanness” aside, is a wholly assured satire about homophobia a
Barbara Ling:  I got a call to read the script at Quentin s house, and I went crazy for it, then met with Quentin. And the first big meeting was kind of insane. He writes the script as if it s a novel. It was an enormous amount of places. It was all I could do to try to take notes and catch up on how many locations we were going to need it was so massive. A massive film driving through LA, nonstop. It s stopping at many different types of areas. So once Quentin and I talked about the things that were most crucial for him and what he d love to see that could be discovered, all of the rest happened really quite quickly. Within the first 24 hours of me starting, I made sure I had Rick [Schuler] starting the next day, because the one thing that was very apparent to me, time was of the essence, and it was gonna take a lot of wrangling. It s Los Angeles, which is not an easy hunt. So Rick threw his department together fast.Rick Schuler: I was working on Ford v Ferrari and decided to jump over because I wanted to do the Quentin movie. Then I interviewed with Barbara. I guess that interview went well. [laughs] I was excited to be working with her, because she grew up and lived in Hollywood at that time. I came to Hollywood much later, so I was very excited about that. But yeah, it started rather quickly. Barbara met with him first, and then I got to the script, and then just started breaking down the locations. Barbara was already doing the locations that were written in the script and scouted already. So there was plenty for me to start wrapping my head around, like Musso Frank s and Casa Vega and all that kind of stuff. And then it was only later that I jumped in and talked more with Barbara and Quentin about other specific locations.Ling: We had Quentin in a car the very first week we both started. By the end of that week, we were driving the streets of LA. We had a tight window of only about 12 weeks before the tech scout and the first commercial shoots. Those little commercials were being made for within the film first, which meant that you had 12 weeks to put this movie together, to have the budget, start building, and start finding. The best part was being in the car with Quentin those hours and long conversations. And it does take hours, because driving through Los Angeles scouting is always hours. [laughs] In one respect, it was good, because that s where you get so much about what he s thinking. He s going, Yeah, and what about that? What about if we do this?  It s a creative time. And then there was nonstop driving with him once Rick would assemble things. It was a very quick process, but very creative and very fun. The hardest part [was] getting all of [these fractured moments] pinned down in the beginning. (Photo by Columbia/Sony Pictures)Ling: You have a layering in this film that s separate from the world that they were in the everyday 1960s, and then you had the TV shows that they were in at that time. Rick Dalton s Lancer would ve been set as an 1800s Western. So now we re doing this film, and we re doing the eras within the era. The constant was 1969, the live-action now. The actors, you d see on the streets or in their homes. And then we d go to a set, and now we re coming into a TV show. You have the Westerns, the Hullabaloo, and these fractured moments around different sets that carry on as their characters are on the set. When Cliff Booth is fighting Bruce Lee you re there on the outside of the set in the 1960s. You re not on the inside of the set, but it s there in the background.And those scenes within the scenes are the hardest part. Getting all of that pinned down in the beginning how many TV shows are there? It s a lot. It s a lot because there were a broad range of shows. But Quentin had to pin it down for himself. He said,  Okay, we re going to do 20 of these shows. But then you had the everyday action of the movie, Rick s life, Rick coming home, Cliff going to his trailer, the introduction of the Polanski house. And there s actually a lot that we did that didn t make the cut, because what happens with any movie is that you go for the gold, and then you think, Well, maybe I don t need that now. [Quentin s] an encyclopedia of both film and TV shows of that era. (Photo by Columbia/Sony Pictures)Schuler: Do you remember how he [Quentin] would pop things on us? Like, we were driving back from somewhere, and he goes, Oh, okay, go down Riverside. Go by Bob s Big Boy, and make a left on Furman. Stop. Now, let s get out of the car. And then he showed us a restaurant that he had frequented with his family growing up called The Money Tree on Riverside. And then once he sort of told us about that, he said, Well, an FBI episode was shot here. And we re listening, and he s like, Yeah, and I want to do this scene here. And that was sort of completely out of the blue.Ling: What s so great about Quentin, he s an encyclopedia of both film and TV shows of that era, particularly of the 50s, 60s, and 70s. And because there were scenes from FBI he wanted to recreate, which he did with Rick s character, we found a location and put that into the episode. He had found an old FBI with Burt Reynolds that he knew had a moment driving right down Riverside Drive and making the turn on Furman he just knew exactly where that was. The Money Tree was the place he had gone to, and he said, This would be fabulous if we just recreate on this block, if we could put everything back. And I was like, Well, that s not an easy ask. [laughs] Riverside is not an easy street, but it was fabulous because it s something off the beaten track, and that s what makes period work fun. And working with Quentin, those are the things that aren t always obvious, but it s very fun. Hollywood tends to be kind of an idea, but not so much a destination. [Tarantino] could make it a destination. (Photo by Columbia/Sony Pictures)Ling:  I would say Hollywood Boulevard was certainly one of the most massive things we tried. That had not really been done in probably 50 years, that someone was allowed to close Hollywood Boulevard. To have that much work done and closed down for, what? Three days? It was massive. Just the logistics of getting it done was like a miracle.Schuler: When Quentin mentioned he wanted to do Hollywood Boulevard, I was thinking, Oh, we ll do it between 9:00 AM and 3:00 PM in the afternoon, and then we ll do some night stuff, so that we can work between rush hours and all that. And then as he kept talking about Hollywood Boulevard, it became clear to me, Oh, there s no way we re going to do this, this way. We re going to have to really shut this whole thing down. So I started talking to the stakeholders in the area about what we wanted to do. Eventually, it led to a meeting with those stakeholders, and it became clear that I needed to get the council s office on board. The Department of Transportation was going to say no, because they have to say no. Our filming there is not going to make driving around Hollywood easier. They made it clear that if I could get the council s office to override everybody else, then they would be willing to go along with it, because, essentially, there was political cover, and it was out of their hands. I understood that, so eventually, we were able to go ahead and do that.Quentin came to the meeting, and by that time, everybody was on board with the project. And part of it was due in part that it was a movie about Hollywood. It was a man who had essentially grown up in Hollywood, that worked in Hollywood, that owned a theater in Hollywood, and who better to be able to do something like this and actually give something back to the city? That was the plug he made, and it worked. Hollywood tends to be kind of an idea, but not so much a destination. He could make it a destination. People could watch this movie, come to Hollywood, and start looking for locations where we shot. When I went into this meeting, they said they didn t do this except like maybe 50 years ago it was Alex in Wonderland  Quentin had actually shown us that movie. They also had shut down Hollywood Boulevard, they had tanks on the street, cars on fire, and machine gun fire in that movie. And as a humorous point, I said, Okay, you ve done this before. I can promise you, we won t do this again, but I do need some time to do some stuff that will bring people to this city. And they consented to that. [Rick Dalton s house] was our hardest location to scout. (Photo by Columbia/Sony Pictures)Ling: [Rick Dalton s house] was our hardest location, because it was written with such detail. Quentin had a shot that was actually written in the script about Rick in his pool. He s floating, and the camera is on Rick then the camera pulls up, comes up over the house, over the trees and lands right in front of the driveway with the Polanskis coming out the door and getting in their car. He wanted to do that in one shot. To get that was the longest thing we ever hunted. This was Rick s army of human beings searching every avenue on Google Earth looking for two houses that we could actually use that had all the other things we needed, which was a great pool and a view. That went on for months and months, trying to find this combination. And eventually, we found it, but it took months, an enormous amount of work, different homes, and different things. But the shot was so crucial to Quentin, it had to work. He had to be able to get this shot. But finally, in Studio City, up in the hills, we found this great pool that actually had a great view, and then it had a house above it. And all of it could be just altered enough to look more like hillsides.What we didn t do was use Rick s interior house there that became four locations. Rick s interior, I built on a stage, because that was too specific for Quentin in staging, especially for the final scene. That would ve been nearly impossible to find a house that would let me rebuild the interior to look like what he needed. So we did that one on a stage, and then we put in a pool, but in miniature, that was only about six inches deep, so that you could still look out the window at night. And then up at Sharon s house, for her backyard, we used yet another house that was in Tarzana. We altered the back of their house, so when you came out of a door at Sharon s house in Studio City, you actually were in this new location.It was an amazing collection of locations to make one thing. Plus, Quentin did a brilliant, brilliant job in his staging, so you never know that s not all just the same place. It was a number of locations to make up those two. But the feeling of Rick s interior was very important with Quentin it had to feel like a bachelor pad of the time, one of the late 50s for an early 60s kind of actor in Benedict Canyon. This mid-century kind of development actually is what they were. And it s the idea of, Rick Dalton s not a decorator, so he just puts a lot of stuff from his shows. He s got his saddle from one of the Westerns. He s got his Spanish bar we did Palomino skins in it and that s kind of the center of his universe within his home. And of course, the TV, with the mid-century BarcaLounger. You can tell it s not a female-driven home; it s very male-driven. And those are the things that a man would decorate around. The bar was also very important to Quentin what the cups were and things like that. And a lot of pieces from Quentin s own house are in that bar. He also loves to put in little tidbits of old movies like the Hopalong Cassidy poster with a Hopalong Cassidy cup, and all the other things that he collects. They were all places that Quentin goes to, and they love him as a client and as a filmmaker. (Photo by Columbia/Sony Pictures)Ling: It all started just quickly with Musso s, which of course is still very period. That place still looks like 1969, and they adore Quentin. They were very lovely, particularly with the decorating and prop crowd. When we said, Oh, we re going to bring out the dishes that were the right dishes for 1969. They still had everything it was still in that kitchen. The only things we changed out were things in the front, getting rid of the digital cash registers. We changed the curtains and all the stuff by the front door back to the curtains of the time. And we changed all the bottles to make sure that they were the labels from 1969, because even a lot of the alcohol has changed.Certainly, the theaters had more work, particularly the Bruin, who also were great to us. They let us change out their snack bar, put it back to the original snack bar, get rid of things on the side, and put up huge posters inside of there. We had to actually put our own projectors in, because Quentin wanted the film Sharon was watching to be the actual film, not to put that in digitally. So in the back of the theater, they let us take out seats and build another booth and put in film projectors with enough light that we projected the film, in film. So Sharon Tate (Margot Robbie) was watching the film the way it would have been screened at that time. So they were very gracious with all of this. They found even some of the original deco poster holders in their basement and brought them out for us; they were original to 1969. Then we built pieces on the exterior of the building to hold the posters. We were very lucky that both the theaters were managed by the same company. They were incredibly great in letting us change the marquees out of LED to florescent marquees again that could have letters on them. And they let us do that overnight, as their last film came down before we closed the theater. It wasn t easy, but we were very lucky. It was the same thing with Casa Vega. They were all places that Quentin goes to, and they love him as a client and as a filmmaker. That helped a lot.Once Upon A Time in Hollywood is available now for purchase on Blu-Ray and VOD.Like this? 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总的来说游戏盒子是可以让代理商在手游市场中驰骋的利器,具有很高的实用价值,但手游代理虽然门槛低,但是也少不了代理商的努力,更何况如今这个一分耕耘一分收获时代,没有好的背景就只能努力了。 Tom Hardy is the latest actor to portray notorious gangster Al Capone, and from the sound of it, nobody else ever needs to portray him again. Writer-director Josh Trank’s Capone is dividing critics, but everyone agrees that Hardy’s performance is out of this world, for better or worse. The movie itself sounds pretty crazy, too, as it depicts the criminal’s final year, when he was suffering from dementia. Right now, we can all use something out of the ordinary in our entertainment, and with Hardy shooting for the moon in the lead, Capone sounds like nothing we’ve ever seen before. Who isn’t enticed by that?Here’s what critics are saying about Capone:How crazy is Capone?It’s nuts, it’s a mess and it’s pretty damn entertaining if you don’t mind characters pooping the bed and getting stabbed in the neck.  Steve Pond, The WrapIs Capone a fascinatingly idiosyncratic twilight-of-the-mobster drama? Or is it a Saturday Night Live sketch with pretensions? It may be a bit of both.  Owen Gleiberman, VarietyTidal waves, CGI alligators, characters who cut their own eyeballs out of their skulls – when was the last time you saw a movie about mobsters that had any of this stuff?  Chris Evangelista, SlashfilmIt’s not pleasing, but it’s too weird to be boring… You sit there and wonder how bizarre this movie is going to get and, scene by scene, you find out.  Mick LaSalle, San Francisco ChronicleWhat begins as a gonzo lark quickly becomes exhausting.  Richard Lawson, Vanity FairIs it worth seeing as a fun diversion?As nutty as Capone gets as a karmic fever dream for its violent subject, it’s also really watchable in a break-your-brain sort of way. Brian Truitt, USA TodayAll hell breaks loose… and viewers have to make up their minds: Are you going to run from this whacked-out twilight of the gods, or give in to it? Steve Pond, The WrapThis hollow if perversely watchable exercise in self-annihilation builds to a violent finale that finally makes good on the biopic’s sordid potential. David Ehrlich, IndieWireStarved as we are for big, exciting diversion right now, I won’t blame you if you decide to give Hardy that attention. Maybe you’ll see something worthy in the raving crypt keeper. Richard Lawson, Vanity Fair(Photo by Vertical Entertainment)Is Tom Hardy the biggest reason to see the movie?The borderline self-parodying Method madness of Tom Hardy s performance does kind of demand to be seen. David Rooney, Hollywood ReporterHardy’s psychotic portrayal is compelling and worth the price of admission. Travis Hopson, Punch Drunk CriticsThe combination of Hardy’s performance and the energy Trank and his crew bring to these fever-dream sequences make the whole project worth it. Aaron Neuwirth, We Live EntertainmentHow is his performance?Hardy, all guttural growls and tics, seems to be vying for the prize of Most Acting. Leah Greenblatt, Entertainment WeeklyHardy’s performance is undoubtedly so unlike anything we’ve ever seen. Brian Truitt, USA TodayA career-best performance, which is never anything short of fascinating. Josh Wilding, ComicBookMovie.comHardy gets to go as big as he possibly can… He shuffles, he stumbles, he mumbles, he drools. Buried under make-up, there are shots here where he doesn’t even look human. Chris Evangelista, SlashfilmHardy’s on a roll with bonkers performances… if he cannot figure out a way to dial into the frequency of his directors, people will stop seeing a master performer at work. Marshall Shaffer, The PlaylistYes, Hardy chews the scenery… his over-the-top destructive nature comes across as cartoonish because we’re unable to contrast that malice with moments of calm, collective authority. Jared Mobarak, The Film Stage(Photo by Vertical Entertainment)Who does he remind you of?Hardy once again combines the fearless commitment of early Marlon Brando with the utter unintelligibility of much older Marlon Brando. David Ehrlich, IndieWireTom Hardy playing dying Al Capone is as if Nick Nolte were playing the First vampire from Buffy the Vampire Slayer. Richard Lawson, Vanity FairHardy s Fonse more than anything recalls Al Pacino s crazed mugging as the Capone-inspired Alphonse Big Boy Caprice in Dick Tracy. David Rooney, Hollywood ReporterWhat s this about him pooping himself?Hardy turns his cast into unwilling straight men for his routine, such as during a tense interview with FBI agents that ends with Capone loudly farting and defecating himself. Marshall Shaffer, The PlaylistCapone routinely soils himself, chomps on cigars and later carrots, accuses loved ones and employees of being assassins, shoots an alligator. Richard Lawson, Vanity FairHey, you haven’t seen Al Capone until you’ve seen him chomping on a carrot and wielding a machine gun while wearing a droopy diaper. Steve Pond, The WrapYou tell me if you want to see a movie featuring not one, not two, but three separate scenes in which the increasingly feeble Capone loses control of his bladder and/or his bowels. Richard Roeper, Chicago Sun-TimesNot only is he incontinent – yes, there are multiple, uncomfortably lengthy scenes where Al Capone sh s himself in this movie, folks – he’s also prone to hallucinations. Chris Evangelista, SlashfilmThis movie is not going to win points for its handling of the indignities of dementia. David Rooney, Hollywood ReporterIs this a comedy?Of course, it’s funny. Intentionally? How could it not be? Mick LaSalle, San Francisco ChronicleThere is a grotesque humor… Trank’s macabre humor never feels like mockery. Hope Madden, Columbus Underground(Photo by Vertical Entertainment)Are there any other great performances?Linda Cardellini flexes more in the role of Capone’s wife Mae than she has in her many other turns as put-upon spouse. She’s a great sparring partner for Hardy. Hope Madden, Columbus UndergroundLinda Cardellini is excellent as Capone’s devoted wife, and Matt Dillon (always underrated) has a solid role as one of Al’s old cronies. Of course, McLachlan is fun to watch as well. Chris Bumbray, JoBlo s Movie EmporiumHow does it compare to, say, The Irishman?Think Martin Scorsese’s The Irishman taken to the extreme. Travis Hopson, Punch Drunk CriticsImagine the last 10 minutes of The Irishman but as a 100-minute film. Chris Bumbray, JoBlo s Movie EmporiumYou could think of Capone as The Irishman as reimagined by David Lynch. Steve Pond, The WrapWhile Scorsese utilizes Frank Sheeran hanging on the brink of death to explore morality and mortality in the gangster genre, what Trank has to say about a similar era in a dying man’s life is more nightmarish fever-dream clouded by paranoia and dread. Marshall Shaffer, The PlaylistThe last half hour of The Irishman crossed with the doddering-legend parts of Citizen Kane, all mixed in with Hardy’s apparent desire to play the creature in Frankenstein. Owen Gleiberman, VarietyAre there other comparisons?This is primarily a head movie that unfolds in the sepulchral chambers of Capone s addled skull with a heavy load of woozy Lynchian weirdness and a dash of Kubrick s The Shining. David Rooney, Hollywood ReporterImagine a Ken Russell artist biopic, not one about Liszt or Mahler but about a befuddled blob. Mick LaSalle, San Francisco ChronicleA Twilight Zone riff on the This is Your Life template wherein the subject is transported through a Jacob’s Ladder-esque hole towards oblivion. Jared Mobarak, The Film StageCapone begins to feel like a riff on A Christmas Carol, with Scarface standing in for old Scrooge. But there’s no redemption here. Chris Evangelista, Slashfilm(Photo by Vertical Entertainment)Is it going to get any Oscar love?It would be a sign of a truly, truly broken year if this hideous indulgence of a film gained any of that kind of traction. Richard Lawson, Vanity FairIt may not be Oscar worthy, but it’s an odd duck that’s kind of a perfect change of pace flick during these strange times. Joey Magidson, Hollywood NewsIs it a good comeback for Josh Trank?An undeniable return to form which should put him back on the radar in a big way. Josh Wilding, ComicBookMovie.comCapone isn’t a knockout comeback, but it’s an undeniably striking and bold endeavor that transcends genre constraints and conventional molds. Jared Mobarak, The Film StageTrank attempts to do a David Cronenberg or David Lynch style movie, a move that’s a major reset for his career. Chris Bumbray, JoBlo s Movie EmporiumPut it this way… If his next movie is like Fantastic Four, I don’t want to see it. But if his next movie is as purely nuts as Capone, I’m there. Mick LaSalle, San Francisco ChronicleCapone will be released on VOD on Tuesday, May 12.

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