Portugese fluent readers may already know what's coming up in these
Blindness posts but those of you who are, like me, limited to one or two other tongues, will want to read on. I've had loyal TFE reader Felippe send me a rundown of what's going on over at Fernando Meirelles
Blindness blog. What follows is a mix of his paraphrasing with my editing and commentary --if I'm obviously taking over the text is in red.
Meirelles (well known for
City of God and
The Constant Gardener) has been documenting
his film adaptation of the
great novel of the same name by José Saramago (one of the best I've read in the past several years). I'll try to tone down the
spoilers but some will undoubtedly escape.
But before we begin, a bit more on the movie: Meirelles has enlisted a heavyweight cast and team, including his
City of God cinematographer and editor (both of whom were
Oscar nominated alongside him for that breakthrough film). The new film stars Mark Ruffalo and
Julianne Moore as a doctor and his wife and the film is about a blindness epidemic, known as the "white sickness". The doctor being one of the first humans to fall ill to it. Don McKellar (who also wrote the screenplay), Gael Garcia Bernal, Danny Glover, Sandra Oh and Alice Braga have supporting roles. The Miramax film is due in theaters in August... perhaps chasing the
Constant Gardener release pattern?
Post 1 Meirelles informs that they'll be filming for seven weeks in a prison in Tonto. He also tells us that he tried to buy the rights to the novel back in '97 but Saramago wasn't selling so he opted to make
City of God instead. He doesn't know why the author changed his mind but when Meirelles got the rights he secured international financing to prevent Hollywood studio interference.
Smart move! If you've read the book you'll know that it's quite unHollywood. To give you a picture of how relentless it can be, lets put it on a Cormac McCarthy curve: it's a smidgeon bleaker than No Country For Old Men but quite a lot happier than The Road (which is also going before cameras soon)Post 2 Lunch with the author. Saramago, is described as tall, healthy and lovely. Saramago says that the Cão de Lágrimas (the dog in the book) must be big, and he is very pleased to hear about the casting of Danny Glover. Meirelles said that Danny Glover and Jose Saramago are quite alike
(???) Meirelles thought that Saramago would not be interested in the film adapatation because he once said that cinema destroys imagination. As it turns out he is interested in this film and wants to know when he can see some of it. The other lunch guests are lost in translation. Only Meirelles and Saramago speak Portuguese.
Post 3 SPOILERS Julianne Moore is shocked
(upset?) to learn that she has to film one of the books most harrowing sequences (a rape followed by a murder) out of order. Through his head-phone Meirelles hears Julie preparing for the scene: breathing heavily, then crying, then crying desperately. In the first shot she was carried away by emotion, screaming her text. Everyone was shocked (including Mark Ruffalo) and carried away by Julie's emotion reacted in a similar way. Unfortunately that was not the tone that the director wanted for the doctor (Ruffalo), so they had to redo the scene. To keep Julie in the mood for the scene, the director opted not to fix the mic problems they were having. In the end, they did the scene at least eight times. Meirelles chose Moore's fourth take, and Ruffalo's eighth. Julianne got the right tone easily, Mark took a bit longer.
Oh, Mark you troublemaker! Kidding, we love. You really shouldn't still be waiting for that first Oscar nomination.
Post 4 In this post Meirelles discusses charisma. "Where does it come from?" The director cites
Sandra Oh as an actor full of it. He did not know that she was an actor when they first met but he was with her presence. She asked for a small role in
Blindness, so they wrote a few lines for the character Minister of Justice. He said that the minimal role became a great role, that is the power of a great actor like Oh. Meirelles also mentions that he expands the role of the pharmacists assistant (played by
Mpho Koaho) due to the actor's charisma.
Now, if only Meirelles could time travel back to 2004 and beef up Oh's role in Sideways. It's still sad that she was so ignored while the rest of the cast kept winning honors.
please note: as it turns out Twitch Film has translated this Portugese post "on charism" in full --if you want more details on it, is here.
Post 5 The prison shoot in Canada is over. That was the most difficult piece dramatically, but technically easy. The shooting in Montevideo and Sao Paulo will be harder because they will outdoors. The production hired an actor instructor to do a workshop for the extras that will be playing the blind. Meirelles doesn't want the movie to look like a
Night of the Living Dead remake.
Hee. I'm glad Meirelles has a sense of humor about this thing because, like I said: B-L-E-A-K. But just to prove my point, let's do one more.
Post 6 In which Meirelles wants there to be more fecal matter everywhere.
more s%*! The director wasn't happy enough with the amount of excrement in the set, so he asked for it to be a lot messier.
I can smell an art direction nod, coming can't you? But in all seriousness... it's one thing to read disturbing things in a novel. It's another to see them visualized. I'm fearful of how much we can take when I think of just that tiny bit of onscreen excrement in The Savages which was completely disgusting. A whole set filled with it? Oh dear. He then discusses civilization, and says that after reading
Blindness, he thought of society as a complex but very fragile entity. He is also retaining the books choice to not give the character's names (i.e. "the doctor", "the doctor's wife", etcera). Once they can't be visually distinguished because they are all blind they don't need them. Meirelles is working to emphasize the character relationships in the film, while trying to avoid making a tear-jerker.
Continue on to part 2
*
Finally, there's yet more updates and posters added to the Oscar Foreign Language Film pages over at the original site...
Kiss of the Spider Woman, 4 time Oscar nominee
To enter --please note: you must be 17 to enter this contest --e-mail me by Sunday October 19th with the following 4 pieces of information:
TFE readers meet Lev (to your left). He's only 17 but he's been a Film Experience fan for a few years and he offered to send his take on the films he sees @ the Toronto International Film Festival. Since I couldn't make it this year, and since Lev has genuinely good taste (his personal favourites include Magnolia, Cries & Whispers, Notorious, Fargo, Chinatown, A Woman Is A Woman, Eternal Sunshine Of The Spotless Mind, Bringing Up Baby, Dr. Strangelove, Rosemary's Baby, The Piano and other delectable films) I am pleased to share them.If this all sounds very negative, well, it's not as bad as it sounds. Mauro Pinheiro Jr.'s hand-held cinematography adds nothing new to the genre, but he's not afraid to stick the camera on a tripod every now and then, and balances the more shaky close-ups with lovely widescreen shots of the city. The editing, while frantic in the first ten minutes, loosens up, and deftly handles the multiple story lines.
La Mujer Sin Cabeza (Woman Without A Head) [Argentina]
Linha de Passe (Line of Passage) [Brazil]
24 City [China]
Delta [Hungary]
Serbis (Service) [Philippines]
Synecdoche, New York [United States]
The politics of who gets into and who is still prominently featured despite being outside of the competition are always unbeknownst to me. At any rate, here we'll see Kim Jee-Woon's 1930s western The Good, The Bad, The Weird from South Korea and Woody Allen's star-studded romantic dramedy (Cannes still loves him) Vicky Cristina Barcelona. I'm still a little disappointed in the way the release of Match Point was handled. It was Woody's biggest hit in quite a long while but it could have been even bigger with both Oscar and the general public. It was so mismanaged, shoved in for last minute Oscar consideration instead of capitalizing on its Cannes buzz with an early fall release. Hopefully, should reception of VCB be as rapturous across the Atlantic, the Weinstein's won't sit on the film. I know I know... that's a lot to hope for. The wannabe blockbusters that will be featured outside the competition (there's always a couple) are Kung Fu Panda --but will anything be a real competitor for Pixar's Wall•E (previous post) at the box office or at the Oscars next winter? -- and Steven Spielberg's fourth adventurous anthropologist film: Indiana Jones and the Kingdom of the Crystal Skull.
Portugese fluent readers may already know what's coming up in these Blindness posts but those of you who are, like me, limited to one or two other tongues, will want to read on. I've had loyal TFE reader Felippe send me a rundown of what's going on over at Fernando Meirelles Blindness blog. What follows is a mix of his paraphrasing with my editing and commentary --if I'm obviously taking over the text is in red.
Post 4 In this post Meirelles discusses charisma. "Where does it come from?" The director cites Sandra Oh as an actor full of it. He did not know that she was an actor when they first met but he was with her presence. She asked for a small role in Blindness, so they wrote a few lines for the character Minister of Justice. He said that the minimal role became a great role, that is the power of a great actor like Oh. Meirelles also mentions that he expands the role of the pharmacists assistant (played by Mpho Koaho) due to the actor's charisma. Now, if only Meirelles could time travel back to 2004 and beef up Oh's role in Sideways. It's still sad that she was so ignored while the rest of the cast kept winning honors.
It's not just a quote from Angelina Jolie's yummy tummy tatoo. It's also a handy way to describe the pitfalls of some fairly solid movies, now playing at theaters near you.
If the Film Bitch Awards were held today, your nominees would be:
In other words: mesmerizing but hostile --so, don't count on her having an easy ride to an Oscar nomination. Sherry is a maddening character. She doesn't care what you think of her. And if there's anything that can put a chill on Oscar's de-glam lovin', it's that. Even Charlize's Monster, for all of her murderous rage, was desperate for your love.
SCANDAL: Reedited version of crappy gay comedy now stars Brazil's preeminent actress, Fernanda Montenegro! 
Or at least that's where my mind took me when seeing that signage (pictured above) courtesy of the NYC's tiniest movie theater.
Obrigada!
