El primer fichaje de Branagh para la peli, es Judi Dench
Judi Dench in Talks to Join Kenneth Branagh’s ‘Artemis Fowl’ Movie Adaptation (EXCLUSIVE)
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¡Bienvenido a mundodvd! Regístrate ahora y accede a todos los contenidos de la web. El registro es totalmente gratuito y obtendrás muchas ventajas.El primer fichaje de Branagh para la peli, es Judi Dench
Judi Dench in Talks to Join Kenneth Branagh’s ‘Artemis Fowl’ Movie Adaptation (EXCLUSIVE)
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Empezamos bien
Saludos
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
Anunciado el reparto
Ferdia Shaw sera el protagonista,
Branagh volvera a contar con Josh Gad y la ya anunciada Judi Dench
y luego estan Lara McDonnell y Nonso Anozie
http://deadline.com/2017/12/artemis-...ey-1202230710/
Irish-born newcomer Ferdia Shaw has been cast in the lead role of Disney’s Artemis Fowl, the live-action adaptation of Eoin Colfer’s children’s books.
Josh Gad, Judi Dench, Lara McDonnell and Nonso Anozie have also joined the cast of the pic, which Kenneth Branagh is aboard to direct from Conor McPherson’s script. Shooting starts early next year in the UK.
Se unen al reparto Josh Gad, Lara McDonnell y Nonso Anozie.
Gad interpretara a Mulch Diggums, un enano kleptomaniacal que trabaja para las hadas, Dench interpretara a la comandante Root, la líder de la policía de hadas; McDonnell será la capitána Holly Short, la heroina elfo; y Anozie será Butler, el formidable guardaespaldas de Artemis.
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¿Cómo? ¿Un niño protagonista de una película interpretado por un niño de verdad? ¡¡¿Estamos locos o qué!!?
Fuera de bromas e ironías (saludo desde aquí a Peter Parker/Tom Holland de 15 años), agradezco la valentía de Kenneth Branagh y la directora de casting por apostar por futuros talentos de una manera tan arriesgada en un casting que probablemente habrá sido dificultoso.
Sin embargo, no entiendo qué hace Judi Dench interpretando el papel de un personaje masculino (en el libro lo es). En este caso es importante que hubiera sido un hombre por la trama del mismo. Vamos a ver, vamos a ver...
Tras años y años de rumorología comienza esta aventura y esperemos que acabe en buen puerto. Ya al menos cuentan con mi interés. Casting prometedor por ahora aunque extrañado con Judi Dench.
Tengo fe en Branagh. Si no lo tuviera B/D me odiaría para siempre y no quiero ganarme enemigos tan pronto...![]()
Última edición por Laráptoris; 20/12/2017 a las 22:52 Razón: Judi en minúsculas... aagh, teclado inalámbrico malo :(
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Última edición por Tripley; 21/12/2017 a las 01:56
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.