Tema: El árbol de la vida (Terrence Malick, 2011)

Terrence Malick despierta del letargo... ¡3 films en 10 años!! Todo un logro para un tipo tan huidizo. Lástima que Heath Ledger no pueda estar en su película.

http://www.imdb.com/title/tt0478304/

Escrita y dirigida por Terrence Malick (La delgada línea roja), nos llega esta historia que mezcla drama y fantasía en los años 50.

Protagonizada por Brad Pitt y Sean Penn, la fecha de estreno en USA está prevista para el 27 de mayo de 2011.

[ame]http://www.youtube.com/watch?v=RrAz1YLh8nY&feature=sub[/ame]

Malick podrá gustar o no, pero es increíble la belleza y fuerza de las imágenes de sus películas. Es la película que más espero.

Entrevista con Lubezki en la web de Kodak:
http://motion.kodak.com/US/en/motion...ives/index.htm

Tree of Life is described as the journey from the innocence of childhood to a disillusioned adulthood, and the quest to regain meaning in life. The film, which premieres at Cannes, stars Brad Pitt, Sean Penn and Jessica Chastain. It is the latest collaboration between Terrence Malick and Emmanuel Lubezki, AMC. Their previous film together, The New World, earned Lubezki an Academy Award® nomination for best cinematography, and was the first studio feature film in nine years to use the 65 mm film format for anything other than visual effects plates.

Malick is a master whose credits also include Badlands, Days of Heaven and The Thin Red Line. Lubezki caught the cinema world’s attention with Like Water for Chocolate, and his credits since then include Y Tu Mama Tambien, A Little Princess, Ali, Lemony Snicket’s A Series of Unfortunate Events, Burn After Reading, and Children of Men, which earned a fourth Oscar® nomination and an ASC Award for the cinematographer.

For Tree of Life, Lubezki once again used a mix of 35 mm film and regular 65 mm, as well as the huge IMAX™ format. He says the large formats deliver an enhanced “jolt” to viewers, and that Malick’s emphasis on expressing himself through images makes for a unique and sometimes impressionistic cinematic experience.

In the following conversation, Lubezki explains his collaborative with Malick and the thought processes that led to their decisions.

How does working with Terrence Malick differ from other shoots?
Lubezki: It differs completely, and in every possible way. Terry does not impose himself on the situation the way a conventional Hollywood movie director might. With those films, the most important thing is to finish the day. You put up a big silk so you can control the situation and eliminate surprises. On Tree of Life, it was the opposite. We used real light, and the sun, wind and rain and other elements that came our way became part of the story. A very important theme in the movie is the constant passing of things, the changes and flow that are part of life. By not imposing yourself on nature, you are able to catch these very fleeting, ephemeral moments. That theme had a parallel in our approach to the filmmaking.

Does shooting film help you make that approach work?
Yes! Film has been an important aspect of our method, especially the new negative films that Kodak produces. As we prepped this film a few years ago, we saw nothing in the digital world that resembled or came close to the latitude of film. The cameras and lenses we have now are the best we’ve ever had. Also, there are some scenes in the film like an eclipse that Terry filmed 25 years ago, that show film’s beauty and longevity. Terry has been thinking about this project for a long time.

Why did you choose 65 mm for some scenes?
We chose it because of the high resolution. One of the rules Terry and I follow is to achieve maximum resolution whenever possible. We would have preferred to shoot the entire movie on IMAX. When these scenes appear in the movie, they give you a jolt. It’s a feeling of enhancement and majesty. It’s almost as if someone cleaned off the window you were looking through.

Which film stocks did you use?
We used KODAK VISION2 500T Color Negative Film 5218 and KODAK VISION2 200T Color Negative Film 5217. We used ARRI LT and 235 cameras for the 35 mm scenes. The 65 mm camera was a Panavision. We used mostly ARRI Master Prime lenses. I operated most of the handheld scenes. Handheld camera plays an important part in Terry’s movies. The post was handled at LaserPacific and at EFilm in Los Angeles. We have a 2K version going to Cannes, but we are in the process of doing a 4K DI as well.

You mentioned that you used very little lighting on the film. Why?
It’s interesting. Once you start shooting without film lights, and you go twenty days without using an HMI, if you then put up film lights, they look really bad. It just doesn’t make sense. If you really look carefully at natural light, you realize how complex it is, and how it’s constantly shifting. When you put up an HMI and diffusion or bounce, it’s very monochromatic and has a different feeling. So we burned our bridges, and sent all the lights back to the rental house. You can do this with Terry because he really understands lighting and camera very well. If we are inside a house and it’s not working, instead of bringing in lights, he would rewrite the scene and reassemble it outside. Or we’d shoot something else, and come back the next day when it was sunnier. The production was very agile in that sense. Also, the production designer, Jack Fisk, made the entire film possible. In the house that was one of our main locations, he added some windows in key places that became the main sources of light.

Terrence Malick is known as a very visual filmmaker. How does that affect your work?
Films have inherited a lot from other arts, like theater and literature. Since I first met him many years ago, I have felt that Terry is trying to make films, and to express himself, without using the part of film’s DNA that comes from these other arts. The images in his films are very, very important to him. Sometimes he says to me, “Dialog is not what I’m trying to capture. I’m trying to capture an emotion, and I want to do that visually.” I think he has succeeded, and that’s why his films are so strong.

How does that translate into filmmaking techniques?
It’s incredibly difficult. We joke that we are like fishermen. We are trying to get little bits from a river that is constantly flowing. Sometimes you catch one or two, and sometimes you don’t. It’s very nerve-wracking. Sometimes it seems like he is almost trying to create a mistake, to take the actors and the camera to a place where they are going to crash. And it’s those little accidents and moments which are in the film and look naturalistic. Those are the truly visually expressive moments.

[ame]http://www.youtube.com/watch?v=mL7mkwcuOM4&feature=feedu[/ame]

Por lo que he visto en su web, los derechos los ha comprado Tripictures... Mal rollo pensando ya en su BD.

http://www.elpais.com/articulo/cultu...lpepucul_3/Tes

Por lo que comenta la crítica, en general le están cayendo bastantes palos...
Habrá que verlo.

Posters de distintos paises:

La película será una castaña (no afirmo, opino...) dirán lo que quieran... pero la fotografía y las imágenes, tienen una preciosidad y una fuerza alucinantes...

Espero verla pronto y con ganas....

Iniciado por joyla

La película será una castaña (no afirmo, opino...) dirán lo que quieran... pero la fotografía y las imágenes, tienen una preciosidad y una fuerza alucinantes...

Espero verla pronto y con ganas....

Malick siempre ha cuidado en extremo esos aspectos
Malas tierras, Días del cielo o La delgada linea roja son poesía visual en muchos momentos.
También yo he escuchado críticas bastante divergentes. A ver.

Yo haré caso omiso a los comentarios vertidos sobre ella. Un señor que ha firmado una obra maestra de la talla de Días del cielo merece toda la atención. Cada vez que la veo me quedo embobado. El nuevo mundo también me parece bellísima (no sólo estéticamente), aunque no goce del status de otras obras suyas.

The Tree of Life es simplemente una de las más esperadas este año.

Para mi hasta ahora cada pelicula suya cuenta como Obra Maestra,veremos esta pero yo espero mucho.....

luego la peli sera otro toston mas, pero reconozco que la fotografia es preciosa y me atraen las historias de recuerdos padres e hijos...

Hay que verla..creo que tiene mensaje y que seguro toca la fibra sensible

Desde luego parece una obra que amarás u odiarás, pero visualmente de lo mejor del año. Desde luego el cambio de Colin Farrel por Brad Pitt y Sean Penn me parece maravilloso.

Palma de Oro 2011

http://www.elpais.com/articulo/cultu...lpepucul_5/Tes

The Tree of Life gana la Palma de oro de Cannes:

Palmares Cannes 2011

Un saludo.

Ahora si que ire a verla.

la palma de oro de Cannes es una cita que tengo en el cine todos los años.

Además será la priemra película que vere de terrence malick

Yo la segunda . La delgada linea roja esta muy bien. El resto, no puedo decir nada.

Tiene una pinta muy buena, y ese premio no hace mas que corroborar esa pintaza.

Iniciado por Derek Vinyard

Yo la segunda . La delgada linea roja esta muy bien. El resto, no puedo decir nada.

Tiene una pinta muy buena, y ese premio no hace mas que corroborar esa pintaza.

Derek, es de obligado visionado Malas tierras, la ópera prima de este director. Te vas a quedar maravillado ante la probablemente mejor actuación de Martin Sheen en un film.

Apuntada queda.

De Malick sólo he visto "Malas tierras" y "La delgada línea roja". La primera me parece un peliculón que tiene muchísimas cosas a destacar; fotografía, interpretaciones de los actores protagonistas, banda sonnora, guión... La segunda en cambio me decepcionó, eso sí, la fotografía seguía siendo magnífica. Viendo el éxito de "El árbol de la vida" las expectativas crecen.

Derek, estoy de acuerdo con lo que dice tomaszapa. No te arrepentirás.

Ya hemos publicado en cinefilo.es el tráiler oficial en castellano de El árbol de la vida

[ame]http://www.youtube.com/watch?v=A49Tfssi9X8[/ame]