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서부시대의 멋진 아빠 되기

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아직은 러셀 크로가 크리스찬 베일보다는 한 수 위로 느껴진다.

원작은 어떨지 모르겠으나 이 영화는 서부시대의 “멋진 아빠 되기” 이야기다.

  • 재미있게 볼 수 있으나 그 이상은 없다.
  • 역시 러셀. 어디서나 묵직한 존재감이 있다.
  • 벤 포스터의 발견

Written by soyul's papa

10월 19, 2009 at 9:30 오전

막가는 엄마와 아들… 지옥이 따로 없다

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멋진 예고편, 김혜자, 봉준호, 연기되는 원빈. 보고 싶은 영화였다.

다 보고 나니 봉준호나 박찬욱이나 거기서 거기라는 생각이 든다.

맘 편하게 볼 수가 없다.

살아남았어도, 그게 사람처럼 사는 건지 모르겠다.

나도 조금씩 비정상을 받아들여야 하는 상황이 하나둘씩 생기는데, 어릴땐 그때마다 그냥 도망가면 됐었다. 내 상황을 남의 상황으로 만들어 두고 도망가는 것. 그래서 비껴왔는데…

만약 더 이상 비껴 갈수 없다면 어떻게 살아야 하지 ?

누구는 필요없는 건 버리면서 살라고 편하게 말하지만, 가족생기고 나이들어보면 그게 그리 쉽나 ? 일단 가족구성원이 되면 버릴 땐 책임감도 같이 버려야 하는 거다.

 

영화는 뭔가 꽉 찬 느낌이 들고, 보는 내내 스릴을 주지만 다보고 나면 살인의 추억과는 달리 아주 착잡하다.

연기는 진구가 잘하는 듯…

Written by soyul's papa

10월 19, 2009 at 8:49 오전

영화와 음악에 게시됨

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FPS 의 완전체

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지금까지 했던 FPS 중 최고

과거 Halflife 에서와 같은 짜증나는 통풍구 퍼즐이나 황당한 괴물도 없고, 순수한 전술 액션으로서 짜릿한 경험을 준다.

Call of Duty 가 전장감은 더 훌륭하다. 그러나 Halo 는 전장감을 엔딩롤이 나오는 순간까지 그 현장감을 끊김 없이 유지한다. 또한 짜임새가 좋아서 지루해 할 틈이 없다.

무기체계에 따른 전술은 크게 다양하지는 않지만 중독성이 있어서 반복 플레이를 해도 새로운 느낌이다.

Normal, Hard, Legendary 모두 엔딩을 봤다. 내게서 2번이상 엔딩을 보게 만든 게임은 흔치 않다.

Good

Written by soyul's papa

10월 15, 2009 at 6:41 오후

Computing, 영화와 음악에 게시됨

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U-571 시절의 당신은 어디에 ?

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아름솔 유치원에 견학을 가려던 계획이었는데 무산된 후, 일산 CGV 에서 와이프랑 본 영화. (호우시절을 보고 싶었는데 …)

별로라는 평은 어디선가 들었었다. 당연히 큰 기대도 안하고 적당한 액션을 즐길 수 있을 거라 생각했는데…

일단 액션이 시원찮다.

보다 보니 액션을 보여 줄려는 의도도 별로 없는 거 같다.

초중반 스릴러의 분위기도 꽤 나왔는데, 진중한 느낌은 없다.

감독이 조나단 모스토우인건 타이틀 롤에서 처음 알았다. 아마 미리 알았더라면 이 영화는 한참 전에 봤을 것이다. 기대치가 있었으니까…

하지만 U-571 의 그 감독은 대체 왜 이렇게 된건지… 이 영화로 조나단 드미와 함께 해가 갈수록 실망만 안겨주는 감독으로 모스토우가 추가됐다. (난 핸콕은 안봤지만 T3 까진 괜찮았다고…)

공각기동대에서 차용했다는 느낌은 사실 심증만 있었는데, 중간에 중국어인지 일본어인지로 휘갈겨 쓴 간판의 써로게이트 대여점이 나오면서 확증으로 굳어졌다.

뭐 소재야 빌려올 수 도 있지만, 이번엔 좀 유치하다. (이런 속보이는 차용은 3류들이나 할 수 있는 거 아닌가 ?) 원작이 그래픽 노블이니 이 부분은 비켜갈 수 있겠다. 하지만 새로운 시각이나 해석은 없다는 점에서, 모스토우의 이력에서는 앞으로 졸작으로 남을 가능성이 많다.

Surrogates new cover.gif

기왕 이럴거면 완전한 액션물로나 만들지…

 

스릴러인지 액션인지도 애매하고, 어설프게 브루스의 내면연기가 끼워져 있다는 것도 마음에 안든다. 써로게이트로 인한 브루스의 상실감은 계속 엉성한 느낌만 전달받았다.

 

우리가 극장에서 나올 때 나눴던 대화 중엔 써로게이트에 대한 이야기는 전혀 없었다.

이 영화는 불이 켜짐과 동시에 머릿속에서 사라져버린 것이다.

Written by soyul's papa

10월 14, 2009 at 10:14 오전

헤일로(Halo) 간단 리뷰

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엑박의 인기작 헤일로를 이제서야 건드려 봤다. (아래 이미지 출처는 Gamespot)

halo_screen008

gfs_5872_2_1

위 스크린샷처럼 개활지에서의 미션이 많고, 큰 크기의 crosshair 와 공격판정이 난이도를 낮춰준다. 때문에 전투 난이도에서 오는 스트레스는 적은편이다.

gfs_5872_2_8

제한된 공간에서의 그래픽은 FPS 의 전통적인 강점인데, 헤일로에서는 그다지 큰 특징을 찾기는 힘들었다. 다만 디테일에 있어서 알게모르게 완성도가 높은편이다. 특히 AI.

gfs_5872_2_10

게임에서 느끼는 유일한 단점은 바로 특징없는 주인공

gfs_5872_2_13

게임의 배경이 약간 단조롭지만 맵구성은 재미있는 편이다

멀티는 아직 안해봤다. 엑박유저들의 말대로라면 상당히 기대됨.

  • 명성에 비해서는 약간 투박한 느낌, 하지만 만듬새는 탄탄하고 어떤 “명료함” 같은 것을 가지고 있다 (군더더기없이 깔끔함)
  • 싱글미션은 하프라이프와 동급의 구성력을 가진다. 전투 밀도는 더 높은편으로 호전적인 게임을 선호한다면 추천
  • PC 용은 최적화가 개판이라는 소문이 있음 (실제로도 그런거 같다)
  • <탈것>=비히클이 아이디어로써 매우 잘 적용되었음
  • 적당한 난이도와 재미를 가지고 있음. 분명한 수작

FPS 팬이 아니더라도 추천. 해볼만한 가치가 있음.

Written by soyul's papa

10월 15, 2008 at 7:31 오후

Computing, 영화와 음악에 게시됨

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Julie Taymor

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35  브로드웨이에서 극작가로 시작한 영화감독이자 뮤지컬 감독. Creative Minds 에서 알게된 지적인 느낌을 물씬 풍기는 여성인데, 인터뷰의 내용이 마음에 들어서 관심을 가지게 됐다. Lion_king_large

뮤지컬 라이온킹은 한번쯤 명성을 들어봤던것 같다. (이 여성이 라이온킹 뮤지컬 연출가다. 영화감독도 사이드잡이 아니라 아카데미 노미네이트 경력까지 있다.) 뉴욕에 가면 꼭 한번 봐야만 하는 뮤지컬이라는데 감상기를 읽어보면 대단하긴 대단한 모양이다.

인터넷을 서핑하다가 그녀의 바이오그래피를 대충 모아봤는데 얼핏봐도  ㅎㄷㄷ

 

Biography

  • 1952년 보스콘 외곽 Newton 출생.
  • 어려서부터 연극에 관심을 보여 10살때 보스톤 어린이 극단에 합류.
  • 14,15세때 국제교류프로그램에 따라 스리랑카, 인도 여행.
  • 16세때 파리 연극학교 Jacques LeCoq 에서 수학
  • 이후 미국 오하이오주의 Oberlin 대학에 입학.
  • 통상적인 극예술 전공학생과 달리 민속학/신학에서 학위취득
  • 뉴욕 Joseph Chaikin’s Open Theater 에서 공부후 Herbert Blau 의 극단에 합류, 극단에서 가장 젊은 연기자중 한명으로 활동
  • 1973년 시애틀의 동양예술학 프로그램에 합류, 인도네시아의 전통 가면/인형극 공부
  • 1974년 졸업후 전통극에 대한 필연(?)/관심(?) 으로 일본, 인도네시아 발리 여행, 이후 5년동안 인도네시아 Loh 극장에서 활동
  • 1979년 미국으로 복귀. 이때 미국에서는 혁신적인 극연출가와 디자이너로 명성을 얻기 시작. 작곡가 Elliot Goldenthal 과 다수의 프로젝트 진행 (Transposed Heads, The Tempest, The Taming of the Shrew…)
  • 1984년 루마니아 연출가 Andrei Serban 과 The King Stag 공동연출, 메사추세츠 캠브리지의 American Repertory Theater 를 시작으로 2000년까지 뉴욕,LA,베니스,도쿄를 포함한 전세계 66개 도시에서 순회공연
  • 1988년 멀티미디어 퍼포먼스 Juan Darien, a Carnival Mass 로 두개의 obies 상을 포함한 다수의 수상, 뉴욕도서관에서 전시회
  • 1992년 일본에서 Seiji Ozawa 와 오페라 Oedipus Rex 연출, 미국에서 에미상을 포함한 다수의 수상
  • 1993년 모짜르트의 마술피리를 재구성/연출FLO_1_tf3flute_210794_0403
  • 뉴욕에서 세익스피어 원작의 Titus Andronicus 연출
  • 1996년 The Green Bird 연출
  • 1997년 디즈니 CEO 마이클 아이즈너의 요청으로 뉴욕 브로드웨이에서 The Lion King 뮤지컬 연출
    • 두개의 토니상과 다수의 수상, 현재도 전세계에서 공연중
      42-15379651
  • 1999년 영화 Titus 연출
    arts01_titus 
    Titus 에서 안소니 홉킨스와 함께
  • 2002년 멕시코 화가 프리다 칼로의 인생을 그린 영화 Frida 연출
    BE062797
  • 2004년 뉴욕 메트로폴리탄 오페라극장에서 마술피리 공연
  • 2006년 Grendel 연출
  • 2007년 영화 Across the Universe 연출
  • 현재 영화 Transposed Heads 와 뮤지컬 Spiderman 준비중

 

Images

 MCDFRID EC010

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인상적인 인터뷰들

In your own life, when did you first feel transformed by art?

I don’t know if I’ll remember that moment, but I was always playing in the backyard. I was always dressing up and putting on shows. My elder sister loved to organize things. And so we did a lot of make-believe. Remember that word? A lot of play.

My parents encouraged us to go out and play…julie_taymor1

I think that there’s an unfortunate thing right now that children are in front of computers as opposed to going outside and taking a bit of string and a bit of fabric and a stick and making a kite, and understanding that this kite could be a bird because you imagine it to be a bird, not because you push a button and “bird” comes up in your Google. I feel like the computers are a tool, but they’ve become a monster, and will really cut down on the creativity and imagination of people, period, that it’s a going backwards in certain ways. It’s going forward and it’s wonderful when you use it as a tool. But it’s like when people say, you know, the modern technology is better. Well, honestly, who built the Taj Mahal? Who created these beautiful structures, these buildings, and out of what? Or the pyramids. I mean, yes, you had slaves, and that’s lousy, but on the other hand, it’s the imagination of the creative — the artist — isn’t necessarily better because they’ve got higher technology and better tools.

I went to Boston Children’s Theater when I was a young kid, at about age eight or nine. I started to take the — not the subway, but the trolley cars into Boston, and was acting at a really young age. I think Midsummer Night’s Dream is my earliest memory of a play that we saw on a trip in the summer when I was about eight in Canada at Stratford, at the Shakespeare festival there. And then I acted as Hermia, and that was my first memory of really acting when I was seven or eight years old. But I think it was a Shakespeare play. I’m almost sure it was a Shakespeare play.

You’ve said that your parents gave you a sense of trust in yourself, and gave you freedom. How did they do that?

35a Well, I’m the youngest of three, and I’m younger than my older brother and sister by five or six years. They had a lot of trouble with them. It was the ’60s, and I got to watch. I should tell you about my new movie, Across the Universe, because it’s all set in the ’60s.

My father basically said to my mother, “Okay, she’s yours and if you don’t want to say no, then don’t say no.” They put so much trust in me that I had to create my own sense of morality. I would make those decisions myself. They treated me like an adult. I called them by their first names when I was very young, and I became very good friends with my parents. Only once did I lie to them, and I lied because they forced me to because they didn’t trust me. They wouldn’t let me go with my boyfriend when I was 12 or 13 or 14 or something on a trip, thinking of course I would lose my virginity, or I would do something, get pregnant. I was master of myself. I could take care of myself, so I went anyway, told them I was with a friend. When I came home, I said to them, “I lied to you, and this is why I lied to you.” I know that sounds pompous, but they said, “Oh, you’re right. There’s no reason to do that. We’re not going to treat you like a child.” So treating me like an adult made me act like an adult. That’s why…

When I was 14 or 13 or 15 I went to Sri Lanka on the Experiment in International Living for a summer. I wanted to travel. And going outside of my own culture and traveling and seeing my own world from a foreign perspective is a big part of my life and who I am. That’s what I was talking about earlier, is stepping outside of yourself and examining yourself with a different perspective is very important, and it’s important to do as an artist for others. Then, when I was 16, I graduated from high school early — and never really officially graduated — and went to Paris to study mime at École de Mime Jacques Le Coq. And then traveled some more, and started my own theater company in Indonesia. I basically was very, very let free, let go. “Do what you want to do. We will support you.” And I suppose that could be bad. But in my case, it worked out well, and I was always extremely close to my parents.

Were they artistic as well?

m1067599 My father was a doctor. He’s gone now. Mother was in politics, but she has an artistic flair. I think she’s very dramatic. Her father didn’t want her to go into theater or film. That was a bad thing. You know, only hussies become actresses. But then she found a medal my grandfather had received for acting when he was young. No, my parents weren’t in the arts, but they were lovers of the arts, and they talked about it. I didn’t really go to concerts, classical music or any of that. I never really enjoyed opera when I was young. But they were very encouraging of us doing the arts.

What kind of politics was your mother involved in?

Democratic politics. We’re from Massachusetts. She was always involved; she ran for office and was a state representative. We knew the Kennedys; I still know Ted Kennedy. She was a delegate to all of the conventions and many other things.

When she got older she got her master’s and started a program for women in politics at Boston College and then Boston University and Smith College. She’s now in her 80s, but she was one of the first women to really be involved in politics. I remember canvassing with her when I was 12 and having people say, “Oh, go home. Take care of your kids.” “Well, my kids are with me.” Having that kind of prejudice against her as a female — because she was one of the first. She was very attractive. She wasn’t Louise Day Hicks if you remember that. She wasn’t that kind. There were a lot of women that didn’t support women at that time.

So she became very involved in teaching and setting up programs, especially for women who had finished with their children, who now wanted a career in politics. She started a whole program to get them ready to go out into the political sector.

So you had a role model for being outspoken, not hiding in a corner, and forging a new path.

610x My mom? Oh God! My mother was never home when I was a kid. I complained. “Why aren’t you baking Girl Scout cookies?” or whatever, although you can buy those in boxes. Actually I was very proud of her, that my mother was working or going to school. I think that I got enough attention, and I think the fact that she let me be free and didn’t spend so much attention on me was a good thing.

That’s a twist on what a lot of the parenting books say these days.

Oh, suspend all that!

Were you a serious student at school?

Yeah, yeah.

I did well in school. You know, I went to Oberlin. At that time, grades were — you elected to have them or not. It was all of that era where grades were out the window. But I did very well in school. I didn’t really study the arts; I practiced the arts. I really never studied drama and playwriting or any of that. I just was a practitioner always.

What about books? Were there books that you particularly remember as a kid, growing up?

sculping Well, as a child I remember Little Lord Fauntleroy and A Little Princess and Mrs. Piggle Wiggle. Those are the books that I can remember. As a young adult — I think 14 or 15 — Gabriel García Márquez. I think that I must have read One Hundred Years of Solitude when I was 14 or 15, and that was my favorite book at the time, and then more of his books. As I get older, I have other favorites.

Could you name a few?

Salman Rushdie’s books. I think the last one he wrote, Shalimar the Clown, was incredible. Oh my God! It’s hard when you get put on the spot for your favorite. It’s always what you just read. White Teeth! I read a lot of books that are, for lack of a better word, cross-cultural. I find movies and books that take me — transport me to another culture are the things that I’m most interested in, and always have been. So reading about someone from an Indian culture growing up in England — some other books by Indian authors have come out recently that I’ve really enjoyed.

You mentioned visiting Sri Lanka when you were 14 or 15. What program was that?

It was the Experiment in International Living, where you live with a family for the summer.

That’s really young to be traveling away from home.

 DWF15-506587 Yeah, but they let me do it. They were very busy with my older brother and sister, who went right through politics, the drugs, the dropouts, the marches, the entire ’60s, and I watched that as a voyeur. I was 12 or so, watching my sister, who was in SDS, Students for a Democratic Society. Then her husband was on the way to being a Weatherman. I saw the whole thing. My brother went to Haight-Ashbury and was a musician and dropped out of college three or four times. And the LSD! I actually had tremendous sympathy for my parents, compassion, because they didn’t know what the hell was going on.

This new movie that will come out next year, Across the Universe, is the first piece of work that I’ve done that has anything remotely to do with the way that I grew up in America. Everything else I’ve done, whether it’s Grendel — Beowulf, the monster — or Frida Kahlo or Titus — Shakespeare — or Indonesia, have been places where I feel I lived. Where I live is not necessarily in New York City. That’s where my apartment is, but I live in Mexico, or I live in Indonesia. I live in Japan. I feel as comfortable in those other cultures, because, in a way, I’m always uncomfortable. I can’t explain that, exactly, but I put myself into situations where I’m forced to do something, to create, to respond, to see differently.

It was fascinating to be offered a Beatles musical — this is using 30 Beatles songs — having nothing to do with the Beatles. It’s a completely original musical set during the ’60s that takes place in New York and Vietnam and Detroit and Washington and Liverpool, but is not about the Beatles, and really is telling the story of that time.

Going back to the beginning of your career, what do you think you learned in Japan and Indonesia that changed your way of looking at things?

0000364834-003 Very different in Japan than in Indonesia, because Japan is already a modern culture, even though they have traditions, which are incredible and are not just preserved, but living. Different experiences impressed me. One thing is, I would go back and forth between the traditional arts, like the Kabuki or the Noh, and explore the contemporary theater, like Suzuki or Terayama, the Butoh theater, and all of the unbelievable puppet theater that they have for adults. You know, we still hear the word “puppet” and we get this nauseating image of some kind of Muppet or something. Puppets really are the origin of theater. Even the shadow on the wall of Plato’s cave was a puppet. The very first actor was some kind of hand creating some kind of animal.

I met a Noh mask carver in Kyoto, and I was very impressed, when I went into his workshop, how he laid out his tools, how he laid out the wood and the carving tools, and the neatness, so that the act — the sheer act of carving — was an act of devotion. And you didn’t go into just a messy studio and just slap-dash something together. The making of the mask, or the making of the puppet in Indonesia, the carving of the leather shadow puppet, is such a high art form that — a wooden mask, you have to hold the head to north, and the south would be the bottom. How you put the masks in a box, how you treat them — they are not merchandise. They are not just inanimate objects.

If the grain of the wood in the tree goes from north to south, then you carve that mask that way. People make up these rules. They’re not God-given, because there’s no such thing, but somehow these rules come from nature. When I was talking about awe earlier, they are things that bring the level of our humanity to another place. We can either be monsters or angels. We are able to be demons and angels, as that book says. We are able to be incredibly creative or to be incredibly destructive. We have that decision to make, to create something. It could be grotesque and ugly, but it is monstrously beautiful, so it inspires people.

I received from my experience in Japan an incredible sense of respect for the art of creating, not just the creative product. We’re all about the product. To me, the process was also an incredibly important aspect of the total form. And in Indonesia even more so. So then I spent more time in Indonesia and watched these incredible ceremonies that would go on for nine hours that were completely — the separation between your function as a Hindu and your function as a puppeteer creating a puppet show in this Hindu (culture) — there is no separation.

Julie-Taymor2

We have relegated our arts to an entertainment factor, yet on the other hand, we recognize the power of sports and entertainment to completely take over the psyche of individuals, the worship of celebrity. So you can’t dismiss it. I think that there is a point where you can’t dismiss it. What you have to do is plug into it and understand that that’s something very powerful.

There is incredible power in the arts to inspire and influence. Let’s even just take homosexuality in our culture. Brokeback Mountain is, to me, way behind. If we didn’t have movies like Tom Hanks in Philadelphia, where we see a love affair between two men. That was way beyond Brokeback Mountain for me. When we saw the family accepting their son’s choice — not even his choice, but who he was — that completely started to change the culture. So in entertainment, you have the power to totally transform.

Now, again, if you’re talking about religion, we see that we’re into this massive religious warfare. That is so totally connected to the spirit, and the spirit is completely manipulated by the arts in a good and bad way. You can rile people up with incredible poetry, with words. And what are words?

I heard Ralph Nader speaking about the sharp tooth and the smooth, silvery tongue. Grendel is full of this. What Grendel is about speaks to these issues. It is the power of music and the power of words, whether they’re from the Koran or the Bible, to sway you. People will go to war based on art. “Men gone mad on art.” That’s a line from Grendel.

If you can show through a story what will happen, what is going on, you will by far inspire and influence people more than anything else. They’re not going to be listening to reality. They won’t. Because there’s nothing worse than reality. What they want to hear is stories, and then if the stories touch them — and that means sets the blood and sets their sentiments and their emotions going — they will do something. But it has to be done that way. That’s what will move them.

That’s why when you go to church and you see people going into a trance, you say, “How does that happen? How did it physiologically happen?” How do people walk on coals if it’s not through belief? Belief is through talk and through image and through music and through the church or the temple or the space that you’ve created to create that sense of transformation.

Written by soyul's papa

8월 11, 2008 at 8:18 오후

영화와 음악, 에 게시됨

The Dark Knight Animation

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20071208140110468 다크나이트의 개봉에 맞춰 프리퀄이 제작중이다. 에니메이션의 형식으로 배포되는 이 프리퀄은 당대의 작가들과 프로덕션들이 참여한다고해서 기대가 높다.

1. Brian Azzarello, comic book writer (100 Bullets, Batman: Broken City)

2. David S. Goyer, comic/screenwriter (Batman Begins)

3. Greg Rucka, comic book writer/novelist (Batman, Gotham Central, 52)

4. Jordan Goldberg, producer (The Prestige, The Dark Knight)

5. Josh Olson, screenwriter (A History of Violence)

6. Alan Burnett, writer/producer (Batman: Mask of the Phantasm, Batman: TAS, Batman Beyond)

총 6 부작으로 비긴스와 다크나이트사이의 이야기란다.

20071208213718531

참가하는 스텝은 아래와 같다

  1. Production I.G. (Ghost in the Shell, Blood: The Last Vampire)
  2. Madhouse (Metropolis, Paprika, Vampire Hunter D)
  3. Studio 4°C (Mind Game, Tekkon Kinkreet, The Animatrix)

Written by soyul's papa

12월 11, 2007 at 8:21 오전

영화와 음악에 게시됨