SOMEWHERE TRAILER
via: slashfilm
(https://xixax.com/proxy.php?request=http%3A%2F%2Fmedia2.slashfilm.com%2Fslashfilm%2Fimages%2Fsomewheretopsmall.jpg&hash=e81333f8c964d9c5372a085524acc5544a432dc6)
Focus Features has released the first movie trailer for Sofia Coppola’s Somewhere starring Stephen Dorff and Elle Fanning. Watch the trailer now embedded after the jump. It very much feels like a thematic/tonal sequel to Lost in Translation, another Coppola film about famous father figure connecting with a daughter figure (more metaphoric in the other film) in a hotel.
This looks like it could be a return to form for Coppola. Sofia’s first two films Virgin Suicides and Lost in Translation were some of my favorite movies of their respective years of release. Please leave your thoughts in the comments below!
Sofia Coppola’s (Lost in Translation) new film Somewhere tells the story of Johnny Marco (Stephen Dorff), “a bad-boy A-List actor stumbling through a life of excess while living at Hollywood’s legendary Chateau Marmont Hotel. His days are a haze of drinks, girls, fast cars and fawning fans. Cocooned in this celebrity-induced artificial world, Johnny has lost all sense of his true self. Until, that is, his 11-year-old daughter Cleo (Elle Fanning) unexpectedly shows up and unwittingly begins to anchor him. Johnny’s fragile connection to real life slowly revives in her presence. So when the time comes fro Cleo to leave, his sense of loss is palpable, but the gift of hope she has also brought him leads to a beautiful, poetic denouement imbued with all of Coppola’s remarkable powers to conjure mood and atmosphere.”
Watch the trailer in High Defintion on Apple. Somewhere will hit theaters on December 22nd 2010.
http://trailers.apple.com/movies/focus_features/somewhere/somewhere-tlr1_480p.mov (http://trailers.apple.com/movies/focus_features/somewhere/somewhere-tlr1_480p.mov)
was that phoenix covering the strokes, or just a different version of You Only Live Once?
Quote from: OrHowILearnedTo on June 14, 2010, 07:25:48 PM
was that phoenix covering the strokes, or just a different version of You Only Live Once?
this was a quote from theplaylist regarding the music:
"Coppola's impeccable ear for a good soundtrack (the film may not be much cop, but the "Marie Antoinette" two-disc soundtrack is a post-punk/new wave classic) is in evidence in the trailer; we hear a glimpse of Phoenix's "Love Like A Sunset Pt. 1" (Coppola's beau Thomas Mars is the frontman of the band, who are providing music for the film, and that track will feature heavily, according to guitarist Christian Mazzalai). But there's also a rather thrilling trailer pick, in the shape of Strokes rarity "I'll Try Anything Once," Julian Casablancas' demo version of third album highlight "You Only Live Once" -- we'd be surprised if this didn't turn up in the film somewhere."
Well, it lacks Tokyo and Scarlett Johanssons ass.
It will probably we awesome tho.
This looks great. 2011 Best Trailer Xixax Awards.
the idea seems pretty similar to lit... but okay.
Quote from: picolas on June 14, 2010, 08:13:57 PM
the idea seems pretty similar to lit... but okay.
It's a reboot of the franchise.
Damn you, Coppola, if you make me like Stephen Dorff.
Quote from: polkablues on June 14, 2010, 08:26:56 PM
Damn you, Coppola, if you make me like Stephen Dorff.
If it makes you feel any better, his smile looks just like Ewen McGregors...and his face kind of looks like Peter Sarsgaards.
Looks great. Also, no 3D, which is awesome.
Looks really good and it makes me have a small crush on Sofia.
That story is just too old for me. But the HD trailer looked awesome. HD is almost underrated. I know it's not. But it kinda is. The word HD is overrated. But the HD effect is underrated.
Quote from: Stefen on June 15, 2010, 02:03:16 AM
Looks great. Also, no 3D, which is awesome.
Haha.
Quote from: modage on June 14, 2010, 08:17:09 PM
Quote from: picolas on June 14, 2010, 08:13:57 PM
the idea seems pretty similar to lit... but okay.
It's a reboot of the franchise.
Hahaha.
why has no one mentioned that this is the worst title of the century?
or that Lost in Translation doesn't hold up AT ALL. let alone there being any hope that this bizarre thematic deja vu with a bunch of nobodies and has beens will be any more interesting.
sofcop is still desperate to find her own voice. it felt like she almost had something going in Virgin Suicides but all it has amounted to since then is a lot of wishy washy lofting around.. she's a princess with a very expensive diary.
oh well, at least her soundtracks are great.
Quote from: P on June 15, 2010, 09:59:30 AM
why has no one mentioned that this is the worst title of the century?
Definitely. It took something like 8 new posts on this thread, which is more posts than there is in a day on this board, before I finally clicked on it. I had no interest whatsoever in anything called "Somewhere" but absolute boredom finally made me give in.
I then remembered I saw a post on one of the blog I visit about Coppola's new movie. I hadn't read but now I went. The talkbackers/commentaters were all "This looks beautiful [insert a pun/play on words about almost as beautiful as Sofia Coppola]"
And I come here and Alexandro now has a crush on her.
We're talking about this person here:
(https://xixax.com/proxy.php?request=http%3A%2F%2Fimstars.aufeminin.com%2Fstars%2Ffan%2Fsofia-coppola%2Fsofia-coppola-20071005-320839.jpg&hash=876b3d80c67d18a0f41a41afbbb73f15a8822079)
hey!!, i'm into academy award winning female screenwriters. AND i have a boot fetish. you're just feeding the monster there, pas.
I watched lost in translation a few months back and it holds up just fine, probably feels better without the oscar baggage. also, marie antoinette is way better than everyone claims.
Yeah, I don't get all the love here.
Granted, I'll see this and it looks OKAY, but that's it. It's so fucking generic indie looking. Shots of troubled people looking out the windows of airplanes... people having fun with children set to hip music... where is anything new or super-interesting other than the very beginning with the plaster mask?
Quote from: Alexandro on June 15, 2010, 10:41:14 AM
hey!!, i'm into academy award winning female screenwriters. AND i have a boot fetish. you're just feeding the monster there, pas.
Haha fair enough. But I know that secretly, you just want to get with her to pitch your street gangs script to her father. Ever since you seen the Outsiders, it's been your machiavelian plan.
im surprise too by all the love this is getting, and I love sofcop but this just looks like it could be sofia's elizabethtown.
It looks better than Lost in Translation. Judging by the few shots, maybe Sofia Coppola will try to be less of an auteur and more of a communicator for the themes in the story. Trailers are nothing to judge from, but when I saw the LiT trailer, I remember how hard the filmmaking was trying to lift a simple story and make it feel like something more. This seems a lot more relaxed so I am thinking the story could stand out a little more and in turn, I think I would like the film more.
Quote from: P on June 15, 2010, 09:59:30 AM
why has no one mentioned that this is the worst title of the century?
could have at least called it Sumwhere.
never liked any of her movies or saw anything special about them, but ellie fanning is the shit.
Quote from: pete on June 15, 2010, 03:31:50 PM
but ellie fanning is the shit.
Haha marque that
anyone here seen Life Without Zoe from New York Stories?
it also deals with the wealthy daughter, absentee dad theme.
Media pays for Coppola's satire
Money comes for 'Somewhere'
Source: Variety
The legendary Chateau Marmont hotel in Los Angeles plays a big part in Sofia Coppola's father-daughter drama "Somewhere," which world preems on the Lido today.
But Italy's lesser-known Telegatti TV prizes, held in Milan and produced by Silvio Berlusconi's Mediaset, are also featured in her pic, which takes shots at tabloid life. And the Telegatti are certainly somewhat satirized.
This did not pose a problem when Coppola turned to Mediaset/Medusa for financing.
"We definitely have a playful look at the Telegatti," she said in an interview before the "Somewhere" screening in Venice.
"Then we went and asked that company for financing, and we were glad that they would help us make the film," she said. "We weren't trying to make a comment about Italian showbusiness; the idea was to show that everywhere, wherever you go, it's the same quirky entertainment world."
Just like Coppola's previous feature films -- including "Lost in Translation" - -- "Somewhere," which has an $8 million budget, was partly financed internationally.
"I've worked with Paul Rassam at Pathe and Japan's Tohokushinsha starting with 'The Virgin Suicides' in 1999 and through my relationship with them I've been able to have total creative control," Coppola said.
Focus Features is expected to release "Somewhere" Stateside in December.
As for the film's artistic inception, Coppola started thinking about "Somewhere" while she was living in France and "once in a while a friend would bring in an American tabloid, like 'U.S. Weekly' or something like that.
"I wanted to do a portrait of a kind of L.A. culture nowadays," she said.
"I've always loved movies that were set in L.A., so it started with that, and this character (Johnny, played by Stephen Dorff) staying at the Chateau Marmont.
"Then his daughter came into the story (Cleo, played by Elle Fanning) and with that I put in memories of trips with my dad, because I remember that at that age it was fun to walk into these kind of adult worlds that kids don't usually see."
Francis Ford Coppola, who is in California at the moment, will not be making the trek to the Lido for the preem.
"Somewhere" is also the first film for Sophia Coppola after becoming a mother.
"I wrote it after my daughter (Romy) was born so I was thinking about what impact that made on me, and how that affects you. That's definitely how the daughter came into the story."
Coppola wins Venice filmfest's Golden Lion for 'Somewhere'
Source: The Sidney Morning Herald
US director Sofia Coppola on Saturday won the Golden Lion at the Venice film festival for "Somewhere", a father-daughter drama set in the lonely world of Hollywood moviemaking.
"From that first enchanted screening it grew and grew in our hearts, in our minds, in our affections," said jury president Quentin Tarantino, Coppola's former boyfriend, as he announced the top prize, adding that the decision had been unanimous.
The Silver Lion for best director went to Alex de la Iglesia of Spain for his dark comedy "A Sad Trumpet Ballad", a love triangle in a zany circus setting which the director said was an attempt to "exorcise" the enduring pain of the Spanish Civil War.
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Jerzy Skolimowski's "Essential Killing" about an American Taliban who is captured in Afghanistan, "rendered" to Poland, then escapes into an endurance test in snowy mountains, won the special jury prize as well as a best actor award for Vincent Gallo.
Tarantino also announced a "Special Lion" for cult director Monte Hellman, who was in Venice with "Road to Nowhere", a complex romantic noir thriller.
The veteran US director, 78, was the executive director of Tarantino's debut film, the 1992 crime flick "Reservoir Dogs".
"This director is both a great cinematic artist and a minimalist poet," Tarantino said of Hellman. "His work was an inspiration to this jury and it is our honour to honour him."
The jury at the world's oldest film festival also included fellow directors Arnaud Desplechin of France, Guillermo Arriaga of Mexico and Italian Gabriele Salvatores.
"Somewhere", which reflects the peculiar desolation of the Hollywood lifestyle, is about A-list actor Johnny Marco (Stephen Dorff) and his daughter Cleo (12-year-old Elle Fanning), adrift in the lonely world of Hollywood moviemaking.
"I try to put myself in all the characters that I write," the 39-year-old Oscar winner for "Lost in Translation" told a news conference after accepting the award.
Among the people she thanked was her father Francis Ford Coppola, "for teaching me".
Iglesia, 44, said ahead of the screening of "A Sad Trumpet Ballad" that it was "an exorcism of anguish through humour, irony, comedy mixed with the noir genre so everything can have a proper burial."
The Spanish director, whose 1995 horror comedy "The Day of the Beast" won cult status in his homeland, added: "This is a love story, a crazy, ruthless, wild kind of love. The anxiety and the search for revenge lead to the destruction of the object of love."
On Saturday he said: "The trick is how best to mix the elements."
An award for best photography went to Mikhail Krichman in the film "Silent Souls" by Russia's Aleksei Fedorchenko, the tender story of a member of Russia's vanished Merya minority who drives thousands of miles to bury his wife in a sacred lake according to ancient pagan rituals.
The visual and lyrical feast for the senses paints a compelling portrait of a people long ago assimilated into Russia's Slavic mainstream who nevertheless retain their myths and traditions.
Ariane Labed of France won a best actress award for her role in the experimental film "Attenberg" by Athina Rachel Tsangari of Greece.
Darren Aronofsky's "Black Swan" garnered the Marcello Mastroianni prize for best young actress for the performance of Mila Kunis, 27, the duplicitous friend of an ambitious but psychologically tormented prima ballerina played by Natalie Portman.
Twenty-four films competed in the Mostra, which screened 79 full-length world premieres from 34 countries all together over 11 days.
Huge win for women filmmakers. Really happy about this.
I didn't even think of that until you brought it up, you sexist.
I'm not. My mothers a woman.
To continue the conventionalised discourse further, I think we now require a litany of "Yo' mama" jokes... http://www.youtube.com/watch?v=KIeq4i-us8I
http://www.scsomewhere.com/ (http://www.scsomewhere.com/)
The problem with this movie is that, even if it's great, we'll then have to deal with the inevitable Stephen Dorff Renaissance for the next couple years. He'll get a string of roles in shitty bigger-budget movies, all the parts that RDJ would fire his agent for and Aaron Eckhart has to back out of because of scheduling conflicts; he'll be cast in a period piece in which he is entirely unbelievable for the period (fingers crossed for Victorian England); he'll make a romantic comedy with some combination of Witherspoons, Barrymores, Garners, or McAdamses; and gradually he'll revert back to lower budgets and limiteder releases until one day he's the second male lead in a movie about giant bugs that premieres on the Syfy network. If he's lucky, five years down the line he'll replace David Caruso on CSI: Miami. If he's really lucky, the word "Dorff" will end up on the Urban Dictionary as a slang term for some sort of arcane sexual act, and his memory will live on forever that way. Realistically, that's the best he could hope for.
from my blog (http://modage.tumblr.com/post/2316670161/somewhere):
Somewhere is a film of sparseness and excess. Stephen Dorff plays Johnny Marco, an actor drifting through life at the Chateau Marmont, whose self centered existence is interrupted when confronted with having to take care of his 11 year old daughter. The first thing that may strike you watching the trailer, (other than it being unmistakably a Sofia Coppola film), is that there is almost no dialogue. You'd think this is just an artful teaser but it's actually fairly representative of the film.
The photography is beautiful but there are some shots that go on way too long. The opening features Dorff driving his car around a race track. After 2 or 3 rounds I had gotten all I needed from that scene but the car proceeded to go around 4 more times. There are a handful of moments like this in the film that go beyond a leisurely pace and really just call attention to themselves. Not that they're even boring, just that you start to wonder why the film is drawing so much attention to them when it could have easily cut each shot in half and acheived the same effect.
The film doesn't have the typical structure you might expect from a more commercial film. I had expected Dorff's character to be more of a "bad" guy, or at least "bad dad" who gets reformed by his daughter, conventional arc satisfied. But that's not what happens. Dorff's character is self-involved, but not a bad guy at all. He's good with his daughter and generally pretty nice to most people. Elle Fanning is great in the film, (though it's hard to believe she's only 11), and the two have a good father/daughter chemistry that really anchors the film.
Towards the end, I kept thinking that every shot might be the last one. Because the film steered so far away from clichés I hadn't expected any grand emotional resolutions at the end. So I was surprised when there were a few moments that attempted some catharsis, and disappointed when they fell flat. I still love Sofia Coppola, but have found with her last two films you have to take the good with the bad.
Well, I hope you at least talked your girl into doing things she's never done before.
At least True Grit opens next week.
Quote from: john on December 15, 2010, 12:38:01 AM
Well, I hope you at least talked your girl into doing things she's never done before.
What, like bungee jumping?
haha oh no! Should have gone with TRUE GRIT! Don't ever take my advice. :shock:
I still want to see it but Mod's review kind of confirmed what I was scared of. Sofia Coppola is a limited filmmaker. :yabbse-undecided:
She's still capable of capturing some beautiful moments, but man she seems a little lost as a storyteller. Apparently the script was only 48 pages (http://nymag.com/daily/entertainment/2010/12/stephen_dorff_interview.html) and it kinda shows. Maybe it's time for another adaptation?
This was really boring. Nothing really happens. Scenes go on way too long and nothing really happens in them. I guess we're supposed to feel sorry for this big time actor who is living at the Chateau Marmont, but really, what's there to feel sorry for him about? It wasn't good and it wasn't bad, it was just boring. Also I couldn't tell if the dude from Jackass was seriously retarded or if he was just trying to molest Johnny's daughter. What was his problem? Every scene with him and the little girl together was way creepy. There were a few good scenes, but overall, it was just a pointless movie.
Yeah, Pontius was incredibly distracting.
Occasionally, there were moments that were unexpectedly affecting - especially considering how obnoxious they sound when described (ex: Dorff and his daughter sitting poolside, quietly, scored by The Strokes' "I'll Try Anything Once".) Some moments were far too slight to be affecting, and some missed the mark entirely (that final scene reminded me of some shit I'd write in high school thinking I was being particularly poignant.)
I was really reserved about not seeing this in a proper movie theater, thinking it would be a disservice to the film. Ultimately, I'm glad I didn't. This was also the first time I felt noticeably unimpressed by Savides' cinematography. Strange, considering how much he seems to contribute to a films aesthetic beauty, and how much Coppola likes to ape the abilities of people more talented than she is.
Fuck, I dunno. Maybe I should have seen it in a theater, but judging from Mod's impressions, I don't think my opinion would have changed much.
Quote from: Reelist on December 26, 2010, 12:02:51 PM
or sees a Sofia Coppola movie in theaters?
I'm gonna go out on a limb and guess Stefen didn't see this in a theater, either.
http://www.rottentomatoes.com/m/somewhere_2010/news/1921559/five_favorite_films_with_sofia_coppola/
Talk about Somewhere and 5 Favorite Films - Dorff also has an earlier entry.
Quote from: john on December 27, 2010, 12:41:00 AMI'm gonna go out on a limb and guess Stefen didn't see this in a theater, either.
lol. I didn't. But this is the only one I saw at home. Usually I see everything at home, but this year I've gone to the cinema more times than I have my whole life. We have a chain theater here that dedicates two screens to art house fare, so that's been really great.
I watched Somewhere with my last megabites of december so I had to push back on The Town. You can imagine how pissed I was of my decision. Thankfully the Town's eventual awesomeness compensated largely this turd's boringness. It is the anti-Blindside really. The kind of person who feels sorry for Dorf's character is kinda sickening. At least pretty insensitive to haiti.
I bough the bluray of the good one so don't go calling me pirate.
Last megabytes of December?
I was on a limited 30gb plan :|
Oh wow. How does that work? I can't imagine ever having to watch my bandwidth usage.
I'm now on a 100gb combined... Unlimited doesn't exist in the town I moved in. I bought a seedbox to save on upload usage but still... On my old plan, it was 1$ per gb over 30 lol can you imagine! Now it's 5$ for 30gb extra, not too bad.
Ps: Policemen reading this, I bought like 15 blu rays this month, so, piss off
I'd move to Canada if they started putting limits on bandwidth.
.......SHIT!
Haha! Unlimited exists though, in major towns I guess
Quote from: Pas on January 04, 2011, 08:20:12 PM
Why the fuck are you talking about repo man bandwidth in this thread? Why even bring it up? This is not a chat room, man. Try to concentrate please, we are laughing at QT Sofie here, not pondering about the influence of repo man pirating her shit film.
Where the hell is P anyway.
Quote from: Pozer on January 05, 2011, 12:37:31 PM
Quote from: Pas on January 04, 2011, 08:20:12 PM
Why the fuck are you talking about repo man bandwidth in this thread? Why even bring it up? This is not a chat room, man. Try to concentrate please, we are laughing at QT Sofie here, not pondering about the influence of repo man pirating her shit film.
Where the hell is P anyway.
Hahaha I was expecting this any minute after the first posts. Good call.
Read Bill Murray's Hilarious Speech to Sofia Coppola at the NBR Awards
Source: NYMag
If you're prepared to forgive Bill Murray for being the lone impediment to the progress of Ghostbusters 3, all you have to do is read his speech introducing Sofia Coppola at the National Board of Review Awards last night. The event was full of charming introductions and thank-yous (even Christian Bale came off well — he joked that he's found his The Fighter role so hard to shake that the actresses he's about to screen-test opposite for The Dark Knight Rises "will be the first to get to see Dickie as Batman"), but no one had the crowd roaring like Murray, who introduced his Lost in Translation director with a delightfully deranged speech delivered while suckling candy. Here it is in its entirety.
"They told me I have two minutes. I'm going to pop this Red Hot [candy, pops in mouth] so I'll be finished in two minutes [mumbling with candy in mouth]. Why do you give this award? Why? Because you have to throw a party. Because you have to compete with the Golden Globes. [Cheers.] We all asked that question. You're able to get out tonight, celebrate — without your relatives — you earned, you deserve it.
But why do you give it to Sofia Coppola? Why? Because you want to encourage her, I think. I think that's the real reason. Look at her. Look at her! She comes from a family, mother and father both very successful, creating entertainments, amusements and thought-provoking work. She wrote a spec script for The Virgin Suicides. The ambition of these young people! Can you believe it? The ambition! She got the job as the director. She directed Lost in Translation in another country in another language, and got a prize for it. [Pause.] God, this is a hot, hot Red Hot. But I'm not going to quit on you people, because I've got another half in my pocket. [Pulls out of pocket and puts in mouth.] I got one-and-a-half in my mouth right now. [Mumbling.]
Then she decided to work in France to do Marie Antoinette, a woman who was beheaded. Not a sympathetic creature, you know what I mean? A lot of directors would pass on that. Who do you root for? You know? She did a beautiful, beautiful movie. And now she did this Somewhere, which takes place ... somewhere. I know — it's the West Coast, Southern California based.
So why do you give this person an award? You give them an award because they need to be encouraged. You look around this room and you can look around the world of film, and you can see people that had great success early in their career. Some earned it, some were lucky, some got it, but at a certain point they live life. They get into life, like Sofia has gotten into life. She's married. Now she's got a French lover, [Phoenix front man Thomas Mars]. She has two beautiful children by this French lover. And I, for one, am sick of these directors with the homely kids. I can't stand it anymore. She's got beautiful children, and she lives with a man who is the only Frenchman that could play rock and roll, ever. Fuck Johnny Hallyday! [Audience roaring, gasping.] Pardon my French.
So why do you encourage these people? Because now she's had this success, she's had this work, she has this life, she has this family, she has this thing going, and now is when people like you have chosen well to say, 'Let's give this person another boost, let's give this person another boost to say keep going, because now life will come to you hard, like it's come to everyone that's lived long enough. It comes hard and it gets in the way of your career; it stops your career, it stunts your life — not necessarily your life, but it definitely will make your career go left. You show me an actor doing a shit movie, I'll show you a guy with a bad divorce. [Audience laughs.] Right? Right? [Looking around the room.] You know who I'm talking about.
I want the best for her because she's a lady. She acts like a lady, the women in her movies are ladies, they have strength and power and they're strong. Even the pole dancers in this latest movie have enough of themselves to call the lead actor a moron. As all you women should call your men this evening, I think, pole or not. So we'll give her a boost to say, go on, you've made it this far, push her out into the deep water, push her out into bigger and deeper films, more and more films. She has a beautiful eye. She has great taste in the people she chooses to work with. She's a kind and thoughtful director and editor and producer. She's all the things that we hoped we could be when we were like this. She's been lucky so far, and she's been strong so far. Let's keep her going. I appreciate your asking her to receive this award for filmmaking achievement. Ms. Ms. Ms. Sofia Coppola."
So, I'm going to guess that the crowd was a laugh track.
I actually really enjoyed this movie.
Like more than I thought it would. Despite it's sparse look and slow pacing, I was actually quite engaged the entire time (unlike the American), and I actually felt for Johnny. I guess I can see past the whole "he's rich and famous and stuff" thing, which I can understand why some people can't. Although it is similar territory for Sofia Coppola, I think I regard it as highly as Lost in Translation. I also completely agree with the previous comment about thinking each scene would be the last.
I also think I laughed more than intended.
The phone call seemed sort of like out of place.
I guess it was for people that didn't see the subtlety, they could be like "OH He's not happy!"
This had to be the most awkward movie I've ever seen. Never have I been so perplexed at why I'm watching what's happening onscreen. I liked Sofia Coppola's first two movies (av's from the second) but I'll give her one more shot to wow me and then she's off my radar.
she's simply not remotely diverse.
I also enjoyed this pretty much. One thing I really can't understand is why some people seem to find it so hard to care about the main character. He's a rich movie star, yes, but he doesn't even see himself as a human being at all. He's rich but lonely, and he seems clearly affected from being separated from his kid's mother. He's just a depressed guy, and this movie actually respects that, and doesn't exploit it to sentimental value at all.
And the pace is right as it should be. It's a movie about being boring, about being alienated, and that's just how it feels. Dorff was great dealing with it, and Elle Fanning was superb. Her smile was clearly her father's pride and I could just feel it while watching the movie. I really really loved it very much, and Sofia is yet to do wrong in my book.
This felt to me as the best portrayal of a man with an empty soul. This film feels ironicly really empty too. I love the look of this film and there's something so utterly vapid ingrained in these scenes. Although, I think Sophia wanted it to be that way.
Did anyone else read the script? It was almost written in the style of Less Than Zero. To me Somewhere feels like a better translation of Bret Easton Ellis' sensibility to screen than any of the movies actually based on his books.
this movie failed worse than LVT's Nazi crack!
i srsly kept picturing Sofia's drab voice shooting and editing this garbage. "Yeah, that looks really good. hold on that. and then if you could kind of take a sip of beer while keeping that melancholy look... yeah, just like that. Puuurfect." the editor had to fall asleep multiple times while cutting this thing. he only had to click his mouse button to cut, what six times??
she botched this one big time. she says in the making of she is only interested in capturing mood, painting a portrait of it so she recycles her tired downer movie star stuck in a rut bit only this time lets the drab drag on for an eternity??? so confused by her.
as John said, stuff like the last scene in this movie (the ultimate eye roller) is shit you wrote in your adolescence, revisited later on your dinosaur laptop in a painful cringe with no intention of saving it in your "use later" folder.
Quote from: Pozer on May 22, 2011, 02:14:41 PM
i srsly kept picturing Sofia's drab voice shooting and editing this garbage. "Yeah, that looks really good. hold on that. and then if you could kind of take a sip of beer while keeping that melancholy look... yeah, just like that. Puuurfect." the editor had to fall asleep multiple times while cutting this thing. he only had to click his mouse button to cut, what six times??
I actually read it was Harris Savides that suggested shooting this way to her. (I think it was an Antonioni film he recommended that had these insanely long shots in it but can't remember for sure.) So it's his fault for suggesting it. And her fault for not knowing better.
I'm sure I'm going to get some hate for bumping this, but I watched it this weekend and I really enjoyed it. It has its faults and in self-indulgent to be sure, but if you're able to appreciate it for what it is, then you should really enjoy it. I know I did. I'd rank it as better than VS and MA, but not as great as LIT. It was a nice, slow, observational film which was just what I needed when I sat down to watch it. Really enjoyed it.