by Matt Goldberg Posted: November 24th, 2010
Back in September, we reported that Emma Stone has been offered a leading role in the upcoming adaptation of 21 Jump Street. Unfortunately, Stone tells MTV that she has passed on the project:
“I don’t think I’m going to be part of that, but Jonah [Hill] is one of my favorite people in the entire world.”Directed by Phil Lord and Chris Miller (Cloudy With a Chance of Meatballs), 21 Jump Street is based off the 1980s TV series and stars Jonah Hill and Channing Tatum. Hit the jump for what Stone had to say regarding her role as Gwen Stacy in Marc Webb’s upcoming Spider-Man reboot. 21 Jump Street is currently set for release on March 16, 2012.
Stone also tells MTV that she expects they’ll start shooting on the Spider-Man reboot in two weeks and how it’s nice to be back to her natural blonde hair:
Today I went and did hair tests, because I have blonde hair now since Gwen has blonde hair. My natural hair is blonde, so it’s kind of nice. I looked in the mirror and said, “Oh my god, it’s me again, it’s been so long!” We’re finalizing the visual stuff. And I think we’ll start actually rehearsing, because we start shooting in two weeks. Andrew [Garfield] and I went and learned about science yesterday. Gwen really likes science, so we learned about science. I was home-schooled, so I never went to chemistry class in a traditional setting like Gwen is into. That was really beneficial.The upcoming Spider-Man reboot will be in 3D and also stars Rhys Ifans, Martin Sheen, and Sally Field. It’s set for release on July 3, 2012.
by Brendan Bettinger Posted: November 24th, 2010It’s not like Inception didn’t release an impressive set of posters leading up to its July release. It did. Very much so.
But the DVD drops in just under a fortnight, on December 7th. As part of the promotional push, Warner Bros. has been releasing a few odds and ends through the messaging service SnapTag. The latest odd (or end, if you prefer) is an alternate poster that was heretofore unreleased. It’s worth a look after the jump.
SnapTag promises at least two more bits before the “Final Kick” on 12/7. Check out the site for details.
Via Nolan Fans:
Here are the specs for the home video release:
Blu-Ray Combo Pack:http://www.collider.com/2010/11/24/inception-alternate-poster-leonardo-dicaprio/
- EXTRACTION MODE – Infiltrate the dreamscape of “Inception” – with this in-movie experience – to learn how Christopher Nolan, Leonardo DiCaprio and the rest of the cast and crew designed and achieved the movies signature moments.
- DREAMS: CINEMA OF THE SUBCONSCIOUS – Taking some of the most fascinating and cutting-edge dream research to-date on lucid dreaming, top scientists make the case that the dream world is not an altered state of consciousness, but a fully functional parallel reality.
- INCEPTION: THE COBOL JOB – Now in full animation and motion, check out this comic prologue to see how Cobb, Arthur, and Nash came to be enlisted by Cobol Engineering and perform an extraction on Saito.
- 5.1 INCEPTION SOUNDTRACK – Composer Hans Zimmer teams up once again with Director Christopher Nolan to create the soundtrack for “Inception”. Enjoy this feature in full 5.1 surround.
- CONCEPTUAL ART GALLERY
- PROMOTIONAL ART ARCHIVE
- INCEPTION TRAILERS
- INCEPTION TV SPOTS
- Via BD-Live – PROJECT SOMNACIN: CONFIDENTIAL FILES – Get access to the highly secure files that reveal the inception of the dream-share technology.
4 Focus Points:
- The Inception of Inception – Christopher Nolan shapes his unusual concepts for “Inception”
- The Japanese Castle: The Dream is Collapsing – Creating and destroying the castle set
- Constructing Paradoxical Architecture – Designing the staircase to nowhere
- The Freight Train – Constructing the street-faring freight train
Blu-ray Combo Pack $35.99
Single disc Amaray (WS) $28.98
Street Date: December 7, 2010
Running Time: 148 minutes
- DVD AUDIO: English, Latin Spanish, Canadian French
- DVD SUBTITLES: ESDH, Latin Spanish, Parisian French
- BD AUDIO: English, Latin Spanish, Canadian French, Brazilian Portuguese
- BD SUBTITLES: ESDH, Latin Spanish, Parisian French, Brazilian Portuguese
Rating: PG-13 (for sequences of violence and action throughout)
DLBY TRUEHD (Blu-ray) DLBY/DGTL (Standard Disc
by Matt Goldberg Posted: November 24th, 2010
Inception is a fun movie to talk about thanks to its ambiguity. If writer-director Christopher Nolan were to come along and tell you exactly what happened, he would only be destroying the ambiguity he built into the film. In the latest issue of Wired (issue 18.12), Nolan provides a little clarification on some of the debated points about his film, but doesn’t spoil the whole thing. Wired lays out the article as a chart with different arguments about the text (“The Entire Movie Is a Dream”, “Just the Ending is a Dream”) and the sub-text (“The Movie is a Meditation on Architecture”, “It’s About Movie-Making”). Hit the jump for Nolan’s responses to some of the theories. Obviously, spoilers ahead.
Thanks to Wired for this awesome article. The whole issue is great and you should definitely pick it up.
What’s happening in the movie: After the first extraction fails, Cobb spins his top to check if he is in a dream. It falls over.
“The Ending Is Not a Dream” Argument: This establishes context for the audience—the movie is not all a dream.
Nolan’s Comment: “This gives Cobb a base-line reality. But he’s an untrustworthy narrator.”
What’s happening in the movie: Saito says he’ll clear Cobb’s name if he takes the job. He asks Cobb to take “a leap of faith.”
“The Entire Movie Is a Dream” Argument: The phrase “leap of faith” occurs over and over. It’s an artifact of Cobb’s subconscious.
Nolan’s Comment: “I don’t think I’m going to tell you about this.”
What’s happening in the movie: Cobb starts assembling his team and trains Ariadne in dreamweaving.
“Actually, It’s About Movie-Making” Argument: All the roles correspond. Cobb: director. Ariadne: writer. Eames: art director. Saito: producer. Fischer: audience.
Nolan’s Comment: “I didn’t intend to make a film about film-making, but I gravitated toward the creative process that I know.”
What’s happening in the movie: Cobb goes to Mombasa to get Eames the forger and Yusuf the chemist.
“Or Maybe It’s a Meditation on Architecture” Argument: A beautiful pan across the rooftops of Mombasa.
Nolan’s Comment: “I wanted to show the potential for the real world to have analogies to the dream world. The mazelike city of Mombasa does that.”
“Actually, It’s About Movie-Making” Argument: Smash cuts, mysterious chases, implausible coincidences—the grammar of film is the grammar of dreams.
Nolan’s Comment: “I wouldn’t say that I tried to use the grammar of the film to tell the audience what is dream and what is reality.”
What’s happening in the movie: Cobb confronts Mal in limbo, and Fischer is incepted in the hospital.
“The Entire Movie Is a Dream” Argument: Mal challenges Cobb’s reality. Faceless corporations? Chased around the globe? Really?
Nolan’s Comment: “For the ambiguity at the end to work, you need to see that Cobb’s world and the dream world are very similar. And you need to doubt Cobb.”
What’s happening in the movie: Cobb washes up on the beach (full circle with beginning).
“Just the Ending Is a Dream” Argument: Saito honors his agreement. They build limbo to be their reality together.
Nolan’s Comment: “Uh…that’s not how I would have read the movie.”
What’s happening in the movie: Arriving home, Cobb finally sees his children’s faces.
“The Entire Movie Is a Dream” Argument: The kids haven’t aged! And they’re in the same clothes! This is clearly all a dream.
Nolan’s Comment: “The kids are not wearing the same clothes at the end! And they do age! We were working with two sets of kids.”
“Or Maybe It’s a Meditation on Architecture” Argument: It’s the golden-lit craftsman dream home…with a house made of blocks on the dining table.
Nolan’s Comment: “The film is about architects. It’s about builders.”
What’s happening in the movie: Cobb spins the top—it’s still spinning when the movie cuts to black.
“The Entire Movie Is a Dream” Argument: The top doesn’t matter—Cobb can finally see his children’s faces.
Nolan’s Comment: “The important thing is that Cobb’s not looking at the top. He doesn’t care.”
“Or Maybe It’s a Meditation on Architecture” Argument: The top itself is constructed—topologically, it’s a pseudosphere, every point curving away.
Nolan’s Comment: “The prop guys just made a top that would spin for a long time.”
“Actually, It’s About Movie-Making” Argument: The audience has to “take a leap of faith.” Nolan uses ambiguity as a storytelling tool. There isn’t just one answer.
Nolan’s Comment: “Oh no, I’ve got an answer…”