mercredi 23 avril 2008

James Bond - Quantum of solace - le tournage


ROME (AFP) - Deux cascadeurs ont été blessés mercredi lors du tournage en Italie du dernier film de James Bond, "Quantum of Solace", quatre jours à peine après la chute dans le lac de Garde (nord) de la célèbre voiture Aston Martin de l'agent secret, a annoncé l'agence Ansa.
L'accident s'est produit lorsque la voiture utilisée par les deux cascadeurs a percuté d'abord le camion de tournage puis un mur. Un des deux hommes, un citoyen grec, se trouve en réanimation dans un état sérieux à l'hôpital Borgo Trento de Vérone, dans le nord du pays, selon la même source.

Samedi déjà, la voiture de l'agent 007, qui n'était pas conduite par l'acteur britannique Daniel Craig interprétant James Bond, avait dérapé, tombant dans le lac de Garde mais sans faire de blessés.

Le tournage de "Quantum of Solace", qui sortira sur les écrans fin 2008, a débuté en janvier en Angleterre et s'est ensuite déplacé au Panama, au Chili ou encore au Mexique. Des scènes doivent également être tournées en Espagne et à Londres dans les studios de Pinewood.

"Quantum of Solace" est le nom d'une nouvelle faisant partie du recueil "For your Eyes Only" ("James Bond en danger", paru en 1961 en français).

mardi 22 avril 2008

TV : Guillaume Durand menacé par Laurent Ruquier ?


Guillaume Durand aurait du souci à se faire d'après Le Point.fr. L'animateur d'Esprits Libres serait en effet menacé par l'arrivée de l'émission de Laurent Ruquier, On n'est pas couché, à la case horaire du vendredi soir.
Le talk-show de Laurent Ruquier, qui serait programmé le vendredi en direct (et non plus le samedi), un peu plus tôt dans la soirée, pourrait ainsi chasser le programme de Guillaume Durand...
Il serait très difficile pour les animateurs et les producteurs d'avoir des informations et des engagements fiables en raison de la mauvaise ambiance qui régnerait dans les couloirs de France 2. Toujours d'après LePoint.fr, Nicolas Pernikoff (directeur des variétés et divertissements) et Eric Stemmelen (directeur des programmes) ne s'adresseraient plus la parole...

Michael Moore endorses Obama, chides Clinton

Michael Moore wants voters in Pennsylvania to cast their ballots for Barack Obama.

Moore endorsed Obama in a 1,100-word posting on his Web site Monday. It includes praise for the Illinois senator and harsh words for Hillary Rodham Clinton, the Democratic Party and the Bush administration.

Lamenting the lack of a valid primary in his home state of Michigan, Moore writes that Obama's experience and voting record aren't as important as his "basic decency" and ability to inspire.

"What we are witnessing is not just a candidate but a profound, massive public movement for change," Moore writes. "My endorsement is more for Obama The Movement than it is for Obama the candidate."


The 54-year-old Oscar-winning filmmaker was hardly as kind to Clinton.

"Over the past two months, the actions and words of Hillary Clinton have gone from being merely disappointing to downright disgusting," he writes, saying that she has tried to "smear" Obama - "Like you were nuts. Like you were a bigot stoking the fires of stupidity."

Most of Moore's ire is directed at the Bush administration "and the permanent, irreversible damage it has done to our people and to this world."

"I, like the majority of Americans, have been pummeled senseless for eight long years," he writes. "That's why I will join millions of citizens and stagger into the voting booth come November, like a boxer in the 12th round, all bloodied and bruised with one eye swollen shut, looking for the only thing that matters - that big 'D' on the ballot."

Moore says he is disappointed with the Democratic Party, too, for failing to end the war despite public outcry and for "do(ing) the bidding of the corporate elite in this country. Any endorsement of a Democrat must be done with this acknowledgment ..."

mercredi 16 avril 2008

Le Tunisien Ahmed Hafiane, premier acteur arabe à David de Donatello

La distribution des prix de David de Donatello, édition 2008, l’équivalent de l’Oscar américain, pour les films réalisés en 2007-2008 sera délivrée le 18 avril prochain à Rome.

On retrouve parmi les candidats italiens et internationaux, l’acteur tunisien Ahmed Al Hafiane pour le meilleur rôle secondaire dans son film italien «La Giusta Distanza» (la Juste Distance) produit par Domenico Procacci et réalisé par Carlo Mazzacurati.

Ahmed Al Hafiane est le premier acteur arabe retenu dans de cette compétition cinématographique.

Il a remporté le prix de la meilleure interprétation masculine à Carthage en 2002, le Bayard d’Or du meilleur comédien en Belgique en 2002.

Né le 1er octobre 1966, Ahmed Al Hafiane obtenait un diplôme d’étude théâtrale à l’Institut supérieur des arts dramatiques de Tunis.

Protagoniste du film «Keswa» de Kalthoum Bornaz, «Le Chant de la Noria» d’Abtellatif Ben Ammar, «Fatma» de Khaled Gorbel, «Poupées d’Argile» de Nouri Bouzid.

Veteran Disney animator Ollie Johnston dies at 95


Ollie Johnston, the last of the "Nine Old Men" who animated "Snow White and the Seven Dwarfs,""Fantasia,""Bambi" and other classic Walt Disney films has died. He was 95.

Johnston died of natural causes Monday at a long-term care facility in Sequim, Wash., Walt Disney Studios Vice President Howard E. Green said Tuesday.

"Ollie was part of an amazing generation of artists, one of the real pioneers of our art, one of the major participants in the blossoming of animation into the art form we know today," Roy E. Disney, nephew of Walt Disney and director emeritus of the Walt Disney Co., said in a statement.

Walt Disney lightheartedly dubbed his team of crack animators his "Nine Old Men," borrowing the phrase from President Franklin D. Roosevelt's description of the U.S. Supreme Court's members, who had angered the president by quashing many of his Depression-era New Deal programs.


Although most of Disney's men were in their 20s at the time, the name stuck with them for the rest of their lives.

Perhaps the two most accomplished of the nine were Johnston and his close friend Frank Thomas, who died in 2004 at age 92. The pair, who met as art students at Stanford University in the 1930s, were hired by Disney for $17 a week at a time when he was expanding the studio to produce full-length feature films. Both worked on the first of those features, 1937's "Snow White and the Seven Dwarfs."

Johnston and Thomas and their families became next-door neighbors in the Los Angeles suburb of Flintridge, and during their 45-minute drive to the Disney Studios each day, they would devise fresh ideas for work.

Johnston worked as an assistant animator on "Snow White," became an animation supervisor on "Fantasia" and "Bambi" and animator on "Pinocchio."

He was especially proud of his work on "Bambi" and its classic scenes, including one depicting the heartbreaking death of Bambi's mother at the hands of a hunter. That scene has brought tears to the eyes of generations of young and old viewers.

"The mother's death showed how convincing we could be at presenting really strong emotion," he remarked in 1999.

Johnston's other credits included "Cinderella,""Alice in Wonderland,""Peter Pan""Lady and the Tramp,""Sleeping Beauty,""101 Dalmatians,""Mary Poppins,""The Jungle Book,""The Aristocats,""Robin Hood" and "The Rescuers."

"(People) know his work. They know his characters. They've seen him act without realizing it," said film historian Leonard Maltin. "He was one of the pillars, one of the key contributors to the golden age of Disney animation."

After Johnston and Thomas retired in 1978, they lectured at schools and film festivals in the United States and Europe and co-authored the books "Bambi; the Story and the Film,""Too Funny for Words,""The Disney Villains" and the epic "Disney Animation: The Illusion of Life." They were also the subjects of the 1995 documentary "Frank and Ollie," produced by Thomas' son Ted.

The pair's guide to animation is considered "the bible" among animators, said John Lasseter, chief creative officer for Walt Disney and Pixar animation studios and Johnston's longtime friend.

Oliver Martin Johnston Jr. was born on Oct. 31, 1912, in Palo Alto, Calif., where his father was a professor at Stanford. He once noted that he and Thomas "were bound to be thrown together" at the university, as they were two of only six students in its art department at the time. When not in class, they painted landscapes and sold them at a local speakeasy for meal money.

Johnston had planned on becoming a magazine illustrator but fell in love with animation.

"I wanted to paint pictures full of emotion that would make people want to read the stories," he once said. "But I found that here (in animation) was something that was full of life and movement and action, and it showed all those feelings."

Johnston was honored with a Disney Legends Award in 1989 and, in 2005, he was the first animator honored with the National Medal of Arts at a White House ceremony.

He was also a major train enthusiast. The backyard of his Flintridge home boasted a hand-built miniature railroad, and Johnston restored and ran a full-size antique locomotive at a former vacation home in Julian, Calif.

Johnston's wife of 63 years, Marie Worthey, died in 2005. Johnston is survived by sons Ken and Rick and daughters-in-law Carolyn Johnston and Teya Priest Johnston. The Walt Disney Studios is planning a life celebration for Johnston. Funeral services will be private.

Estelle Ft Kanye West - American Boy Off

`X-Files' movie title is out there: `I Want to Believe'

The truth is finally out there about the new "X-Files" movie title.

The second big-screen spinoff of the paranormal TV adventure will be called "The X-Files: I Want to Believe," Chris Carter, the series' creator and the movie's director and co-writer, told The Associated Press.

Distributor 20th Century Fox signed off on the title Wednesday.

The title is a familiar phrase for fans of the series that starred David Duchovny and Gillian Anderson as FBI agents chasing after aliens and supernatural happenings. "I Want to Believe" was the slogan on a poster Duchovny's UFO-obsessed agent Fox Mulder had hanging in the cluttered basement office where he and Anderson's Dana Scully worked.


"It's a natural title," Carter said in a telephone interview Tuesday during a break from editing the film. "It's a story that involves the difficulties in mediating faith and science. 'I Want to Believe.' It really does suggest Mulder's struggle with his faith."

"I Want to Believe" comes 10 years after the first film and six years after the finale of the series, whose opening credits for much of its nine-year run featured the catch-phrase "the truth is out there."

Due in theaters July 25, the movie will not deal with aliens or the intricate mythology about interaction between humans and extraterrestrials that the show built up over the years, Carter said.

Instead, it casts Mulder and Scully into a stand-alone, earth-bound story aimed at both serious "X-Files" fans and newcomers, he said.

"It has struck me over the last several years talking to college-age kids that a lot of them really don't know the show or haven't seen it," Carter said. "If you're 20 years old now, the show started when you were 4. It was probably too scary for you or your parents wouldn't let you watch it. So there's a whole new audience that might have liked the show. This was made to, I would call it, satisfy everyone."

Hardcore fans need not worry that the movie will be going back to square one, though, Carter said. The movie will be true to the spirit of the show and everything Mulder and Scully went through, he said.

"The reason we're even making the movie is for the rabid fans, so we don't want to insult them by having to take them back through the concept again," Carter said.

Carter said he settled on "I Want to Believe" from the time he and co-writer Frank Spotnitz started on the screenplay. It took so long to go public with it because studio executives wanted to make sure it was a marketable title, he said.

The filmmakers have kept the story tightly under wraps to prevent plot spoilers from leaking on the Internet, a phenomenon that barely existed when the first movie came out in 1998.

"We went to almost comical lengths to keep the story a secret," Carter said. "That included allowing only the key crew members to read the script, and they had to read it in a room that had video cameras trained on them. It was a new experience."