Luhrman's Epic Australia Trailers
Clealry an attempt to return to the epics of the past, though using the full box of digital paints that are available…
Someone channeling Clint Eastwood?
Of all the airplanes in all the…
The trailer…
May 8, 2024
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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?
So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.
And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.
There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.
I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.
So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.
But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”
My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher
“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.
~ David Simon
Cue the daily installment of the Leah and Kami Mutual Admiration Club in 5… 4… 3…
i’m not an ozzy, dipshit. i refer you to your nearest globe
Yeah, god forbid we should all respect and enjoy each others’ companies.
Looks pretty but here’s hoping for a lower cut-per-second rate than Moulin Rouge had.
Bryan Brown? A W E S O M E.
Kinda wish Naomi Watts were in this, since she’s the best actress in the world and all.
The trailer looks like he’s gone quite slow on this one…
Bust.
Changeling Clint Eastwood from Australia to Magic Man, The Boy From Oz.
It will do well, but not as well as America.
Saw this trailer the other day. And all I could think of at the beginning when Nic is telling the story was The Fall.
“Yeah, god forbid we should all respect and enjoy each others’ companies.”
Why never!
I think readers here already know my stance on the trailer and my thoughts towards the movie so I won’t go into it again.
Although, I was quite annoyed the other day when I went onto iTunes to purchase the music used (“St Crispin’s Day – The Battle of Agincourt” from Kenneth Branaugh’s Henry V) only to discover it was one of those blasted “album only” tracks and that I’d have to spend $20 on the entire thing when all I wanted was one song, normally worth $1.69. And I can’t find the song anywhere on P2P. I’m going to have to hunt through the local libraries.
Not that I know anything about Australia, but I didnt understand what that trailer was about. I do however pride myself on knowing a thing or two about movies and the public. I suspect they will feel the same. Selling passion between those two leads is good. Selling passion, amid some kind of vague, possibly war-related tumult — less good. Stakes, please.
Come on, cob… anyone from Oz’ll tell ya it’s about a jackeroo near Yarawonga who whoopsies his cozzie at a billabong and ups-the-duff the Sheila played by “Our Nic” while drinking a middy and smoking backie before eating bickies at brekkie.
With Emil Minty as “The Feral Kid.”
Speaking of The Fall, it looks like it won’t make it’s way to Toronto, which pisses me off.
Aris, that’s because it’s not a trailer, most people just call it that. It’s more of a teaser than anything else. It’s still six months away so there’s plenty of time to get a proper trailer out.
And, umm, isn’t the war (they mention WWII at the start because it’s partially set during the Japanese bombings of Darwin) sort of “upping the stakes” enough?
Of course the war is enough stakes. All we saw, however, was some Japanese bombers, and I don’t know my history.
I guess you’re right though, since it’s merely a teaser. Still, not the most compelling or creative teaser from a potential Oscar contender.
The big dumb Luhrman font and the final series of close-ups, combined with that rather old sampled score, make it look like some 1985 CBS TV movie that ought to star Kenny Rogers.
But like you say, it’s still early, and Jackson is cool.
i love the feral kid. he’s a hard-out little dirtbag and a dab hand with the boomerang… (reminds of my son, actually, with the glaring exception that my boy’s lips never stop flapping)
I’m not too sure about this one. I admire Baz as a director. His antics are energetic and he pushed them bit by bit for his first three pictures. Clearly he wants and needs to go in a different creative direction. But I fear that in the change, we will see more of his difficiencies. Cliches for one. I know it is only the trailer but it stikes me as “an epic” with all the “elements” required to make it epic. Another thing that REALLY concerns me is the Nicole Kidman’s face. Botoxed beyond belief there is narey a blemish on it anymore. There are no signs it has been lived in… and therefore it has no emotion.
Well, he finished his “Red Curtain Trilogy”, hence the chance of pace from Ballroom/R+J/Moulin.
Lex, what’s odd about the choice of music? It’s from Branaugh’s version of Henry V and The Good The Bad and the Ugly. They seem quite inspired choices, and not the same ol – oh, i dunno – John Williams?
And, really, the font? Umm okay.
And, people, his name has two Ns.
This looks like it’s based on something that Bryce Courtenay should have written, but with more forced “epicness”.
And, I’m new here, but when you go correcting other people’s spelling you should be careful your own is accurate…there’s no “U” in Branagh.
Where there’s blood, there be wolves!
I dunno. I kinda dig the vibe of the trailer.
If you were going to make a big-budget romance, and you wanted to create at least a little interest in the US, could you possibly do worse than to cast Nicole Kidman and Hugh Jackman as your leads? I’m trying to think of a realistic couple more off-putting than this one, and I’m coming up short. Tea Leoni and Bill Pullman? Rene Russo and Jeff Daniels? Whoopi Goldberg and Nathan Lane?
I remain hopeful…but I’ve always thought Luhrman was over-rate by critics.
I think this movie is perfectly marketed for it’d key demo: WOMEN.
Romance, horses, hot men on horses, pretty backgrounds. Ca Ching.
I fail to see how Nicole Kidman and Hugh Jackman are not known enough in the US or big enough names for a big-budget movie. I would actually say the reverse is true, that Baz could have done not much better with his choices of leads (in terms of bigger names).
And there is no need to list the “big-budget” movies that both have been in to disprove the above absurd statement.
I think it’s more an issue of starpower – The Prestige opened to a respectable-but-not-amazing $14.8 million and The Fountain, significantly less, while Kidman’s brand has been tarnished lately by her string of duds.
Yeah, what jeffmcm said. There’s a difference between being well-known and being well-liked. Kidman’s ability to keep Americans away from the movie theater in recent years is uncanny. And Jackman…well, who can forget “Viva Laughlin”?
who can forget “Viva Laughlin”?
I suspect just about everyone on the planet.
Good stuff.
Isn’t this a musical too? didn’t I read that somewhere?
Do it with Tea Leoni and Nathan Lane and I’ll break my rule and be there opening day.
Exigence, 🙂 Touche!
And I imagine almost everyone has forgotten Viva Laughlin. I imagine everyone wants to forget it with every fibre of their being.
Jeff, again, I’m pretty sure everyone is a bit worried about it’s potential box office in America, but internationally it should do quite well. The Golden Compass was far from a flop around the world.
Hopscotch, no. Unless you consider brass bands playing at parties to be musical sequences.
God, I’m sounding more and more like a LexG/IO in relation to this film every day! I apologise. I’m sure there’ll come a point when I can’t defend something about it.
I’m not the fucking devil. So stop apologizing. It does look like a good movie. Here’s to Baz finally getting some OSCAR LEVEL dap.
since the thread is dead:
io — i disagree with the first part of your statement (but’cha ARE, blanche, ya ARE the ‘fucking devil’)……but, i’m with you on the last part…….