ZNAK SAGITE — više od fantastike — edicija, časopis, knjižara...

Od WATCHMENa svakako.

During a panel at Columbia University, "Uncanny X-Men" writer Chris Claremont spoke about an "X-Men" movie that had James Cameron producing, Kathryn Bigelow (The Hurt Locker) directing, Bob Hoskins starring as Wolverine, and Angela Bassett as Storm. This was ten years before Bryan Singer's version hit theaters.

Claremont said that everything was going great until Stan Lee stepped in and destroyed the project by recommending another character to Cameron. "So we're chatting. And at one point Stan looks at Cameron and says, 'I hear you like Spider-Man.' Cameron's eyes lit up," he explained. "And they start talking. And talking. And talking. About 20 minutes later all the Lightstorm guys and I are looking at each other, and we all know the 'X-Men' deal has just evaporated."

According to the writer, Bigelow went on to pen a treatment for "X-Men" that the studio rejected. Cameron, meanwhile, got to work on his "Spider-Man" movie. He wrote a detailed treatment and created a bunch of storyboards. But after failing to acquire the movie rights, he gave up and moved on to write and direct "True Lies."

Read more: http://www.worstpreviews.com/headline.php?id=24386#ixzz1qJLY5PrT

Heh, Sten Li, stari kokbloker.   

Mada bi bilo zanimljivo videti taj film, naravno, Claremont je tada bio na vrhuncu popularnosti, ali ako su Boba Hoskinsa hteli za Wolverinea bojim se da bi to bila surova zajebancija. Angela Basset kao Ororo već deluje ozbiljnije (a i uvek sam je volio više nego Hale Berry) no, moram da kažem... True Lies je meni prilično nedrag film jer je tu Cameron već počeo otvoreno da se zajebava a i Arnold se prepustio svojoj komedijaškoj strani, tako da... Ne znam na šta bi ličilo "ozbiljnije" potezanje Bigelow sa jedne strane i Cameronov tadašnji kozeraj sa druge... Doduše ni Spajdermen u kome bi igrao JCVD, kako se pričalo, mi ne deluje kao bolje rešenje od Raimijevih filmova.

Kapiram da je Lee, a sad se ne zajebavam, ovo uradio jer sudeći po likovima (Wolverine i Storm), ovaj film ne bi koristio X-Men koje je on kreirao, već Weinovu (pa Claremontovu) narednu ekipu pa je Lee bio u fazonu da mu se živo jebe za to i umesto njih poturio svog Spajdermena.

Pogledao sam CRNU ZORICU Radoslava Pavkovića i Kristine Haždiharalmbus. Ovaj film je reprezent jedne prevaziđene poetike sa kraja osamdesetih i početka devedesetih koji je tada možda mogao imati nekog smisla ali danas je to već prilično davna prošlost srpskog filma. Uostalom, danas više ni poetika sredine devedesetih kakvu možemo videti u PARADI ne spada u domen iole relevantnog izraza u srpskom filmu. Naprosto, stvari su u proseku ipak znatno napredovale.

O scenariju Gorana Mojsina na osnovu kog je snimljen ovaj film, postojao je jako veliki buzz. Međutim, ovo što je sada snimljeno je znatno sažeta i izmenjana varijanta Mojsinovog teksta tako da je on potpisan kao autor priče i stavljen je kao pisac scenarija zajedno sa rediteljima. Činjenica da je Mojsin od jedinog scenariste došao do ove pozicije pokazuje da je scenario prolazio kroz velike transformacije.

Mojsin je poznat kao jako talentovan i duhovit tip. Imao je odlične epizode MILETA PROTIV TRANZICIJE, radio je RITAM SPORTSKOG SRCA i TV MANIJAKA, ali CRNA ZORICA nije naročito duhovit film, delom što humor nije opstao u scenariju, delom zato što je prilično loše režirano a delom i zato što u glumačkoj podeli ima dosta miscastova.

Bane Trifunović je takav kakav je, ali Ljuma Penov u glavnoj ulozi je jako slaba i rekao bih čak da ona nije baš ni shvatila u kom žanru se ovde izražava. I uopšte, glumci dosta često iskaču iz žanra, ali Ljuma je potpuno miscast i nažalost plašim se da na osnovu CRNE ZORICE nije ostavila dobar utisak.

Pored prevaziđenosti, CRNA ZORICA ostavlja i snažan utisak da smo ovo sve već videli. Konkretno, zaista je jako teško oteti se utisku da ovo izgleda kao da ČARLSTON ZA OGNJENKU režira Debeli, i sigurno je izlazak OGNJENKE takođe u priličnoj meri umanjio validnost ovog projekta.

Zanimljivo je da su 2007. na konkursu FCSa filmovi MA NIJE ON TAKAV i CRNA ZORICA bili izabrani kao "filmovi za publiku". Oba su izašla sa 3-4 godine zakašnjenja i oba su bili promašaji na svakom nivou i nisu doprli do publike.

Kad se pogleda koliko je Twitch ispratio činjenicu da CRNA ZORICA postoji i koketira sa nekim detaljima koji bi se mogli posmatrati kao daleka asocijacija na horor, prava je šteta da se u međuvremenu nije pojavio film koji bi na pravi način iskoristio taj medijski kapital SRPSKOG FILMA.

Naravno, CRNA ZORICA je zalutala na Twitch i ovo je marginalan naslov čak i u našim uslovima...

Ne znam šta se misli pod prebaziđenom poetikom , ali radnja filma je potpuno neuverljiva a likovi jako slabo napisani...

Pogledao sam MANDRILL Ernesta Diaz Espinoze. Nažalost, u odnosu na MIRAGE MAN Espinoza i Zaror pokušavaju da napreduju na polju refrenci i izraza ali za to nemaju pokriće. Otud MANDRILL gubi svoju grassroots dimenziju filma za marginalce koji prave marginalci i pokušava da se uhvati u koštac sa sofisticiranijim formama.

Tako MANDRILL pokušava da se nastavi na 70s filmove o plaćenim ubicama ali Espinoza i Zaror uprkos šarmu nemaju kapacitete ni kreativno ni produkciono da na bilo koji suvisli način isprate tu viziju. Odmičući se od grind korena "uličarskog filma", u kome je Zarorovo fizičko prisustvo osnovno oruđe, otkriva se niz nedostataka.

Uprkos činjenici da Espinoza i Zaror imaju neke vrlo duhovite ideje, u gotov svakom pogldu MANDRILL zaostaje za filmove koje nastoji da reinterpretira. Kad je reč o Zaroru, nema nikakve sumnje da je on dorastao da se oproba i u višim akcionim ligama a rekao bih da je za Espinozu došao trenutak da se izmakne iz ovog miljea. Nisam toliko siguran u njegove potencijale kao u Zarorove ali nastavak ovog puta je poguban za njegovu poetiku.

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Mogu li se Crna Zorica i Aporia porediti po marginalnosti?

Ne, APORIA će se pamtiti kao upadljivo gori film i nezaboravan eksces. CRNA ZORICA je bezveze ali više iz nekog uobičajenog domena.

Pogledao sam MAN ON A LEDGE Asgera Letha. Ovo je film o čijem scenariju se pričalo godinama, originalni predložak Pabla Fenjvesa je dugo išao od studija do studija kao film u koji je nepokolebljivo veropvao Lorenzo Di Buonaventura, jedan od najmoćnijih holivudskih producenata. Kada se pogleda film, nije baš jasno šta je to toliko bilo značajno i novo u ovom scenariju, reč je o prilično klasičnom heist filmu sa malo izmenjenim motivacijama i nešto razrađenijom diverzijom koja prikriva "pljačku".

Sam Worthington je posle AVATARa i CLASH OF THE TITANS postao nova akciona zvezda u usponu, međutim u ovom filmu on nema puno prilike da bude u akciji, a povremeno ima i ozbiljne probleme sa akcentom tako da se može reći da se on ne razvija kao glumac onim tempom koji je od njega Holivud očekivao. On je otud u glavnoj ulozi tek pristojan ali nije ovo starmaking nastup.

Glumci koji ga okružuju u rasponu od Elizabeth Banks i Ed Harrisa do Jamie Bella i Bill Sadlera su prvoklasni, i u pojedinim momentima deluju zanimljivije od Sama. Međutim, problem Samovog lika nije isključivo gluma već i scenario koji svesno čini glavnog junaka prilično pasivnim.

Otud, MAN ON A LEDGE je film čiji se glavni adut na osnovu kog je snimljen, a to je scenario, ispostavlja kao izvore velikog dela problema.

U saradnji sa Tony Scottovim DPjem Paul Cameronom, Leth formuliš sve kao prijatno old school urbani triler. Ipak, nema nekih naročitih rediteljskih rešenja koja će ga preporučiti za neke buduće projekte.

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'Mirror Mirror' Director Tarsem Talks About Subverting Snow White and Making Julia Roberts 'An Evil Person You'll Like'
The acclaimed visualist talks about transforming the classic fairy tale into an empowerment epic, casting Pretty Woman as the picture's villain, and choosing projects that combine personal creativity and commercial appeal.
1:52 AM PDT 3/31/2012 by Todd Gilchrist
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On the Set: Tarsem Singh
David Strick

Evidenced by his first three films The Cell, The Fall and Immortals, Tarsem Singh is primarily a visualist as a director, not so much a storyteller. Audiences know it, and so does he. But as a filmmaker who often describes his job as that of "a prostitute who fell in love with his profession," it's commercials that sustains Singh creatively, while movies are a different – and perhaps more importantly, secondary – discipline in his career. Nevertheless, Singh clearly invests as much of himself in his feature efforts as possible, which is why they're as distinctive as they are polarizing.
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Mirror Mirror: Film Review

PHOTOS: 'Mirror Mirror': Julia Roberts, Lily Collins Enchant in Relativity's Snow White Project

Singh's latest film is Mirror Mirror, one of two different adaptations of the classic story of Snow White that is set to arrive in theaters in 2012. On the eve of the film's release on Friday, March 30, Singh spoke to The Hollywood Reporter about his experiences making the movie, and about the movie's meaning to his career going forward. Always candid and engaging, Singh offered insights about his approach to such familiar source material, and talked about leaving his DNA on this and other movies even as he attempts to make them as broadly appealing as possible.

The Hollywood Reporter: In other interviews you observed that the original Snow White story was largely about vanity. What in particular did you want to emphasize in your interpretation of the story that made it new or different for audiences familiar with previous versions of it?

Tarsem Singh: I just wanted to be a little bit bigger, because the original one is only about vanity, and it's a ten-minute tale. So to make it any bigger [knowing] how fantastic the original animation was, how charming all that was with singing numbers and all of that involved, and we weren't going to have that, how do you make a ten-minute tale longer? And it just was that vanity is only one part of it, so make it about power -- a wicked stepmother's interest in power. And a prince has arrived, and to get him she needs to be beautiful. So vanity was one of the elements, and money was another. There were a whole bunch of other things that came in just to get that power, which just made it into a bigger film.

THR: How tough was it to balance the classical iconography of the Snow White story with something that was more reflective of like modern values, particularly in terms of the empowerment of Snow White?

Singh: Well, I had never seen the original film until like a month and a half ago, but I knew what it was about. But I just thought that every time you tell you a tale you have to be sensitive to who you're telling it to and what time it is. I mean, before the Brothers Grimm there was never Snow White and her stepmother; it was Snow White and her mother. It was a very cautionary tale about girls living at home past a certain age. And then when the Brothers Grimm came along, they were like the original studio executives, and they kind of went "wait a minute, this isn't good, it should be a stepmother." But also, everybody knows it's shortcut that you can take with an audience if you stick to a certain amount of what we expect from it -- it allows you to move on. So it's safe to say the stepmother, she's allowed to be evil. And when you watch her as an old woman giving an apple to [Snow White], you'll know it's poisoned. But if that is the only tale you want to tell, that being a stepmother makes you evil, then I just think you need to stick to the original one. And I just thought that it worked wonderfully as a song and dance animation film, I had no interest in remaking such a brilliant take. So let's just make it about what is it every person who has a girl tells them, which is that they can be anybody. They can be the president, they can be this or that -- girl empowerment is such an issue. And I believe in it, and I come from a culture where they really don't hold women very high and seeing my brother raising his daughter and how my sisters were treated when we were young, and it's just a wonderful thing to have. But I think the pendulum was so swung against women for eons, and now it's probably like taking a big lash to the other side and I happen to be in the middle of that swing.

THR: We always hear actors describe villainous characters as "misunderstood." But how important is that audiences identify with Julia Roberts' character versus delighting in seeing her be bad?

Singh: That's a great question. The truth is that even if you start telling the story from the point of view of the guy that killed someone, once it becomes first person, you're kind of in the shoes of that person. Every time an actor takes on a role they have to justify how this person exists, so actors will obviously say they've been misunderstood, because to get the hook into the character they're telling you why that character did the things they did. But as far as Julia's thing was concerned, like when you have such a abbreviation of character, that this is Snow White and her evil stepmother, you know that she's evil and now you know that once people know that she's evil, let's have fun with it. So that's why to a certain extent when you see Hindi movies, they have that license because the same actors play evil in 99.99999% of them, and the same guys play the villains, so when they appear, you know who's the bad guys, you know who's the good guys, and it allows you to abridge that. So for me, instead of saying how they became evil or whatever happened, I said "here is an evil person I want you to like." So then you have somebody like Julia, a person who has such a contagious laugh that even the servant who's terrified of her will start laughing with her. Initially before the film came together, I just said "that's the person that makes the movie for me." I think we will find a Prince and then we will find Snow White, but we will not find another queen for this film than Julia. So the push was just there because I just wanted from the very beginning a family movie, not a gritty, modern movie, it's a family movie. And the idea of Julia being that is perfect for the tone, and one everybody will agree with when they see the film.

THR: How do you balance what people might expect from a family movie with simply indulging your specific sense of humor?

Singh: I think that's a very tough balance. Well before movies came along, and I think even before literature, which is what I was addressing in The Fall, is that a story has so much to do with who you're telling it to and a lot of it has to do with you. When you're in the middle of the street in Morocco or India where you have the storytellers, they would change the tale depending on how much you lean forward, lean back, get bored and are about to leave. Now along came literature, written word, and then you have these set things that you come to terms with and that's when you get a lot more of the person telling the tale, saying "this is my tale, you take it or leave it." And then you come to film, it's actually a set story that a person is told. If you can't come to terms with it, you just reject it by not going to it. It's actually coming full circle from how stories originally were told around the campfire before writing was around – and it's how the these focus groups now come around. I put a lot of stuff in that I just think works, and then they'll come in and they can turn around and say "I would never let my kids see that." And you have to be sensitive to that. When you make a hundred million dollar movie and you want it to be accessible, it's much more of a Trojan horse; if you have any sensibility, you have to put it within the shell of the horse for people to be able to swallow that. So I hope that this is as much of me as people can accept and have an appetite for.

THR: Was it tough it to find a balance between doing something different and maybe more modest than you've done in the past, and still fulfilling the demands of bringing a fantastical story to life?

Singh: I do a billion commercials, I do lots of kiddie things, I do all sorts of stuff, but my first three films happen to be R-rated movies, so I think everybody was thinking that's where my take is. And when the offer was there to make this into a gritty movie, I just said "no." I was supposed to do only do three visual films; I wanted to do a whole bunch of [different] films after. Otherwise I just thought, later you can't get out of that box, and when the people realized I wasn't going to be around much longer, and we just thought, "okay, let's do another visual one where it would be a children's tale." And in terms of having to put on a different hat altogether, I think it's just that people who only know me from movies will think that it looks like I put on a different hat. But I'm hoping it will broaden me out.

THR: What sort of would be an ideal career path for you at this point in terms of balancing personal projects with more commercial ones?

Singh: Oh that's brilliant question -- I've been dying to say that for a while. For me, the ideal [example of a filmmaker] has always been [Roman] Polanski. You see a studio film and you see a personal film and you see as much of him in Knife In The Water as there is in Chinatown -- you can see his DNA in everything that he did, from any genre that you can think of. He always had that in there. So if I can mix it up right now, that's what I would fight for; I would say, am I in the movie, and do I have a take on it? Because no matter what, I'm very happy doing advertising, and I love it, so I would like to carry on making films that reflect as much of me as the audience can bear.

THR: Filmmakers like Christopher Nolan and Clint Eastwood have established long-term relationships with studios so they have a destination for all of their projects. Is that a feasible goal for you to aspire to?

Singh: It is probably, but I'm so haphazard that I don't know if I can get organized enough to put all of that together. Jeff Robinov at Warners is a good friend, and we've never done a movie together -- I've never really gone to him with a project. But I'm kind of on a treadmill and I don't calculate too much and things just come along the path to me. I kind of just embrace them one by one. But if I had to think slightly more long-term, which I guess I should be doing, I'm bloody 50 now, I should probably figure that out and where to go with it. But I'm not that farsighted.

THR: Ultimately how much does it matter to you if you get branded as the guy whose focus is on visuals over story?

Singh: (laughs) Well, it just goes without saying that I am like a monster as far as critics and scriptwriters are concerned, and the poster child of production designers and wardrobe people. But that's because of the first three films that I chose, and it was a very conscious decision for me to get my DNA out there – that I am going to put the cart before the horse -- except The Fall, which was a personal film and it was all about storytelling and it was a manipulation of storytelling. But the other films just fell into that terrain, and now hopefully if I get my way it will always be one of those things that when you change, people who said you were crap all along will start saying how wonderful you were earlier. But I think that change is coming now, and I'd like to mix it up right now. But that brand doesn't bother me at all, nah. It's me.

Pogledao sam Tarsemov MIRROR MIRROR. Još od trejlera mi je konkurentski projekat sa Charlize Theron delovao zanimljivije i to zbog svog smeštanja bajke u realističnije okolnosti uz očuvanje fantasy elemenata. MIRROR MIRROR je na planu stilizacije drugačiji i što je vrlo neobično za Tarsema vrlo je campy. Naravno i IMMORTALS crpi veliki deo svog šarma iz campy detalja, međutim u slučaju MIRROR MIRROR Tarsemu je oduzeto njegovo glavno oružje a to su snažni, arhetipski prizori i brutalna iracionalnost. Nije to samo pitanje rejtinga već centara koji stimulišu njegove slike i u tom pogledu MIRROR MIRROR je zaista namenjen deci, bez prava da ih iole uznemirava.

Otud je Tarsem prinuđen da razotkrije svoj rediteljski postupak koji kada nema te iracionalne vizuelnosti i komunikacije sa gledaocem koja prevazilazi puko praćenje narativa zaista nije ništa naročito, i u tom pogledu moram priznati da me u pojedinim stvarima Tarsem čak i prijatno iznenađuje. Glumačka podela koju predvode Julia Roberts, Lily Collins i Arnie Hammer je u osnovi dobra i film na planu dramskih i humoristzičkih situacija donosi nekoliko dobrih rešenja.

Ista tako međutim, samo vođenje priče je prilično dekoncentrisano a određeni broj najspornijih rešenja zalazi u domen potpuno bizarnog. Ipak, ta bizarnost je sporadično toliko hrabra da se ne može osporiti da je Tarsem ostavio svoj pečat.

Nažalost, pored mnogih dobrih stvari i nesporne činjenice da MIRROR MIRROR odaje utisak da je režirao neki nesvakidašnji reditelj, ovo je prvi beznačajan film ovog reditelja koji će, ako bude ostvario veći opus, moći da se posmatra kao bizarni kuriozitet.

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Ala su se skupili bećari>

Michael Gondry and Alfonso Cuaron along with several other filmmakers are teaming up for the new European kiddie-oriented anthology feature "Tales from the Hanging Head" according to The Huffington Post (via The Playlist)

Frequent Jim Jarmusch collaborator Sara Driver along with Marjane Satrapi ("Persepolis") and Emir Kusturica ("Underground") also helm segments, based on a series of folk tales, which will have the "common thread of metamorphosis".

Driver tells The Columbia Spectator that "They're from different countries, and the stories are from different countries, and Marjane is going to tie it all together with her incredible animation. The directors have to do every effect in camera or by light and shadow or in very tangible ways so that it brings magic to children. I also made all the fairy tales—I adapted them and brought them up to the present, so it's also about bringing magic into the present day, for children and adults."

Pogledao sam THE DIVIDE Xaviera Gensa. Gens nije bio najbolji francuski reditelj torture porna ali nije bio ni najgori. Sad kada je izašao iz zaštitničkog zagrljaja Luc Bessona i snimio ovaj indie film u Kanadi, pokazuje kako je ipak bio znatno sigurniji kada je radio pod okriljem EuropaCorpa. THE DIVIDE je predug film preoptrećen nizom senzacionalističkih ali ne i provokativnih ideja na temu grupe ljudi zarobljenih u skloništu tokom apokalipse koji, naravno, kreću da udaraju jedni na druge.

Gens je složio polovičan scenario, napunio ga polovičnim idejama i skupio je polovičnu glumačku podelu koja deluje sastavljeno bez jasnog sistema, sa B-ikonama poput Michael Biehna, starim asovima kao što je Roseanna Arquette i nekoliko mlađih faca čiji se stilovi glume dosta razlikuju.

Otud THE DIVIDE funkcioniše na nivou samo nekoliko scena ali je kao celina prilično slab i tek podnošljiv po ukupnom utisku. Ako je mislio da će sa ovim filmom pokazati svoju pravu poetiku koja je bila utišana korporativnim zahtevima EuropaCorpa, onda moram priznati da Gens treba da se nada novom Bessonovom pozivu jer samo pod njegovom supervizijom njegov rad ima smisla.

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Pogledao sam THE HUNGER GAMES Gary Rossa, ekstremno popularnu ekranizaciju romana Suzanne Collins i moram priznati da ovako loš holivudski film odavno nisam gledao. U pokušaju da dobije formu velikog spektakla, film je silom produžen na 140 minuta i ovo sad više nije pitanje da li će se doslovno ispoštovati knjiga već da li će se scene skratiti na razumnu meru i uskladiti sa ritomom kakav obično imaju filmovi. Ne bi li se postigao epski efekat u priči koja realno treba da zaprema 90 minuta nekog B-filma, ovde imamo 140 minuta nerazumno dugih scena i očajničkih pokušaja da se THE HUNGER GAMES predstavi kao nešto ozbiljnije od onoga što jeste a to je besramni i ne naročito maštoviti pulp.

Pomisao na nastavke deluje zastrašujuće, ali oni su bili izvesni još pre početka snimanja.

Jennifer Lawrence je dobra glumica i ona pokušava da igra ovo sa punim ubeđenjem, međutim THE HUNGER GAMES je evidentno samo jedan izuzetno vešt potez kojim se plasirala i osigurala u holivudskoj prvoj ligi. Čini mi se da ovo čak neće uspeti da postane ni neki zapamćen populistički karakter jer između ostalog, njen lik je krajnje ambivalentan, nejasan i neupečatljiv na nivou predloška.

Ovakvu hrpu besmislica nisam očekivao od Gary Rossa. On nije velikan ali je odavao utisak reditelja i scenariste koji shvata značaj filmske priče. U ovom slučaju on to ne pokazuje...

Pogledao sam španski triler LA CAJA 507 Enrique Urbizua iz 2002. godine. Urbizuova postavka nije nezanimljiva - priča o bankarskom službeniku koji priprema vrlo komplikovan plan kako da se osveti za smrt svoje kćerke nudi dosta potencijala ali Urbizuova realizacija je prilično površna, sa nezanimljivom glumačkom podelom i slabom ubedljivošću filmskog prizora što u principu nije karakteristično za španski film. Otud, LA CAJA 507 više deluje kao film koji bi svoje mesto najpre mogao da izbori kao predložak za američki rimejk/popravku nego kao samostalno delo.

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Pogledao sam SUTURE rediteljski debi dvojca Scott McGehee-David Siehel koji im je 1993. producirao Steven Soderbergh. U ovoj fazi, Soderbergh je započinjao svoje intresovanje za noir, a SUTURE je arty crno-beli noir sa nadrealističkim tonovima i besprekornim dizajnom. Idejnost ovog filma izneta je u prvi plan. McGehee i Siegel se zanimaju za pitanje identiteta i publici prodaju osnovnu premisu da su polubraća - crnac fizički radnik i belac bogataš - zapravo neobično fizički slični, kako za sebe tako i za svoju okolinu. Izuzev ove bazične premise koja je u osnovi bunjuelnovska, ostatak filma je razvijan potpuno "racionalno" u skladu sa konvencijama žanra i uslovnostima filma.

Ta osnovna nadrealistička premisa jeste potentna da se sažme u ideju od dve rečenice ali ona na kraju gledaocu postaje potpuno prihvatljiva. To nije pitanje samo strpljenja gledaoca već i odnosa prema filmskoj formi. Čak i najmanje obavešten gledalac prihavata svaku konvenciju iznetu na početku filma. U tom pogledu meni zapravo za ovaj film nije presudno to što McGehee i Siegel preispi5tuju identitet već upravo odnos prema formi - naime, pošto je premisa da su ljudima crtnac i belac jako slični uvedena odmah na početku, prihvatio sam je i nimalo mi nije smetala da se koncentrišem na druge aspekte ovog filma.

U tom smislu, SUTURE možda neće moći da se nametne kao školski primer za priču koja tematizuje identitet ali može biti školski primer koliko je filmski gledalac kondicioniran da prihvata određene forme. U tom smislu, na nivou praćenja priče, SUTURE je klinički hladan a takav je i u pogledu ritma, izlaže svoje radnje vrlo sistematično i lagano i na tom polju je vrlo konzistentan.

Izvan ove premise, SUTURE je briljantno dizajniran i slikan noir pastiš u crno-beloj tehnici, smešten u savremeno doba ali sa akcentom na manje moderan pristup životu. Ne može se reći da je film retrofuturistički, pre bi se moglo reći da američki Zapad tretira kao plodno tlo za noir način života, iako Phoenix u ovom filmu više liči na LA.

Dennis Haysbert je odličan u glavnoj ulozi i u crno-beloj fotki zaista evocira uspomenu na tipove kao što je bio Jim Brown i nije "house nigger" kao u seriji 24 i u recentnijim radovima.

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Pogledao sam WRATH OF THE TITANS Jonathana Libesmana koji se vrlo brzo posle BATTLE OF LA snašao za mesto čoveka od poverenja u Warneru. Ovo je korektan sequel koji je u mnogim apsektima dinamičniji od Letterierovog CLASHa jednim velikim delom zato što nema ekspoziciju, a ima više zanimljivih monstruma sa kojima se Persej i ekipa susreću. Nažalost, u međuvremenu, pojavio se Tarsemov IMMORTALS koji je sličnom sadržaju dao jednu specifičnu arty notu i ispostavio se kao neuporedivo upečatljiviji i snažniji film tako da WRATH dolazi u nepovoljnom trenutku i loše stoji u poređenju sa IMMORTALSom. Ako imamo u vidu da je Henry Cavill iz IMMORTALSa ono što je Sam Worthington bio u vreme CLASHa i da se Worthington nije razvijao očekivanim putem kako se tada mislilo onda WRATH zaista deluje kao prilično B-projekat.

Svi elementi velikog corporate A-filma su tu, Liam Neeson, Ralph Fiennes i Danny Huston ponovo šmiraju uloge bogova, Edgar Ramirez maltene kao u James Bondu dobija ulogu negativca za ovaj nastavak, a Sam Worthington i izgleda kao zvezda koja se odomaćila u ovom miljeu i podseća me pomalo na fudbalske zvezde koje dođu kao najskuplji igrači u istoriji a onda u istom klubu tri godine kasnije izgube glamur i izlaze na teren zapušteni i neobrijani. Otud gledajući Worthingtona sinoć nisam mogao da se otmem utisku koliko me je podsetio na Christina Vierija kad se raspojasao u Interu.

Warner nesumnjivo jeste pružio najbolje uslove za rad ali se Tarsemov relaksirani pristup unutar Relativityja koji se bori za svoje mesto ispostavio kao plodniji.

Sa konkurencijom koja je napredovala, nedostatkom svežine i sveopštim utiskom već viđenog, WRATHu ne vredi mnogo čak ni to što su pojedine akcione scene možda i bolje nego u CLASHu i što film načelno funkcioniše. Naprosto, WRATH ima atmosferu pristojnog sequela koji ponavlja formulu unutar jedne postavke koja ipak ne trpi tu vrstu otaljavanja.

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Pogledao sam THE DAY REAGAN WAS SHOT Cyrus Nowrasteha, produkciju Olivera Stonea koja se bavi haosom koji je nastupio u Beloj Kući kada je Reagana upucao psihotični obožavalac Jodie Foster. Cela situacija atentata na Reagana je blago apsurdna i Nowrasteh ne uspeva da iskontroliše priču koja često sklizne u komediju. Pojedini događaji tokom atentata na Reagana zaista deluju ne samo kao duhovit splet okolnosti već i bukvalno kao geg. Srećom, Richard Crenna ne igra Reagana kao komičnu figuru ali po tonu, THE DAY REAGAN WAS SHOT jeste jako blizu Stoneovog filma W. o Dubyi. Zanimljivo je da tata Bush u ovoj storiji ima bitnu i prilično ambivalentnu ulogu.

Reagan je verovatno prvi američki predsednik čija je sudbina bila u toj meri okružena pažnjom medija, paranojom na svim nivoima, i medijskim pritiskom koji je u znatnoj meri uticao i na same političare. Reklo bi se da je Reaganova administracija verovatno bila prva koja je u toj meri imala samosvest u odnosu na medije što u još većoj meri karakteriše današnje političare. Međuitim, posle Nixonovog kraha, svi ovi političari su pored bavljenja tekućim problemima očigledno bili opterećeni slikom koju će ostaviti kako u javnosti tako i u istoriji.

Nixonovsku ulogu u ovom slučaju preuzima Alexander Haig, "jastreb" čije je ponašanje s jedne strane bilo poptuno u klišeu proisteklom iz političkog profila a sa druge strane, neko čiji postupci proističu više iz suptilnijih psiholoških nijansi nego iz ideologije. Haig kao ratni heroj zapravo nije uspeo da se na pravi način snađe u medijskim okolnostima i na neki način, rekao bih da je on najpre želeo da isopuni američki ideal "čoveka od akcije" pa je u svemu ispao i najveća budala.

Haiga solidno igra Richard Dreyfuss mada se čini da je više mogao da brani taj lik. Face poput Michael Murphyja i Colm Feorea bez većih problema kanališu likove zvaničnika.

Nowrasateh je kao scenarista i reditelj ostao u okvirima TV forme i nažalost nije je prevazilazio na način koji je već bio prisutan 2001. godine kada je ovaj naslov izašao. Ipak, kad uzmemo sve u obzir, ovo je i dalje jedan vrlo snažan TV film po istinitoj priči koji ima svoje mesto kako kod gledalaca koje zanima tema tako i kao primer solidne TV produkcije s kraja devedesetih.

Pogledao sam AMERICAN REUNION Jona Hurwitza i Haydena Schlossberga. Reč je o bookend nastavku AMERICAN PIE. Moram priznati da su meni u celom serijalu omiljeni bili neki od DTV delova i iako ne mogu osporiti da je AMERICAN PIE značajan deo istorije popularne kulture, pa makar zbog uvođenja Mehove omiljene reči, nisu to bili bogznakakvi filmovi. U svakom slučaju, REUNION je povratak sa DTV teritorije u respektabilnije bioskopske vode i zbilja, ako je AMERICAN PIE bio film koji je nastao na vrhuncu popularnosti Braće Farrelly, onda REUNION izlazi u periodu kada je već i Judd Apatow na zalasku i Todd Phillips proživljava svoj "drugi život". Dakle, stil komedije se promenio a reklo bi se da su u svom povratničkom filmu HALL PASS i Farrellyjevi pokušavali da isprate trendove Judd Apatowa.

U svakom slučaju, REUNION ima junake koji su sada u godinama koje su bliže Apatowu tako da je i sam film stilski blizak tome. Hurwitz i Schlossberg su režirali HAROLD & KUMAR ali u ovom filmu nema nipšta od stonerskog nadrealizma iz tog serijala.

REUNION, koncipiran kao pojednostavljani Apatow funkcioniše dosta pristojno. Smešan je sasvim dovoljno i prijatno je videti da su se bećari opet skupili na jednom mestu. Međutim, ono što je meni mnogo zanimljivije jeste generacijski aspekt. Naime, AMERICAN PIE je serijal koji praktično prikazuje transformaciju jedne generacije i njihovo sazrevanje od jednog do drugog stila, od Farrellyja do Apatowa, i pošto su junaci konkretno mojih godina, zanimljivo je posmatrati na koji način Holivud prikazuje generaciju kojoj na neki način pripadaš u smislu promene žanra, podrazumevane društvene stratifikacije i sl. Potresno je shvatiti da u holivudskim filmovima sada ljudi tvojih godina služe za sprdnju i primer anahronosti.

Isto tako zanimljiva je pretpostavka da ovaj stil komedije zapravo više ne može ni da prođe kod mlađe publike i na neki način REUNION je nastavak teen serijala koji se više ne obraća tinejdžerima. Očigledno su stvari poput found footage filmova nova generacijska stvar. Zato i ne čudi da je za BAŠ mlade napravljen film poput PROJECT X.

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Šta, MILF je termin nastao u ovom serijalu? Ja nisam gledao ni jedan nastavak i nesvestan sam toga.

Da, ako izuzmemo onu političku organizaciju MILF koja datira od ranije...

Quote from: Meho Krljic on 08-04-2012, 16:19:42Ja nisam gledao ni jedan nastavak i nesvestan sam toga.

Kako je neko uopšte mogao da živi posljednjih 13 godina a da ne zna ko je Stifler? 

Veoma lako, mislim. Trebalo je samo da ima vise od 13 godina poslednjih 13 godina. Prosto neverovatno sta neki od nas mogu da urade, zar ne?

Taj neki rad. Star sam ja čovek i kada se prvi AP pojavio zaključio sam da je to odveć infantilan humor čak i za mene. 

Quote from: Meho Krljic on 09-04-2012, 10:29:45
Taj neki rad. Star sam ja čovek i kada se prvi AP pojavio zaključio sam da je to odveć infantilan humor čak i za mene. 

What he said.

Quote from: Melkor on 09-04-2012, 04:21:18
Veoma lako, mislim. Trebalo je samo da ima vise od 13 godina poslednjih 13 godina. Prosto neverovatno sta neki od nas mogu da urade, zar ne?

hoćeš da kažeš da je Krip imao manje od 13 godina 1999? 

Vi prosto bre nemate ukusa! 

Infantilni humor, ima li ičeg boljeg od toga...

Imao sam 17-18 godina kad je izašao prvi AMERICAN PIE i u principu nije mi ni tada nis ada spadao među draže komedije tog tipa. ROAD TRIP mi je neuporedivo jači. Ali, to jeste bio landmark film u svoje vreme, tu nema zbora i našao je svoje mesto u istoriji.

Reprizirao sam PARKER KANE jedan od naslova koje je jevanđelizovao Tripp još davnih dana. Reč je o TV filmu koji je producirao Joel Silver a režirao Silverov redovni saradnik, pomoćnik režije i producent Steve Perry po scenariju Peter Lenkova koga znamo kao pisca nekih stripova, DEMOLITION MANa, nekih sezona 24ke...

PARKER KANE je TV film koji se nadovezuje na template ROCKFORD FILESa i prožima ga sa estetikom akcionog preterivanja buddy cop filma osamdesetih sa kojim se Joel Silver i proslavio. Po ležernijem tempu pojedinih scena i uvođenjem karaktera koji do kraja priče ne zaigraju značajnu ulogu u priči ali igraju bitnu ulogu u životu glavnog junaka, evidentno je da se radi o pokušaju da se kroz celovečernji film inicira snimanje serije o ovom junaku. Šteta što Silver u tome nije uspeo.

Parker Kanea igra Jeff Fahey, priličan blast from the past, a od ekipe koja ga okružuje zanimljivo je da bi stalnu sidekickicu igrala Marisa Tomei koja je ubrzo potom dobila oskara a kao negativac, "gost", se pojavljuje mladi Stellan Skarsgaard.

Budžet naravno ne omogućuje da se PARKER KANE poredi sa drugim Silverovim produkcijama ali scenario koji je Lenkov napisao ide linijom FORD FAIRLANEa i sličnih detektivskih radova iz tih dana.

Parker Kane je kao lik toliko uronjen u osamdesete da se u jednom trenutku on i sam upita kako će se snaći devedesetim. O istoj temi će kroz čitavu scenu kontemplirati Willis i Wayans u LAST BOY SCOUTu. 

sad kad Meho kaže da nije gledo ni Road Trip (a i tu je Stifler, to jest glumac, najveća faca)

Pa... nisam. Slabo ja gledam filmove. Pogotovo te zabavne.

kako zabavne kad je u filmu nastao izraz MILF?

to je bre Prva Milfa Mojsijeva! 

Warner Bros. Pictures have put Mel Gibson's biopic of Jewish warrior Judah Maccabee on hold says Heat Vision.

The studio has reportedly rejected the screenplay by Joe Eszterhas ("Basic Instinct," "Showgirls") which was submitted to them this week. Gibson, who will produce through his Icon Productions, was reportedly waiting for the screenplay to be completed to decide whether he would either direct or act in the film.

Maccabee, his father and four brothers teamed to lead the revolt against the Greek-Syrian armies that had conquered Judea in 2nd century BC.

Despite the rejection, the project isn't dead at this point - the studio has not yet decided whether to move forward with more development or to scrap it altogether.

There's still no images or footage as yet from Alfonso Cuarón's anticipated sci-fi drama "Gravity" starring George Clooney and Sandra Bullock, but some new details have emerged from a recent digital design conference reports Immersed in Movies (via First Showing).

As we know, the space survival tale deals with an astronaut stuck floating in Earth orbit and will feature extended long shots. Just how long though will surprise you when you consider an average two hour film (ie. a non-Michael Bay/Paul Greengrass cut-a-thon) has around 1,300-1,500 shots.

Chris deFaria, who oversees development of VFX and animation at Warners, recounts his conversation with Cuaron about it - "I said, 'How long?' And he said he wanted the first shot to be really long. And I said, 'You mean, 40 seconds?' 'No, 17 minutes.' So it ends up the film only has 156 shots in the entire two-hour movie, many of them six, eight, ten minutes long."

Because the film employs so much computer animation, the filmmaking team tried a different approach to the material - instead of making a live-action film with a massive amount of CG animation, they came at it from the perspective of a CG animated film with some live-action elements incorporated in.

deFaria says "Instead of trying to create real people and what they're doing, let's turn it around and create almost an entirely animated film and then backwards engineer the people into that film. As a matter of fact, let's not even engineer the people into the film, let's engineer their faces. So you've got these little faces inside these little helmets."

Don't think it was a cake walk though for those filming the live action elements - "When we began to bring in both the production designer and the DP we realized that we were committing to many things, not just shot design but lighting, direction, every prop, every single doorway, every single distance so that when we shot somebody's eyes, they were converging at the right distance point. And we had a myriad of tools to deal with that. But we didn't create the virtual world and let the live action drive what was ultimately going to be the shot. We actually created the shot and then made the live action work within it."

Bogami, nakon Malikovog pokušaja da čenluje Tarkovskog u Drvu Života, Holivuđani su se prokurobecali... Neka.

Ludi Joe je zbog MACCABEESa napisao prilično biuzarno tell-all pismo Melu -

http://www.thewrap.com/movies/article/joe-eszterhas-letter-mel-gibson-36949

a Mel je prilično smireno odgovorio -

"Showing remarkable restraint, Gibson manages to refrain from taking the missive -- and argument -- to a personal level, concluding, "I think that we can agree that this should be our last communication." "

http://blog.zap2it.com/pop2it/2012/04/mel-gibson-responds-to-joe-eszterhas-significant-waste-of-time.html

 

Mislim, dobro, treba razumeti i Džoa, srce i dušu je uložio u skript a ovaj mu nije ni odgovorio. Ali ovo pismo 

Pogledao sam PROJECT X Nime Nourizadeha i zaista je reč o filmu koji donosi nešto novo u žanr omladinske komedije. Ako imamo u vidu koliko su Todd Philips i Warner Bros mistifikovali high concept na kome se ovaj film bazira, bilo je jasno da ne postoji forma koja će moći da dostigne taj nivo hypea. U krajnjoj liniji, u formalnom smislu novitet je da je PROJECT X zapravo found footage film i to je osnov celog high concepta koji se krio. Međutim, još od vremena kada je sam Todd bio u fullu nije bilo ovako izopačenog, neodgovornog i neuračunljivog teen filma. Na nivou zapleta, PROJECT X je kao IVKOVA SLAVA na kreku - priča o običnom klincu koji želi da napravi upečatljivu žurku, međutim, žurka se pretvara u "događanje naroda". Na nivou zapleta, to je manje više to. Međutim, scenaristi Matt Drage, Michael Bacall (sa Wrightom radio SCOTT PILGRIM) i reditelj Nima rade na tome da podignu tonus na mnogo viši nivo, i u odnosu na PROJECT X serije poput SKINS deluju kao DOWNTOWN ABBEY.

U tom pogledu, high concept PROJECT Xa nije ni toliko u found footage aspektu već u tome što je film snimljen kao neka vrsta narkotičkog iskustva, sa produženim deonicama u kojima se sve fokusira na atmosferu mnogo pre nego na priču. PROJECT X dosta podseća na ekonomičnu verziju ENTER THE VOID Gaspara Noea.

PROJECT X je jedinstven film a Nima Nourizadeh se pokazao kao reditelj koji stvarno ima dara i razmišlja izvan standardnih žanrovskih postavki. Ne samo da je bio sposoban da prevaziđe prokletstvo komedija koje producira Joel Silver i koje su retko bile uspešne već potvrđuje da je Todd izuzetno relevantan kao lovac na talente koji je Warneru omogućio da postane sila u svetu komedije što odavno nije bio.

* * * 1/2 / * * * *

Meho, znam da ćeš me optužiti da sam pristrasan, ali mislm da je Mel u pravu. Naime, Joe je poznat kao osvetoljubiv čovek i moguće da je hteo da piggybackujući na Melu pokuša comeback. Kad se to izjalovilo, odlučio je da ga osramoti. E sad, uraditi to u pismu u kome DETALJNO opisuješ čoveku stvari koje je on navodno uradio, je prilično bizarno i neubedljivo. Mislim, da je ovo pismo stvarno privatna prepiska, Joe ne bi u detalje opisivao Melu šta je ovaj radio.

Da, da, meni to pismo baš tako i deluje. Ko bre piše devet strana ovakvog detaljisanja i blaćenja sem ako mu nije namera da to ode u javnost i da ti ispadneš opušteni ali pravdoljubivi Jevrejin naspram agresivnog katolika sa antisemitskom reputacijom...

Joe je takođe katolik. doduše on je kao born again, i otkrio je veru kad se razboleo i napustio Holivud. Evo Firerovog dogovora. Mel je ostao na nivou i izneo par neoborivih argumenata:

"Joe,

I have your letter. I am not going to respond to it line by line, but I will say that the great majority of the facts as well as the statements and actions attributed to me in your letter are utter fabrications. I would have thought that a man of principle, as you purport to be, would have withdrawn from the project regardless of the money if you truly believed me to be the person you describe in your letter. I guess you only had a problem with me after Warner Brothers rejected your script.

I will acknowledge like most creative people I am passionate and intense. I was very frustrated that when you arrived at my home at the expense of both Warner Brothers and myself you hadn't written a single word of a script or even an outline after 15 months of research, meetings, discussions and the outpouring of my heartfelt vision for this story. I did react more strongly than I should have. I promptly sent you a written apology, the colorful words of which you apparently now find offensive. Let me now clearly apologize to you and your family in the simplest of terms.

Contrary to your assertion that I was only developing Maccabees to burnish my tarnished reputation, I have been working on this project for over 10 years and it was publicly announced 8 years ago. I absolutely want to make this movie; it's just that neither Warner Brothers nor I want to make this movie based on your script.

Honestly, Joe, not only was the script delivered later than you promised, both Warner Brothers and I were extraordinarily disappointed with the draft. In 25 years of script development I have never seen a more substandard first draft or a more significant waste of time. The decision not to proceed with you was based on the quality of your script, not on any other factor.

I think that we can agree that this should be our last communication.

Mel "

BTW, Meho, meni ovo malo možda liči i na ucenu?

Pa, sad, ne mogu da procenjujem ovo jer svakako nisam upućen u funkcionisanje stvari u Holivudu, ali ima tog mirisa, da.

EXCLUSIVE: Warner Bros has acquired remake rights to the Danish film and TV series Klovn. The studio has set Danny McBride to write and star in Clown, a film he will produce through his Rough House banner along with Todd Phillips and his Green Hat Films. The film follows the basic premise of the Mikkel Nørgaard-directed film, a concept created by Casper Christensen and Frank Hvam, who'll also be producers on the project. The logline: two men and a 13-year old boy embark on an R-rated vacation.

In the original film that followed the TV series, Casper and Frank plan a canoeing trip deemed "Tour de Pussy" in which they plan to party hard and have as much sex as possible. Then, Frank discovers his girlfriend is pregnant and wants to get rid of the baby. She'll only relent if he can prove he'll be a worthy father. Frank's answer is to take her 11-year old son on the canoe trip, but he and his buddy don't change any of their plans for debauchery. The film was widely compared to The Hangover, and sounds like a perfect premise for Phillips, but at this point, he's only producing and not attached to direct. In the remake, the kid will be 13 years old.

McBride will start work immediately. His HBO series Eastbound & Down airs its finale this Sunday. McBride played a brief but notable character in the Phillips-directed Due Date, in which he played a wheelchair-bound Iraq vet who tunes up Robert Downey Jr and Zach Galifianakis's characters after they try to cash a check at Western Union. McBride and Phillips are repped by CAA, with McBride lawyered by Steve Warren and Phillps by Warren Dern.

evo i priče o KLIPU

http://dobanevinosti.blogspot.com/2012/04/klip.html

Why North Korea Sucks at Rocket Technology

    By Spencer Ackerman
       April 13, 2012 |
   
   Categories: Rogue States

Rockets: They've been around for, oh, 70 years. But just because they're senior citizens doesn't mean they're technologically decrepit. As North Korea's latest failed rocket test shows, launching a rocket into space is still, well, rocket science.

To successfully launch a rocket into space — a necessary achievement for creating the intercontinental ballistic missiles that North Korea wants and breathless American politicians baselessly fear they'll develop — you need expertise in lots of things. Lots of physics. Lots of safe handling of dangerous chemicals. And lots of experience.

To put it simply, successful rocket launches are "a really complex system using volatile chemicals and subject to extreme shock and vibration," explains Jeffrey Lewis, the director of the East Asia Nonproliferation Program at the Monterrey Institute. "The environment is so unforgiving that even small details are critical. As a result, tacit knowledge is important, even for low-level employees like welders and so forth. As a result, repetition and practice is essential."

As the world has seen, North Korea doesn't excel in repetition and practice. Its four rocket tests since 1998 have all been failures. And they've been failures in part because they haven't really been tests. They've been demonstrations — geopolitical statements of intent, rather than technological statements of experimentation.

Those aren't things you want to mix up. If you do, then the geopolitical statement you send is one of incompetence. The English-language internet greeted the North's latest failure with a mixture of derision and glee. So did the Obama administration.

"I guess the late founder of North Korea is disappointed. His birthday toy won't arrive on time," a senior U.S. official emails, along with a request to keep his name out of his jokes. "In fact, it won't arrive at all. And if it did, some major reassembly would be required."

In fairness, it's not just North Korea. The list of countries to have successfully launched a satellite into space is in the single digits. Still, North Korea's got some specific disadvantages.

"Not only are they short on money, but also expertise. Developing this technology requires expertise across a range of fields, from fluid dynamics to metallurgy to materials science to flight dynamics," says Brian Weeden, a former officer with the U.S. Air Force Space Command. "Countries that have been successful in this area all have extensive science, technology, engineering and mathematics programs to develop people with expertise in those fields.

"It seems North Korea is trying to shortcut this process by buying parts and technology from abroad," Weeden continues, "and slapping them together instead of taking the time and investing the resources to develop the proper foundations."

In particular, North Korea's short-range missile technology is based on work the Soviets did with their own rockets. But that's really difficult to scale up — as Pyongyang seems not to have figured out. "What they've tried to do is get a bigger rocket by strapping a bunch of Scuds and their variants together. It's not as easy as you'd think," says Victoria A. Samson, a rockets expert with the Secure World Foundation.

"They're clearly having trouble building multiple-stage rockets, which is what you need either to put a satellite up in space, or to build an [intercontinental ballistic missile] that can range, oh, say, the United States," Samson says. "Then you run into the problem of actually being able to aim the rocket, once you've launched it. I've always said that if North Korea ever got a rocket built that could technically reach the United States, they'd be lucky to hit any part of the continental Unites States, because they certainly wouldn't be able to guide it to its final destination."

Of course, all bets are off if the North Koreans decide a bespoke intercontinental ballistic missile is too hard and opt to go shopping. On the other hand, North Korea seems to like to export its missile technology. Documents revealed by WikiLeaks indicated that North Korea had passed on its missiles to Iran. That may not actually be true. But judging from North Korea's unbroken streak of failed launches, if Pyongyang really is sending missiles to Iran, that's a two-fer for Washington.

Quote from: crippled_avenger on 12-04-2012, 11:37:39
. Na nivou zapleta, PROJECT X je kao IVKOVA SLAVA na kreku - priča o običnom klincu koji želi da napravi upečatljivu žurku, međutim, žurka se pretvara u "događanje naroda".

Super je trejler,pogledacu. Bioskop obavezno.

Ono što je optimalna forma za gledanje PROJECT X je da se ode istog na dana na X i na KLIP. Čak u Koloseju to tačno može da se uklopi.

I u ''Rodi''  isto. Samo sto KLIP necu ponovo gledati , idem dalje.....

A trejler  za X sam pogledala pre KLIPA ,mislim da ce biti hit u bioskopima ,publika je sjajno reagovala,mada  ovi na premijeri su vristali i na BIBU STRUJU 

trejleri na premijeri su bili mudro odabrani, filmovi koji imaju veze jedan s drugim, i onda krene reklama za GRKA ZORBU sa Konstantinom Kostjukovim i tu nastupi potpuni apsurd...

...a pre trailera najava za koncert Yu grupe...kickin' it old skool...