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Mar 15 17 1:23 AM
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Mar 16 17 4:04 PM
TV remake of SNATCH (wtf!):
Mar 16 17 5:48 PM
A remake of Snatch??? But there is only one Franky!!! thank you Yadtab!
Member Since: June 9, 2004
Mar 18 17 6:22 AM
Mar 30 17 5:28 PM
Gibara Welcomes its 1st International Film Festival
The "making-off" of the 1st Gibara International Film Festival, heir and continuator of the Non-budget Film Festival created by Humberto Solás, has already begun. The event will be "premiered" at the Villa Blanca on April 15 and will last seven days. His "argument" is similar to that projected by Solás, although it includes some turning points in its history, taking into account the variations in the dynamics of the current film production.
Jorge Perugorría, film director and president of the Festival, and Roberto Smith, president of the Cuban Institute of Cinematographic Art and Industry (Icaic) gave a press conference to inform the changes and the program of the event.
Why did you decide to change the name to the Festival?
JP: "We thought the event had to be reinvented to grow. We decided to change the name to Gibara International Film Festival to open the spectrum of films in competition. The quality of the film will determine its participation, without the limitation of the budget, because there may be a good film made with few resources, but there are also movies which production have cost a lot and are good.
RS: "There is no renunciation of the concept that inspired the event, but an extension. When the Festival arises the digital cinema did not have the development that reached soon after. The people with few resources made the films in video that technically could not compete with the proposals produced in 35 millimeters. However, there were many valuable people whose only choice for making movies was video. That's why Humberto created a resource-poor festival, but rich in ideas, proposals and qualities. Today, with the development of digital technology, cinema has reached more people. In our view, it is not worth defending both the alternative and the quality. "
"What was happening in the last years? We had in Gibara 10,000 people from all over enjoying the different proposals of the program and just a few people attended the cinema. When the Festival was obliged to impose the subject of the low resources, it was condemned to limit its ability to look for films. Those that participated were of quality, but often they had small capacity of call for the average public. The change will allow us to have more attractive films and defend a program that recovers cinema as the center of this event.
What news does the Festival include?
JP: "When we decided to renew the Festival, we thought about how to continue the work of Humberto. We created the Lucia Awards that will be awarded for the first time in the categories of Best Long and Best Short of fiction, Best Long and Best Documentary Short, Best Direction, Female and Male Performance. We will also award the Lucía Award for recognition of an entire work dedicated to the cinema. This year will be for Adela Legrá, Eslinda Nuñez and one symbolic award to the family of Humberto.
"In addition we thought that we could not lose the principle of Humberto to support independent cinema of low resources. We created the Cine en Construcción Prize that bears his name, where projects can be presented at any stage of the process of making a film, from the script to a film that only lacks the postproduction. It consists of a cash prize and the post production of the film to be made in Mexico. The president of this year's jury will be Sergio Benvenuto to set the tone of Humberto's criteria for poor cinema. "
"Another achievement has been to extend the Festival two more days and recover its annual edition."
How many films will be in competition?
JP: "Each category will include 10 films and an equal amount in the section of Cinema in Construction. In total there will be 50 works in competition ".
RS: "The existence of a single cinema in Gibara conditions these figures, because all the films in competition must be projected there and it would not reach the time of the Festival if more proposals were included. At the moment an effort is made to open other small spaces, but it will be the Cine Jiba the main headquarters where we will try to assure the highest quality in its technical conditions for the screenings ".
What proposals does this first edition include?
JP: "This year we will continue with an idea that we started in 2016 and dedicate the event to a country. The last edition was dedicated to Mexico and this time it will be dedicated to Spain, for which there will be films and will attend personalities of this nation. We have confirmed the presence of Mariano Barroso, film director and Imanol Arias, actor who worked on the film "Cecilia" with Humberto and has an affective bond with Cuban cinema.
"We will be accompanied by Benicio del Toro whom we have invited to have a meeting with the students of the University of the Arts in Holguin (Isa) to encourage young people to film.
"Another element that gives continuity to Non-budget Film Festival is the inclusion in the program of the event of all artistic manifestations. The concerts of Pablo Milanés and Havana de Primera will open and close the Festival, respectively. There will also be David Torrens, David Blanco, Nube Roja and Kelvis Ochoa.
"As for the plastic arts, Spanish creator Héctor Garrido brings a photographic exhibition and Manuel Fernandez, Spanish costume designer, reserves his pieces created by several Cuban and Spanish plastic artists.
"We will have participatory theoretical events with the people of Gibara. The talks will be conducted by the writer Reynaldo González and will have as guests the delegation of Spaniards present at the festival, Benicio del Toro, Natalia Bolivar and other personalities. In this space we will pay homage to the actors Mario Balmaseda and Mario Limonta.
"The festival will also include lectures given by an architect who works together with Eusebio Leal in Old Havana, to contribute to the conservation of the heritage of Gibara that has the status of National Monument.
"Concerning the performing arts the plays" Kid Chocolate "," Mi socio Manolo ", the theater group “Tuyo” from las Tunas and the dance company Codanza, of Holguín, will participate in the event.
What alternatives have been valued so that Gibara can welcome the young audience attending the Festival?
JP: "We want to prepare a camping area so that people can get into a camping house and spend a week watching movies, exhibitions, concerts. We would love the young people, above all, to have that option.
RS: "We also intend to extend the festival to the city of Holguin, because we believe that we must take advantage of the presence of renowned figures attending the festival, who are simple and supportive people."
Mar 31 17 12:52 AM
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Apr 3 17 8:39 AM
Apr 17 17 4:56 AM
Benicio is in Cuba
Apr 17 17 11:49 AM
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May 14 17 5:20 PM
Benicio del Toro asegura que âes muy complicado ser latino en Hollywoodâ
Cuba - Benicio del Toro ganÃ³ un Oscar por su actuaciÃ³n en âTrafficâ, una pelÃcula en la cual caracteriza a un policÃa mexicano que pelea a muerte contra el narcotrÃ¡fico, un ejemplo, en este caso para bien, de cÃ³mo el encajonamiento afecta el desarrollo de los actores latinos en Hollywood, una realidad que no cambiarÃ¡ a corto plazo en la industria del cine.
âEs muy complicado ser latino en Hollywood, porque hay mÃ¡s lÃmites de proyectos y personajesâ, dijo Del Toro al responder a la pregunta de cÃ³mo trata la meca del cine a los intÃ©rpretes latinos.
âHace un tiempo alguien me preguntÃ³ sobre si no me cansaba de hacer papeles de latino, y le respondÃ que claro que no, porque yo soy latinoâ, expresÃ³ el actor boricua, quien visitÃ³ Cuba como parte de las actividades del Festival Internacional de Cine de Gibara, un tradicional junte de amantes del sÃ©ptimo arte que se realiza en este pueblo pesquero de la provincia oriental de HolguÃn.
Del Toro enfatizÃ³ en que ha tenido mucha suerte en su carrera, pues actores latinos como el mexicano Edward James Olmos, el puertorriqueÃ±o RaÃºl JuliÃ¡ y el cubano Andy GarcÃa le abrieron paso a Ã©l, quien a su vez vio surgir tras su incursiÃ³n en Hollywood a la llamada âola espaÃ±olaâ, con Antonio Banderas, PenÃ©lope Cruz y Javier Bardem, ademÃ¡s de la entrada a escena de la mexicana Salma Hayek.
âCuando yo estaba comenzando habÃa un movimiento muy fuerte de cine independiente y tuve la oportunidad de entrar por ahÃ cuando estaba allÃ comenzando como actor. Eso me dio la oportunidad de trabajar en algunos proyectos, porque la verdad es que hay muy pocos libretos o cuentos para los latinoamericanos en Hollywoodâ, expresÃ³ Del Toro, quien ha interpretado a personajes como Che Guevara, Pablo Escobar y al sicario colombiano âAlejandroâ.
âMe dije a mÃ mismo que si iba a hacer papeles latinos, aunque fueran pequeÃ±os, debÃa representar que no todos los latinos somos iguales. Que no todos estamos rezando o comiendo arroz y habichuelas. DecidÃ darle una identidad y una forma particular a cada unoâ, agregÃ³ el actor boricua, quien se mostrÃ³ relajado y parlanchÃn al hablar con la prensa, colegas y pÃºblico presente para escucharlo en la Casa de la Cultura de Gibara.
Rompe el âcajÃ³n"
Del Toro se declara suertudo por haber roto en muchas ocasiones ese âcajÃ³nâ al cual condenan a los latinos, pues ha logrado hacer personajes en importantes secuelas de ciencia ficciÃ³n, como âGuardians of the Galaxyâ y ahora en âStars Warsâ y âAvengersâ.
Ese, sin embargo, no es el Ãºnico cajÃ³n que ha tenido que quebrar, pues ha sufrido el âencajonamientoâ que ha provocado en su carrera los papeles del âmalo de la pelÃculaâ.
âMuchos de los actores que yo admiro, como Al Pacino, Robert De Niro o Marlon Brando hicieron de malo. El actor no escoge los proyectos, los proyectos lo escogen a Ã©l. Las pelÃculas escogen al actor, asÃ que si Dios te da limones, pues a hacer limonadaâ, expresÃ³. âSi se puede decir que he hecho mucho de malos, hay que seÃ±alar que estas pelÃculas representan tambiÃ©n un momento, en el cual los vÃnculos de la droga nos rodean y se han estado viviendo con ellos por los Ãºltimos 30 aÃ±osâ, agregÃ³.
ExplicÃ³ que âlas pelÃculas en las cuales he hecho de malo, el elenco y el equipo son todos de primera clase. He tenido papeles de âbuenoâ, en el cual el equipo no estÃ¡ al nivel, por ejemplo, de una pelÃcula de mafia. Yo escojo las pelÃculas basadas en el libreto, en los actores con los cuales voy a trabajar, el director y, en ocasiones, con el director de fotografÃaâ¦ Los personajes malos son complicados y tienen cosa que se pueden explorar que uno no harÃa en la vidaâ.
En su alocuciÃ³n, Del Toro hizo algunas confesiones sobre su proceso creativo, sobre cÃ³mo memorizar lÃneas y sobre dÃ³nde desarrollÃ³ sus capacidades histriÃ³nicas.
ContÃ³ cÃ³mo ganÃ³ una beca para estudiar en la prestigiosa Stella Adler Studio of Acting de Nueva York tras ir a una audiciÃ³n, una decisiÃ³n que no fue bien vista por su familia que consideraba la actuaciÃ³n como algo de âun payasoâ.
AllÃ aprendiÃ³ el llamado âmÃ©todoâ, una escuela de actuaciÃ³n originada en Rusia que marcÃ³ su formaciÃ³n, asÃ como la de importantes actores como Marlon Brando, Al Pacino y Robert De Niro. TambiÃ©n se sorprendiÃ³ por la seriedad que se les impregnaba a las clases, con una disciplina igual a los cirujanos, porque su maestra decÃa que la âactuaciÃ³n era como caminar por la cuerda flojaâ.
De estudiante aprendiÃ³ su forma para memorizar las lÃneas de los guiones, un proceso que inicia escribiendo los parlamentos en sus propias palabras, para luego comenzar a internalizarlos como el personaje y finalmente memorizar de manera orgÃ¡nica las lÃneas exactas del escritor, aunque confesÃ³ sonriente que su sistema a veces falla.
âSoy un poco distraÃdo y este sistema me ayuda. Hay otros actores que las memorizan escribiÃ©ndolas una y otra vez, eso tambiÃ©n funciona. A veces, confieso, que llego al 'set' y no me sÃ© las lÃneas. Por eso me pueden acusar de irresponsable y no estar preparado, pero lo que estoy buscando es entender la escena, de quÃ© se trata y quÃ© quiere transmitirâ, seÃ±alÃ³.
âYo me uso a mÃ mismo para construir mi personaje, es la primera gaveta que miro, lo que he vivido, he sentido, he olido, he escuchado, mis vivenciasâ, relatÃ³ ante una audiencia cautiva por su candidez y honestidad al revelar cuÃ¡l es el secreto de hacer buen cine.
âLo difÃcil del cine es el guiÃ³n, eso es lo mÃ¡s complicado. No hay una fÃ³rmula y gracias a Dios que no la hay, porque si no ya alguien la hubiese acaparado. El guiÃ³n es lo mÃ¡s importante para una pelÃculaâ, sostuvo.
âLa clave para hacer buen cine estÃ¡ en nosotros, la gente del cine, en hacer pelÃculas que atraigan a la gente a ver estos cuentos. Es como la comida, si se hace un bistec que no sabe bien, nadie se lo va a comer, pero si se hace un bistec que es sabroso, pues se lo come todo el mundo y lo vuelven a pedirâ.
May 14 17 5:33 PM
Benicio del Toro says "it's very complicated to be Latino in Hollywood"The well-known Puerto Rican actor shares in Cuba several interiorities of his career, such as sometimes arriving at the set without knowing his lines
Cuba - Benicio del Toro won an Oscar for his performance in "Traffic," a film in which he characterizes a Mexican policeman who fights to death against drug trafficking, an example, in this case for the good, of how boxing affects development Of Latino actors in Hollywood, a reality that will not change in the short term in the film industry."It's very complicated to be Latino in Hollywood, because there are more project and character limits," Del Toro said in answering the question of how the film Mecca treats Latino performers."Some time ago someone asked me if I did not get tired of doing Latin roles, and I answered that of course not, because I'm Latino," said the Puerto Rican actor, who visited Cuba as part of the activities of the International Film Festival Of Gibara, a traditional gathering of lovers of the seventh art that takes place in this fishing village of the eastern province of Holguín.
Del Toro emphasized that he has been very lucky in his career, as Latino actors like Edward James Olmos, Puerto Rican Raúl Juliá and Cuban Andy Garcia made way for him, who in turn saw him emerge after his foray into Hollywood at The so-called "Spanish wave" with Antonio Banderas, Penélope Cruz and Javier Bardem, as well as the entrance to the Mexican Salma Hayek.
"When I was starting out there was a very strong movement of independent film and I had the opportunity to get in there when I was there starting out as an actor. That gave me the opportunity to work on some projects, because the truth is that there are very few librettos or stories for Latin Americans in Hollywood, "said Del Toro, who has portrayed characters such as Che Guevara, Pablo Escobar and the Colombian hitman" Alejandro "."I told myself that if I were to play Latino roles, even if they were small, I should represent that not all Latinos are the same. That we are not all praying or eating rice and beans. I decided to give a particular identity and form to each one, "added the Puerto Rican actor, who was relaxed and talkative when speaking to the press, colleagues and public present to listen to him at the House of Culture in Gibara.Break the "drawer"Del Toro declares himself lucky to have broken many times that "box" to which they condemn the Latinos, as he has managed to make characters in important sequels of science fiction, as "Guardians of the Galaxy" and now in "Stars Wars" and " Avengers ".That, however, is not the only drawer that has had to break, because he has suffered the "boxing" that has caused in his career the roles of the "bad guy."
"A lot of the actors that I admire, like Al Pacino, Robert De Niro or Marlon Brando did bad. The actor does not choose the projects, the projects choose him. The movies choose the actor, so if God gives you lemons, then you make lemonade, "he said. "If you can say that I have done a lot of bad things, it should be noted that these films also represent a moment in which drug links surround us and have been living with them for the last 30 years."He explained that "the films that I've done the bad, cast and crew are all first class. I have had 'good' roles, in which the team is not at the level, for example, of a mafia movie. I choose the films based on the script, the actors I'm going to work with, the director and, sometimes, the director of photography ... Bad characters are complicated and have something that you can explore that one would not do in the lifetime".
In his address, Del Toro made some confessions about his creative process, about memorizing lines and about where he developed his histrionic abilities.He told how he won a scholarship to study at the prestigious Stella Adler Studio of Acting in New York after going to an audition, a decision not well regarded by his family that considered acting a "clown".There he learned the so-called "method", a school of performance originated in Russia that marked his formation, as well as that of important actors like Marlon Brando, Al Pacino and Robert De Niro. He was also surprised by the seriousness that permeated the classes, with a discipline equal to the surgeons, because his teacher said that "acting was like walking the tightrope."
As a student he learned how to memorize the lines of the scripts, a process that begins by writing it in his own words, then begin to internalize them as the character and finally memorize in organic form the exact lines of the writer, although he confessed smiling that his System sometimes fails."I'm a little distracted and this system helps me. There are other actors who memorize them by writing them over and over, that works, too. Sometimes, I confess, I hit the set and I do not know the lines. That's why I can be accused of being irresponsible and not being prepared, but what I'm looking for is to understand the scene, what it's about and what it wants to convey, "he said."I use myself to build my character, it's the first drawer I look at, what I've lived, I've felt, I've smelled, I've heard, my experiences," he told an audience captivated for his candor and honesty by revealing which Is the secret of making good films."The hard part of the film is the script, that's the trickiest part. There is no formula and thank God there is not, because someone had already grabbed it. The script is the most important thing for a movie, "he said."The key to making good cinema is in us, the people of the cinema, in making films that attract people to see these stories. It's like food, if you make a steak that does not taste good, no one will eat it, but if you make a steak that is tasty, it is eaten by everyone and they ask for it again. "
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