Remember Me is an upcoming romantic-drama film directed by Allen Coulter. The film stars Robert Pattinson, Emilie de Ravin and Pierce Brosnan.

CUANDO ESTAMOS EN PLENO ESTRENO DE ”NEW MOON”,EL GRAN SUCESO DEL MOMENTO EN EL CINE,NOS LLEGA ”REMEMBER ME”….

RECORDEMOS QUE ESTE FILM TIENE FECHA DE ESTRENO PARA EL PROXIMO MES DE FEBRERO DEL 2010.

COMO UN ADELANTO LES MOSTRAMOS ALGUNAS IMAGENES DEL RODAJE…Y ADEMAS SU TRAILER….

Y PARA FINALIZAR,CON BROCHE DE ORO,LES PRESENTAMOS EL TRAILERS DEL FILM.

VEANLO Y DISFRUTEN CON ESTE NUEVO EXITO EN EL SEPTIMO ARTE DE ROBERT PATTINSON.

Source: Variety

Emilie De Ravin (Lost), Chris Cooper (Breach, American Beauty), and Pierce Brosnan (The Thomas Crown Affair, 007 series) are set to star in negotiations alongside Robert Pattinson in Remember Me. Lena Olin (300, Terminator: SCC) is also in negotiations to join the drama for Summit Entertainment.

The story concerns a young man (Pattinson) whose brother’s suicide has split up his parents (Brosnan and Olin) and left him sleepwalking through life. A young woman (De Ravin) who, after witnessing her mother killed before her eyes, seizes life to its fullest. Cooper is being courted to play her father.

The film is set to be directed by Allen Coulter, who previously directed 2006’s Hollywoodland.

Emilie de Ravin (“Lost”), Pierce Brosnan (Goldeneye) and Chris Cooper (Breach) are set  to star alongside Robert Pattinson (The Twilight Saga) in the drama “Remember Me” directed by Allen Coulter.  Pattinson plays a boy, whose brother’s suicide has split up his parents, and left him sleepwalking through life.  De Ravin plays a young woman, who, after seeing her mom get killed, lives life to the fullest.  Copepr and Brosnan would play the character’s fathers. 

Lukas Eggen

Rob Pattinson is suspicious.

It’s been soooo long since I’ve posted about R-Patty, but finally some real news. He just signed on to star in the new movie “Memoirs”, a romantic drama about 2 lovers trying to make it work in the face of family tragedies. Allen Coulter of “Hollywoodland” is set to direct and Jenny Lumet, “Rachel Getting Married” screenwriter, will rewrite the original screenplay. She is awesome.

Rob is R-Patty

The biggest surprise (not really) of all is that Summit Entertainment is going to lay down the cash to get this to a theater near you. Dollar, dollar, bill, Summit knows how to capitalize on the R-Patty fan’s Sanrio wallets. Kudos to them. No word yet on who Rob’s love interest will be, but rest assured whoever the lucky lady is , she will be harassed and judged by women around the world for years to come. Ask poor Kristen Stewart.

A uniquely compelling exploration fo fame & identity inspired by one of hollywoods most infamous real-life mysteries. The glamou of tinseltown permanently fades for actor george reeves t.V.s superman as the actor dies. Behind the icon was a complex man who gave his life to hollywood in more ways than one Studio: Uni Dist Corp. (mca) Release Date: 01/27/2009 Starring: Adrien Brody Ben Affleck Run time: 127 minutes Rating: R

The fact-based mystery of Hollywoodland takes place in 1959, when the death of Adventures of Superman TV star George Reeves cast a pall over the waning days of golden-age Hollywood. As written by Paul Bernbaum, this intriguing whodunit effectively evokes the tainted atmosphere that surrounded Reeves’ death (officially ruled a suicide but never conclusively solved), and speculates on circumstances to suggest that Reeves may have been murdered. In combining the melancholy course of Reeves’ career with the investigation of a down-and-out private detective into the possible causes of Reeves’ death, the film evolves into an engrossing study of parallels between lives on either side of the Hollywood dream. Building upon a distinguished career in TV including episodes of HBO’s The Sopranos, Rome and Six Feet Under, director Allen Coulter finds a satisfying balance between the tragic overtones of the Reeves case and the time-honored elements of the gumshoe genre, with Adrien Brody doing fine work as private eye Louis Simo, a fictional composite character who is our conduit to the desperate yearnings of Reeves’ final months.

In a critically acclaimed performance, Ben Affleck plays Reeves in moody flashbacks, caught between Superman stardom and financial dependence on his lover Toni Mannix (Diane Lane), the somewhat predatory wife of Hollywood “fixer” and MGM honcho Eddie Mannix (Bob Hoskins), whose mob connections suggest foul play as Simo’s investigation progresses. Reeves’ subsequent lover (played by Robin Tunney) may also be culpable, and as Simo’s own personal life unravels, his empathy for Reeves takes on added significance. In presenting its mystery as a set of plausible scenarios, Hollywoodland holds interest as a mystery that’s refreshingly compassionate toward the fate of its characters. Warts and all, they’re likable dreamers in a town where dreams don’t always come true. –Jeff Shannon

Hollywoodland (Widescreen Edition) is available at Amazon for $9.99. To Order click here
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Other Products of Interest

• Babel
• Flags of Our Fathers (Widescreen Edition)
• The Good Shepherd (Widescreen Edition)
• The Prestige
• Blood Diamond (Two-Disc Special Edition)

Over the course of our years spent working on Budweiser we inevitably produced some commercials that never saw the light of day for one reason or another. Usually because they were “too” something. Too outrageous. Too weird. Too…not right.

It was a natural by-product of producing a lot of ads. Plus, Anheuser-Busch did things the right way. They knew their business and they knew their brands. So they could tell a good spot instantly. And they let us produce the work in the manner we wanted to. They trusted us. There was no testing of ideas. If they liked it, we did it. They would test finished spots for likeability and laugh value to help determine what would run on the Superbowl. And in which order they would run. A-B usually had five minutes to fill. That’s potentially ten :30 spots. But they would produce a lot more than that and those that didn’t make the game would air later that year. Or not all sometimes. Usually because the finished commercial didn’t square with their vision of it. But it wasn’t considered a big deal if a spot never ran. That, in essence, is why the whole world loved their advertising. They understood that the “risk” would yield huge rewards. And they were right. Again and again and again. They were pretty chilled-out about the whole thing, considering.

Their biggest competitor Miller, by contrast, tested everything and never had a hit. They spent all their money talking about the things that nobody really cares about: telling you how great their beers tasted etc.

We now present for the very first time, a selection of our favorites. The ones that got away!

The first one was a spot in the “Jersey Guys” campaign. The idea was one of the guys was getting married and all his pals would come up and greet him and his bride. But because they were from New Jersey they would playfully slap and poke their friend. I recall my former partner (and NJ native) Justin Reardon had the idea for this spot. I loved it. And still do. It was directed by Allen Coulter of Station films. Allen directed a lot of the first season of a little TV show called The Sopranos. You may recall it. And he was an inspiration to work with. A real director! He shot the ads like a TV show. The production was designed by the legendary Bob Shaw who also worked on the Sopranos. He currently is responsible for making sure that Mad Men looks impeccable. And seems to be doing a great job. I remember we all (cast and crew and production company) went for a nice Italian meal after shooting this.

FUN FACT: We shot it in an Italian wedding banquet hall in Brooklyn. The Oriental Banquet hall. The was the real deal! You’ll notice there’s a quick shot of a wedding cake with an actual fountain on it at the beginning of the spot. That was surprisingly easy to find. This place would be where the GoodFellas got married. For real.

A rare treat: Emmanuel Lubezki speaks to Jim Hanas of Creativity Online. After more than twenty years of work as DP, Lubezki says he’s finally comfortable with directing. The artist famous for his cinematography has signed to the production company Station Film as a director for commercial presentation. The interview, however, sticks mostly to discussion of his position as cinematographer and he indicates his hatred of dvd special features. “The less people know about cinematography, the better I feel. When I read a review of a movie and nobody talks about me, I think I have succeeded.” The article is available online for seven days but the website also has a great listing of Lubezki’s work that is definitely worth checking out.

Station Film was launched earlier this year by Michael Di Girolamo, Caroline Gibney, Adam Lyne, Stephen Orent, and Tom Rossano. Says Orent:

Our focus will be on creating interesting and innovative work in all formats, conventional advertising and integrated media… We want to be able to take more chances with our filmmaking and compete for the best high-profile work worldwide. We also want to be active in creating projects from ideas to pitch to physical production and post. We know we are not recreating the wheel at Station, so the objective is to do things better… I want this new company to be able to create and compete with some of the more contemporary companies of today. By being more diverse with talent it opens the opportunities for more crossover between directors. Keeping Station mid-sized and intimate will give the roster of talent the ability to learn and help one another grow and experience opportunities outside the comfort zone.

Since February, Station Film has also signed on Allen Coulter, Harold Einstein, Brendan Gibbons, David Gray, Owen Harris, Jelle, Steven Klein, James Lima, Vance Malone, and Southpaw. Examples of these directors’ work can be viewed here.

Il 16 giugno 1959 accade uno dei più famosi fatti di cronaca che abbiano coinvolto Hollywood. L’attore George Reeves (Ben Affleck), interprete di un Superman televisivo, si suicida.
Allen Coulter, dopo tutta la gavetta a base di Sex and the City, I soprano e Six feet under, un film polposo, se mi si passa il termine: due psiche di un certo spessore da sondare. Il risultato è molto piacevole perchè le interpretazioni sono davvero calibrate: Adrien Brody nei panni dell’investigatore privato, incaricato da quelli che non credono alla tesi del suicidio, risulta scaltro ma spiantato al punto giusto. Una vita di stenti, la sua, che si riflette sulle paillettes e lustrini luccicanti che nascondono il marcio dello star system. I continui flashback fanno luce su gli ultimi giorni del mediocre attore George Reeves, tra voglia di emergere e l’impossibilità di uscire dalla tuta rossoblu con la S, fino al colpo di pistola. Per questo personaggio goffo e impreparato alla vita Ben Affleck ha vinto il premio Volpi alla Mostra del Cinema di Venezia, in effetti non è il solito Ben Affleck mascellone inespressivo, in questo film si proprio dire che ha recitato.
Molti hanno paragonato questo film a Black Dahlia di Brian De Palma, il paragone calza e non sfigura visto che la dinamica e l’ambientazione sono più o meno le stesse. A mio modesto parere una chicca che solo Hollywoodland può vantare è la dettagliata descrizione dell’influenza che ha avuto sui bambini la figura supereroe che arrivava nelle loro case attraverso un mezzo ancora poco conosciuto come la televisione. Bambini influenzati talmente tanto da bruciare il costume di Superman alla notizia della morte di George Reeves. Mi torna in mente quella storia di “Miwa, lanciami i componenti!“.

Hollywoodland is a terrific based-on-true-events drama about the violent death of George Reeves, the actor who played Superman in the 50s television serial. Due to studio pressure, the police investigating Reeves death quickly write it off as suicide but struggling private detective Louis Simo believes that there are dubious circumstances pointing towards murder.

Adrian Brody portrays Simo with the perfect blend of sleaze and charm, Diane Lane is ideal as Toni Mannix, Reeves’s lover/sugar-mummy, while Bob Hoskins is suitably menacing as studio head Eddie Mannix. The big revelation is Ben Affleck who plays Reeves in the long flashback sequences preceding his death. Affleck is genuinely endearing as Reeves, a frustrated actor who aspired to so much but was forever burdened by his public persona as the Man of Steel.

The lush music score and sizzling cinematography provide the classic film noir atmosphere of desperate men and seductive women in a dangerous city. However Hollywoodland is not a straightforward detective story. Director Allen Coulter (TV’s The Sopranos and Sex and the City) focuses predominantly on the parallels between the empty lives of Reeves and Simo making Hollywoodland a melancholic film about corrupt Hollywood, shattered dreams and failed ambitions.

Originally appeared in The Big Issue, No. 274, 2007

© Thomas Caldwell, 2007

One long-standing axiom of Hollywood mythology is that even an otherwise forgettable celebrity can sustain public interest by dying young or mysteriously. The actor George Reeves, who played Superman on television, may not have been a spring chicken by Hollywood standards when he died at 45 in 1959, but his demise was fertile with mythmaking mystery. The cause of Reeves’ death was clear enough—one gunshot wound to the head—but the reason for it, and the party responsible, less so. Hence: Hollywoodland.

The trailer calls it “Hollywood’s most notorious unsolved mystery,” and that too may be subject to debate (certainly by the makers of The Black Dahlia, in theaters at the same time). But no matter. The strength of TV veteran Allen Coulter’s feature-length directorial debut doesn’t depend on its high concept—nor even on its nostalgically noir-ish execution. What makes the movie good is that it’s actually driven by its characters.

The most important of which, in fact, is fictional. How poignant that in reconstructing the Reeves case for dramatization, screenwriter Paul Bernbaum sought a single figure to whom it meant everything—and ultimately had to make that person up. Louis Simo (Adrien Brody) is a low-rent private eye, who grants the appeals of Reeves’ stunned mother (Lois Smith) for a post-police investigation of her son’s death. He was too big a star, she reasons, for suicide. Simo rightly figures this case is the break he needs, with a personal resonance he’ll only begin to understand as he gets further into it.

To introduce Reeves himself (Ben Affleck), Coulter braids Simo’s investigation with flashbacks narratively jury-rigged from the detective’s reconnaissance and his imagination. Naturally, the two have a lot in common. Each has made wrong turns on the course of public ambition. Each wants to be a better man and needs to be recognized. Each, Coulter gently points out, has the habit of forcing his way into newspaper photographs. Each has a couple of women in his life but only self-interest for a true companion. Simo recognizes that, for his own sake, his task is to determine how a glory-seeking man on the precipice of obscurity ultimately might do himself in.

Could Reeves have made deadly enemies? Maybe he was no match for the proverbial speeding locomotive, but he was at least powerful enough to cuckold the formidable MGM studio boss Eddie Mannix (Bob Hoskins), albeit unwittingly. (It happened before poor George knew she was Mrs. Mannix, and clearly some of the power was hers; for one thing, she is played here by Diane Lane.) Otherwise, he was simply a lightning rod for stardom’s caprices—likeably handsome and generically heroic, but not excessively charismatic. In that sense, the role is right for Affleck, and the performance might be as good as his will get. Bernbaum allows him some rich dialogue and nuanced moments to play, and Affleck apes his way through with aplomb and due humility.

Meanwhile, Simo seems alternately wily and washed up. On a beat where myths of self are rampant, he has to play the part of a detective to become one—and he gets so wound up in the Reeves investigation that another case gets away from him, with devastating results. Brody, for his part, is calmly magnificent, calibrating his gestural details as carefully as those of the period-precise costumes and sets, and steering at-risk scenes away from cliché with a steady surety. He has help from a supporting stock of elegant character actors—from Joe Spano as a Mannix henchman to Jeffrey DeMunn as Reeves’ manager—but he doesn’t need it.

Given the nature of its milieu, Hollywoodland probably will earn comparisons to the overwritten, overacted, overrated L.A. Confidential; given the elegance of its restraint, the comparisons probably won’t be favorable. So much the better; that should dispatch less discriminating audiences, leaving this movie to contend with its more essential challenge: winning over the aficionados of Chinatown.

But Bernbaum and Coulter’s film isn’t merely a homage or an indulged film-noir fetish, any more than it’s an essay on what really happened to George Reeves. Nobly enough, the movie won’t answer that question. Unfortunately, though, by not wanting to shoehorn Hollywoodland into a Hollywood ending, the filmmakers only manage to paint themselves into a corner. Once there, their movie’s formerly pleasurable languor becomes harshly oppressive. But maybe that also goes to the main idea: that the real bitch about celebrity is never being able to rest in peace.

Un film del 2006, regia di Allen Coulter, con Adrien Brody / Diane Lane / Ben Affleck / Bob Hoskins. Prodotto da Walt Disney Studios Motion Pictures Italia (126min)

Drammatico / Giallo / Thriller

Ispirata a uno dei più famigerati gialli di Hollywood, la storia segue un detective privato che, negli anni ‘50, indaga sulla morte di George Reeves, il celebre Superman televisivo, e scopre misteriosi legami con la sua stessa vita…

Hollywoodland (2006)

Dieser Film wird hauptsächlich vom außerordentlich guten Schauspiel der drei Hauptcharaktere getragen. Adrien Brody und Diane Lane sind gut wie immer. DIE Überaschung ist aber Ben Affleck. Ich hielt ihn eigentlich immer für einen der untalentiertesten Schauspielern Hollywoods, aber in “Die Hollywood-Verschwörung” hat er mich als desillusionierter Superman-Darsteller schlichtweg umgehauen. Das große Manko des Filmes ist die Tatsache, dass während dem ganzen Film nicht wirklich Spannung aufkommt.

7/10

Trailer