Zeb31
Based
Bernardo is not believing que vous êtes come to bing bing avec nous
Posts: 2,557
Likes: 3,794
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Post by Zeb31 on Feb 8, 2018 23:41:15 GMT
Oh.
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Post by Kirk-Picard on Feb 9, 2018 6:36:33 GMT
Worst choice possible
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Post by wilcinema on Feb 9, 2018 7:55:54 GMT
I think it's a wrong project from the start. The beauty of the Joker, at least Ledger's Joker, is that you don't really know what happened and that sort of mystery makes the character so creepy. Providing a backstory will only ruin that experience, imo.
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Post by Pavan on Feb 9, 2018 8:41:17 GMT
Jake Gyllenhaal would be a perfect Joker.
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CookiesNCream
Badass
So what else is new?
Posts: 1,064
Likes: 478
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Post by CookiesNCream on Feb 12, 2018 0:29:56 GMT
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Post by mhynson27 on Feb 14, 2018 14:21:43 GMT
Tommy wants to play the Joker, obviously that's not going to happen.
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Post by therealcomicman117 on Mar 8, 2018 21:57:32 GMT
Hmm, sounds like they're taking inspiration from The Killing Joke.
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Post by thomasjerome on Jun 18, 2018 21:59:50 GMT
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Post by theycallmemrfish on Jun 18, 2018 22:09:34 GMT
They could get every great actor and every great behind the camera person in the world...
The Joker is still a supporting character through and through with his mysterious past being a major part of the appeal and won't benefit from a fucking origins story.
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Post by Viced on Jun 18, 2018 22:57:15 GMT
If Joaquin is definitely on board, I'm fine with De Niro being in this...
Actually, War Dogs was super solid... I have some faith in Phillips.
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Post by jakesully on Jun 19, 2018 5:58:45 GMT
The budget is gonna be pretty small for this (reportedly $55 million ) so it looks like WB is learning . They should make that back opening weekend . Hope its good but I have still have doubts about this. IMO the Joker works better as being very mysterious with NO back story . But maybe Phillips has something up his sleeve here. We shall see.
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Post by getclutch on Jun 20, 2018 21:46:19 GMT
Woah, Bob DeNiro in a DC film.
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Post by Viced on Jul 10, 2018 22:20:38 GMT
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Post by Mattsby on Jul 10, 2018 23:18:31 GMT
Scorsese isn't named in that article but Emma Koskoff is - she's head of production at Scorsese's company Sikelia - and Richard Baratta who exec produced Wolf of Wall Street and The Irishman. So I think he's still involved. Maybe De Niro willll have a role......
Still miffed about Todd Phillips. What from his work suggests he can deliver a "gritty character study" ? They shoulda got the Safdie bros (they actually said they turned down a "huge comic book" movie, hmmmmm).
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Post by pupdurcs on Jul 10, 2018 23:29:28 GMT
I wonder if Phoenix regrets not closing the deal on Dr Strange, and he just wants to be in big movie that lots of people will see. He hasn't really had that since the 2000's when he was in things like Gladiator and working with M Night Shayamalan. Actors like critical acclaim, but Phoenix has turned himself into a niche, arthouse actor in the last couple of years, and it can be frustrating for actors to put in a lot of work, only to have it seen by a limited audience.
Not sure this movie needs to exist (aren't they still making Jared Leto Joker movies as well?), but it'll certainly gain him more general audience attention (and probably box office) than anything he's done in years.
I do remember saying recently that his "brand" as an actor is that he's now the go-to-guy for intense weirdos, so it's pretty spot on casting.
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Post by stephen on Jul 10, 2018 23:38:36 GMT
I wonder if Phoenix regrets not closing the deal on Dr Strange, and he just wants to be in big movie that lots of people will see. He hasn't really had that since the 2000's when he was in things like Gladiator and working with M Night Shayamalan. Actors like critical acclaim, but Phoenix has turned himself into a niche, arthouse actor in the last couple of years, and it can be frustrating for actors to put in a lot of work, only to have it seen by a limited audience. Not sure this movie needs to exist (aren't they still making Jared Leto Joker movies as well?), but it'll certainly gain him more general audience attention (and probably box office) than anything he's done in years. I do remember saying recently that his "brand" as an actor is that he's now the go-to-guy for intense weirdos, so it's pretty spot on casting. I don't think that being tied down to a franchise, regardless of its success, is something Phoenix is interested in. He probably would've been game to play the role had it been a one-and-done sort of thing, but tying yourself to a franchise like that does limit your options if you're the sort of actor Phoenix is, marching to the beat of your own drum. Phoenix has said there are long stretches where he doesn't feel like working, and you can't exactly do that if you've got a multi-film contract. Funnily enough, it's not entirely dissimilar from what Denzel Washington did pre- Equalizer. There were a good half-dozen roles of his career that he could've turned into a franchisable character (I envy the alternate universe that has five Easy Rawlins movies), but that never seemed to be something he was interested in. But then he decided, yeah, I'll go back to the Equalizer well. Going back to Phoenix, he doesn't seem to be necessarily hurting for money and he's got more than enough directors actively pursuing him (in the wake of DDL's retirement, he might be the go-to first choice for any auteur). Something like this project, which seems to be a standalone one-and-done not tied to any existing DCEU characters/properties/incarnations, feels exactly like what would draw Phoenix for a few months but not make him beholden to a series later on when he doesn't feel like it.
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Post by Mattsby on Jul 10, 2018 23:40:24 GMT
from Deadline ....: "Dance card is full" - Let's hope he's dancing with the Devil (in the White City).
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Post by pupdurcs on Jul 11, 2018 0:06:53 GMT
I wonder if Phoenix regrets not closing the deal on Dr Strange, and he just wants to be in big movie that lots of people will see. He hasn't really had that since the 2000's when he was in things like Gladiator and working with M Night Shayamalan. Actors like critical acclaim, but Phoenix has turned himself into a niche, arthouse actor in the last couple of years, and it can be frustrating for actors to put in a lot of work, only to have it seen by a limited audience. Not sure this movie needs to exist (aren't they still making Jared Leto Joker movies as well?), but it'll certainly gain him more general audience attention (and probably box office) than anything he's done in years. I do remember saying recently that his "brand" as an actor is that he's now the go-to-guy for intense weirdos, so it's pretty spot on casting. I don't think that being tied down to a franchise, regardless of its success, is something Phoenix is interested in. He probably would've been game to play the role had it been a one-and-done sort of thing, but tying yourself to a franchise like that does limit your options if you're the sort of actor Phoenix is, marching to the beat of your own drum. Phoenix has said there are long stretches where he doesn't feel like working, and you can't exactly do that if you've got a multi-film contract. Funnily enough, it's not entirely dissimilar from what Denzel Washington did pre- Equalizer. There were a good half-dozen roles of his career that he could've turned into a franchisable character (I envy the alternate universe that has five Easy Rawlins movies), but that never seemed to be something he was interested in. But then he decided, yeah, I'll go back to the Equalizer well. Going back to Phoenix, he doesn't seem to be necessarily hurting for money and he's got more than enough directors actively pursuing him (in the wake of DDL's retirement, he might be the go-to first choice for any auteur). Something like this project, which seems to be a standalone one-and-done not tied to any existing DCEU characters/properties/incarnations, feels exactly like what would draw Phoenix for a few months but not make him beholden to a series later on when he doesn't feel like it. I think Washington's decision to finally enter franchise territory after avoiding it his entire career, is primarily because he needs the leverage to do the stuff he's really passionate about. I think his artistic drive in the last couple of years has been as high as it's ever been with his stage and film work. Add to the fact that he intends to make 10 August Wilson plays into films or television films, and he's probably going to do more projects that have a high risk factor (in commercial terms) like Roman J Israel Esq and Fences. He knows he's aging out of action leading man roles, and it'll get harder and harder to find credible ones for him to do and keep his commercial value solid. So Equalizer kills a few birds with one stone. I agree that Phoenix is probably reluctant to be tied down to a multi-film deal. Not sure I'd agree at all that he'd be the first choice for any auteur though. Phoenix is very respected, but it's not the across the board awe that DDL had within the industry. Nowhere near. He's about on par with Bale and Dicaprio in regard for his abilities, just a lot less bankable than either. While some auteurs may be drawn to Phoenix (especially those who tend to work on lower budgets), I don't neccesarily see Phoenix as a first choice leading man for the Spielberg's, Scorseses and Tarantinos of this world. He's got PTA in his corner though, so it's all good. But as I said, Phoenix's brand is more specific than DDL. DDL could certainly play intense weirdos, but because he spent quite a while as a romantic leading man, he wasn't as boxed in by perception as Phoenix is. I actually think Phoenix's primary challenger for auteur roles in a certain budget range is Adam Driver. I think the auteurs who deal in bigger budgets try for Dicaprio or Bale, before they think about Phoenix.
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Post by stephen on Jul 11, 2018 0:24:39 GMT
I think Washington's decision to finally enter franchise territory after avoiding it his entire career, is primarily because he needs the leverage to do the stuff he's really passionate about. I think his artistic drive in the last couple of years has been as high as it's ever been with his stage and film work. Add to the fact that he intends to make 10 August Wilson plays into films or television films, and he's probably going to do more projects that have a high risk factor (in commercial terms) like Roman J Israel Esq and Fences. He knows he's aging out of action leading man roles, and it'll get harder and harder to find credible ones for him to do and keep his commercial value solid. So Equalizer kills a few birds with one stone. I agree that Phoenix is probably reluctant to be tied down to a multi-film deal. Not sure I'd agree at all that he'd be the first choice for any auteur though. Phoenix is very respected, but it's not the across the board awe that DDL had within the industry. Nowhere near. He's about on par with Bale and Dicaprio in regard for his abilities, just a lot less bankable than either. While some auteurs may be drawn to Phoenix (especially those who tend to work on lower budgets), I don't neccesarily see Phoenix as a first choice leading man for the Spielberg's, Scorseses and Tarantinos of this world. He's got PTA in his corner though, so it's all good. But as I said, Phoenix's brand is more specific than DDL. DDL could certainly play intense weirdos, but because he spent quite a while as a romantic leading man, he wasn't as boxed in by perception as Phoenix is. I actually think Phoenix's primary challenger for auteur roles in a certain budget range is Adam Driver. I think the auteurs who deal in bigger budgets try for Dicaprio or Bale, before they think about Phoenix. Bale and DiCaprio are obviously the bigger draws and will more than likely have the "big" directors like Scorsese/Tarantino/Nolan on tap, that's true, but they are also more "traditional" leading men than Phoenix is. For someone as offbeat as Phoenix is, the guy commands extreme respect and a more widespread field of auteurs has spoken of their reverence for him and wanting to work with him. And I'd argue that Phoenix's "weirdness" has only really come to the fore since I'm Still Here. Before that, the only really bizarre major part he was associated with was Gladiator. Throughout the 2000s, the guy was very much playing traditional roles, albeit in smaller films (his works with James Gray). Walk the Line is about as straightforward a biopic as you could want, and it's kinda crazy to associate that role with Phoenix as we know him today. It's true that Bale and DiCaprio are more frequently cast in bigger films, but perhaps that's by design on Phoenix's part. We don't know specifically what roles he may have been offered and turned down (and like it or not, his antics in '09 might've turned off some of those bigger names). And DiCaprio is such a unique case on his own, because by virtue of his involvement, any film he's in becomes a blockbuster event. In terms of the DDL comparison, Phoenix is notoriously shy and his "meltdown" actually fueled his own brand of mythical stature, especially as he followed it up with one of the greatest unique performances in modern cinema in The Master. And since then, he has blazed his own path in a way that doesn't seem like he's following a sensical trajectory. He eschews campaigning (which puts him more in comparison with George C. Scott than DDL), he doesn't talk much about his process or what his films mean (he's a bit more blunt and plainspoken about it than DDL is, but the gist isn't unlike how DDL talks about it), auteurs speak of him with great reverence as a one-of-a-kind talent, etc., etc. DDL is much more of a traditional-looking leading actor, but in terms of method and style, Phoenix is probably the closest thing left on the field at the moment. Adam Driver is absolutely crushing it and has become something of a hot commodity among directors, you're right, and unlike Phoenix, he seems to be much more willing to be prolific. Driver, I feel, is becoming what so many people thought Oscar Isaac was going to be but hadn't quite stuck the landing on.
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Post by pupdurcs on Jul 11, 2018 0:55:32 GMT
I think Washington's decision to finally enter franchise territory after avoiding it his entire career, is primarily because he needs the leverage to do the stuff he's really passionate about. I think his artistic drive in the last couple of years has been as high as it's ever been with his stage and film work. Add to the fact that he intends to make 10 August Wilson plays into films or television films, and he's probably going to do more projects that have a high risk factor (in commercial terms) like Roman J Israel Esq and Fences. He knows he's aging out of action leading man roles, and it'll get harder and harder to find credible ones for him to do and keep his commercial value solid. So Equalizer kills a few birds with one stone. I agree that Phoenix is probably reluctant to be tied down to a multi-film deal. Not sure I'd agree at all that he'd be the first choice for any auteur though. Phoenix is very respected, but it's not the across the board awe that DDL had within the industry. Nowhere near. He's about on par with Bale and Dicaprio in regard for his abilities, just a lot less bankable than either. While some auteurs may be drawn to Phoenix (especially those who tend to work on lower budgets), I don't neccesarily see Phoenix as a first choice leading man for the Spielberg's, Scorseses and Tarantinos of this world. He's got PTA in his corner though, so it's all good. But as I said, Phoenix's brand is more specific than DDL. DDL could certainly play intense weirdos, but because he spent quite a while as a romantic leading man, he wasn't as boxed in by perception as Phoenix is. I actually think Phoenix's primary challenger for auteur roles in a certain budget range is Adam Driver. I think the auteurs who deal in bigger budgets try for Dicaprio or Bale, before they think about Phoenix. Bale and DiCaprio are obviously the bigger draws and will more than likely have the "big" directors like Scorsese/Tarantino/Nolan on tap, that's true, but they are also more "traditional" leading men than Phoenix is. For someone as offbeat as Phoenix is, the guy commands extreme respect and a more widespread field of auteurs has spoken of their reverence for him and wanting to work with him. And I'd argue that Phoenix's "weirdness" has only really come to the fore since I'm Still Here. Before that, the only really bizarre major part he was associated with was Gladiator. Throughout the 2000s, the guy was very much playing traditional roles, albeit in smaller films (his works with James Gray). Walk the Line is about as straightforward a biopic as you could want, and it's kinda crazy to associate that role with Phoenix as we know him today. In terms of the DDL comparison, Phoenix is notoriously shy and his "meltdown" actually fueled his own brand of mythical stature, especially as he followed it up with one of the greatest unique performances in modern cinema in The Master. And since then, he has blazed his own path in a way that doesn't seem like he's following a sensical trajectory. He eschews campaigning (which puts him more in comparison with George C. Scott than DDL), he doesn't talk much about his process or what his films mean (he's a bit more blunt and plainspoken about it than DDL is, but the gist isn't unlike how DDL talks about it), auteurs speak of him with great reverence as a one-of-a-kind talent, etc., etc. DDL is much more of a traditional-looking leading actor, but in terms of method and style, Phoenix is probably the closest thing left on the field at the moment. Personally, I've always associated Phoenix with playing intense weirdos. All the way back to To Die For. He's played some conventional roles, but his intense weirdo ones tend to stick out in his body of work. Even his Johnny Cash was pretty intense and as an eccentric musician and troubled man, Phoenix could bring his oddness to Cash without it seeming too out of place. Some of the things you say about the comparisons to DDL make sense, but it doesn't equate to his reverence level in the industry. Auteurs say great things about many actors. Phoenix just isn't revered within the industry to those DDL levels or Denzel Washington levels. It's entirely possible he may get there one day, but I don't think we are there yet (as much as you may admire his work or fillmography). Though he's respected by his peers, I've never felt Actors loved Phoenix quite as much as indie fillmmakers might. And that overwhelming Actor love is what puts you at DDL or Washington levels of industry reverence. As prolific as he is in baity or critically "worthy" material, it's surprising Phoenix only has 2 individual SAG nominations to date and missed out on a nod for The Master.
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Post by stephen on Jul 11, 2018 1:10:21 GMT
Personally, I've always associated Phoenix with playing intense weirdos. All the way back to To Die For. He's played some conventional roles, but his intense weirdo ones tend to stick out in his body of work. Even his Johnny Cash was pretty intense and as an eccentric musician and troubled man, Phoenix could bring his oddness to Cash without it seeming too out of place. Some of the things you say about the comparisons to DDL make sense, but it doesn't equate to his reverence level in the industry. Auteurs say great things about many actors. Phoenix just isn't revered within the industry to those DDL levels or Denzel Washington levels. It's entirely possible he may get there one day, but I don't think we are there yet (as much as you may admire his work or fillmography). Though he's respected by his peers, I've never felt Actors loved Phoenix quite as much as indie fillmmakers might. And that overwhelming Actor love is what puts you at DDL or Washington levels of industry reverence. As prolific as he is in baity or critically "worthy" material, it's surprising Phoenix only has 2 individual SAG nominations to date and missed out on a nod for The Master. Phoenix has always had an offbeat energy, going back to the beginning, and for the longest time he was drawing rather unfavorable comparisons to his older brother in terms of looks and talent (insert Family Guy gag of being "a harelipped reminder of what might have been"). But until I'm Still Here, even his more eclectic roles were still somewhat straightforward and mainstream, with only Gladiator really being something that one can see as being the start of Joaquin Phoenix being "Joaquin Phoenix" as we know him now. Phoenix is who I think Leonardo DiCaprio wanted to be for the longest time in terms of his contemporaries, but he couldn't escape the dreamboat megastar label and it took him some time to realize that he could use that to his advantage. SAG is funny. As a body they can be notoriously unreliable, and The Master didn't really jibe with them (but I also think Weinstein sabotaged the hell out of its campaign after Phoenix/PTA refused to play ball). But look at what individual actors were saying about his performance then. Robert Duvall called it one of the greatest things he'd seen. Jessica Chastain raved it as an instant classic. And so on and so forth. Phoenix has the reverence and respect from his peers. He may not have the accolades to prove it the way DDL and Washington do (nor does he want them, and awards are 95% political as it is), but the respect is there, and it feels different than the respect, say, DiCaprio or Bale get. Not better, but different, and for me, more comparable to what DDL was getting: that "weird shy guy comes down from the mountain and blows us all away, then goes back to whatever the fuck he does in his downtime" feeling.
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Post by pupdurcs on Jul 11, 2018 3:32:05 GMT
I think the Phoenix/Dicaprio/Bale generation all suffer slightly from being just movie actors. Having a proven stage pedigree (even if it's a couple of decades old, as with DDL) confers an unspoken respect that can't be underestimated among all actors.
The way you talk about Phoenix being some DDL-level revered actor doesn't really ring true to me. Certain auteur filmmakers love him, and he's a critical darling and a cinephile favorite, because he makes arthouse film. And of course actors respect him. But all those things apply to Tom Hardy or Fassbender, and they are not at that level either. Phoenix is not at that level where nearly all actors just think he's a god. To me, someone who was very close to getting to that level (before his untimely death) of DDL or Washington level reverence was Phoenix's The Master co-star Phiilip Seymour Hoffman. And maybe his New York theatre pedigree sped the process along for him faster than someone like Phoenix, who has to wait. That level of reverence may one day come for Phoenix (or it may never come), but it feels a bit forced at the minute to say he's some DDL type figure in the game. He's highly respected....but not he's not seperated himself from his field (whether it's Dicaprio or Bale, or Fassbender or Hardy etc).
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Post by Pavan on Jul 11, 2018 7:39:25 GMT
So this is happening hmm at least he will be a better Joker than Jared Leto.
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Post by pacinoyes on Jul 11, 2018 16:28:58 GMT
I wouldn't be surprised if in Phoenix's mind he sees The Joker as more of an artistic move than a career one - ie the biggest way to steal some actor historical panache - a Nicholson role and a the only Oscar winning (and one of the few comic book ones ever nominated) Ledger one. It would be quite a coup if he found something distinctly his own here.......in general, he's a marvelous actor who lacks the qualities to be a box office star, but since movies matter less now than ever, it's not the sin it once was. You can still be the American actor of your generation without it I think.
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Post by pupdurcs on Jul 11, 2018 16:46:28 GMT
The last actor certain factions tried to crown "the American actor of his generation" without the requisite audience/box office/public support was Sean Penn. Didn't work out so well for him, and even many of the people who used to push him gave up when they realised people would never bite..
Phoenix knows what's at stake for him. He can get all the arthouse kudos in the world he wants for now, but he needs to make shit people want to see and nail it to challenge Dicaprio in their generation of Americans.
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