2011 April 06 etiketine sahip kayıtlar gösteriliyor. Tüm kayıtları göster
2011 April 06 etiketine sahip kayıtlar gösteriliyor. Tüm kayıtları göster
9 Nisan 2011 Cumartesi
___Keanu Reeves Shows His Silly Side at ‘Henry’s Crime’ Premiere ___Regarding ‘Henry’s Crime’
Keanu Reeves Shows His Silly Side at ‘Henry’s Crime’ Premiere
Added April 6, 2011At the New York City premiere of ‘Henry’s Crime,’ James Caan gives an honest opinion about the nature of the film, and Keanu Reeves just has a good old time.
video; http://www.movingpicturesnetwork.com/25327/keanu-reeves-shows-silly-side-henrys-crime-premier/
Regarding ‘Henry’s Crime’
Added April 7, 2011Keanu Reeves stars in Malcolm Venville’s rom-com heist as aimless toll collector Henry, who, after serving three years in prison for a bank robbery he didn’t commit, decides to rob the bank for real with the help of his street-smart cell mate Max (James Caan). When Henry embarks on a bittersweet relationship with a local actress (Vera Farmiga), he begins to find purpose.
Check out the links below — and check back often — for all the latest features, videos and photos of “Henry’s Crime.”
Articles
Editors’ Choice: 12 Best Keanu Reeves MoviesNeo, Ted and 10 other signature roles over the course of the superstar’s eclectic, $600 million career
Interviews
Keanu Reeves’ Dedication to Art Is No Mystery—Part ThreeThe producer and star of “Henry’s Crime” remembers his late co-stars, reminisces about living at the Chateau Marmont and recites a Shakespeare sonnet
Keanu Reeves’ Dedication to Art Is No Mystery—Part TwoThe star of ‘Henry’s Crime’ discusses working with the inimitable James Caan, acting opposite Vera Farmiga in Chekhov’s ‘Cherry Orchard’ and whether he’ll direct
Keanu Reeves’ Dedication to Art Is No Mystery—Part OneThe producer and star of “Henry’s Crime” discusses working in Budapest, “Matrix” vs. “Bill & Ted” fans and his production company’s first film
“Crime” Time’s Prime Time for Vera Farmiga — Part Three“Source Code” star discusses directing her sister in “Higher Ground,” the blueprint for her ideal career and the causes she throws her celebrity behind
“Crime” Time’s Prime Time for Vera Farmiga — Part Two“Source Code” star discusses working with James Caan on the set of “Henry’s Crime” and the making of her directorial debut, “Higher Ground”
“Crime” Time’s Prime Time for Vera Farmiga — Part OneThe ‘Source Code’ star discusses her role in “Henry’s Crime,” the appeal of Chekhov and working with her producer and co-star Keanu Reeves
Videos
Keanu Reeves Shows His Silly Side At ‘Henry’s Crime’ PremiereThe star charms the reporters and cameras with his physical presence.
Vera Farmiga Dishes on Her ‘Henry’s Crime’ Co-stars at the NY Premiere
The romantic caper’s love interest describes her co-stars Keanu Reeves and James Caan on the ‘loopy story about love’ as a couple of ‘goofballs
Official ‘Henry’s Crime’ Trailer
Henry is a man seemingly without purpose until he gets a wake-up call after being an unwitting participant in a botched bank heist.
James Caan Praises Keanu Reeves for Keeping Cast at EaseThe “Henry’s Crime” co-star marvels at Reeves’ ability to multitask as an actor and as the executive producer. He praises Reeves for being able to stay grounded even in an “uncomfortable situation.”
James Caan and Malcolm Venville on Prison LifeThe actor and director discuss whether prison makes criminals out of men or men out of criminals. In “Henry’s Crime,” Caan plays a con man who voluntarily chooses to live in prison.
Interview: James Caan and Malcolm Venville
The iconic actor delivers laughs both during an interview at the 2010 Toronto International Film Festival and on the set of “Henry’s Crime.” Here he discusses the art of creating a lovable “but not harmful” con artist and how he kept his director entertained behind the camera.
“Will You Help Me Rob the Bank?”Henry (Reeves) is a man seemingly without purpose until he gets a wake-up call after being an unwitting participant in a botched bank heist. Having done the time, he decides he may as well do the crime. Here, he convinces the reluctant Max (Caan) to file for his long overdue parole — and then recruits his former cell mate to help stage a robbery.
“Why Did You Go to Prison?”Henry’s heist involves his taking the lead role in a play, where he finds himself slowly falling for the production’s mercurial leading lady Julie (Farmiga). Here, he lets her in on his plan to rob a bank through a tunnel to the theater where she performs.
more;
http://www.movingpicturesnetwork.com/24761/henrys-crime-hub/
“Henry’s Crime” official Facebook http://www.facebook.com/henryscrime?sk=wall
Keanu Reeves’ Dedication to Art Is No Mystery—Pt. 2
Keanu Reeves’ Dedication to Art Is No Mystery—Pt. 2
Added April 6, 2011
By Elliot V. Kotek
(from Moving Pictures, spring issue, 2011)
Keanu Reeves has embodied popular culture like few other actors, yet he’s retained a level of privacy that has enabled the media to label him “mysterious.” What is a mystery is how Reeves has managed to maintain an element of anonymity in a 24/7 world that denies even minor celebrities their time in the shade.
When I caught up with Reeves for a chat just prior to the U.S. opening of his latest film “Henry’s Crime,” it became clear this is a guy who is all about the work, about applying himself first and foremost to his role, and about ensuring that everyone on set is similarly geared.
By not declaring favorites just as keenly as not revealing others’ secrets — and by being open to all forms of artistic media — Reeves has become one of the most likable (and bankable) stars on the planet. With a box-office cume in the neighborhood of $2 billion, that Reeves gets billed — and sometimes belittled — as one of the “nicest” guys around seems to actually be an injustice to his dedication, application and honest enthusiasm to his work and the meaning of the projects he undertakes.
Reeves was in the Hungarian capital of Budapest when we talked, having just begun rehearsals for Carl Rinsch’s “47 Ronin,” an 18th-century samurai story based on a Japanese legend that co-stars Rinko Kikuchi.
MP: James Caan seems like he’s a constant source of stories. Was he like that while working, a full-time storyteller?
Reeves: Yeah, he’s very gracious. He’s such an alive guy. He loves contact, and he’s generous with himself and his stories. He doesn’t mind speaking about “The Godfather” — [he] speaks about how grateful he was for the role and his experience on the film. I asked him about “Rollerball,” [laughs] and he said, “Crazy movie, huh? Fantastic!”
MP: “The Cherry Orchard” by Anton Chekhov features as a play within this film. I know you did “Hamlet” on stage in Canada, but this reminded me of an interview you did 10 years ago with Charlie Rose, talking about how you’d love to do “Macbeth” onstage and had asked Werner Herzog to direct it.
Reeves: I haven’t reminded Werner yet that he said yes. Yeah, I’d love to do that role, would love to do it. I tried once. I did a reading in London with Roger Michell (“Notting Hill,” “Venus”) to see if we could work it out, but it didn’t work out. Maybe down the road.
I’m not sure, maybe I’m too old for the role, but it is Shakespeare, so you can do it whenever! You’ve reminded me, “Oh no! The spark is alive again!” It was Sacha’s idea for the play to be “The Cherry Orchard,” and then we started getting into the play and seeing the parallels. It was fun to act, to have the players do that, and it was great to be on the boards with 35mm cameras. Geez, I was just psyched to be doing Chekhov with Vera [Farmiga] — that was a good day. Obviously, it’s a translation, but as an actor it’s so open to play the pathos, the comedy and the drama of it, there’s a wonderful openness. It’s like he’s giving you a canvas and saying, “Go color it. Go make it your own. What do you find in it?” It’s fantastic.
MP: Listening to you talk about this, and recalling the way you spoke of “the birth of compassion” when discussing “The Matrix,” that thoughtfulness would suggest the logical next step for you would be directing.
Reeves: Yeah, it’s come up in the last five years. I think also in the process of working on “Henry’s Crime” and being part of the process in doing the script and being part of the collaboration on the physical production certainly added some momentum to that idea of directing. I think it’s just finding the right material to say yes to.
I think it would be thrilling to get that opportunity. You gotta really want to do it. It’s a different time commitment, absolutely. Malcolm and other directors would talk about actors, “You basically come in here and do your thing, and it’s basically five-to-one.” That is, an actor can do five projects to a director’s one, but they also get to do “that,” to see a creation all the way through, and that must have certain rewards and pleasures, and I’m curious to find out.
MP: Speaking of exercising other artistic muscles, James Franco has just worked on an art exhibit with Gus Van Sant using leftover footage from “My Own Private Idaho.” Franco is managing to go back and forth between all sorts of endeavors at the moment. You had music (Dogstar), stage (“Hamlet”) and screen happening at one point. What do you think of his trajectory?
Reeves: Watching what he’s doing from the outside seems great and creative. I’d like to see the work he did with “Idaho.” My own experience with the film is filled with such great memories, and loss, and it’d be special to see my old friends again in a different way.
Check back Friday for part three of Moving Pictures’ interview with Reeves, in which he recites a Shakespeare sonnet. For part one, and for all of Moving Pictures’ coverage of “Henry’s Crime,” visit our “Henry’s Crime” hub page.
Photo courtesy Henry’s Crime LLC
“Henry’s Crime” is distributed by Moving Pictures Film & TV, sister division of MovingPicturesNetwork.com.
http://www.movingpicturesnetwork.com/25289/
Added April 6, 2011
By Elliot V. Kotek
(from Moving Pictures, spring issue, 2011)
Keanu Reeves has embodied popular culture like few other actors, yet he’s retained a level of privacy that has enabled the media to label him “mysterious.” What is a mystery is how Reeves has managed to maintain an element of anonymity in a 24/7 world that denies even minor celebrities their time in the shade.
When I caught up with Reeves for a chat just prior to the U.S. opening of his latest film “Henry’s Crime,” it became clear this is a guy who is all about the work, about applying himself first and foremost to his role, and about ensuring that everyone on set is similarly geared.
By not declaring favorites just as keenly as not revealing others’ secrets — and by being open to all forms of artistic media — Reeves has become one of the most likable (and bankable) stars on the planet. With a box-office cume in the neighborhood of $2 billion, that Reeves gets billed — and sometimes belittled — as one of the “nicest” guys around seems to actually be an injustice to his dedication, application and honest enthusiasm to his work and the meaning of the projects he undertakes.
Reeves was in the Hungarian capital of Budapest when we talked, having just begun rehearsals for Carl Rinsch’s “47 Ronin,” an 18th-century samurai story based on a Japanese legend that co-stars Rinko Kikuchi.
MP: James Caan seems like he’s a constant source of stories. Was he like that while working, a full-time storyteller?
Reeves: Yeah, he’s very gracious. He’s such an alive guy. He loves contact, and he’s generous with himself and his stories. He doesn’t mind speaking about “The Godfather” — [he] speaks about how grateful he was for the role and his experience on the film. I asked him about “Rollerball,” [laughs] and he said, “Crazy movie, huh? Fantastic!”
MP: “The Cherry Orchard” by Anton Chekhov features as a play within this film. I know you did “Hamlet” on stage in Canada, but this reminded me of an interview you did 10 years ago with Charlie Rose, talking about how you’d love to do “Macbeth” onstage and had asked Werner Herzog to direct it.
Reeves: I haven’t reminded Werner yet that he said yes. Yeah, I’d love to do that role, would love to do it. I tried once. I did a reading in London with Roger Michell (“Notting Hill,” “Venus”) to see if we could work it out, but it didn’t work out. Maybe down the road.
I’m not sure, maybe I’m too old for the role, but it is Shakespeare, so you can do it whenever! You’ve reminded me, “Oh no! The spark is alive again!” It was Sacha’s idea for the play to be “The Cherry Orchard,” and then we started getting into the play and seeing the parallels. It was fun to act, to have the players do that, and it was great to be on the boards with 35mm cameras. Geez, I was just psyched to be doing Chekhov with Vera [Farmiga] — that was a good day. Obviously, it’s a translation, but as an actor it’s so open to play the pathos, the comedy and the drama of it, there’s a wonderful openness. It’s like he’s giving you a canvas and saying, “Go color it. Go make it your own. What do you find in it?” It’s fantastic.
MP: Listening to you talk about this, and recalling the way you spoke of “the birth of compassion” when discussing “The Matrix,” that thoughtfulness would suggest the logical next step for you would be directing.
Reeves: Yeah, it’s come up in the last five years. I think also in the process of working on “Henry’s Crime” and being part of the process in doing the script and being part of the collaboration on the physical production certainly added some momentum to that idea of directing. I think it’s just finding the right material to say yes to.
I think it would be thrilling to get that opportunity. You gotta really want to do it. It’s a different time commitment, absolutely. Malcolm and other directors would talk about actors, “You basically come in here and do your thing, and it’s basically five-to-one.” That is, an actor can do five projects to a director’s one, but they also get to do “that,” to see a creation all the way through, and that must have certain rewards and pleasures, and I’m curious to find out.
MP: Speaking of exercising other artistic muscles, James Franco has just worked on an art exhibit with Gus Van Sant using leftover footage from “My Own Private Idaho.” Franco is managing to go back and forth between all sorts of endeavors at the moment. You had music (Dogstar), stage (“Hamlet”) and screen happening at one point. What do you think of his trajectory?
Reeves: Watching what he’s doing from the outside seems great and creative. I’d like to see the work he did with “Idaho.” My own experience with the film is filled with such great memories, and loss, and it’d be special to see my old friends again in a different way.
Check back Friday for part three of Moving Pictures’ interview with Reeves, in which he recites a Shakespeare sonnet. For part one, and for all of Moving Pictures’ coverage of “Henry’s Crime,” visit our “Henry’s Crime” hub page.
Photo courtesy Henry’s Crime LLC
“Henry’s Crime” is distributed by Moving Pictures Film & TV, sister division of MovingPicturesNetwork.com.
http://www.movingpicturesnetwork.com/25289/
Hot Dude Of The Day: Keanu Reeves Is A Total Goth
Hot Dude Of The Day: Keanu Reeves Is A Total Goth
Posted 4/6/11 12:09 pm ET by Chrissy Mahlmeister
But, hey, Keanu, in all seriousness, as much a we love your dark side and everything, Bill And Ted 3 is coming out soon, so you, like, miggghtt want to ease it up a tad. You've got fans out there awaiting this momentous day. We're just looking out for you, man. Be happy. Hang in there. You're hot. Peace.
Keanu Reeves to Direct and Play Villain in MAN OF TAI CHI
Keanu Reeves to Direct and Play Villain in MAN OF TAI CHI
by Matt Goldberg Posted:April 6th, 2011
Keanu Reeves plans to make his directing debut on the kung-fu flick Man of Tai Chi. Reeves also tells MTV that he plans to play the villain in the movie, which would be set in the present day but recall classic kung-fu films. And the film won’t lack for kung-fu fighting:
“There’s 18 fights. We’ve timed it out. It’s about 40 minutes of fighting,” he said. “I want to make a good, solid kung fu movie. Good story, good plot — but let’s get some good kung fu going!”
Hit the jump for more details on the project. Reeves is currently shooting on Carl Rinsch’s 47 Ronin, which is due out in 3D on November 21, 2012 and centers on a group of former samurai avenging the murder of their lord.
Reeves says that Man of Tai Chi is set as a bilingual production:
“We want to do it in Chinese and English, do it as kind of a co-production with CFG perhaps, which is a Chinese film group, kind of a studio. It’s tricky.”
The “tricky” part most likely refers to not only to the international nature of the project, but the notorious Chinese censors who will let Reeves know what he can and can’t put in his movie.
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