Filme
Achterbahn
- Details
- Geschrieben von Klaus Spangenmacher
- Hauptkategorie: Stephen King
- Zugriffe: 30234
Achterbahn
Allgemeine Daten
|
Produktionsjahr |
2004 |
|
Regie |
Mick Garris |
|
Drehbuch |
Mick Garris |
|
Nach einer Novelle von |
Stephen King |
|
Kamera |
Robert C. New |
|
Musik |
Nicholas Pike |
|
Länge |
100 Minuten |
|
Kinostart Deutschland |
2004 |
|
Verleih |
Motion Picture Corporation of America |
| DVD-Verkauf: | DVDBrand |
| Filmhomepage | http://www.ridingthebulletmovie.com |
Darsteller
| Jonathan Jackson | Alan Parker |
|
übrige Besetzung in alphabetischer Reihenfolge
|
|
| David Arquette | George Staub |
| Adam Battrick | Allan Parker #2 |
| Erika Christensen | Jessica |
| Matt Frewer | Mr. Clarkson |
| Chris Gauthier | Hector Passmore |
| Barbara Hershey | Jean Parker |
| Nicky Katt | Ferris |
| Barry W. Levy | Julian Parker |
| Robin Nielsen | Archie Howard |
| Cliff Robertson | Farmer |
Secret Window, Das Geheime Fenster
- Details
- Geschrieben von Klaus Spangenmacher
- Hauptkategorie: Stephen King
- Zugriffe: 24583
Secret Window
Das Geheime Fenster
Allgemeine Daten
|
Produktionsjahr |
2003/04 |
|
Regie |
David Koepp |
|
Drehbuch |
David Koepp |
|
Nach einer Novelle von |
Stephen King |
|
Kamera |
Fred Murphy |
|
Musik |
Philip Glas |
|
Länge |
115 Minuten |
|
Kinostart Deutschland |
29. April 2004 |
|
Verleih |
Buena Vista International |
Darsteller
|
Johnny Depp |
Mort Rainey |
|
John Turturro |
John Shooter |
|
TimothynHutton |
Richard Jutras |
|
Maria Bello |
Amy Dowd Rainey |
| Inhalt: | |
| Der Schriftsteller Mort Rainey steckt in einer tiefen Lebens- und Schaffenskrise. Seine Frau hat ihn verlassen, seitdem ist er unfähig zu arbeiten. Da taucht eines Tages ein undurchsichtiger Fremder auf, der Rainey verdächtigt, er habe eine Geschichte von ihm gestohlen und unter seinem Namen veröffentlicht. Rainey nimmt ihn zuerst nicht ernst, aber nachdem sein Hund verstümmelt wird, und das Haus seiner Exfrau abbrennt, entwickelt sich der Fremde zu einer tödlichen Bedrohung. Doch das wirklich Gespenstische ist, keiner ausser Rainey hat den Fremden je zu Gesicht bekommen. | |
Das Tagebuch der Ellen Rimbauer
- Details
- Geschrieben von Klaus Spangenmacher
- Hauptkategorie: Stephen King
- Zugriffe: 26907
Das Tagebuch der
Ellen Rimbauer
| Produktionsjahr: | 2003 |
| Regie: | Craig Baxley |
| Länge: | 88 min. |
| Drehbuch: | Ridley Pearson |
| Produzent: | Thomas Brodek Stephen King Mark Carliner |
| Darsteller: | |
| Lisa Brenner | Ellen Rimbauer |
| Steven Brand | ihr Mann |
| Kate Burton | |
| Connie Posey | |
| Brad Greenquist | |
| Ridley Pearson | Butler |
|
This Part is Copyright by Ridley Pearson
Monday I've been loaned an office at our production facility in a warehouse in an industrial park. I go to work, digging into the script and write for nearly 8 hours. There are about 8 to 10 people here in production, and I feel for the first time that we're actually making a movie. To see all that goes into this, I can't help but get this feeling of anticipation. I has begun. Exhausted, I get back to our funky motel about 10PM. I rise at 4:30 and work on The Body Of David Hayes, then breakfast, then off to production. Wednesday The executive producer has asked for changes to the newest script, and I go to work again. It takes me about 5 hours to get it right. It goes off to Stephen King and ABC and I cross my fingers....
The director, Craig Baxley arrives. We have some edit meetings about the script, and then about 10 of us go out to a full location scout. Again, as I listen the heads of all the departments discussing the scenes I wrote (I'm a fly on the wall here) I realize this film is coming alive, and it's true excitement I feel. There are discussions of horse-and-carriage arrivals, period cars, closing streets, lighting the bedroom for day even though it will be night by the time we shoot it. Everyone here is an experienced veteran, each of them committed to making their part of this as perfect as possible. We're up to a staff of about 25 now, and the production office is humming with activity. All the phone lines are busy most of the time; I can't get a line out to go on-line. There's a frantic pace as we're now only 6 business days from principle photography. (because of Christmas) Not only are we making a movie, but we're making it SOON.
Network notes come in from ABC. They don't like what I've done to the script. In nearly 6 months of working with ABC this is the first time they've reacted negatively. The director and I have a meeting and decide I should wait through the weekend before making changes. It's not an easy wait for me. I want to fix it and fix it now. We're down to 5 days before film is rolling. We have no one cast as Ellen or John, we have a script that's broken; our executive producer is not here yet. A long, long wait. Monday More discussion with the network. We've scheduled a conf. call for 3:30 that never happens because of a traffic mess that keeps Tom and I from reaching Seattle in time. I sit-in on a casting call back, watching actor after actor read for these parts. They are reading my lines from the script. The story is coming alive for me. Hearing the actors, read even briefly is educational and thrilling. Tuesday D-Day. The conf. call.
The first three days of the shoot are filled with anxiety and expectation. This is a seasoned crew, they've worked together before and they work well. The challenge is the cold, damp weather and the fact that these first days are to be exterior shots, meaning that sixty of us will be standing outside in the cold for 13 hours a day. It's a bone penetrating cold, the kind you can't escape, and there's nowhere to run to. Our base camp – with a few warm trailers – is a 4 minute van ride from Thornewood Castle, or Rose Red, as it's known in the film. So you don't go running off, or you'll miss something. The Director works his magic, and we start by shooting outdoor scenes near the end of the movie. These are incredibly important scenes for me, as the writer, and I stand back and watch as the Director, whose film this is, takes my words and interprets them, making the scenes his. It is both slightly painful and yet exciting, as I settle in to what my role here is – I'm here to revise the script, talk to the actors, if they ask, and generally sit back and watch this film get made. A control freak by nature, it's not an easy adjustment at first, but I respect the role, and that it is the Director's film, not mine, and so I become an observer/participant.
WEEK 1 Our first full week begins inside Thornewood Castle. We're away from the 3 days of exterior shots, where there wasn't much dramatic happening, and now we're into performances. Our lead actors, Lisa Brennen and Steven Brand, start to show us their stuff, and we're blown away at the cast we have. They are sensational! We're shooting by location, not the script's chronology – how all movies are shot – so the actors jump from a scene in the middle, to one at the end, to one at the start, all in the same day. They change costumes, they change make-up – sixty people run around setting lights, moving camera dollys, blocking shots, everyone with a specific job, and bits and pieces of the movie begin to unfold.
One problem: we've slipped well behind schedule in this first week, and there's an unspoken tension hanging in the air – we have to shoot faster, or we're in deep (financial) trouble. There are calls back and forth to ABC. The Director promises things will pick up when some of the camera crew is reshuffled. But no one is sure it will pick up, and if it doesn't, we're cooked. (being a period piece (1910) makes it a much more complicated and costly film to shoot).
By the middle of the week, the Director delivers as promised. We're back on schedule. There's relief in the air. Some tensions build on the set as the actors "find their roles." It's unsettling at first, but everyone's okay. The more the actors know themselves (in their parts) the more they naturally dislike each other, because Ellen and John and others dislike each other. They laugh together when off the set – which just goes to show how professional they are. I'm amazed at how "in character" they are when on the set. What an experience for me! This is the education of a lifetime. WEEK 2 There's a momentum now. I sense the crew knows we've got a good movie if we just keep putting in the 13 hour days and work our butts off. More revisions. More long nights. But the team has found its rhythm as we leave Ellen's Bedroom and enter The Parlor. These are long, dramatic scenes we're shooting, and the actors must perform the same lines, the same expressions, over and over and over. They've found their strides – they are doing INCREDIBLE jobs. Lisa Brennen and Steven Brand just get better and better every day. There were whispers among the crew – we've got a chance here to make a really good movie – and there's excitement building. The frustration of the first 8 days of shooting give way to a rhythm and teamwork, that is so fantastic to witness. It's WORKING. The movie is coming alive.
The Parlor work goes very, very well. Some exciting scenes. Once or twice the Director goes "off script" and "invents" the scene, keeping the dialogue, but changing the "blocking" - the choreography - of the scene. As the writer, I'm frustrated to see this ad libbing, but it's his film now, not mine, and he's the one who understands how to put the script into a visual content, and so I keep my mouth shut, and watch him work. The scene where Sukeena is dragged off to Jail is jangled and nervous and extremely interesting. I think it will play very well. The Director blocks what was to be a hallway scene into a confused coming and going of characters. I'm upset at this, but I understand his intention and in the end, he may have been right to shoot it this way. Until it's edited we won't know, but he spends a GREAT deal of time on the scene, that didn't need more than a few hours. It's this expenditure of shooting time that is now wearing on the producers and the AD and others. We spend much too much time on some smaller scenes, and time is money, and there's still an undercurrent of concern that the film won't wrap in time. Tempers never flare, but there's a sense here that heads will roll if we keep missing our scheduled shoot. Many scenes are now incomplete, and when we'll make up the shots is anybody's guess, and the AD's job to figure out. How Craig West (AD) holds together is beyond me. He's putting in Herculean hours (as is the director and actress Lisa Brenner) and somehow managing to stay human. I never had any idea how taxing this work was.
WEEK 3 This was to be our "location" week, but we're behind schedule, and so we stay at Thornewood Castle an extra day (at great expense) to finish what needs to be finished. It's our last look at Thornewood, and we have two camera crews working all day, and the Director bouncing back and forth between the two. As hectic a day as he'll have. He catches my eye once during this day and says, "I love this job," and he means it. He's able to stay incredibly calm through all the chaos. He pulls off a huge day of two crew shooting, and we end the day... behind. We'll have to pick up the rest on stage late next week.
It's raining and the producers tell the director that we're to shoot outside because the weather is predicted to only get worse. We have a massive scene outside, with carriages, extras, vintage cars, full costumes, and ALL in the pouring rain. And very chilly temperatures. Miserable. Everyone, and I want to stress this - EVERYONE - maintains a great attitude throughout this misery. Not a word of complaint is heard. Rain, rain, rain. Horses that "overheat." Cars that melt down. Lens are wet. Microphones get wet and fail. Never a word of complaint. And surprise, the real rain gives the film a look we could never buy. The shots look INCREDIBLE and promise to be some of the most beautiful of the film. I rewrite some dialogue on the spot to account for the lousy weather. This is a day that proves film work is indeed "fluid." Location day 2: Ellen's Mansion We're inside for tea party, some stairs work, and the movie's opening scene (17 days into the shoot we film the first scene !) It goes long, but goes smoothly, given the tight quarters and the Director's endless requirement of "coverage." He shoots medium close ups, close ups and extreme close ups. Some great footage shot today. Location day 3: I've got the flu as we move back outdoors to film a Chinatown scene, again in the cold rain. This is Craig Sterns and Craig Baxley at their best. They take a two sentence scene from the script and turn it into a 6 hour shoot with 40 extras, five cars, two teams of horses, train tracks.... as atmospheric as it gets. Look for this shot in the film. It's only about 20 seconds long, but took over a half day to shoot. It's INCREDIBLE. You feel as if you're right there, in 1911 Seattle. Amazing.
2nd half location day 3: This Part is Copyright by Ridley Pearson |
Diary of the Diary
Dreamcatcher
- Details
- Geschrieben von Klaus Spangenmacher
- Hauptkategorie: Stephen King
- Zugriffe: 34163
Dreamcatcher
Quelle: Dirk Jasper Filmlexikon
| Produktionsjahr: | 2002 |
| Regie: | Lawrence Kasdan |
| Länge: | 134 min. |
| Drehbuch: | William Goldman |
| Darsteller: | |
| Morgan Freeman | Colonel Abraham Curtis |
| Thomas Jane | Dr. Henry Devlin |
| Jason Lee | Joe 'Beaver' Clarendon |
| Damian Lewis | Gary 'Jonesy' Jones |
| Timothy Olyphant | Pete Moore |
| Tom Sizemore | Captain Owen Underhill |
| Donnie Wahlberg | Douglas 'Duddits' Cavell |
| Filmmusik: | James Newton Howard |
| Kamera: | John Seale |
| Spezialeffekte: | Stefen Fangmeier (Leitung visuelle Effekte) Crash McCreery (Monster-Design) |
| Ausstattung: | Jon Hutman |
| Schnitt: | Carol Littleton Raul Davalos |
| Kostüme: | Molly Maginnis |
| Make Up: | William Corso |
|
Inhalt: Jonesy, Henry, Pete und Beaver. Vor 20 Jahren waren sie Kinder in einer Kleinstadt in Maine - Kinder, die den Mut aufbrachten, heldenhaft auf kindliche Brutalität zu reagieren. Indem sie einen merkwürdigen Jungen namens Duddits retteten, gewannen sie unerwartet ein fünftes Mitglied für ihren Freundeskreis. Noch seltsamer ist die Macht, die er ihnen verleiht - sie schmiedet die Gruppe in einer Weise zusammen, die weit über übliche Freundschaftsbande hinausgeht. Heute führen die vier Männer getrennte Leben, haben unterschiedliche Probleme. Doch alle denken sie oft an die Heldentat von damals zurück. Und sie leiden eher unter ihren außergewöhnlichen Fähigkeiten - ein Segen sind sie nicht. Dann kommt einer von ihnen bei einem schrecklichen Unfall fast ums Leben - zunächst begreifen die Freunde gar nicht, dass jenes Unheil zurückkehrt, das irgendwie mit Duddits zu tun hat. Dann treffen sie sich wie jedes Jahr in einer Jagdhütte - wollen ihren Spaß haben, wie das unter Freunden üblich ist. Doch das Schicksal will es anders: Zunächst erscheint ein Fremder, ein verirrter Jäger - er ahnt selbst nicht, welcher fürchterlichen Ansteckungsgefahr er die Gefährten aussetzt. Dann bricht ein schwerer Schneesturm los, in dem etwas Grauenhaftes auf sie zukommt - eine tödliche außerirdische Macht, der einige der vier Freunde zum Opfer fallen. Die Überlebenden müssen noch einmal ihre lang verdrängten Kräfte mobilisieren, um dem beispiellosen Horror die Stirn zu bieten. |
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Dreamcatcher - Die DVD
Alle Bilder © 2003 by Warner Home Video
verwendet mit deren ausdrücklicher Genehmigung
jegliche andere Verwendung ist untersagt
Hearts in Atlantis
- Details
- Geschrieben von Klaus Spangenmacher
- Hauptkategorie: Stephen King
- Zugriffe: 35930
Hearts in Atlantis
 |
GENRE: Drama DARSTELLER: Anthony Hopkins, Anton Yelchin, Hope Davis, David Morse, u.a. REGIE: Scott Hicks, USA 2001 FILMLÄNGE: 101 Minuten |
INHALT:
"Wenn man jung ist, erlebt man manchmal derartige Glücksmomente: Man hat das Gefühl, in einem Zauberreich zu leben - so wie Atlantis eins gewesen sein muss --aber dann wird man erwachsen und das Herz bricht einem entzwei." Ted Brautigan Der Fotograf Bobby Garfield wird plötzlich und unerbittlich an seine Jugend erinnert, als er vom Tod seines einstigen Sandkastenfreundes erfährt. Bobby kehrt in die Stadt seiner Kindheit zurück - und in Gedanken erlebt er die Vergangenheit noch einmal: jenen Sommer 1960, als er elf Jahre alt war. Damals sind Carol und Sully seine besten Freunde. Bobby wohnt mit seiner Mutter Liz in einer Pension. Liz ist allerdings vollauf mit sich selbst beschäftigt. In das obere Apartment der Pension zieht in diesem Sommer ein neuer Mieter namens Ted Brautigan. Von der verbitterten Mutter erfährt Bobby wenig über seinen vor langer Zeit gestorbenen Vater, doch Ted füllt diese Lücke. Er kann zuhören, erweist sich als väterlicher Freund und eröffnet dem Jungen eine unbekannte, größere Welt. Aber auch Ted muss mit einer schweren Vergangenheit fertig werden --was Bobby verwirrt und beunruhigt. Eines Tages schlägt Ted dem Jungen vor, für ihn zu arbeiten.Dabei geht es durchaus nicht nur darum, die Zeitung vorzulesen, damit der alte Mann seine Augen schonen kann --Ted braucht Bobbys Hilfe um sich vor jenen Mächten zu verbergen, die ihn verfolgen. Als sich der letzte Sommer in Bobbys Kindheit dem Ende zuneigt, sieht der Junge mit Teds Hilfe seinen Vater in einem ganz neuen Licht, er bekommt eine Ahnung von den Chancen, die ihm das Leben und die Liebe bieten. Doch dann überschlagen sich die Ereignisse: Teds Verfolger spüren ihn auf. Bobby sieht sich plötzlich gezwungen, tief aus seinem Inneren Kräfte zu mobilisieren, die er sich nie zugetraut hätte: Er lernt, Mut zu beweisen und Unrecht zu verzeihen. Und der erwachsene Bobby, der die Stätten seiner Kindheit besucht und an den Sommer vor vielen Jahren zurückdenkt, erhält durch eine unverhoffte Begegnung die Gelegenheit, seine Reise in die Zeit zum Abschluss zu bringen.
