Footage of Clint Eastwood's ‘Juror #2' Has “Thrilled" Warner Bros
"if the film is ultimately embraced, that will offer a fitting plot twist considering several studios passed on the low-risk, low-budget film. Even at 93, Eastwood should never be counted out. "
A few months back, THR had reported that Eastwood “wanted to find one last project in order to be able to ride off into the sunset with his head held high.” He found the script for “Juror No. 2” and said this is “the one”. This will probably be the narrative used by Warner Bros. during awards season: “Clint’s final film”.
“Juror No. 2” stars Toni Collette, Nicholas Hoult, Kiefer Sutherland, J.K. Simmons, Zoey Deutch and Chris Messina. The film is “set during a murder trial where one of the jurors slowly realizes he might have killed the victim in a reckless-driving accident and tries to save the defendant without incriminating himself.”
The latest update on the film is that it just wrapped post-production and is ready to go.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
¿Y de este otro gran acontecimiento se sabe algo de su estreno? No han publicado trailer que yo sepa, no?
Pues sorpresa sorpresa, parece ser que el film se estrenará en cines el próximo 1 de Noviembre en Reino Unido e Irlanda, lo que casi con toda probabilidad significa que el resto del mundo también la disfrutaremos este mismo año.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
El AFI Fest, que se celebra en los Angeles, anuncia el estreno mundial de la peli,
Sera la peli de clausura, el 27 de octubre
y de paso Warner anuncia su estreno en cines, el dia 1 de noviembre
World Premiere Of Clint Eastwood’s ‘Juror #2’ To Close AFI Fest
Última edición por Brando; 12/09/2024 a las 22:53
No huele muy bien la cosa.
Banda Sonora a cargo de Mark Mancina
el compositor de "Speed" ya trabajó con Eastwood en Cry Macho
Última edición por Brando; 01/10/2024 a las 19:29
Duplicado.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Parece ser que Clint Eastwood no tiene intención de retirarse, y que ya está ojeando guiones para su siguiente proyecto como director .
No nos merecemos a este hombre.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
La premisa da para telefilme ñoñas o para un buen thriller sobre temas morales y legales, estilo Poder absoluto.
Lo que sí está claro es que el trailer es estupendo, hacía tiempo que no veía uno que sugiririera lo justo y enganchara, todo ello sin canciones horteras ni golpes sonoros ni destriparte las mejores escenas de la peli.
Vaya tela.
Qué vergüenza...
Empire City is sounding the alarm on the way Warner Bros is treating Clint Eastwood’s “Juror #2.” The, supposedly, “final” film of Eastwood’s career will be hitting less than 50 theaters with no marketing support on November 1, and no planned expansion rollout.
Last month, Warner Bros had practically given away the trailer to PEOPLE Magazine in an “exclusive.” It couldn’t be found anywhere else online. It took hours before it finally showed up on YouTube.
Is Warners’ confidence that low on this film? “Juror #2’ had one of the best received trailers this fall. Dumping its trailer a month before release was already a red flag. I’ve spoken to a person who saw the film on the WB lot and they thought it was very strong.
Eastwood has been making movies with Warner Bros. for over 50 years. It’s been one of the most trustworthy and lasting director/studio friendships in the industry. Sadly, I don’t think Warners CEO David Zaslav gives a damn.
A leaked conference call had Zaslav complaining about Eastwood’s box-office flop “Cry Macho.” After executives told Zaslav that they had doubted the movie would turn a profit, Zaslav asked “then why did you make it if you had reservations?” When they replied that Eastwood had given the studio many hits and never delivered a movie late or over budget, he answered: “We don’t owe anyone any favors.”
Warners’ attitude towards Eastwood veers on the repugnant. That's not a way to talk about a man who brought your studio a ton of prestige over the last 50 years, with critically acclaimed and award-winning movies, not to mention a handful of more recent blockbusters (“American Sniper,” “The Mule,” “Gran Torino”).
For the time being, “Juror #2” is supposed to have its world premiere at AFI Fest on October 27. It releases in 50 theaters a few days later, on November 1.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
A mí me sorprende que le hayan producido esta si tienen esa visión del negocio.
Lamentable tratar a una leyenda de esa manera.
Pues solo la estrenaran en 50 cines en USA sin proyeccion de saber si va a ser nacional.
Y la pelicula llega a nuestro pais el jueves 31 de Octubre, un dia antes.
Vergüenza total.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Nauseabundo.
“We don’t owe anyone any favors.”
Favores no, hatajo de impresentables. Disculpas es lo que debéis, y a más de uno, cabrones. Os merecéis todo lo malo que os pase.
RIP, Sir Pratchett.
«¿Me permites una crítica constructiva a la mierda esa que has hecho?»
«En la primera reunión con él sobre el futuro de Star Wars, George se sintió traicionado» B. Iger.
«El mal no puede crear nada nuevo, sólo corromper o arruinar lo que las fuerzas del bien han inventado o construido». J.R.R. Tolkien.
«DEI kills ART. It´s ineffective and actually appears to increase prejudice, not reduce it».
«Put a chick in it and make her gay and lame». Cartman as K.K.
No me lo puedo creer. Los impresentables de WB socavando una vez más a este estudio. Una leyenda como Eastwood debe de tener un mayor respeto y reconocimiento en sus últimos años de carrera. No estará en su mejor momento porque la edad pasa factura, y no son pocos años los que tiene que digamos. Pero coño!! ¿Que el estudio no le debe nada a este director? ……..se lo deben todo!!.
Lamentable el trato que está recibiendo. Yo los mandaba a mierda a la de tres.
- Proyector EPSON EH-TW9300
- Receptor ARCAM AVR390
- Reproductor UHD PANASONIC DMP-UB9000
- Reproductor BD PANASONIC DMP-BDT700
- Altavoces delanteros MISSION 772
- Altavoces traseros MISSION 77DS
- Altavoz central EMOTIVA AIRMOTIV C1
- Subwoofer EMOTIVA BASX S8
- Altavoces Atmos SVS Prime Elevation
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
- Proyector EPSON EH-TW9300
- Receptor ARCAM AVR390
- Reproductor UHD PANASONIC DMP-UB9000
- Reproductor BD PANASONIC DMP-BDT700
- Altavoces delanteros MISSION 772
- Altavoces traseros MISSION 77DS
- Altavoz central EMOTIVA AIRMOTIV C1
- Subwoofer EMOTIVA BASX S8
- Altavoces Atmos SVS Prime Elevation
Cry Macho terminó con 10M en Norteamérica estrenándose en casi 4000 cines.
Si no hay interés el número de cines es muy relativo.
En todo caso si la película es buena y hace una buena media por cine me extrañaría mucho que no se ampliase su estreno.
“We don’t owe anyone any favors.”
A gentes como Clint Eastwood, que son la esencia del negocio que parasitáis, debéis todo: desde la crema para las almorranas hasta los casoplones, juergas, planes de pensiones, golf, deportivos, amantes e implantes. Todo.