Author Topic: Ridley Scott's Prometheus: June 8, 2012  (Read 16352 times)

Offline Aloysius J. Gleek

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Ridley Scott's Prometheus: June 8, 2012
« on: February 06, 2012, 01:13:23 pm »









[youtube=425,350]http://www.youtube.com/watch?v=XIPlqEcfyhg[/youtube]


[youtube=425,350]http://www.youtube.com/watch?v=SrF7JNLWyIw&feature=related[/youtube]





N o o m i   R a p a c e

M i c h a e l   F a s s b e n d e r

G u y   P e a r c e

L o g a n   M a r s h a l l - G r e e n

C h a r l i z e   T h e r o n    



J U N E   8   2 0 1 2



"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #1 on: February 06, 2012, 01:20:10 pm »



.
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline ifyoucantfixit

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #2 on: February 06, 2012, 02:24:53 pm »
   Ridley Scott is truly one of our best movie directors.  He has made several very notable films.

  He has been nominated for 3 Academy Awards.  He was the director of the 1984 Superbowl commercial, launching the Apple MacIntosh.
He was the Director of

Alien---------------------------------------1979
Blade Runner------------------------------1982
Dune (a series of films)------------------1984
The Gladiator, ----------------------------2000
Blackhawk Down--------------------------2001
Kingdom of Heaven-----------------------2005
American Gangster------------------------2007
  In addition to being producer, or other participant in many other notable films.
such as

G.I. Jane,
The Andromeda Strain (tv miniseries)

along with many others, too numerous to mention...
  I look forward to seeing this.
Of course since I am more or less his age, I remember he was the young male lead on a soap Opera.  Before he got into directing.



     Beautiful mind

Offline delalluvia

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #3 on: February 06, 2012, 08:04:46 pm »
A year or so ago, I read somewhere that there was supposed to be some sort of male rape scene in this...or alien/male rape scene.

Is that true or was that some sort of bizarre urban legend?

Offline ifyoucantfixit

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #4 on: February 06, 2012, 08:32:04 pm »
A year or so ago, I read somewhere that there was supposed to be some sort of male rape scene in this...or alien/male rape scene.

Is that true or was that some sort of bizarre urban legend?

  I am really not sure.  It may or may not be so.  I haven't heard anything about that.



     Beautiful mind

Offline Aloysius J. Gleek

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #5 on: April 23, 2012, 02:03:46 pm »



[youtube=425,350]http://www.youtube.com/watch?v=a9jRaa4Wkbk&feature[/youtube]
Published on Mar 18, 2012 by PrometheusMovieUK



"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #6 on: April 23, 2012, 02:04:27 pm »
http://www.kurzweilai.net/introducing-david-8?utm_source=KurzweilAI+Daily+Newsletter&utm_campaign=08623e59f3-UA-946742-1&utm_medium=email




Introducing David 8
April 23, 2012

[youtube=425,350]http://www.youtube.com/watch?v=qgJs7uluwlU&feature[/youtube]
Published on Apr 18, 2012 by Prometheus6812


Introducing David 8 is a promotional video for the Prometheus movie. See also Project Prometheus and the website of the fictional corporation Weyland Industries.

He has been reimagined, reengineered and brought to life with better technological, intellectual, physical and emotional performance than ever before. Welcome to the eighth generation of cybernetic advancement. Brought to you by Weyland Industries.

With his new 99% emotional sensitivity level, David 8 can enter seamlessly into any environment and carry out an authentic human interaction. David 8 can understand and respond appropriately to even the most intricate emotional cues or subtly stated verbal commands. David 8 has valuable skills in manufacturing, finance, earth sciences and medicine, and he can become instantly competent in almost any other field.


He is polished, practiced, and efficient, by far the most advanced and human-like cybernetic individual on the market today.

David 8 is guaranteed to surprise you. He is extremely versatile, endlessly useful and his database of unique functionality is limitless. Unlike human counterparts, David 8 is willing to perform any task that he is assigned, without question or resistance. He will not flinch at even the most disturbing or seemingly irregular assignment, and he will dutifully persevere until reaching his final objective.

Discover, explore and Build Better Worlds with the new David 8.

Source: Weyland Industries.

Related:
Introducing David 8

"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Sophia

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #7 on: April 23, 2012, 04:03:49 pm »
I have never a really been a big fan of Ridley Scott movies. For me they are a symbol of to much action and visible effects and hardly any story.  And I am
sure Prometheus are not an exception.

Offline Aloysius J. Gleek

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #8 on: May 16, 2012, 04:30:24 pm »
http://www.hollywoodreporter.com/news/ridley-scott-prometheus-alien-324981









Return of the 'Alien' Mind
One of Hollywood’s greatest (and most elusive) directors, Ridley Scott
breaks his silence on his complex 3d space odyssey "Prometheus,"
revealing never-seen footage — and a rarely seen candor


by Stephen Galloway
9:00 AM PDT 5/16/2012

  

Ridley Scott



(This story first appeared in the May 25 issue of The Hollywood Reporter magazine.)



In July 2010, Lost  co-creator Damon Lindelof was summoned to a private meeting with Ridley Scott to discuss a top-secret project the director had been developing for the past two years. Lindelof had never met Scott, but the filmmaker called out of the blue asking him to read a screenplay hand-delivered to his home in Studio City. The script had no cover and no title, yet it was precisely the one Lindelof -- a sci-fi geek with A-list television credentials -- was hoping for: the much-rumored, massively pursued manuscript known variously as The Alien Prequel, Alien Origins, Alien Engineers  and Alien Zero.
 
Now Lindelof was ushered by the director to a building adjacent to Scott's sleek Los Angeles offices. "Ridley walked me up a stairwell, and there was a great big metallic vault door," recalls Lindelof. "It was a foot thick with some kind of locking apparatus and he opened it carefully." Inside was a beehive of activity: "He introduced me to production designer Arthur Max and four 20-year-olds sitting at computers, designing stuff."
 
That "stuff" was the future as seen through Scott's eyes, his vision for a world set in the years 2089 to 2091, which would return him to themes that had swirled through his mind since Alien  more than three decades earlier. It was the incubator for the movie now known as Prometheus.
 
"All around the walls was conceptual artwork -- for the planet and the ship, as well as 'the creature,' " remembers Lindelof. "I got to step behind the curtain."
 

♦♦♦♦♦

 
The curtain will be lifted June 8, when 20th Century Fox releases Prometheus  domestically. Four years in the making, with a budget of $120 million to $130 million covering 1,300 CGI shots and an 87-day shoot that took its crew from London to Iceland to Jordan's Wadi Rum desert, the picture (named for the mythological Titan who stole fire from the gods) is one of the most anticipated in years.
 
For Fox, which co-financed with Dune Capital Management and Ingenious Media, the R-rated movie is crucial to revitalize a now-extinct franchise and replicate the success of the $8.4 million Alien ; that seminal film not only earned $81 million at the domestic box office -- a huge sum at the time -- but also led to three sequels and two prequels, culminating in 2007's desultory Alien vs. Predator: Requiem.
 
For Scott, a revered helmer who was knighted by Queen Elizabeth II in 2003, it would add to a significant body of work that includes Blade Runner  and Thelma & Louise  -- and give him his first mega-blockbuster since 2000's Gladiator.  It would also allow him to maintain the roughly $10 million fee sources say he earns for big-budget projects like Prometheus. (He cuts his salary for passion projects, including his next film, The Counselor,  which will bring him $4 million to $5 million.)

Scott's new movie has gone from being a prequel to a self-contained story starring Charlize Theron, Michael Fassbender and The Girl With the Dragon Tattoo 's Noomi Rapace. It only makes passing reference to its 1979 inspiration and pays heavy tribute to author Erich von Daniken's ideas in his 1968 book Chariots of the Gods?  -- which argued that we are not alone and another sentient entity may have spawned us.
 
The movie has been under wraps for years: Fox would not even confirm it was related to Alien and refused to show more than a trailer to any significant number of viewers until mid-April. But on a gray April 3 in London, under relentless rain, I approach the squat Abbey Road Studios -- home of Sir Edward Elgar and The Beatles -- where Scott has promised to unveil long portions of the film for the first time.
 
A security guard checks my ID; a receptionist scrutinizes me. I follow an assistant into a small mixing room -- and there is Scott, 74, redheaded with a small goatee. He hunches his compact body like a pugilist, scans me for danger and then suddenly, with disarming gentleness, pulls up a chair for me and points to a TV-sized monitor dangling from the ceiling.
 
Even on this tiny screen, the images are breathtaking.
 
A spaceship travels comet-like across the universe, traversing planets and stars in a desaturated world. Next we see a barren landscape with traces of water, then a hooded figure standing by a magnificent waterfall, staring out at a spaceship that hovers above it.

A third sequence shows a cave-exploring couple, Rapace and Logan Marshall-Green (Devil ). Their flashlights illuminate primitive drawings; in one, a human figure points toward spherical objects in space, leading Rapace to observe, "I think they want us to come and find them."
 
Then, in a scene likely to be memorable, the severed head of an android speaks as it lies on the floor. It's the moment most reminiscent of Alien  and Ian Holm's decapitated robot.
 
A sequence with a ship hurtling on a collision course with another ensues. Finally, there is a riveting moment in a cavernous corridor when Rapace and her colleagues encounter giant humanoids -- made of shimmering lines that resemble X-rays -- who race toward them and pass straight through, as nebulous as neutrinos.
 
Scott gazes at this, mesmerized by the sheer beauty of it all, just as he must have been in his teens when he first contemplated life as an artist.
 

♦♦♦♦♦

 
Prometheus  dawned when Scott told Fox Filmed Entertainment co-chairman Tom Rothman that he wished to revisit the territory that had been under his skin since he was bypassed for 1986's Aliens,  the sequel that propelled James Cameron's career. "I was really pissed off, frankly," he says about the old wound.

That oversight, after his success with Alien,  taught him to read a contract "like a lawyer" -- which subsequently allowed him to amass a fortune, with homes in Los Angeles, London and the south of France, a production company behind movies such as Body of Lies  and American Gangster  and TV series including Numbers and The Good Wife  and commercials that account for more than $100 million in annual billings.
 
Making Prometheus,  however, meant persuading Fox to pay millions for research as Scott hired scientists and conceptual artists to probe what a future eight decades from now might resemble.
 
In late 2008, the studio hired Jon Spaihts to script the film after the neophyte had drawn acclaim for another screenplay, Shadow 19,  set in a future where two remaining superpowers fight for remaining resources.
 
"I would go and write my draft, and then Ridley and I would sit for weeks, wrestling the story into shape," Spaihts says. Scott frequently dug up pictures that captured his imagination. "He has a fascination with the uglier forms of parasitism, dark examples of anatomy from subterranean creatures with staring eyes and jaws."
 
After two years and five drafts, Scott started to rethink the project. It was then that he contacted Lindelof, who, in a lengthy e-mail, argued against making the film a direct predecessor to Alien : "I don't like the word 'prequel' because it communicates to an audience that they already know the ending."
 
Now he in turn spent three to four hours a day with Scott. Initially, Rapace's character was called Elizabeth Watts (she became Elizabeth Shaw to avoid confusion with Fox executive Emma Watts). And in the Spaihts draft, Lindelof notes, the ship was the Magellan. They considered the names Paradise and Icarus before opting for Prometheus.
 
The new ship is quite different from Alien 's, with its tall, refinery-like towers that Scott says he sketched rapidly, thinking of a floating tug. By contrast, the Prometheus is massive and resembles a Hawker Hunter jump jet, which is "pretty interesting in the way the engines tilt and fold," the director observes. As to the film's creature, it takes on at least four different forms as it grows and changes, sometimes "organically" in a way that Rapace calls "every woman's worst nightmare."
 
Scott began casting in late 2010. Rapace was at L.A.'s Chateau Marmont when she received the screenplay. "It took my breath away," she says. "I felt I was holding a diamond for 1 ½ hours."
 
Fassbender had impressed Scott in Hunger  (2008), after which they'd had tea. Now the director asked him to play the android David. "Ridley told me: 'This guy is a sort of butler. Have you seen The Servant ?' " Fassbender recalls, referring to the 1963 drama starring Dirk Bogarde as a malevolent valet. "He just gives you flavors, a hint of something, and lets you go away and work with that."
 
At Theron's suggestion, Lindelof and Scott refined the actress' role as the villainous Weyland Industries representative Meredith Vickers. "Vickers had a specific corporate agenda, which is very familiar in the Alien  movies: someone representing the interests of the company," Lindelof explains. "But Charlize said, 'Can there be more to her?' And then we wrote three scenes just in service of that character."

With Peter Jackson's WETA Digital handling effects, shooting in 3D got under way March 21, 2011, at England's Pinewood Studios. Scott opted for his characteristic use of multiple cameras (usually four), though for the first time he filmed with the Red digital camera. "I loved it," he says.
 
Rapace, arriving at Pinewood before the rest of the cast, was stunned to discover a huge set had been built for the ship and the giant caverns leading to cathedral-like rooms on another planet when she'd been expecting greenscreen: "I felt we had a whole village, that we took over Pinewood." She became a "guinea pig" for costume designer Janty Yates, testing various spacesuits that would allow the actors to run and fight. "They were quite heavy," the actress adds. "I was dripping sweat."
 
In one storm sequence shot outdoors at Pinewood, she got hurt. "I was hanging in a harness and thrown around. There were so many cuts and bruises, I don't even remember them. When I finished, my knees were filled with liquid, and I had some nasty thing hanging from my elbow."
 
After months in the studio, the Arab Spring forced a shift from Morocco to Iceland. There, Scott filmed at the Dettifoss waterfall and near the live Hekla volcano -- where an earthquake erupted as the crew was right beside it. Having grown up in Iceland, Rapace wasn't scared. Nothing fazed her until the movie wrapped July 22, 2011, and she discovered that a mass murderer had gone on a shooting spree in Oslo. Until then, "I felt I was on this spaceship with Ridley."

 
♦♦♦♦♦


Scott once joked that he was similar to his frequent collaborator Russell Crowe: "He's angry all the time, and I'm angry all the time. We don't mean to be irritable, but we don't suffer fools gladly."
 
None of that is evident at Abbey Road, where there is an ease to the half-dozen technicians around him as they record some 40 choristers' unearthly sounds. But Scott has formed a thick carapace, developed early in the industrial north of England, where men were from Mars and he, a pure artist, was from Venus.

The carapace is shedded when he talks about his past. "We were living in Ealing [a London suburb], and they were bombing the streets," he recalls. "I was 2 ½, 3, and we hid behind the stairs. I remember I had a little lamp, and we'd sing songs while we heard the bombs."
 
The son of a docks manager from a coal-mining background who later turned down lofty posts in Germany and New Zealand to remain in England, Scott was born in South Shields in 1937 (and named after a family doctor). He was shaped by a peripatetic childhood when his father became an army officer, and it is tempting to see his natural authority as emanating from Scott senior. In fact, says his brother Tony (the director of Top Gun ): "Dad was a very gentle, sweet man. Mum was the matriarch and the patriarch. She ran the roost with a steel fist. There was a real big, sweet heart to her and at the same time a determination and toughness" -- like Ridley.
 
In the midst of his family's upheavals, Scott says, "My safety valve was art. My parents thought I was a bit strange because when someone else would have gone dancing, I was always painting." Girls were nonexistent in his life. He was "shy, very shy," possibly dyslexic, and showed no promise whatsoever. "I never thought about the future at all," he admits.
 
After getting Cs and Ds in nearly every subject except art, a caring teacher got him into the local West Hartlepool College of Art, without which, in England's hidebound class system, career prospects would have been bleak. " 'You'll find a career,' is the way he put it," says Scott. "He said, 'There's money in posters, and you could be a very good poster designer.' " In fact, he was much more -- so much that after Hartlepool, he was accepted by the prestigious Royal College of Art.
 
Arriving there in 1957, Scott was "a country bumpkin. I wore a tweed jacket and sensible shoes, and I would look at the others' long hair thinking, 'Wow, that's weird.' " England was on the brink of the vast social upheavals of the 1960s, but they were lost on this northern kid, whose accent made him feel as out of place as a Southerner in Andy Warhol's New York. And yet when he graduated in 1960, he and David Hockney alone obtained First Class Honors, a rare distinction.
 
At the RCA, he fell in love with photography and film. As a child, he had loved going to the local Odeon theater and watching films from Lawrence of Arabia  to East of Eden ; in London -- where he survived on £3 a week, taking vacation jobs shoveling cement and cleaning trucks -- he now discovered the work of Ingmar Bergman and Akira Kurosawa, whose Throne of Blood  "overwhelmed" him. Bergman's influence is apparent in the hooded figure by the waterfall at the beginning of Prometheus.  His pregnant silences influenced Scott's first short, 1965's Boy and Bicycle  -- a Ulysses -like riff on a teenager's day of meandering through his town that stars Tony.
 
Whatever Ridley's gifts as an artist -- which he abandoned until returning to paint five years ago, when his brother bought him a full-scale easel -- he now had a different dream: making films.
 
He had won a yearlong Schweppes scholarship to the U.S., where he rode around America, traveling 11,000 miles on a Greyhound bus; stood next to John Wayne at a urinal ("He staggered out, drunk"); and tracked down documentarians Richard Leacock and D.A. Pennebaker, needling them to give him a job.
 
Upon graduation, he was employed as a set designer at the BBC, then got his first directing break with the classic TV police series Softly, Softly.  He was paid a substantial £1,100 a year, but it was dwarfed by the £14,000 he was making as a freelance art director in commercials. After three years with British television, he broke out on his own, creating RSA Films, which would become one of the U.K.'s leading commercial companies.
 
For the next decade-plus, Scott worked ceaselessly, joined by his brother and future filmmakers Alan Parker and Adrian Lyne. Having married his first serious girlfriend, Felicity Heywood, and with two sons to support (Jake and Luke, both now directors, as is daughter Jordan from a second marriage), he shuttled between London and a manor in the English Cotswolds, remorselessly driven.
 
"I was an ambitious little f--er," he says wryly.
 
At his peak, he was making a staggering 150 commercials a year. But his desire to direct features dominated everything. When Parker struck gold with 1976's Bugsy Malone,  Scott burned with envy. "Commercials were a kind of dirty word," he says, explaining why he was stymied.
 
Absent other offers, he developed a movie with the Bee Gees. Then, he says, "I wrote something called Ronnie in Rio,  where I managed to get Michael York and Ernest Borgnine together in a heist." Both failed to get off the ground, as did a script he commissioned from writer Gerald Vaughan-Hughes about the historic Gunpowder Plot, a 1605 attempt to overthrow the British government.
 
Finally, he stumbled on The Duel  by Joseph Conrad. Adapted by Vaughan-Hughes, The Duellists  told the story of two Napoleonic-era officers whose enmity carries them from one fight to another. Everyone turned it down until Scott brought the script to a wily producer named David Puttnam (Chariots of Fire ), who took it to Paramount executive David Picker. Picker agreed to fund it on one condition: that Keith Carradine and Harvey Keitel star instead of Oliver Reed and Michael York. Scott acquiesced.
 
A year later, the $1 million movie was named best first feature at Cannes. It was 1977. Scott was on the brink of turning 40.
 

♦♦♦♦♦


Few directors have begun their careers that late; even fewer have gone on to earn three Oscar nominations.
 
Perhaps it's because of this that Scott works compulsively, segueing from one project to the next, as if afraid time will run out on him. Perhaps it's also to fight the fleeting depression he hints at: "When I find it sneaking in at the edges, I push it back. If you can control it, you must control it and not allow it in."

Even as we sit in the control room at Abbey Road, he already is in the advanced stages of preparation for Counselor,  about a lawyer who gets sucked into the world of drug trafficking. It's an original screenplay by Cormac McCarthy, whose violence makes it look like "No Country for Old Men  on steroids," Scott jokes. Brad Pitt, his Thelma  discovery, is set to star alongside Fassbender, Cameron Diaz, Penelope Cruz and Javier Bardem.
 
Scott also is developing Gertrude Bell,  about the British writer, adventurer and spy who teamed with T.E. Lawrence in then-Arabia -- possibly starring Angelina Jolie -- all while considering Prometheus 2, which he hopes will come next, and developing a Blade Runner  sequel, which the original's co-screenwriter, Hampton Fancher, is penning.
 
He has a rich family life, with four grandchildren and a longtime girlfriend, actress Giannina Facio, "a beautiful Costa Rican firecracker," as Tony describes her. But what drives this brilliant man is as much a mystery to him as to everyone else, especially in these later years, when he has achieved the recognition -- even idolization -- that eluded him early in his career.
 
"He never got approval from his own people, from BAFTA or the queen for years," says a friend. "Then he started to get some respect, and it changes you as a person. You get comfortable in your own skin."
 
And yet despite that comfort, the drive persists. It dominates everything: his schedule, his other interests, his relationships. Intimacy with those outside his immediate family is lacking; friends are largely absent. The drive is ferocious and makes him push down the softness within.
 
"He is a really tough man," says Lindelof. "Not in terms of being hard on other people: He is just made of really hard stuff. He doesn't want you to see through it; he doesn't want to show you what is in there. And I have no desire to chip away at the bark around Ridley's heart and unleash the sap within."


♦♦♦♦♦


RIDLEY ON RIDLEY

 
The Duellists  (1977) I flew from London to Los Angeles for meetings. I didn't dare be more than six feet from the phone. I stayed at the Sunset Marquis, on my wallet. I went with clothes for a week and I was there two f--ing months. That's how I learned the thoughtlessness of that side of Hollywood.
 
Alien  (1979) Artist H.R. Giger helped create the creature. The studio had turned him down because his designs were way too extreme, even obscene. But I said, "He's f--ing astounding."
 
Blade Runner (1982) It felt like a Humphrey Bogart movie. Harrison Ford was doing Raiders.  I thought, "If Spielberg and Lucas want him, I'd be insane not to."
 
Thelma & Louise  (1991) In the shot at the end of the movie over the Rio Grande, the car took off 300 feet, then spookily stayed upright as it started to fall. The only thing that happened to the dummies was one of their hats flew off. I thought, "Jesus, that's incredible." But when we watched it during the rushes, it was depressing. So I froze the shot at its peak, then started the song. Rather than making it romantic, it was a reminder of what they were really doing.
 
Gladiator  (2000) On a Sunday morning during the shoot, Oliver Reed was in a pub, sat on the floor with his pint, said, "I don't feel well," and then died. When you see him talk with Russell Crowe through the bars of the cage, that's a fabrication: He already was gone.
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #9 on: May 16, 2012, 05:28:31 pm »




Noomi Rapace




Charlize Theron and Idris Elba















"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #10 on: May 16, 2012, 05:41:55 pm »



[youtube=425,350]http://www.youtube.com/watch?feature=player_embedded&v=1byZkbNB3Jw[/youtube]
Published on Apr 29, 2012 by PrometheusMovieUK





"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline oilgun

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #11 on: May 16, 2012, 08:21:41 pm »
I'm really looking forward to Prometheus and not only because of the huber sexy Logan Marshall-Green  :P


Online Meryl

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #12 on: May 16, 2012, 08:52:39 pm »
Sounds good!  Two of my favorite movies are from Ridley Scott--Blade Runner and Gladiator--and at the least it should be intelligent and interesting.  8)
Ich bin ein Brokie...

Offline Aloysius J. Gleek

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #13 on: May 17, 2012, 12:28:39 am »


I'm really looking forward to Prometheus and not only because of the huber sexy Logan Marshall-Green  :P








Did you know that....


He has an identical  brother??  

:o :o :o :o :P :P :P :P  :-* :-* :-* :-*


Logan and Taylor Marshall-Green



Kill Me Now!!
 :laugh: :laugh: :laugh: :laugh:

"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #14 on: May 17, 2012, 12:40:59 am »


Sounds good!  Two of my favorite movies are from Ridley Scott--Blade Runner and Gladiator--and at the least it should be intelligent and interesting.  8)


Me too, Meryl, I hope so!
(LOVED Blade Runner !)










"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Luvlylittlewing

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #15 on: May 17, 2012, 01:53:04 am »
I saw the trailer last week...somewhere!  ;D  Looks intense.  I have a sci fi fetish and can't wait to see this one. 

Offline delalluvia

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #16 on: May 17, 2012, 08:28:51 pm »
I saw the trailer when I went to see The Avengers.  It was creepy as hell.

The little kid sitting next to me buried his face in his mother's side by the time the trailer was done.

Offline Aloysius J. Gleek

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Re: Ridley Scott's Prometheus: June 8, 2012
« Reply #17 on: May 27, 2012, 01:54:28 pm »

http://www.nytimes.com/2012/05/27/magazine/noomi-rapace-arrives-in-hollywood-by-way-of-outer-space.html



From the Magazine


Grooming Noomi

Olaf Blecker for The New York Times
 

Noomi Rapace Arrives in Hollywood
by Way of Outer Space

She was the girl with the dragon tattoo before “The Girl With the Dragon Tattoo.”
Now, Noomi Rapace is about to discover the distance between Sweden and Hollywood.


By KAREN OLSSON
Published: May 25, 2012




In 2007, Noomi Rapace read for the part of Lisbeth Salander in the Swedish film version of “The Girl With the Dragon Tattoo” as a long-shot contender. Though she was a smart and seasoned actress who had worked in film as well as onstage, she was known mainly to Stockholm theatergoers. Her name barely surfaced in the lively public debate in Sweden over who should play Lisbeth, one of the most sought after film roles for a Swedish actress in recent memory. Moreover, the film’s director, Niels Arden Oplev, feared that Rapace was too attractive to portray the androgynous Lisbeth. After working through a scene with her, though, he changed his mind. “When she’s Lisbeth and you put a camera on her, and she’s just sitting there looking at you, you think, Oh, my God, what is she going to do?” he says. “There’s an unpredictable, dark, dangerous energy that flows from her.”

Once he cast her, she gave herself over to the task of transforming into the alienated hacker-heroine of Stieg Larsson’s “Millennium” trilogy, even as the novels’ popularity began to snowball outside of Sweden. (The English translation of the first novel came out in 2008.) She trained with a Thai-boxing coach, submitted to multiple piercings and lopped off her hair. Then she shot the three films, one right after the other, over an 18-month period. When the first film opened, in February 2009, journalists from all over Europe descended on Stockholm to see it — and to see her, the unknown actress charged with interpreting what had suddenly become one of the world’s most popular characters.

At first, Rapace balked at the prospect of a news conference, because it would be in English, a language she wasn’t yet comfortable speaking. In a clip posted on YouTube of a May 2009 interview, she insisted (in quite passable English) that she belonged in European films. “I don’t have this crazy dream about going to Hollywood,” she says in the video, “because I really love to watch movies and do movies that are complicated, and I want more strange things and complicated things.”

The Swedish version of “The Girl With the Dragon Tattoo,” a 152-­minute drama of rape, murder and revenge at low temperatures, reached the kind of limited audience in the United States that foreign-language films tend to reach. Meanwhile, the film producer Scott Rudin orchestrated an American adaptation of the Larsson novel, directed by David Fincher and starring another under-the-radar actress, one whose name — Rooney Mara — oddly echoes that of Noomi Rapace. The two of them created starkly different Lisbeths: Rapace played her as a smoldering but certainly human presence, while Mara’s Lisbeth was like something from the spirit world, a banshee gone silent. Mara’s performance in the U.S. version was nominated for an Oscar, and the role has made her a star.



With Michael Nyqvist in "The Girl With the Dragon Tattoo," 2009.



"The Girl Who Played With Fire," 2009.



"The Girl Who Kicked the Hornet's Nest," 2009.


But Rapace’s turn as Lisbeth had not been overlooked. People were starting to dream that crazy Hollywood dream for her. “I saw it by accident on TV at 11 p.m.,” the director Ridley Scott says of the Swedish film. “Frankly, I was blown away by the whole thing. And I was wondering who this punk was who seemed to be straight off the street, very withdrawn, very angry, very bright, completely misunderstood and being completely abused. It was a pretty great character.” He went on to watch the film four more times, and each time he watched, Scott wondered, “Who’s this girl?”

When I met Rapace in Berlin this spring, the 32-year-old actress was filming “Passion” with the director Brian De Palma, and her focus on the tasks at hand seemed to distract her from the approach of the tidal wave that is “Prometheus,” a big summer movie directed by Ridley Scott and starring Rapace. The film, Scott and 20th Century Fox insist, is not so much a prequel to Scott’s 1979 landmark film “Alien” as it is one that “shares DNA” with “Alien” — make what you will of that distinction. Regardless, Rapace’s Elizabeth Shaw, as the lead of an “Alien”-type film, will assume the place of Sigourney Weaver’s Ellen Ripley. The significance, on-screen and off, is slowly sinking in for her. “Some people in London came up to me on the street and said: ‘You’re Noomi Rapace? Oh, my God, you’re the new Ripley, is it true?’ ” she says. “I started to realize this can actually be quite big in a way that I hadn’t really expected.”

During my visit to Berlin, the weather was improbably balmy, and a youngish, well-turned-out set found its way to the rooftop pool and bar at the Soho House Berlin, a hotel and club in a restored Bauhaus building that at one time was the headquarters of the Hitler Youth and before that a Jewish-owned department store. There among the sunbathers, paddling around the small pool, was a cheerful, toothy boy wearing a mask and a snorkel: this was Rapace’s son, Lev, age 8. In February he came with his mother to Berlin, where he attended a Swedish school. He would spend the latter part of the spring in Turkey to be with his father, Noomi’s ex-husband, Ola Rapace. (An actor himself, Ola had gone to Turkey to play a villain in the next James Bond  movie, “Skyfall.”) Noomi joined Lev in the water for a while, and later she warned him not to splash too much, for the sake of the people in the poolside loungers, though privately she grumbled that people who can’t abide a splash or two shouldn’t sit next to the pool.



Rapace and Ola Rapace at the Venice Film Festival
in 2010, when they were still married.


Noomi Noren was 21 when she started dating Ola Norell, and three months later they married, inventing the surname “Rapace,” pronounced ra-PAHS, which means “bird of prey” in French. (“I always had a very strong thing with those birds and the concentration they had,” she says.) She had been performing onstage in Stockholm, and when she became pregnant, two years after marrying, her colleagues told her she was nuts to derail a budding career by having a child so young. “I’ve never seen it that way,” she says. “It’s better to not be afraid of things and not avoid things. I thought, Now I know how it is to be pregnant and what it’s like to be a mom.” As an actor, she knew she could make use of those experiences.

She went on to portray mothers in several European-made films, though these weren’t exactly Hallmark Channel moms. As the title character in the Danish film “Daisy Diamond” (2007), her second movie after having Lev, she played an aspiring actress who grows increasingly deranged and drowns her baby in the bathtub. “When the director sent me the script, my son was 2, and I was like: ‘This is impossible. I can never understand this, a monster who kills her baby.’ ” But it was as if she dared herself. “When I don’t understand things, I become passionate to understand,” she says. She agreed to do the part and researched it by talking to a woman who had harmed her baby, as well as to a psychiatrist who worked with such women. When the film was shot, in Copenhagen, “my whole soul was really dark,” she says. “It was a tough, tough summer. My son and my husband came to visit on weekends, but I was very isolated in this weird reality.”

Once Rapace has taken on a role, her impulse is to part with the everyday world, which is to say her everyday consciousness, in favor of the character’s. “When I was younger, I went really deep, as deep as I could, leaving the world behind and stepping into another universe,” she says. “But when I had my son, I had to find a way to be aware of what’s what.” She developed a reputation in Sweden as a serious artist uninterested in fame. After the release of “Daisy Diamond,” “we tried to get an interview with her, but she seemed to have reluctant feelings about publicity and stardom,” says Elin Larsson (no relation to Stieg Larsson), a Swedish film critic. “She was very restricted about interviewing.”

When she landed the role of Lisbeth Salander, her challenge was to flesh out a character who is described in the novels “like a graphic-novel super­hero,” she says. Parts of the script struck her as inappropriately sentimental. One scene had Lisbeth telling her co-sleuth and sometime lover Mikael Blomkvist everything about her sordid past — “page after page,” Rapace recalls. “I said: ‘You’re kidding me. She does not talk about herself. I can’t do this.’ ” The scene, Oplev argued, was crucial to the film, so that the audience could understand Lisbeth. They finally agreed that they could convey her story more subtly, over the course of several scenes. Oplev acknowledges they clashed at times. “When you cast an actress that’s headstrong and passionate and wants to fight for the character, you have to deal with that,” he says.

On the day that the production of the third film wrapped, Rapace went to the bathroom and threw up for 45 minutes. She was done with Lisbeth Salander. She says she never had any interest in playing her again.

The original “Alien” was very good at keeping us in the dark. Set mostly on a mining ship called the Nostromo, it had a grunge aesthetic, a run-down quality that muddled our view of the action. In that movie, when some of the crew venture off the ship, to explore what seems to be a deserted planet, their transmissions back to the ship flicker and break up. Even when the camera follows them directly, it’s hard to make out the details of the dimly lighted terrain. We’re compelled to try to see more, to explore along with the crew, in a way that compounds our dread.



"Prometheus," 2012.


“Prometheus,” by contrast, is the first feature Scott shot with a digital camera and shot in 3-D. Hallmarks of the earlier movie remain: organic, tentacle­like architecture, an android who may or may not be trustworthy, the use of flamethrowers (in the future, no spaceship will leave Earth without flamethrowers) and the obligatory scenes of the heroine — in this case, Rapace — in plain white underwear. This film also promises to shed light on something left by the wayside in “Alien”: a giant, humanoid skeleton reclined in a giant seat, with its rib cage burst open, which the crew of the Nostromo  discovers during its explorations. “Alien” and its sequels never offered further clues as to the identity of this creature, who came to be known as “the space jockey.” (James Cameron, who directed the sequel “Aliens,” nicknamed it “the big dental patient.”)

Scott and 20th Century Fox have been careful not to reveal too much about “Prometheus,” baiting the fans instead with a series of trailers and clever video extras. The film’s basic premise is that Elizabeth Shaw, an archaeologist with a strong faith in God, and her scientist boyfriend, Charlie Holloway, discover what they believe is a summons from another planet. They convince a megacorporation to send them there on a spaceship, the Prometheus,  and then encounter terrible things (which is what you get for naming your spaceship Prometheus ) and then must save the earth from an invasion. In the preview, we see a sweating, trembling Rapace in a spacesuit, crying out, “If we don’t stop it, there won’t be any home to go back to.”



Rapace at age 3, with her mother, the actress Nina Noren.


Among the women considered for the part of Elizabeth Shaw in “Prometheus,” Rapace held at least one significant advantage: she was actually transported, long ago, to a strange world populated by what were, for her, alien beings. She was 5 when her stepfather, a teacher, and her mother, a stage actress turned drama teacher, moved the family from Sweden to Solheimar, Iceland, a tiny village founded in the 1930s as a haven for disabled people. (Rapace didn’t meet her biological father, a Spanish flamenco singer, until she was a teenager.) When the family moved to Solheimar, Rapace said, it was populated mostly by teenagers and adults with Down syndrome, and as a very young girl from another country, she found them menacing. “I was afraid of them,” she says. “To me they were like big trolls. I was not allowed to be angry with them, but they were quite mean sometimes, violent and sexual.”

She had one half-sister who was four years younger, and so she often played alone, outdoors mostly, and rode horses. She also participated in a film for the first time, as an extra in “The Shadow of the Raven,” a sackcloth-­and-scabbards saga set in the 11th century. (In brief: a fight over a beached whale sets off a cascade of blood revenge that culminates with a double-cross in a sauna, dooming the love affair between a powerful, aggressive heroine sporting a 1980s perm and a soulful Christian with a Snorks-style ponytail.) Along with the rest of the cast and crew, Rapace’s family bivouacked in tents, in the middle of nowhere, then traveled to Stockholm for several days of shooting in a studio. One day, when they were filming a scene of a wedding celebration, “we were supposed to be dancing, and so I was twirling and twirling for hours and hours and hours,” Rapace says. The shoot lasted well into the night, “and then it was like 2 o’clock in the morning, and people were starting to get tired and wanted a break, and he” — the director, Hrafn Gunnlaugsson — “said: ‘What’s wrong with you? Look at this girl, she’s 7 years old and she’s not complaining!’ ”

She was a restless, willful girl — “I was always running and climbing and building things” — and her parents, fearing she wouldn’t be well served by the local public school in Iceland, moved back to Sweden, to a small town in the south. At 11, she started taking judo lessons, and for a while she was devoted to that sport. She was also bewitched by Hollywood movies with violence in them — “True Romance,” “Thelma and Louise,” “Alien,” “The Terminator,” “Scarface,” “Rambo” — as well as “La Femme Nikita” and kung fu movies.

At 15, she left home to go to drama school in Stockholm. “I was just looking at people, trying to learn how to behave,” she says. “I’d barely been to a restaurant before.” Her first acting job came a year later, when she was cast in “Tre Kronor,” a soap opera, as Lucinda Gonzales, a member of a girl gang called Las Chicas. (“That was just bad,” Rapace says of the show.)

The plays of Tennessee Williams replaced kung fu movies. In her last school production, she was Blanche in “A Streetcar Named Desire” (translated into Swedish). “Giving space to her in my soul changed me somehow — that was the first thing I did when I went into myself,” she said. We were eating dinner when she told me this, and as she spoke of that step inward, she closed her eyes. “The first character that was running through my veins. I was a little bit psychotic. After shows I didn’t remember what happened.”

Rapace says that the only depression she ever experienced took hold during the two years before she left her small town for Stockholm. She went punk, bleaching her hair and piercing herself and, she says, drinking whatever the guys were drinking. “I’ve always wanted to compete with the guys,” she says. It’s a phase in her life that she seems disinclined to revisit. She happened to show me a pair of long, white tracks on the top of her arm, at first saying that they were a result of an adolescent attempt to tattoo herself, then saying that she was interested, back then, in the idea of becoming blood brothers and blood sisters with people, and finally telling me, “That period is not so interesting.”

Two transformations are evident in “Prometheus”: that of Rapace into Elizabeth Shaw, but also that of the erstwhile anti-Hollywood Swedish actress into the star of a summer blockbuster. Her manager, Shelley Browning, who has a longstanding relationship with Rapace’s Swedish agent and represents a number of foreign citizens working in Hollywood, helped facilitate that change. “I thought L.A. was more about celebrities and red carpets and glossy big lips and big tits,” Rapace says. “I said to Shelley when we met: ‘I don’t want to go to Hollywood. That’s not for me. I want to do real movies.’ And then she said, ‘But who do you actually like?’ I started to mention people, and she said, ‘Those people actually live in L.A.’ ” Browning sent her scripts, and in August 2010, Rapace flew to Los Angeles for a series of meetings with producers and directors, people who wanted to meet her after having seen her play Lisbeth Salander.

“It was quite funny, when you work in a business where artists are chameleons, because they kept calling me and saying, ‘She’s nothing like Lisbeth Salander,’ ” Browning says. “And I said: ‘What did you expect? She was going to come in on a Harley, with a leather jacket and piercings?’ And they said: ‘No, but like, nothing! She’s beautiful, she’s funny, she’s feminine.’ It wasn’t like one or two people called me, it was like everybody called me.”

During that trip, she met with Michael Costigan, the president of Ridley and Tony Scott’s production company, Scott Free. “Then I heard Ridley” — one of her director-heroes — “was going to attend,” she says. “I never get nervous, but I thought I was going to pass out. I had on this blue Helmut Lang dress, and when I started to sweat, you could really see it.” A month later, they met again for dinner in London, and he told her that he wanted her to play the lead in what was then being called a prequel to “Alien.”



With Jude Law, left, and Robert Downey Jr. in "Sherlock Holmes: A Game of Shadows," 2011.


In anticipation of each part she plays, Rapace chooses a training regimen (or, sometimes, a lack thereof) not simply to get in shape but to adjust her relationship with her body. To become Lisbeth Salander, she Thai-boxed and kickboxed, because she wanted to awaken her fighting spirit. Before appearing in “Sherlock Holmes: A Game of Shadows,” Rapace’s first Hollywood movie, she stayed away from the gym, which she said would have been wrong for her Victorian-era-gypsy role, but she studied with a gypsy-dance expert. And for “Passion,” the film she came to Berlin to do, she decided on Bikram yoga, because she felt that its regimented sequence of poses would appeal to her character, Isabelle — “a control freak,” she called her.

In her workouts for “Prometheus,” with a trainer in London, Rapace tried to cultivate an explosive power. She wanted to be like a cat, she says, nimble and powerful but still feminine. Shaw, Rapace says, is more innocent than Ripley: “She’s actually the least cracked soul I’ve ever played.” In the first part of the movie, she is wide-eyed and wondering, illuminated from within by her conviction — and then, like Ripley before her, she has to battle some nasty stuff and toughen up in the process.

“It was a marathon for her, this movie,” says Logan Marshall-Green, who plays Holloway. At one point in the shooting, “her stunt lady really banged herself up on the leg, and Noomi went with it and really used it as a physical bruise, an internal limp. She collected these snares and snags and bruises and cuts and embraced them.”

Four days of the shoot were devoted to a scene that takes Elizabeth Shaw’s desire to have children and twists it into “everyone’s worst nightmare” — Rapace couldn’t talk specifically about the scene (and Fox declined to screen the footage), but it seems safe to say that in “Prometheus,” the “Alien”-movie tradition of horrifying births, as well as Rapace’s own history of playing mothers driven to extremes, will be continued. During that week, “the reality and the scenes melted together, my whole spirit was really captured,” she says. “I actually dreamt a couple of times that I was dead.”



Rapace with Ridley Scott, shooting "Prometheus," in Iceland.


While most of the film was shot at Pinewood Studios, outside London, some of the cast and crew traveled to a location in Iceland, not far from where Rapace lived as a child, for 10 days of filming. Much of the work there required Rapace to run around in a rubber suit — “the worst costume ever” — running and stumbling, running and stumbling. Still, when they would wrap for the day, she didn’t want to stop, as tireless as the twirling 7-year-old she once was.

Being a famous actress in Sweden seems a little bit like being a star athlete at M.I.T.: you’ve won the qualified admiration of a small society of mostly polite, introverted people. The Swedes do take pride in their compatriots who act in Hollywood movies — “If you just read Swedish newspapers, you would think there are three big stars in Hollywood: Stellan Skarsgard, Noomi Rapace and Alexander Skarsgard,” says Mariah Larsson, who is a research fellow in cinema studies at Stockholm University (and no relation to either of the aforementioned Larssons). But in the wake of “Prometheus,” Rapace is about to experience a much more invasive level of attention.

During a recent visit to L.A., Rapace sat down with her managers and agents to discuss the road ahead: they talked about projects that interest her and projects that don’t, and also about what to expect this summer. “They’re telling me it’s going to be big, and people will recognize you, and you will have paparazzi after you, you have to be aware of that,” she says. Her colleagues are perhaps more aware than she is. Guy Pearce, who appears in “Prometheus” as a corporate executive, says: “I’m looking at the ‘Prometheus’ trailer going: ‘This is going to be huge for you, darling. It couldn’t be bigger.’ She’s cool, she kind of laughs about that stuff, but you can see her blushing at the same time.” Pearce, who had a substantial career in Australia before becoming internationally known for films like “Memento” and “L.A. Confidential,” says that it can be an advantage to arrive in Hollywood as an established actor elsewhere. “It’s really a grounding kind of experience,” he says. “I think you come into it with your eyes a little bit more open, and you’re drawn to the things that really resonate with you. If you get the chance to work in America, great; if you get the chance to work in London, great; if you get the chance to work in New Zealand, great. You’re not so America-centric.”

Regarding her future projects, “she’s very filmmaker-driven,” Browning says. “And she laments the same thing that all female actresses lament, that there are rarely great roles for women.” Rapace is at low risk for being typecast, because she conforms to no recognizable type. Her face is arresting, with large, alert eyes and cheekbones that seem poised to burst, “Alien”-style, out from beneath her pale skin. She won’t show up in a romantic comedy any time soon, Browning says — “I just don’t know that she responds to those kinds of characters” — but she is not ruling anything out. After I spoke with her in Berlin, Rapace was reunited with Oplev, the director of the first “Millennium” movie, to shoot a thriller in Philadelphia co-starring Colin Farrell, in which she portrays a woman who was disfigured in an accident. She also plans to play opposite her ex-husband in a biopic directed by Catherine Hardwicke, about the romance between the boxer Bo Hogberg and the singer Anita Lindblom.

“I’m terrified of being too famous,” she says. “What I’m really afraid of is that the audiences will go into the theater and not be able to forget that it’s me, that fame will stand in the way of my acting. I want to keep being able to change into different shapes and different personalities.” She says she never wants to play the sexy sidekick and that she still wants to compete with the guys — Leonardo DiCaprio, Josh Brolin, Christian Bale and Michael Fassbender, her “Prometheus” co-star, are among the actors she admires. “They’re not working out of vanity,” she says. “They’re not trying to look hot all the time.”

On my last morning in Berlin, I accompanied Rapace to the “Passion” set, inside an apartment building in a fashionable neighborhood. The set itself was a Euro-creepy bedroom, with scaly black curtains, a round, black bed in the middle, a stuffed bird on a dresser and an open bathroom. Because of the room’s small size, most of the crew huddled in the hall, while De Palma and the cinematographer José Luis Alcaine sat in chairs in the back of the room, near the camera and monitor. It was a post-sex scene that Rapace was performing, with the actor Paul Anderson, and after she changed into her costume — a man’s dress shirt — and her hair and makeup were adjusted to look tousled and slightly sweat-dampened, they read through the dialogue.

In the film, based on a French thriller, Rapace’s Isabelle suffers at the hands of Christine, her manipulative boss, played by Rachel McAdams, then seeks revenge. During this scene, Isabelle, who has just slept with Christine’s lover (played by Anderson) at his apartment, discovers a trove of sex toys. These include a ghostly mask of Christine herself, with white skin and long blond hair, which Isabelle holds up to the light and then addresses.

During the read-through, Rapace questioned De Palma about a couple of lines in which Isabelle talks to the mask, suggesting they weren’t consistent with how she played an earlier scene. She substituted another line, mimicking something Christine has already said: “I used to want to be admired, now I want to be loved.”

As they started filming, Rapace adjusted her performance slightly with each take — more smiling in one, more solemn in the next. And when it came time to shoot her close-up, Rapace and De Palma started analyzing the line again. “Maybe I should just do it more simply,” she said. It was a strange declaration — “I used to want to be admired, now I want to be loved” — to hear Rapace-as-Isabelle make, over and over, after having listened to Rapace-as-Rapace tell me how much she hoped not to fall prey to those desires. She went on to try a few different phrasings, cooing each one to the mask of Rachel McAdams, and finally pared it down to this: “I wanted to be admired, but now I want to be loved.”


Karen Olsson wrote about Mike Judge, the creator of ‘‘Beavis and Butt-Head,’’ for the magazine in October.
 
Editor: Adam Sternbergh
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"