










I've put some together in a video to Simon & Garfunkel's "Kodachrome".
Crowe'sMagik
Gena
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Unregistered(d) |
Re: Goodies : Proof | ||
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Having fun with Andy. I took some caps and Kodachromed them.
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() I've put some together in a video to Simon & Garfunkel's "Kodachrome". Crowe'sMagik Gena |
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sweptaway123 |
Re: Goodies : Proof | ||
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I love that laughing scene.....it just cracks me up.
Wow those pics are very vivid in colour. Very nice indeed. Thanks Gena....
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milligan |
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Those are lovely Gena
Milligan
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Unregistered(d) |
Re: Goodies : Proof | ||
Thank you both. I was amazed at how much they really ended up looking like Kodachrome. And yes, that's hands down THE greatest giggle in cinematic history. Gena |
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andywoolloo |
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andywoolloo |
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Cindy4764 |
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Thanks to maria, a very interesting article on Hugo Weaving and Proof. I think I may have to break out my CD and watch this little gem again.
http://www.movieline.com/2009/07/the-cold-case-hugo-weaving-on-his-1991-breakthrough-proof.php The Cold Case: Hugo Weaving Remembers His 1991 Breakthrough Proof
Long before he voiced the rumbling Megatron in two Transformers outings, put male hair braidists back in business as Elrond in the Lord Of The Rings trilogy and tortured poor Keanu Reeves on behalf of the machines across three Matrix films, Hugo Weaving electrified discerning audiences with his breakout role in 1991's Proof, a little Australian film that was also an early calling card for a slender young chap named Russell Crowe. Written and directed by Jocelyn Moorhouse, the movie stars Weaving as Martin, a blind man who wields his cane like a minesweeper as he hurtles around inner-city Melbourne. In a cinema that too often patronizes the visually impaired, it's a refreshing characterization; Martin doesn't trade in Pacino-esque "whoo-has" or Pride Of The Marines-style obvious self-pity. But he does take photos, utilizing the few people he trusts to describe what's in the pictures and adding labels to the prints with a Braille machine. "This is proof that what I sensed you saw, the truth," he explains to Crowe's scrappy dishwasher Andy, who becomes his trusted confidante. What will tear apart the cautious friendship is Celia, Martin's long-rebuffed housekeeper, now given to devising all sorts of minor tortures and humiliations for her employer. Moorhouse's cinematography and sound design are exquisitely tuned to the world as a blind person might experience it. But she's also canny enough not to linger artily on a dripping tap or wall texture. Instead, Moorhouse, her leading men and Genevieve Picot (as the sympathetic but malignant Celia) gracefully and economically create complex characters in a scenario that plays out as a suspenseful but credible relationship thriller. And neatly puncturing any of the usual self-importance around a "disability" film, Moorhouse also wields a sharp and dark sense of humor; the sequence in which Martin and Andy go to a drive-in slasher film only to stir up a carload of punks and then raise the ire of cops as they flee is a near-perfect example of comic escalation. For Weaving, then just turned 30 and yet to make the successful jump from TV and the stage to the big screen, Proof was a turning point. "I
had not read a script before and immediately thought, 'That's the sort of film I want to do,'" he told me in late June in a Sydney hotel
room during a press tour to promote his most recent drama, Last Ride. "I remember
auditioning for Proof and thinking, 'It's my role, I know it's my role', even though there were other people going for it who I
really admired."
Proof arrived in the United States a few years too early to ride the mid-1990s wave of Aussie films that included Strictly Ballroom, Shine, the Moorhouse-produced Muriel's Wedding and The Adventures Of Priscilla, Queen Of The Desert and Babe, both of which would help Weaving break out in the US. And despite scooping the Australian Film Institute awards and getting a special mention at Cannes, Weaving said he didn't really capitalize on the opportunities as much as his co-star, who was soon storming Hollywood. "I was just sort of 'What's the next acting job?' I didn't have a clue, until years later I started to realize there's a little more to this industry than that," he laughed. "Russell's much more savvy than me." Crowe's success, though, would come back to bite Moorhouse. In 2005 production on the high-profile Eucalyptus was canceled just before cameras were set to roll. The project, which lined up Nicole Kidman and Geoffrey Rush with Crowe, collapsed due to irreconcilable differences between the director and her leading man. Who was really at fault was never made clear. "Joss is a brilliant, brilliant filmmaker," Weaving said with a weary sigh. "I hope she gets to make another movie."
"He sees everything through the point of view of the character. That's fantastic. It's like working with a proper actor as opposed to working with a movie star." - Kevin Macdonald |
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spreesmom |
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Cindy4764 wrote:thanks for bringing this, cindy. russell was almost ethereally beautiful in this film. i may have to watch it again, too. i love the way so many of russell's co-stars have been 'warned' about him, only to find him charming, funny and always very hard-working. in my brief experience as a croweholic, i don't think i've read about anyone who has worked with him deciding he was anything other than a good guy - until this article and the failed 'eucalyptus'. the sympathetic but malignant Celiai don't get the 'sympathetic' part at all! she was just nasty, with no redeeming qualities that i could see. becks
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spreesmom |
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something in this pic
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hkdrs |
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I'm sorry, but in both of those pictures, you focused on his NECK???
Lady Giggles
Mistress of the Bath, Lady of the Dance, Bounteous Countess of Cupid's Bow , Wet Russelling Watery Wench, Nurturing
Nurse of Neuroses and Phantom Kibbitzer(Swish!!)
Strangth and Honour (Motto of the RHR-MAC) Wanna save a life? Please visit http://pages.teamintraining.org/nca/MC10K09/dsmithos38 to donate to my 10k training team, The Leukemia and Lymphoma Society's Teams in Training. Thank you for your support! Sweeeeeeeeet! - Vac Pat Don't judge me until you've walked a mile on my medication... |
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kaspimus |
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Cindy4764 |
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becks, I think you've actually brought up something new. I certainly don't recall ever discussing the jacket patch before. Of course Russell didn't own the Bunnies way back when and we weren't seeing patches from the Bunnies and all his movies on his clothing all the time. I have no idea what
Oregon Journal Senior ??? is. That next word looks like it could start with a P, an R or even an A to me. If that's not his school jacket with Oregon
something having a meaning we know nothing about, maybe Andy picked it up at a thrift shop. Interesting question.
We may have discussed the re-appearing necklace (looks like some kind of seeds/nuts ??), I don't remember. That might be a continuity error but I can't say I'd ever really noticed, I doubt I took my eyes off the sweet cheeks in the couch scene and the tucking in movements in the upright (so to speak) scene.
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spreesmom |
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hkdrs wrote:
what, you were maybe looking elsewhere?
it was difficult, and it took me quite a while, but yes - it helped a lot that there's no movement in still shots! i never noticed either of these things in the film... and i'm sure it will be a challenge to concentrate when i go back to watch again. cindy4764 wrote:oh, come on - are we all really that shallow? yep! and loving every minute of it! becks
Last Edited By: spreesmom
10/22/2009 10:21 AM.
Edited 2 times.
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spreesmom |
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okay, i found the whole patch.
it says: oregon journal senior award. so i went hunting and found this: Oregon Journalwhich still doesn't explain how andy came to have that patch on his jacket! becks |
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spreesmom |
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omg, my dishes are in this pattern!
tx, kaspinet i don't have the teacups or saucers, but i have everything else. how cool is that!? becks |
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