Showing posts with label Carey Mulligan. Show all posts
Showing posts with label Carey Mulligan. Show all posts

Carey Mulligan Captivates as Daisy in “The Great Gatsby”

8:04:00 PM

She wowed critics and audiences with terrific performances in “An Education,” “Drive,” “Wall Street: Money Never Sleeps” and “Shame.” Now, Carey Mulligan adds another strong female character in her repertoire as he plays Daisy Buchanan in Warner Bros.' heart-stopping romantic drama, “The Great Gatsby.”

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Daisy is the phantasmal object of Jay Gatsby’s (Leonardo DiCaprio) obsessions, ethereal and completely captivating, especially her voice, “the kind of voice that the ear follows up and down as if each speech is an arrangement of notes that will never be played again,” as author F. Scott Fitzgerald describes her in the novel from which the film was based.

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Daisy is Gatsby’s “green light,” his “enchanted object” beckoning from across the bay, but forever out of reach, “high in a white palace the king’s daughter, the golden girl…”

“The Great Gatsby” follows would-be writer Nick Carraway (Tobey Maguire) as he leaves the Midwest and comes to New York City in the spring of 1922, an era of loosening morals, glittering jazz, bootleg kings, and sky-rocketing stocks. Chasing his own American Dream, Nick lands next door to a mysterious, party-giving millionaire, Jay Gatsby, and across the bay from his cousin, Daisy, and her philandering, blue-blooded husband, Tom Buchanan (Joel Edgerton). It is thus that Nick is drawn into the captivating world of the super rich, their illusions, loves and deceits. As Nick bears witness, within and without of the world he inhabits, he pens a tale of impossible love, incorruptible dreams and high-octane tragedy, and holds a mirror to our own modern times and struggles.

Carey Mulligan offers, “The main thing about Daisy is her duality. She wants to be protected and safe and live in a certain way. But, at the same time, she wants epic romance. She’s just swayed by whatever is the strongest and most appealing thing. She’s not a grounded person or a genuine person, in a way.”

When we first meet Daisy, she is at a somewhat melancholic juncture in her life. Once a much-admired Southern belle, she’s still very charming and beautiful, but she’s sadly aware that her husband is a serial and unapologetic philanderer, prone to “sprees.” It is thus, when Nick reintroduces her to Gatsby, her lost love of five years ago, that she is tempted into a return to the past.

Director Baz Luhrmann took his time to find the right actress for the part. “I don’t think it’s an exaggeration to say that every actor you can imagine was keen to play that part; it’s one of the great, iconic roles. So we found ourselves in somewhat of a ‘Gone with the Wind’ situation, where we were exploring all the possibilities, not so much as auditions but as little rehearsals.”

“We did a big, wide net of a search for Daisy, which is the old-fashioned Hollywood way,” echoes producer Lucy Fisher.

“Leonardo was a constant partner in this search,” says Luhrmann, who immediately solicited his reaction after Mulligan read for the part. “Leo said the most brilliant thing: ‘You know, I’ve been thinking about it… Gatsby has had a lot of very beautiful women thrown at him. Carey’s very beautiful, but she’s also very unusual. Daisy needs to be sort of precious and unique and something that Gatsby wants to protect. Something that he’s never experienced before.’ We looked at each other and said, ‘It’s her.’”

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“We knew we’d found our Daisy Buchanan,” DiCaprio recalls of that moment. “Daisy is such an incredibly important character in the film. She has to be a combination of the beautiful innocence that Jay sees in her, but she also has to have that whimsical carelessness. It takes not only a very intelligent actress, but also someone who can do both of these things simultaneously.”

It turns out that Mulligan was equally impressed by DiCaprio. “I remember the first audition that I had,” she says. “We were doing a scene right towards the end of the film, and Leonardo was playing Gatsby, and he was playing Tom Buchanan, and Nick Carraway. So, he’d sit in one chair and play his character, then he’d jump in another chair and play Tom, and then be standing up and he’d be Nick. He was learning all the different lines. He was incredible.”

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Mulligan portrays Daisy as complex, more than just a vacuous heroine. “I think that when Daisy says something, she really means it, but five minutes later she might not mean it at all,” Mulligan observes. “She’s almost living in a movie in her own life, looking in on herself, which makes for a rather thin personality that was probably typical of women in her circumstances, and interesting for me to play.”

Opening across the Philippines on May 17 in Digital 3D and regular format, “The Great Gatsby” will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

“The Great Gatsby” Soundtrack Boasts All Star Lineup

2:02:00 AM

“The Great Gatsby” writer/producer/director Baz Luhrmann and collaborators Shawn “JAY Z” Carter, an executive producer on the film, and Anton Monsted, its executive music supervisor, revealed the lineup for the movie’s soundtrack which encompasses the broad spectrum of musical styles represented in this energetic re-telling of the classic text. The joint announcement was made recently by Warner Bros. Pictures and Universal Music Group’s Interscope Records.

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Drawing on his unique and unrivalled position in popular culture, JAY Z (with collaborator and the film’s executive music consultant Jeymes Samuel) has worked with Luhrmann and his team on the project over the past two years, translating the Jazz Age sensibility of F. Scott Fitzgerald’s novel into the musical equivalents of our own times, through the blending of hip-hop, traditional jazz and other contemporary musical textures.

Luhrmann stated, “F. Scott Fitzgerald’s novel is peppered with contemporary music references specific to the story’s setting of 1922. While we acknowledge, as Fitzgerald phrased it, ‘the Jazz Age,’ and this is the period represented on screen, we—our audience—are living in the ‘hip-hop age’ and want our viewers to feel the impact of modern-day music the way Fitzgerald did for the readers of his novel at the time of its publication.”

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“The Great Gatsby is that classic American story of one’s introduction to extravagance, decadence and illusion. It’s ripe for experimentation and ready to be interpreted with a modern twist. The imagination Baz brought to ‘Moulin Rouge!’ made it a masterpiece, and ‘Romeo + Juliet’s’ score wasn’t just in the background; the music became a character. This film’s vision and direction has all the makings of an epic experience,” JAY Z said in a previous statement.

JAY Z’s own “No Church in the Wild,” which he was recording when he and Luhrmann first came together, is included in the film, along with his original “100$ Bill.” The first single to drop will be the hauntingly melodious track “Young and Beautiful,” from recent Brit Award winner for Best International Female Solo Artist, Lana Del Rey; the music video and song release are scheduled for April 22nd and April 23rd, respectively. Del Rey collaborated with Luhrmann in creating the song.

Del Rey said, “It was an honor to work with Baz Lurhmann on his amazing adaptation of one of the most extraordinary books ever written. The movie is highly glamorous and exciting; Rick Nowels and I were thrilled to write the song for the film.”

Luhrmann also worked personally alongside good friends and collaborators Florence Welch, of Florence + The Machine, and The xx.

The highly eclectic soundtrack also features songs performed by such artists as Beyoncé x André 3000; Fergie + Q Tip + GoonRock; Coco O. of Quadron; Gotye; Nero; and Sia.

Moviegoers will also recognize a few favorites with a new twist, such as Jack White’s interpretation of U2’s “Love Is Blindness,” Beyoncé x André 3000 collaborating on Amy Winehouse’s “Back To Black,” and Bryan Ferry’s new take on a couple of classics: his own “Love Is The Drug,” and, with Emeli Sandé, Beyoncé’s “Crazy in Love.” New songs by Florence + The Machine, Lana Del Rey, Nero, will.i.am and The xx were written for scenes in the film, and appear on the soundtrack.

The score is composed by Luhrmann’s regular collaborator, Craig Armstrong, who worked with the director on “Moulin Rouge!” and “William Shakespeare’s Romeo + Juliet.”

Beginning May 7th, the album will be available at digital retailers (available for pre-order on April 23rd). Internationally, the soundtrack will be released in physical, digital, deluxe and standard formats on May 6th.

Both the standard album and the deluxe edition will be released worldwide by Interscope Records.

The full track list for “The Great Gatsby” standard soundtrack album is as follows:

1. 100$ Bill - JAY Z

2. Back To Black - Beyoncé x André 3000

3. Bang Bang - will.i.am

4. A Little Party Never Killed Nobody (All We Got) - Fergie + Q Tip + GoonRock

5. Young And Beautiful - Lana Del Rey

6. Love Is The Drug - Bryan Ferry with The Bryan Ferry Orchestra

7. Over The Love - Florence + The Machine

8. Where The Wind Blows - Coco O. of Quadron

9. Crazy in Love - Emeli Sandé and The Bryan Ferry Orchestra

10. Together – The xx

11. Hearts A Mess - Gotye

12. Love Is Blindness – Jack White

13. Into the Past - Nero

14. Kill and Run - Sia

The deluxe soundtrack will feature the above songs, plus three additional bonus tracks.

Opening across the Philippines on May 17, “The Great Gatsby” will be distributed in Digital 3D and regular format by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

One Hell of a Staring Match : Drive Movie Review

4:17:00 PM
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Special effects, graphics heavy opening and ending credits, synthesized explosions, haunting background music – these are elements of a regular thriller movie, at times considered cliché by some critics …all of which are not present in Director Nicolas Wending Refn’s Drive.
Drive is about a Hollywood stunt performer who sidelines as a getaway driver. The unnamed lead played by Ryan Gosling who was usually referred to as “the driver”, “the kid” and “him” falls in love with his beautiful neighbor Irene (Carey , Mulligan), a young mother dragged into a dangerous underworld by the return of her ex-convict husband Standard (Oscar Isaac).
This film is a breath of fresh air after the moviegoing public were repeatedly bombarded by graphics heavy but thoughtless thrillers. In other words, it defied all the staples of a thriller film. From the 80’s feel and soundtrack to the pink-colored title in Monotype Corsiva, you’ll know that you are in for a unique movie experience.
The high powered chases lacked the equally high powered soundtrack. But surprisingly, the gripping silence while waiting if the cops will catch them, sound of the cars screeching is enough to keep you at the edge of your seat.
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There are remnants of Quentin Tarantino and Michael Mann’s Collateral apart from others.There was a mix of different inspirations in Nicolas Wending Refn’s work. He made good use of songs that doesn’t seem appropriate for the scene but miraculously worked. Drive made use of the beauty of silence and reading between the lines – from Gosling and Mulligan’s flirtations to the gripping silence while waiting for Standard (Oscar Isaac) to get into the car after robbing a bank, it ultimately worked for the movie...and then some - there are times when the “staring matches” is unnecessary at times that I can’t help but exclaim “now what” while waiting for the punch line.
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I love how one character’s piece of clothing becomes an entirely new character as it embodies the actor’s state of mind. And the cars, who will forget about the cars Gosling smoothly used – from the Chevy, to the other cars my girly mind is not aware of (and is not that interested to know more of).
My only wish is that the holes in the story were answered. There are unpolished scenes that made me wonder how the character went from here to there. But I can forgive these little flaws after Ryan Gosling gave his best performance to date. He is the only actor I know who effectively showed variations of loving, frightened, anxious, furious stares. His character do not have a back story, but his portrayal exemplified profound meaning and depth.
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Overall, the movie works best for the filmgoer who would like to watch something that would channel their brain cells, test their analytical skills or simply wants to watch something extraordinary. Not for the filmgoer who wants a light-hearted, fun film and gets easily bored by lengthy sequences.
"Drive" opens on Nov 9 exclusively at Ayala Malls Cinemas -- Glorietta 4, Greenbelt 3 and Trinoma.

Carey Mulligan, Dragged into the Underworld in "Drive"

6:23:00 PM
A Press Release - One of the most talented young actresses working today, Oscar Best Actress nominee Carey Mulligan (“Never Let Me Go,” “Money Never Sleeps”) stars opposite Ryan Gosling in FilmDistrict's critically acclaimed thriller “Drive.” Winner of the Best Director prize in this year’s Cannes Film Festival, “Drive” will be shown exclusively at Ayala Malls Cinemas (Glorietta 4, Greenbelt 3 & Trinoma) starting Nov. 9.

The film is directed by Nicolas Winding Refn and adapted from James Sallis's 2005 novel of the same name. In the film, Driver (Gosling) is a Los Angeles wheelman for hire, stunt driving for movie productions by day and steering getaway vehicles for armed heists by night. Though a loner by nature, Driver can't help falling in love with his beautiful neighbor Irene (Mulligan), a vulnerable young mother dragged into a dangerous underworld by the return of her ex-convict husband Standard (Oscar Isaac).

 Mulligan had been a fan of Refn’s past films “Bronson” and “Valhalla Rising” and had even mentioned to her agent that she wanted to work with a director like Refn, but it was only after she expressed interest in the script that she learned who was helming “Drive.” The actrees’ enthusiasm was matched by Refn's, who immediately ordered small rewrites of Irene's backstory so he could cast Mulligan. In the novel, ‘Irene’ is a Latina. Director Refn confirms, “Originally I was looking for a Latina actress. I hadn’t seen Carey’s films, but the minute she walked in the door, I knew we had our ‘Irene.’ It just cemented the love story in a much more interesting way. It made it more of a ‘Romeo & Juliet‘ kind of love story without the politics that would in this day and age be brought into it if you had different nationalities or different religions.”

Mulligan explains her interest in the part: “Irene's character was a challenge because she's really the pivot point for the film's secondary plot, which is literally about the love triangle between her, Driver and Irene’s husband Standard but dramatically is about where they'll all end up in the most meaningful sense. And it's not an easy decision for her. Driver certainly seems like Irene's knight in shining armor, but Standard is drawn very sympathetically, as someone who's made mistakes but is genuinely trying to turn his life around. Plus she's loved him since she was 17. So to be able to play those two impulses off of one another, especially after Standard and Driver form an uneasy alliance, gave me so much to work with.” Says Refn: “Since I was a teenager, I've been a big fan of `Sixteen Candles.’ I've always wanted to remake that film one way or another and, in a very unlikely way, I've done that with `Drive.’ Carey has all the intelligence and charm of a young Molly Ringwald. The romantic scenes she has with Ryan make for a very delicate and beautiful contrast to the brutality in the rest of the film.”

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