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© DR - MIDNIGHT RUN (1988) fin
07/11/2012 05:17
En haut à gauche (fusil) John Ashton très bon "second couteau"
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Trivia,potins,anecdotes
-Paramount Pictures originally owned the rights to Midnight Run, and they wanted a big name star to appear opposite De Niro in order to improve the film's chances at the box office. It was suggested that the character of John 'Duke' Mardukas be changed to a woman, and be played by 'Cher', who had had recent box office success with Les sorcières d'Eastwick, Suspect dangereux and Éclair de lune. It was felt that casting Cher opposite De Niro would lend some "sexual overtones" to the relationship between the two characters.
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Director Martin Brest however, rejected the gender switch idea, so Paramount next suggested giving the role to Robin Williams, who had recently had a big hit with Good Morning, Vietnam. Williams read and liked the script, and agreed to audition. In the meantime however, Brest had auditioned the little known Charles Grodin and had liked Grodin's interaction with De Niro. As such, Breast cast Grodin without auditioning Williams, and Paramount decided to drop out of the project, selling the rights to Universal, who went ahead with the De Niro/Grodin casting.
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-Robert De Niro spent time with bounty hunters as part of his preparation for this role.
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-Charles Grodin changed a line in the screenplay from "As an accountant" to "As your accountant" to show the growing bond between Walsh and Mardukas.
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-Charles Grodin has permanent scars resulting from the real handcuffs he had to wear for a great deal of the film.
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-The boxcar scene where Jack Walsh (Robert De Niro) and John Mardukas (Charles Grodin) discuss whether or not they could ever be friends, was almost entirely improvised on set. As regards Grodin's famous "Have you ever had sex with a chicken?" line, he was told by director Martin Brest to come up with something that was guaranteed to make even Robert De Niro laugh.
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-The scene where John Mardukas (Charles Grodin) falls off a cliff was shot in the Salt River Canyon in eastern Arizona. However, the conclusion of the scene, the shots of
Mardukas and Jack Walsh (Robert De Niro) crashing through the river rapids, was shot in New Zealand because the water was too cold in Arizona.
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-The famous "Litmus Configuration" scene was mostly improvised.
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-Danny Elfman wrote lyrics for the end credits theme "Try to believe". He sang the lead and recorded it with his band Oingo Boingo under the guise of "Mosley & the B-men". This version only appears on the soundtrack album. It was mixed by Brian Foraker
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-Dennis Farina shot all of his scenes in Las Vegas because he was also shooting the TV show Les incorruptibles de Chicago there as well.
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-John Ashton said that Robert De Niro got into the part so much that during the fight scene on the train, De Niro actually hit him.
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-The word "fuck" is used exactly 119 times in the movie.(c'est bien...c'est un minimum...F.U.C.K!!!)
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-The character played by Jack Kehoe in the bail bonds office was named after a Hollywood attorney in the 1940s, Jerry Geisler. Geisler's clients included Errol Flynn and Marilyn Monroe.
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-In the scene where Marvin is knocked out by Serrano's thugs, the script originally had him killed in that scene. But it was changed because if not for his presence at the climax, it would have wound up a lot less dramatic and suspenseful.
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-After doing Les incorruptibles, Robert De Niro was looking for some lighter material to do next. Initially, he wanted to play the lead in Penny Marshall's Big, but the studio wasn't interested in having DeNiro play the role, and it ultimately went to Tom Hanks. De Niro was then offered Midnight Run, which he liked, and agreed to appear in.
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-The film was shot on location in Arizona, Chicago, New York, Los Angeles, Michigan, Manhattan, Las Vegas, Idaho and New Zealand.
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-Yaphet Kotto was suffering from a fever for almost his entire involvement in the movie.
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-The idea to have Jack Walsh (Robert De Niro) continually checking his watch, and the whole back-story related to his habit, was all De Niro's own idea.
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-The theatrical trailer for the film shows several scenes which were not included in the final cut. For example, shortly after Jack (Robert De Niro) has captured Jonathan (Charles Grodin) for the first time, there is a scene where they are driving down a city street at night, and Mardukas tries to escape from the car, causing Jack to point his gun at Mardukas and tell him to make himself comfortable, to which Mardukas responds "I'm very comfortable."
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Another scene involves Jack, Jonathan and Marvin (John Aston) in the car trying to escape from the helicopter, and Jack turns around and yells "They're gaining on us," to which Mardukas responds "Of course, they're gaining on us, they're in a helicopter." A third scene occurs when Jack and Mardukas get the lift from the Native Americans, and as they are traveling along the road a Native American asks them if they travel a lot, to which Jack and Mardukas look knowingly at one another.
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-Charles Grodin said the script was the best he had ever read.
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-Alonzo Mosely's sunglasses are gold-plated versions of the iconic 1978 Porsche Design "Exclusive Sunlasses" model. The Porsche Design logotype can be seen in the closeups of Mosely in the "agent Foster Grant" scene at the bus station.
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-The helicopter pursuing 'Jack Walsh', 'Jonathan Mardukas', and 'Marvin Dorfler' is a Bell 206L-3 LongRanger III according to the Civil Rotorcraft Registry record for its tail number, N2303V.
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-In the latter part of the film, there is a shot of 'Jimmy Serrano' and his associates walking from a taxi into a casino in Las Vegas. The Dunes Hotel's sign is clearly visible against the sky in the background, and its hotel tower can be seen at the left edge of the screen. This indicates that the camera was pointed toward Las Vegas Boulevard from the Dunes property. The Dunes closed in 1993 and Bellagio was built on its former grounds.
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-The helicopter in which 'Mosely' rides during the off-road Arizona chase scene is an example of the MD 500 series.
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-The Blue Angel Motel in Las Vegas is scheduled to be demolished to make way for 91,000 square feet of retail stores, restaurants and entertainment venues in 2012. The motel has seen better days, but its iconic statue of a blonde woman wearing a blue dress will be preserved. Adored by locals and visitors alike, the statue was designed by Betty Willis, who also designed the Stardust Casino sign and the world-famous "Welcome to Fabulous Las Vegas" sign.
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-The taxi driver ('Bob Maroff' (gv)), who snubs Jack ('Robert De Niro' (gv)) in the last scene, played alongside De Niro in the movie _Taxi Driver (1976)_(gv).
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-Bruce Willis was considered for the role of Jonathan Mardukas.
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-Albert Brooks turned down the part of Jonathan Mardukas.
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© DR - Yaphet Kotto - Filmographie
07/11/2012 06:40
En haut à gauche aux cotés de Sigourney Weaver /à droite avec Pam Grier
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Yaphet Kotto
(15 novembre 1939 à New York) est un acteur américain,
membre de Actors Studio de New York,
connu surtout pour son rôle dans Alien - Le huitième passager et
celui du méchant dans Vivre et laisser mourir.
Interprétant souvent des seconds rôles dans des films d'action
des années 80 et 90, il a également joué dans la série Homicide.
Carrière
Dès l’âge de 16 ans, Yaphet Kotto étudie le théâtre et à 19 ans fait ses début professionnels dans la pièce Othello ou le Maure de Venise. Après ses cours à l'Actors Studio de New York, il débute sur les planches de Broadway ou il apparaît, entre autres, dans la pièce The Great White Hope. Il tourne dans son premier film en 1963 et joue en 1968 dans L'Affaire Thomas Crown. Il décroche en 1973 le rôle du méchant dans un James Bond, Mr Grosbonnet du film Vivre et laisser mourir. Mais le rôle qui le rendra célèbre est celui de Parker dans Alien - Le huitième passager. Il jouera ensuite avec Robert Redford en interprétant Dickie Coombes, un gardien de prison dans Brubaker. Il tournera dans les années 80 et 90 dans des séries B d'action. Il fait des apparitions dans des séries télévisées en guest star. De 1993 à 1999, il interprète le lieutenant Al Giardello dans la série Homicide.
Filmographie
1968 : L'Affaire Thomas Crown de Norman Jewison : gangster
1969 5 cartes à abattre d henry hathaway: le barman
1970 : On n'achète pas le silence de William Wyler : Sonny Boy Mosby
1972 : Bone de Larry Cohen : Bone
1972 : Man and Boy de E.W. Swackhamer : Nate Hodges
1972 : Meurtres dans la 110ème rue de Barry Shear : Pope
1973 : Vivre et laisser mourir de Guy Hamilton : Docteur Kananga/Mister Big
1974 : Truck Turner de Jonathan Kaplan : Harvard Blue
1975 : Report to the Commissioner de Milton Katselas : Richard "Crunch" Blackstone
1975 : Friday Foster de Arthur Marks : Hawkins
1976 : Drum de Steve Carver : Blaise
1978 : Blue Collar de Paul Schrader : Smokey James
1979 : Alien - Le huitième passager de Ridley Scott : J.T. Parker
1980 : Brubaker de Stuart Rosenberg : Dickie Coombes
1984 : La Nuit des juges de Peter Hyams : détective Harry Lowes
1987 : Running Man de Paul Michael Glaser : William Laughlin
1987 : Prettykill de George Kaczender : le lieutenant Harris
1988 : Midnight Run de Martin Brest : Alonzo Mosely
1988 : Terminal Entry de John Kincade : de Col. Styles
1988 : The Jigsaw Murders de Jag Mundhra : docteur Fillmore
1990 : Tripwire de James Lemmo : Lee Pitt
1991 : La Fin de Freddy : L'Ultime Cauchemar de Rachel Talalay : doc
1993 : Extreme Justice de Mark L. Lester : Larson
1994 : Les Maîtres du monde de Stuart Orme : Ressler
1996 : Pour l'amour de l'art de Bill Bennett : O'Malley
2000 : Homicide de Jean de Ségonzac : Lieutenant Al "GEE" Giardello
Télévision
1977 : Raid sur Entebbe (Raid on Entebbe)
1983 : L'Agence tous risques - Saison 1 : Charlie dans l'épisode 8
1983 : For Love and Honor - Saison 1 : Sergent James "China" Bell
1985 : Meurtres en série (Deadline for Murder: From the Files of Edna Buchanan) : Marty Talbot
1987 : Arabesque - Saison 4 : Lt. Bradshaw dans l'épisode 8
1993 : SeaQuest, police des mers - Saison 1 : Jack Clayton dans l'épisode 4
1993 : Homicide (série télévisée) saison 1 : Al "Gee" Giardello
1994 : Homicide (série télévisée) saison 2 : Al "Gee" Giardello
1994 : Homicide (série télévisée) saison 3 : Al "Gee" Giardello
1995 : Homicide (série télévisée) saison 4 : Al "Gee" Giardello
1996 : Homicide (série télévisée) saison 5 : Al "Gee" Giardello
1997 : Homicide (série télévisée) saison 6 : Al "Gee" Giardello
1997 : New York District / New York Police Judiciaire - Saison 8 : Lt. Al Giardello dans l'épisode 6
1998 : Homicide (série télévisée) saison 7 : Al "Gee" Giardello
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© DR - LES ASSOCIES de Ridley Scott (2003)
08/11/2012 04:43
Les Associés (Matchstick Men)
est un film américain réalisé par Ridley Scott, sorti en 2003.
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© DR - LES ASSOCIES de Ridley Scott (2003) p2
08/11/2012 05:27
Résumé
Roy et Franck sont des professionnels de l'arnaque à la petite semaine. Ils «vendent» à des prix prohibitifs des «systèmes de filtrage d'eau» bas de gamme qu'ils assortissent de lots alléchants que leurs victimes ne toucheront jamais.Tant bien que mal, ils parviennent à vivoter. Mais Roy connaît une vie privée difficile : Agoraphobe et sujet à des Troubles obsessionnels compulsifs, il décide de consulter. C'est alors qu'il découvre qu'il a une fillette de 14 ans bien décidée à retrouver son père.Passé le choc initial, Roy prend goût à sa tardive paternité. De son côté, fasciné par la «carrière» de son père, la jeune Angela désire apprendre le métier
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La critique d'Olivier Bachelard
Roy(Cage)et Frank (Rockwell) sont des arnaqueurs professionnels,que ce soit par téléphone ou à domicile. Faisant croire à des concours gagnés, à des ventes avantageuses, ils se débrouillent pour obtenir des procurations sur les comptes de personnes âgées en se faisant passer pour des enquêteurs du fisc. Roy, qui souffre de tics obsessionnels compulsifs, découvre un jour qu'il a une fille, et va l'entraîner malgré lui dans ses affaires les plus louches…
Une réussite, toute en finesse
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Ridley Scott signe ici un formidable film d'escroquerie, où le spectateur n'est pas le seul dindon de la farce. Sans dévoiler les secrets de l'intrigue, le déroulement des arnaques quotidiennes donne quelques accélérations à un récit plutôt centré sur le personnage de Nicolas Cage, et à sa découverte de la paternité, mais aussi de la réelle nature de ses tics et de son agoraphobie. L'acteur donne d'ailleurs corps de manière impressionnante,à cet homme qui doit refermer chaque porte trois fois,ou enlever le moindre fil qui dépasse de sa moquette
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Si les quelques scènes de crises compulsives (le grand ménage…) sont traitées avec décalage et donc avec une approche humoristique, Ridley Scott choisi cependant de traiter l'agoraphobie au travers de principes visuels simples, caméra tanguante et lumière saturée dans les tons clairs. La jeune Alison Lohman (24 ans) est une véritable découverte, en gamine de 14 ans, sportive et garçonne, dont l'excitation pour les choses de l'arnaque est presque contagieuse. Un rôle sensible et remarquable, dans un film piège, à voir et surtout à revoir.
Olivier Bachelard
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© DR - LES ASSOCIES de Ridley Scott (2003) p3
08/11/2012 06:30
La critique de James Berardinelli
Movies about confidence tricksters represent an old, although not necessarily respected, sub-genre of the thriller.Many of these films are cheap and cheesy,with silly plots and "twists"that are shaky and predictable There are a few notable exceptions, such as The Sting and The Grifters. To that elite list can be added Ridley Scott's Matchstick Men, which has a lot more on its agenda than the protagonists' big score - like redemption and salvation,for example.When the film is finally over,ask yourself who really gained the most.The answer may be counterintuitive, but it's not hard to figure out.
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Nicolas Cage, fresh off his performance as the oddball Kauffman twins in Adaptation,(j'lai vu celui là...avec Meryl Streep...quel radis!!!) plays Roy Waller, an obsessive/compulsive sufferer who happens to be one of the best operating grifters. Along with his partner, Frank (Sam Rockwell), there's virtually no scam he can't pull off - as long as his psychological problems remain under control. When properly medicated, Roy exhibits a few quirks - such as shutting doors three times and demanding that people take off their shoes before entering his house. But, when his pink pills run out, he becomes a mess of nervous energy, prone to facial tics and profane outbursts.
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Enter Dr. Klein (Bruce Altman), a psychiatrist who believes there's more to solving Roy's problems than medicating him. Soon, Dr. Klein has put Roy in touch with a 14-year old daughter, Angela (Alison Lohman), he never knew he had. And, just as Roy is beginning to form a bond with his teenage offspring, Frank approaches Roy about pulling off a big con on an easy mark. For the first time in his life, Roy sees a possible conflict between his personal life and his professional one, and his means of bridging it is to bring Angela in on the scam. She becomes his partner, and loves every minute of it.
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Matchstick Men is really two movies brilliantly spliced into one, each enriching the other. The first focuses on Cage's character -his psychological problems,his misgivings about his profession,and,most importantly,his relationship with Angela. The suddenness with which she arrives in his life opens up a world of possibilities he had never previously considered, and, at the same time, makes him aware of how unprepared he is for any major life-changing decision. The second focuses on Frank and Roy's cons, which, while not monumentally unique, are interesting enough to keep us involved in the game.
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In addition to being moderately suspenseful (a necessity for any movie about grifters and their crimes), Matchstick Men also has a sly, biting sense of humor that occasionally results in laugh-aloud moments. And it's emotionally satisfying, with the association between Roy and Angela becoming central to the storyline. It's fascinating to watch these two characters interact. There's a sense of discovery in this relationship, as each of these two realizes that the other fills needs they were unaware of having. Angela gets to live out the fantasy of finding out what it's like to have a real father, and Roy is given the opportunity to experience the wonders of what he missed when his wife walked out on him 14 years ago.
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For Ridley Scott, the director of such high-intensity films as Alien, Blade Runner, Thelma & Louise, and Gladiator, this represents a departure. Scott has done character-related pieces before (the afore mentioned Thelma & Louise being an example, as well as White Squall), but never have they been this light. For a filmmaker who has not previously ventured into comedy, Scott shows a deft hand. But, with someone of his experience, would it have been reasonable to expect anything less?With Roy, Nicolas Cage adds another quirky character to his resume. He is convincing without being over-the-top or irritating.
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As Angela, Alison Lohman is instantly likeable, and proves that her eye-opening performance in White Oleander was no fluke. Sam Rockwell's portrayal of Frank has just the right mix of cynicism and sincerity. The dialogue - especially that between Roy and Frank - crackles with wit and intelligence (a rarity in films these days).Unable to see the movie at the 2003 Toronto International Film Festival due to scheduling conflicts, I waited to see Matchstick Men during its opening weekend in general release. That meant shelling out some of my own hard-earned money. Happily, I can report that the experience was worth every cent of the $7.00 it cost. Matchstick Men is the first winner of the fall movie season - a welcome antidote to the summer's mindless incoherence.
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