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18832
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yago
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3
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https://zeenews.india.com/people/rahul-mahajan-headed-for-divorce-the-third-time-tv-star-reacts-to-his-separation-rumours-with-wife-natalya-ilina-2643123.html
|
en
|
Rahul Mahajan Headed For Divorce The Third Time? TV Star Reacts To His Separation Rumours With Wife Natalya Ilina
|
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[
"Zee Media Bureau"
] |
2023-08-01T12:40:26+05:30
|
Rahul Mahajan Divorce: Rahul tied the knot with model Natalya in 2018 in a hush-hush ceremony.
|
en
|
Zee News
|
https://zeenews.india.com/people/rahul-mahajan-headed-for-divorce-the-third-time-tv-star-reacts-to-his-separation-rumours-with-wife-natalya-ilina-2643123.html
|
New Delhi: Reality TV star and late former politician Pramod Mahajan's son - Rahul Mahajan's personal life has always been under the scanner. Several news reports carried buzz about this divorce from third wife and model Natalya Ilina. However, reacting to the rumours of separation, Rahul chose not to give any straight answer.
Rahul Mahajan told the Times Of India, "I want to keep my private life private. I would not like to comment on anything. I do not discuss what's happening in my personal life even with my friends... By the way, I'm doing well."
On the personal front, he was previously married to Shweta Singh (2006-2008) and later to Dimpy Ganguly (2010-2015). Both his ex-wives had reportedly accused him of domestic violence.
In 2018, Rahul (43) got married to model Natalya (25).
On the work front, Rahul Mahajan shot to fame after his stint on the reality TV show Bigg Boss 2. He later made a comeback on the show in various seasons to add a little spice and laughter element as his participation was appreciated by the fans.
Rahul has participated in reality shows including Bigg Boss 2, Bigg Boss Halla Bol, Bigg Boss 14, Smart Jodi, Nach Baliye 5 and Comedy Classes among many others.
He met his former wife Dimpy Ganguly on Rahul Dulhaniya Le Jayega which was a sequel to Rakhi Ka Swayamwar.
|
|||||
18832
|
yago
|
1
| 40
|
https://www.ibtimes.co.in/bigg-boss-8-contestant-dimpy-ganguly-gets-engaged-photo-650507
|
en
|
'Bigg Boss 8' contestant Dimpy Ganguly gets engaged [PHOTO]
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[
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"engaged",
"Photo",
"dubai based businessman",
"Rohit Roy",
"rahul mahajan ex-wife"
] | null |
[
"ananomous"
] |
2015-10-14T15:47:09+05:30
|
Dimpy Ganguly's grand wedding will be held on 27 November in Kolkata.
|
en
|
IBTimes India
|
https://www.ibtimes.co.in/bigg-boss-8-contestant-dimpy-ganguly-gets-engaged-photo-650507
|
"Bigg Boss 8" contestant Dimpy Ganguly is set to tie the knot once again.
Dimpy, who was earlier married to Rahul Mahajan, announced her engagement on social media.
According to a report in Telly Chakkar, Dimpy is engaged to Dubai-based businessman Rohit Roy. The two had been dating each other for over two years.
The report further states that the grand wedding will be held in Kolkata on 27 November.
Confirming the news, Dimpy's "Bigg Boss 8" co-contestant Sushant Divgikar told the entertainment portal: "Yes, Dimpy has got engaged. Rohit is a very good guy and I wish both of them a very good luck. I have a secret special gift for Dimpy on her wedding which she will cherish her entire life."
During "Bigg Boss 8", there were reports that Dimpy is dating a Dubai-based businessman, who owns an event management company; however, Dimpy refused to talk about the same.
In 2010, Rahul and Dimpy got married on reality show "Rahul Dulhaniya Le Jayega". However, early this year, the duo legally ended their marriage of five years.
In the last season of "Bigg Boss", fans and well-wishers hoped that the estranged couple Rahul and Dimpy would eventually reconcile and get back together. On some of the episodes, they were even seen getting emotional. But both Rahul and Dimpy maintained that they share a cordial relationship through the show.
|
|||||
18832
|
yago
|
2
| 15
|
https://www.businessinsider.in/entertainment/tv/what-happened-to-all-the-couples-that-bigg-boss-gave-us/slidelist/44910144.cms
|
en
|
What Happened To All The Couples That Bigg Boss Gave Us
|
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[] |
2014-10-22T18:58:00+05:30
|
Get the latest news on Business, Startups, Auto, Tech, Stock Market, Finance, Careers, Education, Science, Mobile, Crypto, and Sustainability on Business Insider India.
|
en
|
https://www.businessinsider.in/icons/64.ico
|
Business Insider
|
https://www.businessinsider.in/entertainment/tv/what-happened-to-all-the-couples-that-bigg-boss-gave-us/slidelist/44910144.cms
|
The second season of Bigg Boss saw two couples, and both involved the same man. Rahul Mahajan, who was rumored to be in a relationship with Payal Rohatgi even before the season started continues his romance with Payal before shifting to Monica Bedi in the later months. How he could manage to attract two women in less than three months is beyond our understanding. The relationships died natural deaths after the season ended. Now Rahul is married to Dimpy Mahajan, thanks to another reality show Rahul Dulhaniya Le Jayega, while Payal is engaged to wrestler Sangram Singh, who was seen in the last season of Bigg Boss.
Image courtesy: Deccan Chronicles
While there was no open revelation about it, it was quite visible that the Polish-German model Claudia Ciesla and Mr India Pravesh Rana were getting comfortable in each other’s presence. However, once the show ended, we heard no news about them. One more story that made rounds during this season was the one-sided love of Kamaal Rashid Khan, who refused to eat until Claudia said I love you to him, which by the way never happened, and he was caught red-handed eating in the kitchen when he thought everyone was asleep.
Had the season stuck to its original contestants, there would either be no couples or some with same sexes, because on the day it was premiered, only Shakti Kapoor went inside with 12 ladies and one transgender. However, the wild card entries brought in both entertainment and chemistry inside the house. While Amar Upadhyay was seen hitting on Vida Samadzai in the house, Akashdeep Saighal (also known as Sky) and Pooja Bedi too became a couple after the season, the one that is still going strong. Also, Mahek Chahal got proposed by her best friend Danish Khan, right before the results were announced. Sadly, the couple could not hold its engagement for long.
While it was a speculation that models Niketan Madhok and Karishma Kotak were involved when they went inside the Bigg Boss house, she was later involved with television actor Vishal Karwal, who was rumored to be with fellow contestant Sana Khan. Apparently, Vishal and Karishma are still going strong. Santosh Shukla was seen trying to impress Aashka Goradia, but that didn’t materialise.
Image courtesy BCCL
|
||||
18832
|
yago
|
1
| 17
|
https://www.bollywoodshaadis.com/articles/dimpy-ganguly-reveals-how-divorce-from-rahul-mahajan-affected-her-42396
|
en
|
Dimpy Ganguly Reveals How Divorce From Rahul Mahajan Affected Her, Recalls Moving Away From Parents
|
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[] |
2023-07-20T14:26:53+05:30
|
In a recent interview, Dimpy Ganguly opened up about her bitter divorce from Rahul Mahajan and revealed how she healed herself from the trauma.
|
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|
/images/favicon22.png
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BollywoodShaadis
|
https://www.bollywoodshaadis.com/articles/dimpy-ganguly-reveals-how-divorce-from-rahul-mahajan-affected-her-42396
|
Former model and actress, Dimpy Ganguly got married to Rahul Mahajan on the reality show, Rahul Ki Dulhaniya Le Jayenge. Their much-publicised wedding became the talk of the town and made several headlines. Later, Dimpy did many shows like Nach Baliye 5, Bigg Boss 8, Kahani Chandrakanta Ki and others. However, Dimpy and Rahul had many ugly disputes, and she accused Rahul of domestic violence after a few months of marriage. The couple had a bitter divorce in 2015, after which Dimpy stayed away from the limelight.
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Dimpy Ganguly reveals why she never talked about her past with Rahul Mahajan
In an interview with the ETimes, Dimpy Ganguly opened up about her divorce from Rahul Mahajan and revealed why she never talked about her past. The Bigg Boss fame shared that she didn't want to give any importance to her past even though people urged her to speak up. Elaborating on the same, Dimpy said:
"Many times, people urge me to speak up, talk about it, but... why? Talking about it would take up some time. I would have to invest some time, and give importance to something that is completely immaterial to me.”
Also Read: Newbie Parents, Tanvi Thakkar And Aditya Kapadia Reveal Their One-Month-Old Son's Cute Face And Name
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Dimpy Ganguly shares she distanced herself from her parents during the healing process
Dimpy went through a difficult time after her divorce from Rahul Mahajan and decided to stay away from everyone back then. The actress even distanced herself from her parents and refrained from trusting anyone. Talking about the same, she said that she was not ready to talk about what she was going through so she moved away from everyone. In her words:
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"So, there was a time when I trusted nobody. Not even trusting, I moved away from everybody.. including my own parents. We were in touch... but what I was going through, what I was thinking... they had no idea. I was dealing with a lot and I wasn't ready to talk. It was not easy for them. So, I made that choice of moving away."
Dimpy Ganguly talks about the negativity she received after her divorce
Dimpy had received a lot of criticism and hatred post her divorce from Rahul Mahajan as people left no stone unturned to troll the actress. Talking about the same, Dimpy shared that the only people who mattered to her back then were the ones who were around her. However, she added that she didn't care about the people hiding behind fake names on social media as they had no contribution in her life. She said:
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"To me, the only people who matter are the ones around me, not the ones who are hiding behind fake names or fake IDs. Even if I know somebody, who is a real person, but has no contribution in my life. As a celebrity, you just grow a thick skin. There is no other way. You cannot make everybody happy. I stopped thinking about it a long time ago. I just look out for my peace, my happiness and my world."
Don't Miss: Mahesh Babu's Daughter, Sitara's Thoughtful B'Day Celebration, Gifts Cycles To Underprivileged Girls
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Dimpy Ganguly opens up about her healing process post her divorce from Rahul Mahajan
Dimpy Ganguly did many TV shows and gained recognition, but post her divorce, she cut herself off from everything. Sharing the details, Dimpy shared that in the initial years, she had to start from scratch and had even relocated herself to start fresh. Talking about her healing process, she shared that she didn't want to talk to anybody and even though she had time, she didn't take up any project. Dimpy added:
"The initial years were hard because I had to start from scratch. I relocated and we started everything fresh. So it was hard. The only way to do it was to completely disconnect. That's why there was a period of complete silence from my life. I didn't want to talk to anybody, I didn't want to do anything. Even though I had time, I didn't take up any project. I just wanted some time to heal and to figure out my way ahead, start a new life. Once I was in a happy space again, then I came out. I made friends, I did things that I used to do."
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Dimpy Ganguly on finding love again in her life
Fast forward to today, Dimpy Ganguly is living the perfect life with her second husband, Rohit Roy, and their three beautiful kids, Reanna, Aryan and Rishaan. In the same interview, when she was asked about how she decided to spend her life with Rohit, Dimpy shared that she had found a friend, philosopher and guide in Rohit back then and she instantly began trusting him. She added:
"There was not much thinking into it. I met him and something just felt right. Whether it was pure luck or instinctive; I can't point a finger towards one thing that made me trust him. I still can't. I met him and I felt he is the person I need to trust. There was no other thought. Rohit was my olive branch from everything that I was going through. At that point, my only friend, philosopher, guide and confidante... everything was Rohit. It was easier than having too many opinions, I only had one source from where I could draw my inspiration from. There was only one person, who knew everything about me and that made it a lot easier."
What are your views about Dimpy Ganguly's revelations? Let us know.
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Age of Fraud & Treason
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Dimapur police after a long hunt finally managed to nab the conman who had swindled Rs 1.10 crore from unsuspecting Nagas. One of most wanted criminals in Nagaland, Abu Sayed, who duped hundreds of Naga people with promises of ‘doubling money’ was arrested from Lakhimpur in Assam on July 24 after evading arrest for nearly two years. The tragedy of our times is that people will go to any length to do stupid things all for the sake of greed. Whether it was the conman or the victims themselves, today our sole motive is to look for easy money through dubious means. Our society is today faced with moral bankruptcy. We subscribe to the formula “ends justify the means”. Everything is permissible as long as we become powerful or rich. There is nothing wrong if you want to achieve glory through power and wealth. But we must follow the right path to do this. It will be appropriate to mention here about the seven deadly sins which Mahatma Gandhi spoke about. Gandhi considered these seven sins as the most spiritually perilous to humanity. The seven deadly sins include ‘wealth without work’; ‘pleasure without conscience’; ‘science without humanity’; ‘knowledge without character’; ‘politics without principle’; ‘commerce without morality’; ‘worship without sacrifice’. Had Gandhi been alive today he would have been shocked to witness the extent of our depravity, brutality, selfishness and our hunger for power and wealth.
It would seem that the more modernity and progress we achieve, the greater is impoverishment of our value system. We are today living in the age of fraud and treason. Just look at the depravity we have reached. Take the case of the drama been played out on the so called holy matrimonial of part actor, part celebrity Rahul Mahajan also better known as the son of former BJP leader Pramod Mahajan. And mind you, the media is also to be blamed for this circus. The latest is that Dimpy Ganguly, who got married to Rahul Mahajan earlier this year, has reportedly left him after alleged violent abuse. Many of us who whale our time in gossip and tantalizing action will be aware that Dimpy got married to Rahul on Imagine TV's reality show Rahul Dulhaniya Le Jayega on March 6, 2010 this year. This is not the first time Rahul Mahajan has been accused of domestic violence. His first wife had also accused him of physically abusing her. After divorcing her, Rahul, whose only claim to fame is his wild antics, then decided to get married on national television after selecting from a bevy of young women. All along the media staged managed the so called reality show wasting huge money and precious time of viewers. And after all the tamasha, the marriage is about to fall apart. The media should just ignore people like Rahul Majahan. It has better things to do. Let us not give importance to such publicity seekers. Their motive is suspect. Maybe stay in the news, do extraordinary things (like getting married on prime time television) and sell the product to the gullible audience like you and me. The point is this: what are we teaching our younger generation? The public and media in particular must be careful about people who indulge in fraud and treason. Let us not patronize such elements nor become like them.
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https://timesofindia.indiatimes.com/tv/news/hindi/when-dimpy-ganguly-spoke-about-her-second-marriage-3-pregnancies-life-in-dubai-and-more/photostory/99980638.cms
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When Dimpy Ganguly spoke about her second marriage, 3 pregnancies, life in Dubai and more
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[
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2023-05-04T12:41:00+05:30
|
From getting married on national TV to getting divorced and now leading a blissful life in Dubai with three kids post-second marriage, Dimpy Ganguly has found her happiness. Former actress and now a mother to three beautiful kids, Dimpy previously spoke to ETimes TV on several occasions and she had opened up about how she had shut herself from everyone after her divorce, Rohit Roy instilling faith in her, her pregnancies and a lot more:
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en
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The Times of India
|
https://timesofindia.indiatimes.com/tv/news/hindi/when-dimpy-ganguly-spoke-about-her-second-marriage-3-pregnancies-life-in-dubai-and-more/photostory/99980638.cms
|
From getting married on national TV to getting divorced and now leading a blissful life in Dubai with three kids post-second marriage, Dimpy Ganguly has found her happiness. Former actress and now a mother to three beautiful kids, Dimpy previously spoke to ETimes TV on several occasions and she had opened up about how she had shut herself from everyone after her divorce, Rohit Roy instilling faith in her, her pregnancies and a lot more:
Dimpy shared how she had shut herself down from everyone and even her parents. Her only confidante back then was Rohit. She said, “The initial years were hard because I had to start from scratch. I relocated and we started everything fresh. So it was hard. The only way to do it was to completely disconnect. That’s why there was a period of complete silence from my life. I didn’t want to talk to anybody. There was a time when I trusted nobody. Not even trusting, I moved away from everybody… including my own parents. We were in touch… but what I was going through, what I was thinking… they had no idea. I was dealing with a lot and I wasn’t ready to talk.”
The former model and actress, who got married to Rahul Mahajan in Rahul Dulhaniya Le Jayenge, did shows like Nach Baliye 5, Bigg Boss 8, Kahani Chandrakanta Ki and many others, stayed away from the limelight post her bitter divorce in 2015. She shared, “I didn’t take up any project. I just wanted some time to heal and to figure out my way ahead, start a new life. Once I was in a happy space again, then I came out. I made friends, I did things that I used to do.”
Talking about how she found solace in her friend Rohit, Dimpy said back then, “Rohit was my olive branch from everything that I was going through. At that point, my only friend, philosopher, guide and confidante… everything was Rohit. It was easy than having too many opinions, I only had one source from where I could draw my inspiration from. There was only one person, who knew everything about me and that made it a lot easier.”
Dimpy went with her gut feeling and trusted Rohit. She said, “There was not much thinking into it. I met him and something just felt right. Whether it was pure luck or instinctive, I can’t point a finger towards one thing that made me trust him. I still can’t. I met him and I felt he is the person I need to trust. There was no other thought,” adding, “I wouldn’t change a single thing in my life, however it may have been. I needed to go through all of this. I think all of that was required for me to have a different perspective towards life. So, I won’t change a thing.”
Having two school-going kids and baby no. 3 on the way, Dimpy had sleepless nights and spoke about the challenges she faced. She shared, “When you go from 1 to 2nd baby, you divide the time accordingly and you get very comfortable. When you have a third person, the newborn takes all of your time. I am breastfeeding and suddenly it’s like all your time is being taken up by the baby and the other 2 babies are suddenly wondering ‘where did mamma go?’ The sleep deprivation takes a toll on your memory. That sometimes get to me. At times, I have completely forgotten that I have to cook a meal. There’s food for the kids, but I had to cook for myself and I would forget.”
Dimpy embraced motherhood for the third time last year on July 27. Dimpy and Rohit are parents to 3 kids – Reanna (6), Aryan (3) and Rishaan. Dimpy believed in the concept of having a big family and said, “I feel very good about myself. When I look at my family, I feel ‘wow, I have a big family’. It’s great. I don’t think anybody I have known before has imagined me to be a mom of 3. I like the admiration people have when I tell them I have 3 children. Kids don’t weigh you down, they inspire you to do more. We always liked big families. Living in Dubai, we see a lot of big families. It is not a common thing in India, but around me I have a lot of friends with big families. I see the kids are just so happy.”
Dimpy and Rohit are living it up in their own way in Dubai. Having shifted to a bigger space, Dimpy often gives a glimpse of her life with the kids. While she is a hands-on mom, hubby Rohit is the bread-earner. Dimpy shared, “He is doing his best as a father, he is doing his best as a provider. His job is extremely taxing.” Talking about shifting to a bigger house, Dimpy had told us, “She had shared, “It’s actually a villa. I got more bedrooms, we live in a community. It’s got a huge park. It’s really nice for the kids. I was a bit apprehensive before as we were in Downtown Dubai. It was the centre of everything. However, moving here and living in a community I feel brings all the families together.”
When asked about if she wished to get back to work, Dimpy shared that her plate is full right now. However she said, “Maybe once my children are older, I might think of starting something of my own… become a mompreneur or something of that sort. I might do something on social media. For now, I would love to chronicle my journey.”
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https://19idealogus.wordpress.com/category/television/
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19idealogues
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Posts about television written by 19idealogues
|
en
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https://s1.wp.com/i/favicon.ico
|
19idealogues
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https://19idealogus.wordpress.com/category/television/
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by Anisha Suvarna Nowadays, every serial has some or the other getting married and is shot in a very grand fashion. Sometime back, a friend of mine told me that there will be three grand weddings aired on television and … Continue reading →
By Sonia Khudanpur With the ever-increasing number of channels on our television and with each channel having something unique to offer, this medium influences our minds most effectively. Today, there are over 500 channels in India and several more yet … Continue reading →
By Zahra Motorwala. Marriage is believed to be a sacred institution. In India, a multicultural country, every religion has faith in the institution of marriage. We are believed to be a very traditional country and thus the ultimate aim of … Continue reading →
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Dimpy Mahajan nervous about entering Bigg Boss 8
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[
"Renee Dhyani",
"Rahul Mahajan",
"Dimpy Mahajan",
"Dimpy Ganguly",
"bigg boss"
] | null |
[
"TNN"
] |
2014-11-07T14:32:00+05:30
|
Bigg Boss Season 8 gets two new wildcard contestants - Renee Dhyani and Dimpy Ganguly Mahajan!
|
en
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The Times of India
|
https://timesofindia.indiatimes.com/tv/news/hindi/dimpy-mahajan-nervous-about-entering-bigg-boss-8/articleshow/45068411.cms
|
Sonam Bajwa stuns as the ultimate fashion diva in a black cut-out outfit
Entertainment
Bowed down by weight! Vinesh Phogat and her dreams
Lifestyle
â10 most threatening fishes in the seaâ
Lifestyle
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Rahul, Dimpy seek divine blessings
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[
"Rahul mahajan",
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"marriage",
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"harpreet",
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[
"NDTV Movies"
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2010-08-02T13:00:00+05:30
|
It was the reality TV wedding of the year. The wedding of small-time Kolkata model Dimpy Ganguly and slain BJP leader Pramod Mahajan's son Rahul.
But in less than four months, it has hit a sour note with Dimpy accusing Rahul of physical abuse and walking out on Thursday night.
Soon after she was back in the Mahajan family home but says she needs time to think. "He says he has regretted what he did. I need some time alone to think,? she maintained.
|
en
|
www.ndtv.com
|
https://www.ndtv.com/photos/entertainment/rahul-dimpy-seek-divine-blessings-6972
|
Rahul Mahajan and Dimpy Ganguly put up a show of togetherness in public for the first time today after a quarrel on Friday when the Kolkata-based model walked out to return the same day following an apparent patch up.
The couple who got married just in March this year visited the famous Sidhhivinayak temple here this afternoon to seek blessings.
"We have no issues between us and I love my wife. We are together and therefore came to take blessings of the God," Rahul, who kept his arm around Dimpi's shoulders, told reporters.
However, Dimpi. who had earlier spoke of her marital woes and physical abuse, refused to speak to the media. (Text/Photo: PTI)
Soon after she was back in the Mahajan family home but says she needs time to think. "He says he has regretted what he did. I need some time alone to think,” she maintained.
As the heir to his father's political legacy, Rahul Mahajan had it all. But he has squandered his legacy with allegations of drug abuse and repeated domestic violence.
Rahul's first marriage ended after allegations of violence. His television stint - an attempt to restore his battered image. But looks like the real life re-run could come in the way.
Rahul Mahajan's marriage to Kolkata model and actress Dimpy Ganguly earlier this year, marked a new chapter in the history of reality television in India. In some ways it also signaled the emergence of Rahul as a celebrity in his own right, away from the shadow of his father, late BJP leader Pramod Mahajan.
Rahul has lived a roller coaster life since his father was sensationally murdered by his own brother Pravin Mahajan in 2006. In the photo Rahul (C) is seen performing the last rites for his father Pramod Mahajan, ahead of his cremation at the Shivaji Park in Mumbai, on May 4, 2006. (Photo: AFP)
That was the first time Rahul was seen on national television, comforting his sister and mother. His stoic demeanour impressed many and it appeared only a matter of time before he would be inducted into the BJP to fill the void left by his father's untimely death. In the photo Rahul (R) is seen with senior BJP leader Gopinath Munde (L) as he leaves after lighting the pyre of the late Pramod Mahajan on May 4, 2006. (Photo: AFP) The inset shows him with his mother Rekha Mahajan.
But things didn't quite turn out like that. Just a month after Pramod Mahajan's death, his family woke up to another shock. On June 3, 2006, Rahul was hospitalised after an alleged cocaine overdose. His father's close aide, Bibek Maitra was declared dead on arrival at the hospital.
After being in a critical condition for days, Rahul recovered. However that wasn't the end of his troubles. On his discharge from hospital on July 6, 2006, he was arrested by the Delhi Police on charges of drug possession and consumption.
Rahul Mahajan (R) addressed a press conference in New Delhi on June 15, 2006. Embroiled in a drug abuse case, he pointed fingers at "a section of the society" for having a hidden agenda against his family and claimed that he had not committed any legal or moral wrong. After his release on bail on June 14, Rahul addressed a crowded press conference but refused to comment on any aspect of the drug abuse case against him, saying the matter was sub judice and any statement will prejudice his defense. (Photo: AFP)
Shweta had filed for the divorce on grounds of incompatibility and mutual consent of both parties. On August 1, 2008, Rahul Mahajan and his wife were granted a divorce by a Gurgaon court. District and session Judge Ramendra Jain granted their divorce after both parties mutually agreed on the move.
However there were off moments too, as Rahul sometimes got carried away in his bid for reality TV glory. The show itself came under the scanner for being a little too risqué for family viewing.
One of the talking points of the show was the on and off chemistry between him and Monica Bedi. Though Monica remained reticent in front of the media, Rahul went on record to admit he had a soft corner for the actress.
But winning Bigg Boss 2 was clearly not on Rahul's agenda. Once he had topped the popularity charts, Rahul decided to break out of confinement along with three other housemates - Zulfi Sayed, Raja Chaudhury and Ashutosh Kaushik. While the other three reportedly apologised for their behaviour, Rahul was evicted from the show after refusing to follow their example.
|
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18832
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https://timesofindia.indiatimes.com/tv/news/hindi/from-facing-negative-comments-to-shutting-herself-from-the-limelight-what-dimpy-ganguly-went-through-post-divorce-from-rahul-mahajan-exclusive/photostory/101955084.cms
|
en
|
From facing negative comments to shutting herself from the limelight: What Dimpy Ganguly went through post divorce from Rahul Mahajan - Exclusive
|
https://static.toiimg.com/photo/101954909.cms
|
https://static.toiimg.com/photo/101954909.cms
|
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[] |
[] |
[
"dimpy ganguly",
"rahul mahajan",
"rohit roy",
"dimy",
"rahul"
] | null |
[
"Sukarna Mondal"
] |
2023-07-19T18:52:00+05:30
|
Dimpy Ganguly is leading the perfect life with husband Rohit Roy and three beautiful kids – Reanna, Aryan and Rishaan. The Bigg Boss fame had a much publicised wedding previously with Rahul Mahajan on reality show – Rahul Ki Dulhaniya. But that marriage didn’t last long after she accused him of domestic violence. In an exclusive interaction with ETimes TV long back, Dimpy had opened up about the healing time post her first marriage and how she regained herself and found love.
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/tv/news/hindi/from-facing-negative-comments-to-shutting-herself-from-the-limelight-what-dimpy-ganguly-went-through-post-divorce-from-rahul-mahajan-exclusive/photostory/101955084.cms
|
Dimpy Ganguly is leading the perfect life with husband Rohit Roy and three beautiful kids – Reanna, Aryan and Rishaan. The Bigg Boss fame had a much publicised wedding previously with Rahul Mahajan on reality show – Rahul Ki Dulhaniya. But that marriage didn’t last long after she accused him of domestic violence. In an exclusive interaction with ETimes TV long back, Dimpy had opened up about the healing time post her first marriage and how she regained herself and found love.
She said that the only people who mattered to her back then were the ones who were around her and not the people hiding behind fake names. She said, “To me, the only people who matter are the ones around me, not the ones who are hiding behind fake names or fake IDs. Even if I know somebody, who is a real person, but has no contribution in my life. As a celebrity, you just grow a thick skin. There is no other way. You cannot make everybody happy. I stopped thinking about it a long time ago. I just look out for my peace, my happiness and my world.”
Dimpy didn’t want to give any importance to her past and said, “Many times, people urge me to speak up, talk about it, but… why? Talking about it would take up some time. I would have to invest some time, and give importance to something that is completely immaterial to me.”
The reality TV show personality did many TV shows as well. But post the divorce, she cut off from everything. Dimpy said back then, “The initial years were hard because I had to start from scratch. I relocated and we started everything fresh. So it was hard. The only way to do it was to completely disconnect. That’s why there was a period of complete silence from my life. I didn’t want to talk to anybody, I didn’t want to do anything. Even though I had time, I didn’t take up any project. I just wanted some time to heal and to figure out my way ahead, start a new life. Once I was in a happy space again, then I came out. I made friends, I did things that I used to do.”
Dimpy back then decided to stay away from everyone, even her parents. About the same, she said, “So, there was a time when I trusted nobody. Not even trusting, I moved away from everybody… including my own parents. We were in touch… but what I was going through, what I was thinking… they had no idea. I was dealing with a lot and I wasn’t ready to talk. It was not easy for them. So, I made that choice of moving away.”
Dimpy found a friend, philosopher and guide with her now husband Rohit Roy back then. She said, “Rohit was my olive branch from everything that I was going through. At that point, my only friend, philosopher, guide and confidante… everything was Rohit. It was easier than having too many opinions, I only had one source from where I could draw my inspiration from. There was only one person, who knew everything about me and that made it a lot easier. If I had a lot of people around, it would have only created confusion. If you get hit by anything, you don’t have to bounce right then. Take time to heal. At that time, trust only your doctor and nobody else.”
When asked about how she decided that she can spend her life with Rohit, Dimpy replied, “There was not much thinking into it. I met him and something just felt right. Whether it was pure luck or instinctive, I can’t point a finger towards one thing that made me trust him. I still can’t. I met him and I felt he is the person I need to trust. There was no other thought.”
The former model and actress got married to Rahul Mahajan in Rahul Ki Dulhaniya Le Jayenge, did shows like Nach Baliye 5, Bigg Boss 8, Kahani Chandrakanta Ki and many others. The couple had many ugly disputes and differences. Dimpy had accused Rahul of domestic violence after a few months of marriage, which made them file for divorce. She stayed away from the limelight post her bitter divorce in 2015.
|
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https://www.spotboye.com/television/television-news/bigg-boss-14-rahul-mahajan-has-been-married-not-thrice-but-4-times-claims-controversy-queen-gehana-vasisth-claims/5fcdc99f4744d36ffd37216b
|
en
|
BIGG BOSS 14: Rahul Mahajan Has Been Married Not Thrice, But 4 Times, Claims Controversy Queen Gehana Vasisth
|
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[] |
[] |
[
"bigg-boss-14",
"rahul-mahajan",
""
] | null |
[
"Neeki Singh"
] |
2020-12-07T06:20:15.856000+00:00
|
Gehana Vasisth who is known for stirring up controversies and gaining lime light has come up with a new hypothesis. The actress who often claims to know the personal life of celebrities getting locked inside Bigg Boss house, now has something to say about Rahul Mahajan. | Read at SpotboyE
|
en
|
https://www.spotboye.com/favicon.ico
|
https://www.spotboye.com/television/television-news/bigg-boss-14-rahul-mahajan-has-been-married-not-thrice-but-4-times-claims-controversy-queen-gehana-vasisth-claims/5fcdc99f4744d36ffd37216b
|
Up Next
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18832
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yago
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https://www.popxo.com/2020/10/indian-reality-shows-crazy-moments/
|
en
|
Moments From Reality Shows That Had Us Saying 'Ye Kya Ho Raha Hai' I POPxo
|
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[
"khushboo sharma"
] |
2020-10-01T00:00:00
|
Isn't there something about cringe tv that keeps us intrigued and glued to the screen? Here are ten of such super cringy moments from Indian reality shows that had us going "what the hell."
|
en
|
/favicon.png
|
India's Largest Digital Community of Women | POPxo
|
https://www.popxo.com/2020/10/indian-reality-shows-crazy-moments/
|
If you think about it, the reality TV formula works simply for the shock factor associated with it. Pick any reality show and you will be sure to find at least one contestant who keeps the madness going by giving us the kind of moments that always get us saying, ‘yeh kya ho raha hai!’
But then again, there is something about cringe TV that keeps us intrigued and glued to the screen which is also the reason why most of them have TRPs that are bomb AF. Well, you’d totally agree if you happen to be a reality show fanatic just like us. And if that’s the case, you are sure to love this compilation of 10 of the weirdest moments in the Indian reality history so far. Scroll down:
When Shehnaaz Gill Started Beating Herself On Bigg Boss
Instagram
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Bigg Boss 13 has been the most successful season of the cult reality show to date. A huge part of this success has been credited to Shehnaaz Gill, the self-confessed attention lover. In all honesty, she was quite entertaining and most of the time a delight to watch. Well, this was only till she got all the attention that she craved for. Things quickly went haywire once she started losing her grip of the same and there came a point when she got so upset by it all that she started beating herself in frustration. She did this more than once during the run of the show and also used it as a threat to get her wishes fulfilled. Just too much!
When Salman Told Rashami About Her Boyfriend’s Marriage On Weekend Ka War
Instagram
Things were going suspiciously well between Rashami Desai and Arhaan Khan in Bigg Boss 13 when Salman Khan dropped a major bomb. It was really, really hard to digest and mind-blowingly unbelievable when the host revealed that while Arhaan might have proposed Rashami for marriage, he actually has a past that she doesn’t even have the slightest hint about. It was revealed during the episode that Arhaan, in fact, has been married before and also has a kid from that marriage. Later on, other guests in the show also warned Rashami about him and told her how he has been misusing her name, house, and resources for his own gain all this while.
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When We Saw 16 Women Fighting For Rahul Mahajan
Image Source
I think the fact that we had a total of 16 girls fighting for Rahul Mahajan was fantastical enough to really gape at for the starters. However, it got a bit too eerie even for our cringe-crazed heart when Rahul announced that he was actually going to get married on national television and we actually had to witness sangeet and mehendi of three women out of which only one was going to marry the guy. So bizarre and so cruel!
When Rahul And Dimpy Went To Emotional Atyachar
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Image Source
In what looked like a clear case of the scripted reality show, just a few months after marrying Rahul Mahajan on national TV, Dimpy Ganguly was seen on Emotional Atyachar asking for a loyalty check to be conducted on Rahul Mahajan. But, of course, it got even weirder. The woman sent on an undercover mission to entice him and check his loyalty, ended up being with Nikunj Malik, the runner up of Rahul Dhulaniya Le Jaega. Quite surprisingly, Rahul conducted himself really well and didn’t even raise as much as a brow even after finding out that his wife had a loyalty check conducted on him. So weird! Also, so scripted.
Everytime Someone Talks To Oracle On Splistvilla
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Okay, we are sure that MTV Splitsvilla really, really underestimated the audience’s intellect when they came up with the concept of Oracle in the show. We were told that the makers have legit found real soulmates by running an algorithm test on the contestants. However, it was just an insult to our intelligence every time the contestants were presented in front of the huge pyramid-like Oracle and legit asked questions like, “Oracle, kya hum ek ideal match hain.”
When Skulls & Roses Turned Out To Be Nothing But A Soft Porn Show
Instagram
Raghu Ram was pretty sure that he has finally come with the ultimate reality show that will trump his Roadies’ success when he started promoting Skulls and Roses. Quite naturally, it was a huge disappointment when it turned out to be nothing but a soft porn show. It followed a weird concept, where contestants were treated like slaves and women were openly objectified in almost every episode. Each one of their so-called “chemistry tests” had us going “yeh kya ho raha hai!” Just for context, dialogues like “Mat kar, mat kar, erection aa raha hai mujhko” and “Main badi bold aur sexy kisim ki ladki hoon” were common AF in the show.
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When Vishal & Madhurima Were Just Too Much
Instagram
We don’t know what was going on in ex-flames Madhurima Tuli and Vishal Aditya Singh’s mind when they decided to participate together in not one but two reality shows right after their break up. Before creating havoc in the Bigg Boss 13 house, the two participated in Nach Baliye 9 with the hopes of mending their relationship. However, things got really ugly when the two could not wait for even the cameras to stop rolling before engaging in a heated argument over a recent fight where Madhurima had apparently slapped Vishal! The topic enraged the former so much that she ended up smashing the mike right in front of the judges. Too much violence and this continued happening in the Bigg Boss house as well. We are yet to decide what really was happening with their strange (not to forget) abusive relationship.
When Rannvijay Asked For A Contestant’s Chest Size
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Instagram
Otherwise known for his graceful demeanour, Rannvijay left everyone surprised after he ended up asking a potential contestant, Adhelna about her chest size during Roadies auditions. It was pretty unsettling. However, he soon revealed the motive behind the questions and shared how the girl had actually made one of her friends’ text Nikhil about her chest size so as to increase her chances of getting selected.
When Swami Om Threw Urine On His Fellow Contestants
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From getting in an ugly fistfight with a woman on national television to stealing bicycles, you name it and Bigg Boss 10 fame Swami Om has done it! But wait there’s more! During his appearance on Bigg Boss, he also claimed he has to follow a strict discipline to preserve his practice and was later seen binging on tandoori chicken and kebabs. Notorious for agitating people by his antics, Swami Om crossed all boundaries after he ended up throwing his urine on fellow contestants Bani J and Rohan Mehra. It was really unsettling to watch and he was duly thrown out of the show even before we could gather ourselves and react to what had happened.
When Varun & Divya Ended Up Getting Together In A Weird ‘Coincidence’
Instagram
Weeks after Benafsha & Priyank were seen cozying up on Bigg Boss 12, their ex-partners Divya and Varun were seen getting close in Ace of Space. And while all of this could have been all organic, it has just been an unappetising watch to see all of these reality stars continuously switching partners in weird coincidences.
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So fam, which one of these reality show moments was the most bizarre of them all?
Featured Image: Instagram
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|
https://www.missmalini.com/2018/11/24/heres-what-former-bigg-boss-contestant-rahul-mahajans-ex-wife-dimpy-ganguly-had-to-say-about-his-third-marriage
|
en
|
Here's What Former Bigg Boss Contestant Rahul Mahajan's Ex-Wife Dimpy Ganguly Had To Say About His Third Marriage
|
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] |
[] |
[] |
[
""
] | null |
[
"Pallavi Manoj"
] |
2018-11-24T00:00:00
|
Here's what Dimpy Ganguly, Rahul Mahajan's ex-wife has to say about him getting married for the third time.
|
en
|
MissMalini
|
https://www.missmalini.com/2018/11/24/heres-what-former-bigg-boss-contestant-rahul-mahajans-ex-wife-dimpy-ganguly-had-to-say-about-his-third-marriage
|
Earlier this week, former Bigg Boss contestant Rahul Mahajan tied the knot with Kazakhstan model Natalya Ilina. Soon after the wedding, pictures from the low-key ceremony had gone viral on social media. Social media is filled with mixed reactions from best wishes to people questioning the age gap between the two or that it’s Rahul’s third marriage. Amidst this, a Spotboye report revealed what his ex-wife Dimpy Ganguly had to say about his recent wedding.
On a serious note, I am glad to know that! And hope he really finds happiness this time around… like I have done. Many Congratulations to the newlyweds.
Having said that, she also praised Rahul’s courage to get married once again.
I have to give the man credit for his courage! I just know how one broken marriage can affect you and he had two. Still, he still believes in the institution. That says something about his optimism.
After her separation from Rahul, she married businessman Rohit Roy. She is also has a daughter, Reanna Roy.
Rahul’s last two marriage had ended in accusations of violence and domestic abuse.
But Dimpy said,
Maybe it won’t be/is not like that with her. People can change you know. For the sake of both, I really hope all that doesn’t happen. It’s the worst thing one can do to another.
Meanwhile talking to a leading daily, Rahul had disclosed the reason why he had such an intimate wedding ceremony. He revealed that he previously had two grand weddings but none of them worked out and hence the couple had opted for a low-key affair. The couple has reportedly known each other for a year.
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https://www.hindustantimes.com/tv/bigg-boss-8-meet-new-wild-card-entries-renee-dhyani-dimpy-ganguly-mahajan/story-Qx8JRHj9bcwdYhzOPdhVdK.html
|
en
|
Bigg Boss 8: Meet new wild card entries Renee Dhyani, Dimpy Ganguly Mahajan
|
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"Dimpy Mahajan",
"Renee Dhyani",
"Bigg Boss 8",
"Bigg Boss 8 news",
"Bigg Boss updates",
"Bigg Boss 8"
] | null |
[
"HT Correspondent"
] |
2014-11-07T16:25:55+05:30
|
After Ali, reality TV show contestants Renee Dhyani and Dimpy are all set to enter Bigg Boss 8 house as the next wild card entries this season.
|
en
|
Hindustan Times
|
https://www.hindustantimes.com/tv/bigg-boss-8-meet-new-wild-card-entries-renee-dhyani-dimpy-ganguly-mahajan/story-Qx8JRHj9bcwdYhzOPdhVdK.html
|
Hindustan Times | By, New Delhi
After Ali, reality TV show contestants Renee Dhyani and Dimpy are all set to enter Bigg Boss 8 house as the next wild card entries this season.
After Ali, reality TV show contestants Renee Dhyani and Dimpy Ganguly Mahajan are all set to enter Bigg Boss 8 house as the next wild card entries this season.
On Thursday's episode, Dimpy made a rocking entry with the song Aa Re Pritam Pyaare. Only, her face was covered with the
ghoonghat
. Karishma was apparently 'mortified' to see Dimpy once her face was revealed.
Dimpy Mahajan now prefers to call herself Dimpy, post her separation from Rahul Mahajan. Winner of a reality show, Dimpy rose to fame when she married Rahul Mahajan. They were the first couple in India to get married on national television on the show Rahul Ka Swayamvar (2010). However, the marriage only lasted for four years after which they filed for divorce.
Speaking about Bigg Boss house, Dimpy earlier said, "Bigg Boss is one of the biggest shows on television. I am nervous about how will the show work out for me. While I am familiar with a few of the housemates, they have an advantage over me since they have already been living in the house for over a month now. I am going inside with a positive frame of mind and hopes of making some changes. Let’s see how it goes."
Renee Dhyani, a popular contestant on MTV’s Roadies Season 8, gained prominence as one of the more loud contestants who had a strong opinion and is not afraid to voice it. She is known to be short-tempered as well.
Renee, however, claims to have a completely different agenda on Bigg Boss and says she want a change of image. Before entering the house, Renee said, "I am extremely excited to be a part of Bigg Boss Season 8. I have been observing the contestants and their journey and hope to come across as a breath of fresh air for the viewers. I know about the image that viewers have of me and I am looking forward to showcasing my true personality and change all the preconceived notions. I am looking forward to making a lot of great memories and hope that the viewers will support me for this venture that I have undertaken."
Meanwhile, Bigg Boss promises housemates some comedy, action, madness and drama through a buzzer set up in the garden area. For the comedy, we see people dressed up as gorillas and bears entering the house and creating some entertaining mayhem.
There is also a dose of action as ninja assassins and sword fighters come visiting. The ninjas bring along a damsel in distress who the contestants are supposed to rescue. However, the hostage that the ninjas leave behind is wild card entry Renee.
In the evening, Dimpy makes her entry while dancing to item song Aa Re Pritam Pyaare along with some goons and cops. The contestants join the guests only to realise that this, too, is another wild card entry.
Catch all the drama at 9pm on COLORS TV.
Catch every big hit, every wicket with Crickit, a one stop destination for Live Scores, Match Stats, Infographics & much more. Explore now!.
Get more updates from Bollywood, Taylor Swift, Hollywood, Music and Web Series along with Latest Entertainment News at Hindustan Times.
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https://www.peepingmoon.com/buzz/news/23537/Ex-Bigg-Boss-contestant-Rahul-Mahajan-gets-married-third-time-ties-the-knot-with-Kazakhstan-model-Natalya-Ilina.html
|
en
|
Bigg Boss contestant Rahul Mahajan gets married third time; ties the knot with Kazakhstan model Natalya Ilina
|
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2019-01-11T00:00:00
|
Rahul Mahajan, son of former union cabinet minister Pramod Mahajan and former Bigg Boss contestant, got married in a secret ceremony on Tuesday. The 43-year old tied the knot with 25-year old model Natalya Ilina, who hails from Kazakhstan, at
|
en
|
https://www.peepingmoon.com/
|
https://www.peepingmoon.com/buzz/news/23537/Ex-Bigg-Boss-contestant-Rahul-Mahajan-gets-married-third-time-ties-the-knot-with-Kazakhstan-model-Natalya-Ilina.html
|
Rahul Mahajan, son of former union cabinet minister Pramod Mahajan and former Bigg Boss contestant, got married in a secret ceremony on Tuesday. The 43-year old tied the knot with 25-year old model Natalya Ilina, who hails from Kazakhstan, at a temple in Malabar Hill with only approximately 25 people present at the ceremony.
For the unversed, Rahul was previously married to pilot Shweta Singh apart from reality-show participant Dimpy Ganguly, with their marriage telecasted on the television as well on show Rahul Ka Swayamvar. Speaking on his previous two marriages, Rahul told a leading daily, “I’ve had big weddings before, but those relationships didn’t last.”
Meanwhile, talking about her wife, Rahul stated, I’ve known Natalya for a year and a half, even though we got close recently. She wants to start her own business, but I’ll go with whatever she has decided to do. Family life and peace of mind is important,” further adding that despite the age difference, Natalya and he look good together. “I am 6’2” and she is 5’10”,” he quipped. Apparently, Rahul did not want to get hitched in a grand ceremony this time.
Rahul has not officially announced her marriage or has put up pictures on social media.
|
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| 76
|
https://www.darpanmagazine.com/entertainment/bollywood/dimpy-and-i-are-nothing-more-than-friends-rahul-mahajan/%3Fpage%3D6
|
en
|
Dimpy And I Are Nothing More Than Friends: Rahul Mahajan
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[
"Darpan News Desk"
] |
2015-01-26T10:44:01
|
After his eviction from reality TV show “Bigg Boss Halla Bol”, Rahul Mahajan says he didn’t go inside the 'house' to solve issues with his estranged wife Dimpy. However, he feels that their bond has become stronger due to the show.
|
en
|
https://style.darpanmagazine.com/images/favicon.ico
|
https://www.darpanmagazine.com/entertainment/bollywood/dimpy-and-i-are-nothing-more-than-friends-rahul-mahajan/
|
Lord Ram Subject Of Amish Tripathi's Next Book
After writing extensively on Lord Shiva, bestselling author Amish Tripathi Friday revealed his next series of books will be on Lord Ram.
Lord Ram Subject Of Amish Tripathi's Next Book
Gulshan Grover To Make Tamil Debut
Gulshan Grover, known for playing negative characters in Hindi films like "Ram Lakhan" and "Bullett Raja", will be seen essaying an important role in upcoming Tamil drama "Thanneer" about the water crisis.
Gulshan Grover To Make Tamil Debut
Sambhavna SLAPS Dimpy on Bigg Boss; Rahul Mahajan TORN between ladies
As Bigg Boss Halla Bol inches towards its Grand Finale, housemate Rahul Mahajan has fallen in a dilemma. He is torn amidst a huge war of words between his estranged wife Dimpy Mahajan and his sister-friend Sambhavna Seth.
Sambhavna SLAPS Dimpy on Bigg Boss; Rahul Mahajan TORN between ladies
Akshay Kumar Not Humourless In 'Baby'
Akshay Kumar, who has featured in comic roles in films like "Entertainment" and "The Shaukeens", will not appear "humourless" in his forthcoming film "Baby", which is on terrorism. The film's director Neeraj Pandey says there's more than seriousness to the actor's character.
Akshay Kumar Not Humourless In 'Baby'
'Baby' Perfectly Timed For R-day, Obama Visit
Anupam Kher's forthcoming movie on terrorism, "Baby", is releasing Friday, just days before the country celebrates Republic Day and ahead of US President Barack Obama's India visit. The veteran actor says the movie's release couldn't have been better timed
'Baby' Perfectly Timed For R-day, Obama Visit
|
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| 21
|
https://www.ndtv.com/entertainment/rahul-mahajans-estranged-wife-dimpy-to-enter-bigg-boss-house-690067
|
en
|
Bigg Boss: Rahul Mahajan's Estranged Wife Dimpy is New Wild Card Entry
|
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[] |
[] |
[
"Dimpy",
"Rahul Mahajan",
"dimpy mahajan",
"bigg boss 8",
"bigg boss house"
] | null |
[
"Press Trust of India"
] |
2014-11-07T15:19:20+05:30
|
Dimpy, a model, shot to fame by marrying Rahul on a reality show but the marriage had its share of trouble as Rahul was accused of domestic violence by her. They reconciled only to file for divorce earlier this year
|
en
|
www.ndtv.com
|
https://www.ndtv.com/entertainment/rahul-mahajans-estranged-wife-dimpy-to-enter-bigg-boss-house-690067
|
Mumbai:
Rahul Mahajan's estranged wife Dimpy, who is entering Bigg Boss 8 tonight, says she wants to become the first wild card contestant to win the reality show.
Dimpy, a model, shot to fame by marrying Rahul on a reality show but the marriage had its share of trouble as Rahul was accused of domestic violence by her. They reconciled only to file for divorce earlier this year. "We have filed for divorce and that's all I would like to say at this point," Dimpy told PTI without divulging further details about her personal life.
She, however, did get some tips from Rahul, who was a controversial contestant on the Colors show in 2008. "He knows about my decision. He told me to be careful as there are no friends inside the house," she said. As a wild card entrant, Dimpy feels her journey inside the house is going to be tough.
"No wild card entrant has won the show so far does not mean that it cannot happen in the future. Having said that, I know that it will be difficult as other contestants have already created a fanbase and their loyalties are already formed. It is very clear that the house is currently divided into two groups. I don't know which group I would join once I am inside," Dimpy.
Having participated in shows like Nach Baliye with Rahul, Dimpy says she is not a dramebaaz in real life. "I am not a dramebaaz. I won't be loud. But when it comes to taking a stand, I will do that. I know when to put my foot down and protect myself. As far as contestants pulling publicity stunts to remain in the show, I can only say that it is not easy to wear a mask 24X7. It is not easy being a part of the show," she said.
Dimpy says she only knows Karishma Tanna from before and feels the TV star is not coming across as a real person.
|
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https://www.timesnownews.com/entertainment-news/rahul-mahajan-third-wife-natalya-ilina-headed-for-divorce-after-four-years-article-102267545
|
en
|
Rahul Mahajan, Natalya Ilina File For Divorce After Being Married For 4 Years: Report
|
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[] |
[
"rahul mahajan",
"dimpy ganguly",
"natalya ilina",
"Rahul Mahajan divorce",
"television news",
"Entertainment News",
"Times Now"
] | null |
[
"TN Entertainment Desk"
] |
2023-07-31T12:13:04+05:30
|
Reality show personality Rahul Mahajan has reportedly parted ways with wife Natalya Ilina. According to a report, Rahul and Natalya have already filed for a divorce. Natalya Ilina was Rahul's third wife, following his marriages to Shweta Singh (2006-2008) and Dimpy Ganguly., Entertainment News, Times Now
|
en
|
https://www.timesnownews.com/tnnassets/images/icons/favicon.ico
|
Times Now
|
https://www.timesnownews.com/entertainment-news/rahul-mahajan-third-wife-natalya-ilina-headed-for-divorce-after-four-years-article-102267545
|
Rajkummar Rao On Scripting History At Box Office With Stree 2: People Are Taking It As Their Personal Victory | EXCLUSIVE
Amala Paul Shares Her Fan Girl Moment With Malayalam Superstars Mammootty And Mohanlal
|
||||
18832
|
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| 74
|
https://www.afaqs.com/news/media/26156_how-lucky-would-rahul-mahajan-be-for-ndtv-imagine
|
en
|
How lucky would Rahul Mahajan be for NDTV Imagine?
|
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[] |
[] |
[
""
] | null |
[
"afaqs",
"Mitra Joshi"
] |
2010-02-01T05:30:00+05:30
|
Rakhi Ka Swayamvar grabbed the maximum eyeballs for the channel last year. Now, Rahul Dulhaniya Le Jayega wants to repeat history
|
en
|
favicon.ico
|
afaqs!
|
https://www.afaqs.com/news/media/26156_how-lucky-would-rahul-mahajan-be-for-ndtv-imagine
|
Rakhi Ka Swayamvar grabbed the maximum eyeballs for the channel last year. Now, Rahul Dulhaniya Le Jayega wants to repeat history
After Rakhi Sawant's much talked about Swayamvar, NDTV Imagine has set the stage for Rahul Mahajan's wedding.
Rakhi Ka Swayamvar proved to be lucky for the channel last year, garnering an average TVR of 2.8. In fact, the final episode garnered a TVR of 8.4 (C&S, 4+, HSM).
The question is whether NDTV Imagine will be second time lucky with Rahul Dulhaniya Le Jayega.
In its first avatar, Rakhi Ka Swayamvar engrossed the viewers for two reasons - first, it was a new format, so viewers were generally inquisitive; and second, Rakhi provided her own brand of entertainment. However, many viewers felt cheated, when the show did not culminate in marriage, but only in an engagement between the winner and Rakhi.
As Amit Ray, president and COO, Lintas Media Group, comments, "There was a lot of backlash post the show last year; it didn't fulfil its major objective, 'marriage', and turned out as a joke. NDTV Imagine has experimented with newer formats, but again, people felt cheated in Season 1. Unless there is a twist in the content, this one will be a letdown too."
This is why the channel, this time, has ensured that Mahajan keeps on saying, "It's a Shaadi, not a Swayamvar".
To establish the seriousness on Mahajan's part, Nikhil Madhok, vice-president, marketing, communication and brand management, NDTV Imagine, claims that Mahajan has selected girls for the show with whom his horoscope has matched; and the grand finale of the show will be held on the day suggested by Mahajan's astrologer.
However, other industry observers feel that the show could be watched for the entertainment quotient, irrespective of whether or not Mahajan gets married in the end. As Manas Mishra, head, Mudra Connext, opines, "Rakhi Ka Swayamvar made the channel's share of television go up by 40 per cent last year. Just one programme delivered a huge dividend. But subsequently, it came down after the show went off-air. Swayamvar is a known concept and adding new things can only make it interesting. Rahul Mahajan earned popularity through Big Boss Season 2 and this show will take it further."
Another media observer, Nikhil Rangnekar, executive director, West, Starcom India, suggests, "While Rakhi found favour with male audiences; with Rahul, things may be diametrically opposite. People might watch the show for the sake of format."
A similar opinion is voiced by Pintoo Guha, the producer of Uttran on Colors. He says, "It's not always necessary to intellectualise this medium of entertainment. At time the viewers would just like to sit back and enjoy the television."
To reassert the expected success of the show, Madhok says, "This year, the registration for participating in the show has increased by 40 per cent." While last year, the total registration was 12,515; this year, the figure has gone up to 16,755. However, one should also keep in the mind the eagerness that exists to participate in a reality show.
The channel has made room for Rahul Dulhaniya Le Jayega in the early primetime slot of 8-9 pm. For this, the show, Meera, which currently airs at 8 pm, will go off-air; and one of the channel's more popular shows, Jyoti, will be shifted to the 7:30 pm slot.
As part of the promotional activities for the show, hoardings stating 'Who is going to be Mrs Rahul Mahajan' are seen all over the city. Another activity involves putting up special hoardings in localities such as Mahim, Bandra and Juhu. On this hoarding, Mahajan will be seen with a palanquin, in which the face cut-outs of the girls will be placed. The palanquin will unveil 'on and off'.
|
||||
18832
|
yago
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3
| 1
|
https://timesofindia.indiatimes.com/tv/news/hindi/earning-my-living-through-reality-shows-rahul-mahajan/articleshow/18132472.cms
|
en
|
Earning my living through reality shows: Rahul Mahajan
|
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[] |
[] |
[
"Rahul Mahajan",
"Pramod Mahajan",
"Nach Baliye",
"Dimpy Ganguly"
] | null |
[] |
2013-01-23T00:00:00+05:30
|
After stepping into showbiz with 'Bigg Boss' and having a dream wedding on television, Rahul Mahajan says reality shows are helping him manage his exp
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/tv/news/hindi/earning-my-living-through-reality-shows-rahul-mahajan/articleshow/18132472.cms
|
8 animals whose blood is not red
Lifestyle
Top 8 cleanest beaches in India
travel
How to make Bhandare Wale Aloo at home
Food
Master your vocabulary: 10 English words that will make you sound like a native speaker
Lifestyle
Esther Anil looks charming in these pics
Entertainment
8 Dinner ideas to steal from Bollywood celebs
Food
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18832
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0
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https://www.bollywoodshaadis.com/articles/rahul-mahajan-opens-up-on-his-age-gap-of-eighteen-years-with-wife-30660
|
en
|
Rahul Mahajan Opens Up On His Age Gap Of Eighteen Years With Wife, Natalya IIina
|
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[
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"smart jodi"
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[] |
2022-02-28T20:42:09+05:30
|
Rahul Mahajan and his wife, Natalya Ilina have made their first appearance on the television show, 'Smart Jodi'. Check out as Rahul opened up on his age gap
|
en
|
/images/favicon22.png
|
BollywoodShaadis
|
https://www.bollywoodshaadis.com/articles/rahul-mahajan-opens-up-on-his-age-gap-of-eighteen-years-with-wife-30660
|
Famous television personality, Rahul Mahajan made his first appearance on the television show, Smart Jodi with his wife, Natalya Ilina. The entire nation knows about the not-so-happy past of Rahul Mahajan, who was earlier married to Shweta Singh and Dimpy Ganguly. However, both his marriages ended on a bitter note. But Rahul got lucky the third time as he found his true soulmate in Natalya.
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For the unversed, Rahul Mahajan had tied the knot with Natalya Ilina, who is a Kazakhstan model, on November 28, 2018. However, the wedding was an intimate affair, and Rahul had tried keeping his relationship away from the media glare for the longest time.
Recommend Read: Shahid Kapoor And Mira Rajput Kapoor Purchase A Swanky Mercedes Maybach Worth Rs. 3 Crore
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Recently, Rahul and Natalya participated in the reality show, Smart Jodi. The show was telecasted over the weekend. However, Rahul and Natalya's relationship story won every heart. During one of the show segments, Natalya revealed that she was trying to set him up with a girl as he was looking to tie the knot.
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Also Read: Shreya Ghoshal's Son, Devyaan Looks Exactly Like His Mommy, Their Uncanny Resemblance Is Unmissable
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Natalya also shared that she had even tried to set up Rahul with her mother as he was just three years younger to her. To this, Rahul revealed that he has an age gap of eighteen years with her. Rahul shared:
"Her mother is quite young. She is elder to me by four years. So Natalya thought of setting me up with her mom, because the age gap was less. Natalya and I have an age gap of 18 years. I made an idea that she will also look hot when she is of her mother’s age."
advertisement.
Talking about his previous two marriages, Natalya stated that it didn't matter to her as they were short-lived. It cannot even be considered marriage as they were just a few months old. According to Natalya, marriage is much more profound. Rahul further stated that he would get married fourth time as well, but it would be with Natalya.
On the work front, Rahul and Natalya have participated in the reality show, Smart Jodi!
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Next Read: Shilpa Shetty Kundra's Daughter, Samisha Shetty Kundra Gives A Flying Kiss To A Dog, Looks Adorable
AWESOME NEWS! Now you can download BollywoodShaadis app and never miss a story. Get App
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|
yago
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3
| 62
|
https://www.mensxp.com/entertainment/celebrities/48553-rahul-mahajan-ties-the-knot-for-the-3rd-time-with-his-25-year-old-girlfriend-natalya-ilina.html
|
en
|
Rahul Mahajan Ties The Knot For The 3rd Time With His 25-Year-Old Girlfriend Natalya Ilina
|
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[
"dimpy ganguly",
"rahul mahajn marriages",
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[] |
2018-11-25T09:40:28+00:00
|
this article talks about ex bigg boss contestant rahul mahajn tying the knot for the 3rd time with his girl friend from Kazakhstan named natalya ilina. He was previously married to dimpy ganguly
|
en
|
/apple-touch-icon.png
|
MensXP
|
https://www.mensxp.com/entertainment/celebrities/48553-rahul-mahajan-ties-the-knot-for-the-3rd-time-with-his-25-year-old-girlfriend-natalya-ilina.html
|
Seems like 'once bitten, twice shy' is not something Rahul Mahajn believes in. The ex-Bigg Boss contestant has been making it to the news in the past several years for just one reason- his relationships! The man was married twice in the past and as per reports, both his ex-wives accused him of domestic violence.
He was married to Shweta Singh and then reportedly had a brief attachment to fellow contestant Monica Bedi when they both appeared on the reality show together.
Later, Rahul participated in another reality show which was a 'Swayamvar' and there he fell for the pretty Dimpy Ganguly. They were married for over 5 years but their marriage was pretty turbulent, something which Dimpy spoke about often after they separated.
|
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18832
|
yago
|
0
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https://www.mid-day.com/entertainment/television-news/article/Rahul-Mahajan-s-ex-wife-Dimpy-Ganguly-gets-engaged-16609194
|
en
|
Rahul Mahajan's ex-wife Dimpy Ganguly gets engaged
|
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[
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"Dimpy Mahajan",
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"Dimpy Ganguly fiance",
"Rohit Roy",
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"Bigg Boss",
"Bigg Boss 8",
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"reality TV show",
"Dubai based beau",
"Dimpy Rohit photos",
"domestic violence",
"domestic abuse",
"Rahul Mahajan Dimpy Ganguly divorce"
] | null |
[
"A Correspondent"
] |
2015-10-15T05:30:00
|
en
|
https://www.mid-day.com/md-48.ico
|
Mid-day
|
https://www.mid-day.com/entertainment/television-news/article/Rahul-Mahajan-s-ex-wife-Dimpy-Ganguly-gets-engaged-16609194
|
Rahul Mahajan's ex-wife and former 'Bigg Boss' contestant Dimpy Ganguly took to social media to announce that she is engaged to Dubai-based beau Rohit Roy
Rahul Mahajan's ex-wife and former 'Bigg Boss' contestant Dimpy Ganguly took to social media to announce that she is engaged to Dubai-based beau Rohit Roy.
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Dimpy posted an image of her engagement ring on Instagram with the caption, "He asked and she said "it's 'bout damn time!" #engaged".
She took to Twitter to thank her well-wishers too.
Dimpy and Rohit have, reportedly, been dating each other since 2013.
Check out Dimpy and Rohit's pictures:
Dimpy met her ex-husband Rahul Mahajan on the reality TV show 'Rahul Dulhaniya Le Jayega' and the two tied the knot. Months down the line, however, Dimpy accused Rahul of domestic violence and the two parted ways. They were last seen together on 'Bigg Boss Halla Bol'.
|
|||||
18832
|
yago
|
2
| 4
|
https://timesofindia.indiatimes.com/tv/news/hindi/contract-marriages-dont-exist-in-india-dimpy-mahajan/articleshow/11822447.cms
|
en
|
Contract marriages donât exist in India: Dimpy Mahajan
|
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[
"Sunil Agnihotri",
"Rahul Mahajan",
"Kahani Chandrakanta Ki",
"Dimpy Mahajan"
] | null |
[
"ROSHNI K OLIVERA"
] |
2012-02-10T00:00:00+05:30
|
Dimpy Mahajan, who has just made her Hindi TV serial debut in a naagin role, talks about acting aspirations and life after marriage to Rahul Mahajan i
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/tv/news/hindi/contract-marriages-dont-exist-in-india-dimpy-mahajan/articleshow/11822447.cms
|
How to do a Ghee massage to activate Collagen production
Lifestyle
International Beer Day 2024: 10 grains used for brewing beer and their distinct tastes
Food
Top 10 tallest mountain peaks in India
travel
Most colourful tourist destinations in the world
travel
|
|||||
18832
|
yago
|
0
| 17
|
https://gulfnews.com/entertainment/rahul-mahajan-weds-dimpy-on-reality-tv-1.593318
|
en
|
Rahul Mahajan weds Dimpy on reality TV
|
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2010-03-08T00:00:00+04:00
|
en
|
https://gulfnews.com/entertainment/rahul-mahajan-weds-dimpy-on-reality-tv-1.593318
|
Rahul Mahajan on Saturday night exchanged wedding vows with Kolkata-based model Dimpy Ganguly on the reality TV show Rahul Dulhaniya Le Jayega.
Ganguly had edged past 14 contestants to be the bride of Rahul, who is the son of slain politician Pramod Mahajan.
Mahajan told Ganguly on the show: "People say you can die in love, but for me you are worth living for. I can say in front of the whole world that I love you."
|
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18832
|
yago
|
0
| 56
|
https://www.news18.com/news/lifestyle/dimpy-ganguly-flaunts-her-baby-bump-on-instagram-1253379.html
|
en
|
Dimpy Ganguly Flaunts Her Baby Bump On Instagram
|
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[
"dimpy ganguly",
"rahul mahajan",
"rohit roy"
] | null |
[
"News18",
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2016-06-08T07:47:31+05:30
|
The former model was previously married to reality TV star Rahul Mahajan.
|
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News18
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https://www.news18.com/news/lifestyle/dimpy-ganguly-flaunts-her-baby-bump-on-instagram-1253379.html
|
Mumbai: Reality TV star Dimpy Ganguly and husband Rohit Roy, who have been married for a year now, are expecting their first child together.
The couple celebrates its first marriage anniversary and on the occasion, Dimpy took to Instagram today to share the news of her pregnancy with fans.
She shared a photo of herself flaunting the baby bump, with her husband embracing her from behind.
"A year back on this very day we decided to be a part of each others life for the rest of our lives... Can't believe how time flies! Feels like it was only yesterday that I thought I had lost everything when you came along to hold my my hand and gave me everything that I had ever hoped for and
so much more...," the 30-year-old former 'Bigg Boss' star wrote.
"I thank God everyday for sending you to me - my guardian angel, my lucky charm, my best friend. But today I want to thank you, thank you for being you! Can't tell you how happy you make me Rohit Roy! Love you infinity times infinity and yes, Happy One Year baby!" she added.
The former model was previously married to reality TV star Rahul Mahajan.
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https://www.opindia.com/2020/12/rahul-mahajan-says-his-russian-wife-has-converted-to-hindu-religion/
|
en
|
Rahul Mahajan says his Russian wife has converted to Hindu religion
|
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2020-12-06T11:07:06+00:00
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Rahul Mahajan said, "she is Russian and has converted to Hindu religion and I always give her the reference of Lord Shiva and Parvati"
|
en
|
OpIndia
|
https://www.opindia.com/2020/12/rahul-mahajan-says-his-russian-wife-has-converted-to-hindu-religion/
|
In an exclusive interview with The Economic Times, Big Boss star and entertainer Rahul Mahajan has revealed that his Russian wife Natalya Ilina had embraced Hinduism, following their marriage in 2018. Rahul Mahajan is the son of late BJP leader Pramod Mahajan.
While speaking about his marriage, Rahul Mahajan said, “We are like two tracks of railway. We do not interfere in each other’s matters too much and give each other space. We are not even too apart from each other. But we maintain the balance so that our marriage is on the right track.”
He added, “She is Russian and has converted to Hindu religion and I always give her the reference of Lord Shiva and Parvati. I always tell her that the husband and wife’s relationship should be like Shiv and Parvati. We keep them as our idols in our relationship. I teach her Geeta and we read a lot of mythological stuff together. I feel you really need a good destiny to find a perfect partner and family.”
Rahul Mahajan to participate in Big Boss Season 14
His third marriage with Natalya Ilina had captured the public attention in 2018 as she was 18 years younger than him. He was earlier married to Shweta Singh and Dimpy Ganguly. Rahul Mahajan rose to prominence as a participant in Big Boss Season 2 and is now set to enter the Season 14 of the reality show as a challenger. “It is a full circle because it was my first television show ever in 2008, on season two. Then I went in season eight as a challenger and this is the third time I am going in, so it is a full circle in a way – it started for me from Bigg Boss and again it is Bigg Boss now,” he stated. He had married Dimpy Ganguly in a reality TV show titled Rahul Dulhaniya Le Jayenge. The couple got divorced in 2015.
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https://ca.news.yahoo.com/rahul-mahajans-ex-wife-dimpy-ganguly-marry-again-120023299.html
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Rahul Mahajan's Ex-Wife Dimpy Ganguly To Marry Again And Invite Rahul To The Wedding!
|
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[
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2015-10-15T12:10:57+00:00
|
Remember, squeaky-voice, dimple-faced Dimpy Ganguly [earlier Mahajan] from Bigg Boss Season 8? Dimpy, who hails from Kolkata and is a former model, is all set to get married again to long-time boyfriend, Rohit Roy, who is a Dubai-based structural engineer, on November 27 of this year. An elated Dimpy confirmed the news to TOI by informing about plans for her roka, which is to be held in the first week of November.
|
en
|
https://s.yimg.com/rz/l/favicon.ico
|
Yahoo News
|
https://www.yahoo.com/news/rahul-mahajans-ex-wife-dimpy-ganguly-marry-again-120023299.html
|
Remember, squeaky-voice, dimple-faced Dimpy Ganguly [earlier Mahajan] from Bigg Boss Season 8? Yes, the ex-wife of politician and socialite, Rahul Mahajan. (READ: 5 Celebrity Couples Who Dragged And Shamed Their Partners In Media). Dimpy, who hails from Kolkata and is a former model, is all set to get married again to long-time boyfriend, Rohit Roy, who is a Dubai-based structural engineer, on November 27 of this year.
Trending now: Bollywood’s Only Transgender Actress Bobby Darling Ready To Tie The Knot With Her Prince Charming
An elated Dimpy confirmed the news to TOI by informing about plans for her roka, which is to be held in the first week of November. She also told how she met Rohit, who is actually her childhood school time crush, again in 2013 in Dubai of all places where they both confessed their feelings for each other:
On October 12 this year, Rohit proposed to Dimpy with a commitment ring and she promptly said yes!
Our celebs do have a knack of going all out when it comes to proposals. Read here: Touching Private Proposal Moments Of Bollywood Couples
The Bengali actress recently posted a picture of her engagement ring from Tiffany & Co. on Twitter and Instagram with the caption #Engaged.
Images Courtesy: @dimpy_g (Instagram)
Rohit had been with her when she was going through a difficult phase in her life, her divorce with Rahul Mahajan. He stood by her at all the times and even remained unfazed when both Dimpy and Rahul entered the Bigg Boss house (READ: Celebrities Who Found Love in The Bigg Boss House), in its eigth season last year, amidst their divorce proceedings.
Rahul and Rohit, as Dimpy informed, know each other and have met on several occasions.
Which other actresses flashed their big rocks? Know here: 8 Bollywood Actresses Showing Off Their Engagement Rings
Dimpy came into limelight when she took part in a television show called Rahul Dulhaniya Le Jayega where Rahul chose her as his life partner. The two got married in 2010. However, trouble started brewing immediately with Dimpy filing a case against Rahul for domestic violence. The two separated in 2014, but remain to be on cordial terms.
Dimpy is not the only one to be physically abused: 6 Bollywood Celebs Who Were Physically Abused By Their Partners
In fact, when Dimpy was asked whether she would be inviting Rahul, her ex-husband to her wedding, here is what she has to say:
“I never thought about that, but now that you ask, why not? I believe in appreciating good things in a person and relationship. We were two different people trying too hard to make the marriage work, but it fell apart. Neither of us was at fault.
Well, we hope Dimpy finds her happy ending this time with Rohit Roy. And, for all the latest updates regarding her upcoming November wedding, do keep watching this space.
|
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https://www.mid-day.com/entertainment/television-news/article/Rahul-Mahajan-s-ex-wife-Dimpy-Ganguly-gets-engaged-16609194
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en
|
Rahul Mahajan's ex-wife Dimpy Ganguly gets engaged
|
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2015-10-15T05:30:00
|
en
|
https://www.mid-day.com/md-48.ico
|
Mid-day
|
https://www.mid-day.com/entertainment/television-news/article/Rahul-Mahajan-s-ex-wife-Dimpy-Ganguly-gets-engaged-16609194
|
Rahul Mahajan's ex-wife and former 'Bigg Boss' contestant Dimpy Ganguly took to social media to announce that she is engaged to Dubai-based beau Rohit Roy
Rahul Mahajan's ex-wife and former 'Bigg Boss' contestant Dimpy Ganguly took to social media to announce that she is engaged to Dubai-based beau Rohit Roy.
ADVERTISEMENT
Dimpy posted an image of her engagement ring on Instagram with the caption, "He asked and she said "it's 'bout damn time!" #engaged".
She took to Twitter to thank her well-wishers too.
Dimpy and Rohit have, reportedly, been dating each other since 2013.
Check out Dimpy and Rohit's pictures:
Dimpy met her ex-husband Rahul Mahajan on the reality TV show 'Rahul Dulhaniya Le Jayega' and the two tied the knot. Months down the line, however, Dimpy accused Rahul of domestic violence and the two parted ways. They were last seen together on 'Bigg Boss Halla Bol'.
|
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https://www.famousbirthdays.com/people/dimpy-mahajan.html
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|
Dimpy Mahajan - Age, Family, Bio
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Dimpy Mahajan: her birthday, what she did before fame, her family life, fun trivia facts, popularity rankings, and more.
|
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|
/favicon.ico
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Famous Birthdays
|
https://www.famousbirthdays.com/people/dimpy-mahajan.html
|
About
Notable for competing in such Indian modeling contests as Sananda Tilottama and Gladrags MegaModel Manhunt, Mahajan is also known for her participation in the eighth season of the popular reality television series Bigg Boss.
Before Fame
She received an English degree from the Scottish Church College.
Trivia
By early 2015, she had close to forty thousand Twitter followers.
Family Life
She married politician and television personality Rahul Mahajan in an episode of the Indian reality TV show Rahul Ka Swayamwar. The marriage quickly ended in divorce.
Associated With
|
||||
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Page 612 - TV Cinema News, Latest Television News, TV Episodes and Highlights
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Page 612 - TV Cinema - Check out the latest news on Hindi TV Shows, Hindi TV Celebrities, New TV Shows on-air in popular TV channels along with their program timings, episodes, controversy stories and more at Hindustan Times.
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Hindustan Times
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https://www.hindustantimes.com/entertainment/tv
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Celeb Couples to Compete in Nach Baliye 5
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[] |
2012-11-01T05:51:24+00:00
|
Reality show 'star couple' Rahul Mahajan and wife Dimpy are likely to try their luck on Nach Baliye. The couple, who created history by being the first to marry on Indian reality television, have been approached for the fifth season of the dance reality show, which will go on air in the next few months. Here are the names of some other couples who may compete in the dance reality show
|
en
|
/apple-touch-icon.png
|
iDiva
|
https://www.idiva.com/entertainment/tv/celeb-couples-to-compete-in-nach-baliye-5/photogallery/17275
|
Reality show 'star couple' Rahul Mahajan and wife Dimpy are likely to try their luck in Nach Baliye. The couple, who created history by being the first to marry on Indian reality television, have been approached for the fifth season of the dance reality show, which will go on air in the next few months. Here are the names of some other couples who may compete in the dance reality show
Read iDiva for the latest in Bollywood, fashion looks, beauty and lifestyle news.
Rahul Mahajan & Dimpy
The only hitch is Rahul's dancing skills. "I can't sing or dance. There is no sense of rhythm in my body, I can't even dance in pubs. I gave 16 takes for a 30-second dance step in Rahul Dulhaniya Le Jayenge. I don't want to make a fool of myself. But yes, my partner will be strong as Dimpy is a good dancer and she is keen to do the show. I guess even if I make mistakes, it will be okay as people will be curious to see a non-dancer dance," says Rahul. He adds, "I am neither confirming nor denying. But I am positive and interested in doing it."
Pooja Gor & Raj Singh Arora
Pooja of Mann Kee Awaaz Pratigya fame and actor-boyfriend Raj are also probable contestants. "Raj and I are yet to make up our minds. I have been working non-stop for three years for...Pratigya, which has ended. We are still deciding whether we want to take a break and go on a holiday or do the show," says Pooja.
Jay & Suhasi Dhami
Another couple on the show is model-turned actress Suhasi Dhami and husband Jay. Says Suhasi, who became a household name with Yahan Main Ghar Ghar Kheli, "We love the concept and it will definitely boost my career. It will make me more versatile."
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https://ca.news.yahoo.com/rahul-mahajans-ex-wife-dimpy-ganguly-marry-again-120023299.html
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Rahul Mahajan's Ex-Wife Dimpy Ganguly To Marry Again And Invite Rahul To The Wedding!
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2015-10-15T12:10:57+00:00
|
Remember, squeaky-voice, dimple-faced Dimpy Ganguly [earlier Mahajan] from Bigg Boss Season 8? Dimpy, who hails from Kolkata and is a former model, is all set to get married again to long-time boyfriend, Rohit Roy, who is a Dubai-based structural engineer, on November 27 of this year. An elated Dimpy confirmed the news to TOI by informing about plans for her roka, which is to be held in the first week of November.
|
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|
https://s.yimg.com/rz/l/favicon.ico
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Yahoo News
|
https://www.yahoo.com/news/rahul-mahajans-ex-wife-dimpy-ganguly-marry-again-120023299.html
|
Remember, squeaky-voice, dimple-faced Dimpy Ganguly [earlier Mahajan] from Bigg Boss Season 8? Yes, the ex-wife of politician and socialite, Rahul Mahajan. (READ: 5 Celebrity Couples Who Dragged And Shamed Their Partners In Media). Dimpy, who hails from Kolkata and is a former model, is all set to get married again to long-time boyfriend, Rohit Roy, who is a Dubai-based structural engineer, on November 27 of this year.
Trending now: Bollywood’s Only Transgender Actress Bobby Darling Ready To Tie The Knot With Her Prince Charming
An elated Dimpy confirmed the news to TOI by informing about plans for her roka, which is to be held in the first week of November. She also told how she met Rohit, who is actually her childhood school time crush, again in 2013 in Dubai of all places where they both confessed their feelings for each other:
On October 12 this year, Rohit proposed to Dimpy with a commitment ring and she promptly said yes!
Our celebs do have a knack of going all out when it comes to proposals. Read here: Touching Private Proposal Moments Of Bollywood Couples
The Bengali actress recently posted a picture of her engagement ring from Tiffany & Co. on Twitter and Instagram with the caption #Engaged.
Images Courtesy: @dimpy_g (Instagram)
Rohit had been with her when she was going through a difficult phase in her life, her divorce with Rahul Mahajan. He stood by her at all the times and even remained unfazed when both Dimpy and Rahul entered the Bigg Boss house (READ: Celebrities Who Found Love in The Bigg Boss House), in its eigth season last year, amidst their divorce proceedings.
Rahul and Rohit, as Dimpy informed, know each other and have met on several occasions.
Which other actresses flashed their big rocks? Know here: 8 Bollywood Actresses Showing Off Their Engagement Rings
Dimpy came into limelight when she took part in a television show called Rahul Dulhaniya Le Jayega where Rahul chose her as his life partner. The two got married in 2010. However, trouble started brewing immediately with Dimpy filing a case against Rahul for domestic violence. The two separated in 2014, but remain to be on cordial terms.
Dimpy is not the only one to be physically abused: 6 Bollywood Celebs Who Were Physically Abused By Their Partners
In fact, when Dimpy was asked whether she would be inviting Rahul, her ex-husband to her wedding, here is what she has to say:
“I never thought about that, but now that you ask, why not? I believe in appreciating good things in a person and relationship. We were two different people trying too hard to make the marriage work, but it fell apart. Neither of us was at fault.
Well, we hope Dimpy finds her happy ending this time with Rohit Roy. And, for all the latest updates regarding her upcoming November wedding, do keep watching this space.
|
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| 81
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https://aparnamudi.com/tag/reality-television/
|
en
|
Reality Television – Aparna Mudi
|
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2016-03-05T13:31:06+05:30
|
en
| null |
I am an optimist. Well, on most days I am. And reality TV plays the true leveller in my rather rose-coloured vision I have of my life and things around.
With little time to watch television, I catch up on most of the episodes on the World Wide Web. And it’s easy. Many of the TV channels have online feed of their shows, which makes it easier to just selectively watch the episodes you like.
But what depresses me is what is shown on reality television. Now, these shows are supposed to be unscripted, hence the emotions are likely to be real. So if these emotions are real then we have a relatively dark future. Programmes like ‘Bigg Boss’ show stars cramped in a house for weeks turn on each other, scheme, plot, be malicious and be rude. Turns out that most people think that’s entertainment. Twitter hash tags about the show are trending. It’s all over Facebook, and scandals are rife. It is as if the audience is deriving some strange sadistic pleasure in watching others behaving that way.
ALSO READ: Why do people love Salman Khan?
The worst is that the people in the show don’t seem to mind the insults they face. It is not just in shows like ‘Bigg Boss’ where participants are put into an unnatural situation and thereafter filmed to be presented to an audience. Herein lies a big grouse — it’s not really reality if what the audience gets to watch are snippets of the show that are carefully edited out by the producers to only present the drama, which is sometimes misleading. There have also been claims of the situations being script generated. Such claims can be backed by how relationships that have started on television have never worked after the shows have gotten over. Fights that have started out in these shows have ended with the shows ending too. Whether it is ‘Rakhi ka Swayamvar’, ‘Bigg Boss’ or ‘Bachelorette India’, the shows promote and use celebrities who have failed in their respective careers and are looking for a jumpstart.
Music, dance and other talent competitions have (at least on screen) started humiliating the contestants a little less over the past few years. It’s probably because of the ‘n’ number of cases where the participants have committed suicide or gone into depression. It does not, however, change the fact that the humiliation remains, and the shows try to portray a shortcut to success. True, many of these kids are talented and do get the kind of exposure that is unprecedented. Some local unknown talent and talent groups have indeed gotten more shows and recognition than it was possible in traditional method before. Then there are thousands who believe that standing on stage and being approved by a set of qualified or unqualified judges is the only way to make or break their career.
Being shouted at in an adventure reality show, or flaunting your most private moments and relationships on TV has become a national pastime. The competition and the obvious lies are accepted and justified as “all is fair to win” attitude of these people. It is something that many impressionable kids imbibe easily and apply to their lives. Easy to just put a disclaimer and shirk off all the responsibility.
ALSO READ: Building anticipation, Bollywood’s new fad
Loud, crass, incompetent people like Rakhi Sawant, Dolly Bindra, Rahul Mahajan, Sambhavana Seth, Pooja Mishra, Imam Siddiqui have become stars overnight with the advent of these shows. They have glamorised materialism and vulgarity for the sake of TRPs and winning the show. The audience laps it up.
The idea of principles, morals and decency has no place on Indian television anymore. It has become a fight for who can create the bigger hungama. It’s apparently a lesser predicament for censor board to show these men and women use all the dirt on each other than to show couples kissing (lest some khap panchayat somewhere rules that that’s what is causing all the rapes).
“Unfortunately, I think a lot of people are affected more by the idea of fame than the actual work ethic involved. A lot of them just want to be reality TV-type people who don`t do anything,” says Katy Perry.
It is probably a reflection of the times we live in.
This article was first published on zeenews.com
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https://www.onmanorama.com/entertainment/entertainment-news/dimpy-ganguly-wedding-photos-go-viral.html
|
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Rahul Mahajan's ex-wife Dimpy Ganguly's wedding photos go viral
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[
"Rahul Mahajan's ex-wife",
"Dimpy Ganguly",
"wedding photos go viral"
] | null |
[
"Onmanorama Staff",
"www.facebook.com"
] |
2016-05-07T17:16:00+05:30
|
'Bigg Boss 8' contestant and Rahul Mahajan's ex-wife, Dimpy Ganguly, got married to Dubai-based businessman Rohit Roy in November last year.. Rahul Mahajan's ex-wife. Dimpy Ganguly. wedding photos go viral. Entertainment News. Movie News. Film News
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/content/dam/mm/images/en.ico
|
OnManorama
|
https://www.onmanorama.com/entertainment/entertainment-news/dimpy-ganguly-wedding-photos-go-viral.html
|
'Bigg Boss 8' contestant and Rahul Mahajan's ex-wife, Dimpy Ganguly, got married to Dubai-based businessman Rohit Roy in November last year.
But it was only recently that Dimpy shared some of her wedding pictures on her Instagram page and the pictures have gone viral on social media.
Dimpy and Rohit dated for over two years before they got engaged in October last year.
|
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18832
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yago
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2
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https://www.imdb.com/name/nm1727607/news/
|
en
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Rahul Mahajan
|
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Rahul Mahajan - News - IMDb - Movies, TV, Celebs, and more...
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en
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IMDb
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https://www.imdb.com/name/nm1727607/news/
| ||||||
18832
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yago
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1
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https://www.republicworld.com/entertainment/television/dimpy-gangulys-net-worth-over-the-years
|
en
|
Dimpy Ganguly's high-profile marriage & TV gigs helped her amass a huge Net Worth; details
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[
"Tanvi Dhote",
"Republic World",
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2020-04-14T22:23:04+05:30
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en
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../../favicon.ico
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Republic World
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https://www.republicworld.com/entertainment/television/dimpy-gangulys-net-worth-over-the-years
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5635
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dbpedia
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2
| 7
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https://www.rottentomatoes.com/m/oceans_thirteen
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en
|
Ocean's Thirteen
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[
""
] | null |
[] |
2007-06-08T00:00:00
|
Danny Ocean (George Clooney) and his gang hatch an ambitious plot for revenge after ruthless casino owner Willy Bank (Al Pacino) double-crosses Reuben Tishkoff, Danny's friend and mentor. First, Ocean's gang plan to hit Bank in the paycheck by reversing the precept that the house always wins. Next, they will deal a crushing blow to Bank's ego by ruining his reputation as the only hotelier to earn the Royal Review's Five Diamond Award for each of his properties.
|
en
|
https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
|
https://www.rottentomatoes.com/m/oceans_thirteen
|
Let's keep in touch!
>
Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
Upcoming Movies and TV shows
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Sign me up No thanks
|
||||
5635
|
dbpedia
|
1
| 58
|
https://www.casino.org/vitalvegas/oceans-eleven-lingo-inspires-fun-way-to-explore-las-vegas/
|
en
|
“Ocean’s Eleven” Lingo Inspires Fun Way to Explore Las Vegas
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[
""
] | null |
[
"Scott Roeben"
] |
2022-10-10T07:31:12+00:00
|
"You're looking at a Boesky, a Jim Brown, a Miss Daisy, two Jethros and a Leon Spinks, not to mention the biggest Ella Fitzgerald, ever."
|
en
|
Vital Vegas
|
https://www.casino.org/vitalvegas/oceans-eleven-lingo-inspires-fun-way-to-explore-las-vegas/
|
“Ocean’s Eleven” is everyone’s favorite Las Vegas movie, and we can confidently say this simple sentence is likely to result in weeks of passionate debate, but that’s not really the point of this story.
Among the many ingenious elements of “Ocean’s Eleven” was a one-sentence overview, just 12 minutes into the film, of the casino robbery to come.
Danny Ocean (George Clooney) is discussing the heist with Rusty Ryan (Brad Pitt), who says, “Off the top of my head, I’d say you’re looking at a Boesky, a Jim Brown, a Miss Daisy, two Jethros and a Leon Spinks, not to mention the biggest Ella Fitzgerald, ever.”
The line flies by, but this con man shorthand tells you everything you need to know about the rest of the film, as long as you know how to translate it. We’ve got you!
Here’s a handy break down of the con code in “Ocean’s Eleven.” We’ll get back to the “fun way to explore Las Vegas” in a minute.
“Boesky”
Rusty’s referring to Ivan Boesky, an infamous stock trader. Gordon Gekko, in “Wall Street,” was inspired by Boesky. In “Ocean’s 11,” the Boesky element of the robbery refers to Saul Bloom’s high roller, Lyman Zerga. Bloom is played by Carl Reiner.
Carl Reiner cons Terry Benedict into letting him store jewels in the casino’s vault. The stones are explosives used to blast open the vault door.
The fake jewels are designed by Basher, who possesses possibly the worst accent in any movie ever made. It’s a testament to “Ocean’s Eleven” that Don Cheadle’s terrible performance couldn’t ruin it.
“Jim Brown”
Jim Brown, of course, refers to the football player who is best known for his performance in “The Running Man.” That’s how we know him, anyway.
Rusty’s mention of Jim Brown refers to Frank (played by Bernie Mac), who gets into a kerfuffle with Linus Caldwell (Matt Damon), impersonating a member of the gaming commission, thus distracting Benedict so Caldwell can steal the codes to the vault.
“Miss Daisy”
This is a reference to the movie, “Driving Miss Daisy,” of course, but it’s also a hint as to how the band of thieves will make their escape: A SWAT van. We probably should’ve said “Spoiler alert!” somewhere along the way, but if you haven’t seen “Ocean’s Eleven” by now, we can’t help you.
“Two Jethros”
Pop culture references abound in “Ocean’s 11,” and this mention of “Jethros” relates to “The Beverly Hillbillies.” In the classic TV show, Jethro is kind of a lunkhead, and the heist in “Ocean’s 11” will require two of them. Specifically, the Malloy brothers, Turk and Virgil.
Turk and Virgil provide comic relief throughout the film, and are played by Scott Caan and Casey Affleck.
“Leon Spinks”
Rusty seems to know early in the robbery planning a large-scale diversion will be needed to accomplish their plan. That diversion ends up being a boxing match.
The fighters are Lennox Lewis and Wladimir Klitschko. You know, actual boxers. Like Leon Spinks. Some of this isn’t rocket science.
“Ella Fitzgerald”
This one’s another pop culture reference that gets more obscure as times goes by.
At one time, singer Ella Fitzgerald was featured in a commercial for Memorex. Fitzgerald breaks a glass with her voice, then a recording of her voice breaks a glass. The ad ends by asking, “Is it Ella, or is it Memorex?”
That ends up being a key element of the robbery, as Terry Benedict and his security team are duped into thinking they’re watching something live when it’s actually a previously-recorded video.
That’s just one of the twists and turns in this fun movie filled with beautiful people doing fairly unrealistic things against the backdrop of Las Vegas, the most visually-appealing city in the world. Suck it, Venice.
So, now you know what Rusty meant when he used his con man codewords. Rattling off the colorful nicknames for cons plants seeds that bear fruit throughout the rest of the film.
Lots of con names appear in other movies in the franchise, too. There’s “Smugglers Paradise,” “Crazy Larry” and “Hell in a Handbasket” in “Ocean’s Twelve.” In “Ocean’s Thirteen,” there’s the “Irwin Allen,” “Reverse Big Store” and “The Brody.” There are probably some in “Ocean’s 8,” too, but the movie looked terrible, so we never watched it. Oopsie.
While the lingo in “Ocean’s 11” is enjoyable to decipher, it can also be fun to cipher, which we aren’t sure means “to untranslate something,” but that’s what it should mean.
Making up code for things, it turns out, is also entertaining.
So, we decided to come up with our own shorthand for things to do in Las Vegas. There’s no reason you and your “Ocean’s 11” crew couldn’t have your own secret slang for various activities.
You get to show off your pop culture knowledge, and when people ask you what you’re doing in Vegas, you’ll have an answer that sounds much cooler than “We’ll probably gamble and drink or whatever.”
Need examples? What part of “We’ve got you” didn’t you understand?
Off the top of our head, you’re going to want to do a Pat Sajak, a Three-Hour Gracchus, Tour the Smithsonian, pull a Charles Bronson and a Wormwood, along with a Hugh Jackman, a Drip Drip and a Daniel LaRusso.
Any idea what agenda items we’re talking about? Let’s go!
“Pat Sajak”
This one’s too easy! It’s a ride on the High Roller observation wheel. Because it’s a wheel. You’ll get the hang of this.
“Three-Hour Gracchus”
Remember, the more convoluted the reference, the better! In “Gladiator,” a Roman Senator named Gracchus (played by Derek Jacobi) says, “Rome is the mob.” The mob, of course, played a big part in the early days of Las Vegas, but the “Three-Hour Gracchus” refers to a three-hour visit to downtown’s Mob Museum. You can try a Four-Hour Gracchus, but anticipate chafing.
“Tour the Smithsonian”
It’s time to play some craps. Dice are called “bones,” because early dice were made of animal bones, and the Smithsonian National Museum of Natural History has a vast collection of animal skeletons.
“Charles Bronson”
This is a reference to “The Great Escape,” obviously. In the film, Charles Bronson played Danny (revel in the pointless fact Danny Ocean had the same first name), known as the “Tunnel King.” In Las Vegas, when you do a Charles Bronson, you take a Tesla ride in the underground Vegas Loop. The tunnels currently run between stations in the Las Vegas Convention Center, and to Resorts World, but there are more stations to come.
“Wormwood”
If you know booze, and we pretend to, you know there’s a magical spirit flavored with wormwood (also known as Artemisia absinthium). That drink is Absinthe. That’s right, if you do a “Wormwood” in Vegas, you’re seeing the outrageously hilarious “Absinthe” at Caesars Palace. Style and usage: You can pull a Wormwood, execute a Wormwood, hang a Wormwood or swallow a Wormwood. There are no rules, it’s a made-up game.
“Hugh Jackman”
Hugh Jackman is multi-talented, but he found superhero immortality playing Wolverine in the X-Men film series. Thanks to Adamantium, Wolverine’s retractable claws make him an imposing mutant. Relatively recently, a slot machine called Go Go Claw has sprung up at numerous Las Vegas casinos. So, Hugh Jackman on your to-do list means it’s time to try your hand at Go Go Claw. All the kids are doing it.
“Drip Drip”
Hey, we can keep up with the youths and their slang. The first “drip” means to dress up to show off one’s sense of style. The second? That’s taking advantage of one of Sin City’s I.V. hydration services, a popular way to cure hangovers.
“Daniel LaRusso”
Daniel LaRusso of “Karate Kid” fame is more popular than ever due to the deeply satisfying “Cobra Kai” series on Netflix. The climax of “Karate Kid” featured Daniel whooping the ass of Johnny Lawrence with a crane kick. You might say it was a whooping crane. Anyhoo, cranes are used to build things, and there are a number at work on the Fontainebleau Las Vegas hotel-casino.
Fontainebleau opens in 2023, and no visit to Las Vegas would be complete without a Daniel LaRusso, a drive-by to check out the cranes at Fontainebleau.
Not going to lie, we thought this was sort of stupid until we actually started coming up with these terms, and now we’re going to do it as much as possible from here on out.
You can either share your jargon with friends, or make them try and figure out what the hell you’re talking about.
We’d love to hear your ideas in the comments section, and we hope to bump into you during your next “Rose and Jack” in Las Vegas. No, it’s not a reference to the Titanic exhibit at Luxor. Too obvious. It’s slang for Criss Angel’s show, “Amystika.” Because, like the Titanic, that’s a disaster, too.
Oh, snap.
One final thought.
When you’re planning your Las Vegas visit, please don’t rob anything. Terry Benedict might not be a real person, but there’s still quite a bit of water in Lake Mead, and a robust supply of barrels. Just saying.
|
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5635
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dbpedia
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3
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https://www.nationalgeographic.com/science/article/avatar-the-way-of-water-james-cameron-science-oceans
|
en
|
The seas of Avatar: James Cameron on the real science behind his fictional world
|
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[] |
[] |
[
""
] | null |
[
"Michael Greshko"
] |
2022-12-15T16:44:53.444000+00:00
|
The director shares how Earth's oceans inspired The Way of Water—and his hope it will motivate viewers to protect our own planet.
|
en
|
Science
|
https://www.nationalgeographic.com/science/article/avatar-the-way-of-water-james-cameron-science-oceans
|
James Cameron is diving into the deep: this time, into the oceans of an alien world. The filmmaker and ocean explorer’s latest science-fiction epic, Avatar: The Way of Water, promises to transport viewers to the vibrant aquatic ecosystems of a world 25 trillion miles from Earth, with a documentary’s level of detail.
The new film extends the story of the 2009 blockbuster Avatar, which told the tale of a habitable alien moon called Pandora, the blue-skinned humanoids who live there (the Na’vi), and the conflict that arises when space-faring humans try to colonize and mine the world, regardless of the environmental havoc they wreak. In the first film, the Na’vi of the world’s rainforests fight to protect their home, aided by human soldiers and scientists sympathetic to their cause.
This time around, Cameron is exploring the waters of Pandora, and he brings a lifetime of experience with him. The creative mind behind The Abyss and Titanic, and the executive producer of National Geographic’s Secrets of the Whales, is also a National Geographic Explorer at Large. In 2012, Cameron completed the first solo dive to the bottom of the Mariana Trench in the Deepsea Challenger expedition.
Experience the movie event of a generation in 3D. Avatar: The Way of Water is now playing only in theaters.
To tell the story of Pandora’s undersea life, Cameron and his team dreamed up a menagerie at once alien and familiar. Pandoran amalgams of pufferfish and lionfish drift beside recognizable reefs. Life-forms that would fit right in with the critters of Earth’s ancient oceans skitter and undulate. Long-necked steed called ilu resemble the extinct marine reptiles known as plesiosaurs. Skimwings—gigantic alien crosses of gar and flying fish—act as Na’vi war mounts. And then there’s the tulkun: titanic, highly intelligent analogues to Earth’s whales.
What inspired these creatures, and how did Cameron and his team bring them to life? National Geographic recently spoke with Cameron from New Zealand about the science and technology of The Way of Water. (The Walt Disney Company is majority owner of National Geographic Partners. It also owns 20th Century Studios, the distributors of Avatar: The Way of Water.)
This interview has been condensed and edited for clarity.
We started our journey into Pandora on land, and as this movie’s title suggests, we’re making our way to the coastline and into the deep. Why go to the water?
It’s no secret that as an ocean explorer now, as an avid scuba diver for many years before that, and as a fan of ocean exploration when I was a kid, I’ve had this romance with the ocean my entire life. That has involved spending thousands of hours underwater in shallow settings and hundreds of hours underwater in deep settings—as deep as the deepest place on the planet—and many dives to Titanic. They say, ‘Write what you know,’ and I know a lot about the ocean, and I love the ocean. And I thought, why not put two things that I love together? I wanted this film to be about the way of water: how the place where life was born on Earth evolved over time, and the wonders that we see there even today—even in its damaged state, thanks to us humans.
We live in a shifting baseline, where the ocean as we see it today is not what it once was. The film was also an opportunity to show us what our oceans might have looked like 300, 400, 500 years ago, before we really got busy toward an industrial civilization. If people see this film, and aside from the drama of the Sully family [the film’s protagonists] and the relationships and all these big, dramatic conflicts, if they just love the underwater experience—and they love that sense of the profusion of life and the magic and mystery—then maybe it will reconnect them with what we are presently losing here on this planet.
What were some of your inspirations as you were fleshing out both this aquatic ecosystem and the alien culture that lives within it?
We have these people called the Metkayina, a clan that’s spread out across a large number of villages. The Metkayina are a kind of a regional, Indigenous culture: They diverged from the land-based forest Na’vi [of the first film] probably tens of thousands of years ago and have physically adapted more to the ocean. Their tails are actually used for propulsion as in the way that they swim, like seals and otters. They’re air-breathers, so they’ve adapted to being able to hold their breath for long periods of time. They have nictitating membranes, kind of like crocodiles and owls, to protect their eyes when they’re entering the water at high speed as they’re riding [ilu], these creatures that they’ve tamed and have this symbiotic relationship with.
They also have a symbiotic culture with an intelligent species of ocean air-breathers: big animals that we would probably take a glance at and say, Oh, that’s a whale. But, of course, it’s not a whale—it’s the Pandora version, which is called a tulkun. The tulkun are actually a very advanced society, even though their advancements are all mental. They have no technology because they have no manipulating hands as we do. They rely on the Na’vi for anything that requires that kind of physical manipulation, but they’re quite advanced mentally: They have complex language, they have mathematics, they have music, and so on.
It was an interesting journey for me to do the National Geographic limited series Secrets of the Whales because that showed that the cetaceans that live here on planet Earth—the real ones—actually have a more advanced culture than we had previously thought, in terms of passing down very structured information from generation to generation. They have complex music that’s adopted by other members of the population of that species, and it travels around the world like a kind of greatest-hits album.
(Read more about scientists’ stunning advances in understanding the culture of whales.)
There are Indigenous peoples all over Earth with incredibly rich and diverse connections to the water. How did these cultures inspire the Metkayina?
We did a lot of research about real Indigenous cultures that are very tightly associated with the ocean. We looked at Polynesian culture, which is a canoe trading culture. We decided not to do canoes other than some canoes that are used locally. The voyaging in our film—I can’t speak to future films—is not the [Polynesian] voyaging culture that uses the big canoes or waka as they call them here in New Zealand.
It was like, how do we take Indigenous culture here on our planet and put it through the lens of Pandora? There are [the Sama-Bajau], people in Indonesia who live on stilted homes and live on rafts. We looked at things like that.
How has your experience in ocean exploration and technology shaped your approach to filmmaking generally and The Way of Water specifically?
There’s a lot of interconnections between my underwater exploration and filmmaking: Both involve small teams of people who are trying to do very difficult things in a coordinated fashion that requires a lot of planning. That I find very similar, especially when you’re creating new technology: to, let’s say, take a robotic vehicle inside the Titanic and survey it archaeologically or to build a new human-occupied vehicle to go to the deepest place on the planet. That’s small teams doing impossible-seeming things.
In making these Avatar movies, we’re way, way out in front at the bleeding edge of what is possible in terms of VFX [visual effects] and performance capture, so that’s an exciting challenge. I’m not asking the audience to think of this as some kind of tech demonstration; I want them to believe that we went to Pandora and shot it all as a big documentary. I don’t want them to think about how it was actually accomplished. So, the onus is on us, creatively, to try to make it seamless, to try to have everything that everybody does—every action, every riding of a creature and so on—be based in real-world physics. The physics of water on another planet are going to be the same as they are here. Water’s water.
We dedicated ourselves to this idea that we would take the actors into the water. We would teach them how to free-dive as part of their preparation for their characters, but also just practically so they could perform the scenes we teach them to scuba dive.
We built essentially mockups of the creatures that could do what the creatures [in The Way of Water] did: race around underwater at high speed, pop out of the water, fly over the surface of the water, go back into the water, and scream around underwater—and we figured out how you would really ride such a thing. It almost sounds impossible, right? Like a Harrier jet meets a submarine. We built it. I don’t know if you’ve ever seen it at resorts, these things where the guys go up 25 feet in the air. We use that jet-thruster technology to make essentially a Harrier jet that had a pilot inside it, and somebody could ride on top of it and could fly over the surface of the water, dive into the water, scream around, and then pop out of the water and do it all again. Dangerous as hell; we all enjoyed it for about a week down in the Bahamas.
But we figured out how you’d really ride such an animal and how you’d handle a spear or some other kind of weapon at the same time. We went out and gathered all that information, and got all that reference photography, brought it back into our filming environment, taught the actors how to do it, and put it all together. At the same time, we had to come up with all kinds of computational fluid dynamics simulations so that we could make it look real for their alien characters, because they’re not us physically.
You talk about the fidelity that you’re trying to achieve in these films, in making Pandora plausible and relatable. I think about the floating Hallelujah Mountains of the first film and how those were partially inspired by the Huangshan mountains of China. What real-world locations inspired what we’ll see in The Way of Water?
The most obvious connection between The Way of Water’s new habitats and what we have here on Earth are the tropical coral reefs and the tropical atoll formations, especially in the Central and Western Pacific: where you have these ranges of ancient volcanoes that are eroded down and form these atoll island chains. I’d spent a lot of time diving out in the Pacific amongst these atolls and at coral reefs all over the world.
All of our species of coral and large, soft, invertebrate animals, we put equivalents to those in our reef ecosystem in The Way of Water. It’s really a celebration of our reefs and atoll formations. It’s also a celebration of the Polynesian culture that spread in this vast diaspora through all these Pacific Islands. It’s a celebration of our ability as these highly adaptive creatures to go into different environments.
Ultimately, everything you see with the Na’vi is really the best of us, written large and blue and through the lens of science fiction. In a way, they’re aspirational characters. I live in an urban environment, I work 9-to-5, I have all these stressors, I have to pay my rent, my taxes—blah, blah, blah. I want to live like them. But how would one live like them?
Well, you’d have to have this deep, spiritual respect for the harmony and balance of nature. We don’t have that anymore, so we can’t get there from where we are. We have to learn it again. We have to learn what humanity once knew but has forgotten or suppressed.
To double back to a point you made earlier: The Way of Water is coming out at a time when the Earth’s oceans are in a damaged state, from climate change to overfishing, and there’s acute awareness of the environmental challenges we face. In this moment of all moments, how do you hope this movie lands with audiences?
The reason that I went down the path of making a series of films in the same universe is because I thought that what I needed to say artistically—to communicate with people—I could do within that framework. Obviously, shifting from the rainforest, which was the focus of the first film, to the ocean, [there] is, between the lines, a plea for the protection and conservation and celebration of our oceans. Hopefully we can turn back from a path that is putting the oceans under stress. I don’t even like to use the term “stress”: It’s used a lot in conservation, [but] if you consider fourth-stage cancer “stress,” yeah, it’s “stress.”
The coral reefs will be a thing that exists only in films in 50 to 75 years, in most places around the planet. That’s not okay. When I was a kid, I aspired to become a diver, so I could go and see this wonder and this beauty myself. And then I spent decades exploring and enjoying that world. My kids and my grandchildren won’t be able to do that. And so, it’s kind of a cri de cœur, if you want to put it that way: to remember, to celebrate and fall in love with again, and therefore remember to protect that which we’re losing.
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Ocean’s Eight movie review: revenge of the women
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[
"MaryAnn Johanson"
] |
2018-06-14T21:27:54+00:00
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Breezy fun that sticks a shiv into Hollywood’s -- and the larger culture’s -- disdain for women. Wonderfully subtle comic performances from a great cast having a ball make for a perfectly suitable light diversion from the world right now.
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FlickFilosopher.com
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https://www.flickfilosopher.com/2018/06/oceans-eight-movie-review-revenge-women.html
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Oh, thank goodness. I was dreading discovering that Ocean’s Eight was yet another pointless retread, a cheap knockoff devoid of spark or life, nothing more than cinematic chum soon to be tossed into the Netflix mix to tempt us to log in on a Friday night. But it’s not! It’s fun, breezy, occasionally witty, features some wonderfully subtle comic performances from a great cast, and is perfectly suitable light diversion from the shitshow that is the world at the moment.
Okay, yes, this movie is a retread. It is a knockoff. It can’t hold a candle to Soderbergh’s 2001 Ocean’s Eleven; it hasn’t got the insouciant verve. But then again, what can and what does? And let us also remember that that movie, glorious as it would have been at any moment in time, arrived in the wake of enormous disaster that had stunned us, and offered us cheery, inconsequential-in-the-best-way distraction. I’m not saying our love for that movie is unfair, but I do suspect that our memories of seeing it that first time will always be colored by what a blessed relief it was.
Am I praising with faint damns? Possibly. Am I letting myself be unreasonably distracted in another moment of enormous disaster? Could be. But Ocean’s Eight has something that the other Ocean’s films did not have: the freshness of an all-female primary cast. (For the millionth goddamn time: this shouldn’t be enough to make a movie feel fresh. But it still is.) And it has something else that even other movies with all-women casts — especially those that come out of Hollywood and are intended for mainstream entertainment — mostly do not know how to cope with: Ocean’s Eight is very much about women and things that many women like — fashion, celebs, jewelry, revenge against men who’ve wronged us — without ever demeaning those women, infantilizing them, or ridiculing girly interests. (It does quite the opposite, in fact.) We’ve seen the likes of that crap too often recently: looking at you, I Feel Pretty and Book Club. (“Book clubs are the worst!” one of the women exclaims here, by way of saying that being part of a smart, stylish crime gang is a helluva lot more fun to have with your girlfriends. But that’s surely a coincidence.)
Unlike many other movies about women, this one does not demean or infantilize us, nor does it ridicule girly interests.
Con artist Debbie Ocean (Sandra Bullock: Our Brand Is Crisis, Minions) and her shady pal Lou (Cate Blanchett: Thor: Ragnarok, Truth) embark on a plan to snatch $150 million worth of antique diamonds off the neck of a starlet at the annual glitzy Met Gala in New York. As a heist caper, Eight is, it’s true, nowhere near as deliciously tricksy as what Debbie’s brother Danny and his gang pulled off in Las Vegas. (We get a snippet of news about Danny’s whereabouts as the film opens, and I was instantly like, Nah, he scammed that… moments before Debbie voices the same doubts.) But what Eight might lack in plot twistiness it more than makes up for in overt commentary about how the low regard in which our society holds women will work to their benefit; it becomes meta commentary on Hollywood’s lack of respect for women, too. In order to pull off their robbery, Debbie’s team will assume the sorts of invisible helper roles that women perform every day that keep the world running, and that make events like the Met Gala happen, from administrative interns to kitchen staff. These are the women who “get ignored,” Lou Debbie says to justify why she doesn’t want any men on the team, “and we want to get ignored.” Ocean’s Eight makes a sly, bitter joke — and an act of cultural revenge — out of how these ingenious women make themselves very, very rich by taking on “approved” roles, with their own, and contrary, agenda also at work, one that no one would guess at because, hey, women can’t be criminal masterminds, can they?
To see so many brilliant, competent female characters, played by such a delightful cast having a ball, none of whom are chasing men or romance, all in one movie, is such joy! There’s Amita (Mindy Kaling: The Night Before, Inside Out), a jeweler, who will deal with the diamonds themselves. There’s Tammy (Sarah Paulson: The Post, Carol), a successful fence, who will help them move the score. Constance (Awkwafina: Neighbors 2: Sorority Rising) is master sleight-of-hand, which makes her a great pickpocket and snatch-thief. “Nine Ball” (Rihanna: Valerian and the City of a Thousand Planets, Home) is their hacker extraordinaire. Rose Weil (Helena Bonham Carter [Sgt. Stubby: An American Hero, Alice Through the Looking Glass], very much sending herself up, delectably) is the fashion designer who will dress the unwitting eighth member of the gang, diva actress Daphne Kluger (Anne Hathaway: Colossal, The Intern). No spoilers, but what screenwriters Gary Ross, who also directed (as he did Free State of Jones and The Hunger Games), and Olivia Milch do with Daphne’s character plays with assumption about famous women, especially women famous for being beautiful in public, to marvelous satiric effect. And Hathaway’s performance is an absolute gem; if Bonham Carter is sending herself up, Hathaway launches her own public persona into cunning comedic orbit. (I feel like the fact that Blanchett gets to use her own Australian accent onscreen for the first time in a long time, at least in a big movie, is a criticism of how we don’t let women be themselves onscreen.)
Anne Hathaway’s performance is an absolute gem. She’s not just sending herself up: she launches her public persona into cunning comedic orbit.
I mean, gosh, there’s even a really funny — and insightful — line, which I wouldn’t dream of spoiling, when Debbie is talking about her former relationship with asshole socialite art dealer Claude Becker (a sensationally hideous Richard Armitage: Pilgrimage, The Hobbit: The Battle of the Five Armies), and why he deserves to be set up as their fall guy for the heist. (They maneuver it so that he’s Daphne’s date for the Met Gala.) She’s explaining what she saw in him, despite the fact that he’s a spectacular jerk, and it’s a terrific illustration of a modern woman’s expectations about what a man needs to bring to a romance nowadays.
There are plot holes here, but I can forgive them. My one big complaint about Ocean’s Eight, one I can’t find a way around: the presence of James Corden (Peter Rabbit, Trolls) as the insurance investigator brought in after the theft of the necklace is discovered. This character should have been played by another badass woman. But maybe I’m just getting greedy. Ocean’s Eight did that to me. If we can get all these fabulous women onscreen, why can’t we get one more? Why can’t get movies like this one all the time… just like men get?
Read this review and other select content from Flick Filosopheron the News app from Apple.
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https://timesofindia.indiatimes.com/entertainment/english/hollywood/news/margot-robbie-ryan-gosling-to-reunite-for-oceans-11-prequel/articleshow/93672539.cms
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en
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Margot Robbie, Ryan Gosling to reunite for 'Ocean's 11' prequel
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2022-08-20T11:00:00+05:30
|
Hollywood star Margot Robbie will soon be seen in a new "Ocean's Eleven" movie, which was first reported in May and now it looks like Ryan Gosling mig
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/entertainment/english/hollywood/news/margot-robbie-ryan-gosling-to-reunite-for-oceans-11-prequel/articleshow/93672539.cms
|
How to make protein-rich Kerala Style Coconut Dal at home
Food
7 good habits to follow before going to sleep
Lifestyle
In Pics: Nayanthara juggles mommy duties before heading to work
Entertainment
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5635
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dbpedia
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https://moviesanywhere.com/movie/oceans-twelve
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en
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Ocean's Twelve | Full Movie | Movies Anywhere
|
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2004-08-15T00:00:00
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Purchase Ocean's Twelve on digital and stream instantly or download offline. It's been three years since Danny Ocean (GEORGE CLOONEY) and his crew - fronted by detail man Rusty Ryan (BRAD PITT), up-and-coming pickpocket Linus Caldwell (MATT DAMON), explosives expert Basher Tarr (DON CHEADLE) and safecracker Frank Catton (BERNIE MAC) - pulled off one of the most audacious and lucrative heists in history, robbing ruthless entrepreneur Terry Benedict (ANDY GARCIA) of every dime stored in his impenetrable Las Vegas vault. After splitting the $160 million take, each of the infamous Ocean's crew have tried to go straight, lay low and live a legit life...but that's proven to be a challenge, much to the chagrin of Danny's wife Tess (JULIA ROBERTS). When someone breaks Rule Number One and rats them out to Benedict, going straight is no longer an option. He wants his $160 million back – with interest – or else.
|
en
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|
https://moviesanywhere.com/movie/oceans-twelve
|
Twist after twist after twist is just not enough to save Ocean's Twelve.
April 28, 2024
With such a charismatic cast, it’s impossible for "Ocean’s Twelve" to be an awful bore. But it’s an underwhelming case of six of stars, half-a-dozen of the other that doesn’t let everyone, including the audience, in on the fun.
November 9, 2023
An exercise in Rat Pack razzle dazzle, wrapped in enviable tailoring and topped off with 12 pairs of perfect white teeth, the film milks every last drop of fun from the easy onscreen camaraderie of the ultimate in-crowd.
July 3, 2023
It’s utterly silly and featherweight, but Soderbergh knows how to make it swing and the fun-loving camaraderie he captures on camera is so convincing that you feel like a part of the fun.
October 15, 2022
There is a general convoluted feel about this installment. There are too many additional characters battling for space amid the narrative's over-complicated backstory.
March 27, 2020
An amiable sequel that doesnt really add much to the original, but does manage to have a feel-good nature and charm to it.
November 18, 2019
Ocean's Twelve is busier, messier and thinner than its predecessor, and while it looks like the cast is having a blast and a half, the studied hipness can get so pleased with itself it borders on the smug.
March 13, 2018
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https://www.syfy.com/syfy-wire/george-clooney-open-to-reprising-danny-ocean-role
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en
|
Ocean’s Trilogy: Why George Clooney Is Open to One More Heist
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[
"Josh Weiss"
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2024-01-03T18:45:59+00:00
|
Daniel "Danny" Ocean, the master thief played by George Clooney in Steven Soderbergh's Ocean's trilogy, may be up for returning in Ocean's Fourteen.
|
en
|
/sites/syfy/themes/custom/syfy/images/icons/apple-touch/apple-touch-icon.png
|
SYFY Official Site
|
https://www.syfy.com/syfy-wire/george-clooney-open-to-reprising-danny-ocean-role
|
Daniel "Danny" Ocean — the master thief played by George Clooney in Steven Soderbergh's Ocean's trilogy (now streaming on Peacock) — may be returning to the big screen for one last heist. Will he once again take the Vegas casinos for everything they have, or does he have a different mark in mind this time around?
Recently speaking with Uproxx to promote his latest directorial effort, The Boys in the Boat, Clooney revealed that a screenplay for Ocean's Fourteen does exist, and it's good enough to lure him back to a life of fictional crime, aided and abetted by Bratt Pitt and Matt Damon. "We have a really good script for another Ocean’s now, so we may end up doing another one. It’s actually a great script,” he said.
George Clooney teases potential Ocean's Fourteen
When pressed for more details, the actor teased that if the project gets made, it'll be less like the first three films and more like 1979's Going in Style, in which three bored retirees turn to robbery for some excitement (Zach Braff helmed a remake in 2017). With Clooney now at the age where he can start collecting those sweet, sweet Social Security checks, the premise sounds just about perfect.
RELATED: George Clooney's initial Batman advice to Ben Affleck: 'Don't do it'
While Danny and his star-studded crew wrapped up their last job nearly two decades ago in Ocean's Thirteen, Warner Bros. kept the billion-dollar franchise relevant with the 2018 release of Ocean's Eight, a spinoff centered around Danny's equally conniving sister, Debbie (Sandra Bullock). Directed by Pleasantville alum Gary Ross, the film (also available to stream on Peacock) was a modest success, grossing nearly $300 million worldwide against a production budget of $70 million.
The IP will continue in an upcoming prequel set against the backdrop of the 1960s (an ode to the original Rat Pack version of Ocean's 11). Austin Powers' Jay Roach is on board to direct, with Barbie vets Margot Robbie and Ryan Gosling attached to star. Beyond that surface level intel, however, nothing else is known about the movie.
"I can’t really say much," producer Josey McNamara told GamesRadar this past fall. "But I think we’re just trying to do right by the franchise. I’m excited for people to experience it when it’s ready."
|
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5635
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3
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https://thoughtsandafterthoughts.com/2016/09/07/review-the-light-between-oceans/
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en
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[Alternatives] – Movie Review – The Light Between Oceans (2016)
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[
"Joey @ thoughts"
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2016-09-07T00:00:00
|
Alternatives is the tagline to discuss entertainment outside of literature. It may encompass television, movies, games, and music. Alternatives Movie Review – The Light Between Oceans (2016) Genre: Drama, Historical, War, Romance, Cultural (Australia) Duration: 132 Minutes Directed By: Derek Cianfrance Written By: Derek Cianfrance, M.L. Stedman Starring: Michael Fassbender, Alicia Vikander, and Rachel Weisz A lighthouse keeper and his wife living…
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en
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https://secure.gravatar.com/blavatar/bcd133dd138d667ced78d85b407c951337e118fce0a97aa679f9699385e96cda?s=32
|
thoughts and afterthoughts.
|
https://thoughtsandafterthoughts.com/2016/09/07/review-the-light-between-oceans/
|
Alternatives is the tagline to discuss entertainment outside of literature. It may encompass television, movies, games, and music.
Alternatives
Movie Review –
The Light Between Oceans (2016)
Genre: Drama, Historical, War, Romance, Cultural (Australia)
Duration: 132 Minutes
Directed By: Derek Cianfrance
Written By: Derek Cianfrance, M.L. Stedman
Starring: Michael Fassbender, Alicia Vikander, and Rachel Weisz
A lighthouse keeper and his wife living off the coast of Western Australia raise a baby they rescue from an adrift rowboat.
Reaction
I’m just going to first preface this review to say that I had a terrible viewing experience due to the patron next to me who not only decided to sleep (and snore) for the first 1/4 of the film (imagine loud manly snores every 4-5 seconds re breathing) but then proceeded to elicit reactionary comments like “OH!” and “NO!” and “Uh-huh” … among others in every fucking scene.
What does this mean? It means I was constantly removed from a film that requires attention and immersion into the character dramas and picturesque landscapes that sell the story.
Speaking to the film though, The Light Between Oceans was kind of dramatic for my tastes compounded by terrible decision making in Fassbender’s character, Tom. I get that he meant well (and perhaps the “right” decision) but I think how he went by it was misguided for my tastes.
The tone of the film was spot on though; featuring a coastal town grounded by beautiful landscapes and set against the backdrop of the volatile sea. This film is literally a treasure trove for pathetic fallacies.
Also stray thoughts: Vikander’s character seemed to have zero wardrobe changes for 1/3 of the film…
Casting
The film is spearheaded by Michael Fassbender and Alicia Vikander, with the latter giving a more compelling performance in my eyes. I don’t know if it’s the story that limited Fassbender’s acting chops but his role is rather minimalist. Now it could totally be that his character is numb to basically everything post-war but I guess I just expected more from a role that doesn’t actually have much to give. Meaning: it’s a quiet role and Fassbender does do it somewhat justice.
Afterthoughts
Good but not great.
Cheers,
Joey
|
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5635
|
dbpedia
|
1
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https://www.theguardian.com/film/News_Story/Critic_Review/Observer_review/0,4267,651378,00.html
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en
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guardian.co.uk Film
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en
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It was said of Irving Thalberg, production chief at MGM and model for Monroe Stahr in Fitzgerald's The Last Tycoon, that he didn't make films, he remade them, meaning that he was always re-editing other men's work. Steven Soderbergh, though he has no reason to, is a remake man in the more obvious sense, having remade Siodmak's Criss Cross as The Underneath, Simon Moore's Traffik as Traffic, and under the original titles a forthcoming American production of Erik Skjoldbjærg's Insomnia, and this week's heist movie, Ocean's Eleven.
Robbing casinos is a familiar movie plot. In 1955, five years before Frank Sinatra as Danny Ocean and his obsequious clan of former wartime buddies shook down five Las Vegas casinos in one night, a crew of college kids planned a raid on a Reno gambling spot in Five Against the House, and eight years after the Rat Pack caper there was the gritty They Came to Rob Las Vegas.
But Soderbergh's is a state-of-the-art heist flick, a gleaming stretch-limo of a picture set in the new Vegas, the gambling Disneyland from which the Mob have been ejected to be replaced by corporate sharks such as the ruthless, quietly spoken Terry Benedict (Andy Garcia), who owns the Bellagio, the casino where Braques and Picassos look down contemptuously on diners and gamblers, and keeps the money from the MGM and the Mirage in his vaults.
Tess (Julia Roberts in Angie Dickinson's original role) manages the gallery side of the business and is both Terry's lover and Danny Ocean's ex-wife. So when Danny (George Clooney) gets out of the New Jersey slammer after serving four years for theft he decides to lift $80 million from Terry's impenetrable vault and reclaim his wife.
Looking like Clark Gable, but more self-contained, Clooney's Danny contacts old chum Rusty Ryan (Brad Pitt), poker teacher to the Hollywood stars, and gets bank-rolled by an ex-Vegas tycoon, a former mobster with a grudge against Benedict.
Like Yul Brynner and Steve McQueen, the pair set about recruiting their magnificent 11. They pick a wild bunch of experts, among them an elderly Jewish con man (Carl Reiner), a Chinese acrobat (Shaobo Qin), a Mormon electronics wizard (Scott Caan), and a black British safecracker (Don Cheadle), who talks in cockney rhyming slang, a jokey reference to Terence Stamp as the eponymous hero of Soderbergh's The Limey, whom no American can understand. Precisely what everyone's role is would take a Sherlock Holmes to infer, and part of the fun is seeing the master plan fall into place bit by bit, until the final preposterous piece completes the whole picture.
The movie is more like an elegant journey in a hot-air balloon than a trip on a rollercoaster and is that rare thing, a thriller without any violence, sex or profanity (just one four-letter word mangled in Chinese English). In a little epilogue, the gang silently contemplates its work and the beauty of Vegas at night to the strains of Debussy's 'Clair de Lune'. Unlike the 1960 Sinatra picture, it ignores showbusiness and we never see a floor show or a cabaret act.
Ocean's Eleven is devoid of morality other than a dedication to honour among thieves; it's consistently funny in a way that invites appreciative smiles rather than loud laughter; it's exciting without bringing disagreeable sweat to the palms; it's engaging, but never does anything as vulgar as taking us out of ourselves. In a word, it is what it sets out to be (and what the Sinatra Rat Pack thought they were, but more often than not failed to be) - quintessentially cool. As cool in fact as Danny Ocean emerging from jail not once but twice wearing the midnight-blue tuxedo in which he was arrested.
|
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5635
|
dbpedia
|
2
| 21
|
https://oneroomwithaview.com/2018/06/13/oceans-8-review/
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en
|
One Room With A View
|
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[
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[
"Tom Bond"
] |
2018-06-13T00:00:00
|
Is Ocean's 8 a cynical reboot cashing in on the trend for better female representation, or is it a joyous and beautiful blockbuster? It can only be one!
|
en
|
One Room With A View
|
https://oneroomwithaview.com/2018/06/13/oceans-8-review/
|
It’s still depressingly rare for a film to have all women in the lead roles, but Ocean’s 8 would have been worthy of very little attention if that was the only remarkable thing about it. Instead, it delivers a brilliant example of the kind of laidback, star-oriented blockbuster which the previous Ocean’s films exemplified.
Those films were never really about the con itself – that was just sleight of hand. The real appeal was seeing a host of A-list movie stars rattling wisecracks back and forth, competing to see who could set the screen alight with sheer charisma fastest.
Ocean’s 8 is no different, with Sandra Bullock and Cate Blanchett leading their all-female criminal crew with slick, dazzling performances. They also queer the bromance these kind of films typically imply, with plenty of flirtation between the pair.
Watching great actors perform together is one of the greatest and simplest joys of cinema, and the rest of the ensemble deliver with a host of eccentric and always engrossing characters. Helena Bonham Carter is hilarious and touching as a washed-up Irish designer, Anne Hathaway gamely plays the villain and victim of the piece as a bratty actress, and in the best possible way, Sarah Paulson always feels like she’s 30 seconds away from murdering someone.
Like its predecessors, Ocean’s 8 is an unabashed celebration of glitz, glamour, wealth, and what some will do to get it. The finale at the Met Gala will convince the unconverted with a spectacular sequence of glorious art, architecture and fashion. The production design and costuming are eye-wateringly good, and if you don’t want to leave the cinema wearing Cate Blanchett’s entire wardrobe there is something wrong with you. If you can take the plot holes you won’t find a more relaxing or entertaining film this summer.
RATING: 4/5
INFORMATION
CAST: Sandra Bullock, Cate Blanchett, Anne Hathaway, Helena Bonham Carter, Sarah Paulson, Mindy Kaling, Rihanna, Awkwafina, Richard Armitage
DIRECTOR: Gary Ross
WRITERS: Gary Ross & Olivia Milch (written by); Gary Ross (story by); George Clayton Johnson, Jack Golden Russell (based upon characters created by)
SYNOPSIS: Debbie Ocean gathers an all-female crew to attempt an impossible heist at New York City’s yearly Met Gala.
|
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5635
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dbpedia
|
2
| 76
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https://www.gcu.edu/blog/performing-arts-digital-arts/what-producer-and-how-can-you-become-one
|
en
|
What Is a Producer and How Can You Become One?
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2022-03-11T16:26:51-07:00
|
What is a producer? Learn about the film production industry and how to start a career at a production company or TV show by earning your film degree at GCU.
|
en
|
/sites/default/files/favicon_1.ico
|
GCU
|
https://www.gcu.edu/blog/performing-arts-digital-arts/what-producer-and-how-can-you-become-one
|
Have you ever watched a movie’s ending credits and wondered, “What is a producer and what do they do?” You’re certainly not alone! The film producer’s job is one of the least-understood positions in Hollywood, although movies and TV shows couldn’t be created without these hard-working professionals.
The simple explanation is that producers are responsible for shepherding a creative project through its entire lifecycle—from conception to release. Whereas a director largely handles the creative decisions of the project, producers are responsible for the financial and business-related decisions. If you’d like to work behind the scenes on creative projects that countless people may enjoy, read through this career guide. It will help you understand the realm of film production, including the process of becoming a producer.
What Is a Producer?
A producer works on the development, planning, execution, release and marketing of a creative project. Producers can work on movies, TV shows, reality shows, animated shows, commercials and theater productions. Usually, a producer will specialize in one or two types of creative projects, such as TV shows and movies.
Some producers are self-employed contractors who may work with a range of different production companies. Others work directly for a studio or production company. Producers who specialize in TV commercials may be employed by a marketing agency.
A producer’s daily responsibilities depend on the particular stage of the project they are managing. During development and preproduction, a producer may:
Identify projects that look promising, both in terms of artistry and commercial viability
Purchase the rights to creative projects and secure financing from investors
Assemble a creative team of writers, managers, talent (actors for the leading roles), critical crew members and a director
Liaise with the production company to “green light” the project (obtain approval to move forward with it)
During the production phase, the producer is responsible for establishing a budget and ensuring that the project stays within that budget. They will use production management software to develop a production schedule and will work to keep the project on track for completion by the deadline. Other common production phase tasks include:
Working with the director to hire other important creative staff members, such as the cinematographer, casting agents and production designer
Overseeing and managing the logistics and business operations
Supervising the production of the film
Although the director is in charge of the creative aspects of the project, the roles of director and producer can sometimes overlap. The director and producer may collaborate on major creative decisions and the director may sometimes need to get the producer’s approval on them. For instance, if the original screenplay isn’t working well and needs to be rewritten, the producer may need to approve a rewrite because it will involve additional expenses that may jeopardize the established budget.
A producer’s work doesn’t end after shooting wraps up. Producers oversee the post-production process, including the editing and music composition. As the project nears its release date and post-production concludes, the producer will work with a public relations (PR) team to generate public interest in the film.
How To Become a Producer: An Overview
Now that you know what a producer is, you may have decided that you’d love to pursue this career. If you’re still in high school, you should discuss your career plans with your guidance counselor. A guidance counselor may be able to help you adjust your course load to focus on classes that will be useful for becoming a producer.
A few types of classes will be ideal for you, including:
Social science classes (e.g., psychology)
Humanities classes
Computer applications
Entrepreneurship
Business law
Microeconomics
Consider joining a drama club or a digital film club during your high school years. You might also look for opportunities at a community theater organization during the summer.
You’ll need to earn a bachelor’s degree, as producers are generally expected to have an undergraduate education. After graduation, you’ll need to acquire an entry-level job in the industry. Gaining professional work experience may enable you to work your way up the ladder and eventually pursue the role of a producer.
Earning Your Film Degree
After high school, the first step in the process of becoming a producer is to earn a bachelor’s degree. Most aspiring producers choose to earn degrees in film or cinema studies. It’s also possible to pursue this career path with a degree in theater, communications or a similar artistic field.
However, some schools may offer more specialized degree programs for aspiring production professionals. One such option is the Bachelor of Arts in Digital Film with an Emphasis in Production degree. This type of degree is ideally suited to students who would like to become producers as it explores both the creative, behind-the-camera aspects and the business side of filmmaking.
The curriculum for such programs will vary from one school to the next. In general, however, students may expect to study topics such as:
The lifecycle of a film project from development and pre-production to post-production and release
Techniques to implement in music videos and documentary productions
Advanced digital editing tools, techniques and approaches
The expression of creative messages through small-format digital production
Audio production skills, including 21st-century challenges and how to solve them
Your degree program may include a practicum course during your senior year. You’ll likely be required to create a short digital film. This will prove invaluable not only as a chance to practice your skills and exercise your creativity but also as an addition to your professional portfolio.
Film and production students are strongly encouraged to explore internship opportunities while in college. Being a producer is not an entry-level job. Thus, students who can demonstrate some work experience on graduation may be better positioned to pursue this role sooner. You can look for internship opportunities at local community theaters, film production companies and even marketing agencies that create television commercials.
Landing an Entry-Level Position
As in most workplaces, there is a clear hierarchy on professional film sets. Students who aspire to become producers, directors or other major players on creative projects must first pursue an entry-level position. First, you’ll want to look for internship and apprenticeship roles, as well as assistant positions.
Some examples of entry-level positions include:
Assistant producer
Production assistant
Assistant editor
Assistant camera operator
Boom operator/sound trainee
Are Film Production Professionals in Demand?
Although it shouldn’t be the sole factor to consider when determining your future career, it’s always smart to consider the job prospects for the careers you’re considering. You’ll be pleased to know that qualified film production professionals are in high demand.1
This job growth is partially attributable to the steadily increasing number of TV shows being aired on online streaming services and other online platforms. Job growth is expected to be slower for producers and directors who work in small and mid-size theaters. However, the job prospects associated with larger, well-funded theaters in major markets such as New York City and Los Angeles are expected to be more robust.
If you aspire to pursue a job in Hollywood, you can develop a solid foundation for success at Grand Canyon University. The College of Arts and Media is pleased to offer the Bachelor of Arts in Digital Film with an Emphasis in Production degree program to students who value creativity, storytelling and the technical aspects of filmmaking. Click on Request Info at the top of your screen and take the first step toward joining the dynamic and supportive learning community in the College of Arts and Media at GCU.
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https://www.rogerebert.com/reviews/oceans-8-2018
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Ocean's 8 movie review & film summary (2018)
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Slickly paced and radiating sexy glamour, “Ocean’s 8” moves with the swagger of a supermodel prancing down the runway.
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https://www.rogerebert.com/
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https://www.rogerebert.com/reviews/oceans-8-2018
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In the midst of this bloated summer blockbuster season crammed with comic book superheroes, here are your true avengers: the formidable female cast of “Ocean’s 8,” taking us on a giddy, fizzy escape while also making a pointed statement about the realities of the world in which we live.
It’s a heist flick, carrying on the tradition of Steven Soderbergh’s “Ocean’s” trilogy (Soderbergh serves as a producer this time), with all the elaborate machinations you’ve come to expect from the series. It is crime as high art—which is fitting, given that the robbery this time takes place at The Met Gala, the annual fashion extravaganza at New York’s Metropolitan Museum of Art. It’s also the most flat-out fun movie that director and co-writer Gary Ross has made since his directorial debut, “Pleasantville,” 20 years ago. Slickly paced and radiating sexy glamour, “Ocean’s 8” moves with the swagger of a supermodel prancing down the runway.
But beneath the couture gowns and glittering jewels, the high-tech equipment and good, old-fashioned sleight of hand, “Ocean’s 8” is about the power of women standing up for themselves, sticking with each other and making the impossible happen. Years of planning and reservoirs of chutzpah certainly help, but the real reason these ladies are able to pull off this particularly daring crime in plain sight is simple: “A ‘him’ gets noticed. A ‘her’ gets ignored,” says Sandra Bullock as crew chief Debbie Ocean. “And for once, we want to be ignored.”
Bullock is coolly charismatic and totally in command in the title role, taking over as the George Clooney figure in this reimagining of the franchise. (Debbie is the estranged sister of Clooney’s late Danny Ocean, which the film addresses efficiently before moving on to the action.) After giving the performance of a lifetime to persuade the parole board to release her from prison, Debbie promptly returns to New York City and begins assembling the team she’ll need to pull off the crime she’s been planning for the past five years, eight months and 12 days.
Her first stop is Bergdorf Goodman for a dazzling bit of high-dollar shoplifting. And one of the movie’s many strengths is its use of recognizable New York locations; it grounds the film in contemporary reality and keeps it from floating off completely into the stratosphere. Besides that luxury department store, the ladies also visit the Ukrainian restaurant Veselka in the East Village, Junior’s diner in Brooklyn and, of course, The Met.
As in Soderbergh’s original “Ocean’s 11,” part of the fun of “Ocean’s 8” is watching Debbie handpick the women who will help her pull off this daring crime: stealing a one-of-a-kind, $150 million diamond Cartier necklace from the starlet who’s wearing it, right in the middle of the gala. Each brings a specific talent and energy to the team; together, they create an unpredictable, irresistible alchemy.
Bullock especially has great chemistry with Cate Blanchett as Lou, her longtime partner with whom she enjoys a smart and playfully spiky repartee. The ever-changing Blanchett is all rock-and-roll bad-assery here—but in an intriguing twist, she also serves as the voice of reason compared to Bullock’s wildly ambitious Debbie.
Together, they round up Mindy Kaling’s Amita, a jeweler who’s used to doing shady work for Debbie but nothing quite like this; con artist and petty thief Constance (actress/musician Awkwafina, whose real name is Nora Lum), who brings a youthful, streetwise edge to the crew; Sarah Paulson’s Tammy, a reliable fence trying to live a quiet life as a wife and mom in suburbia; Rihanna as a resourceful hacker who goes by the name Nine Ball and solves every tricky security challenge with a low-key confidence; and fashion designer Rose Weil (Helena Bonham Carter), whose fame and clout provide the team with access to the star-studded event, even though her days of peak popularity are well behind her.
The final player is the one who doesn’t even realize she’s been recruited: Anne Hathaway as “It Girl” actress Daphne Kluger, who’s one of the gala’s hosts and whose neck will carry that expensive piece of shiny hardware. While Awkwafina is a breath of fresh air and Carter is her delightfully odd self, Hathaway is the film’s MVP. What she’s doing here is nothing short of inspired, controlled lunacy. She’s an actress playing an actress, which is always a juicy opportunity to ham it up. But Hathaway is clearly having a blast discovering all of this character’s colors, from preening egomania to dippy girlishness to insecure fragility. She’s pulled off a theft of her own here.
The sheer brazenness of the crime in “Ocean’s 8” is enough to put a goofy smile on your face. But as is always the case in heist movies, the sustained thrill of the high-wire act comes from watching the players lay out their complex plan, then seeing whether it actually goes as smoothly as they’d hoped. Ross and co-writer Olivia Milch give each of these ladies an opportunity to shine along the way, but because they’ve amassed such a staggering lineup of talent, it makes you wish some of the supporting players had been better fleshed out. This is particularly the case with Kaling, Paulson and Awkwafina, and it’s the movie’s one real weakness.
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https://www.nbcnews.com/think/opinion/all-female-ocean-s-8-easily-best-film-franchise-they-ncna881156
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The all-female 'Ocean's 8' is easily the best film of the franchise. They should've ditched the men sooner.
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2018-06-08T08:32:00+00:00
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“Ocean's 8” review: Start-studded and gender-swapped Ocean's film is easily the best movie in the heist franchise so far.
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https://nodeassets.nbcnews.com/cdnassets/projects/ramen/favicon/nbcnews/all-other-sizes-PNG.ico/favicon.ico
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NBC News
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https://www.nbcnews.com/think/opinion/all-female-ocean-s-8-easily-best-film-franchise-they-ncna881156
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The “Ocean's” series of heist films has always been a celebratory ham-fest, in which an ensemble of Hollywood stars demonstrates transcendent cleverness by playing a bunch of transcendently clever criminals. Those criminals are (virtually) all guys, and sparkling bromances have been central to the film's humor and aesthetic. There was some reason to wonder, therefore, how the all-female “Ocean's 8” reboot could capture the films’ particular suave swagger.
As it turns out, there was no need to worry. “Ocean's 8” is easily the best film in the franchise so far. Replacing the men with women allows the film to capitalize on the strengths of its predecessors while also jettisoning many of their weaknesses. “Ocean's Eleven” (2001), “Oceans' Twelve” (2004) and “Ocean's Thirteen” (2007) were all just practice runs for the real heist, a multi-film preparation for the women of “Ocean's 8” to steal the franchise's mantle, once and for all.
“Ocean's Eleven” (2001), “Oceans' Twelve” (2004) and “Ocean's Thirteen” (2007) were all just practice runs for the real heist, a multi-film preparation for the women of “Ocean's 8” to steal the franchise's mantle.
“Ocean's 8” starts in much the same place as “Ocean's Eleven;” the title character (in this case Sandra Bullock's Deborah Ocean, Danny's sister) is released from prison and immediately starts planning a daring heist. In this case, the plot is to steal a fabulous Cartier necklace from the neck of Daphne Kluger (Anne Hathaway) at the glamorous Met Gala.
But unlike its predecessors, “Ocean’s 8" finally gets the franchise's ensemble balance right. The earlier trilogy focused largely on George Clooney as Danny Ocean and Brad Pitt as Rusty. Matt Damon got a fair bit of screen time as Linus, and actors like Bernie Mac and Don Cheadle were mostly relegated to under-utilized schtick. The logic of male-led action films also demanded romantic plots, and much of “Oceans Eleven” and the truly dreadful “Ocean's Twelve” were devoted to Clooney and then Pitt finding love — sincere emotional storylines that clashed awkwardly with the franchise’s cynicism.
Having women take the lead, in contrast, has freed the series from the strict hierarchy of the marquee pecking order, as well as from the need to pretend heterosexual romance is the ultimate goal. Slimming the cast from 11 to eight helps too. While there's plenty of banter between Sandra Bullock's Debbie Ocean and Cate Blanchett's Lou, the other performers are allowed fuller backstories, and more development than secondary figures got in the earlier films.
The most sustained character arc in the earlier “Ocean's” films involved Linus trying to prove himself while Danny and Rusty condescended to him — a tired, not quite parodic coming-of-age narrative. “Ocean's Eight,” in contrast, abandons the idea that heists are about testosterone and proving one’s manhood, and opts instead for good, clean ensemble fun. Helena Bonham Carter praising the perfection of Anne Hathaway's neck in a cascading flurry of mutual simpering is a flamboyant tour de force — as is a scene in which Carter and Mindy Kaling quietly panic as one strand of their complex plan threatens to unravel.
For that matter, just watching Bullock, Blanchett and Rihanna exist in the same room is a joy — as the film is fully aware. In one of “Ocean 8’s” funniest meta-jokes, a character agrees to join the heist not because she wants the money, but because she's never had strong female friendships before. Who wouldn't risk prison to hang out with Rihanna and Awkwifina?
Just watching Bullock, Blanchett and Rihanna exist in the same room is a joy — as the film is fully aware.
Meta jokes have always been an important part of the “Ocean's series.” The franchise loves to draw parallels between actors and con artists, both of whom are in the business of pretending to be something they're not. In the first “Ocean's” film, Rusty has a job teaching poker to a bunch of teen idols like Joshua Jackson and Holly Marie Combs, all playing themselves. The only good gag in “Ocean's Twelve”was a sequence in which, Tess,(played by Julia Roberts), ran a scam in which she pretended to be a pregnant Julia Roberts, fooling even an oleaginous Bruce Willis, played by Bruce Willis.
“Ocean's 8” takes these moments of winking self-reference and turns them into one long, dizzying sashay of fabulous campiness. The fact that the film is set at the Met Gala means that the actors are all constantly on the edge of tipping over into their "real" selves. The movie makes the most of having Cate Blanchett and Rihanna pretend to be stars at the event. Helena Bonham Carter's character is essentially one extended joke about the tabloid presentation of her as a spacey fashion disaster.
Anne Hathaway practically steals the film with her performance as a Hollywood starlet embodying all the horrible things the world loves to hate about real-life Anne.
And Anne Hathaway practically steals the film with her performance as a Hollywood starlet embodying all the horrible things the world loves to hate about real-life Anne. "If there's one thing, I know it's bad acting," she declares. It's supposed to be a self-own, because Hathaway's character is a bad actor — but it's also a knowing victory lap, because her portrayal of a bad actor is so triumphantly perfect.
The film's most daring sleight-of-hand, however, is the most obvious. The pretense is that Sandra Bullock is playing Danny Ocean's sister, but really she's playing George Clooney. And while Clooney playing a suave, confident idealized vision of Clooney is impressive, Bullock playing Clooney backwards and in heels is something else again.
The actors in “Ocean's 8” aren't just actors. They're actresses playing actors playing those particular kinds of actors known as cons. The movie gleefully drops in Easter eggs and cameos referencing the earlier films in the franchise, reminding you that you're watching a gender-swapped counterfeit of the original. But if there's one thing all the “Ocean's” films agree on, it's that the counterfeit always has more style than the real thing.
Noah Berlatsky is a freelance writer. He edits the online comics-and-culture website The Hooded Utilitarian and is the author of the book "Wonder Woman: Bondage and Feminism in the Marston/Peter Comics, 1941-1948."
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Southport Column: Remembering Anne and Dick, and more
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Southport friends are invited to gather at the Southport Yacht Club on Sunday morning, Aug. 11 at 11 for a community celebration of the life of Anne Grimes, who died Jan. 21 of this year. Anne served as SYC treasurer and membership chair, as well as...
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en
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https://www.boothbayregister.com/sites/default/files/favicon_bbr_1.ico
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Boothbay Register
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https://www.boothbayregister.com/article/southport-column-remembering-anne-and-dick-and-more/189697
|
Southport friends are invited to gather at the Southport Yacht Club on Sunday morning, Aug. 11 at 11 for a community celebration of the life of Anne Grimes, who died Jan. 21 of this year. Anne served as SYC treasurer and membership chair, as well as volunteering with the Hospital Auxiliary and Boothbay Region Land Trust. The Grimes Family invites you to stop by SYC on Sunday morning to swap stories and
share memories over brunch.
Many people filled the Southport Town Hall last Saturday afternoon to remember and celebrate the life of Dick Snyder. Family and friends told stories and even wrote a poem to capture his essence among all of us. One of my favorite stories was a tradition he created to make the drive from New Jersey, a winter home for many years, to Maine more interesting. Dick create a tune that all in the car sang when they crossed a state boundary. In telling the story, son, Hugh, hummed the tune, which all of us in the audience soon joined in singing. When the imaginary trip crossed the state line into Maine, and we sang the tune, we thought, one last time, but Hugh then said his dad has now crossed another boundary line, so we sang the tune to accompany him one more last time.
The Book and Bake Sale on Aug. 1 at the Southport Memorial Library was well attended. Many people went home with delicious desserts and books to fill their cottage shelves. The next afternoon many people enjoyed the wine tasting at theSouthport General Store, along with the authors’ talks. Fortunately the rain held off for these events, but the rain has delayed the beginning of the painting of a mural on the east side of the store. Eliza Goodwin is still working on her plans and watching the weather carefully to get a full 18 hours of dry time before starting.
Callie and Denis MacWhan are in residence until Aug. 12 at their home on Pratts Island Road. Great to have them back even for a short time.
On Thursday, Aug. 8 we can attend another author’s talk beginning at 6:30 p.m. the Southport Memorial Library. The author this time is Diane Lechleitner. She will speak of her debut novel, “Faron Goss,” which is a Gold Winner of the Foreword Indies Award for Fiction. It tells the story of a boy born into a hardscrabble community, with themes of vulnerability and resilience, “as well as the magical abilities of time, friendship, and love to steady a life initially marred by neglect and tragedy.” Refreshments will be served.
If art rather than writing is your thing, also on Aug. 8 from 3 until 7 p.m. you can sign up for a watercolor boutique workshop at the Barn across from the Southport General Store. Either stop by the store or go online to do so.
More opportunities for enlightenment on Aug. 10 when you can attend a rug hooking demo at Hendricks Head Museum from noon until 3 p.m., and on Monday, Aug. 12, at 7 p.m. at the Southport Town Hall, the museum will sponsor a lecture by Ed Parker, titled “Painting the Story,” part of the Donald and Joyce Duncan Lecture Series. An internationally recognized maritime artist and Southport resident, Ed Parker will speak about the inspiration, process, and storytelling involved in the creation of his whimsical and often humorous paintings. The artist has generously donated two prints of his artwork to the museum to use for fundraising; plans are in the works to offer them in a silent auction during this event.
More data for your calendars. On Tuesday, Aug. 27 beginning at 6:30 p.m. at the Southport Memorial Library, Ken Nomiyama will be sharing his life experiences. Mr. Nomiyama is a Japanese American who was born during World War II at Tule Lake, California, one of the 10 Japanese incarceration camps established by the US government during the war. In this talk, he will discuss the unconstitutional treatment of Japanese Americans during the war, the story of their mass incarceration, and how this experience impacted their lives. Ken will describe the effects on Japanese and American communities long after the end of the war. Ken has spoken about this subject at universities, secondary schools, and community organizations throughout New England. He is on the board of the Tule Lake Committee and is actively involved in issues related to the treatment of minority communities. Ken is a retired businessman, who lives in Newport, Rhode Island. The library is very grateful to have Mr. Nomiyama as a speaker, and we encourage the public to attend and learn more about this often neglected part of American history. If you have any questions, please call the library at 207-633-2741.
The Southport Climate Action Committee (SCAT) invites you to a public meeting on Aug. 29, 5:30-7 p.m. at the Southport Town Hall. The meeting will focus on reporting SCAT's progress on funding for Southport's climate program and potential Hendrick's Head beach improvements to protect the road and marsh areas; and discussing our approach to an emergency preparedness/evacuation plan and a climate vulnerability assessment for Southport.
We hope you will join us!
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Oceans Rising (2017)
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Oceans Rising (2017) on IMDb: Movies, TV, Celebs, and more...
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The American Society of Cinematographers
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2024-08-06T16:00:00-07:00
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Steven Soderbergh doubles down as both director and cinematographer on Warner Bros.’ high-stakes heist remake.
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en
|
The American Society of Cinematographers
|
https://theasc.com/articles/oceans-eleven-smooth-operators
|
Having a combo director cinematographer on a project is very common in the commercial and documentary realms, but rare in the world of features. A few cinematogaphers have lit a scene and then taken a seat in a director’s chair. Luciano Tovoli, ASC, AIC, did so in 1982 for II Generale delTarmata morte (The General of the Dead Army). John Alonzo, ASC directed and shot three telefilms, Champions: A Love Story and Portrait of a Stripper in 1979 and Belle Starr in 1980. Even Gregg Toland, ASC pulled double duty once for the feature-length documentary December 7th (1943), which he co-directed with John Ford. However, one would be hard-pressed to find a feature director who has added cinematographic duties to his responsibilities. One is director Peter Hyams, who has been shooting his own movies for many years.
“I don’t think this should be a trend,” Soderbergh concedes. “I was trained as a still photographer. I’ve been shooting since I was 13, and I’ve worked with really terrific cinematographers whom I’ve bombarded with questions and watched very closely in order to learn [the craft]. When I decided that I was going to try it, I thought about it at length. It’s not something I take lightly. I’ve just found a way of working that feels very comfortable for me; it has more to do with getting to what I consider to be the right set of solutions for a given problem as quickly as possible, and increasing the intimacy [I have] with both the actors and the film itself.
“The lighting was very reality-based. First we looked at what the reality was, and then we tried to make it work. We may have needed to enhance a few things for dramatic purposes or just to get an exposure, but we wanted the movie to look as if it wasn’t lit at all.”
— gaffer James Plannette
“Part of what I do in my spare time is study,” he says in regard to the continual learning process that defines the art of cinematography. “I read AC. I watch very closely what other cinematographers do, and I borrow all the time. I’m sure I’m not alone in tracking the people I respect, making sure I see everything they do more than once to get a sense of how they accomplish the various effects they employ.”
Soderbergh, who did some camera operating on both The Limey and Erin Brockovich, joined the Local 600 union as a director of photography to shoot Traffic. The pseudonym came into play because the Writers Guild wouldn’t allow him to take the credit of “Directed and Photographed by” for the film, and he didn’t feel comfortable having his name in the billing block twice. Local 600 granted him permission to use the pseudonym Peter Andrews, a moniker that combined his father’s first and middle names. “It was a great way to pay tribute to my dad, who’s not around anymore and is the person who gave me the film bug,” he says. “Ironically, the Writers Guild was willing to allow me to combine the [director-photographer] credit on Oceans. But I thought it was good karma to leave it the way it was.”
For a while following the release of Traffic, Soderbergh was rather mum about the cinematographic aspects of his work. “I wanted to be very careful not to make it seem like this was something I took lightly, or make it out to seem like anything that unusual. I wasn’t interested in waving a flag about, and I’m still not. But at the same time, I want to share information. That’s what this magazine is about. I’m somebody who believes in giving anyone who cares to listen the benefit of whatever experience I’ve had.”
For Oceans Eleven, Soderbergh re-teamed with his ace gaffer from Traffic, James Plannette, a 29-year lighting veteran who’s gaffed such films such as E.T., Someone to Watch Over Me and Braveheart, among many others. “He’s the perfect combination of experience, enthusiasm and flexibility,” Soderbergh declares. “I need somebody who has ideas when I don’t have any, and who also doesn’t get bent out of shape when I have very specific ideas. He’ll try anything and knows what the effect will be because he’s so grounded in all the photographic technical skills you accrue when you’ve been doing this for decades. Anybody watching us work would see very quickly that we’re linked at the hip
Plannette quips, “Because he’s the cinematographer as well, he does the director’s part, and then he never leaves the set. If we’re headed in the right direction, that’s great. And if we’re not, he’ll say, ‘Maybe this isn’t quite what we want,’ and we’ll change it. It’s a very collaborative effort and a pleasurable experience. He doesn’t have a tremendous amount of experience as a cinematographer, but he has a great eye and great taste. Together we end up in the right place.”
“I spent more time as a cinematographer waiting for the director to figure out what he wanted to do than the other way around,” jokes Soderbergh. “There were days when I was stumped directorially. For the first time on any movie I’ve made, there were elaborate setups that I’d spend an hour and a half or two hours on, only to tear them down before we even shot them. But I was able to figure out the right approach by doing the wrong thing. Once that was done, deciding how to light was usually a quick conversation between Jim and me. Luckily, the crew I work with is so efficient that I had the luxury of starting over and knowing that I’d still make my day.”
Oceans Eleven is composed in a very slick style that
complements the cool characters and their hip hangouts. The filmmakers
received their lighting cues, or vibe, if you will, from the natural
aesthetics of the locations. Soderbergh explains, “When we went on the
tech scouts, which are my least favorite part of filmmaking, we’d show
up, and it was either great and we didn’t want to, as Jim puts it, ‘put
our foot through a Rembrandt,’ meaning we’d shoot it pretty much as was,
or it was not terrific and we’d discuss how to make it feel a little
more organic to our film and what we were trying to do without violating
it. Sometimes it was as simple as adding some color somewhere.”
Plannette elaborates, “The lighting was very reality-based. First we looked at what the reality was, and then we tried to make it work. We may have needed to enhance a few things for dramatic purposes or just to get an exposure, but we wanted the movie to look as if it wasn’t lit at all.”
To get that kind of exposure, Soderbergh placed strong demands on his film stocks, Kodak Vision 500T 5279 and Vision 250D 5246. “We ended up shooting almost all of the film with 5279 pushed two stops but rated at 1200 ASA,” he says. “In a sense, we’re pushing two stops but shooting only a stop and a half over. Even though the movie is designed to be slick and elegant, it doesn’t feel too glossy because it’s got a little bit of grit in it, and I loved the contrast [the stock] gave me. I’m really happy with the way that looks, and it affords you so much flexibility. We tested the 800-speed [5289] as well, and I found that the 79 was sharper. I’m incredibly impressed with how robust the 79 is.”
“In theory, of course,” says Plannette, “if you push 500 two stops you rate it at 2000, but we didn’t feel we were getting a full two stops. The ASA was derived based on getting decent printer lights at the lab. About 95 percent of the 79 is printed at 24- 31-25. We felt that was a good middle-of-the-scale printer light, and we altered our ASA to get that. We had an Eastman Kodak rep at our dailies one day, and when we told him we were pushing two stops he found it hard to believe.”
“At the beginning of each day,” Soderbergh says, “we’d shoot a gray card, and we’d build into the gray card whatever adjustments needed to be made to hit those printer lights. If we were going for a warm look, we’d put lA blue on the gray scale so that it would come back looking a bit warmer. If we wanted the scene to be printed down, we’d shoot the gray scale in a way so that when our printer lights were used, the scene would be down. We tried to take all the guesswork out of it.”
The results are tight grain control, inky blacks, deep shadow detail and bold colors. For the film’s few day sequences, the 5246 was pushed only one stop and had its own set of printer lights. CFI handled all the developing and printing, and Technicolor was responsible for the release prints.
Another key factor in the film’s look is the use of Kodak Vision Premier Color Print Film for all release prints, which for Soderbergh was “possible only because we came in under budget,” he says with a laugh. “After I did some tests involving some other print stocks and other ways of trying to get that look, I went back to Warners and said, ‘It’s just not the same.’ They said, ‘Okay, then we’ll use the leftover production money.’”
Adds Plannette, “It seems to hold the highlights, like the bright street lights and the headlights of cars, and yet dig into the shadows at the same time.”
Because the film was actually picking up a little more detail than was apparent to the eye on set, a trusty Polaroid was used as a reference to gauge the lighting parameters. “We used an old, modified Polaroid 195 that has shutter speeds and f-stops,” explains Plannette. “We used 3000 ASA black-and-white film but rated it at 2400 ASA. Then we just figured the Polaroid was a stop faster than what we were doing [with motion-picture film]. The Polaroids were amazingly accurate. Compared to the Polaroid film, the highlights would hold a little better and it would dig into the shadows a little bit better on the motionpicture film, but we took that into consideration.
Color, emboldened by pushing the 5279 two stops, is liberally dappled throughout the film. Says Soderbergh, “Differences between colors in my mind become more apparent when I begin to mix color temperatures, or when I have scenes like those on the casino floor, which are so warm they’re almost monochromatic. Jim and I decided that we weren’t going to back off from the clash of colors.
“For instance, we shot at Musso and Frank’s [restaurant in Los Angeles], where Danny and Rusty Ryan meet. We played up the contrast of colors a little more than you might normally. That reflects our taste in acknowledging that in life, there is a clash of color temperatures. All of the cinematographers I love have always embraced color and used it as a way to enhance mood and drama. We’re always looking for ways to use color to put you inside the world a little more.”
Plannette expands: “We installed practical lights in all of the booths at Musso’s. The fixtures were very yellow, and in an effort to achieve reality we actually used only those lights for the faces with no fill. In the background, we placed a very dim fluorescent in the entryway. We put up a couple of Babies in each direction to separate the actors from the dark background.”
The film was shot in the Super 35 format using the newer Panavision Millennium XL cameras. Sharper Primo lenses were used because of the additional optical printing step associated with Super 35. Soderbergh operated the A-camera while Duane Manwiller operated the B-camera and Steadicam. Soderbergh points out that for Oceans Eleven, he called upon the Steadicam more than ever before. “There’s a lot of movement in the film,” he says. “I would use the Steadicam when I felt I couldn’t get what I wanted from the dolly or couldn’t get the effect I wanted. More often than not it was when I wanted to pan in the opposite direction of my track — going one direction and then pivoting with someone who’s going the opposite direction. If you’re not an accomplished operator, which I’m not [laughs], that can be a difficult move to do well. I would just have Duane do it because he can walk toward the actor, pivot and get the sensation that I couldn’t get on the dolly. Quite often we even put the Steadicam on the dolly or on a Western dolly.”
Because the film features more than 11 key characters in pivotal locations, camera movement was a way to clarify the accomplishment of Danny Ocean’s complex plan. “I’m a huge fan of being geographically clear and making people comfortable with where everyone is and where each is going,” Soderbergh confirms. “In a movie like this, the locations play a huge part in the plot, and I was very interested in showing as much of the environment as I could.”
The film opens with an unshaven Ocean seated in front of some windows at his parole hearing with 3/4 backlight over both shoulders one of the scenes with which Soderbergh wasn’t happy. “It’s the first shot in the movie, and it makes me wince,” he admits. “The edge lights wrapped around too much. I didn’t want them to hit his nose. I wanted to draw a line around George, but because of the shape of the room I was having difficulty placing the light where I wanted and keeping the lamps out of frame. I wasn’t very pleased with it, but I thought George was very good in the scene, and I didn’t want to risk redoing it. Like I said, I’m probably willing to compromise more than most. I know we did knock down the windows and the fan vent with either ND3 or ND6. I think that was one of those days where Jim said, ‘Does it really need to be nine stops over?’ — like it was on Traffic.”
Plannette reveals, “The film holds the highlights so amazingly well that when we stopped down, the windows were probably five stops over yet didn’t give the appearance of blowing.”
After recruiting his crackerjack card-dealing friend Frank Catton in Atlantic City, Ocean heads to Los Angeles to meet up with his right-hand man, Rusty Ryan, at the voyeuristic club Deep in Hollywood. In a back room, a set constructed for the film, Ryan is seated at a round table teaching some young TV personalities how to play high-stakes poker when Ocean joins in.
“The poker game is entirely lit with an overhead fixture that had swivel sockets with MR-16 globes in them,” says Plannette. “The only other light is a [fluorescent] daylight blue tube in the background.”
Adds Soderbergh, “It was behind one of the hanging things on the wall. We then duplicated it with a couple rolling edge lights that we would move according to whatever shot we were doing so we could wash people with it.”
“When we got into tighter shots,” Plannette details, “we had a white card or a Kino Micro Flo on the table to provide a little bit of fill.”
“I love the Mini Flos and Micro Flos,” Soderbergh notes. “We’d lay those on the table if we felt somebody’s eyes were going down too much — put some, as we say, ‘schmutz’ in front of them, put them on a rheostat and just dial them to taste. I mount them on top of lenses all the time, too.”
“There are a lot of things about the film that I really like. Toward the end, all of the guys are standing outside the Bellagio fountains, and it’s very touching when it ends on Carl Reiner as he’s thinking about how it doesn’t get any better than this.”
The crew gathers in Las Vegas and begins carrying out the caper. Whereas all sequences that take place outside of Vegas were shot cleanly, everything in Vegas, both indoors and out, was photographed using Tiffen Black Pro-Mist filters — ¼ for the interiors and ½ for the exteriors.
“I was trying to figure out how to do the big dialogue scenes, where everybody was either standing or sitting around, in a visually interesting way,” Soderbergh says. “You’ve got a lot of people in a fairly confined space. I wasn’t worried that it couldn’t play, but I didn’t want it to be boring. The scene where Danny tells everybody the plan at Reuben Tishkkoff’s house in Las Vegas was really my first exposure to that. That was the scene where I discovered the glory of the 27mm; the entire scene is shot on that lens. I just tried to frame shots that clearly established where everyone was, where they had enough depth and geometry to them to make them interesting to look at.”
While everyone surveys the targeted establishment, Ocean inevitably meets up with Tess at a Bellagio restaurant. Lighting in the casino principally has a very warm, wrapping quality. “In a normal key situation, I’m always bouncing or using a lightbox that Jim designed, something to make the actors more appealing,” Soderbergh says. “I might not do that on every movie, but I did it on this because it’s that kind of movie, a movie-star movie. For instance, when Ocean and Tess meet in the restaurant, I was trying to adopt a very classical Hollywood approach to their close-ups to make them warm and appealing.”
The filmmakers applied some of those same techniques on the casino floor, but on a broader scale. “We wanted to be able to shoot with pretty much available light in the Bellagio,” says Plannette, “and then use some fill in the foreground or bounce off the ceiling for the background wherever we could.”
Soderbergh interjects, “The big job was replacing all of the 50-watt ceiling bulbs with our own 150-watt bulbs.”
“All of the lights in the casino were on a dimmer,” says Plannette, “so we had them brought up to 100 percent, whereas they normally work at about 40 percent. We built some light boxes in which we put Number 1 and Number 2 Photofloods on a Variac. We used those for front fill for tracking shots; we’d put them on a pole and walk along with people. We varied it a bit to give an indication that they were walking in and out of light. Sometimes we used those light boxes for edge light depending on how tight the shot was. On wider shots, we used traditional Tweenies or Babies, often not very soft. There was justification for that in all of these locations because of the bright lights in the background.”
There are a couple of shots where I feel like it’s not as natural as it should be, or that I went too far with trying to edge people out,” Soderbergh reveals. “Some of the shots I’m happiest with are moving shots where we either mounted a light with us that we were bouncing into the ceiling, or we just let it go [directly]. I should have gone that way more often.”
Most of the time in the casino, Soderbergh was shooting right at T2/2.8 split, and for one particular shot of Clooney at a slot machine [above], the filmmakers happened upon the lighting setup in true Las Vegas style: by chance. “The surface of the slots was so reflective that we placed a Par above him that we pounded into his slot machine,” Soderbergh says. “The light came back up in a way that turned out to be really perfect for us. We got lucky.”
Meanwhile, electronics expert Livingston Dell weasels his way into the casino’s machine room to tap into security camera feeds, a room that seems as if it was constructed inside an electric-blue light fixture. “I wanted to go for that super-saturated monochromatic blue,” Soderbergh explains. “I was tearing pictures out of a magazine for a film that I’m supposed to do this spring, and in putting the pile together I’d accidentally inverted this machine-room picture. It looked so much more interesting upside-down that I talked to production designer Phil Messina and said, ‘Can you make the floor the ceiling so that all the lights are coming out of the floor?’ He replied, ‘I don’t see why not.’ They’re really heavy blue fluorescents that Jim had told me about.”
“They’re fluorescent tubes that I first used about 20 years ago on commercials with a really innovative cinematographer-director named Melvin Sokolsky,” says Plannette. “He was a still photographer in New York, and he used a lot of multi-colored fluorescents in his stills — reds, greens and electric blues. He carried them over to his commercials. Steven and I put those under the Plexiglas floor in the room to give it a really eerie blue feel.”
Soderbergh adds, “Then we had these little MR-16 can lights up top that we let go tungsten just to add a tiny bit of flavor whenever [Dell] was directly under them.”
In stark contrast to the warm, plush comforts of the casino is the cold, underground vault set, which is rendered in shades of white, black and brushed aluminum. Variances in the light create the scene’s contrast. The vault ceiling was tiled with opaque plastic squares that are typical of business fixtures, and above those were space lights. “The space light is a very versatile light because it has six fixtures in each light, and you can control them by the number of globes that are turned on,” says Plannette. “We were able to use those in different amounts depending on the sequence. Once the vault explosion takes place, we used fewer of them. The hallway was lit with fluorescents in the ceiling and Lowel sockets along the floor.”
After the gang pulls off the greatest heist in Las Vegas history by ripping off Terry Benedict, they return to their warehouse base of operations in a SWAT van. (Remember, these are con artists.) To show the van driving in — what might normally be a throwaway transitional scene — Soderbergh stylized the lighting with a moving shaft of sodium vapor-colored light that beams through as the garage door opens, and he also added subtle camera movement. “It’s a weird effect,” he says. “That was one of those days where I was trying to figure out how to shoot what in essence is a very simple scene. I remembered we had already shot Andy Garcia going into the elevator, with the doors closing and going to black. In theory, those elevator doors shouldn’t have been black. They were metallic doors, so they should have been reflective. For some reason — and I didn’t realize why until later — when we were shooting that shot of Andy, I said, ‘Tent me in because I want the doors to go in silhouette.’ Dramatically it just looked better. Later at the warehouse, I remembered that what preceded the scene was the black elevator doors, so I said, ‘Turn out all the lights. Let’s just put one light outside pointing in, but no fill light in the garage.’”
The opening of the automatic garage door allowed the shaft of light to shine more and more into the pitch-black warehouse to backlight the van. Soderbergh tilted the camera up from the blackness to frame the van as it rolled in. “If Warners were actually aware of how much was being determined moment to moment on this movie, they’d probably be horrified, but that’s the way I work,” he says with a chuckle. “By accident, we came up with these shots that look like they go together.”
Says Plannette, “We had a 20K on a Condor with a GAM #382 Brass in front of it. It’s as close to sodium as there is, I think, which is what I like about it. Sometimes we added a little bit of green to it, but in this case we didn’t. But it does cut quite a bit of intensity, so you need a pretty big unit to go through it. We were shooting at about a T2/2.8 split so that we held the background.”
“Dramatically,” Soderbergh reflects, “one of my favorite shots in the movie is a long tracking shot of Tess where she’s left Terry Benedict and realizes Danny is still around somewhere. You see all that play out on her face. It was 200 feet or more of track. What we ended up doing was mounting a light on the camera as an eye-light. We had that on a Variac. We hooked a second dolly to my dolly, and on the back of it we mounted an edge light that was also on a Variac. So both lights were moving with us, but they were dimthing up and down in a random way.” Though it’s shot during the day but plays as night in the film, the dimming variances make it appear as though Tess is walking in and out of pools of brighter light, maintaining the natural quality prevalent throughout the film.
“There are a lot of things about the film that I really like,” muses Plannette. “Toward the end, all of the guys are standing outside the Bellagio fountains, and it’s very touching when it ends on Carl Reiner as he’s thinking about how it doesn’t get any better than this.”
If you enjoy archival and retrospective articles on classic and influential films, you'll find more AC historical coverage here.
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https://medium.com/%40brianrowe_70270/the-sandra-bullock-files-47-oceans-eight-2018-ca9b05e3d1a4
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The Sandra Bullock Files #47: Ocean’s Eight (2018)
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2018-12-16T19:11:39.027000+00:00
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The Sandra Bullock Files is a series that looks at the films of Oscar-winning actress Sandra Bullock, all the way from her debut in 1987, to her two major 2018 releases, Ocean’s Eight and Bird Box…
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en
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https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
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Medium
|
https://medium.com/@brianrowe_70270/the-sandra-bullock-files-47-oceans-eight-2018-ca9b05e3d1a4
|
The Sandra Bullock Files is a series that looks at the films of Oscar-winning actress Sandra Bullock, all the way from her debut in 1987, to her two major 2018 releases, Ocean’s Eight and Bird Box.
“You’re only as good as your last film” is a classic Hollywood quote, and it’s classic because it’s true. As an actor you can star in the biggest hit film of the year, and then follow it up with a real stinker the following year, and a year after that, many won’t remember you for the hit film, they’ll remember you for the stupid stinker! By 2016, such was the case with Sandra. She had two huge successes in 2013, The Heat and Gravity together amassing more than a billion dollars worldwide. There truly was nowhere for her to go but down, and down she went. Her next live-action film Our Brand is Crisis was one of her all-time massive flops, making only 7 million dollars on a 28-million-dollar budget. The film proved, sadly, that Sandra couldn’t open a movie based on only her name alone, and that for her follow-up she needed to focus on a property that would hopefully bring more audience members to the theater.
When Ocean’s Eight was first announced as her follow-up project to Our Brand is Crisis, I rolled my eyes. I didn’t mind seeing an all-female version of the Ocean’s franchise, and I was intrigued to see her make a huge studio comedy again, but everything about the movie felt like too much of a safe bet. She took a risk before with Our Brand is Crisis, the film failed, and so naturally she had to take on a project that would make a gazillion dollars whether or not she sleepwalked through her leading role as Debbie Ocean, the sister of George Clooney’s Danny Ocean. Nevertheless, the more cast members that were announced, the more excited I became. Cate Blanchett is one of my favorites, and giving her the Brad Pitt role was a masterstroke. Anne Hathaway’s casting perked my interest. Everybody, really, perked my interest, including Gary Ross, director of the first Hunger Games film, as well as the glorious Pleasantville, who came on board as the director. I knew the film wasn’t going to be an award-worthy masterpiece, but I thought it would be loads of fun. And, despite its flaws, fun this movie definitely is!
Ocean’s Eight opens on a startling image: Sandra in an orange prison uniform! She finally has a shot at being released, and she pleads her case that she is a changed person. Of course as soon as she leaves jail, she immediately resorts back to her old ways, stealing from stores and impersonating other people to get a free hotel room for the night. But Debbie Ocean has a much bigger plan up her sleeve, something she’s been thinking about for hundreds of nights in her prison cell: she’s going to rob a diamond necklace at the Met Gala. In true Ocean’s fashion, she needs some help, and she enlists both friends and strangers to help pull this heist off, including her old pals Lou (Blanchett), Amita (Mindy Kaling), and Tammy (Sarah Paulson). Helena Bonham Carter, Rihanna, and Awkwafina round out the star-studded cast, along with Hathaway, who is hilarious as a spoiled celebrity named Daphne Kluger.
This film has a fast-paced, breezy quality that is infectious from beginning to end. You can really turn off your brain in this one and just enjoy the ride, watch beautiful actresses do their thing and exude charm and power and humor. Any scene of these ladies just talking around a circle and bouncing ideas off each other is pure bliss; I actually wanted more of these scenes, ones that don’t merely function on moving forward the plot. Some of the film’s first half is too endlessly focused on setting up the heist, but thankfully, once the big Met Gala heist sequence is off and running, the entertainment level skyrockets. The heist that plays out in thirty minutes or more is genuinely surprising and suspenseful, and the big twist at the end that reveals what these girls were actually up to is a wonderfully satisfying reveal.
I enjoyed the film a lot when I saw it opening day and have happily watched it twice since. A life-long Sandra fan (in case you didn’t realize that by now), I had been waiting a long time for this one. 2016 came and went without a new Sandra film. She finally started shooting Ocean’s Eight at the end of 2016, so I assumed the movie would be released the following summer, following the pattern for Ocean’s Thirteen, or Christmas 2017 at the latest, following the pattern of Ocean’s Eleven and Ocean’s Twelve. When the film was eventually announced to be released in the summer of 2018, I wasn’t thrilled. Since her break-out role in Speed, only occasionally did Sandra take a hiatus, like after Two Weeks Notice when she pursued producing and working on architectural projects. But even that hiatus between 2002 and 2004 was shorter than this one. The thirty month period that passed between Our Brand is Crisis and Ocean’s Eight is the longest stretch of time ever between Sandra movies, beating the twenty-seven months that passed between Two Weeks Notice and Miss Congeniality 2: Armed & Fabulous.
Thus, in some regard, Ocean’s Eight got a pass from me just because I was dying to see Sandra in something, anything. I would have liked after thirty months for her to star in the greatest, most monumental film of her entire career, but if I wasn’t going to receive that, Ocean’s Eight would do. There’s a lot to enjoy in the film for Sandra fans. The opening ten or so minutes are actually my favorite, before the rest of the gang shows up, before the mechanics of the plot get into motion. Just watching Sandra wearing fabulous clothes and resorting to her thief-like ways for a few glorious scenes is a total blast. I also love her chemistry with Cate Blanchett in the film (rumors still abound that their characters had a past romantic relationship) as well as her physical transformation in the heist sequence, which, after more than three decades on screen, finally allowed her to use her fluency in the German language! The ending of the film is solid, although I think a short cameo from Clooney in the last scene would have been a nice touch, reuniting him with Sandra for the first time since Gravity and showing that Danny Ocean isn’t actually dead.
Where Ocean’s Eight falls short, ultimately, is in its themes, or lack thereof. At one point Debbie has a great line where she basically states the reason all eight people have to be women is that none of them will be noticed. The film definitely pursues this theme occasionally, but by the end, what the movie is mostly about is these women pulling off a heist and then going their separate ways, enjoying new financial independence and leading richer, happier lives. This is an Ocean’s movie. We’re not looking for poetry, for life-changing thematic themes, but I do feel the movie could be about a little more. It could offer more emotional threads among the characters, give us more moments of their internal lives. In Sandra’s huge canon of films, Ocean’s Eight is one of her emptier vehicles. It does the job, it entertains, it leaves you with a smile on your face at the end, but not much else. This isn’t a fault of this particular Ocean’s movie. All three of the male-dominated prequels are the same. Ocean’s Eleven is a kinetic thrill ride, but nothing more. Ocean’s Twelve is a complete mess, the worst of the series by far. Ocean’s Thirteen was better but still just an action exercise. Ocean’s Eight is the best since the 2001 version, with lots more story possibilities for potential sequels, and if we do ever get a sequel, I’d like to see Debbie’s character explored more, all the characters explored more, rather than have eighty percent or more of the movie just focus on the heist.
If nothing else, Ocean’s Eight was a huge financial success, further proving that women can carry a movie, and that Sandra, yes, was still a box office draw. Made on a 70-million-dollar budget, the film pulled in double that, 140 million in the United States alone, plus an additional 160 million internationally, bringing the film’s world-wide total to about 300 million, not too shabby. As I said before, this film wasn’t one of Sandra’s bigger risks, but no matter — it was still a genuine blockbuster, one that offered audiences everywhere another splendid adventure with one of their favorite movie stars. Ocean’s Eight won’t go down as one of Sandra’s best — I would put it in the middle somewhere, alongside Two Weeks Notice and The Heat — but it sure was nice to see her again after a nearly three-year wait. The best news of all? This was to be her first of two films of 2018. Yes, Sandra had one more surprise in store for her fans right before Christmas: her first ever horror film.
Best Scene: Sandra returns to her thievery right after leaving jail.
Best Line: “If you’re going to have a problem with stealing, you’re not going to like the rest of this conversation.”
Fun Facts
Ocean’s Eight follows the Ocean’s Eleven trilogy starring George Clooney, Brad Pitt, and Matt Damon, the first of which was a remake of a 1960 film of the same name starring Frank Sinatra and Dean Martin.
Debbie speaks German as a part of her cover. Sandra really is fluent in German.
Jennifer Lawrence was in talks to be in the film, which would have reunited her with her Hunger Games director Gary Ross, but she later dropped out.
The music that plays as the team enter the Met Gala, “Lara’s Theme,” was also the music that Sandra’s character Gracie Lou Freebush plays on the water glasses in Miss Congeniality.
This was Sandra’s third live-action film in a row that had George Clooney somehow in the mix. He co-starred with Sandra in Gravity, co-produced Our Brand is Crisis, and of course has a connection to Ocean’s Eight as well.
Sandra’s longest-ever gap between movies since becoming a movie star, 30 months between 2015’s Our Brand is Crisis and 2018’s Ocean’s Eight.
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Oceans Thirteen Similar Movies • FlixPatrol
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https://flixpatrol.com/title/oceans-thirteen/ogimage/
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Find similar Movies like Oceans Thirteen which are popular on Netflix, iTunes, Amazon, Disney+ right now.
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Inside Man
Movie | United States | 03/24/2006 | Crime | Heist
An efficient gang enters a Manhattan bank, locks the doors, and takes hostages. They work deliberately, without haste. Detective Frazier is assigned to negotiate, but his mind is occupied with the corruption charges he is facing. With an army of police surrounding the bank, the thief, the cop, and the plutocrats fixer enter high-stakes negotiations. Why are the robbers asking for a plane, if they are so competent and they know they wont get one? Why arent they in more of a hurry?
7.6/10
86%
5,727
Sharper
Movie | United States | 02/17/2023 | Apple | Crime | Heist
A small, wealthy family in New York City gets progressively torn apart by secrets, lies, and the theft that orchestrates all of it.
6.6/10
65%
27,636
Matchstick Men
Movie | United States | 09/01/2003 | Crime | Heist
A phobic con artist and his protege are on the verge of pulling off a lucrative swindle when the con artists teenage daughter arrives unexpectedly.
7.3/10
82%
104
Entrapment
Movie | United States | 04/29/1999 | Crime | Heist
When retired thief Robert \Mac\ MacDougal is implicated in the disappearance of a priceless painting, insurance investigator Virginia \Gin\ Baker sets a trap to catch her suspect. But Gin is not exactly who she seems. Soon, she and Mac have joined forces to pull off -- quite literally -- the heist of the millennium.
6.3/10
40%
1,316
Spring Breakers
Movie | United States | 09/05/2012 | Crime | Heist
Brit, Candy, Cotty, and Faith have been best friends since grade school. They live together in a boring college dorm and are hungry for adventure. All they have to do is save enough money for spring break to get their shot at having some real fun. A serendipitous encounter with rapper \Alien\ promises to provide the girls with all the thrill and excitement they could hope for. With the encouragement of their new friend, it soon becomes unclear how far the girls are willing to go to experience a spring break they will never forget.
5.3/10
67%
53
The Goldfinch
Movie | United States | 09/12/2019 | Crime | Heist
A boy in New York is taken in by a wealthy family after his mother is killed in a bombing at the Metropolitan Museum of Art. In a rush of panic, he steals 'The Goldfinch', a painting that eventually draws him into a world of crime.
6.4/10
25%
1,570
The Good Liar
Movie | United States | 11/08/2019 | Crime | Heist
An aging con artist cannot believe his luck when he meets a wealthy widow and marks her as his next target. But she hides a secret of her own.
6.7/10
63%
7,045
The Ladykillers
Movie | United States | 03/25/2004 | Crime | Heist
An eccentric, if not charming Southern professor and his crew pose as a band in order to rob a casino, all under the nose of his unsuspecting landlord – a sharp old woman.
6.2/10
100%
52
Going in Style
Movie | United States | 04/06/2017 | Crime | Heist
Desperate to pay the bills and come through for their loved ones, three lifelong pals risk it all by embarking on a daring bid to knock off the very bank that absconded with their money.
6.6/10
47%
2,612
Lawless
Movie | United States | 08/29/2012 | Crime | Gangsters
Set in the Depression-era Franklin County, Virginia, a bootlegging gang is threatened by authorities who want a cut of their profits.
7.2/10
67%
182
The Departed
Movie | United States | 10/04/2006 | Crime | Gangsters
To take down South Boston's Irish Mafia, the police send in one of their own to infiltrate the underworld, not realizing the syndicate has done likewise. While an undercover cop curries favor with the mob kingpin, a career criminal rises through the police ranks. But both sides soon discover there's a mole among them.
8.5/10
91%
3,115
Sherlock Holmes: A Game of Shadows
Movie | United States | 12/16/2011 | Crime | Murder
Nausicaä, a gentle young princess, has an empathetic bond with the giant mutated insects that evolved in the wake of the destruction of the ecosystem. Traveling by cumbersome flying ship, on the backs of giant birds, and perched atop her beloved glider, Nausicaä and her allies must negotiate peace between kingdoms battling over the last of the world's precious natural resources.
7.4/10
59%
1,793
No Country for Old Men
Movie | United States | 06/13/2007 | Crime | Gangsters
Llewelyn Moss stumbles upon dead bodies, $2 million and a hoard of heroin in a Texas desert, but methodical killer Anton Chigurh comes looking for it, with local sheriff Ed Tom Bell hot on his trail. The roles of prey and predator blur as the violent pursuit of money and justice collide.
8.2/10
93%
2,237
End of Watch
Movie | United States | 09/21/2012 | Crime | Crime Drama
Shot documentary-style, this film follows the daily grind of two young police officers in LA who are partners and friends, and what happens when they meet criminal forces greater than themselves.
7.6/10
85%
593
Drive
Movie | United States | 09/16/2011 | Crime | Gangsters
A mysterious Hollywood stuntman who moonlights as a getaway driver seems to be trying to escape his shady past as he falls for his neighbor - whose husband is in prison and who's looking after her child alone. Meanwhile, his garage mechanic boss is trying to set up a race team using gangland money, which implicates our driver as he is to be used as the race team's main driver. Our hero gets more than he bargained for when he meets the man who is married to the woman he loves.
7.8/10
93%
794
FlixPatrol provides VOD charts and streaming ratings worldwide. You can find here all the Netflix charts (Netflix TOP 10 or what is Trending on Netflix), iTunes charts, Amazon Prime charts and HBO charts. These movie charts are based on the official trending or the most popular movies on VOD. We cover the most-watched movies and the most popular TV shows in 2021. FlixPatrol also offers selected movie analytics for movies everyone’s watching or VOD release dates. TOP 10 lists are updated daily.
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https://medium.com/%40CaseyEvans_/oceans-eleven-is-basically-genre-swapped-dungeons-and-dragons-and-here-s-why-872aafa7bfc0
|
en
|
Ocean’s Eleven is basically genre-swapped Dungeons and Dragons… and here’s why
|
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2022-06-21T19:55:29.790000+00:00
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‘Basically, Oceans XI is a Dungeons and Dragons campaign but instead of being about orcs and dragons it’s Cool Heist Bros’ The weird choice to put XI like it’s a football team aside; this was a…
|
en
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https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
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Medium
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https://medium.com/@CaseyEvans_/oceans-eleven-is-basically-genre-swapped-dungeons-and-dragons-and-here-s-why-872aafa7bfc0
|
‘Basically, Oceans XI is a Dungeons and Dragons campaign but instead of being about orcs and dragons it’s Cool Heist Bros’
The weird choice to put XI like it’s a football team aside; this was a statement that I put on Twitter on Monday while I was discussing the Ocean’s Eleven movie. I meant it as a throw-away joke but the more I thought about it, I thought there was a case for it.
And if Christopher Nolan can convince everyone that Inception, a mind-heist movie that is just a load of great video game levels put into one quite fun narrative that tries to do the Matrix thing where they try and make the audience think ‘whether they are in the dream/simulation or the real world’, is about the movie-making process; I can make a case that Oceans is DnD with ‘Cool Heist Bros’.
So the first question to ask is, have you seen Oceans Eleven? If you have great that makes it so much easier to do this, if you haven't then have you seen any popcorn heist movie over the past 20 years, because bar the aforementioned Inception they are all in some way just a reskin of Oceans Eleven.
The film, directed by Steven Soderbergh, is a remake of a film of the same name that was released in 1960 that starred Frank Sinatra and the rest of the Rat Pack. Like many films of the late 1990s — early 2000s, it brings together an all-star cast of Hollywood’s biggest names alongside a number of character actors to fill in the gaps.
My second question is do you know what Dungeons and Dragons is? I know that my audience is likely between the ages of 15–40 years old who have seen the likes of Community, Harmon Quest, Futurama, Stranger Things, The IT Crowd, Freak and Geeks etc. which all have episodes or plot threads based around the game.
There are also some great Youtube channels that are dedicated to the game such as Critical Role.
I have only played it a handful of times myself, with my friends either ‘having lives’ or on the other end of the spectrum ‘too far into a campaign to allow a newcomer’, but in simple terms, you have your quest, you have a dungeon master who has a set way he wants you to do it (which never happens) and you have a group of people that have their own characters with rich backstories that no one really cares about.
That last point is where I’m going to begin my comparison. When you watch these heist movies, the characters can feel let’s say a little one-note, but to try and give them more ‘development’ the writer offer flashes back to some caper or part of their past which inspired them to do what they do.
No one really cares that much about it, it’s superfluous to the actual story, but I think in some ways it helps the actors portraying those roles get more into character and that is the same as in DnD.
This might actually be more common than you’d expect. Quentin Tarantino revealed in the Empire Film Podcast, that ahead of his most recent film ‘Once Upon A Time In Hollywood’, he had written an entire biography for the main character Rick Dalton, just to help Leonardo Di Caprio get into character. He said:
“It gives you a little quickie biography of his life. And then it starts going through the career: ‘…and then there’s this episodic television show, and then this other television show, and then this movie, and that movie’, and starts with the small parts he has in this one, and it builds, with little reviews of each thing, little synopses of each of them. And it goes through the entire career until he retires in 1988.”
But of course, no one is going to stick to Director/Writers notes exactly and everyone is going to add their own quirks to make the character feel more unique. For example, there is no way on God’s green earth that anyone told Don Cheadle to put on *that* British accent.
But the people who are in the film also fill in specific roles for what you’d expect makes up a group of people that would play Dungeons and Dragons. There’s the experienced guy who’s done this 100 times before and is taking the lead (George Clooney’s Danny Ocean), there’s a guy there who’s kinda into it but is mainly just there for the snacks and comradery (Brad Pitt’s Rusty Ryan).
There are the old veterans in Elliot Gould’s Reuben Tishkoff and Carl Reiner’s Saul Bloom and there’s also the greenhorn of Matt Damon’s Linus Caldwell. The cast is colourful and bounces great off each other; they feel like their having fun.
I think this is one of the great things about Ocean’s Eleven which makes it a great movie but it is also a key factor about any DnD campaign, the people that are in it feel like they are enjoying themselves and it keeps the energy high throughout.
They are never truly phased by the big bad, a corrupt casino owner played by Andy Garcia, who is the stereotype of any shady businessman. He’s one-dimensional, much like most of the characters in this movie, but works because he doesn’t need to be anything more than that.
The film is about the journey, not the destination. How they set up for the heist is 70% of the movie with the actual execution taking no more than 5 minutes.
Of course with any good DnD campaign, things go off the rails in more ways than one. Firstly, there are the tangents; in Ocean’s Eleven Danny is trying to get his ex-wife back from the aforementioned big, evil, corrupt casino owner (his name escapes me but I think it works better for my point that it doesn’t matter if I don’t look it up).
But then there is the ‘final battle’ or the heist. Everyone needs to work together to achieve their goal and they all have their part to play.
Each character has their own particular set of skills (no this isn’t Liam Neeson’s Taken). One is an explosive expert, one wears disguises, two are mechanics and inventors, and one is an acrobat.
If you’ve seen a Soderbergh heist movie before though however, you’ll know that there’s always a twist. The heist that’s been planned for the entire movie, is not how the heist actually happens at the end of the film.
It’s very ‘look how cool and clever we are to figure this out’ and is for want of a better phrase, controlled chaos. Now think if you’ve ever played DnD, has the endgame ever turned out how you planned or have you ever figured something out in the last few minutes of the climactic battle that completely cracks the whole thing wide open and allows you to grasp victory.
In the world of the film, this doesn’t quite work because the final plan was Danny Ocean’s plan at all, but in the narrative of the film, it works because they present it as a rug pull.
They even use a character that hardly gets any screentime as the lynchpin for the whole plan succeeding, Shaobo Quin’s Yen. It’s like when you pick up a random relic or weapon halfway through a campaign, never use it, and then remember it’s in your inventory in the final battle and it again, cracks the whole thing wide open.
Ocean’s Eleven is a style over substance movie and I think the biggest parallel you can make with DnD is that it only works if the audience completely buys into it.
I described it at the start as ‘Cool Heist Bros’ but if you instantly think at the start, well these guys are pretty lame and this plan is convoluted, you don’t feel the satisfaction when they pull it off and walk off into the sunset while sticking it into the man.
Other than maybe Danny Ocean, there’s no one really to get invested in, they’re all pretty terrible shallow people and the money is only going to benefit them. It’s like if you fell into the Fast and Furious series at Fast Five and they remove any scene in which Vin Diesel talks about family.
It’s a really fun movie at the end of the day and if you haven't seen it I recommend it, just don’t watch Twelve. That one has a weird meta bit about celebrities that I don’t really think lands (Julia Roberts plays a character who to trick a mark pretends she is Julia Roberts but an exaggerated version).
But while you’re watching it just remember that some random guy on the internet once made the ridiculous statement that it was ‘DnD but with Cool Heist Bros’.
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1
| 39
|
https://www.thefilmagazine.com/oceans-movies-ranked/
|
en
|
Ocean’s Movies Ranked
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2020-11-19T16:45:43+01:00
|
Ocean's Eleven, Ocean's 11 (2001), Ocean's 12, Ocean's 13 and Ocean's 8 Ranked (from worst to best).
|
en
|
The Film Magazine
|
https://www.thefilmagazine.com/oceans-movies-ranked/
|
So rarely have so many Hollywood A-Listers been assembled for a studio project like they have throughout the catalogue of Ocean’s movies stretching across the past sixty years. Whether it be in the famous Steven Soderbergh trilogy of the 2000s, the all-woman reboot of 2018 or the original film released in 1960, the Ocean family’s selection of eight, eleven, twelve or even thirteen are guaranteed to be the most glamourous vault robbers you’ll ever see. If there’s one thing the Ocean’s movies are not short on, it’s star power.
Now five movies deep into a franchise that will continue to have potential until the day that movie stars no longer exist, the Ocean’s films have made around $1.4billion at the worldwide box office, maintaining interest from film fans and scholars alike for their visual homages, entertaining narrative twists and their unparalleled sex appeal.
In this edition of Ranked, we’re looking at each of the five Ocean’s movies and ranking them from worst to best in terms of entertainment value, artistic achievement, cultural importance, critical reception and audience perception for this: the Ocean’s Movies Ranked.
Why not let us know your order in the comments? And be sure to follow us on Twitter.
5. Ocean’s Eleven (1960)
Almost the very definition of “the old boys club”, Ocean’s Eleven is 1960 Hollywood in a nut shell – it’s glamourous, filled with timeless superstars and beautiful to look at, but it hasn’t aged all that well. Slow to the point of a saunter, and troublesome in terms of its gender politics by today’s standards, this Lewis Milestone directed feature hasn’t quite stood the test of time like some of his more respected films, such as All Quiet on the Western Front (1930) and Of Mice and Men (1939). It has its moments of fun, and the star studded line-up is filled with the type of charisma that is legendary by anybody’s standards, but a timeless classic Ocean’s Eleven (1960) is not – it’s not even vital to enjoying or understanding the other (better) films made in its name.
4. Ocean’s Twelve (2004)
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https://www.digitalspy.com/movies/a46127914/george-clooney-teases-new-oceans-movie/
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en
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George Clooney teases new Ocean's movie
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2023-12-14T16:29:39.414401+00:00
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George Clooney has teased that he may be returning for another Ocean's movie.
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en
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/_assets/design-tokens/digitalspy/static/images/favicon.b8735b8.ico
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Digital Spy
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https://www.digitalspy.com/movies/a46127914/george-clooney-teases-new-oceans-movie/
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George Clooney may be returning for another Ocean's movie.
Speaking to Uproxx while promoting his new movie The Boys in the Boat, Clooney revealed that a script for another Ocean's film does exist.
"We have a really good script for another Ocean's now, so we may end up doing another one. It's actually a great script," he said.
However, the actor added that the film won't be called Ocean's 14, saying: "Well… I don't want to call it that… I mean, the idea is kind of like Going in Style'".
Related: George Clooney explains "important" rowing scenes in The Boys in the Boat
Clooney is referring to the 1979 heist comedy directed by Martin Brest, which famously starred George Burns, Art Carney, Lee Strasberg and Charles Hallahan.
The original Ocean's trilogy began with Ocean's Eleven in 2001, which starred Clooney as Danny Ocean opposite Brad Pitt, Julia Roberts, Matt Damon and more. This was followed by Ocean's Twelve in 2004 and Ocean's Thirteen in 2007.
In 2018, Sandra Bullock, Cate Blanchett, Helena Bonham Carter, Anne Hathaway and Rihanna took the baton with the female-centric spin-off film Ocean's 8.
Related: George Clooney addresses Batman future after The Flash cameo
Meanwhile, Barbie stars Margot Robbie and Ryan Gosling are set to reunite for an Ocean's Eleven prequel movie set in 1960s Europe.
The film, which has been in the works since spring 2022, is set to be directed by Jay Roach, while Robbie and her husband Tom Ackerley will produce.
Although Robbie and Gosling's exact roles in the movie are yet to be disclosed, it has been rumoured that the pair will be playing Danny Ocean's parents.
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https://scifist.net/2022/06/09/the-mystery-of-two-oceans/
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en
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The Mystery of Two Oceans
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2022-06-09T00:00:00
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Jules Verne meets James Bond in this 1957 Soviet spy-fi film. The two-part colour movie concerns the hunt for spy aboard a Russian super-submarine. It's not bad, but at 145 minutes it's simply too long and sluggish for its own good. 5/10
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en
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Scifist.
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https://scifist.net/2022/06/09/the-mystery-of-two-oceans/comment-page-1/#comments
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Jules Verne meets James Bond in this 1957 Soviet spy-fi film. The two-part colour movie concerns the hunt for spy aboard a Russian super-submarine. It’s not bad, but at 145 minutes it’s simply too long and sluggish for its own good. 5/10
The Mystery of Two Oceans. 1957, USSR. Directed by Konstantin Pipinashvili. Written by Vladimir Alekseev, Nikolai Rozhkov, Pipanishvili. Based on book by Grigori Adamov. Starring: Sergei Stolyarov, Igor Vladimirov, Sergei Golovanov, Pyotr Sobolevsky, Sergei Komarov, Antonia Maksimova, Igor Bristol. IMBb: 6.0/10. Rotten Tomatoes: N/A. Metacritic: N/A.
Set in contemporary 1957, or a “near future”, The Mystery of Two Oceans (Тайна двух океанов) is one of the very first movies to kick off the second coming of Soviet science fiction films. Two ships, one Soviet and one French, explode under suspicious circumstances, one in the Atlantic, and one in the Pacific. Super-secret Soviet submarine Pionyer is order to set out to investigate. But prior to this, a secret meeting takes place at the house of a high-ranking commander, as a mysterious man, whose face we never see, and the commander, send a secret message to the “enemy”, that they are about to infiltrate the crew. When the authorities arrive, the commander takes his own life and the mysterious stranger disappears out the five-story window with a nifty spy-fi gadget. Back at marine headquarters, brass discuss the incident, but conclude the mission is too important to postpone, even with a mole on board. So now it falls to Captain Vorontsov (Sergei Stolyarov) to not only solve the mystery of the two oceans, but also catch the impostor on board the super-sub before he can complete his mission, whatever that may be.
Most of this two-part movie, well over two hours in total length, takes place aboard the super-submarine Pionyer. Here we meet, among others, the jovial but suspect chief engineer Gorelov (Sergei Golovanov), the handsome officer Skvoreshnya (Igor Vladimirov), the absent-minded professor Nikolayevich (SF darling Sergei Komarov) and physician Antonina Maksimova (Olga Bystrykh). We also get acquainted with the Pionyer, this new wonder of the deep. The massive submarine can dive to unfathomable depths and can achieve the speed of a freight train. It is equipped with state-of-the-art sonar, a bathyspace of the kind seen in the Disney’s previous year’s 20,000 Leagues Under the Sea (1956, review), and diving suits which also seem inspired by the American blockbuster – but the ones on the Pionyer are high tech deep sea suits, and motorised. And yes, it also carries giant torpedos, as well as a new superweapon, which I interpret as some sort of ultrasound cannon.
Some ways into the movie, the crew pick up the lone survivor of a scuttled Soviet ship, a pre-teen kid called Pavlik (Igor Bristol), whom the shifty Gorelov takes under his wing – and has him spy on the Captain’s cabin under the pretence of a game. Meanwhile, back on dry land, the intrepid Soviet police are following up on the nightly meeting of the commander and the mysterious stranger, as well as the secret message sent and intercepted. Here unravels a highly contrived story of a vast “enemy” spy network, a Soviet exchange student, blackmail, photo forgery and an evil twin brother. Likewise on board the sub, Captain Vorontsov is trying to figure out who the traitor is, and who he can trust. Is the spy his old friend, chief engineer Gorelov, or the new recruit Skvoreshnya? Is it physician Maksimova, who spent time in enemy land, or is it old professor Nikolayevich? The film seems to point to Gorelov, but does it in such an obvious way, that it could well be a red herring. The finale of the movie turns from slow-moving spy drama to all-out James Bond, with a dramatic underwater fight, and a secret, automated enemy base straight out of a pulp fiction magazine.
I have found little information on the background of the movie or its production. It is based on a 1939 novel by Ukrainian author Grigori Adamov with the same title as the film, Тайна двух океанов (Taina dvuh okeanov) or The Mystery of Two Oceans. One peculiar oddity I have encountered is that on IMDb the “original title” of the film is given as “Ori okeanis saidumloeba”. I pondered this for days, as the phrase is absolute gibberish in Russian (of which I speak a little), and Google didn’t recognise the it as any other language either. But then I read that the director Konstantin Pipinashvili was Georgian, and the film was made in Georgia, at the time part of the Soviet Union. So I looked up a Georgian online keyboard, tapped in the Latin letters, and got back, in Georgian script: “ორი ოკეანლს საიდუმლოება”. I then ran this trough Google Translate, which informed me that it means “Two oceans of mystery”. Allowing for some grammatical error in Google’s translation, “Ori okeanis saidumloeba” thus seems to be the Georgian translation of Тайна двух океанов, or The Mystery of two Oceans. The movie title is generally translated as “The Secret of Two Oceans”, but since most translations of the book title uses the word “mystery”, I am going with that as well.
According to Russian Wikipedia, the film follows the general plot of the book, but has a few major and many minor differences. In the book, there is no mission to investigate any exploded ships. Instead the “mystery” of the title refers to the super-submarine itself, and very much like Jules Verne’s afore-mentioned submarine novel, much of the novel is really an educational journey in oceanography, with added SF elements and a propagandistic spy yarn. Neither is the automated enemy base present in the novel. And in the book, the crew is all-male, while the filmmakers have added a female doctor. Another change, albeit small, is the fact that in the book, Japanese and American intelligence services were named as the villains, while in the film, released at the height of the Cold War, the “enemy” remains unnamed, just like in most American films of the era. The super-automated spy base is also absent in the novel.
Soviet juvenile spy fiction was born partly out of a realisation that kids will be kids and they want fun and adventures, and will find it where it exists. Thus, in the early days of the Soviet Union, kids turned to American adventure, detective and spy novels for their entertainment. The so-called Pinkerton novels, based loosely on the real-life Pinkerton detective agency, were hugely popular. However, most Western spy and detective novels were to a lesser or greater extent anti-communist or anti-Russian, or at least espoused a capitalist world view that wasn’t seen as acceptable for young Soviet citizens to be exposed to. There were those in power who wanted to ban escapist juvenile fiction altogether, as it was seen as having a negative effect on young minds. However, argued others, young people are going to read detective and spy fiction no matter what, and if they do, it is better that they read ideologically approved Soviet fiction than European or American. Thus was born what has become labelled the “Red Pinkerton” subgenre. In the same way, fantastic fiction in literature and on screen was, if not encouraged, then at least not prohibited in the early decades of the USSR. The Twenties, in particular, saw a handful of experimental and interesting science fiction films coming out of Russia, until Stalin started viewing the genre as potentially subversive, and with the exception of a couple of carefully monitored propagandistic films, the thirties and forties saw almost no SF output from the Eastern bloc. And it is probably no coincidence that Russian SF on screen didn’t start thriving again until after the death of the dictator in 1953. Not only one, but two marine-themed SF movies were produced in 1956 and 1957, The Mystery of the Eternal Night (review) and The Mystery of Two Oceans.
At the time, Soviet cinemas were filled mainly with light fair, such as musicals and comedy, as well as the occasional war drama, historical film or the bombastic explorations of the Soviet spirit and/or the Russian people. However, in general, the technical and artistic quality of Soviet films were high, and the Communist Party fed considerable resources into the movie industry. Against this background, the technical qualities of The Mystery of Two Oceans are so-so. Compared to the beautiful set design of 20,000 Leagues Under the Sea, the interiors of the submarine in the movie are rather bare and underwhelming. The special effects of the submarine travelling under water and the divers moving round in their diving suits look “miniatury”, and have the feeling of a Gerry Anderson film, rather than a live-action spectacle. The secret spy base is genuinely impressive, but here director Pipinashvili isn’t able to create a very satisfactory ending from an action point of view, partly because the hero is encumbered by his deep-sea diving suit which severely restricts his ability even to walk properly — an adherence to realism that severely hurts the drama. On the plus side, the film is in colour, albeit somewhat murky, and it doesn’t feel cramped or limited by budget restraints.
Back in the silent era, European cinema — German in particular — was fond of making movies in several parts, sometimes, as in the case of Homunculus (1916, review) adding up to six hours of film in total. But as audiences grew more accustomed to watching long movies, there was no point in cutting up a 180-minute movie in two 90 minute episodes. At the same time, the rising production costs of making movies, it became less and less feasible to tell in 5 hours a story that could economically be told in 2. A peculiarity of Soviet cinema was that it didn’t quite abandon the custom, and still made films in several parts as late as the 50’s. The Mystery of Two Oceans was made as a two-parter, totalling 2.5 hours of film. The movie is nearly impossible to watch in one sitting, and I realised after watching the first 83-minute episode that I had to leave the second part for the next day. There really is no reason why this film would need to be this long. The subplot with the intelligence agency working on dry land to uncover the spy aboard the vessel probably worked well in its original literary setting, but in a film about a super-submarine, the land-based segments mainly work to bog the movie down. On the other hand, the land-based story also has some of the most exciting action sequences. There’s quite a nifty car chase, a cool repelling with a really original spy gadget down several floors of an apartment building, as well as some great trapeze moments in a circus, which are, oddly enough, pertinent for the story.
There is something that I find quite appealing in these old Soviet colour movies — it’s a kind of murky realism. And it’s not just the murky colours of the 50’s, there’s something sweaty and gritty about the whole atmosphere — going back, I suppose to writers like Dostoyevsky. I can’t find any information on what colour film or technique was used for The Mystery of Two Oceans, but in all likelihood, it was the so-called Sovcolor system, which was the most widely used technique in the post-war era. Sovcolor was based on the German Agfacolor technique, which, thanks to the annulment of German Nazi-era patents after WWII, also formed the basis of Fujicolor and American Anscocolor. The Agfacolor technique was a huge improvement on pre-war Soviet techniques that, like Technicolor, relied on a two- or three-strip technology. Agfacolor, and Sovcolor, on the other hand, like Eastmancolor, relied on a single colour negative, rather then the subtractive multi-strip technique. Two major factories, Svema and Tasma, provided the film stock for colour film made in the Sovcolor technique for much of the Comecon era — for example, many early colour films in Finland were made in the Sovcolor technique, which I suppose is partly why I associate old Finnish films with the same kind of aesthetic. One peculiarity with Svema and Tasma film stock was that the development left a particular greenish tint, which is why everything looks so washed-out and lackluster in old Soviet photographs. However, despite the cold war, Soviet filmmakers were able to import high-quality Eastmancolor film from the US, which was used for some high profile movies. I doubt that The Mystery of Two Oceans qualified for this, though.
The story is a rather odd blend of hard-boiled spy fiction, juvenile adventure story and pulpy pop SF, and it is a blend that doesn’t mesh as well as it could. The Doppelgänger motif comes a bit out of the blue and seems both unlikely and like a deus ex machina. I do like, however, the way the script toys with audience anticipations, setting up an obvious candidate for the villain, so obvious that the audience isn’t quite sure if it is a red herring, or if the filmmakers want the audience to believe it is a red herring, and then, towards the end, turns the tables around and then back again. Involving the kid as an unwitting accomplice gives the plot some emotional punch, as we don’t know if his inadvertent sleuthing is part of the spy’s plot or part of a plot for catching the spy. The acting is fine without impressing overmuch.
The Mystery of Two Oceans was hugely successful at the Soviet box office, becoming the 6th most viewed movie of 1957. It also proved highly popular on TV in later years, and is today fondly remembered as one of the many rather wholesome adventure movies of the 50’s and 60’s. It received, and continues to receive, mixed reviews. In an article from 1967 decrying the poor state of the Soviet science fiction films, SF scholar and critic Vsevolod Revich wrote: “Today, it is difficult to imagine that the viewer perceives a film about even the most powerful submarine as science fiction. Sensing this, the screenwriters decided to give it additional interest by introducing into the script an absurd detective story associated with a certain circus performer, completely absent from the novel. Ultimately thus ruined the film, turning it into a primitive action movie.”
Today the movie has a decent 6/10 audience rating on IMDb, based on less than 200 votes. Mikhail Ivanov on the now sadly defunct videoguide.ru called The Mystery of Two Oceans “a wonderful, cozy picture, a classic of the genre. Ideal for calming nerves and for lifting one’s mood.” Another lauded film critic and scholar, Aleksandr Fyodorov, wrote in a 2008 article, here re-published by Kino-Teatr, that “unlike the novel, the film proved popular”, and “remains relevant to audiences today”. It’s success, opines Fyodorov, had its basis in a successful synthesis of the detective and science fiction genres, as well as in good special effects and set design.
Not all contemporary critics are sold on the movie’s merits. Swiss critic Marco Spiess at Molodezhnaja gives it 2/5 stars, noting the lack of wonder about the underwater world, and mismatch between the spy and the SF themes. “Neither exciting nor visually stunning nor intelligent. Rather, a nice little film that keeps the nostalgics among us halfway happy with a solid pace and a few mediocre tricks. But if you’re looking for good Eastern SF cinema, you’ll be happier looking elsewhere.” In a user review at Letterboxd, “Kultgestalt” writes that The Mystery of Two Oceans is sluggish, lacks a clear protagonist, and doesn’t have much to offer either friends of cold war spy films nor science fiction fans.
And that’s pretty much it for reviews of this film. It’s a pity, really, that there is so little tradition of science fiction criticism outside the English-speaking (and German-speaking) world. You find several mentions of The Mystery of Two Oceans on Russian-language film sites, but few pages contain more than the film’s specs and a copy-pasted plot synopsis. It’s quite odd, considering this was one of the greatest hits of 1957 – it’s a bit as if there were no US online reviews of The War of the Worlds (1953, review). Mostly, there are more German-language reviews of, for example, early Latin American or Russian SF movies than there are in the languages spoken in the countries they were released. Film experiences rely heavily on cultural backgrounds and for a “westerner” it is extremely difficult to gauge how any particular film was received in the Soviet Union (or even just Russia) in 1957, and there are particulars and details that might have had som great significance that is completely lost on someone without a deep understanding of Soviet history, art and culture. Even if I have studied Russian, visited Russia and spent some time reading up on Soviet film history, I often feel a bit lost in reviewing Soviet movies without the opportunity to do a bit of reading about the film at hand. This is my normal modus operandi even with Hollywood films that I am very familiar with, and it’s doubly important for me to be able to do so with films, filmmakers and film cultures I am less knowledgeable about.
Author Grigori Adamov was born Abram Gibs in 1886 in Kherson, Ukraine, to a poor Jewish family, and in his youth he was swayed by the Marxist ideology and became a committed Bolshevik. He was twice arrested for his radical political activity in Ukraine, before moving permanently to Saint Petersburg, where he began writing for political journals and newspapers. In the late 20’s or early 30’s Gibs worked as a correspondent for a magazine following the industrialisation of the USSR. The work took all over the union, and this is when he became interested in new technology and their future developments. In the early 30’s he adopted the pen name Grigory Adamov for his fiction, and published his first short stories (non-SF) in 1931. Adamov’s first work of SF, a short story, came in 1934. Altogether he wrote three SF novels and around half a dozen short stories. Rooted in his interest for technology, his works can be classed as hard SF in the near-future subgenre. Several of his works deal with new energy forms, such as solar power and geothermic power, and he seems to have had something of an obsession with the idea of raising the temperature in the Arctic areas, for example through heating the Gulf Stream — an unlikely vision of a utopia today in the light of the fight against climate change. His books often had an ideological slant — he was, remember, a devout Bolshevik, so unlike many other writers, Adamov had little trouble with Soviet censorship. The Mystery of Two Oceans remains his most popular work, and the only one of his books that has been translated into other languages. Thus far, none of his books are available in English. Adamov’s son, Arkady Adamov, followed in his father’s footsteps, and became a prolific and successful writer of detective fiction, and was perhaps the best known Soviet detective book writer of the fifties.
Georgian director Konstantin Pipinashvili is not counted among the greats of Soviet cinema. He co-wrote and directed eight films between 1941 and 1964. He started his career as an animator in Georgia in the early 30’s, before studying directing under Sergei Eisenstein in Moscow. Between 1948 and 1954 he worked as a dubbing director, and in 1967 retired from filmmaking when he got a position as film teacher at the University of Tblisi. The Mystery of Two Oceans is his best known movie.
If the director is somewhat anonymous, at least two of the actors should be well-known to friends of early Soviet science fiction, Sergei Komarov, playing the dotty professor, and Sergei Stolyarov, as the Captain of the submarine.
Sergei Komarov was never among the brightest stars of Soviet cinema, but a hugely respected character actor and occasional lead, who also taught filmmaking and directed two well-regarded movies. He was part of film theorist and director Lev Kuleshov’s famous experimental workshop in the 20’s, which is how he found himself playing one of the male heroes in Kuleshov’s kinetic SF experiment The Death Ray (1925, review). Also emerging from under the wings of Kuleshov were directors Boris Barnet and Fyodor Otsep, who in 1926 directed the brilliant three-part action spy-fi serial Miss Mend (review), in which Komarov played the evil capitalist villain Chiche. A year later, Komarov teamed up with one of the serial’s stars, comedian Ilya Ilyinsky, this time behind the camera, to direct the film A Kiss from Mary Pickford, taking advantage of Pickford’s and Douglas Fairbanks’ visit to Moscow. As an actor, Komarov also appeared in such high-profile movie’s as Kuleshov’s By the Law (1926) and Boris Barnet’s The House on Trubnaya (1928), as well as Outskirts (1933). He made a triumphant return to science fiction in 1936, playing the hero scientist and astronaut in the classic Cosmic Voyage (1936), a role modelled on “the father of space flight”, rocket scientist Konstantin Tsiolkovsky.
In a small role in Cosmic Voyage we also see a young Sergei Stolyarov, in what audiences would gave perceived as an oddly small part for such a famous star. In fact, the previous year, he appeared in a central role in in Aleksandr Dovzhenko’s daunting subtle SF frontier movie Aerograd (1935, review). Because of the long post-production period of Cosmic Voyage, Aerograd was actually released before Cosmic Voyage, which meant Stolyarov had become a major film star when the film was finally released in 1936. Stolyarov supposedly went on to create a little bit of science fiction history in 1967 when he starred in his third science fiction film. The movie in question was Yevgeniy Sherstobitov’s The Andromeda Nebula, based on the novel with the same name by Ivan Yefremov. The film was moderately popular with audiences, but received mixed reviews, and plans for sequels were scrapped. However, the most interesting thing about the movie, in retrospect, is probably the fact that Stolyarov’s heroic character is called Dar Veter. It may just be one of those odd coincidences – but the similarities to Darth Vader are too close to ignore.
As far as other actors with SF connections, Sergei Golovanov, who plays the supposed-or-maybe-not red herring character in The Mystery of Two Oceans, also turns up in a small role in the Solaris-inspired Tainstvennaya stena (1967). Mikhail Gluzskiy voiced the Professor in the animated comedy Klop 75 (1976) and had a supporting role in the West German 1989 adaptation of the Strugatsky Brothers’ novel Hard to be a God. The work of visual effects photographer Frantisek Semyannikov may be familiar to Western SF fans, as he was on hand for the Mission-to-Mars film Nebo zovyot (1959), which was edited by Francis Ford Coppola, on the behest of Roger Corman, into Battle Beyond the Sun (1962). He also created effects for Mechte navstrechu (1963), which, along with Nebo zovyot, was pilfered for special effects scenes to go into AIP’s Queen of Blood (1966).
Janne Wass
The Mystery of Two Oceans/Тайна двух океанов/Taina dvukh okeanov. 1957, USSR. Directed by Konstantin Pipinashvili. Written by Vladimir Alekseev, Nikolai Rozhkov, Pipanishvili. Starring: Sergei Stolyarov, Igor Vladimirov, Sergei Golovanov, Pyotr Sobolevsky, Vakhtang Ninua, Sergei Komarov, Antonia Maksimova, Igor Bristol, Leonid Pirogov, Mikhail Gluzskiy. Music: Aleksi Machavariani. Cinematography: Feliks Vysotsky. Editing: Ye. Bezhanova. Production design: Yevgeny Machavariani, Leonide Mamaladze. Costumde design: T. Kandat, Makeup: T. Ivashchenko. Special effects: Frantisek Semyannikov, et.al. Produced for Georgian-Film.
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Amazon.com
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https://www.eonline.com/news/1101081/19-tasty-secrets-about-the-ocean-s-franchise-to-nosh-on
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20 Snackable Secrets About the Ocean's Eleven Franchise
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2022-07-04T11:00:00+00:00
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Ocean's Eleven debuted over 20 years ago. In honor of E!'s movie marathon, we're celebrating the A-list-packed trilogy starring George Clooney and Brad Pitt as the suavest thieves around.
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https://www.eonline.com/news/1101081/19-tasty-secrets-about-the-ocean-s-franchise-to-nosh-on
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The original Ocean's 11 from 1960 starred Frank Sinatra and fellow Rat Pack members Sammy Davis Jr., Dean Martin, Peter Lawford and Joey Bishop, as well as lady-of-the-pack Angie Dickinson—and it's famously not that great, the only magic still lingering to this day emanating mainly from the pop-cultural momentousness of it all, as it was their first movie in which they all appeared together.
That super-cool vibe, however, was alive and well in the remake.
"When I say Ocean's Eleven is a throwback to an earlier period in cinema," director Steven Soderbergh explained, "I mean that the movie is never mean, it's never gratuitous, nobody is killed, nobody is humiliated for no reason or is the butt of a joke. It's probably the least threatening film I've ever made in a way. That was conscious on my part. I wanted it to be a sort of light entertainment and I didn't think darker or meaner ideas had a place in a movie like this. I wanted it to be sparkling."
Dickinson and Henry Silva, also in the original, have blink-and-you-miss-'em cameos when fight night gets underway at the MGM Grand, a scene that also features real-deal boxers Lennox Lewis and Wladimir Klitschko.
Matt Damon said in 2001 that he was drawn to Ocean's Eleven so he could work with Soderbergh, who was psyched to bring the script by Ted Griffins to life.
"People like Soderbergh, you know you're in great hands," added Pitt.
By the time Ocean's Eleven came out, Soderbergh was the reining Best Director Oscar winner for 2000's Traffic and the only person ever nominated twice in one year in that category, the other nod coming for Erin Brockovich.
Soderbergh was worried that they were set up to fail logistically on Ocean's Eleven.
"One of the things that scared me when I read the script was the amount of time that we would have to be shooting on the floor of the casino," he recalled in the 2001 film's production notes. "I've had friends who had worked on films there and knew that normally the hotels only want film companies to shoot between midnight and 6 a.m. during the week. I was pretty anxious about that aspect. As it turned out, the cooperation that was extended to us by the casinos, particularly the Bellagio, was unlimited."
But that wasn't just hotel management being nice.
"The reason we selected the Bellagio," said Jerry Weintraub, the late Hollywood power player who produced all three films, "is that it's the prettiest hotel in Las Vegas. It's also the most luxurious and the most important hotel in town. In addition, at the time I made our deal, it was owned by Steve Wynn, who is a very dear friend of mine. I had shot movies in his Mirage Hotel before so he had a sense of what I would be doing and he trusted me with the reputation of his hotel. Even though we were going to rob it! As it happens, before we even began to film there, he had sold the hotel to Kirk Kerkorian, who also happens to be an old friend of mine, so our plans went forward."
The production really did take over the Bellagio, including 25 to 30 percent of the casino floor at a time.
"You have to understand that we completely disrupted their operation," Weintraub said. "We closed their valet parking and porte cochere for three or four days, which meant their clients, including the high rollers, had to check into the hotel through the concrete self-parking garage. They let us turn off their fountains and the dancing waters in the lake. We closed down the conservatory and botanical gardens, we closed down the reception area with its famous Dale Chihuly glass sculpture, and we even took over the high-roller gaming room at one point."
They built an 80-foot-long iron and brass cashier's cage in Los Angeles and installed it at the Bellagio, part of production designer Phil Messina's vision as to how characters would smoothly get from the casino to the back of the house, where the foundation is laid for Danny's scheme to pan out.
"We had no time restrictions," Soderbergh said. "We would close down an entire section of the Bellagio's casino floor during the day so that we could film. They even choreographed their dancing fountains to a special piece of music for the film. In exchange of course, the movie is like a two-hour commercial for Las Vegas and the hotel."
Wait, how do you get all of these movie stars in one place again?
"Steven had just finished Erin Brockovich with [eventual Best Actress winner] Julia Roberts and he sends her a script with $20 tucked in and a note saying, 'I hear you get $20 a picture now.' And she's in," George Clooney shared.
"I've been a producer for 40-some years and I've never had an actor cut his own salary," Weintraub said, "and I've never had an actor say that in order to get the cast we wanted, he would talk to each actor. George became the first to cut his salary, then Steven and George went after our cast."
Clooney explained, "We said, if we all get paid, we can't make the movie, so why don't we all just take a big chunk of the back end, work cheap and see if there's any money at the end."
Ocean's Eleven made more than $450 million worldwide, on an $85 million budget. That's more than the $150 million Danny and his merry band of thieves made off with on fight night in Vegas.
It was Brad Pitt's idea to have Rusty be eating all the time.
"We just had [food around]—well, there was actually method to that, because he was always on the run, always on the move, I figured he could never sit down and have a proper meal," the actor explained to JOE in 2019. "So he always had to grab something on the run."
"I like to busy myself," Pitt noted. "I'm a grazer by nature, so..." Luckily he survived the indigestion that seemingly caught up with him by the end of Ocean's Eleven.
The "pinch" that Don Cheadle's cockney-accented explosives expert Basher Tarr sets up to knock the power out for a few precious seconds is a ripped-from-reality device.
"We did a lot of research early on because we wanted to at least have it be based on reality," Messina said. "We contacted scientists on the Internet and found people who worked with these particle accelerators. We went into chat rooms and basically posed design questions. Then our property master visited a lab in Northern California that had a pinch and he brought back photographs and diagrams. I didn't want to get too exact because I just wanted to draw from it what was visually interesting."
Ocean's Twelve may be only 55 percent fresh on Rotten Tomatoes, but Soderbergh thinks it's the most successful film of the franchise in many ways.
"The funny thing was that in terms of the previews and testing process, Ocean's Twelve tested as well as the first one did," he told Huffington Post in 2014. "It also made $363 million, hardly a disappointment."
"I think in these situations, when you're making a sequel to a movie that has been successful, you're dealing with expectations. That is what this film confronted and got beaten by, because it's a completely different movie from the first one. It's weirder. I would argue—and I'm happy to be challenged on this—that it's one of the biggest budgeted stoner movies of all time. It certainly rewards a viewing in an altered state."
"In terms of shot construction, cutting patterns, the use of music—from a filmmaking standpoint," he concluded, "that's the best of the three."
The studio overlords were concerned about the Julia Roberts-as-Tess-as-Julia Roberts bit in Ocean's Twelve.
"I remember scouting in Chicago, I think in Grant Park, on a cell phone with [former Warner Bros. president] Alan Horn, and him going, 'Are you sure this Julia thing is going to work?' I said, 'Yes. There's a precedent. It's in 1940 in His Girl Friday. It's going to work. People will be able to follow it. Their heads will not split in half. I think it's going to play,'" Soderbergh recalled to Huffington Post. "But I understand from Warner Bros.' point of view that's a weird idea to put a pyramid on top of. It's a little meta."
At least the actors were onboard, as far as he knew.
"If they didn't, they hid it well," Soderbergh said. "But my memory of it was everybody was in on the joke, and happy to be in on the joke. Everyone was trying to find ways to keep enhancing the joke, too. In the scene where they're trying to get her ready and Bruce Willis comes in, all of the guys were trying to come up with ways in which to build this joke."
Rumor had it that the scene in Ocean's Twelve where Catherine Zeta-Jones reunites with her father (and master thief) Gaspar LeMarque was filmed at Clooney's villa in Lake Como, which apparently induced enough FOMO that some people angrily criticized the production for being so lazy.
But no, it was shot at the former home of late Italian cinema titan Luchino Visconti.
Also, they reportedly couldn't get Zeta-Jones and Albert Finney's schedules to match up, so, even though there's a hug, they filmed the big reunion separately and that's why you never see both of their faces at the same time.
Soderbergh acknowledged, "I think with Ocean's Twelve, you could make the argument that I sacrificed the characters, our core group, by introducing two new characters. I took real estate away from the Ocean's gang, and handed it over to two new people [Jones as Detective Isabel Lahiri and Vincent Cassel as art thief François Toulour]. And on top of it, built a very elaborate plot. So I think a lot of people felt like, 'I came to see the guys be sort of the guys, and you took from them!'"
Ocean's Eleven was a bigger challenge for Soderbergh than directing Traffic, the bilingual saga about the bottomless morass that has been the United States' war on drugs that won four Oscars in 2001.
"Not even close," he said in an interview for DGA Quarterly in 2014. "Traffic was not hard. I knew exactly what it was, and I never had a moment's hesitation. The schedule was tight and there were a lot of locations and speaking parts, but it wasn't hard. And Erin [Brockovich] is probably the most pleasurable shoot I ever had. It was the kind of movie I hadn't made before, and just sort of bearing witness to what Julia was doing every day was so much fun. For the first four weeks, we were all in this Holiday Inn in Barstow and I'd come back covered in dirt every day, just smiling.
"There's one scene in the third Ocean's where there are a bunch of people in a hollowed-out cave, and they're all looking at schematics of the hotel," Soderbergh told DGA Quarterly. "You've got eight or nine people around a small table in a small space. And I just keep saying, 'Run it again. Run it again. Run it again.' I've got a viewfinder with a lens on it, and I'm trying to work my way around the space to find the shot that's going to form the central visual premise of the scene. And I just can't come up with a shot. It was horrible."
It was only 10:30 a.m., too early for a lunch break, so he just sent everyone away.
"And I'm sitting there and the cast is gone, and I say, 'Can somebody move this table? I'm sick of looking at this table.' So they take the table out, and I'm walking around and I sit down where the table was and then I realize, oh, the camera is the table. That's it. We called everybody back in and put the camera basically where the center of the table was, and I did a series of two-shots. Shoot, turn, shoot again. We literally did the scene in an hour."
Weintraub, who in 2007 was the first non-performer to have his hands and feet cast in cement in the courtyard of Grauman's Chinese Theatre alongside Clooney, Pitt and Damon, said it actually wasn't that difficult getting all those big names involved in Ocean's Eleven. "We didn't really have to wrestle anybody," he said in a behind-the-scenes featurette for Eleven and Twelve. "They wanted to come. When you have a great project, with a great director—you can get all the stars you want."
Added Soderbergh, "It seemed to me that this was one film that could withstand having a lot of stars in it because it really is an ensemble piece. But we'd have to make sure to get the right stars, the right cast, because they're supposed to have camaraderie, which is very hard to fake. It had to feel like they enjoyed each other's company without having it look like they were having more fun making the movie than you are watching it."
They came close to out-larking the audience, but ultimately everyone had a great time.
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The Belgian Society of Cinematographers – The Belgian Society of Cinematographers
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https://www.sbcine.be/
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By signing in, you agree to our terms and conditions and our privacy policy.
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dbpedia
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https://medium.com/%40RichardsHandle/oceans-eleven-is-a-dream-2ebf9fcd4f9d
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en
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Ocean’s Eleven is a Dream
|
[
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[
"Richard Herndon",
"medium.com"
] |
2017-09-04T06:38:18.816000+00:00
|
Literally everything comes together in miraculous ways, all to accomplish a completely ridiculous task. Would that we all had Danny Ocean’s luck.
|
en
|
https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
|
Medium
|
https://medium.com/@RichardsHandle/oceans-eleven-is-a-dream-2ebf9fcd4f9d
|
Ocean’s Eleven is a film about a group of extremely charming, selfish men with a shitload of money at their disposal stealing a shitload of money from a wealthier and slightly less charming man. It’s about men with unparalleled skill in their respective domains (explosives, hacking, acrobatics, pickpocketing, dumb accents, arguing, being attractive while chewing) doing whatever they want and getting away with it. It’s a power fantasy for the already powerful, a superhero movie from before we were subject to superhero movies, a revenge story that pits the amoral against the immoral, a playground for several large personalities, and a true test of your willingness to suspend disbelief. It is perfect. It is too good to be true. It must be a dream.
Consider the pacing. We start in Atlantic City. Now we are in Las Vegas. Next, Salt Lake City. Down to Florida. Back to Vegas. Off to Chicago. Vegas again. A quick jaunt to California. Finally, again, Vegas. Never do we travel to these places; we just appear there. We are told we must build an exact replica of a high-security vault. A few cardboard boxes and some metalworking tools are conjured, Brad Pitt smiles at us, and suddenly we have built an exact replica of a high-security vault. This is the logic of dreams: “In order for this dream to continue, X must have happened, and so X has happened.”
Consider the motives and backgrounds, all implicit and vague. We trust Linus (Matt Damon) because Bobby Caldwell said he’s good. We have no idea who Bobby Caldwell is; we have never heard of him until now. People around us say names and hint at backstory so confidently that we gleefully do their bidding barely after they’ve finished explaining why we ought to do it. We speak new identities, entirely new lifetimes, into existence at will with no regard for whether we are speaking the names of others or new names for ourselves.
Consider how it all comes together so efficiently. Our plans are undeterrable, our success predetermined. So much of the dialogue in this film takes place offscreen that it’s impossible to tell to what extent things are happening and to what extent we just want them to happen. A description of events is as just as useful to us as the actual occurrence of those events.
Consider that when things do go wrong, they go wrong in ways that somehow make the experience better. An inconvenient discovery of an electrical vulnerability ultimately means we get to see this scene. Danny Ocean’s conflict of interest and subsequent ousting means we get to spend more time hanging out with a bespectacled Matt Damon. These aren’t plot developments. They’re improvised upgrades, spur-of-the-moment hotswaps of good ideas for great ideas, schoolyard escalations on top of already ridiculous hypotheticals.
Yes, Ocean’s Eleven must be a dream. But it’s not our dream — of course it’s not. This whole production is Danny Ocean’s dream, and it was never about us at all. Soderbergh tips us off to this fact in a backroom card game twenty minutes into the movie. Here we see clearly that the moment we assume he has nothing to stand on is the moment he takes control, swindling us with a quip and a grin. To call Danny Ocean’s bluff, in poker or in the middle of a heist, is to challenge his dominion over his own subconscious, and he will make you pay for it.
Ocean’s unstoppable power of will within the world of the film, then, becomes a means of expressing Steven Soderbergh’s absolute control over Ocean’s Eleven itself. It may be Danny Ocean’s wit and charm that contextualizes the jet-setting, the stunts, and the impressive breadth of comedic styles, but it is Soderbergh’s direction that executes on them. In fact, the complete silliness of watching Clooney, Pitt, Damon, Mac, et al. pull off this heist with relative ease is an incredible distraction from the many magic tricks that Soderbergh and his editor (Stephen Mirrione) pull off right in front of our eyes.
Let me repeat what I just said in a slightly different way: it is Ocean’s confidence that boldly steals $160,000,000, but it is Soderbergh’s confidence that silently steals 117 minutes from under our noses. His style is that of a stage magician, lingering on what he wants us to think about while breezing through incredibly daring shorthands and illusions. Watch this and ask yourself why such a stupid scene should be treated so seriously. Watch this and try to imagine conceiving of its impeccable blocking. In fact, watch the entire movie and tell me what’s left of your precious 180° rule after Soderbergh’s explored just about every permutation of spatial relationships among his characters.
All this is to say that Ocean’s Eleven is totally insane in more ways than I can count. Its plot falls into place with impossibly smooth choreography, its timing is relentless without being disorienting or tiring, its cast fits together like a jigsaw puzzle, its cinematography and editing are downright slippery, its score is suspenseful and empowering. Like its hero, Ocean’s Eleven pulls off a whole lot in not very much time. It really is too good to be true. It must be a dream.
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https://www.digitalspy.com/movies/a46127914/george-clooney-teases-new-oceans-movie/
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George Clooney teases new Ocean's movie
|
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[] |
[] |
[
""
] | null |
[
"Iona Rowan"
] |
2023-12-14T16:29:39.414401+00:00
|
George Clooney has teased that he may be returning for another Ocean's movie.
|
en
|
/_assets/design-tokens/digitalspy/static/images/favicon.b8735b8.ico
|
Digital Spy
|
https://www.digitalspy.com/movies/a46127914/george-clooney-teases-new-oceans-movie/
|
George Clooney may be returning for another Ocean's movie.
Speaking to Uproxx while promoting his new movie The Boys in the Boat, Clooney revealed that a script for another Ocean's film does exist.
"We have a really good script for another Ocean's now, so we may end up doing another one. It's actually a great script," he said.
However, the actor added that the film won't be called Ocean's 14, saying: "Well… I don't want to call it that… I mean, the idea is kind of like Going in Style'".
Related: George Clooney explains "important" rowing scenes in The Boys in the Boat
Clooney is referring to the 1979 heist comedy directed by Martin Brest, which famously starred George Burns, Art Carney, Lee Strasberg and Charles Hallahan.
The original Ocean's trilogy began with Ocean's Eleven in 2001, which starred Clooney as Danny Ocean opposite Brad Pitt, Julia Roberts, Matt Damon and more. This was followed by Ocean's Twelve in 2004 and Ocean's Thirteen in 2007.
In 2018, Sandra Bullock, Cate Blanchett, Helena Bonham Carter, Anne Hathaway and Rihanna took the baton with the female-centric spin-off film Ocean's 8.
Related: George Clooney addresses Batman future after The Flash cameo
Meanwhile, Barbie stars Margot Robbie and Ryan Gosling are set to reunite for an Ocean's Eleven prequel movie set in 1960s Europe.
The film, which has been in the works since spring 2022, is set to be directed by Jay Roach, while Robbie and her husband Tom Ackerley will produce.
Although Robbie and Gosling's exact roles in the movie are yet to be disclosed, it has been rumoured that the pair will be playing Danny Ocean's parents.
|
||||
5635
|
dbpedia
|
3
| 60
|
https://www.reelviews.net/reelviews/ocean-s-eleven
|
en
|
Reelviews Movie Reviews
|
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[
"Movie",
"Movie Reviews",
"Entertainment"
] | null |
[
"James Berardinelli"
] |
2001-12-07T00:00:00
|
The good news is that the 2001 version of Ocean's Eleven represents one of the rarest of Hollywood rarities: a re-make that is actually better than the original. That's not to say that this motion picture is an unqualified success - one tends to ...
|
en
|
Reelviews Movie Reviews
|
//www.reelviews.net/reelviews/ocean-s-eleven
|
The good news is that the 2001 version of Ocean's Eleven represents one of the rarest of Hollywood rarities: a re-make that is actually better than the original. That's not to say that this motion picture is an unqualified success - one tends to expect a little more from a director of Steven Soderbergh's caliber. However, 2001's Ocean's Eleven moves along at an enjoyable clip and relies on more than the notoriety of its stars to pack movie theaters. The 1960 original was a sluggish, unimpressive caper comedy that is best remembered as being the first time the so-called "Rat Pack" (Frank Sinatra, Dean Martin, Joey Bishop, Peter Lawford, Sammy Davis Jr.) appeared together on screen. The "event" didn't require much else, resulting in a meandering film that fell short in the areas of plot, character development, humor, and suspense. When producer Jerry Weintraub, director Soderbergh, and actor George Clooney elected to re-make Ocean's Eleven, they rectified some of the earlier movie's glaring faults. So, while this is a re-make in the sense that it borrows the 1960 picture's title and premise, there are many, many differences, almost all of which represent improvements.
Ocean's Eleven is an entertaining but unambitious endeavor that combines traditional caper rhythms with comic riffs. Compared to another of 2001's pretzel-plot crime movies, David Mamet's Heist, Ocean's Eleven comes across as diluted. Both films are plot-driven with little room for the actors to do more than look good and project their personalities. Nevertheless, the protagonists in Heist are better fleshed-out (possibly because there are fewer of them), and, while Ocean's Eleven contains its share of nicely-crafted lines for the actors to chew on, the dialogue here never comes close to what Mamet scripted for his outing.
George Clooney, he of the great smile and unforced charm, plays Danny Ocean, a con-artist and thief who is planning his next job the day he gets out of a New Jersey prison on parole. For Danny, this is the big one: a three-casino robbery that will net more than $150 million. Even dividing the total take by eleven (the number of participants), the payout per person is enormous. Danny's crew consists of right-hand man Rusty Ryan (Brad Pitt), inside man Frank Catton (Bernie Mac), British bad guy Bashir Tarr (Don Cheadle), pick-pocket Linus Caldwell (Matt Damon), veteran con man Saul Bloom (Carl Reiner), moneybags Reuben Tishkoff (Elliot Gould), dueling brothers Turk and Virgil Malloy (Scott Caan and Casey Affleck), electronics expert Livingston Dell (Eddie Jemison), and contortionist/gymnast Yen (Shaobo Qin). Their goal is to liberate the financial resources of the trio of Vegas casinos run by Terry Benedict (Andy Garcia) on the night of the Lennox Lewis-Wladimir Klitschko heavyweight battle. Since the money from the Bellagio, the Mirage, and the MGM Grand is all stored in the Bellagio's vault, only a single robbery is necessary. There are some obstacles - a "security system [that] rivals that of most nuclear missile silos", countless surveillance cameras, a secure elevator with multiple safeguards against unauthorized entry, armed guards, a vault door that may be impregnable, and Danny's ex-wife, Tess (Julia Roberts), who is currently Terry's girlfriend.
The movie provides an engaging two hours that develops in exactly the manner one would expect from this sort of production. The storyline, while certainly not a masterpiece of plotting (there are numerous holes, some of which are rather large), offers enough to keep audiences guessing and to inject a little tension into an otherwise harmless and lightweight enterprise. There are also sufficient moments of comedy to maintain an upbeat tone. I don't think I ever let out a hearty guffaw, but I chuckled on a number of occasions. And, of course, there are plenty of familiar faces, starting with Clooney and Brad Pitt in the lead roles, and going all the way down to Julia Roberts in a rare supporting performance. It's a mark of how respected Soderbergh is that he was able to get so many name performers to accept pay cuts. Then again, several of the participants, including Clooney (Out of Sight), Roberts (Erin Brockovich), and Cheadle (Traffic), have worked with him before.
The average viewer's appreciation of Ocean's Eleven will be influenced by expectations, and, in the case of older attendees, memories of the original. Those anticipating something with the hard-hitting impact of an Erin Brockovich or Traffic will be disappointed. For Soderbergh, this is not a quest for the Best Picture Oscar that eluded him last year - it's an attempt to craft a popcorn movie. Of course, there's a world of difference between an accomplished popcorn movie like this one and one that's oversalted. This is probably about the best anyone could do with Ocean's Eleven. The high-wattage star power and unpredictable plot should give it healthy box office splash before it sinks beneath the waves made by the other December 2001 contenders.
Ocean's Eleven (United States, 2001)
|
|||||
5635
|
dbpedia
|
3
| 76
|
https://www.newyorker.com/magazine/2016/09/12/the-light-between-oceans-and-max-rose-reviews
|
en
|
“The Light Between Oceans” and “Max Rose” Reviews
|
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[] |
[
"alicia vikander",
"culture",
"derek cianfrance",
"jerry lewis",
"michael fassbender",
"movies"
] | null |
[
"Anthony Lane",
"David Denby",
"Brandon Harris",
"Condé Nast"
] |
2016-09-12T00:00:00
|
Anthony Lane on Derek Cianfrance’s movie, with Michael Fassbender and Alicia Vikander, and Daniel Noah’s film, starring Jerry Lewis.
|
en
|
https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico
|
The New Yorker
|
https://www.newyorker.com/magazine/2016/09/12/the-light-between-oceans-and-max-rose-reviews
|
After fighting in the First World War, Tom Sherbourne (Michael Fassbender) goes looking for the quiet life and finds it at the ends of the earth. As “The Light Between Oceans” begins, he is interviewed for—and accepts—a job as a lighthouse keeper. Warned that it may prove tough, he replies, “It’s not likely to be tougher than the Western Front.” Solitary and bereft of kin, he should be a blank slate, but we sense that the slate has been scrawled upon, in the hell of the past few years. There are no flashbacks to the war, and we don’t need them; so fierce is Fassbender, and such is the glare of his gaze above the bristling military mustache, that we instantly believe in Tom as a veteran—a disciplined soul determined not to crack. Hence his unnerving stillness, in this opening scene. For a moment, I thought the projector had stuck.
Derek Cianfrance’s film, based on the novel of the same name by M. L. Stedman, was shot in Australia and New Zealand. But where, exactly, is it set? The lighthouse lies on a fictional island, Janus, which turns its face to two seas; but which seas? Apart from a glimpse of a nautical chart, the movie is mapless—a minor but exasperating flaw, because the story depends on the depth of Tom’s isolation. “You’ll be the only living man for a hundred miles in every direction,” he is told, but the boat that takes him there seems to ply back and forth with cheerful frequency, and we see Tom tapping out messages in Morse. We also learn that his predecessor was widowed on Janus, his wife having thrown herself from a cliff, and lost his reason; yet that hint of a haunted spot—or of a curse—is unfulfilled. Tom is not marooned in madness.
Before setting out from the mainland, he is invited into polite society. A couple called the Graysmarks (finely played by Garry Macdonald and Jane Menelaus) present him to their daughter Isabel (Alicia Vikander), who claims him with a look. Once he leaves for Janus, they correspond, and, on his return, she more or less proposes to him; after some delay, arising from Tom’s idea that he is neither worthy nor wantable, they embark for Janus as newlyweds, with every intention of starting a family. They are the only inhabitants of the island, unless you count the chickens.
All this occurs at disconcerting speed, which many will take as proof of the film’s romantic impetus—of Cianfrance’s faith in the headlong lunge of love. After all, he is the man who made “Blue Valentine” (2010). On the other hand, something about the latest film feels rushed and crammed; apparently, more than two hundred hours of digital footage were shot, which sounds impressive, though you want to ask how any semblance of dramatic shape can emerge from that welter of material, and what gets elided in the process. Thus, we skip over Tom’s first step upon the fateful isle, and, as for the seascapes, the camera glances at the graceful wash of the waves and moves on, not daring to linger. Then, there is the lighthouse itself; the framing of it recalls the lighthouse at Two Lights, in Maine, that impelled Edward Hopper to create paintings of an ominous serenity, but, again, Cianfrance seems too impatient to let the tower loom large.
To be fair, he does find room for a tempest. Also, he has a mystery to cope with. One day, a mournful Isabel—recovering from a second miscarriage—spies a boat offshore. In it are a dead man and a living baby girl. Tom is about to report the discovery, but Isabel stays his hand. “No one will know she’s not ours,” she says. From that hesitation flows the rest of the plot. The girl, whom they name Lucy, is raised devotedly as their own, unquestioned by their relatives, until, on a trip to shore, Tom becomes aware of her true mother, Hannah (Rachel Weisz), who believes that her husband and child drowned. To whom does Lucy belong, or wish to belong? Can Isabel be persuaded to give her up? And will Tom, advised by his inner Jiminy Cricket, let his conscience be his guide?
Stand back from this fable and examine it for logic, and you see how nonsensical it is. By what miracle an infant could survive and an adult perish, on the open sea, is unexplained. Only in the late romances of Shakespeare do such curious details—children lost and found, an island refuge, a savage storm—hang together, and there the characters breathe an air that is dense with magic. Those who attend the climax of “Pericles,” where a daughter is reunited with her parent, were described by T. S. Eliot as “creatures who are more than human, or rather, seen in a light more than that of day.” But Cianfrance does not summon such a light, and folks like Tom and Isabel, though crazed by destiny, are stubbornly grounded. How their story might have flourished under Michael Powell, say, or Albert Lewin, the director of “Pandora and the Flying Dutchman” (1951), both of them unabashed in their lyrical exploits, we can but guess.
“The Light Between Oceans” is an oddly old-fashioned enterprise, wedded to the principle that love conquers all. However hasty, the tale is straightforwardly told. Not for Cianfrance, this time, the chronological leaps and loops that made “Blue Valentine” so painfully tense, or the generational span of “The Place Beyond the Pines” (2012), which could barely contain itself under the pressure of narrative ambition. The effect of this plainness is to throw an extra burden on the actors, who, once introduced, are seldom left alone for long, and who must submit to concentrated closeups. Weisz deals wonderfully with the scene in which Hannah encounters her child, now age four, in Isabel’s arms—not yet knowing that Lucy is hers but sensing a strange tug of fellow-feeling. As for Vikander, she is one of those performers who, for all their beauty, remain uncomfortable to watch, such is their lack of a protective layer; emotions rise up in her, unhindered, and declare themselves, down to the last tremor, on her face. It’s an extraordinary sight, and the wellspring of her stardom, though you do keep wanting to reach out and offer her a tissue. And that’s before the sad bits even start.
Whether the film cuts it as a fully functioning weepie is another matter. I was in pieces after “Blue Valentine,” and had to be swept up from the floor of the cinema by the guy who retrieves the spilled popcorn, but the “The Light Between Oceans” left me disappointingly intact. Partly, this has to do with Fassbender, who is never at ease with the depiction of happiness, and is therefore less than persuasive, as a griever, when it is snatched away. The movie is rather prim, too, shying from sexual heat, and its devotion to correct attire is both touching and telling; with Isabel swathed in beach-friendly knitwear and hats, and Tom rarely devoid of a collar and tie, they must be the first lovers on record to greet their blessed seclusion by adding more clothes rather than ripping them off. Perhaps such formality was to be expected, given that both players have done their finest work as robots—Fassbender in “Prometheus” (2012) and Vikander in “Ex Machina” (2015). Still, the joyous and red-blooded fact is that, in real life, they emerged from the filming as a couple, much as Ryan Gosling and Eva Mendes did from “The Place Beyond the Pines.” If the directing ever dries up, Cianfrance could run a dating agency. He’s got the knack.
Anybody who goes to “Max Rose” hoping for gags and goofery will walk out frustrated at the end. Although Daniel Noah’s film stars Jerry Lewis in the title role, mayhem is off the menu. People tell jokes to one another, but very slowly and often more loudly than is required. I know that most of the movie is about elderly people, but does it follow that the lines should be enunciated as if the cinema, likewise, were populated solely by the deaf?
Max, a retired jazz pianist, begins in mourning, and stays there. His wife of sixty-five years, Eva (Claire Bloom), has just passed away, and he looks hollowed out—sitting glumly in his red sweater and white socks, and batting aside the gentle entreaties of his granddaughter Annie (Kerry Bishé). He also has a son, Chris (Kevin Pollak), whom he openly scorns. All in all, it’s no surprise when Max is shifted to a retirement home, where he can knit pot holders and practice his disgruntlement round the clock. Revisit Lewis in his pomp, and you’ll notice how much activity went on in the southern regions of his face; he still has a resentful grind to his lower jaw, and that monkeyish mouth is as busy, in “Max Rose,” as it was in “The Nutty Professor” (1963), when, in the guise of Buddy Love, the slick-haired Lothario, he brought a whole night club to a halt. But Noah takes a fatal decision to trade snap for mush, and the movie only stirs in the final twenty minutes, when Max pays a nocturnal call on Ben Tracey (Dean Stockwell), who cuckolded him long ago. Regrettably, they make their peace, but, for a moment, the sequence smacks of something threatening and fresh: oldster noir. ♦
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dbpedia
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https://www.artefactmagazine.com/2024/02/28/deep-dive-into-these-ocean-docs-to-learn-about-the-human-impact-on-sealife/
|
en
|
Deep dive into these ocean docs to learn about the human impact on sealife — Artefact
|
[
"https://www.artefactmagazine.com/wp-content/uploads/2022/10/artefact_masthead_web_main.png",
"https://www.artefactmagazine.com/wp-content/uploads/2022/10/artefact_masthead_web_main.png"
] |
[] |
[] |
[
""
] | null |
[
"Heloise Le Fourner",
"Tanya Malik",
"Sadie Pitcher"
] |
2024-02-28T00:00:00
|
What better way to explore the ocean, its fauna, and flora than through cinema when you don't live near the sea.
|
en
|
Artefact
|
https://www.artefactmagazine.com/2024/02/28/deep-dive-into-these-ocean-docs-to-learn-about-the-human-impact-on-sealife/
|
What better way to explore the ocean, its fauna, and flora than through cinema when you don’t live near the sea.
The Corsican association Mare Vivu fights against plastic pollution in the Mediterranean through awareness. Their traveling cinema CinéMare, created in 2023 allows everyone to take the time to discover the underwater world through a film. As Lea Ferrandi said, “it started during the CorSeaCare mission when the team stop sailing for the night and they would organize screenings during their stopovers.”
What is the purpose of this screening? To raise awareness about protecting the marine environment by watching a film about the marine environment, its treasures, and what can be done to protect them. The association prefers documentaries: “The films that were shown are as follows: “The Cry of the Seagulls” by Gisèle Casabianca, “Once You Know” by Emmanuel Cappellin, “BAKELITE,” a short film by freediver Julie Gautier, and “Mediterranean, the Odyssey for Life,” a documentary series by Fredéric Fougeat. These are exclusively documentaries; it is not excluded that we may show fiction films. Within Mare Vivu, we are also in the process of producing a documentary titled “RIPARU” on the issue of marine pollution in Corsica”
So here are some documentary ideas to dive into the depths of the sea on a rainy evening or a Netflix and Chill afternoon:
The Living Thames: “Introduced by Sir David Attenborough, and presented by environmentalist Chris Baines, The Living Thames is an odyssey along the river as it meanders through London and flows out to sea, exploring its ever-changing ecology.”
Blue Planet: An 8-part documentary narrated by David Attenborough. A production that is the result of five years of work in over 200 different locations with the help of scientists. This documentary has shed light on some species for the first time and discovered others.
Blue Planet II: Following the immense success of the first documentary, David Attenborough and his team return with 7 new episodes on the abysses, corals, coastal fauna and flora, or the impact of plastic pollution. A timeless moment accompanied by the original soundtrack composed notably by Hans Zimmer.
Ocean Therapy: In this documentary, a paralyzed surfer, Bruno, after an accident and the loss of the use of his two legs falls into a deep depression before regaining a taste for life thanks to his passion for the ocean and his love of surfing.
My Octopus Teacher: An authentic and unexpected friendship between a filmmaker and an octopus that allows us to discover the depths of South African kelp forests and the mysteries of this animal.
Chasing Corals: Coral reefs are essential to the balance of the oceans. This documentary follows scientists, divers, and photographers and shows the deterioration of coral due to climate change. The documentary was awarded the Audience Award at the 2017 Sundance Film Festival.
Mission Blue: Inspirational marine biologist Sylvia Earle plunges us into the fight of her life: saving the oceans from human threats such as overfishing and pollution. With the help of scientists and activists, the oceanographer aims to create marine protected areas.
Planète Océan: French director and activist Yann Arthus-Bertrand shows the impact of humans on the oceans and their known or unknown pollution. With aerial and underwater images, it’s a true maritime dive. This documentary is available for free on YouTube.
Please get comfortable and dive into a Netflix and sea afternoon!
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https://ew.com/movies/george-clooney-jokes-oceans-eleven-magic-mike-crossover/
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en
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George Clooney jokes Ocean's Eleven should cross over with Magic Mike
|
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2023-04-17T19:37:56-04:00
|
While appearing at the TCM Classic Film Festival, George Clooney toyed with the idea of a new 'Ocean's Eleven' sequel crossing over with the world of 'Magic Mike.'
|
en
|
/favicon.ico
|
EW.com
|
https://ew.com/movies/george-clooney-jokes-oceans-eleven-magic-mike-crossover/
|
We've seen Danny Ocean rob the strip, but what about Danny Ocean stripping? It could happen if George Clooney gets his way.
While at the 2023 TCM Classic Film Festival, the star of 2001's Ocean's Eleven joked about the possibility of a crossover between the heist franchise and Magic Mike, both produced and directed by Steven Soderbergh, who was also in attendance.
TCM host Ben Mankiewicz asked both Soderbergh and Clooney about the possibility of revisiting the Ocean's Eleven characters now, 15 years after the third film, Ocean's Thirteen, premiered. Soderbergh responded there have been plenty of conversations about it, and he pointed to Ocean's Eight as one result of such talks.
"They killed me, by the way," added Clooney, referring to the fact that Sandra Bullock's Debbie Ocean regularly visits the gravesite of her brother Danny in the 2018 film. Still, no one is ever confirmed as being in the tomb, and Debbie even ponders whether or not Danny is really dead.
Soderbergh countered Clooney with the fact that he took two years off Clooney's age with the dates on the mausoleum, to which Clooney replied, "Sure, but I'm dead."
The director wouldn't give a straight answer on whether he'd make another Ocean's film, teasing the audience as he slowly parsed out each word, "I'm... thinking... about... tomorrow."
Clooney then went on to tease Soderbergh for instead turning his attention to the Magic Mike franchise, which seemingly just concluded with February's Magic Mike's Last Dance. He then jokingly suggested a movie in which the two series merge. "Ocean's Mike?" he quipped while swinging his microphone phone in the style of a stripper helicoptering their own anatomy.
Mankiewicz suggested Magic Danny, which Clooney ran with it, saying, "Danny gets his groove." It's not the most implausible idea. As Mankiewicz pointed out, there are plenty of strip clubs in Vegas — there's even a Magic Mike Live show inspired by the movies.
Throughout the conversation, Clooney and Soderbergh discussed their partnership — which began with Out of Sight — why Ocean's worked so well, and more. When Clooney and Soderbergh first met in 1997, they were coming off career disappointments. "I'd just done Batman and Robin," said Clooney, which elicited cheers from the audience. "I know you like that movie," he added, sarcastically. "I know you like the bat nipples."
Meanwhile, Soderbergh had directed 1995's The Underneath, a crime-thriller starring Peter Gallagher that flopped at the box office. A couple of years later, when the script for Ocean's Eleven came along, Soderbergh said he thought it might finally be the perfect opportunity for him to combine his more indie, artistic sensibilities with big-budget Hollywood filmmaking. "It felt like the next iteration in my desire to work in the mainstream film business and make movies that could be released in a lot of theaters," he shared. "I grew up watching movies made by great filmmakers that were commercially successful, distinctive movies. And I wanted to be part of that tradition."
Added Clooney: "It's also important to understand where we were at the time. The studios were making very big, broad, not very good films at that time. Steven had this idea of trying to infuse all of this independent film stuff that all of these young filmmakers were learning back into the studio system. It was going to get back to the things that they were doing from like 1964 to 1975."
Even with that in mind, Soderbergh still struggled to find his footing and nail down exactly what the visual style and approach to Ocean's Eleven would be. "The first portion of the film, we shot in chronological order, and you can watch me figure it out," he said. "The first week, week and a half, I still felt not dialed in. Then we got to this sequence, the planning sequence that takes place at Reuben's [Elliott Gould] house. We were on set laying out this thing, and it was a 27-millimeter lens at a certain angle with a certain comp. That's the default composition for the whole film. I had the zoom lens in my pocket, which I hadn't used yet in the film, but I knew I wanted to use a zoom lens a lot. And I had a great script and I had a great cast."
Speaking of that cast, which in addition to Clooney also includes Brad Pitt, Julia Roberts, Andy Garcia, Matt Damon, Don Cheadle, and more, Soderbergh had the power of his and Clooney's combined names, as well as the connections of producer Jerry Weintraub and a stellar script to help them assemble their team.
Clooney recalled jokingly sending Roberts the script with a $20 bill and a note that says, "I hear you get 20 a picture now," referring to her $20 million-per-film rate. The joke made her laugh, which led to her signing on to the movie.
That doesn't mean it was all smooth sailing though. Clooney confirmed reports that both Mark Wahlberg and Johnny Depp were approached for Damon's role as Linus. "Steven had just done Erin Brockovich and Traffic, and he was nominated for directing both films," Clooney said. "So, people really wanted to work with Steven."
"That said, some people did say no to us," interjected Soderbergh.
"They did," agreed Clooney, before, with a wink, cheekily adding: "Some very famous people told us to f--- right off. Mark Wahlberg, Johnny Depp. There were others. They regret it now. I regret doing f---ing Batman."
They closed out the night by addressing Soderbergh's temporary retirement from filmmaking, which he announced in 2013 and officially ended in 2016, despite working in between on projects like The Knick. "I conflated some frustrations that I had with the way that business works with the job," Soderbergh explained of his temporary hiatus. "What I came to understand, fortunately through reading something that came to me, which turned into The Knick, is that I like the job. I'm built to do this job. And I just had gotten confused because the business is frustrating. So I try to really separate those two things, the job which I love, and the business, which is frustrating. But one of the pleasures is frankly making something that 20-plus years later anybody's talking about. Because the worst fear for any filmmaker is feeling irrelevant."
Related content:
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Everything We Know About All
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2017-12-15T14:43:12-05:00
|
Sandra Bullock leads a cast of badass ladies in Ocean's 8, the next installment of the popular George Clooney franchise
|
en
|
/favicon.ico
|
Peoplemag
|
https://people.com/movies/oceans-8-everything-we-know/
|
The heist is back — and the ladies are running it this time.
Sandra Bullock leads a cast of badass women in Ocean’s 8, the next installment of the popular George Clooney franchise started in 2001. The actress stars as Debbie Ocean, Clooney’s character’s ex-con sister who recruits seven other women — Cate Blanchett, Rihanna, Anne Hathaway, Mindy Kaling, Sarah Paulson, Awkwafina, and Helena Bonham Carter — after getting out of jail to pull off a glamorous job.
The movie has been sending the internet into a frenzy all year as the cast was spotted filming around New York City and two first look images were released. The ladies get in formation for the newly released poster.
In preparation for the trailer dropping next week, we put together a list of the (very little) details we know about the film. Read on for more about the fashionably sinister sequel.
It takes place at the Met Gala
Looks like the ladies have high fashion tastes. The heist in this one takes place at the annual Met Gala, where Vogue‘s Anna Wintour invites the biggest A-Listers to dress up in theme and look glam. The team crashes the gala to swipe a priceless necklace off a celebrity’s neck.
“It’s a parallel story of another family member that was raised in the same family Danny Ocean was and what happens when Debbie steps out of jail with all of these amazing, powerful women,” Bullock told Entertainment Weekly about the film’s plot.
A bunch of celebs will be making cameos
Since it takes place at one of the hottest tickets of the year, several celebrities will be making cameos.
Kim Kardashian, Kendall Jenner, Zayn Malik, Katie Holmes, Hailey Baldwin and Olivia Munn all make appearances, as do several prominent designers like Alexander Wang and Tommy Hilfiger. And of course Wintour herself will also be appearing in the film, because it wouldn’t be the Met Gala without the grande dame of fashion.
But as Munn revealed earlier in the year, the actress basically paid to be in the movie since she had to pay for all her expenses.
“They’re like, ‘Do your own glam,’ and I got the dress and all that. And then you submit the bills for it because I’m part of your movie. And then they’re [the producers] like, ‘Oh no, the bills come right back to you,’ ” Munn told EW.
Will George Clooney make an appearance?
Okay, so we don’t actually know the answer to this one. While his pal and original Ocean’s cast member Matt Damon already confirmed that he’s appearing in the film, there’s no indication whether Clooney will be joining him. He is, however, a producer on the film, so it doesn’t seem like much of a stretch for Bullock’s Debbie to check in with her brother at some point.
The ladies totally became best friends
The most exciting detail of all is that the ladies seem to have hit it off while filming the highly anticipated movie. From hot dog meals to makeup trailers, Bullock revealed that filming was a harmonious time for all eight costars.
“It’s really fun. Imagine all eight of us crammed into a makeup trailer in the morning,” Bullock told EW. “You think that it would be disastrous but it was heaven, all of us just sharing information, all of us doing three jobs with families, our other jobs, the juggling. And then we get to shoot this movie together.”
Rihanna also admitted she had a good time in a Vogue interview, even though she was worried about being with all women and that it might be “catty.”
“We had a blast,” she said. “I enjoyed mostly the fact that we were eight strong women who are so different from each other, even in the film our roles are so different. I never thought I would have that much fun at work, on the set of a movie.”
Ocean’s 8 hits theaters June 8.
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https://www.commonsensemedia.org/movie-reviews/oceans/user-reviews/adult
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Parent reviews for Oceans
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Read Oceans reviews from parents on Common Sense Media. Become a member to write your own review.
|
en
|
/themes/custom/common_sense/images/favicons/favicon-16x16.png
|
Common Sense Media
|
https://www.commonsensemedia.org/movie-reviews/oceans/user-reviews/adult
| |||||
5635
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dbpedia
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2
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https://collectionsofwaikiki.com/hawaii-in-january/
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en
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Hawaii in January: 5 Reasons Why This is a Good Time to Visit
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[
"Collections of Waikiki"
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2021-10-21T23:51:08+00:00
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If you're planning a trip to Hawaii, one of the first details to work out is when to go. Find out if Hawaii in January is worth your while!
|
en
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Collections of Waikīkī
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https://collectionsofwaikiki.com/hawaii-in-january/
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Updated: July 1, 2024
If you’re planning a tropical vacation to Hawaii, you shouldn’t rule out January as your vacation month.
Many tourists are hesitant to plan a Hawaiian vacation during a month that is notoriously cold and snowy throughout much of the U.S.
However, planning your Hawaii vacation for January can provide you with hot weather, and even boasts some benefits over visiting during the more popular holiday months.
Read on to learn five reasons why you should visit Hawaii in January.
Hawaii Weather in January is Pleasant
One of the primary reasons people travel to Hawaii is to participate in all of the state’s outdoor activities.
If you’re interested in surfing, swimming, hiking, or taking a helicopter tour on your trip, you’ll be happy to know that January offers ideal weather conditions for each of these activities.
Hawaii weather is pleasant and warm throughout January, while big waves create exhilarating surfing conditions for professional surfers. Here’s some more information about the weather in Hawaii throughout January.
Average High and Low Temperature
If you’re planning a Hawaii vacation to enjoy hot, sunny weather, rest assured—January is still plenty hot for a beach vacation. The average high temperature is around 79 to 80 degrees F in January, while the average low temperature is approximately 65 degrees.
The Hawaii island you visit determines the temperatures you will experience during your January trip.
For example, while average low temperatures stay in the 60s and 70s on Kauai in January, you can experience temperatures as low as the 30s and 40s at the Mauna Loa Observatory or Hawaii Volcanoes Park on the Big Island.
While you may need a light sweater or light jacket in the evenings during your trip, Hawaii’s high humidity and sunny, pleasant temperatures create the perfect beach weather to swim and get some sun.
Daylight Hours
Unlike many other states in the U.S., daylight hours do not differ too drastically in Hawaii from month to month. Whether you visit in January or June, you can expect to experience about eleven hours of daylight each day during your Hawaiian vacation.
Most often, the sun rises around 7:10 am and sets around 6:00 pm in Hawaii in January.
Rain
Hawaii’s rainy season lasts from October to March, with Hawaii’s rainiest month being December. As a result, if you plan to visit in January, you can expect a few rain showers to occur during your trip.
Specifically, the average monthly rainfall in January across Hawaii is about 9 inches.
Even though January is in the middle of the rainy season, you will likely still experience beautiful weather and mostly sunny days during your January trip.
Many of Hawaii’s rainstorms last no longer than ten or fifteen minutes before the clouds clear out and the sunshine and warm weather return. Just be sure to pack rain gear for any outdoor activities to prepare for these pop-up showers.
If you’re trying to avoid the rain as much as possible, we recommend sticking to the Big Island during your vacation. This island tends to experience less rainfall than the other islands.
However, keep in mind that all the islands need their fair share of rain to stay lush, green, and beautiful year-round.
Ocean Conditions
Even though January is one of Hawaii’s cooler months, the ocean temperatures are still warm enough to allow you to swim comfortably.
You can expect the ocean temperatures to reach around 72 to 76 degrees F, making the water just slightly cooler than the outside temperatures at the peak of the day.
Additionally, the ocean tends to be choppier in January compared to the summer months. The winter months tend to experience rougher water conditions, often creating giant waves along the west and north shores.
These big waves create ideal conditions for experienced surfers to show off their skills. However, if you’re a beginner looking to take surf lessons, we recommend planning your vacation for the summer instead, when Hawaii’s ocean conditions are milder.
Trade Winds
Trade winds are permanent east-to-west winds that flow in locations near Earth’s equator, providing a cool, refreshing breeze in some of the planet’s hottest spots. Hawaii experiences these wind patterns all year, but some months are windier than others.
In January, these winds only occur around 40% to 60% of the time, ensuring that the air does not get too chilly during January’s cooler days.
Hawaii Travel and Hotel Costs Are Affordable in January
Another significant reason to visit Hawaii in January is the price. Compared to the peak months of June and July, visiting in January can save you money on necessary expenses such as airfare and hotel costs.
This is primarily because most winter tourists visit Hawaii during the holiday season when they already have time off from school and work or are looking to celebrate the holidays.
Here is a quick breakdown of the different expenses you may encounter during a January trip to Hawaii.
Transportation Costs
Flight prices vary significantly from day to day and airline to airline, so there’s no way to know for sure what Hawaii flights will cost in January until you go to book your flight.
With that said, flight prices in January tend to be more affordable than what you could find during the holiday months of November and December.
If you plan to visit two islands during your trip, you will need to factor in the transportation costs to get from island to island. You can fly by helicopter or take a ferry or boat to the different islands.
ferry is the most affordable island-hopping option, costing between $30 to $50 per person for each trip.
Traveling to Hawaii in January could leave some room in your budget to allow you to check out several of the major islands during your trip.
Hotel Rates
If you’re planning a Hawaii trip in January, you can expect to find hotel prices in a moderate range compared to other months of the year. Some hotels lower their costs in January to attract visitors after the holiday rush.
Avoiding New Year’s Day can help you find reasonable rates and save money on your total costs. Additionally, looking for hotels away from the airport can also save you money.
However, keep in mind that hotel costs can vary significantly depending on the type of hotel you would like to stay in. Hawaii is famous for its resorts and high-end hotels, but these lodging locations tend to be much more expensive than your average Holiday Inn.
Car Rentals
Car rental companies are notorious for increasing their rates during the busiest seasons on the Hawaiian islands. As a result, you can expect your rental costs to be lower in January than they would be during November and December, two of the state’s busiest tourism months.
Hawaii Crowds Subside in January
Some months bring more tourists and visitors to Hawaii than others. If you’re planning a January visit to Hawaii, you may be wondering how busy the state will be during your trip.
Compared to late December, when many visitors flock to Hawaii to celebrate the holidays, January is slightly less crowded.
Though some tourists wrap up their vacations during the first or second week of January, many of the busiest locations have thinned out as visitors head back to school and work.
January is also a less popular time to visit Hawaii due to the milder, cooler temperatures. Even though the climate is still enjoyable throughout the state in January, many tourists choose to visit during the hotter summer months rather than these milder winter months.
If you’re looking for the least busy time to vacation in Hawaii in January, we recommend the end of the month.
Some of the state’s most popular tourist spots start to pick up again by the third Monday of the month when visitors take advantage of Martin Luther King Jr. Day to extend their vacations.
Many Famous Hawaii Events and Activities Take Place in January
You may expect all of the good Hawaiian events to take place during the summer. However, January still sees several special events that tourists cannot experience during any other month of the year.
Some of the most popular January events include Chinese New Year, humpback whale-watching, professional surfing tournaments, and more.
Chinese New Year
Hawaii celebrates Chinese New Year each year from mid-January to early March. As a result, if you plan your trip for any time after the first week or two of January, you may have the opportunity to participate in Chinese New Year festivities.
Hawaiian locals take Chinese New Year very seriously by planning a wide range of events and activities to celebrate this holiday.
You can expect to see lion dances, kung fu demonstrations, drum performances, and other festive activities throughout the New Year celebration.
These festivities take place on all of the main islands throughout Hawaii.
Humpback Whales
One benefit to visiting Hawaii in January is that January falls at the peak of Hawaii’s whale season. Thousands of humpback whales migrate from Alaska to Hawaii each January to give birth in the warmer Hawaii ocean waters.
This means that if you’re planning a January vacation to Hawaii, you may get the chance to see these majestic creatures.
Several companies throughout Hawaii offer whale-watching boat tours and events that allow you to see humpback whales up close and personal.
However, if you’re traveling to Hawaii specifically to see some whales, you may have the best chance of a clear viewing experience on the Kohala Coast of the Big Island.
Surfing Events on Oahu’s North Shore
January is peak surfing season in Hawaii, making this month the perfect time for the islands to host professional surfing competitions and events.
If you’re a surfer or enjoy watching professional surfers, be sure to check out any surfing competitions that are happening during your vacation.
Two popular surfing events in January are the Pipeline WSL Championship and the Da Hui Backdoor Shootout, which both occur on Oahu’s North Shore.
While some of the best surfing competitions take place on the North Shore, you can expect to find surfing events throughout the state.
Hawaii Martin Luther King Jr. Coalition Parade and Rally
Each year on the third Monday in January, a unity rally and parade take place on the South Shore of Oahu to commemorate the Rev. M. L. King Jr.
Organizers promote the day as an opportunity for national and community service and to advocate for interracial cooperation and equality, global peace, social justice, and eliminating poverty.
The parade begins at Magic Island and proceeds along Kalakaua Avenue through Waikiki to Kapiolani Park, where the unity rally and festival occur.
Waimea Ocean Film Festival
The Waimea Ocean Film Festival is another popular event that takes place in January each year. This festival showcases some of the best films and filmmakers in Hawaii and spans several days, starting during the first week of January.
The festival features world premieres of dozens of different films in categories ranging from ocean experience to island culture.
National Tropical Botanical Gardens
One of Hawaii’s best features is the beautiful, lush greenery and plant life throughout its islands. If you’re looking for a way to see a wide variety of vibrant tropical flowers and plants, you can spend a day of your January trip at the botanical gardens.
There are several different national tropical gardens throughout the state, with a few of the most popular ones located in Koloa, Hanalei, and Hana.
While you can visit these gardens any time of the year, the greenery within the gardens will be the lushest and healthiest following the heavy rain in December.
A Winter Hawaiian Vacation Can Help You Start the Year Off Right
January is one of the coldest months of the year in most U.S. states. If you’re looking for a way to escape the cold, snowy weather and start the new year off right, planning your Hawaii vacation for January could be the perfect solution.
Hawaii’s warm temperatures and frequent sunshine make it the perfect destination to get out of the cold and warm up in a beautiful, balmy climate.
And kicking back on Waikiki Beach or snorkeling in the warm ocean waters is the best way to relax and unwind following the busy, stressful holiday season.
There’s no doubt about it: January is one of the best times to take a trip to Hawaii. If you’re unsure of which month to plan your trip, we recommend strongly considering January.
Related
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https://variety.com/2023/film/news/george-clooney-oceans-14-sequel-great-script-exists-1235836403/
|
en
|
George Clooney Says a ‘Great Script’ for New ‘Ocean’s’ Movie Exists, but He Won’t Call It ‘Ocean’s 14’: ‘We May End Up Doing Another One’
|
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[
"Zack Sharf"
] |
2023-12-13T17:34:06+00:00
|
George Clooney says the "Ocean's" gang might be re-teaming for a new movie.
|
en
|
Variety
|
https://variety.com/2023/film/news/george-clooney-oceans-14-sequel-great-script-exists-1235836403/
|
George Clooney may be returning to the “Ocean’s” franchise. In a new interview with Uproxx while promoting his movie “The Boys in the Boat,” the actor revealed that a script for another “Ocean’s” movie exists that would seemingly reunite the original trilogy’s cast for a movie set after the events of 2007’s “Ocean’s 13.” Clooney did not provide any concrete details.
“We have a really good script for another ‘Ocean’s’ now, so we may end up doing another one. It’s actually a great script,” Clooney told the publication.
When Uproxx asked if the script was for a potential “Ocean’s 14,” Clooney responded: “Well… I don’t want to call it that… I mean, the idea is kind of like ‘Going in Style.'”
Clooney is referring to Martin Brest’s 1979 heist comedy, which famously starred George Burns, Art Carney, Lee Strasberg and Charles Hallahan. Zach Braff remade the film in 2017 with a cast that featured Morgan Freeman, Michael Caine and Alan Arkin. The plot centers on a three senior citizens who team up to pull off a heist.
The original “Ocean’s” trilogy, directed by Steven Soderbergh, featured Clooney opposite Brad Pitt, Matt Damon, Don Cheadle, Casey Affleck and more. The heist trilogy launched in 2001 with “Ocean’s Eleven,” a critical favorite and a commercial hit with just over $450 million at the worldwide box office, and continued with 2004’s “Ocean’s Twelve” ($362 million) and 2007’s “Ocean’s Thirteen” ($311 million). A spinoff, 2018’s “Ocean’s 8,” starred Sandra Bullock as the sister of George Clooney’s Danny Ocean opposite Cate Blanchett, Rihanna, Helena Bonham Carter, Sarah Paulson, Awkwafina, Mindy Kaling and Anne Hathaway. The movie hit the $297 million mark worldwide.
As the world waits to see if Clooney and the gang reunite, Warner Bros. is moving forward first with an “Ocean’s” prequel movie that will reunite “Barbie” stars Margot Robbie and Ryan Gosling. Plot details for the prequel are still being kept under wraps, but the story is expected to take place in 1960s Europe.
“I can’t really say much,” producer Josey McNamara recently told Games Radar about the project. “But I think we’re just trying to do right by the franchise. I’m excited for people to experience it when it’s ready.”
Reports have surfaced that Robbie and Gosling will play the parents of Clooney’s Danny Ocean. Speaking to Variety on the red carpet of his new directorial effort “The Boys in the Boat,” Clooney reacted to the news by wisecracking, “Margot Robbie’s my mother? I’ve always thought that. And Ryan Gosling is my father, and when you think about it, it makes sense. Truly.”
Jay Roach is attached to direct the “Ocean’s” prequel movie.
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https://www.aspentimes.com/news/high-points-vacay-planning/
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en
|
High Points: Vacay planning
|
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[
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] |
2024-08-08T16:30:00
|
We all know that life, even in a place like Aspen, has its ups and downs and just like everywhere else those of us who live here need to get out every once in a while.
|
en
|
https://www.aspentimes.com/wp-content/uploads/sites/5/2023/07/favicon.ico?ver=3.0
|
https://www.aspentimes.com/news/high-points-vacay-planning/
|
“My life is better than your vacation.”
It’s kind of a snarky line, but many folks who live in resort areas like ours believe it to be true. After all, locals in paradise get to live a life that others only experience on their best days. The days they are on vacation.
But we all know that life, even in a place like Aspen, has its ups and downs, and just like everywhere else, those of us who live here need to get out every once in a while. Aspenites seem to travel to exotic locales more often than they stay home. If you are one of those folks who frequent Instagram and other social-media sites, you likely see posts, photos, and reels of your friends more when they are on vacation than you do in actual real life. Bump into someone you haven’t seen in a long time, and the first question they ask is, “Have you taken any trips?” Usually, the answer is yes, and generally, there is an ocean involved.
Hawaii, specifically Kuai and even more specifically the town of Hanalei, is a favorite destination amongst Aspenites. I’m guessing the locals there think of people from Aspen the way we think of people from Austin: There’s just too damn many of them. Beyond the Hawaiian Islands, folks from Aspen travel to Mexico in droves with San Miguel de Allende being the hot spot for the artistic crowd and Cabo San Lucas or Tulum the choices for those looking for more visceral, though very different experiences. And then there are the Costa Rica aficionados who plan trips based on the tides and surf forecasts.
Yes, the travel bug is contagious, and we all need to get away.
Studies show that it is not just the act of travel that gets us goosed. Rather the planning of a trip can have positive effects on our psyche, as well. A study in the Netherlands a few years back found that 97% of people who have travel plans report a greater sense of happiness and well-being. According to The New York Times report on the study, which appeared in a journal titled Applied Research in Quality of Life, the largest boost in happiness comes from the simple act of planning a vacation. In the study, the effect of vacation anticipation boosted happiness for eight weeks. Not bad for just booking a flight and getting a VRBO.
But it’s fully understandable. The anticipation of a vacation or a trip gives us something to look forward to. In some cases, it can be better than the trip itself. The future is wide open. You don’t know what’s going to happen, but you know it will be great. Perfect even.
Don’t get me wrong: I love to travel, and as I write this, I am looking at the Pacific and about to take a swim. But as good as the reality is, there is something about that anticipation of getting in the water that is as good as the actual reality of getting in the water. Both are great. And we need that combination of anticipation and actual vacation if we want to be fully fulfilled. Still as great as a trip to the sea is rewarding, I’m looking forward to getting back to Aspen soon.
Because my life there is better than your vacation.
|
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| 55
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https://oceanfilmfestivalworldtour.com/
|
en
|
Ocean Film Festival World Tour
|
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2022-10-09T10:34:55+11:00
|
Currently touring in Australia, Italy, Spain, New Zealand, Mexico, Brazil, the US and the UK, the Ocean Film Festival World Tour screens over 2 hours of the
|
en
|
Ocean Film Festival World Tour
|
https://oceanfilmfestivalworldtour.com/
|
Currently touring in Australia, Italy, Spain, New Zealand, Mexico, Brazil, the US and the UK, the Ocean Film Festival World Tour screens over 2 hours of the most inspirational, educational and entertaining films related to the ocean from independent film makers around the world.
The Ocean Film Festival World Tour includes a unique selection of films of varying lengths and styles covering topics such as ocean adventure and exploration, the oceanic environment, marine creatures, ocean related sports, coastal cultures and ocean lovers.
At the Ocean Film Festival World Tour we are committed to conserving our oceans. In each tour location we work with local ocean charities to support them in their crucial work conserving our oceans.
For details on how to have your film considered for the Ocean Film Festival World Tour and earn royalties click on the FILM ENTRIES tab above.
We look forward to bringing the world’s premier ocean films to your community. To inquire about hosting a tour of the Ocean Film Festival World Tour in your country please Contact Us
To be kept up to date on future screenings please follow us on Facebook.
Our vision is to inspire more people to explore, respect, enjoy, and protect our oceans. We are currently seeking entries for the 2025 World Tour. We are looking for a broad selection of films to fill a 2+ hour program that will tour Australia, Spain, New Zealand, Italy, Mexico, Brazil the UK and more in 2025. We are searching for one long film (45mins to 60mins) and a number of short films (40 minutes and shorter) to make up our program.
At the Ocean Film Festival World Tour, we are actively searching for films covering topics including ocean exploration, ocean-related adventures, marine creatures, ocean-related sports, ocean racing, coastal cultures, sailing, diving, rowing, free diving, surfing, oceanic environment, and ocean lovers.
The 2025 Ocean Film Festival tour will kick off in Australia in February 2025. To find out more information about submitting your film click on the FILM FREEWAY link below.
We prefer to receive submissions electronically via Film Freeway
|
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| 39
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https://www.britannica.com/topic/Oceans-Thirteen
|
en
|
Ocean’s Thirteen | film by Soderbergh [2007]
|
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Other articles where Ocean’s Thirteen is discussed: Casey Affleck: …in Ocean’s Twelve (2004) and Ocean’s Thirteen (2007). Affleck drew favorable reviews for his performance as the depressed title character in Steve Buscemi’s Lonesome Jim (2005).
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/topic/Oceans-Thirteen
|
In Casey Affleck
…in Ocean’s Twelve (2004) and Ocean’s Thirteen (2007). Affleck drew favorable reviews for his performance as the depressed title character in Steve Buscemi’s Lonesome Jim (2005).
Read More
In Don Cheadle
…for the sequels (2004 and 2007). He also received Emmy nominations for playing the manager of a troubled singer in Things Behind the Sun (2001) and for his 2002 guest role as a medical student with Parkinson disease on the series ER. His performance as a police officer in Crash…
Read More
In George Clooney
…sequels, Ocean’s Twelve (2004) and Ocean’s Thirteen (2007). Clooney made his film directorial debut during one of the breaks between shooting for the Ocean’s trilogy with Confessions of a Dangerous Mind (2002), which was based on the life of Chuck Barris, a television host who claimed to have been a…
Read More
In Matt Damon: Stardom: Good Will Hunting and the Jason Bourne series
… (2001), Ocean’s Twelve (2004), and Ocean’s Thirteen (2007). The films, directed by Steven Soderbergh, featured an all-star cast that included George Clooney and Brad Pitt. In the Jason Bourne series—The Bourne Identity (2002), The Bourne Supremacy (2004), The Bourne Ultimatum
Read More
In Al Pacino: Academy Award and later films
…and he later appeared in Ocean’s Thirteen (2007), the final installment of a popular comedy trilogy that featured George Clooney and Brad Pitt. After skewering his public persona with a role as himself in the Adam Sandler comedy Jack and Jill (2011), Pacino played an aging gangster in Stand Up…
Read More
In Carl Reiner: Acting
… (2001), Ocean’s Twelve (2004), and Ocean’s Thirteen (2007). His TV credits included guest appearances on Mad About You, for which he won an Emmy; The Larry Sanders Show; Ally McBeal; and Parks and Recreation. He also had a recurring role in the animated television comedy The Cleveland Show. In 2019…
Read More
|
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5635
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0
| 4
|
https://www.commonsensemedia.org/movie-reviews/oceans
|
en
|
Oceans Movie Review
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[
"S. Jhoanna Robledo"
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2010-04-21T00:00:00
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Gorgeous educational docu dives deep for facts; kids OK. Read Common Sense Media's Oceans review, age rating, and parents guide.
|
en
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/themes/custom/common_sense/images/favicons/favicon-16x16.png
|
Common Sense Media
|
https://www.commonsensemedia.org/movie-reviews/oceans
|
Disney's OCEANS is beautifully photographed and expertly narrated by actor Pierce Brosnan. It inspires audiences to think about their impact on the Earth's waters without clobbering them over the head with the admirable message. How does it do that? By letting one gorgeous image after another -- taken with the help of the latest and greatest in documentary filmmaking technology -- speak for itself. (You'll wonder how they got certain shots, they're that close!) Take the case of the sea turtles, who are shown digging their way out of the sand, only to face a perilous time traversing the shore back to the ocean. As hundreds inch their way, flocks of sea gulls fly overhead, swooping in to pluck a meal. Or of the blue whale, opening its mouth to collect serenely but surely its meal of krill. The message: It's a fish-eat-fish world out there, so to speak.
But Darwinian selection is one thing; endangering natural habitats is altogether an entirely unappetizing enterprise. And the subtlety and restraint with which Oceans addresses this issue is what elevates it from mere afterschool special. It builds a case by simpy revealing the splendor of it all, then raises questions by showing how capable humans are of destroying so much that is beautiful and vital to the planet. How subtle, how effective! Still, there's little narrative momentum, and some may actually think its message too subtle; the effects of pollution don't come up until approximately the last fifth of the film. That said, there's plenty to marvel at, though younger kids (six and under) might find it overlong at an hour and 40 minutes. Everyone else, though, can sit back and enjoy the underwater ride.
|
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https://christiananswers.net/spotlight/movies/2010/oceans2010.html
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en
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Christian Spotlight on the Movies
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“Oceans” accurately describes itself as an “ecological drama/documentary.” The director, Jacques Cluzaud, hoped to present some of the “wonder, fear, calm, tenderness, violence, vitality and power” of this last great wild expanse—and, to a certain extent, he did.
The Galapagos Islands are only the first stop in a journey that showcases some of the most interesting aquatic creatures, their habitats and the cycle of life that is as beautiful as often as it is violent.
The stories shown alternate between gripping, as is the drama of newly hatched sea turtles scurrying toward the nearby ocean, with only a thousand to one chance in reaching it, to wondrous—such as the seemingly uni-minded swarm of sardines that become a feast for dolphins, sharks, whales and dive bombing birds alike.
Objectionable Content
Narrated by Pierce Brosnan, this DisneyNature production lives up to its “G” rating and is indeed suitable for all audiences. There were only two areas of concern that need to be pointed out.
Violence: The most violent scenes were that of various fish feeding, often very quickly, on unsuspecting prey, including shark attacks on sea lions and Orcas cornering cubs near the shore. None of the scenes lingere on the feeding, and, in the case of the Orcas, the waves cover much of the action.
There is, also, a scene where fishing nets inadvertently capture larger, non-targeted fish, and, as shown from below, the camera captures fishermen working the nets amidst slightly bloodied waters.
Spiritual: The movie firmly establishes its belief that evolution, an unproven theory, was the process by which life developed on Earth.
Lessons
The world repeatedly tries to teach that science and God are incompatible, when nothing could be further from the truth. As believers, we know that the Word of God is infallible and that “The heavens are yours, and yours also the earth; you founded the world and all that is in it” (Psalm 89:11).
Nature, even in its most microscopic form as impressively presented in one scene examining a drop of water, fairly cries out for the existence of a Creator.
“The heavens declare the glory of God; the skies proclaim the work of his hands” (Psalm 19:1).
The holes in evolutionary theory are in point of fact too numerous to go into here, but I encourage the open-minded to read further on this subject within this sites’ pages. A great resource and destination can also be found at the Creation Museum in Kentucky.
Today’s secular authorities, as well as the environmental movement, are always trying to disprove the existence of God, and they remind me of the words of the apostle Paul:
“Although they claimed to be wise, they became fools… They exchanged the truth of God for a lie, and worshipped and served created things rather than the Creator-who is forever praised. Amen” (Romans 1:22-25).
Final Thoughts
The last segment focused on pollution, and the narrator pleads for us to do our part to combat it. Since this was released on Earth day 2010, I fully expected to hear where I could send my check, any moment, but thankfully he did not go that last step.
Even still, “Oceans” successfully manages to impress and inspire viewers with this dazzling sample of ocean life. The subject matter is, by its very nature, immense, which is why filmmakers (Jacques Cousteau comes to mind), who for years have done entire series dedicated to only one aspect of our world can still not do it justice.
“Oceans” is an enjoyable spectacle, with the humpback whales and sea otters standing out, and should appeal to nature enthusiasts of all ages, except the very young. I would recommend thorough family discussion on the secular theory of evolution being presented. The oceans are vast and awe inspiring, and yet I can’t help but recall the words of the psalmist when he said:
“Mightier than the thunder of the great waters, mightier than the breakers of the sea-the Lord on high is mighty” (Psalm 93:3-4).
Violence: Minor / Profanity: None / Sex/Nudity: None
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https://inreviewonline.com/2023/02/04/ocean-boy/
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Ocean Boy — Tyler Atkins
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] | null |
[
"Luke Gorham"
] |
2023-02-04T00:00:00
|
A new film review of Ocean Boy, directed by Tyler Atkins & distributed by Gravitas Ventures, for film review site In Review Online.
|
en
|
In Review Online
|
https://inreviewonline.com/2023/02/04/ocean-boy/
|
When it comes to metaphorical expressions, perhaps no other narrative and visual motif can provide a sense of boundless liberation and spiritual freedom as much as the vast, open oceans do. And as the title of Tyler Atkins’ feature debut quite obviously suggests, Ocean Boy is a film filled with those very invigorating and unbridled impressions of liberation. Set in the coastal area of ‘90s New South Wales and inspired by true events, this Australian indie follows the father-son pair of Bosch and Rockit. Father (Luke Hemsworth), a good-looking romancer and rough-and-tumble pot producer and dealer, and son (Rasmus King), a somewhat naïve, long-haired moppet who is bullied at his local school and misses his mother, Elizabeth (Leeanna Walsman), easily form a tight familial bond, regardless of their evident differences.
Soon after an unexpected fire sets the local woods ablaze, Bosch is forced to leave his stash behind, and without Rockit’s knowledge about his father’s true illegal activities, the two embark on a supposed holiday to Byron Bay, a narrative turn which subsequently renders Ocean Boy one part a mild stoner flick and the other a smoothly atmospheric road movie. Thankfully, amidst all this, Atkins deliberately never skews the film into the territory of what viewers may expect to be a type of on-the-run actioner or a tension-forward thriller. This despite the fact that the director sets a couple of minor and relatively easily solvable challenges for Bosch and Rockit — specifically, when Bosch is troubled by the presence of a corrupt detective (Martin Sacks) breathing down his neck. What explicitly fascinates Atkins here is the delicate regard for and uplifting chemistry of the characters, both with each other and with their natural surroundings.
Visually, considering the gentle (even postcard-y) landscapes and natural lights, and sonically, on the tenor of the gentle acoustic guitar riffs and ocean waves, Ocean Boy constructs a very relaxed, emotive world with a fair amount of feel-good verve and blissful vibes. Thanks to the solid performances, especially when it comes to father and son encountering Deb (Isabel Lucas) and Ash-Ash (Savannah La Rain) during their stay in Byron, the film’s committed emotionalism achieves a strength and appeal; the two women, autonomous and distinctive in their own right, also highlight the shattered and alienated nature of masculine fragility. But one shouldn’t mistake Ocean Boy for a profoundly romantic document either: it’s true that Atkins employs a mellow rhythm to keep things existing at the surface — at times even to the degree of cornball status — but it’s in accord with the film on the whole. Put differently, for Atkins, who himself was an avid surfer and grew up around the Australian beach culture, it seems the priority is to capture a particular essence, speaking to the specificity of a breezy moodiness of chill and cheer.
Regardless of its obviously humble, low-key TV movie aesthetic scope — specifically during its frequent slo-mo interludes that capture surfing activities or the livelihood of natural landscapes populated by dolphins and whales, in alternately travel vlog or ambient music video fashion — the film specifically works as a hippie-centric, perhaps even mystical, low-budget work that, through various streams and undercurrents of unassuming events, prefers to move according to the tender flow of life rather than trouble itself with the weight of grander turbulences. Indeed, if Ocean Boy offers audiences anything in the vein of the meaningful, it’s surely found in the film’s presentation of burning longing for one’s own inner liberation and the act of reclaiming a knotty reconciliation with both others and the world — beyond our suffocating and superficial societal entanglements, demands, and pressures.
|
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https://www.metacritic.com/movie/oceans-eleven/user-reviews/
|
en
|
Ocean's Eleven user reviews
|
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[
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[] | null |
Metacritic aggregates music, game, tv, and movie reviews from the leading critics. Only Metacritic.com uses METASCORES, which let you know at a glance how each item was reviewed.
|
en
|
https://www.metacritic.com/movie/oceans-eleven/user-reviews/
| |||||||
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https://www.facebook.com/oceans8movie/videos/oceans-8/461118864390834/
|
en
|
Facebook
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://www.facebook.com/login/
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https://deadline.com/2022/05/oceans-eleven-film-starring-margot-robbie-in-works-at-warner-bros-1235028419/
|
en
|
New ‘Ocean’s Eleven’ Film Starring Margot Robbie In “Active Development” At Warner Bros; Jay Roach Will Direct
|
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[
"Matt Grobar"
] |
2022-05-19T17:55:16+00:00
|
A new 'Ocean's Eleven' film starring Margot Robbie is in "active development" at Warner Bros., Deadline can confirm.
|
en
|
Deadline
|
https://deadline.com/2022/05/oceans-eleven-film-starring-margot-robbie-in-works-at-warner-bros-1235028419/
|
A new Ocean’s Eleven film starring Margot Robbie is in “active development” at Warner Bros., Deadline can confirm. Four-time Emmy winner Jay Roach (Bombshell) is looking to direct the pic, which is not yet greenlighted.
While we hear that the film scripted by Carrie Solomon will be set in Europe in the 1960s, further details with regard to its plot are being kept under wraps. Robbie and Tom Ackerly will produce for LuckyChap, alongside Roach and Michelle Graham for Everyman Pictures. Gary Ross, Olivia Milch and LuckyChap’s Josey McNamara will exec produce alongside Village Roadshow, which may also co-finance the project. Warner Bros. is eyeing a production start in spring of 2023.
Filmmaker Steven Soderbergh launched the Ocean’s heist franchise—based on the 1960 Rat Pack pic—with Ocean’s Eleven back in 2001. The film starring George Clooney, Brad Pitt, Matt Damon and Julia Roberts grossed over $450M worldwide, with its success spurring additional titles including Ocean’s Twelve (2004), Ocean’s Thirteen (2007) and 2018’s female-centric Ocean’s 8.
Robbie is currently in business with Warner Bros. as the star of their upcoming film Barbie from director Greta Gerwig. The actress will also be seen in upcoming films including David O. Russell’s Amsterdam, Damien Chazelle’s Babylon, Wes Anderson’s Asteroid City and Justin Kurzel’s Ruin.
Watch on Deadline
Roach recently directed the Fox News drama Bombshell, which brought Robbie her second Oscar nomination. The filmmaker behind the Meet the Parents and Austin Powers franchises is also known for helming titles including All the Way, Trumbo, The Campaign, Game Change, Dinner for Schmucks and Recount. Up next from the director is the series High Desert, which he helmed for Apple.
Robbie is represented by CAA, Entertainment 360, Aran Michael Management in Australia and Jackoway Austen Tyerman; Roach by WME, Mosaic and Behr Abramson Levy; and Solomon by UTA and Yorn, Levine, Barnes.
|
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5635
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dbpedia
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3
| 40
|
https://livinglifefearless.co/2021/hype/documentary-filmmaker-nathan-siegel-talks-about-open-ocean-and-telling-untold-stories-of-the-sea/
|
en
|
Documentary Filmmaker Nathan Siegel Talks About ‘Open Ocean’ And Telling Untold Stories Of The Sea
|
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[
""
] | null |
[
"Francesca Escarraga"
] |
2021-12-27T20:00:00+00:00
|
We got a chance to sit down and talk with rising filmmaker, Nathan Siegel, about his latest documentary, 'Open Ocean', his love for the ocean, non-fiction storytelling, and much more.
|
en
|
/wp-content/uploads/fbrfg/apple-touch-icon.png
|
LIVING LIFE FEARLESS
|
https://livinglifefearless.co/2021/hype/documentary-filmmaker-nathan-siegel-talks-about-open-ocean-and-telling-untold-stories-of-the-sea/
|
How did you start your career as a filmmaker? What inspired you to work in the entertainment industry? What sparked your curiosity to focus on making documentaries about the sea?
I started out as a written journalist before getting into photojournalism based as a freelancer in East Africa. I craved a medium that allowed for more context and voice from the people I was working with, so I made the jump to video. Again looking for a way to dedicate more time to each story, I started building towards making my first feature documentary, which became Open Ocean.
Coming from the world of journalism, I can’t say that I intended to work in the entertainment industry, it kind of just happened. But I’m inspired and encouraged by the movement to distance non-fiction films from journalism and eliminate the distinction between documentary and fiction. I think that’s pretty cool and will hopefully allow non-fiction to be valued equally to fiction in the entertainment world.
My curiosity about the sea comes from a lifelong love of playing in the ocean. It was as simple as that, I enjoyed the sea so I wanted to know more. As I started to make films, particularly about the environment, I realized that there was both an incredible amount of untold stories relating to the sea and a general lack of public appreciation for the role our oceans play in the health of our planet.
Can you tell us a bit more about your productions company, Ona? What kind of work do you do and what is the ultimate goal you want to achieve?
I started ONA with fellow journalist Laura Secorun to spark a greater public appreciation and care for the oceans. The idea was that people protect what they care about.
ONA produces documentaries that hopefully connect viewers emotionally to the sea; we use scientific research to create actionable educational content; and we run sustainable ocean sporting projects because we believe in the power of sport to inspire fans to protect the environment (as it had done with me).
Congratulations on your documentary Open Ocean! Can you walk us through the process of preparing for your role as the director? What was your biggest takeaway from this experience?
Thanks! I’m afraid there’s not much to say about my preparation for the role of director in this film, other than it’s something that I’ve been working at for some time now. Coming from freelance journalism, I was almost always a one-person crew. There weren’t different roles to fill, you just did everything. It has its downsides of course, as my past sound editors can attest to, but it means that you become versed in every part of the production. Open Ocean was the same. It was a one-person crew, so I just went out and shot.
The first big challenge was getting over the hump of the first few weeks or months where nothing “happens” and the interviews aren’t that great because you haven’t built a strong relationship with your characters yet. I was regularly saying to myself, “What am I doing here? Do I even have a story?” You’re walking in a bit of a desert and you’re not sure where you’re going to find water. Especially because it’s my first feature length film, I was in uncharted territory. But with a bit of patience and trust in what you’re doing, eventually you get over that hump.
Another challenge was that once things started coming together, it was tough not to become too satisfied or complacent, especially when you’re working alone. After a long day shooting, it’s tempting just to cut the last scene of the day because it doesn’t seem that important. But I’ve often found that the last scene of the day or the last question of an interview are keepers.
What inspired you to make a documentary about Didac Costa? Why do you think it’s important to tell this story now?
I was inspired to make this film first because of the incredible nature of the challenge. The idea of someone sailing alone, non-stop around the world in the most inhospitable seas on Earth really drew me in.
But what made me believe this was a story worth telling was the sometimes absurd challenges and setbacks the project faced and the way in which the protagonist, Didac, handled them. As a close friend and super fan put it, Didac is putting on a masterclass in how to live life.
After a few tough years of life being very different than we’re used to, I personally found clarity in seeing someone so single-mindedly chase a dream, regardless of what that dream is.
How do you think this story will change and make an impact in today’s society?
I don’t presume that the film will change or alter society in any significant way. But if a handful of people finish watching the film with a renewed sense of energy and drive for whatever they are working towards and a handful of people are inspired to explore the oceans and the outdoors, whether sailing or another activity, the film will have been worthwhile.
Were there circumstances in which you had to make difficult artistic choices or alter scenes/storylines due to factors such as accommodating individual needs/requests of protagonists and/or the crew, audience feedback, production limitations, etc.?
Of course, the biggest extenuating circumstance affecting the project was the pandemic. I wasn’t able to develop Didac’s work as a firefighter as much as I’d hoped, for example, because I couldn’t get access to the facilities. Also, we decided not to interview Didac’s mom until everyone was vaccinated.
That meant that sizable chunks of scenes or interviews had to come right before I wrapped shooting. In the fire station scene that I eventually shot, I had to be entirely outside and couldn’t go into the premises so we had to improvise a bit. But that lack of control is inherent in filming non-fiction so you have to just embrace it.
What was the collaboration process like with your film crew? What makes the process of producing a non-fiction film different from narrative films?
Since I was a one-person crew, there wasn’t much of a collaboration. Although I admit I’m guilty of talking to myself at times on shoots. That being said, after about a year of filming, I had to hand over the entire project, metaphorically speaking, to Didac. Because only he couldn’t film the actual race portion of the film, which was obviously fundamental to the final product. I anxiously texted him regularly to remind him to film, knowing that in difficult conditions, alone, it was his last priority (and rightfully so!). He’s handling huge waves and wind, sleep deprived and cold and I’m like, “Hey Didac, did you talk to camera at all today?” Haha.
How would you define and measure the success of a documentary film? What are some of the factors or elements in a story that indicate that it has the potential to be made into a film?
Just like for fiction films, I think the measure of its success depends on the project. Some succeed in simply entertaining, some succeed in moving its audience to act or just leaving the cinema having learned something new or empathize with someone new. Some succeed simply in portraying beauty.
For the films I make, they are successful if people finish the movie feeling amazed, inspired, moved and have felt those emotions in connection with the oceans. So when I’m looking for a worthwhile subject I can work backwards from that end. I can ask myself, does this make me feel amazed, inspired, moved in relation to the oceans? If so, that’s a great start. Then I can concern myself with character development and narrative structure and what lens I’m going to use.
|
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http://www.inquiriesjournal.com/articles/110/swagger-and-soul-analyzing-the-music-from-oceans-11
|
en
|
Swagger and Soul: Analyzing the Music from Ocean's 11
|
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[] |
[
"Ocean's 11",
"David Holmes",
"Nostalgia",
"Musical Representation of Characters",
"Steven Soderbergh",
"rat pack",
"soul"
] | null |
[
"Wright, Justin D",
"Justin D. Wright",
"Justin D"
] |
2010-01-15T00:00:00
|
One of the more overt dilemmas in the music of "Ocean’s Eleven" was the necessary need to reflect on the idea of old guard Las Vegas and the obvious modernity of the time in which the movie is set. It epitomizes classic Rat Pack...
|
en
|
/images/favicons/favicon.ico?v=20160607
|
Inquiries Journal
|
http://www.inquiriesjournal.com/articles/110/swagger-and-soul-analyzing-the-music-from-oceans-11
|
One of the more overt dilemmas in the music of Ocean’s Eleven was the necessary need to reflect on the idea of old guard Las Vegas and the obvious modernity of the time in which the movie is set. It epitomizes classic Rat Pack versus online poker, Class versus Flash, gangsters versus gangstas. Because it is set in Las Vegas, nostalgia is impossible to avoid. Holmes and the music department take great care in choosing which side of Las Vegas they wish to portray in each given scene.
It would be entirely inappropriate for this movie to beat the nostalgic side of Las Vegas into the audience’s head, but even more inappropriate for the film to ignore it. David Holmes is successful in his portrayal of a modern Las Vegas in that he melds the two worlds in his own compositions by mixing the sounds of a classic acoustic jazz combo with studio produced drum and bass grooves, but by also using external sources with the same variety, using clips from Elvis and Perry Como all the way to the current hip-hop group Handsome Boy Modeling School. Soderbergh’s numerous montages pay very close attention to timing, allowing the drum and bass style of Holmes to consistently groove without awkwardness. Always cool, Holmes’ capability to mix these styles and effectively define the mood of the scene allows a contemporary sense of style and class reminiscent of the Rat Pack of old.
Ocean’s Eleven in Today’s Context
The movie Ocean’s Eleven (2001) was a remake of the 1960 version of the same name, starring the original Rat Pack in Frank Sinatra, Dean Martin, Sammy David Jr., Joey Bishop and Peter Lawford. Naturally, the stars George Clooney, Brad Pitt, Matt Damon, Don Cheadle and Bernie Mac have enjoyed being referenced continually as a modern day Rat Pack, and rightfully so. Directed by the versatile Steven Soderbergh, the movie was very well received as well as an impressive commercial success at home and abroad.
Encouraged, two sequels were made in the following years, Ocean’s Twelve (2004) and Ocean’s Thirteen (2007). While these were financial successes, the films were modestly reviewed and generally perceived to be excuses to get these gentlemen and ladies on screen with each other once more. Soderbergh’s versatility in style can be attributed in part to these films, which shows a lighter side to his work as opposed to such award winning films as Traffic (2000) and Erin Brokovich (2000).
Originally a popular DJ in Belfast, Holmes began working with Soderbergh in 1998 with the film Out of Sight. After the success of Ocean’s Eleven in 2001, he returned do both sequels Ocean’s Twelve (2004) and Ocean’s Thirteen (2007). He was awarded the BMI Film Music award for his scores in the first two in 2002 and 2005.
Visual and Musical Timing – Drum ‘n Bass Sound in Filmic Time
One particular montage of chronological interest is when we meet Reuben, an old school casino owner played by Elliot Gould who’s recently been muscled out by the antagonist, fellow casino owner Terry Benedict, played by Andy Garcia. Danny Ocean (George Clooney) and Rusty (Brad Pitt) are trying to convince Reuben to join their heist, and as they are discussing the rest of their crew, we are introduced to some of the secondary characters.
Soderbergh’s montages in the film work very well with the drum and bass style. Quick, active shots give way to occasional breaks in the action for a dialogue and with a vamp it’s easy to structure the music around these breaks without sounding out of place. As Rusty and Danny are excusing themselves to leave Reuben’s home, they off-handedly mention that they’ll be robbing Terry Benedict’s places. “What do you guys got against Terry Benedict,” Reuben asks, and an E-flat blues scale pattern is vamped behind the dialogue in the bass.
As the men size each other out, subtle additions to the orchestration help build the expectation as Reuben becomes interested. The vamp begins as he gets up from the table to walk towards Danny and Rusty. When the three are standing next to each other with Reuben facing the camera, the other two have their backs to the camera, making it seem as if our point of view is clearly on the side of Danny and Rusty. A shaker quietly sounds in rhythm as Reuben stops, and a pair of bongos adds to the rise as the conversation turns more forthright. The shot moves to the new characters but continues with the narration as if we’re still in the conversation. The ensemble now enters with horn hits and sax solo.
As they start to divulge their plan, they show us first Frank (Bernie Mac), happy as a clam in a car to Las Vegas, and then Turk and Virgil Malloy (Scott Caan and Casey Affleck, respectively). The vamp returns as we have a few moments of brief dialogue to explain the eclectic dynamic between the two brothers. As they start the race between the monster truck and the mini truck, the ensemble returns and the sax solo picks up energy. It’s cut short, however, when Turk, losing the race, crushes his brother’s radio controlled monster truck. There’s a moment of slapstick as the guitar takes the place of the tenor solo, mimicking a mocking “nyah-nyah” shout from a playground.
The scene switches to Livingston Dell, an electronics expert now working as a surveillance man. The ensemble drops to a crouch, adding mysterious doo-wah guitar sounds and a sneaky sax. It drops to almost nothing for his dialogue, subsequently making the transition to the end of the scene a long diminuendo.
Introducing the characters of this particular film is a lengthy process, one that could easily become tedious. Soderbergh’s strength in this film is his ability to define each character convincingly using small fragments of dialogue and visuals. The problem for him lies in the number amount of times he must achieve it, and the brief amount of time in which he must do it. Holmes succeeds in moving this process along without it becoming monotonous by shaping the scene dramatically, slow rise and slow fall, giving the audience a landing point for the next scene.
Source Music in Ocean’s Eleven
Popular music from outside the score helps to define the always-celebrated Las Vegas attitude. Following it throughout the film, it connects itself to specific ideas and scenes.
Fragments of source music from earlier musical periods are used in the film as a contrast to Holmes’ ultra-modern sounding original music.
The Source music helps draw attention to the idea of vintage Las Vegas, as many of the tracks are from the Golden Age of Vegas. One such striking instance is in a long aerial shot of the Las Vegas strip and various popular images of the city (28:21). In this part of the movie the characters are all about to be propositioned by Danny Ocean and this particular shot acts as an arrival to the setting of the rest of the movie. A Little Less Conversation by songwriter Mac David and recorded by Elvis Presley in 1968 accompanies this shot. It even provides a literal energy to the scene, with Elvis asking for, “a little less conversation, a little more action, please”
Immediately following is Debussy’s Claire de Lune, which acts as background music for the crew’s first meeting and frames the sequence in an entirely different light than Elvis. Here it plays almost imperceptibly (almost absurdly) as Turk asks Saul if he gets to Utah much. “I think you’d do really well there.”
Debussy returns only once more in the final Las Vegas scene (1:44:47), beginning as Tess leaves Terry Benedict and the men are returning back to their hideout. It begins with only piano in a fairly climactic phrase in the middle of the piece. As the van pulls into the garage, the rubato phrase swells and then dissipates with chromatically descending arpeggiations as the van turns out its lights and stops in darkness, resolving just as the scene turns black. The orchestra then takes over as the crew leaves the garage, moving from darkness into light. The Bellagio fountains are briefly seen in the distance and the scene moves to Tess as the phrase swells and increases tempo. She begins to run, searching for Danny as pairs of flutes and string duets play. “How long will you be,” she asks as a pair of oboes plays the theme and she watches the police car pull away. There is once more a shot of the Bellagio fountains, transitioning to the other members of the crew one by one. The piece begins its final phrases as Rusty looks around and walks away, fountain dancing in the background. One by one they all leave, and we’re left with one final shot of the fountain’s exploding as the chords die away.
Within this last scene, Debussy’s score also marks the resolution of Tess and Danny’s relationship. Previous interactions between the two plays the Theme for Young Lovers, attributed to the Percy Faith Orchestra. The Debussy and Percy Faith tracks have similar orchestration, namely a lush string sound. Interestingly, the recording for Theme for Young Lovers is kept monophonic, as if it never left the record player. The theme is played twice, the first when Danny sees Tess for the first time in the restaurant (49:00), and the other much later in the film when Danny says goodbye to Tess (1:12:40). A fairly tense scene where the two fight over their past and present, specifically Terry, the music seems as if being played over the loudspeaker in the restaurant for mood music. The string sound floats overtop of the scene, never really with the dialogue, but its final cadences end the moment as Terry arrives, breaking up the conversation. In the same restaurant, Danny comes back to the same music to say goodbye. Later in the film we realize there are ulterior motives to Danny’s graceful adieu, but at this point in the film the two are still in conflict. The Theme for Young Lovers is played only the two times, both of which contain conflict, and in both instances the two seem like anything but lovers.
Musical and Filmic Representations of the Golden Age of Las Vegas, Elegance and The Rat Pack
The film could easily become heavy handed with nostalgic sounds and images if there weren’t so much variety. Las Vegas is a place where one can be taken back in time with the slightest touch of reminiscence. Specifically three themes are touched with nostalgic codes, the large-scale images of Las Vegas, both on a personal level as well as the physical cityscape, Tess and Danny’s relationship and Saul.
The fountain at the Bellagio is the most recognizable Las Vegas landmark today, yet its elegance is meant to take you back to the Golden Age where the women were glamorous like Marilyn Monroe and the men sophisticated like the Rat Pack. Helpful to its cause, the Bellagio’s list of musical/fountain performances include pieces like Sinatra’s Luck be a Lady or Pavarotti’s version of Vincenzo deCrescenzo’s Rondine al Nido from the opera La Rondine.
Tess and Danny’s relationship is always softly accompanied by Percy Faith’s Theme for Young Lovers playing in the background. The fact that the actual recording they use is seemingly monophonic sounding gives the feeling it’s being played by a record player. You can imagine your grandparents or parents dancing slowly when they were once young lovers. The line itself lends to a yearning feeling as the first bar ascends to the ninth of the arpeggiated major chord before resolving, and also the repetitive third bar sweeping through as if one were thinking about the other. The theme then joined by its major third, as if the pair were reunited as it resolves.
Saul’s character is perhaps the most interesting and less overt of the three images. We first meet him at the dog track in St. Petersburg, Florida. Dressed exactly as an old man at a dog track should be dressed, we hear Quincy Jones’ Blues in The Night a smooth big band sax section play a head motive that sneers with arrogance. The bends between the notes and the casual swing tempo perfectly describes the man who tells Rusty, “I saw you at the paddock before the second race outside the men’s room before I placed my bet. I saw you before you got up this morning.” The horns are bright and proud as they smear and and shake, and they swing as if they don’t have a care in the world.
Saul is the oldest con man and the closest the group has to touching that infallible era of the Rat Pack. The other characters for the most part are portrayed by Holmes’ drum ‘n bass riffs, most drastically being Linus, who is introduced immediately after Saul, providing nice contrast. His Big Band arrogance translates over to the group, but his age and health occasionally comes up in the dialogue as being a problem. “Daniel, if you say that to me again, you will not wake up the following morning,” he says after Danny asks if he’s up for it. In the second scene with this music, Saul is shown getting ready to leave for his part of the mission, but he falters and sits on the bed looking rather unhealthy. This is in effect is supposed to make the viewers doubt in him and add a level of suspense as to whether or not the heist will be successful. Unfortunately for the director, the theme comes back again (1:06:10) and erases all doubt in Saul. We’re trusting of any man who can strut around with this song on his back. To us, Saul is the closest we can get to the actual Rat Pack while the other characters still have to earn our trust. Saul’s got swagger.
Transformations, Musical and Otherwise
Essentially these actors and this music had to achieve a transformation of character. Coming from whatever predispositions of distinguishing traits, the music and the personalities had to bridge the 40-year gap between the Rat Pack and the year 2001 and create a convincing modernization of the original film. As a remake, it must say something new, yet to ignore the original is a flawed way of thinking. The audience seeing this particular film is aware of the original film, regardless of whether or not they’ve seen it. The stigma attached to this particular film is that it is essentially a gangster movie shot in Las Vegas, and that the only difference between this one and all of the other iconic films shot in Las Vegas is that this one was happening in 2001. Soderbergh recognized this and knew that his characters had to undertake the task of becoming the Rat Pack.
Musically speaking the task was identical. Holmes had to portray Sinatra Cool in a language that wasn’t dated. To do this, he had to assign personalities to the themes, such as Saul’s big band sound and Danny’s drum ‘n bass vamping. While the source music did the hard work in this transformation, mainly setting the stage for nostalgia, Holmes’ score successfully incorporates the instrumentation of the era and a feeling of Sinatra Cool. As the heist ends, timeless Claire de Lune plays in the full string orchestra as we see each of their faces one by one. Flash now meets class and sophistication and the Rat Pack lives on.
|
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https://www.usmagazine.com/entertainment/news/every-time-brad-pitt-and-george-clooney-have-worked-together/
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en
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Every Time Brad Pitt and George Clooney Have Worked Together
|
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[] |
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[
""
] | null |
[
"Olivia Jakiel"
] |
2024-05-29T23:18:49+00:00
|
Brad Pitt and George Clooney have worked together on numerous films over the years, from the 'Ocean's' trilogy to 'Wolfs'
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en
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/wp-content/uploads/2020/05/cropped-us-logo.png?w=32&quality=86&strip=all
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Us Weekly
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https://www.usmagazine.com/entertainment/news/every-time-brad-pitt-and-george-clooney-have-worked-together/
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George Clooney and Brad Pitt have teamed up numerous times to star in some of Hollywood’s biggest blockbuster films over the years.
The Academy Award-winning actors first graced the big screen together in 2001’s remake of Ocean’s Eleven, which also stars Julia Roberts, Matt Damon, Casey Affleck, Bernie Mac and more.
“I’m going to be honest here – look at the films he does,” Clooney said about Pitt while promoting the movie in a joint interview in 2001. “He takes risks. He does films that are hard to get made and takes risks in movies. He’s a big movie star. It’s hard to do those … so, it’s fun to watch. Watch him in Snatch, [he’s] fantastic.”
Clooney – who was named People‘s Sexiest Man Alive in 1997 – jokingly added about Pitt, who was given the accolade in 1995, “And that’s all I’ll say on the subject, because he’s still the former Sexiest Man Alive … someone lost their crown.”
They later reunited for two more installments of the heist comedy, starring in Ocean’s Twelve in 2004 and Ocean’s Thirteen in 2007.
Sixteen years after sharing the big screen together in 2008’s Burn After Reading, Pitt and Clooney reunited onscreen in the trailer for Wolfs, an action comedy set to hit theaters in September 2024.
According to the film’s logline, “Clooney plays a professional fixer hired to cover up a high-profile crime. But when a second fixer (Pitt) shows up and the two ‘lone wolves’ are forced to work together, they find their night spiraling out of control in ways that neither one of them expected.”
Keep reading to see every movie Pitt and Clooney have starred in together.
‘Ocean’s Eleven’
Ocean’s Eleven, which premiered in 2001, was the first film that saw the two movie stars sharing the screen together.
‘Confessions of a Dangerous Mind’
The duo reunited a year after the first Ocean‘s remake for the comedy/thriller movie Confessions of a Dangerous Mind, which Clooney directed and starred opposite Drew Barrymore and Sam Rockwell. Pitt had a small role in the movie.
‘Ocean’s Twelve’
Pitt and Clooney reprised their roles as Rusty Ryan and Danny Ocean, respectively, for 2004’s Ocean’s Twelve. Roberts also reprised her role as Tess Ocean, Clooney’s onscreen wife.
‘Ocean’s Thirteen’
Three years after Ocean’s Twelve hit theaters, Clooney and Pitt reunited yet again for the third installment of the film series in 2007.
‘Burn After Reading’
The twosome teamed up again in 2008 to star in the Ethan Coen and Joel Coen-directed comedy/crime movie, Burn After Reading.
Though neither Clooney nor Pitt won any awards for their parts, the film won Best Original Score for a Comedy Film at the International Film Music Critics Association Awards in 2009, and was nominated for a whopping 24 awards.
The National Board of Review also named Burn After Reading in its Top 10 Movies of 2008.
‘If’
Clooney and Pitt both voice small parts in the John Krasinski-directed animated/live-action film If, which premiered in May 2024. The actors were part of the star-studded ensemble cast, which also stars Ryan Reynolds and features the voices of Emily Blunt, Bradley Cooper, Blake Lively, Bill Hader and more.
‘Wolfs’
Clooney and Pitt star as two “lone-wolf” fixers who are forced to work together to cover up a high-profile crime. Amy Ryan, Austin Abrams and Poorna Jagannathan also star.
Pitt and Clooney also serve as producers of the Jon Watts-directed film, which is slated to hit theaters in September 2024.
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https://stylecaster.com/lists/zodiac-signs-ocean-animal/
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The Ocean Animal That Captures Each Zodiac Sign’s Underwater Personality
|
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[] |
[] |
[
""
] | null |
[
"Liz Simmons"
] |
2024-08-08T19:30:00+00:00
|
Darling, it's better down where it's wetter.
|
en
|
StyleCaster
|
https://stylecaster.com/lists/zodiac-signs-ocean-animal/
|
Is “Under the Sea” already playing in your head? Almost everyone has wondered what it would be like to be part of that world and astrology can help us understand which marine animal you would be if you could embrace your inner mermaid. With that in mind, let’s do a deep dive into to which ocean animal matches your zodiac sign’s personality the most.
Although the cosmos, there’s nothing more fascinating than the ocean. Summertime memories of catching minnows and breaking apart snails to feed rock crabs may immediately come to mind when you think of the ocean. But once we go beyond hermit crabs scuttling across the beach at low tide, an plethora of incredible marine animals await you. If you’re ever so lucky to snorkel in the coral reefs, then you will be amazed watching the fish dart in between the anemones while predators lurk just out of sight. But if the reefs aren’t calling your name, you may feel more inclined to go on a whale-watching excursion to see playful dolphins swim alongside your boat while a whale breaches in the distance. Then again, the icy Arctic has so much to offer, from narwhal sightings to adorable emperor penguins. Even a trip to the local aquarium will do wonders, since it may expose you to a captivating marine species you didn’t know about! No matter which of the seven seas is calling your name, you will always be amazed by what the changing tides bring.
The ocean animal that captures each zodiac sign
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https://www.marineinsight.com/know-more/15-amazing-ocean-documentaries-you-must-watch/
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15 Amazing Ocean Documentaries You Must Watch
|
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[
"Ajay Menon"
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2024-04-22T03:30:11+00:00
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In this article, we take a look at 15 ocean documentaries that are bound to change how you look at our oceans.
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en
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Marine Insight
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https://www.marineinsight.com/know-more/15-amazing-ocean-documentaries-you-must-watch/
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The oceans are not only home to millions of plant and animal species but they also regulate global climate, offer food security and are vital for the economy. However, global warming and marine pollution are two major threats which need to be dealt with. Raising awareness to protect the oceans can be done through visual media, such as good movies or documentaries.
In this article, we look at 15 ocean documentaries that will change how you look at water bodies. With notable names such as Sir David Attenborough, Alastair Fothergill, Natalie Portman, and Rob Stewart, here is our list of 15 must-watch ocean documentaries.
1. The Blue Planet: A Natural History of the Oceans (2001)
Narrated by Sir David Attenborough and produced by BBC
From the highly acclaimed BBC Natural History Unit, The Blue Planet has been the forerunner for documentaries on Earth’s oceans. Aired in September 2001, it is a series of eight episodes. With unimaginable footage, it pioneered underwater photography and pressed the need for informative and interesting documentaries on the topic.
The Blue Planet won critical acclaim, with multiple Emmy and BAFTA awards over its 2-month run time. Executive producer Alastair Fothergill is a common name when it comes to documentaries on nature, and he teams up well with composer George Fenton to deliver an exciting view of the oceans.
Narrated by Sir Attenborough, the film faced multiple challenges, since oceanography was still a relatively unexplored field. The effort that went in the 5 years it took to film their observations can be appreciated in every 50-minute episode.
Some exciting scenes were blue whale migration routes, the famed sardine run near South Africa, and the hunting of grey whales by orca. The show was a huge success, with a viewership of over 12 million people upon release. It also spawned other documentaries that focused on exploring the ocean.
2. The Blue Planet 2 (2017)
Narrated by Sir David Attenborough and produced by BBC
Following the successful release of The Blue Planet in 2001, Blue Planet 2 brought back the original crew 15 years after the first season. The main addition to the team was famed composer Hans Zimmer.
Premiering in early 2018, the show won the National Television Awards and the 2018 BAFTAs. Voiced in the signature style of Sir Attenborough, it focussed on different aspects of the ocean, touching upon pertinent issues such as pollution.
With filming beginning in 2013, the series revisited some sites to record changes, which took some 4,000 dives and 6,000 hours of underwater footage.
Covering 39 countries, it was released in seven, 50-minute episodes followed by a 90-minute compilation. Some episodes were critically acclaimed for their message, including One Ocean, The Deep, and Mother Pilot Whale Grieves.
The main impact of this series was the awareness it raised towards plastic pollution. This led to BBC banning single-use plastic on its facilities, followed by this being implemented to some extent across the UK. It also sparked renewed interest in courses on marine biology, dubbed the “Blue Planet Effect”. The series also became a hit in China and coincided with a plan between the UK and China to tackle plastic pollution.
3. Chasing Coral (2017)
Directed by Jeff Orlowski
Following the success of Chasing Ice by director Jeff Orlowski in 2012, the production team came together to work on a critically acclaimed documentary that focused on the coral reefs that inhabit Earth’s oceans. A group of scientists, divers, and photographers embarked on a mission to uncover the health of coral reefs.
They also focused on the impacts of pollution on these corals, including coral bleaching samples which they collected from over 30 countries. Collected by volunteers, the crew of the movie brought together people from diverse locations to help save the reefs.
The film was a success, winning the coveted Audience Award under the US Documentary section at the 2017 Sundance Film Festival. It also sparked renewed interest in marine studies across the US. This success led the team to form the “Chasing Coral Campaign” which aims to sustain coral reefs. As an impact campaign, they use local community support to create positive changes in coral health.
4. Mission Blue (2014)
Directed by Fisher Stevens and Robert Nixon
Following the life and efforts of famed marine biologist Dr. Sylvia Alice Earle, Mission Blue is a standout film that highlights the problems plaguing today’s oceans.
It looks at the problems of pollution, climate change, and overfishing, that threaten several marine species. Along with renowned marine biologist Barbara Block, the film takes on some of the most sensitive issues that need to be addressed today.
With several hundred hours of underwater footage covering locations such as Bermuda, Ecuador, and the United States, it premiered at the Santa Barbara International Film Festival. Filmed along with James Cameron and Mike DeGruy, it created a major stir upon release.
The film went on to be a hit, winning the News & Documentary Emmy Award in 2015. The immense success of Mission Blue and the international awareness it raised, led to the formation of the Sylvia Earle Alliance.
This Alliance worked towards creating the Mission Blue Campaign and Group that has helped improve marine health.
5. Dolphin Reef (2018)
Narrated by Natalie Portman and directed by Keith Scholey and Alastair Fothergill
Voiced by award-winning actress and wildlife enthusiast Natalie Portman, Dolphin Reef is a heartwarming and touching tale of a dolphin pod.
Spanning the journey of a young bottlenose dolphin named Echo, the documentary covers the upbringing and eventual maturity of young dolphins.
Interestingly, it also covers other marine creatures such as the peacock mantis shrimp, humpback whales, green hump head parrotfish, killer whales, and cuttlefish. The documentary was shot in and around the Red Sea.
This particular location was chosen since the dolphin pod allowed the divers to approach them. Along with the original dolphin’s tale, this allowed the film to capture other elements of life on a coral reef.
It won special acclaim as it highlighted the struggles faced by dolphins and coral reefs. Keith Scholey, the director, mentioned how during filming, the crew witnessed over 1/3rd of the coral reef die from pollution.
6. A Plastic Ocean (2016)
Directed by Craig Leeson
A Plastic Ocean is a breakout film that raises uncomfortable questions and makes the viewer realize the extent to which pollution has harmed Earth’s oceans. Shot over several countries and their water bodies, it looks at the impact of plastic pollution and the uncertain future that awaits us all.
Centred around the Pacific Ocean gyre, the crew brought experts, researchers, and scientists to help them collate data. After several hours of filming, they collected enough evidence to show that the oceans were turning toxic with microplastic spreading.
Producer Jo Ruxton had previously taken part in expeditions to witness plastic pollution near San Francisco, which is what inspired the filming of A Plastic Ocean. The team collaborated with the WWF, cetacean expert Dr Lindsay Porter, and microplastic expert Dr Bonnie Monteleone to ensure their documentary covered all the necessary concerns.
When the documentary made an impact on people’s perceptions towards single-use plastics, the crew and producers decided to take it to the next stage, by creating Plastic Oceans.
They organize awareness campaigns, and events to increase impact, create short documentaries on plastic pollution, and raise donations to help clean up our oceans. This campaign has gone on to win acclaim for the role it has played in creating positive changes to marine flora and fauna. Over time, they have expanded operations to the United States, Canada, Chile, Europe, and Mexico.
7. The End of the Line (2009)
Directed by Rupert Murray
“Imagine an ocean without fish. Imagine your meals without seafood. Imagine the global consequences. This is the future if we do not stop, think and act.” With these opening lines, this documentary sets the tone of what is soon to follow. The End of the Line is a standout production that is a must-watch for anyone concerned about Earth’s oceans.
From famed director Rupert Murray, this was one of the earliest documentaries that brought to light the situation faced by many underwater species.
Critically examining the problems of overfishing, it covers the extinction of bluefin tuna, the overpopulation of jellyfish, and the reality of inedible fish poisoned by plastic pollution. Spanning 2 years of filming and research, this documentary brings to the fore the seemingly little importance that is given to fish. Filmed with investigative reporter Charles Clover, it raises questions to members of society who can make an impact but choose not to.
The film ends with a warning note- if the situation is not rectified, there will be no fish by the end of 2048.
8. Sharkwater Extinction (2018)
Directed by Rob Stewart
Filmed and completed by the Rob Stewart Foundation in 2018, Sharkwater Extinction is a film that highlights the dangers sharks face due to overfishing, poaching, and pollution.
Filmed as the sequel to Rob Stewart’s Sharkwater, it focuses on the rampant fishing of sharks to supplement various industries. It looks at the corruption, political motives, and the underworld that has led to the extinction of many species.
During filming, director Rob Stewart drowned during a routine underwater expedition. The film was dedicated to his memory and received support from around the world.
Before release, the film garnered attention for the outreach it created, and the positive impact it had. When filmgoers learned of the unfortunate demise of Rob, viewership increased drastically. People came out in support of the family and praised Rob for having made an effort to stop shark extinction.
9. Sushi: The Global Catch (2012)
Directed by Mark S. Hall
Sushi is a global phenomenon with a fan following across Asia and the Americas. What was once restricted to only Japan has now spread across the world.
The demand has increased exponentially, and like any economic model, the supply is also bound to increase to meet market requirements. But what can be done if the very source of supply is beginning to disappear from the Earth? Prices shoot up, consumer demands increase, and there are no fish.
And this is the question that this 75-minute documentary presents to the audience. It provides an in-depth understanding of the sushi fad that has gripped the nation- from the exotic and endangered species killed for making sushi to the years that sushi chefs put into perfecting the art.
The film closes with a visual of how fish such as the bluefin tuna have now become severely endangered, and there seems to be no end in sight. A few marine conservationists have begun an effort to protect these species, but raising awareness is the need of the hour.
10. James Cameron’s Deepsea Challenge (2014)
Directed by James Cameron
Director James Cameron (from Titanic fame), has always been an adventurer and explorer. This is why when the opportunity to be a part of an underwater expedition came up, he joined the crew and ultimately led the deep-sea challenge.
Filmed as an attempt to dive down to the deepest known point on Earth- the Mariana Trench, the 90-minute documentary beautifully combines science, courage, and a sense of adventure.
As an attempt to recreate the famed dive to the Trench in 1960, Cameron captures the journey from planning and preparation to the actual descent.
Providing his narration, the film has outstanding visuals that capture the beauty of the Pacific Ocean and the wonders that exist below the surface. For viewers interested in underwater explorations and adventure, this is an excellent choice.
11. Turtle: The Incredible Journey (2009)
Narrated by Miranda Richardson and directed by Nick Stringer
Produced by SeaWorld and Tradewind Pictures and tied up with the Australian Film Institute, Turtle brings you the story of the loggerhead turtles that make an incredible journey every year. Narrated by acclaimed British actress Miranda Richardson, the documentary follows the tale of a single loggerhead who makes the journey of a lifetime across one of the largest oceans in the world.
Loggerheads birth near the beaches of Florida and then begin swimming the Gulf Stream up to the North Atlantic. Over time, they turn South to Africa and then make their way back to North America. But not every loggerhead survives this journey, with only 1 in ten thousand making it back to the beach they were born on.
The documentary strives to raise awareness of the perils that this incredibly resilient creature faces as it travels across oceans filled with predators and other dangers. With its surreal theme, it is sure to leave you with a renewed awe of marine life and the oceans.
12. The Kodiak Queen (2018)
Narrated by Kate Winslet and directed by Rob Serrenti
Numerous shipwrecks dot the oceans and each has its history and message. But when you combine the Kodiak Queen with the vision of award-winning filmmaker Rob Serenti, the message takes on a bigger meaning.
Richard Branson, of Virgin Galactic fame, has been a conservationist whose projects have helped restore the British Virgin Isles. One such project was the Kodiak Queen- a World War 2 warship that survived the horrific Pearl Harbor attack. Over time, Richard Branson and his team were able to turn it into an artificial reef and dive site.
With stunning visuals from the Isles, this documentary brings a completely different outlook on the warship and the meaning it carries. With narration from Academy Award winner- Kate Winslet, the documentary takes you through a haunting story that shows the long road ahead for the conservationists looking to return the Isles to their former glory.
13. Planet Ocean (2012)
Directed by Yann Arthus-Bertrand and Michael Pitiot
The Earth’s oceans cover a significant portion of the surface, and some mysteries are yet to be uncovered. This includes pristine marine habitats, underwater reefs, and unique creatures in exclusive locations.
However, the film accurately captures the devastating effects of pollution on the oceans. In association with OMEGA and Tara Expeditions, Planet Ocean has stunning visuals and a compelling tale that makes it endearing to audiences.
The underwater photography is excellent with high-quality shots that capture the poignance of the ocean. Yet, the film seems to lack direction, and the details presented are occasionally hazy. However, the film does capture the effects of pollution on the marine ecosystem and is a great choice to air in educational institutions.
14. Deep Blue (2003)
Directed by Andy Byatt and Alastair Fothergill
Premiering at the Spanish San Sebastian Film Festival, Deep Blue was directed by acclaimed nature documentary director Alastair Fothergill and wildlife documentary producer Andy Byatt.
Based on the BBC production titled Blue Planet, it covers the splendours of Earth’s oceans in 90 minutes. It depicts the challenges faced by marine life and their ecosystem.
The documentary is minimally narrated, with just under 15 lines of script and many critics have lauded the excellent photography.
The stand-out visuals have been featured in exhibitions to celebrate the beauty of the oceans and the creatures that inhabit them.
15. Ghost Fleet (2018)
Directed by Shannon Service and Jeffrey Waldron
Ghost Fleet is a 2018 movie that deals with a topic just as important as the ocean- human trafficking on the high seas.
And not refugees or other victims, but the fishermen themselves. Southeast Asia has a thriving fishing industry, often with the demand for sailors and deckhands exceeding the number of people willing to work. This has given rise to the notorious human trafficking industry that captures and indentures fishermen.
Ghost Fleet follows the story of Patima Tungpuchayakul, a Bangkok-based human rights activist who has been working to save and rescue fishermen. She works closely with people from nations such as Myanmar, Laos, Cambodia, and Thailand to return the kidnapped men and women to their hometowns.
In this short documentary, the harrowing plight, squalid conditions, and daily dose of fear are brought to the fore. With the help of filmmakers Shannon Service and Jeffrey Waldron, Patima hopes to make a positive impact on these trafficked fishermen and raise awareness of their situation.
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https://octaneseating.com/blog/ocean-and-sea/
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How the Ocean Has Made Waves Throughout the Media
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] |
[] |
[] |
[
""
] | null |
[
"Tonya Haley"
] |
2023-10-19T00:28:35-04:00
|
Discover how remarkable oceanic exploration has facilitated ocean-themed media and find your next favorite nautical shows and films!
|
en
|
Octane Seating
|
https://octaneseating.com/blog/ocean-and-sea/
|
Unveiling
The DeeP
How the Ocean Has Made
Waves Throughout the Media
Due to its vastness, endless beauty, and alluring mysteries, the ocean has a longstanding history of being a prominent focal point for science, film, television, art, and literature. From vibrant marine ecosystems to hidden treasures, the alluring wonders of the ocean have served as a canvas for both real and imagined tales.
No matter your age, there’s an abundance of breathtaking and thalassophobia-inducing media out there waiting to be explored. Join us as we dive into a historical voyage unveiling how the media affects our perception of the ocean, and explore various TV shows and films, suited to all ages, that delve into the deepest corners of the sea.
How the Media Collides
With the Ocean
A Historical Exploration
In the past hundred years, many films and tv shows have taken us on voyages through the ocean, making a significant impact on the media and audiences. While oceanic-themed content has heightened our fascination and curiosity of the deep blue, it’s also induced thalassophobia, leaving audiences fearful of what lies beneath the ocean’s surface.
So, why is the ocean such a prominent theme throughout the media?
Because so little of the ocean has been explored, the imaginations of writers and directors often plunge deep into the abyss, conjuring mythical creatures, and reimagining historical tales and sea shanty’s told by explorers and pirates. Aside from fictional narratives, scientific research and sea expeditions have also facilitated a significant focus on the ocean.
The Challenger Expedition (1872 – 1876) is humanity’s earliest oceanographic program, which unveiled several new discoveries about the sea.
This expedition was instigated by William Benjamin Carpenter, an English physician, physiologist, and zoologist, who embarked on the four-year exploration under the supervision of Sir Charles Wyville Thomson, a natural historian with a specialty in marine zoology.
During their voyage, the two explorers made remarkable discoveries which revolutionized our understanding and awareness of the liquid wilderness. Some examples of their findings included iconic sea creatures, such as the deep sea anemone, deep sea octopus, and the Seamount Squid.
iconic sea creatures
deep sea anemone
deep sea octopus
the Seamount Squid
These discoveries ultimately elevated society’s understanding of the ocean’s biodiversity, sparking a global interest in the deep abyss.
How Ocean Exploration Has Impacted Film & Cinema
From enchanting cinematography to informative documentations, oceanic exploration has supplemented cinema and film in a plethora of incredible ways. While the Ocean often serves as a source of narrative inspiration for many directors, it also provides an engaging outlet for learning.
Below, is a timeline highlighting pivotal moments in cinema which have been heavily inspired by our understanding of the ocean
1916
1956
1968
1975
1985
1993
1997
2001
2003
2006
2017
1916
The first fictional underwater film, ‘20,000 Leagues Under the Sea’, is released. This film is based on the novel by Jules Verne, and tells the story of three sailors who journey through the ocean in search of a whale, but soon fall prisoner to a submarine, entitled ‘The Nautilus’.
1956
Filmmakers Louis Malle and Jacques Cousteau release the first documentary film about the ocean, ‘The Silent World’. The movie was filmed aboard a ship titled the ‘Calypso’, which voyaged for over two years through the Mediterranean Sea, the Persian Gulf, the Red Sea, and finally, the Indian Ocean.
Amid its release, the film sparked controversy because of the substantial damage it caused to the sea life, including the accidental death of a young whale and unnecessary massacre of sharks.
1968
Director Alan Landsburg and filmmaker Jacques Cousteau release the first oceanic documentary television series, ‘The Undersea World of Jacques Cousteau’. This 36-episode-long program ran between 1968 and 1976, with each episode showcasing geological phenomena and marine wildlife.
1975
Critically Acclaimed and multi-award-winning director, Steven Spielberg, releases ‘Jaws’. This film is arguably the biggest ocean-themed movie to date, which has significantly altered society’s perception of sharks and ocean safety.
1985
The Discovery Channel is launched, providing audiences with daily wildlife documentaries. Due to its accessibility and widespread popularity, the Discovery Channel has significantly boosted society’s fascination with ocean-themed documentaries and TV shows.
1993
Simon Wincer releases ‘Free Willy’, one of the first family-friendly sea-life movies, that tells the heartfelt story of a misunderstood orphan boy and a captive orca whale. This film drew attention to the cruelty of captive sea-life, and seemingly inspired younger generations to embrace animal activism.
1997
World renowned director, James Cameron, releases one of the highest-grossing films of all time, ‘The Titanic’. This film integrates the tragic true story of the Titanic ship which collided with an iceberg and sank in 1912.
During the movie we see an unlikely romance blossom between two young voyagers, Jack (Leonardo DiCaprio) and Rose (Kate Winslet), which poses concern among Rose’s aristocratic family.
2001
Sir David Attenborough releases ‘The Blue Planet’, a remarkable docuseries which becomes a landmark in marine exploration.
During this 8-episode series, Sir Attenborough narrates an immersive journey through the deepest corners of the ocean, offering up-close and never-before-seen footage of nature’s most complex and mesmerizing aquatic creatures.
2003
Disney-Pixar released one of their biggest selling animated children’s movies, ‘Finding Nemo’. This film tells the story of a lost young clown fish, Nemo, and his worried father, Marlin.
2006
Conservationist-led documentary, ‘Sharkwater’, is released, showcasing sharks in an alternative light. This film illustrates the unfortunate dangers that sharks endure everyday due to humanity and demonstrates how misunderstood these marvelous creatures are.
2017
Sir David Attenborough releases ‘The Blue Planet II’, a sequel to the original series, showcasing recent discoveries and raising awareness about humanity’s detrimental effects on the ocean, such as increased plastic waste and toxic pollutants.
How Movies Impact Ocean Research & Engagement
Movies have a substantial impact on society’s perception of the ocean. While Cinema can alter our view of the ocean for the better, stimulating our fascination for aquatic creatures, it can also bring forth fearfulness of the great unknown and encourage hatred against certain species, such as sharks.
After the release of ‘Finding Nemo’ (2003) there was a surge in purchases of clownfish, which resulted in both animal and environmental harm. Because of this, the term ‘The Nemo Effect’ began trending.
This theory argues that the media can alter our perceptions of sea-life for the worst, resulting in detrimental damage to both underwater ecosystems and the environment. This is a primary example of how ocean-themed film and television can facilitate a negative response throughout society.
However, mass-hysteria about the ocean isn’t always so bleak. Many progressive documentary filmmakers have created phenomenally insightful films and series, such as ‘The Blue Planet’ (2001).
This has showcased the magical marvels of the ocean, while simultaneously shedding an important light on how our daily activities, such as plastic consumption, negatively impact the ocean’s ecosystems.
The ultimate effect of this enlightenment has provoked audiences to embrace sustainable practices, and support charities and conservation projects working tirelessly to save endangered oceanic species.
save ocean save ocean save ocean save ocean
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Famous Oceanographers &
Marine Biologists
Oceanographers and marine biologists play a fundamental role in enabling society to understand the deep blue and the otherworldly creatures that inhibit it. Their research benefits both society and filmmakers.
While there are many notable oceanographers and marine biologists, there are a few who stand out. Below are some of the greatest oceanic scientists to have ever lived, alongside their greatest achievements:
oceanographers and marine biologists oceanographers and marine biologists oceanographers and marine biologists
oceanographers and marine biologists oceanographers and marine biologists oceanographers and marine biologists
oceanographers and marine biologists oceanographers and marine biologists oceanographers and marine biologists
oceanographers and marine biologists oceanographers and marine biologists oceanographers and marine biologists
oceanographers and marine biologists oceanographers and marine biologists oceanographers and marine biologists
oceanographers and marine biologists oceanographers and marine biologists oceanographers and marine biologists
oceanographers and marine biologists oceanographers and marine biologists oceanographers and marine biologists
oceanographers and marine biologists oceanographers and marine biologists oceanographers and marine biologists
Sir Charles Wyville Thomson (1830-1882)
Sir Charles Wyville Thomson was a Scottish-born zoologist who specialized in marine life, particularly the study of oceanic invertebrates.
During his life, Charles embarked on several marine expeditions across the globe. His most notable work includes the famous HMS Challenger expedition, where Charles led a six-man scientific team to unveil the deepest, darkest mysteries of the ocean.
Achievements:
Discovered over 4,000 new species of marine life, including the snipefish and grenadier fish.
Created many scientific publications that contributed to the scientific understanding of the ocean, including his most renowned work ‘The Depths of the Sea’(1873).
During a deep sea expedition aboard the HMS Lightning and the HMS Porcupine (1868-1869), Charles discovered that animal life resides 1200 meters below the ocean’s surface.
.
Dr. Sylvia Earle (1935-present)
Dr. Sylvia Earle is a multi-award winning oceanographer, research scientist, and scuba diver. She has devoted her life’s work to protecting the ocean against threats, such as habitat destruction, pollution, and climate change. Logging more than 7,000 hours of underwater exploration, Sylvia is a salient figure in oceanic research and conservation.
Achievements:
Founded the conservation organization, ‘Mission Blue’, in 2009 which established protected areas, known as ‘hope spots’.
Holds the world record for the deepest walk on the sea floor.
Is the first female leader of the National Oceanographic and Atmospheric Administration (NOAA).
.
Robert Ballard (1942-present)
Robert Ballard is among the most famous oceanographers who has discovered multiple shipwrecks. His work often ties geology with oceanography, enabling us to understand the Earth’s climates, and make informed environmental predictions.
By the age of 17, Robert had embarked on his first nautical expedition on a National Science Foundation scholarship, where he almost sank due to rogue waves.
Achievements:
Discovered famous historical shipwrecks, including the RMS Titanic and the Bismarck.
Aided the discovery of hydrothermal vents on the ocean floor.
Became a resident National Geographic explorer and created an original National Geographic television series ‘Alien Deep’.
.
Ocean and Sea on TV
From heart-racing aquatic adventures to binge-worthy reality TV, there’s an entire ocean of marine-themed television series waiting to be watched! Dive into this section to discover your next favorite show.
Ocean & Sea TV Shows for
Kids & Teens
Oceanic TV is extremely popular among youngsters. This genre introduces children and teens to the vibrant and engaging world that lies beneath the waves. From talking fish to adventurous voyages, young audiences are truly spoiled for choice when it comes to ocean-themed TV. Here are our top 10 ocean TV show picks for kids and teens:
H20: Just Add Water
(2006 – 2010)
Suited To:
Tweens & Teens
Synopsis:
Three Australian teenage girls take a dip in the mystical moon pool on Mako Island which transforms them into mystical mermaids with supernatural powers. Each of the girls must avoid contact with water in public at all costs to conceal their extraordinary gifts.
Where to Watch:
Sling TV; Amazon Prime Video; The Roku Channel
Spongebob
(1999 – present)
Suited To:
Children, Tweens & Teenagers
Synopsis:
In an underwater city, Bikini Bottom, where fish talk and walk like humans, a sponge named SpongeBob SquarePants lives in a pineapple with his pet sea snail, Gary. Each episode follows SpongeBob in his day-to-day activities alongside his trusted friends, Patrick the starfish and Sandy the squirrel.
Where to Watch:
Amazon Prime; Paramount+; Fubo TV
Octonauts
(2010 – 2021)
Suited To:
Preschoolers
Synopsis:
A team of talking animal adventurers, Octonauts, living in an underwater base embark on oceanic adventures. As the Octonauts journey through each mission, they encounter incredible sea creatures and learn about their unique habitats.
Where to Watch:
HBO Max; Netflix
Dive Club
(2021)
Suited To:
Tweens & Teenagers
Synopsis:
A group of teenage scuba divers search tirelessly for their friend who went missing after a devastating storm hit their coastal hometown, Cape Mercy. As the group explores the depths of the ocean, they unveil lost treasures and unravel mind-bending mysteries.
Where to Watch:
Netflix
Mako Mermaids
(2013 – 2016)
Suited To:
Tweens & Teenagers
Synopsis:
In this spin-off of H2O: Just Add Water, three teenage mermaids walk on land for the first time to undo a magical spell that was accidentally bestowed on a young boy, who was on a camping trip at Mako Island.
Where to Watch:
Netflix; Apple TV+; Amazon Prime Video
Ocean & Sea TV Shows
for Adults
From mystifying narratives to alluring visuals, there are many depths to explore within the realm of ocean-themed television. Whether you are seeking a gripping late-night thriller or want to enjoy some guilt-free reality TV, you won’t have any trouble discovering a show that aligns with your unique preferences. Explore our top five suggestions to find your next watch:
The Last Ship
(2014 – 2018)
Genre:
Post-apocalyptic; Thriller; Action
Synopsis:
After a viral outbreak kills more than 80% of Earth’s population, a crew of 218 unaffected U.S. Navy soldiers aboard a Missile-destroying ship must search for a cure to save humanity.
Where to Watch:
Amazon Prime Video
Vikings
(2013 – 2019)
Genre:
Historical fiction; Action; Adventure; Drama
Synopsis:
Transporting us back in time, the show follows a viking chieftain, Ragnar Lothbrok, as they sail through ferocious oceans and explore distant shores. As time passes, exploits of the viking chieftain and his crew begin to surface stirring conflict.
Where to Watch:
Peacock; Amazon Prime Video; Hulu
Deadliest Catch
(2005 – present)
Genre:
Reality television; Docuseries
Synopsis:
This show follows the real lives of fearless fishermen as they sail their fishing vessels into the ferocious Bering Sea hoping to catch king-sized crabs. With gail-force winds and unforgiving waves, the odds are truly stacked against the fishermen.
Where to Watch:
Discovery+; Apple TV+; Amazon Prime Video; Hulu
Below Deck
(2013 – present)
Genre:
Reality television
Synopsis:
Get a sneak peek into the lives of crew members working aboard super-yachts. From dealing with extravagant celebrity guests to handling personal drama with each other, the show offers a never-before-seen insight into the crazy world of yachting.
Where to Watch:
Apple TV+; Peacock; Fubo TV; Hulu
Tidelands
(2018)
Genre:
Fantasy Drama; Crime fiction
Synopsis:
After serving 10 years in prison for an alleged murder, ex-convict, Cal McTeer, returns to her hometown, a small fishing village called Orphelin Bay. As she returns home, Cal encounters a group of threatening human-siren hybrids called the ‘Tidelanders’, unearthing shocking conspiracies of murder and sirens.
Where to Watch:
Netflix; Roku
Ocean & Sea on the Big Screen
Prepare to sail into the magic of ocean-themed movies, where the expansive, deep blue becomes a magnificent canvas for beguiling cinematography and captivating storytelling. From heartfelt family favorites to heart wrenching thrillers, ocean-themed films will immerse you in mystery and beauty while provoking a sea of emotions!
Ocean & Sea for Kids
From singing and dancing penguins to enchanting deep sea empires, there’s a full spectrum of cheerful kids’ films waiting to be watched (that grownups will love too!).
Here are our top 10 picks
Happy Feet
(2006)
Synopsis:
Happy feet follows the story of a misunderstood penguin, Mumble (Elijah Wood), who was born without the gift of song. Instead, mumble expresses his musical talent through tap dance, where he wins over the heart of Gloria (Brittany Murphy), a popular penguin with a soulful voice that makes every penguin fall head over flippers!
Touching upon themes of animal rights, acceptance, and wildlife conservation, Happy Feet is both a learning experience and a fabulous musical, with original scores from legendary singer Prince and Hip-Hop guru Fat Joe.
Genre:
Musical; Adventure
Where to Watch:
Apple TV+; Amazon Prime Video; Google Play
Shark Tale
(2004)
Synopsis:
Shark Tale tells the humorous story of underachiever Oscar (Will Smith) with big aspirations to make it to the top.
When shark-mob member Frankie (Michael Imperioli) is accidentally murdered by his softy brother Lenny (Jack Black), Oscar takes credit, and gains credit for being the local ‘Shark Slayer’. All goes well until Mob leader, Don Lino (Robert De Niro) sends henchmen to avenge his son’s death.
Genre:
Comedy; Adventure
Where to Watch:
Amazon Prime Video; Apple TV+; Google Play Movies
Ponyo
(2008)
Synopsis:
An adorable goldfish princess is rescued by a young boy named Sosuke (Frankie Jones & Hiroki Doi) and named Ponyo. As the two spend more time together, Ponyo begins adopting more human characteristics.
However, the little fish’s time on land is cut short by her worried father who brings Ponyo back to the ocean.
Genre:
Adventure
Where to Watch:
HBO Max; Netflix; Amazon Prime Video
Surf’s Up
(2007)
Synopsis:
In this rad surf movie, a teenage penguin, Cody Maverick (Shia LaBeouf), is followed by a documentary film crew as he leaves his Antarctic home in search of Pen Gu Island.
Cody enters the biggest surf competition of the year in hopes of becoming an esteemed surfer.
Genre:
Comedy; Adventure; Mockumentary
Where to Watch:
HBO Max; Netflix; Amazon Prime Video
Finding Nemo
(2003)
Synopsis:
Clownfish Marlin (Albert Brooks) loses his son, Nemo (Alexander Gould), after he strays away and gets caught by a diver.
As Marlin swims far and wide in hopes of finding Nemo, he encounters a forgetful blue reef fish, Dory (Ellen DeGeneres) who joins Marlin on his triumphant search.
Genre:
Adventure
Where to Watch:
Disney+; Amazon Instant Video
The Little Mermaid
(1989)
Synopsis:
Rebellious teenage mermaid, Ariel (Jodi Benson), romanticizes living life on land but her controlling father, King Triton (Kenneth Mars), forbids Ariel from pursuing her wishes.
After an excursion to the surface, Ariel falls in love with a human, Prince Eric (Christopher Barnes), and shortly after makes a risky deal with a sea witch, Ursula (Pat Carroll) in hopes of living out her human fantasy.
Genre:
Adventure; Romance; Fantasy drama
Where to Watch:
Disney+
Free Willy
(1993)
Synopsis:
A misunderstood orphan boy, Jesse (Jason Richter), is placed with foster parents after causing mischief at a theme park. To make amends for his destructive behavior, Jesse works at the theme park, where he meets a juvenile orca whale, Willy, that is held captive.
The two form a close bond, and Jesse does all he can to save Willy from the evil park owner, Dial (Michael Ironside).
Genre:
Adventure; Drama
Where to Watch:
Amazon Instant Video; Netflix; Tubi
Help I’m A Fish!
(2001)
Synopsis:
Three youngsters visit a crazed professor (Terry Jones) and accidentally get turned into fish. As the children, or guppies, navigate open water they discover an evil fish, Joe (Alan Rickman) who’s planning to take over the world, both under and above water.
Genre:
Adventure; Sci-fi
Where to Watch:
Amazon Prime Video
Moana
(2016)
Synopsis:
Set in ancient Polynesia, daring teenager, Moana (Auli’i Cravalho), sails the mighty seas, in hopes of saving her village.
During her noble quest, Moana meets a witty demigod, Maui (Dwayne ‘The Rock’ Johnson), Who aids her mystical journey across the ocean.
Genre:
Adventure
Where to Watch:
Disney+
Atlantis: The Lost Empire
(2001)
Synopsis:
In hopes of completing his grandfather’s life’s work, a novice adventurer, Milo Thatch (Michael J. Fox), joins a group of fearless explorers to unravel the ancient mysteries of a lost empire called Atlantis.
Genre:
Fantasy drama; Adventure
Where to Watch:
Disney+
Ocean & Sea Films for
Grown-Ups
Whether you’re in the mood for tear-jerking romance or a heart-pumping adventure, we have rounded up some flipping-good movies, from a wide variety of genres. Explore the following top 10 films:
The Life Aquatic with Steve Zissou
(2004)
Synopsis:
Loosely inspired by the life of French filmmaker, Jacques Casteau, Bill Murray plays an eccentric and carefree oceanographer, Steve Zissou, who’s dedicated his life’s work to finding the shark that killed his trusted partner, Esteban (Seymour Cassel).
Directed by the marvelous Wes Anderson.
Genre:
Comedy; Adventure; Drama
Where to Watch:
Apple TV+; Amazon Prime Video; Vudu
The Life of Pi
(2012)
Synopsis:
After boarding a ship with his family, and their zoo animals, a teenage boy, Pi (Suraj Sharma), finds himself lost at sea, after a devastating shipwreck.
With just a lifeboat and a bengal tiger for companionship, Pi navigates the ocean in hopes of survival. During his journey, Pi not only navigates the physical world but also his spirituality. Directed by the talented Ang Lee.
Genre:
Adventure; Drama
Where to Watch:
Disney+; Amazon Prime Video
Avatar: The Way of Water
(2022)
Synopsis:
In this long-awaited sequel to Avatar (2009), Jake Sully (Sam Wothington), and his family are under threat, as the humans plan to colonize Pandora.
In an attempt to survive, Jake and his family seek refuge with the aquatic Metkayina, an oceanic clan that resides on Pandora’s vibrant reefs. Directed by critically acclaimed James Cameron.
Genre:
Action; Sci-fi; Fantasy drama
Where to Watch:
Disney+; Hulu; HBO Max; Amazon Prime Video
Captain Phillips
(2013)
Synopsis:
Based on true events, this heart-racing thriller tells the story of Captain Richard Phillips (Tom Hanks), a merchant mariner who’s ship is invaded by hostile Somali pirates, seeking millions of dollars.
Directed by Jason Bourne filmmaker, Paul Greengrass.
Genre:
Action; Thriller; Biographical
Where to Watch:
Netflix; Amazon Prime Video
Underwater
(2020)
Synopsis:
Over six miles beneath the ocean’s surface, a team living inside a drilling station encounters sudden disaster when the station becomes flooded. They soon realize their only hope is to migrate to the main facility by walking along the ocean floor.
The group shortly realize deadly unidentified creatures reside in the dark ocean depths, posing a threat to their lives.
Genre:
Sci-fi; Horror
Where to Watch:
Google Play; Amazon Instant Video; iTunes; Vudu
Aquaman
(2018)
Synopsis:
What was once Earth’s most advanced civilization, the city of Atlantis has become an underwater kingdom, dictated by King Orm (Patrick Wilson).
This power-thirsty ruler plans to take over all the oceanic people before conquering Earth’s surface. However, Orm’s plans are inconvenienced by his half-human half-Atlantean brother, Aquaman (Jason Momoa) who strives for a better future.
Genre:
Action; Superhero; Adventure
Where to Watch:
HBO Max; Sling TV; Hulu; Amazon Prime Video
The Beach
(2000)
Synopsis:
A young American backpacker, Richard (Leonardo DiCaprio), arrives to the tropical paradise of Thailand. Upon his stay, Richard catches wind of a secret society hidden away in an undisclosed island.
In hope of finding the rumored utopia, Richard is joined by a young couple, Etienne (Guillaume Canet) and Francoise (Virginie Ledoyen), to find ‘The Beach’. Soon after his arrival, Richard realizes that this paradise is not as wonderful as it seems.
Genre:
Drama; Adventure; Romance; Thriller
Where to Watch:
Hulu; Amazon Prime Video; Philo; Roku
Ghost Ship
(2002)
Synopsis:
While journeying through the remote Bering Seas, a crew of boat salvagers discover the haunting remains of a grand passenger ship that’s been missing for over 4o years. As the crew take a closer inspection, they realize the eerie ship is by no means empty.
Genre:
Horror; Supernatural
Where to Watch:
Hulu; Amazon Prime Video; Philo; Roku
Adrift
(2018)
Synopsis:
While journeying through the remote Bering Seas, a crew of boat salvagers discover the haunting remains of a grand passenger ship that’s been missing for over 4o years. As the crew take a closer inspection, they realize the eerie ship is by no means empty.
Genre:
Biographical; Romance; Drama; Adventure
Where to Watch:
HBO Max; Amazon Instant Video; Hulu
Abyss
(1989)
Synopsis:
In this classic nautical thriller by James Cameron, a US search and recovery team seek to recover a lost submarine before a soviet vessel beats them to it. During their search, the team encounters an unexpected creature that poses a threat to human life.In this classic nautical thriller by James Cameron, a US search and recovery team seek to recover a lost submarine before a soviet vessel beats them to it. During their search, the team encounters an unexpected creature that poses a threat to human life.
Genre:
Sci-fi; Adventure; Thriller
Where to Watch:
Roku; Amazon Prime Video
Ocean & Sea
Documentaries
While fictional ocean films offer a range of exciting narratives and visuals, the true spectacles of the deep sea are often found in real-life. Here are five phenomenal ocean documentaries that are bound to utterly entrance you:
Blue Planet
(2004)
Blue Planet II
(2018)
Synopsis:
In this immersive docuseries, David Attenborough guides you through a magical oceanic exploration, showcasing never-before-seen footage of the vibrant marine wildlife.
You also get to enjoy exclusive behind-the-scenes at the end of each episode, offering insight into the remarkable work of the marine biologists and oceanographers that made the show happen.
Where to Watch: Discovery+
Turtle: The Incredible Journey
(2009)
Synopsis:
Following the extraordinary 9,000 mile journey of a hatchling loggerhead turtle, this documentary takes you on an unforgettable voyage through the natural oceanic world.
Where to Watch: Apple TV+; Amazon Instant Video
My Octopus Teacher
(2020)
Synopsis:
In this stunningly heartwarming documentary, an independent filmmaker, Craig Foster, develops an unlikely friendship with a characterful octopus. Over the course of a year, Foster films his encounters with the friendly octopus, offering new insight into these remarkable creatures.
Where to Watch: Netflix
A Plastic Ocean
(2016)
Synopsis:
In this conscientious and unfiltered documentary, oceanic explorers, Tanya Streeter and Craig Leeson, join a team of international scientists to unveil the detrimental consequences of plastic pollution.
Where to Watch: Peacock; Amazon Instant Video
Chasing Coral
(2020)
Synopsis:
In an attempt to raise awareness for the ocean’s dying coral population, a team of divers, scientists, and photographers embark on an oceanic exploration, to determine why the reefs are dying so fast.
Where to Watch: Netflix
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Ocean’s Eleven: The Women Of Colour Cast
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by Shane Thomas CONTENT NOTE: Some of the embedded links are NSFW Rumours abound that Sandra Bullock is set to star in an all-woman remake of Ocean's 11 (which was itself a remake). By pure coincidence, I recently spent a day at work pondering what an all-black cast of the film would look like[1]. I…
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Media Diversified
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https://mediadiversified.org/2015/11/16/oceans-eleven-the-women-of-colour-cast/
|
by Shane Thomas Follow @tokenbg
CONTENT NOTE: Some of the embedded links are NSFW
Rumours abound that Sandra Bullock is set to star in an all-woman remake of Ocean’s 11 (which was itself a remake). By pure coincidence, I recently spent a day at work pondering what an all-black cast of the film would look like[1].
I guess by now you’ve figured out where this piece is going. While I fully endorse an all-female remake, how about one that isn’t just all-woman, but all-woman of colour? This isn’t simply about picking eleven talented WoC actors, as there’s plenty. What I’ve tried to do is find actors who would be natural fits to portray the characteristics of the eleven:
Viola Davis (George Clooney):
If we’re actually making this movie, then the lead must have name recognition. A good actor alone isn’t enough. It has to be one who’s well known. Given her recent Emmy win, Viola Davis ticks the requisite boxes.
Equally germane is a woman with sufficient gravitas and presence to be the de facto leader of our crew.
Another reason why Viola would be a good fit is that Danny Ocean’s primary motivation isn’t to steal a fortune and look smooth doing it. It’s to win back the favour of his ex-wife. Simmering beneath Ocean’s cool is a desperation to restore his old life of wedded bliss. Viola has the sufficient range to portray polished control, while hinting at an overwrought angst. She’s broadened what a leading actor can be on television; she’s more than capable of doing the same in cinema.
Laverne Cox (Brad Pitt):
So now we have a general, we need a lieutenant. Someone with the verbal wit to joust with Viola, someone who can be her on-screen equal, someone who can deliver dialogue with real elan, and maybe even be the style-icon of the crew.
Brad Pitt’s character was my personal favourite in the remake. Absolved from the responsibility of anchoring the story, it allowed him to steal many of the movie’s scenes, often being the sharpest, smartest, and funniest one in the room.
This is not too dissimilar from what Cox already does in Orange is the New Black. She’s proven a lodestar for better televisual representation of trans characters. Given the chance, she could also do the same in movies.
Gina Rodriguez (Matt Damon):
Not going to lie, the notion of a character once played by Matt “let-me-explain-what-diversity-is” Damon now being taken by a WoC is a pretty delicious one.
One of the meta-pleasures of having so many A-listers in Ocean’s Eleven was watching the interaction between the actors, rather than the characters. In the scene where Clooney recruits Damon, it could be read as one Hollywood star giving his patronage to the next cab off the rank.
After her Golden Globe-winning turn in Jane the Virgin, Gina Rodriguez has both the time and the talent to not just become a name, but one of the biggest names in the business. The same way that Damon went from this into the Bourne franchise, Rodriguez could use this role as a similar launching pad for bigger things.
Adrian Lester (Julia Roberts):
One of fiction’s most wearisome cliches is that of a man’s venery of an often passive woman. So a refreshing alternative would be for Viola Davis’s character to pursue a man.
While not getting a lot to do, Julia Roberts did some good work as Tess; her verbal sparring with Clooney a particular highlight. But it should be noted that Tess never stopped loving Danny. She’s just (understandably) angry with him.
If Viola Davis has to hint at an inner desperation, we need an actor opposite her who is equally adroit with words, but also hints at an inner anger and heartbreak. It’s for this reason I’ve chosen Adrian Lester. A man who’s long been a well regarded actor, without the recognition to match it. It’s about time that changed.
Tantoo Cardinal (Elliott Gould):
While probably the most well-known indigenous actor to come from North America, I expect Tantoo Cardinal is a name that will have many of you heading to Google. Opportunities for actors of Indigenous American and Canadian descent are scarce, so giving Cardinal a platform such as this could not only ensure a wider audience is aware of her work, but may also encourage studios to make Native actors a more regular part of the stories we see.
And when looking at the role played by Gould, recasting him as Cardinal is an obvious fit. Given that Gould played the venerable and sardonic figure of the crew, who formally owned a casino (before being usurped by an edacious white capitalist), it’s hardly a stretch to see Cardinal portraying identical qualities.
Pippa Bennett-Warner (Don Cheadle):
When Viola won that aforementioned Emmy, her wonderful speech included the line: “The only thing that separates women of colour from anyone else is opportunity.”
One of the potential boons from this hypothetical remake is that it can take lesser-known talent, and turn them into more familiar faces on our television and cinema screens[2].
Eagle-eyed readers of this column will be aware of the regard I hold Bennett-Warner in. She’s an actor that often leaves an impression, even with limited screen time. She’s given accomplished supporting turns in The Secrets and Doctor Who. And let’s be honest, as much as I like Don Cheadle, wouldn’t it be nice for this part to be played by someone who can actually pull off a working-class London accent?
Nazanin Boniadi (Eddie Jemison):
I confess I almost chose Archie Panjabi for this part. Both her and Boniadi are skilled actors, and would be more than adept at holding their own among their fellow cast members. While I worried about casting a South-Asian as the “techie” of the group, my reason for picking Boniadi is that her performance in Homeland (one of the few things to recommend in that show) required her to portray discernible nerves and indecisiveness.
This strongly correlates with the character of Livingston, the one member of the crew who is demonstrably uncool.
Gina Torres (Carl Reiner):
Along with Gould, Carl Reiner added a safe pair of hands to the cast. Hence the inclusion of Gina Torres, who is an ideal choice for a character at ease with fast dialogue, and the world of duplicity. Anyone who’s seen her in action – especially in Suits – will know what I’m talking about.
What I find particularly interesting about this role for Torres, is that it’s about someone who returns to the life of criminal deception, having left it all behind. One could draw an allegory with Torres’s absence from the world of genre-fiction, where she made her name. In addition, playing two roles would give her a chance to show an acting range she seldom gets the opportunity to display.
Pia Glenn (Bernie Mac):
Similar to my selection of Pippa Bennett-Warner, the inclusion of Pia Glenn is a way to take an actor that you may not yet know, but should get to know.
One of my personal delights for much of last year was watching her web series, Black Weekend Update, where she humourously chronicled the week’s news, playing both herself and a series of additional characters.
While not at the forefront of the story, the much missed Bernie Mac was positioned to be a scene-stealer in the movie, and the thought of Pia in an alternate version of the “might as well call it whitejack” scene makes this piece of recasting a no-brainer.
Katie Leung and Jessica Henwick (Scott Caan and Casey Affleck):
Katie Leung is best known to many as Cho Chang in the Harry Potter films, while Henwick – who I previously pegged for success – features in both Game of Thrones, and the imminent Star Wars movie.
What’s required here are two promising young actors. Their role is to essentially be the Wilykat and Wilykit of the crew: spry; mischievous; irritating; but essential members of the eleven.
Gabby Douglas (Shaobo Qin):
I struggled with this one, and was helped out by a Twitter follow (thanks Jo!). I know Gabby Douglas isn’t an actor, but hear me out.
When casting Shaobo Qin, he also wasn’t an actor, but a professional acrobat. All this part requires is someone who is gymnastically proficient, as the dialogue they would have to perform is minimal. And Douglas knows a thing or two about being gymnastically proficient.
Charlize Theron (Andy Garcia):
Finally, we need a villain. While Theron just played an iconic feminist role in Mad Max: Fury Road, she has an underrated ability to be contemptible, as shown in her unheralded performance in the film Young Adult.
I’ve kept this role for a white actor, because let’s be real, who isn’t rooting for a rich, unscrupulous white person to lose all their money to our WoC heroes?
As with any list, I’m sure you won’t agree with some – or all – of my choices, so I fully encourage you to suggest your own favourites in our comments below.
[1] – Tfw you hope your bosses don’t read this.
[2] – For the one wrestling fan reading this, this remake could essentially be the movie equivalent of NXT.
ll work published on Media Diversified is the intellectual property of its writers. Please do not reproduce, republish or repost any content from this site without express written permission from Media Diversified. For further information, please see our reposting guidelines.
“Two Weeks Notice” is Shane Thomas’s bi-monthly column encompassing “Pop culture to sport, and back again“ Shortlisted for EI Arts, Culture and Entertainment commentator of the year
Shane can be found on Twitter, both at @TGEISH and @tokenbg (and yes, the handle does mean what you think it means).
If you enjoyed reading this article, help us continue to provide more! Media Diversified is 100% reader-funded – you can subscribe for as little as £5 per month here
MORE BY SHANE THOMAS
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James Cameron: Aliens of the Deep (2005) — 3 Brothers Film
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2022-12-14T00:00:00
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In his third deep sea documentary, Aliens of the Deep , James Cameron explores the amazing life forms that thrive in some of Earth’s most hostile environments and paves the way for the next phase of his career.
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3 Brothers Film
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Aliens of the Deep, the third underwater documentary that James Cameron made in the 2000s, in many ways functions as his bridge to Avatar. Like its predecessors, 2003’s Ghosts of the Abyss and the 2002 Discovery Channel doc, Expedition: Bismarck, Aliens of the Deep involves the Russian deep sea exploration vessel Akademik Mstislav Keldysh (which was also the setting of the present day sequences in Titanic). We once again get to see that vessel's submersibles, Mir 1 and Mir 2, as well as one of the ROVs, a “remotely operated vehicle” named “Jake,” featured in the other documentaries. As another deep sea documentary, Aliens of the Deep feels of a piece with those other two films, but it isn’t just a third installment. It’s unique in several ways.
Instead of exploring the sunken wreck of a famous ship, in Aliens of the Deep Cameron and his companions set out on two separate missions, one to the Mid-Ocean Ridges of the Atlantic and then another to those of the Pacific Ocean to showcase the strange life that exists in the hostile environments of these formations. The change in subject matter doesn’t mean that there isn’t a central question or mystery for the filmmaker to probe. The question that the film asks, in which Cameron telegraphs what the next step of his filmmaking will be is this: what can these strange underwater creatures and their unusual natures tell us about what life might look like elsewhere in the universe?
Thus, the title of the film, Aliens of the Deep, isn’t just playing with the word “alien” to describe the bizarre nature of these “extremophiles,” which is what scientists call creatures or organisms that are able to thrive in extreme environments hostile to humans (and most other organisms). The title is suggesting that these organisms might point us toward imagining what life might look like out there on other planets in environments very different from Earth, such as the icy oceans of Jupiter’s moon Europa. And thus, rather than simply looking inward, as Cameron says, the film is very much looking outward to space, the universe, and humanity’s place in it. As he notes early in the film, sporting his trademark Fox Racing shirt:
I’m Jim Cameron, and here’s the deal. I love this stuff. Exploration. Real honest-to-God deep sea exploration. This is way more exciting than any made up Hollywood special effects. These deep ocean explorations always seem like space missions to me. So why not combine outer space and inner space.
Because of its dual focus, Aliens of the Deep doesn’t just feature marine biologists, like Dijanna Figueroa, a PhD student at UC Santa Barbara, who is one of the film’s several narrators. It brings in astrobiologists and planetary scientists like Kevin Hand of Stanford, who is also a member of SETI, the Search for Extraterrestrial Intelligence: the group most sci-fi film fans will remember from Robert Zemeckis’s 1997 adaptation of Carl Sagan’s Contact. Cameron invites real astronauts, including Dr. Meghan McArthur, to participate in the exploration. Its expanded focus makes Aliens of the Deep a more wide-ranging, and perhaps less focused, documentary than the ones that came before, but the questions it raises are definitely intriguing.
The film’s wide focus is immediately clear with the beginning: a voiceover (by Figueroa) explaining how all life relies on the sun for energy. This is overlaid on some shots of nature and bustling, timelapse shots of cities. It’s fairly typical science documentary type of stuff, scored to an instrumental version of Madonna’s “Ray of Light.” The film quickly transitions to Figueroa with Cameron on a mission in a submersible exploring the animals that live on the edge of what Cameron calls the “photosynthesis zone.” This brief intro sets up the mission that Figueroa and others will accompany Cameron on.
At this point, the film starts to gather the key figures for the deep-sea mission. It’s a classic establishing narrative, common in these kinds of documentaries. The team is brought together to accomplish this dangerous mission to the bottom of the ocean with a significantly expanded mission scope—40 dives at 10 sites—necessitating more vehicles: two ships, adding the Ares in addition to the Keldysh, and four manned submersibles, the two Mir craft and two bubble-domed Rovers with 320º views. The goal is to coordinate a dive with all four submersibles at the same time, using both ships. It’s big, it’s daring. It fits Jim Cameron. He also brings along both of his brothers. Mike Cameron accompanied the crew of the dives to the Bismarck and Titanic, as the designer and operator of “Elwood” and “Jake,” the ROVs used in those expeditions. “Jake” appears again in Aliens of the Deep. But the third Cameron brother J.D. joins as well, taking on the role of the safety and communications officer for the mission. The film spends some time showing how so many things can go wrong, which offers some natural suspense and drama.
Cameron shows himself a natural leader, coordinating with the various teams and overseeing the top level conception of the whole thing. As he explains, good planning cannot eliminate all risk, but taking care of the details means that when that one-in-ten thing inevitably fails, you never have to worry about those other nine things that you did take care of.
Cameron seems genuinely excited by these missions. There’s a strong sense that despite the film being artistically much more conventional than Cameron’s fiction features, the subject matter is just as—or even more—exciting to him. But Aliens of the Deep is definitely more of a technical mixed bag. Obviously, given that Cameron himself goes down in the submersibles and spends a good amount of time on camera, it makes sense that the film has a co-director Steven Quale, who had served as Cameron’s second unit director on Titanic. Quale is obviously a person Cameron is comfortable entrusting that work to and it would be unfair to suggest the film’s more pedestrian style is his input. Rather, I think that the goal is to be accessible. The film is a 3D IMAX production, more of a piece with the kinds of scientific films that made up the bulk of the early IMAX productions—until the late 90s, all IMAX films were documentaries. Aliens of the Deep is the kind of film you might have encountered on a school trip to a science centre as a child.
Aliens of the Deep is more of a conventional documentary in other ways as well. It plays up the drama in several points, such as when the A-frame of the Ares breaks, necessitating the creation of a jury-rigged pulley system to help get the submersibles into the water. It’s more quick paced and covers more ground. It utilizes more upbeat and popular music to track its drama (at one point AC/DC’s “Back In Black” plays while the crew cuts part of the hull apart with welding torches to facilitate getting the Rovers into the water).
But the real drama of Aliens of the Deep begins once the first four submersibles begin their dive and the audience is taken beneath the waves to see the geological formations and creatures of the depths. Cameron notes early in the film that the change of subject matter in this film, away from shipwrecks to nature, was suggested by the Captain of the Keldysh, Dr. Anatoly Sagalevitch. As Cameron recounts, “Sometime around the middle of Bismarck Anatoly says ‘These wrecks are good, they’re interesting. But you have to do something real… you have to do some science. Something real.’” Ironically, once some of these creatures are seen, the images seem unreal. It’s hard to fathom how some of the translucent jellies that live at these depths even function. They are truly alien.
Cameron notes that when you make these dives to explore, you do not know what you’re going to encounter. You have to be prepared to expect the unexpected. One such thing is the colossal squid, nearly the size of the submersibles themselves, who appears out of the dark. Another is the adorable “Dumbo” octopus, a little guy with small elephant-like ear flaps that seem to “fly” him through the water.
Aliens of the Deep spends the bulk of its time sharing images of not only these fascinating creatures, but the geology of the Mid-Ocean Ridges. Seismology and geology are also forces that demand exploration. These ridges exist at the bottom of both the Pacific and Atlantic Oceans, where the tectonic plates are being expanded and split in the middle via the powerful forces of the Earth’s core. Lava pours out, hardening into obsidian rock instantly as it’s cooled by the water. The later missions involve the Mirs going to explore deep ocean vents, where superheated water that cannot boil due to the pressure of the ocean becomes what looks like black underwater smoke. But in reality, each column of black smoke emerging from rock chimneys is “a blowtorch of superheated water.” In navigating around them, the operators constantly remind the viewer that the heat could potentially cut through the vessel’s walls and windows like a knife. Even using “Jake” to go in close to the vents and get samples raises the potential for damage. Mike Cameron has to repair “Jake” when they return to the ship, since the heat has damaged the little ROV.
And yet, despite the extreme, metal-melting heat, shrimp and other creatures live around the vents. These thermal rock vents are a prime example of how life here on Earth can not only survive in extreme environments, but thrive. The creatures and microbes that live around the vents use the heat of the Earth’s core to fuel themselves and draw heat. Unlike nearly all the other creatures on earth, these ones don’t need photosynthesis at some point in the food chain to survive, rather relying on a chemosynthesis to derive the energy for life. The shrimp are dancing in and out of the smoke, as if they’re having a grand time. As Cameron notes at one point: “That party’s been going on down there in the dark for the last billion years, and it’s going to be going on for the next billion years. They’re just doing their thing. It has nothing to do with us. The Sun could go out tomorrow and they wouldn’t know, and they wouldn’t care.”
While Aliens of the Deep offers images of the alien worlds and environments that exist on our own planet, it explicitly connects this to the potential existence of life elsewhere than Earth. Cameron pivots from exploring the ocean floor to explaining some of the theories about the connection between water and life. On Earth, as they explain, wherever there is water, even in the extreme environments of these underwater smoke vents with toxic mineral contents, there is life! How can this be?
This offers Cameron a chance to explain the Drake Equation. This theory by Dr. Frank Drake offers a conceptual framework with which to think about how much life may exist in the universe. It considers the number of stars with planets that have liquid water and how many of those likely develop tool-using, self-aware creatures. The main point being, if water is common, then life may be common. Of course, Cameron also considers the concept of the “Great Filter'', the idea that even if life is common the explanation for why we haven’t seen it is that perhaps intelligent life has a tendency toward self-destruction before it can communicate across the stars. This tendency toward destruction is something that Cameron has explored in many of his films, from The Terminator to Avatar.
Cameron speculates about the places that water exists or formerly existed in our own Solar System, such as Mars or Europa, one of Jupiter’s moons which is covered by a 10km thick layer of ice over a liquid water ocean that covers the entire planet! One of the film’s final images offers a CGI imagining of NASA scientists descending beneath Europa’s ocean to find an intelligent species and their civilization, very similar to the ones portrayed in Cameron’s own film, The Abyss. In this way, Aliens of the Deep continues Cameron’s auteur touches and is interesting for how it shows the continuity of his thematic interests across his whole filmography, even in his documentaries. These interests emerge not just from theory or or even accidentally, but out of Cameron’s actual actions.
In considering the link between exploring the ocean and exploring space, Cameron asks some of the scientific participants: “Put up your hand if you would sacrifice 10 years of your life to go to Mars?” All of the scientists say they would. But then they also talk a bit more about the consequences of that choice. Dijanna Figueroa says that she raised her hand without thinking of the consequences of such a choice to leave behind her husband or cat. It’s unstated, but the cat might not survive until you can return from such a trip. But she believes her husband would encourage her, because we “all have that exploration bug” in us. James Cameron does too. He’s always searching and trying to find something new and fascinating.
In this way, with Aliens of the Deep Cameron is laying the groundwork for the actual concept of Avatar. In Avatar, as around the thermal vents at the bottom of the ocean, we have an extreme environment, toxic to humans, where we must use ROVs for access and sacrifice huge amounts of time to explore (one of the seismologists comments on how she had to leave behind her five month old baby). In Avatar, the avatar bodies that allow Jake Sully and the other human scientists to explore Pandora are a kind of biological ROV, and likewise the life that the humans find is truly astounding.
Watching Aliens of the Deep reinforces the fact that Cameron is ultimately a hopeful person, who for all his warnings about technology in films like The Terminator or Titanic is also optimistic about the possibility of using it to explore and discover new things that will deepen our appreciation of life. And I enjoyed watching Aliens of the Deep simply for the parts that deepened my appreciation of the variety and tenacity of life on this planet. Life exists almost everywhere, and in forms that even I can hardly imagine. As Cameron comments about one of the real deep sea creatures he observes, “If these animals didn’t exist we couldn’t imagine them.” Reality exceeds our imagination.
After Aliens of the Deep, Cameron would begin working on Avatar. I noted above how the concepts of that later science fiction film build on and address some of the questions and concepts explored in this science documentary. In that film, Cameron imagines tree lizards who launch spiral-shaped gliders upon leaping from branches of bioluminescent forests and six-legged steeds. It’s a world of high imagination, but ultimately the images all point back at Earth, which is appropriate given what Cameron is trying to say with that film. By going out into the universe, not only do we discover something for the sake of itself, but we discover what it tells us of life here on Earth and its preciousness and unending surprise.
7 out of 10
Aliens of the Deep (2005, USA)
Directed by James Cameron & Steven Quale.
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https://www.vice.com/en/article/brad-pitt-costumes-oceans-twelve/
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en
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Remembering Brad Pitt’s Ridiculously Underrated ‘Ocean’s Twelve’ Wardrobe
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2020-05-14T08:45:00+00:00
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Silk shirts, belted trenches, resort-wear: this is rhapsodic costuming in action.
|
en
|
VICE
|
https://www.vice.com/en/article/brad-pitt-costumes-oceans-twelve/
|
If you are a subscriber to the streaming service Netflix, you may have found yourself becoming especially well-acquainted with it recently. If, like me, you are also a proud fan of a little thing called cinéma, you might have noticed that the Ocean’s trilogy – i.e. the film equivalent of the musical genre “easy listening” and potentially the greatest set of three Hollywood movies ever made – is now available to watch in full via that service, in the comfort of your home, whenever you like. Will wonders ever cease?
For the sadly unacquainted, the Ocean’s movies, all directed by Steven Soderbergh, follow a guy called Danny Ocean (played by George Clooney) who adores to con very rich people – usually casino owners – out of their money, millions of dollars at a time. In order to do this effectively, he enlists a group of criminal collaborators with various skill sets, played throughout the films by actors ranging from Eddie Izzard to the guy who plays Monica and Ross’ dad in Friends.
The success of the whole concept rests basically only on a Robin Hood-type ethical code – Danny and his crew are the good, fun guys, stealing from evil guys such as Andy Garcia and Al Pacino – and the essential fact that it exudes an extremely 2000s version of masculine “cool” (the closest point of comparison I can think of is probably when Thierry Henry did those Renault adverts.) As these two things are kind of irresistible to a lot of viewers, it is very successful.
Videos by VICE
I recently watched the whole trilogy over the course of three weeks (one film every Sunday; as the day of barbecues and “Steve Wright’s Love Songs”, Sunday is both God’s and Danny Ocean’s day) and have some observations to share from the experience.
Firstly, the original Ocean’s Eleven is far and away the best actual film, other than the weird ending where Julia Roberts’ character decides that she does actually want to be married to George Clooney/Danny Ocean (Danny Ocean, as we know, is just George Clooney saying scripted lines as himself), despite this being a complete U-turn on her behaviour for 90 percent of the movie. Secondly, while the first one is technically tHe BeTtEr MoViE, the series really catches its air with Ocean’s Twelve, which gifts you essentially everything you got from the first movie – a bunch of guys just hanging out, slickly doing crimes, presented as a model of ideal masculinity – with two important added bonuses:
1) There is an utterly amazing subplot wherein Julia Roberts, playing Tess Ocean, pretends to be Julia Roberts as part of an attempt to steal a Faberge egg. I could quite seriously talk for a number of hours about what a funny meta-narrative that is, particularly because much of the excitement around the Ocean’s trilogy was about the films’ A-list cast (Brad Pitt, George Clooney, Matt Damon, and Julia Roberts starring together in the early-to-mid 2000s was a big deal!), and their “famous movie actors having the time of their lives making an incredibly fun movie” feel. When you actively interrogate that, and also throw in Bruce Willis playing himself, it’s very hard to fuck up.
2) Brad Pitt’s wardrobe.
To see Brad Pitt in Ocean’s Twelve is to observe rhapsodic costuming in action. The costume design for the film was lead by Milena Canonero, who has won four Oscars for dressing people in movies (including for Sofia Coppola’s Marie Antoinette, so you know this is serious shit), and on Pitt, she delivers a heretofore unseen level of what I can only term “pizzazz.”
In the first movie, there are some definite suggestions that Pitt’s character, Rusty Ryan – Danny Ocean’s suave and sardonic right hand man – has an eye for a bold ensemble, but it’s really taken to the nth degree in Ocean’s Twelve. His wardrobe is a visual buffet: cinch-waist trench coats (plural), resort-wear, not-quite-mirror surfaces, wraparound shades – the gang’s all here. It’s a set of costumes so comfortable in its masculinity that it is willing, at times, to embrace some slightly more un-masculine details. While Danny is black turtlenecks and business suits, Rusty is shirts so silky they look like petrol, and, well, blue leather. These are quietly flamboyant clothes, with an easy, vaguely unserious sexuality; they are a glass of whisky with a maraschino cherry bobbing at the liquid’s surface. They are the get-up of the best dressed guy in the used car forecourt, who’s going to sell you a 2014 Ford Focus for double what it’s worth, and you will say “thank you,” just because he looked so damn persuasive.
All of this is to say, I think that the styling of Brad Pitt in Ocean’s Twelve should be collected and conserved in some sort of museum, but in lieu of that, I provide you here with an absurdly detailed account of the majority of the outfits he wears throughout the film, listed from amazing to most amazing for your pleasure.
11) PAST RUSTY WITH SEMI-PRO WRESTLER HAIR
Even Rusty’s bad looks are pretty great. This is nowhere better exemplified than in this scene, a flashback to a time when the character was younger and presumably attempting to grow in a mullet, where his proto-Joe Exotic trim steals the show, even though Oscar winner Catherine Zeta-Jones is there too.
10) PAST RUSTY WEARING COMBATS
When I was around nine years old I went through a “combats” phase and can attest to their comfort and practicality. They do, however, also look genuinely terrible on anyone who wears them, and even Brad Pitt, at the peak of his turn-of-the-century heartthrob powers, cannot pull them off, especially not with that hair. Points for daring to go with a white trouser though.
9) DRUNK WEDDING USHER-TYPE SUIT
“Listen Sarah. Listen to me. I love you OK. I love – where are you going? Can we just try again? I want to give you a life……I want to smell you…every day. Sarah. Sarah.” He’s crying now.
“Sarah?” His hand loosely grasps her wrist. “…Can you go and get me a beer?”
I’d almost disapprove if it weren’t for the shiny tie.
8) SHINY JACKET
Which brings me here. The thread linking much of Rusty’s sartorial greatness in this movie is the fact that the man fucking loves a silver fabric – not grey, but silver. Silk, or perhaps satin (or in the case of this jacket, maybe even a velveteen?), abounds, to the point where on any of Pitt’s peers, this stuff would essentially look like it fell out of a closet belonging to an “edgy magician” (magician who swears). This, of course, is what makes it so incredibly good.
7) BLUE LEATHER TOP THING
Doesn’t this blue shacket look like something that a member of the group Blue would have worn in the video for “All Rise”? Good for her.
6) SHINY, INDEED ALMOST REFLECTIVE, SHIRT
The zenith of the shiny garments, really. Here, let me show you in close up:
As you can see, the shiny silver shirt is really the foundation stone of The Rusty Ryan Aesthetic, the roots from which the rest of the wardrobe grows and blossoms. This is because it encapsulates everything that needs to be communicated by looking at Rusty (like all of the Ocean’s characters, who are enjoyably two-dimensional, this basically amounts to: not very much). So when you close your eyes and think, “What would a wisecracking-but-fundamentally-jacked guy who makes his considerable living from robbing casinos, and is in a film about doing so, wear?”, do you not immediately see this garment floating before you like a mirage or religious apparition?
5) HOLIDAY DAD
Not sure Brad Pitt has ever looked more like he’s just exasperatedly gone “Dos cervezas por favor” after waiting ten minutes to get served, and for that, we have Milena Canonero to thank.
4) TRENCH COAT AND WRAPAROUNDS
The power in this look really lies in the combination of two statement items. Wraparound shades – best known for their appearances on a) middle aged men at ski resorts and b) south London irony boys who have middling-to-good Twitter presences – with the sort of trench coat your mum would buy from M&S one October, saying she’s “trying something different,” is not a pairing I would ever make. This, I suppose, is why I’m not an award-winning costume stylist, because the result is truly undeniable.
3) EXTRA IN ‘THE SOPRANOS’
Can’t you imagine a guy dressed in this exact ensemble appearing on screen for approximately one minute as an enemy henchman, before being brutally shot in the head behind the steering wheel of a car? Because I can. It’s a great outfit.
2) RESORT CHIC
Speaks for itself really.
1) VERY POWERFUL SECOND TRENCH COAT THAT LOOKS LIKE THE MATRIX
Would you like another angle on this, the second belted coat that Brad Pitt wears in seminal fashion film Ocean’s Twelve? It would be my pleasure:
This coat is the best item that Rusty wears in Ocean’s Twelve because it is genuinely dope, necessarily attention seeking, and also accidentally nods to one of the other best cinematic style watersheds ever: The Matrix (like, if there were a smooth-talking con man who stole from millionaires for sport knocking about in Zion, he’d probably be wearing something like this.) From the second image, you can see that the fabric has a sort of heavy, oil spill-esque quality, tying in with Rusty’s general inability to put on anything that he can’t at least *try* to see his reflection in, and the sunglasses in the first push the whole thing to the good side of bad, which is basically where this character’s taste in clothing lives.
Arguably, there’s something to be learned from all of this. The real moral here is probably something like: if Brad Pitt as Rusty Ryan in Ocean’s Twelve, and maybe also Ocean’s Eleven, but mainly Ocean’s Twelve, would wear it, then maybe you should too. You should just bear in mind that you’re probably not as hot as Brad Pitt circa-2004.
@hiyalauren
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https://timesofindia.indiatimes.com/entertainment/english/hollywood/news/margot-robbie-and-ryan-gosling-set-to-heist-the-60s-in-oceans-eleven-prequel/articleshow/105753128.cms
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Margot Robbie and Ryan Gosling set to heist the '60s in 'Ocean's Eleven' prequel
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2023-12-05T15:55:00+05:30
|
Margot Robbie and Ryan Gosling are set to team up once again in the upcoming prequel movie "Oceans," directed by Jay Roach. The film takes place in th
|
en
|
The Times of India
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https://timesofindia.indiatimes.com/entertainment/english/hollywood/news/margot-robbie-and-ryan-gosling-set-to-heist-the-60s-in-oceans-eleven-prequel/articleshow/105753128.cms
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Keerthy Suresh like a diva in sparkling outfits
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https://www.vox.com/2021/4/13/22380637/seaspiracy-netflix-fact-check-fishing-ocean-plastic-veganism-vegetarianism
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en
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What Netflix’s Seaspiracy gets wrong about fishing, explained by a marine biologist
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] |
[] |
[] |
[
""
] | null |
[
"Daniel Pauly"
] |
2021-04-13T00:00:00
|
Giving up seafood isn’t the best way to save the oceans.
|
en
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/static-assets/icons/favicon.ico
|
Vox
|
https://www.vox.com/2021/4/13/22380637/seaspiracy-netflix-fact-check-fishing-ocean-plastic-veganism-vegetarianism
|
I wanted to like Seaspiracy, the recent Netflix documentary that has lots of people talking about the damage that industrial fisheries inflict on the oceans and our souls. Since premiering on March 24, the movie has made its way onto (and off) Netflix’s Top 10 watch lists in a number of countries, and everyone from Tom Brady to Wells Fargo analysts have weighed in.
For decades, I have been writing and speaking about the damage Seaspiracy depicts in scientific articles, interviews, and yes, in documentary films as well. While much progress has been made, far too many people still have no idea of the problems facing the oceans. So, the prospect of a popular film on Netflix that could make the threat of destructive fisheries meaningful for its 200 million subscribers is something I welcomed.
The film includes all the damning evidence and dramatic footage required to make the important point that industrial fishing is — throughout the world — a too often out-of-control, sometimes criminal enterprise that needs to be reined in and regulated. In this, it reinforces and shares with a wide audience a knowledge that is widespread in the ocean conservation community, but not in the public at large.
However, overall Seaspiracy does more harm than good. It takes the very serious issue of the devastating impact of industrial fisheries on life in the ocean and then undermines it with an avalanche of falsehoods. It also employs questionable interviewing techniques, uses anti-Asian tropes, and blames the ocean conservation community, i.e., the very NGOs trying to fix things, rather than the industrial companies actually causing the problem.
Most importantly, it twists the narrative about ocean destruction to support the idea that we — the Netflix subscribers of the world — can save ocean biodiversity by turning vegan. In doing so, Seaspiracy undermines its tremendous potential value: to persuade people to work together, and push for change in policy and rules that will rein in an industry which often breaks the law with impunity.
Seaspiracy’s problem with facts
First, Seaspiracy has a problem with facts. An example is its claim that the oceans will be “empty” by 2048 if we keep fishing as we do now.
This claim is a misinterpretation of a now-dated research paper. Its authors had suggested that by 2048, all the world’s exploited fish populations would be so depleted by fishing that they would yield less than 10 percent of their historically highest catches. There are thousands of such fish populations throughout the world, which can be considered to have “collapsed,” but they are not gone, and they can recover. In fact, this is what current fisheries management in countries such as the US, which emphasizes stock rebuilding, is often about.
Another example is the confusion the film sows around fish bycatch and discards. The former are fish and other wildlife caught without having been targeted, and the latter are fish and other animals that are discarded after being caught.
Discards currently make up about 10 percent of the world’s catch, which is obscene when billions of people are food insecure. But this is also much lower than the 48 percent claimed in the film. That 48 percent, instead, is the bycatch rate, most of which consist of fish that were taken to market, although fishermen did not intend to catch them.
Yet another misleading claim in the film is that ocean plastic pollution consists mainly of lost or discarded fishing gear. This may have been true in the 1980s, particularly in the North Pacific, where the first studies of marine debris were conducted.
Nowadays, about 80 percent of plastic in the oceans comes from what we throw away on land: soda bottles, food packaging, tires, and so forth, while 20 percent comes from marine sources. Abandoned fishing nets — also known as “ghost nets” — are a real source of marine debris. But, it’s problematic that the filmmakers characterize attempts to reduce land-based ocean plastic pollution as trivial. They are not.
The most glaring factual error is the film’s claim that sustainable fishing does not exist. In fisheries science, we use the term maximum sustainable yield (MSY), which determines the maximum catch that can be sustainably extracted from a fishery.
While there are too many examples of unsustainable fishing around the world, there are also well managed fisheries that rely on data and science. These fisheries — which include European hake and yellowtail flounder on the Grand Banks in New England waters — can and do rebound to become sustainable and abundant.
Giving up seafood won’t save the oceans
But my main problem with Seaspiracy is that its makers want us to believe that not eating fish is the central way we should go about fixing the problems that industrial fishing creates for the oceans.
To opt for vegetarianism and veganism is a very respectable position, and it may (have to) become a majority decision in the coming years, to limit the climate crisis as well. But right now, this is a position that only a small fraction of the population of wealthier countries will take.
When you decide on an absurd policy, you must knock down the alternatives, however sensible they might be. And so, Seaspiracy attacks several of the NGOs in ocean conservation, including the Plastic Pollution Coalition and Oceana.
Disclosure: I have sat on Oceana’s board since it was founded. It has played a key role in advocating for policies that would impose limits on industrial fisheries, such as helping the World Trade Organization abolish the huge subsidies that industrial fisheries still receive from governments. It has also led successful efforts to fight seafood fraud and illegal fishing through robust traceability programs.
Asian people are not the enemy of ocean conservation
Another major problem I have with this film is how breezily it uses anti-Asian tropes to make its points. In this movie, everyone who is Asian is seemingly a villain: There is a Japanese fisher brandishing a knife as he approaches the camera, a shop owner shooing away the film’s narrator from his Hong Kong store, or the badly concealed and obviously Asian seafood trade show rep. This is in contrast to the overwhelmingly white Western defenders of the oceans, presented as experts or heroes astride their impressive ships.
I have lived in the Philippines for two decades and worked throughout Southeast Asia, and I know many ocean advocates there who are literally risking their lives to push ocean conservation forward. The plight of our oceans isn’t a new discovery for them, and it isn’t an Asians-versus-Westerners battleground. They are fighting to defend the right and ability of their communities to catch fish today and for generations to come.
Ultimately, this is a movie that forces the problems of global fisheries through a small, privileged lens to make the Europeans and North Americans who can give up fish feel guilty enough to do so. Unfortunately, much of the other 85 percent of the planet will continue to eat fish because many will not even know about, nor be able to afford, a wholesome vegan diet.
The message I wish the filmmakers had conveyed instead is that pushing for legislative changes and improved enforcement of existing laws is the best way to get involved. Just like the fight against tobacco in enclosed public places was won by smoking bans, and not by appeals to smokers, the fight against illegal fishing and the other shenanigans of the fishing industry will be won by political actions directed at governments, not appeals to vegans in New York, London, or Vancouver.
Governments make the decisions that shape the oceans, and 90 percent of the global fish catch is governed by just 30 countries and the European Union. Better policies can rebuild fisheries. The problem we face, really, is that not enough people are involved and helping to push for better decisions and better policies.
If Seaspiracy has made you aware of the problems facing the oceans, take action and join a NGO that’s fighting for change. As for this film, a better title would have been Marie Antoinette Goes To Sea.
Daniel Pauly is a marine biologist, fisheries scientist, and professor at the University of British Columbia and a member of the board of directors of Oceana.
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https://www.nationalgeographic.org/media/ocean-currents-and-climate/
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Ocean Currents and Climate
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Scientists across the globe are trying to figure out why the ocean is becoming more violent and what, if anything, can be done about it. Ocean currents, including the ocean conveyor belt, play a key role in determining how the ocean distributes heat energy throughout the planet, thereby regulating and stabilizing climate patterns.
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Mass flows of water, or currents, are essential to understanding how heat energy moves between Earthâs water bodies, landmasses, and atmosphere. The ocean covers 71 percent of the planet and holds 97 percent of its water, making the ocean a key factor in the storage and transfer of heat energy across the globe. The movement of this heat through local and global ocean currents affects the regulation of local weather conditions and temperature extremes, stabilization of global climate patterns, cycling of gases, and delivery of nutrients and larva to marine ecosystems.
Ocean currents are located at the ocean surface and in deep water below 300 meters (984 feet). They can move water horizontally and vertically, which occurs on local and global scales. The ocean has an interconnected current, or circulation, system powered by wind, tides, Earthâs rotation (Coriolis effect), the sun (solar energy), and water density differences. The topography and shape of ocean basins and nearby landmasses also influence ocean currents. These forces and physical characteristics affect the size, shape, speed, and direction of ocean currents.
Surface ocean currents can occur on local and global scales and are typically wind-driven, resulting in horizontal and vertical water movement. Horizontal surface currents that are local and typically short term include rip currents, longshore currents, and tidal currents. In upwelling currents, vertical water movement and mixing brings cold, nutrient-rich water toward the surface while pushing warmer, less dense water downward, where it condenses and sinks. This creates a cycle of upwelling and downwelling. Prevailing winds, ocean-surface currents, and the associated mixing influence the physical, chemical, and biological characteristics of the ocean, as well as global climate.
Deep ocean currents are density -driven and differ from surface currents in scale, speed, and energy. Water density is affected by the temperature, salinity (saltiness), and depth of the water. The colder and saltier the ocean water, the denser it is. The greater the density differences between different layers in the water column, the greater the mixing and circulation. Density differences in ocean water contribute to a global-scale circulation system, also called the global conveyor belt.
The global conveyor belt includes both surface and deep ocean currents that circulate the globe in a 1,000-year cycle. The global conveyor beltâs circulation is the result of two simultaneous processes: warm surface currents carrying less dense water away from the Equator toward the poles, and cold deep ocean currents carrying denser water away from the poles toward the Equator. The oceanâs global circulation system plays a key role in distributing heat energy, regulating weather and climate, and cycling vital nutrients and gases.
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Dapper Danny Ocean (George Clooney) is a man of action. Less than 24 hours into his parole from a New Jersey penitentiary, the wry, charismatic thief is already rolling out his next plan. Following three rules: Don't hurt anybody, don't steal from anyone who doesn't deserve it, and play the game like you've got nothing to lose. Danny orchestrates the most sophisticated, elaborate casino heist in history.
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Let's keep in touch!
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Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
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https://en.wikipedia.org/wiki/List_of_genres
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List of genres
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List of different types of entertainment
This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources.
This is a list of genres of literature and entertainment (film, television, music, and video games), excluding genres in the visual arts.
Genre is the term for any category of creative work, which includes literature and other forms of art or entertainment (e.g. music)—whether written or spoken, audio or visual—based on some set of stylistic criteria. Genres are formed by conventions that change over time as new genres are invented and the use of old ones are discontinued. Often, works fit into multiple genres by way of borrowing and recombining these conventions.
Literary genres
[edit]
Further information: Literary genre
For a more comprehensive list, see List of writing genres.
Action
[edit]
An action story is similar to adventure, and the protagonist usually takes a risky turn, which leads to desperate situations (including explosions, fight scenes, daring escapes, etc.). Action and adventure are usually categorized together (sometimes even as "action-adventure") because they have much in common, and many stories fall under both genres simultaneously (for instance, the James Bond series can be classified as both).
Military fiction: A story about a war or battle that can either be historical or fictional. It usually follows the events a certain warrior goes through during the battle's events.
Spy fiction: A story about a secret agent (spy) or military personnel member who is sent on an espionage mission. Usually, they are equipped with special gadgets that prove useful during the mission, and they have special training in things such as unarmed combat or computer hacking. They may or may not work for a specific government.
Adventure
[edit]
An adventure story is about a protagonist who journeys to epic or distant places to accomplish something. It can have many other genre elements included within it, because it is a very open genre. The protagonist has a mission and faces obstacles to get to their destination. Also, adventure stories usually include unknown settings and characters with prized properties or features.
Superhero fiction: a story that examines the adventures of costumed crime fighters known as superheroes, who often possess superhuman powers and battle similarly powered criminals, known as supervillains.
Swashbuckler
Ruritanian romance: a genre of swashbuckling adventure novels, set in a fictional country, usually in Central Europe or Eastern Europe
Picaresque: a genre featuring a roguish protagonist in a series of loosely connected adventures using his wits to get by in a corrupt society.
Comedy
[edit]
Comedy is a story that tells about a series of funny, or comical events, intended to make the audience laugh. It is a very open genre, and thus crosses over with many other genres on a frequent basis.
Comedy of manners: A work that satirizes the manners and affectations of a social class, often represented by stock characters. The plot of the comedy is often concerned with an illicit love affair or some other scandal, but is generally less important than its witty dialogue. This form of comedy has a long ancestry, dating back at least as far as Shakespeare's Much Ado about Nothing.
Comic fantasy: A subgenre of fantasy that is primarily humorous in intent and tone. Usually set in imaginary worlds, comic fantasy often includes puns on and parodies of other works of fantasy. It is sometimes known as low fantasy in contrast to high fantasy, which is primarily serious in intent and tone. The term "low fantasy" is also used to represent other types of fantasy, so while comic fantasies may also correctly be classified as low fantasy, many examples of low fantasy are not comic in nature.
Dark comedy: A parody or satirical story that is based on normally tragic or taboo subjects, including death, murder, suicide, illicit drugs, and war. So-called "dead baby comedy" sometimes falls under this genre.
Science fiction comedy: A comedy that uses science fiction elements or settings, often as a lighthearted (or occasionally vicious) parody of the latter genre.
Satire: Often strictly defined as a literary genre or form, though in practice it is also found in the graphic and performing arts. In satire, human or individual vices, follies, abuses, or shortcomings are held up to censure by means of ridicule, derision, burlesque, irony, or other methods, ideally with the intent to bring about improvement. Satire is usually meant to be funny, but its purpose is not primarily humor as an attack on something the author disapproves of, using wit. A common, almost defining feature of satire is its strong vein of irony or sarcasm, but parody, burlesque, exaggeration, juxtaposition, comparison, analogy, and double entendre all frequently appear in satirical speech and writing. The essential point, is that "in satire, irony is militant;" this "militant irony" (i.e., sarcasm) often professes to approve (or at least accept as natural) the very things the satirist actually wishes to attack.
Absurdist and surrealist: closely related/overlapping genres that challenge casual and rudimentary reasoning and even the most basic purposefulness found within life. There is often, though not always, a connection to comedy.
The absurdist genre focuses on the experiences of characters in situations where they cannot find any inherent purpose in life, most often represented by ultimately meaningless actions and events that call into question the certainty of existential concepts such as truth or value. Elements common to this genre include satire, dark humor, incongruity, the abasement of reason, and controversy regarding the philosophical condition of being "nothing".[1]
The surreal genre is predicated on deliberate violations of causality, producing events and behaviours that are obviously illogical. Constructions of surreal humour tend to involve bizarre juxtapositions, non-sequiturs, irrational, or absurd situations and expressions of nonsense.
Whimsical: this genre has to do with a sense of eccentric or quirky humor. Related styles exaggerate real life in a whimsical, eccentric, quirky or fanciful way, sometimes.
Speculative evolution is a subgenre of speculative fiction and science fiction focuses into hypotethical forms of biology, evolution and zoology.
Crime and mystery
[edit]
A crime story is often about a crime that is being committed or was committed, but can also be an account of a criminal's life. A mystery story follows an investigator as they attempt to solve a puzzle (often a crime). The details and clues are presented as the story continues and the protagonist discovers them and by the end of the story the mystery is solved. For example, in the case of a crime mystery, the perpetrator and motive behind the crime are revealed and the perpetrator is brought to justice. Mystery novels are often written in series, which facilitates a more in-depth development of the primary investigator.[2][3]
Cozy mysteries
Detective story: A story about a detective or person, either professional or amateur, who has to solve a crime that was committed. They must figure out who committed the crime and why. Sometimes, the detective must figure out 'how' the criminal committed the crime if it seems impossible.
Whodunit: This is a complex, plot-driven variety of the detective story in which the audience is given the opportunity to engage in the same process of deduction as the protagonist throughout the investigation of a crime. The reader or viewer is provided with the clues from which the identity of the perpetrator may be deduced before the story provides the revelation itself at its climax. The investigation is usually conducted by an eccentric amateur or semi-professional detective.
Gentleman thief: Centers around particularly well-behaving and apparently well-bred thieves. They rarely bother with anonymity or force, preferring to rely on their charisma, physical attractiveness, and clever misdirection to steal the most unobtainable objects – sometimes for their own support, but mostly for the thrill of the act itself.
Gong'an fiction: A subgenre of historical crime fiction that involves government magistrates who solve criminal cases.
Legal thriller: This subgenre of thriller and crime fiction presents stories in which the major characters are lawyers, judges, and/or their employees. Examples include Primal Fear (1993) and Blood Defense (2016).
Locked-room mysteries
Murder mystery: A mystery story that focuses on homicides. Usually, the detective must figure out who killed one or several victims. They may or may not find themselves or loved ones in danger because of this investigation. The genre often includes elements of the suspense story genre, or of the action and adventure genres.
Noir fiction
Hardboiled: This is a literary genre sharing the setting with crime fiction (especially detective stories). Though deriving from the romantic tradition—which emphasized the emotions of apprehension, horror and terror, and awe—hardboiled fiction deviates from the tradition in the detective's cynical attitude towards those emotions. The attitude is conveyed through the detective's self-talk describing to the reader what he is doing and feeling.
Death game
[edit]
The death game genre is a race where participants compete against each other for their lives in a series of escalating challenges until the fittest survivor(s) are left.[4] The genre has been widely popularized in films such as The Hunger Games (2008), Saw (2004) and Battle Royale (2000); TV series such as The Squid Game (2021), Alice in Borderland (2020) and Mirai Nikki (2012), reality TV shows such as Physical 100 (2023) and Survivor (1992), video games such as Danganronpa (2010) and literature such as Lord of the Flies (1954). The death game genre is a metaphor for the value ascribed to human life against the power dynamics in-play throughout human civilization.[5]
Fantasy
[edit]
A fantasy story is about magic or supernatural forces, as opposed to technology as seen in science fiction. Depending on the extent of these other elements, the story may or may not be considered to be a "hybrid genre" series; for instance, even though the Harry Potter series canon includes the requirement of a particular gene to be a wizard, it is referred to only as a fantasy series.
Accidental travel, a genre in which protagonists accidentally find themselves outside of their normal place or time, often for no apparent reason, a particular type of the “fish-out-of-water” plot; an umbrella term for accidental time travel, portal fantasy, isekai, alien abduction fantasy, and the likes.
Bangsian: A fantasy subgenre that concerns the use of famous literary or historical individuals and their interactions in the afterlife. It is named for John Kendrick Bangs, who often wrote in this genre.
Contemporary fantasy (aka modern fantasy or indigenous fantasy): A subgenre of fantasy, set in the present day. These are used to describe stories set in the putative real world (often referred to as consensus reality) in contemporary times, in which magic and magical creatures exist, either living in the interstices of our world or leaking over from alternate worlds.
Urban fantasy: A subgenre of fantasy defined by place; the fantastic narrative has an urban setting. Many urban fantasies are set in contemporary times and contain supernatural elements. However, the stories can take place in historical, modern, or futuristic periods, as well as fictional settings. The prerequisite is that they must be primarily set in a city.
Dark fantasy: A subgenre of fantasy that can refer to literary, artistic, and filmic works that combine fantasy with elements of horror. The term can be used broadly to refer to fantastical works that have a dark, gloomy atmosphere or a sense of horror and dread and a dark, often brooding, tone.
Fables: A type of narration demonstrating a useful truth. Animals speak as humans, legendary, supernatural tale.
Fairy tales: A folk genre about various magical creatures, environments, et cetera. Many fairy tales are generally targeted for children.
Hard fantasy: Fantasy where the world and its magical elements are constructed in a logical and rational manner.
Epic/High fantasy: Mythical stories with highly developed characters and story lines. Examples include Malazan Book of the Fallen and The Lord of the Rings.
Heroic fantasy: Subgenre of fantasy that chronicles the tales of heroes in imaginary lands. Frequently, the protagonist is reluctant to be a champion, is of low or humble origin, and has royal ancestors or parents but does not know it. Though events are usually beyond their control, they are thrust into positions of great responsibility where their mettle is tested in a number of spiritual and physical challenges.
Historical fantasy: A category of fantasy and genre of historical fiction that incorporates fantastic elements (such as magic) into the historical narrative.
Legends: Stories, oftentimes of a national hero or other folk figure, which have a basis in fact, but also contain imaginative material.
Literary fairy tale, a literary counterpart of fairy tales
LitRPG: A world that resembles a table-top or computer RPG, usually with ranks or levels in universe.
Magical girl: Popular in Japan, this subgenre is of girls who use magic in either their training, idol stardom, or even to fight evil.
Magic realism (aka magical realism): literary works where magical events form part of ordinary life. The reader is forced to accept that abnormal events such as levitation, telekinesis and talking with the dead take place in the real world. The writer does not invent a new world or describe in great detail new creatures, as is usual in Fantasy; on the contrary, the author abstains from explaining the fantastic events to avoid making them feel extraordinary. It is often regarded as a genre exclusive to Latin American literature, but some of its chief exponents include English authors. One Hundred Years of Solitude, by Gabriel García Márquez, who received the 1982 Nobel Prize in Literature, is considered the genre's seminal work of style.
Mythic fiction: Literature that is rooted in, inspired by, or that in some way draws from the tropes, themes and symbolism of myth, folklore, and fairy tales.[6] The term is widely credited to Charles de Lint and Terri Windling. Mythic fiction overlaps with urban fantasy and the terms are sometimes used interchangeably, but mythic fiction also includes contemporary works in non-urban settings. Mythic fiction refers to works of contemporary literature that often cross the divide between literary and fantasy fiction.
Portal fantasy: In portal fantasy, a character travels to the fantastical world from another, usually less-fantastical one.
Isekai: A Japanese form of portal fantasy which can typically—though not always—also follow many of the conventions of the LitRPG (such as a character entering into the world of a game).
Science fantasy: A story with mystical elements that are scientifically explainable, or that combine science fiction elements with fantasy elements. (Science fiction was once referred to by this name, but that it no longer denotes that genre, and has somewhat fallen out of favor as a genre descriptor.)
Sword and planet: A subgenre of science fantasy that features rousing adventure stories set on other planets, and usually featuring Earthmen as protagonists. There is a fair amount of overlap between "sword and planet" and the "planetary romance" subgenre of sci-fi, though some works are considered to belong to one and not the other. In general, the latter is considered to be more of a "space opera" subgenre, influenced by the likes of A Princess of Mars yet more modern and technologically savvy, while "sword and planet" more directly imitates the conventions established by Burroughs in the Barsoom series.
Dying Earth: A subgenre of science fantasy that takes place either at the end of life on Earth or the end of time, when the laws of the universe themselves fail. More generally, the Dying Earth subgenre encompasses science fiction works set in the far distant future in a milieu of stasis or decline. Themes that tend to predominate this genre include those of world-weariness, innocence (wounded or otherwise), idealism, entropy, (permanent) exhaustion/depletion of many or all resources (such as soil nutrients), and the hope of renewal.
Gaslamp fantasy: Fantasy's counterpart to steampunk, in which the settings are often Victorian or Edwardian socially or technologically, but with non-scientific elements or characters included.
Shenmo: A genre of fantasy that revolves around the gods and monsters of Chinese mythology.
Sword and sorcery: A blend of heroic fantasy, adventure, and frequent elements of the horrific in which a mighty barbaric warrior hero is pitted against both human and supernatural adversaries. Robert E. Howard, creator of Conan the Cimmerian, Kull of Atlantis, the Pictish king Bran Mak Morn, et cetera, is generally acknowledged as the founder of the genre, chiefly through his writings for Weird Tales and other 1920s/30s pulp magazines.
Historical
[edit]
A story about a real person or event. There are also some fiction works that purport to be the "memoirs" of fictional characters as well, done in a similar style, however, these are in a separate genre. Often, they are written in a text book format, which may or may not focus on solely that.
Biography: The details of the life story of a real person, told by someone else.
Autobiography: Essentially the same as a biography, with the exception that the story is written by the person who is the subject of the story.
Memoir: Similar to autobiography, with the exception that it is told more "from memory", i.e. it is how the person personally remembers and feels about their life or a stage in their life, more than the exact, recorded details of that period. Though memoirs are often more subjective than autobiography works, memoirs are generally still considered to be nonfiction works.
Historical fiction
[edit]
Main article: Historical fiction
The historical fiction genre includes stories that are about the past. It takes place in the real world, with real world people, but with several fictionalized or dramatized elements. To distinguish historical fiction from any fiction that is written about an era in the past, the criterion is that the book must have been written about a time that occurred in a historical context in relation to the author of the book.[7][8] The criterion that the story be set before the middle of the previous century is sometimes added.[8] Historical fiction stories include historical details and includes characters that fit into the time period of the setting, whether or not they are real historical people.[7] This may or may not crossover with other genres; for example, fantasy fiction or science fiction may play a part, as is the case for instance with the novel George Washington's Socks, which includes time travel elements.
Alternate history: A more extreme variant of historical fiction that posits a "what if" scenario in which some historical event occurs differently (or not at all), thus altering the course of history; for instance, "What if Nazi Germany had won World War II?" is an alternate history concept that has had treatment in fiction, such as in The Man in the High Castle (1962). Alternate History is sometimes (though not universally) referred to as a subgenre of science fiction or speculative fiction, and like historical fiction, may include more fantastical elements (e.g., the Temeraire series uses the fantasy element of dragons to create an Alternate History plot set during the Napoleonic Era).
Counterfactual history (aka virtual history): This is a recent form of historiography that attempts to answer counterfactual "what if" questions. It seeks to explore history and historical incidents by means of extrapolating a timeline in which certain key historical events did not happen or had a different outcome. This exercise ascertains the relative importance of the event, incident or person the counter-factual hypothesis negates.
Period piece: This type features historical places, people, or events that may or not be crucial to the story. Because history is merely used as a backdrop, it may be fictionalized to various degrees, but the story itself may be regarded as "outside" history. Genres within this category are often regarded as significant categories in themselves.
Jidaigeki: A story usually set in the Edo period of Japanese history, from 1603 to 1868.
Horror
[edit]
A horror story is told to deliberately scare or frighten the audience, through suspense, violence or shock. H. P. Lovecraft distinguishes two primary varieties in the "Introduction" to Supernatural Horror in Literature: 1) Physical Fear or the "mundanely gruesome;" and 2) the true Supernatural Horror story or the "Weird Tale". The supernatural variety is occasionally called "dark fantasy", since the laws of nature must be violated in some way, thus qualifying the story as "fantastic".
Ghost story: A story about the intrusion of the spirits of the dead into the realm of the living. There are subgenres: The Traditional Haunting, Poltergeists, The Haunted Place or Object (i.e. the hotel in Stephen King's The Shining), or the etching in "The Mezzotint" by M. R. James,[9] etc. Some would include stories of Revenants such as "The Monkey's Paw" by W. W. Jacobs.[10]
Gothic fiction: An atmospheric supernatural tale centered on a fear of the taboo and unknown. Lurid secrets and personal tragedies are common in stories in which the past returns to haunt the present, thematically reflected in the genre's crumbling, decayed architecture. The Castle of Otranto (1764) by Horace Walpole exemplifies the heightened emotion and foreboding tone of the genre.
Monster: A story about a monster, creature, or mutant that terrorizes people. Mary Shelley's novel Frankenstein is an example of a story with a monstrous "creature" (Frankenstein is often also considered the first science fiction story, in that it depicts biological science reanimating the dead). Other clear Monster stories are of the creatures of folklore and fable: the Ghoul, the Werewolf, and the Zombie.
Vampire literature: A story about vampires, reanimated bodies that feed on the blood of the living, based on European folklore. Bram Stoker's Dracula (1897) created many of the genre's conventions.
Jiangshi fiction: Stories about jiangshi, the hopping corpses under the control of Taoist priests derived from Chinese literature and folklore.
Occult stories: Stories that touch upon the adversaries of Good, especially the "Enemies" of the forces of righteousness as expressed in any given religious philosophy. Hence, stories of devils, demons, demonic possession, dark witchcraft, evil sorcerers or warlocks, and figures like the Antichrist would qualify. The nature of such stories presupposes the existence of the side of Good and the existence of a deity to be opposed to the forces of Evil.
Survival horror: A horror story about a protagonist in a risky and life-threatening situation that they must endure, often as a result of things such as zombies or other monsters, and the rest of the plot is how the main characters overcome this.
Romance
[edit]
Main article: Romance fiction
The term romance has multiple meanings; for example, historical romances like those of Walter Scott would use the term to mean "a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents".[11]
Most often, however, a romance is understood to be "love stories", emotion-driven stories that are primarily focused on the relationship between the main characters of the story. Beyond the focus on the relationship, the biggest defining characteristic of the romance genre is that a happy ending is always guaranteed,[12][13] perhaps marriage and living "happily ever after", or simply that the reader sees hope for the future of the romantic relationship.[13]
Due to the wide definition of romance, romance stories cover a wide variety of subjects and often fall into other genre categories in addition to romance.[12][13] Subgenres include:
Amish romance (aka bonnet rippers)
Contemporary romance
Fantasy romance
Medical romance: For example, novels by Lucilla Andrews.
Paranormal romance
Regency romance
Romantic thriller (or romantic suspense)
Satire
[edit]
In satire, human or individual vices, follies, abuses, or shortcomings are held up to censure by means of ridicule, derision, burlesque, irony, or other methods, ideally with the intent to bring about improvement.
Satire is usually meant to be funny, but its purpose is not primarily humour as an attack on something the author disapproves of, using wit. A common, almost defining feature of satire is its strong vein of irony or sarcasm, but parody, burlesque, exaggeration, juxtaposition, comparison, analogy, and double entendre all frequently appear in satirical speech and writing. The essential point, is that "in satire, irony is militant". This "militant irony" (or sarcasm) often professes to approve (or at least accept as natural) the very things the satirist actually wishes to attack.
Often strictly defined as a literary genre or form, though in practice it is also found in the graphic and performing arts.
Science fiction
[edit]
Main article: Science fiction
Science fiction (once known as scientific romance) is similar to fantasy, except stories in this genre use scientific understanding to explain the universe that it takes place in. It generally includes or is centered on the presumed effects or ramifications of computers or machines; travel through space, time or alternate universes; alien life-forms; genetic engineering; or other such things. The science or technology used may or may not be very thoroughly elaborated on.
Apocalyptic and post-apocalyptic fiction: concerned with the end of civilization, either through nuclear war, plague, or some other general disaster. Post-apocalyptic fiction is set in a world or civilization after such a disaster. The time frame may be immediately after the catastrophe, focusing on the travails or psychology of survivors, or considerably later, often including the theme that the existence of pre-catastrophe civilization has been forgotten (or mythologized). Post-apocalyptic stories often take place in an agrarian, non-technological future world, or a world where only scattered elements of technology remain. There is a considerable degree of blurring between this form of science fiction and fiction that deals with false utopias or dystopic societies.
Hard science fiction: stories whose scientific elements are reasonably detailed, well-researched and considered to be relatively plausible given current knowledge and technology. Examples include Jurassic Park (1990) and Prey (2002).
Soft science fiction: stories in which the science involved is not detailed, typically dealing more with cultural, social, and political interactions.
Comic science fiction: exploits the genre's conventions for comic effect.
Military science fiction: in essence, the addition of science fiction elements into a military fiction story. These stories are told from the point of view of the military, or a main character who is a soldier in the military. It usually includes technology far superior to that of current day, but not necessarily implausible. (Some military science fiction stories fit at least somewhat into the "hard science fiction" subgenre as well.)
Feminist science fiction: tends to deal with women's roles in society. It poses questions about social issues such as how society constructs gender roles, the role reproduction plays in defining gender and the unequal political, economic and personal power of men and women. Some of the most notable feminist science fiction works have illustrated these themes using utopias to explore a society in which gender differences or gender power imbalances do not exist, or dystopias to explore worlds in which gender inequalities are intensified, thus asserting a need for feminist work to continue.
Libertarian science fiction: focuses on the politics and social order implied by libertarian philosophies with an emphasis on individualism and a limited state – and in some cases, no state whatsoever. As a genre, it can be seen as growing out of the 1930s and 1940s, when the science-fiction pulp magazines were reaching their peak at the same time as fascism and communism. While this environment gave rise to dystopian novels such as George Orwell's Nineteen Eighty-Four, in the pulps, this influence more often give rise to speculations about societies (or sub-groups) arising in direct opposition to totalitarianism.
Social science fiction: concerned less with the scientific background and more with sociological speculation about human society. In other words, it "absorbs and discusses anthropology", and speculates about human behavior and interactions. Exploration of fictional societies is one of the most interesting aspects of science fiction, allowing it to perform predictive and precautionary functions, to criticize the contemporary world and to present solutions, to portray alternative societies and to examine the implications of ethical principles.
Space opera: a story characterized by the extent of space travel and distinguished by the amount of time that protagonists spend in an active, space-faring lifestyle.
Science fiction Western: stories in which elements of science fiction are introduced in a Western setting. It is the complement of the 'space Western', which transposes Western elements into the setting of outer space. One example of a sci-fi Western would be the Cowboys & Aliens comics. they are different from Space Westerns, which are frontier stories indicative of American Westerns, except transposed to a backdrop of space exploration and settlement.
Planetary romance: the bulk of the action consists of adventures on one or more exotic alien planets, characterized by distinctive physical and cultural backgrounds. Some planetary romances take place against the background of a future culture where travel between worlds by spaceship is commonplace; others, particularly the earliest examples of the genre, do not, and invoke flying carpets, astral projection, or other methods of getting between planets. In either case, the planetside adventures are the focus of the story, not the mode of travel.
Space Western: transposes themes of the American-Western genre to a backdrop of futuristic space frontiers. It is the complement of the 'science fiction Western', which transposes science fiction themes onto an American Western setting.
Cyberpunk and derivatives
[edit]
Cyberpunk is a speculative subgenre of scifi that involves stories with a futuristic storyline dealing with people who have been physically or mentally enhanced with cybernetic components, often featuring cyborgs or the singularity as a major theme, and generally somewhat cynical or dystopian (hence the "punk" portion of the name). This is often confused or placed with techno-thriller, which is actually a separate and less specialized genre.
Postcyberpunk: a sub-subgenre that some critics suggest has evolved from cyberpunk. Like its predecessor, postcyberpunk focuses on technological developments in near-future societies, typically examining the social effects of a ubiquitous datasphere of computerized information, genetic engineering, modification of the human body, and the continued impact of perpetual technological change. Unlike "pure" cyberpunk, the works in this category feature characters who act to improve social conditions or at least protect the status quo from further decay.
A category of several different subgenres have been derived from cyberpunk, normally characterized by distinct technologies and sciences. The themes tend to be cynical or dystopian, and typically involve a person, or group of people, fighting the corruption of the government.
Retropunk: As a wider variety of writers began to work with cyberpunk concepts, new subgenres of science fiction emerged, playing off the cyberpunk label, and focusing on technology and its social effects in different ways. Many derivatives of cyberpunk are retro-futuristic, based either on the futuristic visions of past eras, or more recent extrapolations or exaggerations of the actual technology of those eras.
Atompunk: relates to the pre-digital, cultural period of 1945–1965, which includes: mid-century Modernism; the 'Atomic' and 'Space' Ages; post-war Communism and paranoia in the US along with Soviet styling; underground cinema; Googie architecture; the Space Race, Sputnik, and the Apollo 11 Moon landing; the golden-age of superhero comics; the rise of the American military–industrial complex; and radioactivity and the fall-out of Chernobyl. Communist analog atompunk is an ultimate lost world. The Fallout series of computer games is an example of atompunk.
Dieselpunk: Initially proposed as a genre by the creators of the role-playing game Children of the Sun, dieselpunk refers to fiction inspired by mid-century pulp stories, based on the aesthetics of the interbellum period through World War II (c. 1920–1945). Seemingly similar to steampunk in its themes of alternate history, dieselpunk is specifically characterized by the rise of petroleum power and technocratic perception, incorporating neo-noir elements and sharing themes more clearly with cyberpunk than steampunk. Some literature considered to be dieselpunk include The Man in the High Castle (1962), Fatherland (1992), The Plot Against America (2004), and Harry Turtledove's The War That Came Early series.
Steampunk: A story that takes place around the time steam power was first coming into use. The Industrial Revolution is a common time setting for steam punk stories, and the steam technology is often actually more advanced than the real technology of the time (for instance, the manga Steam Detectives features steam-powered robots). The most immediate form of steampunk subculture is the community of fans surrounding the genre. Others move beyond this, attempting to adopt a "steampunk" aesthetic through fashion, home decor and even music.
Clockpunk: This term has occasionally referred to a subgenre of speculative fiction that is similar to steampunk, but deviates in its technology. As with steampunk, it portrays advanced technology based on pre-modern designs, but rather than the steam power of the Industrial Age, the technology used is based on springs, clockwork and similar. Clockpunk is based very intensively on the works of Leonardo da Vinci and as such, it is typically set during the Renaissance. It is regarded as being a type of steampunk.
Mannerpunk: Also known as fantasy of manners, this subgenre combines tropes from traditional fantasy and the comedy of manners. Commonly shorthanded as "Jane Austen meets J.R.R. Tolkien," mannerpunk stories take place within an elaborate social hierarchy, with themes of class warfare and political intrigue, and battles of wits are more frequent than battles of arms. Magic and futuristic technology is rare or nonexistent in a typical mannerpunk setting, with fantastical trappings such as dragons and airships integrated into ordinary society. Swordspoint (1987) by Ellen Kushner was the first work to be labeled as mannerpunk.
Biopunk: A story that is about genetics and biological research (often falling under the horror category). It often focuses on some harmful effects characters have created when they change an animal's code to (unintentionally) create a violent monster. Biopunk emerged during the 1990s and depicts the underground of the biotechnological revolution that was expected to start having a profound impact on humanity in the first half of the 21st century. Biopunk fiction typically describes the struggles of individuals or groups, often the product of human experimentation, against a backdrop of totalitarian governments or megacorporations that misuse biotechnologies for social control or profiteering. Unlike cyberpunk, it builds not on information technology but on synthetic biology.
Nanopunk: similar to bio-punk, but depicts a world where the use of biotechnologies are limited or prohibited, so only nanotechnologies in wide use (while in biopunk bio- and nanotechnologies often coexist). Currently the genre is more concerned with the artistic and physiological impact of nanotechnology, than of aspects of the technology itself, which is still in its infancy. Unlike the cyberpunk, a low-life yet technologically advanced character, the personification of a nanopunk can be set 'hard' or 'soft', depending on your views of the impact nanotechnology will have on our future.
Solarpunk: A genre that envisions how the future might look if humanity succeeded in solving major contemporary challenges with an emphasis on sustainability problems such as climate change and pollution. Although solarpunk is highly concerned with technology, it also embraces low-tech ways of living sustainably such as gardening, positive psychology, and DIY culture.
~Punk: Other Punk settings can be described by taking many of the core themes of technological success of Steampunk and Cyberpunk, and replacing the theme's core item of interest, around which the story revolves. Examples Include Crystalpunk, Skypunk, and the afore mentioned Nanopunk.
Speculative
[edit]
Main article: Speculative fiction
Speculative fiction speculates about worlds that are unlike the real world in various important ways. In these contexts, it generally overlaps one or more of the following: science fiction, fantasy fiction, horror fiction, supernatural fiction, superhero fiction, utopian and dystopian fiction, apocalyptic and post-apocalyptic fiction, and alternate history.
Slipstream: Fantastic or non-realistic fiction that crosses conventional genre boundaries between science fiction/fantasy and mainstream literary fiction. The term slipstream was coined by cyberpunk author Bruce Sterling in an article originally published in SF Eye #5, July 1989. He wrote: "...this is a kind of writing which simply makes you feel very strange; the way that living in the 20th century makes you feel, if you are a person of a certain sensibility." Slipstream fiction has consequently been referred to as "the fiction of strangeness", which is as clear a definition as any others in wide use.
Supernatural fiction: exploits or requires as plot devices or themes some contradictions of the commonplace natural world and materialist assumptions about it. It includes the traditional ghost story. The Turn of the Screw by Henry James is an example of a work of literary fiction that is also largely concerned with supernatural fiction elements, making play of the possibility that they are psychological at root, but requiring the option that they are not for effect. The newer speculative fiction genres of horror fiction and fantasy fiction, growing out of some of the basic propositions and generic conventions, to a certain extent replaced it.
Superhero fiction: deals with superheroes, supervillains, super-powered humans, aliens, or mutants, and their adventures. Distinct from (but often derived from) comic books, animated films, and graphic novels, these are prose stories and full-length novels. Superhero fiction is a type of speculative fiction. The largest and longest running of the corporate series are those associated with the DC Universe and the Marvel Universe.
Utopian and dystopian fiction: The utopia and its offshoot, the dystopia, are genres of literature that explore social and political structures. Utopian fiction is the creation of an ideal world, or utopia, as the setting for a novel. Dystopian fiction is the opposite: creation of a nightmare world, or dystopia. Many novels combine both, often as a metaphor for the different directions humanity can take in its choices, ending up with one of two possible futures. Both utopias and dystopias are commonly found in science fiction and other speculative fiction genres, and arguably are by definition a type of speculative fiction. More than 400 utopian works were published prior to the year 1900 in the English language alone, with more than a thousand others during the 20th century.
Weird fiction: Speculative literature written in the late 19th and early 20th centuries. Weird fiction is distinguished from horror and fantasy in that it predates the niche marketing of genre fiction. Because genre or stylistic conventions had not been established, weird tales often blend the supernatural, mythical, and even scientific. British "weird" authors, for example, published their work in mainstream literary magazines even after American pulp magazines became popular. "Weird fiction" is chiefly a historical description for works through the 1930s, but the term has also been used since the 1980s, sometimes to refer to slipstream fiction that blends horror, fantasy, and science fiction.
Suppositional fiction is a subcategory in which stories and characters are constrained within an internally consistent world, but this category is not necessarily associated with any particular genre.[14][15][16] A work of suppositional fiction might be science fiction, alternate history, mystery, horror, or even suppositional fantasy, depending on the intent and focus of the author.
Thriller
[edit]
A thriller is a story that is usually a mix of fear and excitement. It has traits from the suspense genre and often from the action, adventure or mystery genres, but the level of terror makes it borderline horror fiction at times as well. It generally has a dark or serious theme, which also makes it similar to drama.
Disaster-thriller: A story about mass peril, where the protagonist's job is to both survive, and to save many other people from a grim fate, often a natural disaster such as a storm or volcanic eruption, but may also be a terrorist attack or epidemic of some sort.
Psychological thriller: emphasizes the psychological condition of the hero that presents obstacles to his objective, rather than the action. Some psychological thrillers are also about complicated stories that try to deliberately confuse the audience, often by showing them only the same confusing or seemingly nonsensical information that the hero gains.
Crime thriller: A story that revolves around the life of detectives, mobs, or other groups associated with criminal events in the story.
Techno-thriller: A story whose theme is usually technology, or the danger behind the technology people use, including the threat of cyber terrorism such as State of Fear.
Isekai
[edit]
Isekai (Japanese: 異世界, transl. "different world" or "otherworld") is a Japanese genre of speculative fiction—both portal fantasy and science fiction are included. It includes novels, light novels, films, manga, anime and video games that revolve around a displaced person or people who are transported to and have to survive in another world, such as a fantasy world, virtual world, or parallel universe. Isekai is one of the most popular genres of anime, and Isekai stories share many common tropes – for example, a powerful protagonist who is able to beat most people in the other world by fighting. This plot device typically allows the audience to learn about the new world at the same pace as the protagonist over the course of their quest or lifetime.[17]
Other
[edit]
Western: Stories in the Western genre are set in the American West, between the time of the Civil war and the early 20th century.[18] The setting of a wilderness or uncivilized area is especially important to the genre, and the setting is often described richly and in-depth. They focus on the adventure of the main character(s) and the contrast between civilization or society and the untamed wilderness, often featuring the characters working to bring civilization to the wilderness.[18][19]
This genre periodically overlaps with historical fiction, and while a more traditional definition of westerns is that of stories about lone men facing the frontier, more modern definitions and writings are often expanded to include any person or persons in this time period that feature a strong tone of the contrast between civilization and wilderness and emphasize the independence of the main character(s).[18]
Paranoid fiction: works of literature that explore the subjective nature of reality and how it can be manipulated by forces in power. These forces can be external, such as a totalitarian government, or they can be internal, such as a character's mental illness or refusal to accept the harshness of the world they live in.
Philosophical fiction: stories in which a significant proportion of the work is devoted to a discussion of the sort of questions normally addressed in discursive philosophy. These might include the function and role of society, the purpose of life, ethics or morals, the role of art in human lives, and the role of experience or reason in the development of knowledge. Philosophical fiction works would include the so-called novel of ideas, including a significant proportion of science fiction, utopian and dystopian fiction, and Bildungsroman. The modus operandi seems to be to use a normal story to simply explain difficult and dark parts of human life.
Bildungsroman: A coming-of-age novel presenting the psychological, moral and social shaping of the personality of a character, usually the protagonist. The genre arose during the German Enlightenment.
Political fiction is a subgenre of fiction that deals with political affairs. Political fiction has often used narrative to provide commentary on political events, systems and theories. Works of political fiction often "directly criticize an existing society or... present an alternative, sometimes fantastic, reality". Prominent pieces of political fiction have included the totalitarian dystopias of the early 20th century such as Jack London's The Iron Heel and Sinclair Lewis's It Can't Happen Here. Equally influential, if not more so, have been earlier pieces of political fiction such as Gulliver's Travels (1726), Candide (1759), and Uncle Tom's Cabin (1852). Political fiction frequently employs the literary modes of satire, often in the genres of utopian, dystopian, and social-science fiction.
Utopian fiction: The creation of an ideal world, or utopia, as the setting for a novel
Dystopian fiction: The creation of a nightmare world, or dystopia, as the setting for a novel
Social science fiction
Survivalism: The creation of world where traditional society has collapsed usually due to some post apocalyptic or doomsday scenario, as a setting for a novel
Sagas (from Icelandic saga, plural sögur): stories written in the Old Norse language, mainly in Iceland, that are about ancient Scandinavian and Germanic history, about early Viking voyages, about migration to Iceland, and of feuds between Icelandic families. The texts are epic tales in prose, often with stanzas or whole poems in alliterative verse embedded in the text, of heroic deeds of days long gone, tales of worthy men, who were often Vikings, sometimes Pagan, sometimes Christian. The tales are usually realistic, except legendary sagas, sagas of saints, sagas of bishops and translated or recomposed romances. They are sometimes romanticised and fantastic, but always dealing with human beings one can understand.
Family saga: The family saga chronicles the lives and doings of a family or a number of related or interconnected families over a period of time. In novels (or sometimes sequences of novels) with a serious intent, this is often a thematic device used to portray particular historical events, changes of social circumstances, or the ebb and flow of fortunes from a multiple of perspectives.
Urban fiction (aka street lit): a literary genre set, as the name implies, in a city landscape, as well as being defined by the race and culture of its characters. The tone for urban fiction is usually dark, focusing on the underside. Profanity (all of George Carlin's seven dirty words and urban variations thereof), sex and violence are usually explicit, with the writer not shying away from or watering-down the material. In this respect, urban fiction shares some common threads with dystopian or survivalist fiction. In the second wave of urban fiction, some variations of this model have been seen.
Film and television genres
[edit]
Further information: Film genre
While many genres of film and television originally derive from literature, genres in film and TV are also distinctly informed by audiovisual qualities, budgets, formats, and technologies. For that reason, film and TV genres may include additional categorical characteristics to consider, even diverging in some way from their literary counterparts altogether at times.
Scripted
[edit]
Anthology:
Anthology film: A film that consists of several different short films, usually connected only by a single theme, premise, or brief interlocking event. Examples include: The Ballad of Buster Scruggs (2018), New York Stories (1989), and Twilight Zone: The Movie (1983)
Anthology series: Presents a different story and a different set of characters in each episode. These usually have a different cast each week, but several series in the past, such as Four Star Playhouse, employed a permanent troupe of character actors who would appear in a different drama each week. Some anthology series, such as Studio One, began on radio and then expanded to television. Examples include: American Horror Story and American Crime Story.
Art film and quality television: Television shows like David Lynch's Twin Peaks series and BBC's The Singing Detective also have "a loosening of causality, a greater emphasis on psychological or anecdotal realism, violations of classical clarity of space and time, explicit authorial comment, and ambiguity".
Crime
Detective: a subgenre of crime and mystery in which an investigator or a detective—either professional or amateur—investigates a crime, often murder.
Gong'an
Film noir and neo-noir
Gangster: A genre that centers on organized crime or maverick criminals, typically in a 20th century setting.
Heroic bloodshed
Mafia: Films include The Godfather series and shows include The Sopranos.[20]
Mafia comedy
Mumbai underworld
Yakuza
Gokudō
Heist: A thriller in which a criminal or group of criminals conceives and executes a major robbery. The theft usually involves gaining access to valuables stored in a high-security location, and the thieves may or may not use subterfuge to trick their way into and/or out of the stronghold. Examples include the Ocean's films.
Hood film
Mystery
Poliziotteschi
Vigilante
Experimental: Subgenres include:
Absurdist: This subgenre focuses on characters who experience situations that descend into nihilism, i.e. situations that suggest there is no central purpose to life. Examples include: The Exterminating Angel (1962) and Brazil (1985).
Surrealist: The point of this subgenre is to not be stylistically defined, often using irrational imagery to activate the subconscious mind. There is often, though not always, a connection to comedy. Examples include: Eraserhead (1977) and 8 ½ (1963).
Exploitation film
Blaxploitation
Sexploitation
Gothic
Gothic romance
Gothic sci-fi
Southern gothic
Suburban gothic
Urban gothic
Fantasy (film and television): featuring elements of the fantastic, often including magic, supernatural forces, or exotic fantasy worlds.
Contemporary fantasy: Subgenre that introduces elements of fantasy into or around a world that closely resembles the time period when it was conceived. Example include: the Harry Potter films and The Chronicles of Narnia films.
Urban fantasy: A story with elements of fantasy that takes place and deals with concepts/themes related to an urban environment. Examples include the shows Buffy the Vampire Slayer and Supernatural.
Dark fantasy: A story depicting elements of fantasy in a hostile and frightening world. Examples include: Pan's Labyrinth (2006) and Solomon Kane (2009).
High fantasy (aka epic fantasy): The fantasy equivalent of a historical epic or a space opera, this subgenre portray elements of fantasy in a fictional setting, and will include romance, battles, and mythical creatures. Examples include: The Lord of the Rings films and the Game of Thrones TV series.
Fantasy comedy
Contemporary fantasy
Fairy tale
Fantastique
Historical fantasy
Magic realism
Science fantasy
Miniseries and Television movies
Musical film
Police procedural: This subgenre presents fictional drama the lives of police and/or detectives. Stories in this genre typically revolve around a crime that has been committed and must be solved by the end of the episode following a very generic and usually unchanging structure of events: the crime is committed, witnesses are questioned, an arrest occurs, and then a judicial conclusion wraps it up. The show communicates everything "by the book", as it would happen in real life. Examples include: Dragnet, which pioneered this genre; Law & Order, which follows officers up to the point of reading newly-arrested criminals their Miranda rights; and Dick Tracy (1990).
Romance: This genre is defined by intimate relationships
Gothic romance film
Paranormal romance
Period romance: A romance story defined by its setting in historical time period. Examples include films like Pride & Prejudice (2005) and Jane Eyre (2011), as well as shows like Bridgerton.
Romance drama: A story defined by the conflict generated from a romantic relationship. Examples include Revolutionary Road (2008) and Blue Valentine (2010).
Romantic thriller
Serial: A television show that is one continuous story. Each episode picks up from where the last one left off. The story may shift with a new season.
Dizi [tr]: A serial period or contemporary drama produced in Turkey and broadcast weekly in Turkey, the Balkans, the Middle East, Central Asia, and other regions. Depending on the audience, they may be dubbed or subtitled. Examples include: Muhteşem Yüzyıl, Binbir Gece and Gümüş. (See Turkish television drama.)
Soap opera: A genre of television in which shows usually come on every day of the week instead of once a week. Some can go on for over 50 years. Examples include: Guiding Light, As the World Turns, All My Children, Days of Our Lives, Doctors, EastEnders, General Hospital, The Young and the Restless and Coronation Street.
Mystery box show: A genre involving multiple complex plots about mysterious phenomena and entities that requires the audience to follow closely in an attempt to understand the central mystery or mysteries underlying the plot. These series often contain elements of science fiction or fantasy.
Social problem film: Examples include Mr. Smith Goes to Washington (1939)
Social thriller: One example is Get Out (2017)
Social: In Indian cinema terminology, social films (or simply socials) are films with a contemporary setting, as opposed to those with mythological and period settings.[21] (Not to be confused with social films.)
Sports: A genre in which protagonists play athletics or other games of competition.[20] Examples include films like Remember the Titans (2000) and The Longest Yard (2005), and shows like Friday Night Lights.
Telenovela: A serial melodrama, popular in Latin America and the Philippines, that are similar to a soap opera in miniseries format. They often feature love and drama, as well as other situations depending on the genre of telenovela. Examples include: Desire, Fashion House, and Wicked Wicked Games.
Téléroman: A popular French-language annual series in Canada (Quebec).
Thriller:
Mystery: As opposed to mystery in the crime genre, mystery thrillers do not involve or use law enforcement or the justice system as the main characters or backdrop for the story. Rather, a mystery here is defined by the plot, and both the character's and the viewer's relationship with the motivations and reality behind the events that occur. Films directed by M. Night Shyamalan are one example.
Political thriller
Psychological thriller: A story focusing and emphasizing the unstable psychological state of its characters. Commonly, there is a mysterious set of circumstances.
Techno thriller: This sub-genre is defined by a conflict that takes place for or through various forms of technology.
Action and adventure
[edit]
Action: works in this genre are generally defined by risk and stakes. Action films tend to feature a resourceful character struggling against life-threatening situations which generally conclude in victory for the hero. Subgenres include:
Superhero film
Disaster film
Girls with guns/swords: This is a subgenre of action films and animation (often Asian films and anime), that portray a strong female protagonist who makes use of firearms to defend against or attack a group of antagonists. The genre typically involves gun-play, stunts and martial arts action.
Heroic bloodshed
Spy: An action-centered narrative following a secret agent (spy) or military personnel member who is sent on an espionage mission. The genre focuses on the excitement and entertainment of espionage, rather than the political and psychological aspects. Examples include: the James Bond films, the Mission: Impossible films and TV series.
Wuxia action: A subgenre focused on martial arts. Examples include: Hero (2002) and Crouching Tiger, Hidden Dragon (2000).
Adventure: features the hero in action scenes that display and explore exotic locations. Main plot elements include quests for lost continents, a jungle or desert settings, characters going on a treasure hunts and heroic journeys into the unknown. Adventure films are mostly set in a period background and may include adapted stories of historical or fictional adventure heroes within the historical context. Kings, battles, rebellion or piracy are commonly seen in adventure films. Adventure films may also be combined with other movie genres such as, science fiction, fantasy and sometimes war films. Subgenres of adventure films include:
Swashbuckler
Pirate
Animation
[edit]
Further information: Animation
Although animation is listed under "genres" and is classified as a genre by many film critics and streaming services, there is an ongoing debate between the animation community and the general public whether animation is a genre or a medium; and that the genres in the "Live-action scripted" genre can also be portrayed in an animated format, and the below kinds of animation are not types of stories, but simply types of ways that a film can be animated.
The American Film Institute defines animated as "a genre in which the film's images are primarily created by computer or hand and the characters are voiced by actors".[20] This classification includes:
Traditional animation (aka cel animation): A way of animating a cartoon by drawing and painting pictures by hand. Examples include: Beauty and the Beast and Spirited Away.
Animated series: A work created or adapted with a common series title, usually related to one another and can appear as much as up to once a week or daily during a prescribed time slot. Animated cartoon series are also sometimes created outside of broadcast television, as was the case for the Tom and Jerry short films that appeared in movie theaters from 1961 to 1962. Series can have either a finite number of episodes like a miniseries, a definite end, or be open-ended, without a predetermined number of episodes. Examples include: SpongeBob SquarePants, The Simpsons, and Avatar: The Last Airbender.
Computer-generated imagery (CGI): A genre of animation that includes animating a cartoon on a computer modeling program. Models of characters or props are created on the computer, and then programmed to do something specific. Then, when the animation is completely programmed, the computer can play a completely computer generated movie. CGI is often used for the visual effects in Live Action films as well. Examples include: Up (2009) or Toy Story (1995).
Stop motion: similar to traditional animation; instead of using hand drawn pictures, stop motion films are made with small figurines or other objects that have their picture taken many times over a sequence of small movements to create animation frames. Examples include: The Nightmare Before Christmas (1993), Coraline (2009), and Corpse Bride (2005).
Claymation: A form of stop motion animation, except the subjects used are built specifically out of clay. Examples include: Chicken Run (2000) and Early Man (2018)
Puppetry: It is technically live action, but puppetry is a different way of "animating" a movie, and puppets are often used in lieu of live actors. Usually, there are small figurines or figures (similar to stop motion), but these are controlled and filmed in real time. Like CGI, puppetry can be found in live-action films as a method of achieving a special effect. Examples include: The Muppets, The Dark Crystal, and Thunderbirds.
Comedy
[edit]
Main articles: Comedy film and Television comedy
Action comedy: A subgenre of comedy that emphasizes physically humorous antics, unorthodox body-language and oftentimes exasperating situations. Jackie Chan is an example of an actor known in this genre.
Bromantic comedy: Examples include I Love You, Man (2009), Superbad (2007), and the Harold & Kumar films.[22][23]
Black comedy
Comedy drama (aka dramedy)
Comedy horror: Examples include Jennifer's Body (2009), Tucker & Dale vs. Evil (2010), and Housebound (2014).
Zombie comedy (aka zom com or zomedy): This is a genre that blends zombie horror motifs with slapstick comedy, as well as dark comedy. Examples include Shaun of the Dead (2004) and Zombieland (2009).
Comedy thriller
Commedia all'italiana
Commedia sexy all'italiana
Gross out
Mafia comedy
Mo lei tau
Mockumentary: A story that employs the style of the documentary to present fictional, and generally humorous, events or characters. Very common in film and television programs, both as a full film or series, or as a brief sequence or episode within a larger work. Examples include This Is Spinal Tap (1984) and Best in Show (2000).
Parody and spoof
Spoof talk shows: shows that seek to parody the formats of talk shows (particularly late-night) and public-access television, featuring interviews that are mostly scripted, shown in a humorous and satirical way, or engaging in subverting the norms of the format. Examples include: Space Ghost Coast to Coast, Tim and Eric Nite Live, Comedy Bang! Bang!, and The Eric Andre Show.
Romantic comedy (aka rom-com)
Comedy of remarriage (pre-code)
Sex comedy
Satire: a genre of literature and performing arts, in which vices, follies, abuses and shortcomings are held up to ridicule, ideally with the intent of shaming individuals, corporations, government, or society itself into improvement.
Screwball comedy
Silent comedy
Sitcom (situational comedy): A generally lighthearted genre that features characters having to deal with odd or uncomfortable situations or misunderstandings.
Sketch comedy
Slapstick: A type of comedy involving exaggerated physical violence and activities beyond the boundaries of common sense. These hyperbolic depictions are often found in children's media, and light comedies. Examples of actors in this genre include Charlie Chaplin and Lucille Ball.
Surreal humour: this genre uses humor to challenge casual and rudimentary reasoning and even the most basic purposefulness found within life.
Whimsical: this genre has to do with a sense of eccentric or quirky humor. Related styles exaggerate real life in a whimsical, eccentric, quirky or fanciful way, sometimes. Whimsical and related styles are exemplified by films such as Underground (1995), Amélie (2001), Micmacs (2009), and Dieta Mediterranea (2009).[24]
Devotional
[edit]
Also known as bhakti films, these are based on the lives of historical or legendary devotees.[25][26] A sub-type of this genre is the amman film, revolving around characters' worship to Amman, an incarnation of Shakti.[27]
Drama
[edit]
Main article: Drama (film and television)
Within film, television, and radio (but not theatre), drama is a genre of narrative fiction (or semi-fiction) intended to be more serious than humorous in tone,[28] focusing on in-depth development of realistic characters who must deal with realistic emotional struggles. A drama is commonly considered the opposite of a comedy, but may also be considered separate from other works of some broad genre, such as a fantasy.
Given the broad definition of the genre, listed below are subgenres of drama that are not as likely to be associated with an additional genre (such as comedy-drama befitting the comedy genre).
Docudrama: A work that dramatically recreates real-life accounts. These programs often depict crime or criminals but can also be used to depict heroics or tell a less-explored side of a well-known story. This genre is often criticized for creating sensationalized programs intended to capitalize on public interest in lurid news stories; in the case of the Scott Peterson murder trial, a docudrama (The Perfect Husband) was filmed and aired during jury deliberations. Examples include: Captain Phillips (2013); 127 Hours (2010); The Onion Field; and United 93, which depicts the events aboard United Airlines Flight 93 on September 11, 2001 via reconstruction from the available evidence.
Legal drama (aka courtroom drama): This genre presents fictional drama regarding the legal practice and is defined by lawyers and judges. Under this purview, law enforcement, lawyer work, civil litigation, etc., are all possible focuses of legal dramas. Legal thrillers can also be considered under this genre. Examples include: Law & Order (combination of legal and police drama, as the name suggests).
Trial film
Medical drama: Based around the inherent drama involved among the inner workings of hospitals, medics helping patients, doctors–medical staff relationships, and the medical industry. This also includes medical procedurals that follow the day-to-day life of health care professionals. Most commonly, an accident occurs that requires the medics to help the injured. Most are usually based around a hospital, with some based around a mobile medical team, etc. Examples include films like Bringing Out the Dead (1999); and TV shows like Casualty, ER, Holby City, and House.
Melodrama
Military drama
Philosophical drama: A genre of film and television that is primary focus is crime drama, that debates philosophies of the era depicted in film. Examples include shows like True Detective and Mindhunters.
Psychological drama: a sub-genre of drama that places emphasis told from the angle of different psychological conditions. Examples include: Requiem for a Dream, Neon Genesis Evangelion, Jagten, The Truman Show, and The Power of the Dog.
Political drama: a genre of films and TV shows that involve a political component, whether reflecting the creator's political opinion, or describing a politician or series of political events. Dramatists who have written political dramas include Aaron Sorkin, Robert Penn Warren, Sergei Eisenstein, Bertolt Brecht, Jean-Paul Sartre, Caryl Churchill, and Federico García Lorca. Television series that can be classified as political drama include: Yes Minister and its sequel Yes, Prime Minister, The West Wing, Borgen, Boss, Jack & Bobby, The Bold Ones: The Senator, Commander in Chief, and House of Cards.
Teen drama
Hindu mythology
[edit]
Refers to films based on Hindu mythology, literature and the Puranas. Also known as the puranic genre. Up to 1923, 70% of Indian films belonged to this genre. However, after a number of such films started failing, the film industry began experimenting with other genres such as historical dramas and "socials" – films with contemporary settings.[29][30][31]
Historical
[edit]
Main article: Historical film
This genre includes works that deal with historical accounts or fictional narratives placed inside a historical setting. Subgenres include:
Alternate history: A genre defined by the rewriting of historical events for the sake of speculative outcomes. Examples include films like Inglourious Basterds (2009) and shows like The Man in the High Castle.
Biopic: A story detailing the life of a real-life person, either spanning a large portion of the subject's life or focussing on a particular period of significance in that person's life. Examples include: A Beautiful Mind (2001) and Catch Me If You Can (2002)
Historical epic: The dramatized account of a large-scale event that has an attached historical account, often providing assumptions that fill in gaps in the account and/or revising the account in some way. Examples include: Ben-Hur (1959) and Troy (2004)
Historical event: focuses on a story that creates a dramatized depiction of an event that exists in popular accounts of history. One example is Apollo 13 (1995).
Historical fiction: A fictional story that takes place during a historical time period, commonly taking a more liberal approach to representing history for the sake of drama and entertainment. This subgenre may use real-life events and people to build context, but they are meant to be accepted as a supposition rather than serve as an accurate historical account. Examples include Titanic (1997).
Costume drama: A type of drama that especially relies on lavish costumes and designs. This type crosses over with many other genres.
Historical period drama (aka period piece): a film or show that is set in, and accurately depicts, a time period, rather than depicting specific real-life characters or events. A period piece may be set in a vague or general era such as the Middle Ages or a specific period such as the Roaring Twenties. Examples includes films like The Age of Innocence (1993) and Barry Lyndon (1975), as well as shows like Mad Men and The Alienist.
Horror
[edit]
Main articles: Horror film and Horror television
Horror is a genre in which works seek to elicit a negative emotional reaction from viewers by playing on the audience's primal fears.
Subgenres include:
Found footage: Works featuring footage that appears to be an existing and informal recording of events with the purpose of simulating real-life horrific events. Though it can be used for any genre, found footage is most commonly used in horror. Examples include The Blair Witch Project (1999) and V/H/S (2012).
Ghost: Works that use the spirit or soul of a deceased creature to introduce elements of horror. Examples include The Frighteners (1996) and The Others (2001).
Monster or 'Creature Features': A story about a deformed or supernatural creature or set of creatures that terrorizes people. The only real requirement of this genre is that the antagonist be categorized as a monster. Examples include The Mummy (1932), and Pumpkinhead (1988).
Giant monsters (kaiju): Films featuring giant monsters, typically those that are big enough to destroy buildings. Some such stories depict two giant monsters fighting each other. Examples include the Godzilla films and Cloverfield (2008).
Vampire: Stories in which a vampire(s) is the main antagonist. Examples include Interview with the Vampire (1994), Near Dark (1987), and most films depicting Dracula.
Werewolf films: Stories in which a werewolf, or werewolves, is the main antagonist. Examples include An American Werewolf in London (1981) and The Wolfman (1941).
Psychological horror: Examples include The Babadook (2014), The Silence of the Lambs (1991), and The Shining (1980).
Folk horror: Horror themed around folklore, often featuring rural isolated settings, witchcraft and cults. Examples include The Wicker Man (1973) and Midsommar (2019).
Satanic horror: depicts the devil and other associated wicked themes. Examples include The Exorcist (1973) and The Omen (1976).
Slasher: A horror genre featuring a serial killer or other psychopath as an antagonist, who methodically kills a number of protagonists in succession. Dramatic suspense is heightened by the victims' obliviousness of the killer. The victims are typically in isolated settings and often engaged in sexual activity previous to the attacks. The "slasher" kills their victims by sneaking up on them and then bloodily stabbing and slicing them to death with a sharp object, such as a chef's knife. Gender roles in slasher films are of particular interest in feminist film theory, which has extensively examined the trope of the 'final girl'. Examples of this genre include the Halloween films and The Texas Chainsaw Massacre films.
Splatter: A splatter story introduces elements of horror by focusing on the vulnerability of the human body, often involving torture and typically attempting to present gore as an art form. Examples include Day of the Dead (1985) and Jigoku (1960).
Zombie: Plots in this genre generally involve a group of characters trying to survive in a world overrun by zombies. The specific cause for the event ranges from infectious disease to experimental drugs gone wrong. Examples include films like the Night of the Living Dead series and 28 Days Later (2002), as well as shows like The Walking Dead.
Art horror
Body horror - Horror involving the graphic transformation or degradation of the human body. Examples include The Fly (1986) and The Human Centipede (2009).
Cannibal
Comedy horror: A fusion of horror settings and elements with the comedy genre. Usually, the primary focus is on humour rather than eliciting fear. Examples include Shaun of the Dead (2004) and Zombieland (2009).
Eco horror
Fantastique
Holiday horror
Horror drama
Lovecraftian horror
Mumblegore
Natural horror
Psycho-biddy
Religious horror
Sci-fi horror
Horror subgenres originating from specific countries include:
Chinese horror
German underground horror
Giallo
Japanese horror
Korean horror
New French Extremity
Science fiction
[edit]
Main articles: Science fiction film and Science fiction television
Subgenres include:
Cyberpunk: This subgenre is defined by a mixture of a desperate society oversaturated with the crime that takes place in a high-tech world that includes cybernetic organisms, virtual reality, and artificial intelligence. Examples include films like Blade Runner (1982) and Elysium (2013), as well as shows like Altered Carbon.
Dieselpunk: A derivative of cyberpunk, dieselpunk refers to fiction inspired by mid-century pulp stories, based on the aesthetics of the interbellum period through World War II (c. 1920–45). Seemingly similar to steampunk in its themes of alternate history, dieselpunk is specifically characterized by the rise of petroleum power and technocratic perception, incorporating neo-noir elements and sharing themes more clearly with cyberpunk than steampunk. Though the notability of dieselpunk as a genre is not entirely uncontested, installments ranging from the retro-futuristic film Sky Captain and the World of Tomorrow to the 2001 Activision video game Return to Castle Wolfenstein have been suggested as quintessential dieselpunk works of fiction.
Dystopian: A story that features a world or society that serves as a contradiction to an idyllic world. Often there is a centralized and oppressive government or religion that dictates the value of citizens on a dehumanizing level, and may or may not incorporate a destructive event that drove the creation of that centralized institution. Examples include Children of Men (2006) and Equilibrium (2002).
Military: A story defined by a strict focus on the military conflict in a speculative or future setting. As opposed to films that merely include space warfare, a military sci-fi story is limited to themes and events directly tied to military service and battle. Examples include Starship Troopers (1997) and Arrival (2016).
Post apocalyptic: Stories based around the occurrence, effects, and struggle generated by an apocalyptic event. Examples include: 12 Monkeys (1995).
Space opera: Defined by a mixture of space warfare, travel, adventure, and romance. Examples include films like The Fifth Element (1997), shows like Star Blazers, and media franchises like Star Wars and Star Trek.
Science fiction Western: stories in which elements of science fiction are introduced in a Western setting. It is the complement of the 'space Western', which transposes Western elements into the setting of outer space. One example of a sci-fi Western would be Cowboys & Aliens (2011).
Planetary romance: the bulk of the action consists of adventures on one or more exotic alien planets, characterized by distinctive physical and cultural backgrounds. Some planetary romances take place against the background of a future culture where travel between worlds by spaceship is commonplace; others, particularly the earliest examples of the genre, do not, and invoke flying carpets, astral projection, or other methods of getting between planets. In either case, the planetside adventures are the focus of the story, not the mode of travel.
Space Western: transposes themes of the American-Western genre to a backdrop of futuristic space frontiers. It is the complement of the 'science fiction Western', which transposes science fiction themes onto an American Western setting. One example of this genre is the show Firefly.
Steampunk: This subgenre is inspired by technology created during the 19th century and the industrial revolution, and may be set in a speculative future, alternate universe, or revision of the 1800s. Examples include films like Howl's Moving Castle (2004) and Mortal Engines (2018), and shows like The Wild Wild West.
Tech noir: Defined by technology as the main source behind humanity's struggle and partial downfall; it is a hybrid of other works of fiction combining the film noir and science fiction or cyberpunk genres. It is a form of Neo-noir concentrating more on science fiction themes. The Terminator films are an example of this.
Utopian: This genre is defined by an idyllic world, generally with such themes as peace, harmony, and a world without hunger or homelessness. Examples include: Gattaca (1997) and Tomorrowland (2015)
Sci-fi comedy
Fantastique
Science fantasy
Gothic sci-fi
Sci-fi horror
New Wave sci-fi
Parallel universe
Tokusatsu
Western
[edit]
Main article: Western (genre)
This genre set in the American West and embody the spirit, the struggle and the demise of the new frontier.[20]
Subgenres include:
Epic Western: A story that emphasizes and incorporates many if not all of the elements of western genre, on a grand scale.
Empire Western: A story that follows a protagonist or a group of protagonists as they forge a large-scale business based on natural resources and land. It can also follow the creation of the railroad, or large-scale settlement.
Marshal Western: A story that follows a lawman as they attempt to track down, apprehend, and punish a criminal or group of gangsters.
Outlaw Western: A story that follows a criminal or group of criminals.
Revenge Western: A western where the protagonist seeks revenge.
Revisionist Western: A story that challenges and/or aims to disprove the notions propped up by traditional westerns.
Science fiction Western: stories in which elements of science fiction are introduced in a Western setting. It is the complement of the 'space Western', which transposes Western elements into the setting of outer space. One example of a sci-fi Western would be Cowboys & Aliens (2011).
Space Western: transposes themes of the American-Western genre to a backdrop of futuristic space frontiers. It is the complement of the 'science fiction Western', which transposes science fiction themes onto an American Western setting. One example of this genre is the show Firefly.
Spaghetti Western: Western movie subgenre which began in the mid-1960s and is characterized by novel cinematography and cost-saving overseas production techniques. These films were made in Europe, primarily Italy and Spain, and set in the American Old West. These films were typically helmed by an Italian producer and director, and made for a significantly lower budget than was possible domestically in the United States.
Unscripted
[edit]
By format and audience
[edit]
Amateur: The low-budget hobbyist art of film practised for passion and enjoyment and not for business purposes. A notable historical example is the Zapruder film (1963).
Children's series: Aimed at children and families.
Documentary: A feature-length or near-feature-length film depicting a real-world event or person, told in a journalistic style. (If told in a literary narrative style the result is often a docudrama.) Examples: Hoop Dreams and The Thin Blue Line (1988).
Educational: helps kids learn their basics to go through school.
Factual television: non-fiction television programming that documents actual events and people. These type of programs are also described as documentary, television documentary, observational documentary, fly on the wall, docudrama, and reality television. The genre has existed in various forms since the early years of television, but the term factual television has most commonly described programs produced since the 1990s.
Television documentary: A genre of television programming that broadcasts documentaries.
Infomercials and Direct response TV (DRTV): These are television commercials that generally include a phone number or website. Long-form infomercials are typically between 15 and 30 minutes long, and short-form infomercials are typically 30 seconds to 120 seconds long. Infomercials are also known as paid programming (or teleshopping in Europe). This phenomenon started in the United States where infomercials were typically shown overnight (usually 2:00 a.m. to 6:00 a.m.), outside of prime time commercial broadcasting peak hours. Some television stations chose to air infomercials as an alternative to the former practice of signing off. As of 2009, most US infomercial spending is during early morning, daytime, and evening hours.
Instructional: the use of television programs in the field of distance education. Educational television programs on instructional television may be less than one half hour long (generally 15 minutes in length) to help their integration into the classroom setting. These shows are often accompanied by teachers' guides that include material to help use this program in lessons. Instructional television programs are often shown during the daytime on PBS stations in the United States. However, fewer public television stations devote their airtime to ITV today than they do in the past; these days, ITV programs are either seen on a digital subchannel of non-commercial educational public television station, or passed on to a local educational-access television channel run by a public, educational, and government access (PEG) cable TV organization.
Reality film and reality television: A purportedly unscripted work (though evidence suggests that some scripting or manipulation occurs) featuring non-actors interacting with each other or dealing with invented or contrived challenges, such as competing against others for a prize. Produced in a similar fashion as the documentary film genre, but with more emphasis on the showing of interpersonal conflict, emotional reactions, or unusual occurrences. The genre has numerous widely varying subgenres.
Court show: A court show is a television programming subgenre of either legal dramas or reality legal programming. Court shows present content mainly in the form of legal hearings between plaintiffs and defendants, which are presided over by a pseudo-judge. Court shows first arose in the United States, and are still predominantly found in the country today.
Dramality: a combination of television drama and reality television genres (e.g., the soap opera The Only Way Is Essex).[32][33][34]
Talk show: A television show in which one person (or a group of people) discuss various topics put forth by a talk show host. Usually, guests on a talk show consist of a group of people who are learned or who have great experience in relation to whatever issue is being discussed on the show for that particular episode. There are several major formats of talk shows, each subgenre generally predominating during a specific programming block during the broadcast day which informs the shows' overall style and themes. (Spoof talk shows are excluded from this list, as they are primarily scripted.)
Breakfast television: morning shows that generally alternate between news summaries, political coverage, feature stories, celebrity interviews, and musical performances.
Sunday morning talk shows: generally focus on political news and interviews with elected political figures and candidates for office, commentators, and journalists.
Daytime television: a block of TV shows that take place during the late-morning and afternoon on weekdays. Examples include The Ellen Degeneres Show.
"Lifestyle" or self-help: programs that generally feature a host or hosts of medical practitioners, therapists, or counselors and guests who seek intervention, describe medical or psychological problems, or offer advice. One example is The Dr. Oz Show.[35]
Tabloid talk show: a subgenre of the talk show genre in which the host invites a guest (either "ordinary" people, celebrities, political commentators, etc.), or a group of guests, to discuss provocative topics, including their own interpersonal issues. With topics ranging from marital infidelity to more outlandish subjects, guests are encouraged to make public confessions, and even resolve their issues via on-camera "group therapy".[36] These shows typically air during the day, though such criteria are not necessary for a talk show to be considered "tabloid". Examples include The Jerry Springer Show, Dr. Phil, and Maury.
Panel-discussion shows: evening (or late-night) programmes involving a group of people (often celebrities, comedians, politicians, experts, or other public figures) and usually a host/moderator, gathered to discuss a topic in front of an audience, usually with a focus on news, politics, and/or popular culture. Examples include After Dark, Real Time with Bill Maher, Loose Women.[37]
Panel shows: programmes in which a panel of celebrities/comedians participate in quiz games structured to invoke discussion and comedic banter, mostly with the primary goal to entertain the audience rather than to win a prize. Examples include: QI, Never Mind the Buzzcocks, Mock The Week, 8 Out of 10 Cats, and Whose Line Is It Anyway?.
Late-night talk shows: talk shows that air or release (for web series) during the late evening/night, and focus primarily on topical comedy and variety entertainment. Most traditionally open with a monologue by the host, with jokes relating to current events. Other segments typically include interviews with celebrity guests, recurring comedy sketches, as well as performances by musicians or other stand-up comics.
Aftershows: feature in-depth discussion about a program that aired just before on the same network. These shows often have guests, who can include cast members and crew of the given show, as well as fans of the show. Example: Talking Dead (follows The Walking Dead).
Variety show: Also known as variety arts or variety entertainment, this is an entertainment made up of a variety of acts (hence the name), especially musical performances and sketch comedy, and normally introduced by a compère (master of ceremonies) or host. Other types of acts include magic, animal and circus acts, acrobatics, juggling and ventriloquism. Variety shows were a staple of anglophone television from its early days into the 1970s, and lasted into the 1980s. In several parts of the world, variety TV remains popular and widespread.
Television special
By subject
[edit]
Concert film
Cooking show: A television program that presents food presentation in a kitchen television studio. Over the course of the program, the show's host, who is usually a celebrity chef, prepares one or more dishes over the course of the episode. The chef takes the viewing audience through the food's inspiration, preparation, and stages of cooking.
Game show: depicting a real contest, typically a trivia competition or physical challenge, with rewards in prizes or money. More often the participants are ordinary "everyday" people, such as Let's Make a Deal, Wheel of Fortune, Jeopardy!, and The Price Is Right. The players may include celebrities, who can be found on such game shows as Match Game, Hollywood Squares, Hollywood Game Night and Celebrity Name Game.
Music television: where viewers listen to music on the television, commonly having a visual or complete music video. It is similar to a radio station apart from the visual components.
News program: television news broadcasting depicting real, up-to-date events
Breaking news
Current affairs: Broadcast journalism in which the emphasis is on detailed analysis and discussion of a news story.
Debate show
Entertainment news: A form of entertainment journalism focusing on news involving the entertainment industry, including the world of film, television, and music.
Infotainment
Tabloid television (aka Teletabloid): a form of tabloid journalism wherein newscasts usually incorporate flashy graphics and sensationalized stories.[citation needed] Often, there is a heavy emphasis on crime, stories with good video, and celebrity news.
Traffic reports
Weather forecasts
Political commentary
Public affairs: This refers to radio or television programs that focus on politics and public policy. Among commercial broadcasters, such programs are often only to satisfy U.S. Federal Communications Commission (FCC) regulatory expectations and are not scheduled in prime time. Public affairs television programs are usually broadcast at times when few listeners or viewers are tuned in (or even awake) in the US, in time slots known as graveyard slots; such programs can be frequently encountered at times such as 5–6 a.m. on a Sunday morning.
Religious: produced by religious organizations, usually with a religious message. It can include church services, talk/variety shows, and dramatic movies. Within the last two decades, most religious programming is found on religious television networks.
Stand-up comedy: A style in which a comedian performs in front of a live audience, speaking directly to them. The performer is commonly known as a comic, stand-up comic, stand-up comedian or simply a stand-up. In stand-up comedy the comedian usually recites a fast-paced succession of humorous stories, short jokes called "bits", and one-liners, which constitute what is typically called a monologue, routine or act. Some stand-up comedians use props, music or magic tricks to enhance their acts. Stand-up comedy is often performed in comedy clubs, bars, neo-burlesques, colleges, and theaters. Outside of live performance, stand-up is often distributed commercially via television, DVD, and the internet.
Sports TV: The coverage of sports as a television program, on radio and other broadcasting media. It usually involves one or more sports commentators describing the events as they happen, which is called "colour commentary".
Specialty channels are commercial broadcasting or non-commercial television channel that focus on a single genre, subject, or targeted television market at a specific demographic. The number of specialty channels has increased during the 1990s and 2000s while the previously common concept of countries having just a few (national) TV stations addressing all interest groups and demographics became increasingly outmoded, as it already had been for some time in several countries. About 65% of today's satellite channels are specialty channels.
Video game genres
[edit]
Genres in video games are formulated somewhat differently than other forms of media. Unlike film or television, which are typically distinguished by visual or narrative elements, video games are generally categorized into genres based on their gameplay interaction, since this is the primary quality from which one experiences a video game.[38][39][40] In other words, the narrative setting does not impact gameplay; a role-playing game is still a role-playing game, whether it takes place in a magical kingdom or in outer space.[41][42]
Most genres from all other types of media can be applied to video games, but are secondary to the genre types described below, which are those unique to video games.
Action and adventure
[edit]
Action
[edit]
Further information: Action game
Action games are those defined by physical challenges, including hand-eye coordination and reaction-time.
Beat 'em ups
Hack and slash
Fighting: games in which two or more playable characters fight, each character usually having their own unique moves. Often, the goal of the game is to be the last man standing. Mortal Kombat and Street Fighter are generally credited with popularizing the fighting game.
Platform: games in which the core objective is for the player character to move (including jump and climb) between points in a rendered environment and avoid obstacles. These games tend to feature much uneven terrain, vertical environments, and player characters able to jump many times their own height. Some of the most well-known examples of this genre are the Super Mario and Sonic the Hedgehog franchises.
Metroidvania (or platform-adventure)
Run-and-gun platform
Shooter: Where the main purpose is to fight using guns.
First-person shooter (FPS): A variant of the shooting game. In the game, the camera is actually in place of the character's eyes, so that you are playing the game from the character's view, looking down the barrel of a gun.
Massively multiplayer online First-person shooter (MMOFPS): An online gaming genre set in a persistent world with a large number of simultaneous players in a first-person shooter fashion. These games provide large-scale, sometimes team-based combat.
Hero
Light gun
Shoot 'em up
Run-and-gun
Tactical (aka soldier sim): have higher degrees of realism than other shooters, trying to simulate the feeling of being in combat. Example: Arma.
Third-person shooter: A shooting game where the camera angle is actually hovering behind the playable character as you play.
Stealth: The player must proceed through an environment or complete an objective without being seen, as in the Metal Gear series of games.
Survival
Battle royale: games involving last-man-standing gameplay
Adventure and action-adventure
[edit]
Further information: Adventure game and Action-adventure game
Grand Theft Auto clone
Interactive fiction
Interactive film
Visual novel
Metroidvania (aka platform-adventure game): platform games that use fundamental action-adventure elements such as the ability to explore an area freely, with access to new areas granted by either gaining new abilities or using inventory items. Examples: Metroid (1986) and The Legend of Zelda (1986)
Isometric platform-adventure
Narrative adventure: games that allow for branching narratives, with choices made by the player influencing events throughout the game.
Walking simulator: narrative games that generally eschew any type of gameplay outside of movement and environmental interaction that allow players to experience their story through exploration and discovery. Examples: Gone Home, Dear Esther, Firewatch, Proteus, The Stanley Parable, Thirty Flights of Loving, and What Remains of Edith Finch.[43][44]
Point-and-click adventure
Escape the room
Puzzle adventure
Survival horror: The player is placed in a horrifying situation of which they must escape. The major emphasis of most survival horror games is placed upon tension and a truly terrifying or grisly scenario. Puzzle-solving is a major characteristic of the genre. Examples: Resident Evil, Silent Hill and Clock Tower series.
Role-playing game
[edit]
Further information: Role-playing game
Role-playing game (RPG) is one in which the player controls the actions of a character or characters immersed in some well-defined world. This is also similar to non-video game forms of gaming that involve roleplaying, including play-by-post gaming and tabletop roleplaying games. Most of these games cast the player in the role of a character that grows in strength and experience over the course of the game. The most exemplary of this genre are the Pokémon and Final Fantasy franchises.
Action RPG
First-person party-based RPG (or Dungeon RPG): RPGs in which the player (first-person perspective) leads a party of adventurers through a dungeon or labyrinth, typically in a grid-based environment. Examples: the Wizardry, Might and Magic, Bard's Tale, Etrian Odyssey, and Elminage series.
Massive multiplayer online role playing game (MMORPG): similar to a regular RPG, but it is a multiplayer game played via the internet. During this game, thousands of players from around the world can play the same game at the same time and chat with each other. Players sign onto the game and complete quests while exploring the virtual world. Many MMORPGs are free-to-play, the most popular of which include RuneScape and TERA, while the most popular "pay-to-play" game is World of Warcraft.
Open-world RPG: Where the object of the game is to dominate a virtual system (often a simulated natural system), wherein enjoyment is derived through self-expression imposed upon the virtual system. Example: Minecraft.
Roguelike
Tactical RPG
Simulation
[edit]
Further information: Simulation video game
Simulation games are designed to closely simulate real-world activities.
Construction and management (CMS): require players to build, develop/expand, and/or manage a fictional community or project, such as a simulated zoo.[45][46]
Business (aka tycoon games): Example: Rollercoaster Tycoon
City-building: Example: SimCity (1989)
Government
Vehicle simulation
Flight Simulation: A game where simulating aircraft as realistically as possible is the goal. This includes aspects of simulating the particular flight model of an aircraft (flight behavior and characteristics), avionics, various aircraft systems, performance (like engine simulation), and atmospherics, such as weather, but often also includes simulations of the flight environment, such as radio communications (air traffic control), different maps or landscapes, airports, ground management and in combat flight sims also weapon systems and targets, such as tanks, SAMs, etc.
Amateur flight
Combat flight
Space flight: Example - Elite (1984)
Racing
Kart racing
Sim racing
Submarine simulator
Train simulator
Vehicular combat
Simulation shooter: Features the basic mechanics of a shooter, where using a gun is the primary method of gameplay, but emphasizes realism, often incorporating features like ballistics and realistic character damage.
Tactical (aka soldier sim): have higher degrees of realism than other shooters, trying to simulate the feeling of being in combat. Example: Arma. (Could also be included under military simulation)
Simulation strategy: A strategy game that emphasizes realism, such as the Total War series of games, usually focusing on a specific time and location in human history, such as the Roman Empire.
Medical simulation:
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3
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https://thefilmfrenzy.com/2024/05/03/making-waves-oceans-trilogy-revisited/
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en
|
Making Waves: Ocean’s Trilogy Revisited
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[
""
] | null |
[
"Matt Brunson"
] |
2024-05-03T00:00:00
|
The heist flicks hit 4K.
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en
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FILM FRENZY
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https://thefilmfrenzy.com/2024/05/03/making-waves-oceans-trilogy-revisited/
|
The gang’s all here (Photos: Warner Bros.)
By Matt Brunson
OCEAN’S ELEVEN (2001)
★★½ (out of four)
OCEAN’S TWELVE (2004)
★★½ (out of four)
OCEAN’S THIRTEEN (2007)
★★★ (out of four)
DIRECTED BY Steven Soderbergh
STARS George Clooney, Brad Pitt
A remake of Casablanca? What’s the point? A new version of Citizen Kane? Sounds suicidal. A re-imagining of Psycho? Completely imbecilic (oh, wait, they did try that one… the fools). But a remake of Ocean’s Eleven, the 1960 caper yarn that starred Frank Sinatra, Dean Martin, and the rest of the Rat Pack? Now that had potential. After all, as anyone who’s seen the original film can attest, the dirty secret surrounding the production is that it’s a remarkably mediocre achievement, a threadbare, barely functional heist tale that served mainly as an opportunity for Frank and friends to party at Warner Bros.’s expense. The Rat Pack members were cast as former World War II soldiers (The Rat Patrol?) who plot to knock off five Las Vegas casinos, but except for a clever twist ending, there’s absolutely nothing memorable in what has long been regarded as one of the most expensive “home movies” ever made. So a remake was not only narratively sound, it also proved to be massively lucrative, leading to two sequels of its own. Now, all three films are hitting 4K Ultra HD in a package titled Ocean’s Trilogy.
The 2001 Ocean’s Eleven certainly had the potential to flatten its predecessor on every imaginable level. The director is Steven Soderbergh, coming off a banner year in which he helmed both Erin Brockovich and Traffic (earning a Best Director Academy Award nomination for the former and winning the Best Director Academy Award for the latter). The cast is packed with real actors, cutting down on the high volume of surface celebrities who marched through the 1960 version (think Peter Lawford, for starters). And in this bold new century in which crime flicks are practically required to feature plot twist upon plot twist upon plot twist, it was a safe bet that this souped-up version would offer a lot more than just one solitary surprise at the fade-out.
So the good news is that Ocean’s Eleven is indeed better than the original; the bad news is that it achieves its superiority by not as sizable a margin as one might have wished.
Soderbergh’s take on the tale retains the basic outline but jettisons most of the individual details. Thus, Danny Ocean (George Clooney) is no longer a former WWII paratrooper but rather a career criminal who, as the film opens, is being released from the clink after a successful parole hearing. Immediately, he decides to mastermind his most elaborate scheme yet: With the help of a high-powered team of criminals, he will simultaneously rip off three Vegas casinos, all of which keep their loot in the same underground vault.
Danny has a personal reason for choosing these particular casinos: They all belong to Terry Benedict (Andy Garcia), a steely tycoon who’s presently dating Danny’s ex-wife Tess (Julia Roberts, who’s amusingly billed in the credits with the line, “And Introducing Julia Roberts As Tess”). Danny hopes to outfox the villain and win back the girl, but first, he has to assemble his crack team. He tracks down his friend Rusty Ryan (Brad Pitt) to serve as his right-hand man, and he secures financing for his operation from Vegas millionaire Reuben Tishkoff (Elliot Gould). From there, he goes on to recruit eight more con men, bringing the total to 11.
Juggling so many central characters in a motion picture is always a daunting task, but not an impossible one: Paul Thomas Anderson’s Boogie Nights and several of Robert Altman’s more celebrated films were masterful in making even the most fleeting characters come alive on screen. But Soderbergh and screenwriter Ted Griffin are so busy trying to spread the wealth that they end up shortchanging practically every character, and it’s up to each individual actor to carve out a unique characterization based on their own intuitions regarding their respective roles. Only some succeed.
While picking up her Oscar for Erin Brockovich, Roberts gushed over Soderbergh by stating, “I’d read the phonebook if he asked me to.” I wish he had, since listening to her sludge through the Yellow Pages couldn’t possibly be any duller than watching her tackle the non-role of Tess. It’s a thankless part, one that posits Tess as nothing more than a trophy gal for Danny and Terry. What’s more, the part is so anemic, Roberts never comes close to having an opportunity to display the brashness or sunny personality that defined her career — as a matter of fact, she arguably had more chemistry with the dead frog she bags in Erin Brockovich than she does here with either Clooney or Garcia.
Roberts may bring up the movie’s rear, but she’s hardly alone back there in the caboose. Clooney eventually morphed into a superb actor, but this was still back in the period when he figured he needed to do nothing more than coast on his laidback style of movie star charisma. As Linus Caldwell, the group’s resident pickpocket, Matt Damon practically seems shoehorned into the proceedings. And reliable Don Cheadle struggles with a forced Cockney accent and too little screen time as the team’s demolition expert.
Other actors fare better. Taking top honors is Pitt: His role doesn’t look like much on paper, but through sheer will and personality, as well as the sound application of some offbeat character tics, he’s the one who constantly commands our attention. Gould has some fun in the caricatured role of a Jewish moneybags, while Bernie Mac brings his potent brand of stand-up comedy to his role as card dealer Frank Catton, the job’s inside man. Trivia buffs, meanwhile, will enjoy the fleeting cameos by Angie Dickinson and Henry Silva, who had supporting roles in the 1960 original. (For the record, the rest of the 11 are played by Carl Reiner, Casey Affleck, Scott Caan, Eddie Jemison, and Qin Shaobo.)
As the film jumps from one incident to the next, some individual set-pieces are able to proudly stand on their own. There’s an amusing early scene in which Pitt’s Rusty is seen teaching poker to pampered Hollywood stars, while a later incident finds Mac’s Frank pretending to express anger at perceived prejudices within the casino industry (“They oughta call the game whitejack!” he sputters).
Ocean’s Eleven maintains the appropriate swagger and air of cool collectedness, but it’s hard to be impressed with its suavity as it bungles its own caper trail. The neat finale of the ’60 model has been scrapped, only to be replaced with the sort of obvious double-dealings that failed to fool us when we saw them on numerous other occasions (including earlier in 2001, in both The Score and Heist). Soberbergh has stated that Ocean’s Eleven was his “opportunity to try and make a movie that has no desire except to give [audiences] pleasure from beginning to end.” That’s a lovely sentiment, and the movie works quite well in spurts. But when it’s obvious that the actors are having more fun making this thing than we are while watching it, you know something’s not kosher. In the case of Ocean’s Eleven, the house wins.
As one of the proud members of America’s Eleven — i.e., one of those 11 moviegoers in the continental US who didn’t adore Ocean’s Eleven — my expectations weren’t exactly sky-high for Ocean’s Twelve. And, true to form, this sequel is more of the same, with one major difference.
Whereas the caper in Ocean’s Eleven felt rather simplistic, the one in Ocean’s Twelve is needlessly convoluted. Still, while this sequel is about on par with its predecessor, there’s at least a more focused attempt to create something tangible — certainly, there’s more material into which some of its star players can sink their million-dollar teeth.
The plot has to do with the attempts of Terry Benedict (Garcia) to get back the money that Danny Ocean (Clooney) and his posse had stolen from him. It’s a barely passable narrative thread, but it allows Roberts and Damon, whose roles in the first film scarcely existed, more opportunities to strut their stuff, and it opens the door for the addition of the always-welcome French actor Vincent Cassel as a renowned international thief.
The best sequence finds Roberts’ character, Tess, forced to impersonate the real Julia Roberts in order to help pull off a heist; complications arise when Bruce Willis (in an uncredited cameo) stops by to engage “Julia” in some mindless chitchat. It’s the sort of self-reverential moment that would seem more natural in a Robert Altman flick — indeed, these same two stars shared the climactic movie-within-a-movie scene in Altman’s The Player — and its inclusion here is greatly appreciated.
While all three films in the franchise have basically been an excuse for Soderbergh and his high-voltage friends to take paid vacations in trendy, plush locales under the pretense of making motion pictures — if life was fair, then resort timeshares would have been handed out with movie tickets so that audiences could also join in the festivities — Ocean’s Thirteen is the first of the trio to feel like there’s something truly at stake in its convoluted, house-of-cards plotline. Male-on-male love (heterosexually speaking, of course) has always been the driving force in this series (even in the 1960 Rat Pack original), and this one milks that sense of camaraderie for all it’s worth.
The boys are back in town for this latest chapter, and the action begins when Reuben Tishkoff (Gould), one of the group’s senior members and Danny’s former mentor, gets swindled by venal casino owner Willy Bank (Al Pacino), who cheats Reuben out of his share in a swanky new Las Vegas casino. The incident leaves Reuben near death’s door, and Danny (Clooney) decides that he and the rest of the crew owe it to the old-timer to set matters straight. Thus begins an elaborate scheme that finds Rusty (Pitt) posing as an environmentalist, Linus (Matt Damon) disguising himself as an underling with a generous proboscis, and Basher Tarr (Cheadle) passing himself off as a stunt cyclist. And to receive the critical financing for the operation, the team is forced to reluctantly turn to their old nemesis, Terry Benedict (Garcia), for assistance.
Because there are so many characters still competing for attention, there will always be casualties when it comes to screen time. In this installment, it’s Bernie Mac who gets hit the hardest — he’s only given one scene in which he’s allowed to strut his funny stuff. Yet because this is the most briskly paced of the three, and because the revenge angle provides its protagonists with a strong rooting interest, it’s hard to get bogged down in the flaws. I wasn’t exactly a fan of the previous two pictures in this series, but Ocean’s Thirteen qualifies as the first to pull off a winning hand.
(Extras on Ocean’s Eleven include audio commentary by Soderbergh and Griffin; audio commentary by Pitt, Damon, and Garcia; and a making-of featurette. Extras on Ocean’s Twelve include audio commentary by Soderbergh and scripter George Nolfi; a making-of featurette; and deleted scenes. Extras on Ocean’s Thirteen include audio commentary by Soderbergh and scripters Brian Koppelman and David Levien; a making-of featurette; and deleted scenes.)
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https://www.mannotbrand.com/blog/cinematography-of-oceans-eleven
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en
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The Cinematography of Ocean's Eleven (2001) — Man Not Brand
|
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[] |
[] |
[
""
] | null |
[
"Aidan Hennebry"
] |
2021-10-29T21:34:24-04:00
|
The characters. The story. The city. The soundtrack. The visuals. Find out why I’m in love with Ocean’s Eleven’s cinematography.
|
en
|
https://images.squarespace-cdn.com/content/v1/5fcae197f5e79e668dd09828/ae496b68-9108-41ad-948c-aa55c2379d2a/favicon.ico?format=100w
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Man Not Brand
|
https://www.mannotbrand.com/blog/cinematography-of-oceans-eleven
|
Hands-down one of my favourite movies of all time. It has it all: a massive star-studded cast, romance, comedy, humour, cleverness, flash, fast-pace, and keeping the viewer hooked til the very end. I’m a gigantic fan of heist movies to begin with (Inside Man being another favourite), but this one takes the cake as a phenomenal showcase of talent and entertainment.
One of the biggest reasons this movie (that I’ve admittedly seen countless, countless times before) made the Cinema25 Cut was because Director Steven Soderbergh is also the Director of Photography (DP). No, this isn’t a typo. Not only did the dude direct the movie which is a mission in and of itself, he also DPed it. Pretty cool. I was curious to observe how the same person taking on both roles played into the production of the movie.
Overall, the cinematography of this movie is generally unremarkable and that’s kind of why I like it. It’ll never make a list of the Top 100 Most Beautiful Movies Ever Made. It’s funny because it’s a Vegas movie that doesn’t really feel like a Vegas movie in most ways. Instead of showing off the glitz and glamour of the strip, we spend most of our time in hotel rooms, hallways, secret gambling rooms, air ducts, and vaults.
I can’t begin to tell you how much I love this movie, simply because it’s fun. Here’s everything I learned about cinematography from rewatching Ocean’s Eleven.
Some of these observations will be chronologically or thematically random, but hopefully the observation itself is of enough value to trump the fact that this isn't an analysis worthy of a University English paper.
1. Soderbergh says in interviews that he specifically wanted Ocean's Eleven to feel unlit. Every light (Generally speaking) in the scene he wanted to be motivated and not overly glitzy or glamorous. This is especially apparent anytime someone is on the casino floor. Everything is washed in super warm lighting and rarely do we see something like a strong key light or sharp edge light.
2. An unlit film also generally goes in the face of traditional Vegas movies, which showcase the neon and highroller lifestyle of the city. By not making the film feel too polished or Hollywood perfect, the tone of the film is set in a different direction.
3. Throughout the movie we see Soderbergh not nervous about using long takes that are between 60 and 90 seconds long with relatively little to no camera movement whatsoever. These scenes, again, aren't overly flashy and don't draw attention to themselves. The scene in Reuben's backyard relies instead on blocking and framing to keep the shot feeling dynamic and interesting.
4. While Soderbergh didn't want a traditional Vegas aesthetic, he wasn't nervous to use colour. In many different instances in the movie, actors are bathed in completely over the top, contrasty, saturated colours. Often there's a touch of neutral daylight-balanced lighting to keep things down to earth, but never if it isn't motivated.
5. Soderbergh isn't a massive fan of scene setters: quick clips of new locations that show the audience where we are. Instead, Soderbergh prefers to use alternative film or audio techniques to get this point across. A lot of the time audio from the next scene will start before the camera has cut over to it. Or other times we'll have a conversation take place completely off camera to set the tone in one way while the camera does in another.
6. One of the other ways Soderbergh gets around using scene setters is by shooting relatively wide. The scene in Reuben's living room where the heist plan is being explained to the crew for the first time was shot entirely on a 27mm lens. Because the film is in a cinemascope 2.35:1 aspect ratio, a lot of the sides of the frame are open enough to convey a location without needing to waste time with a scene setter.
7. This movie has a ton of characters lit from below (there’s gotta be a technical term for this that I don’t know and can’t find on Google) with catchlights also sitting low in their eyes. This lighting style is traditionally saved for scenes where the character is meant to be foreboding (think of telling ghost stories around a campfire with a flashlight under your face), but in this movie it’s just a natural part of many scenes. I really dig it. It’s not in-your-face, and it’s often balanced out by a hairlight from above, so the character still pops off the background a little.
9. Traditionally, zooming in on something (especially with fairly harsh and abrupt zooms) is super cheesy. It’s something people just don’t do some 20 years later in filmmaking. If we see a zoom in modern cinema, it’s usually more of a slow push-in to create emphasis than a straight-up zoom in on a detail. Ocean’s Eleven isn’t like that, though. This movie has zooms all over the the place, often connected with pans back and forth from one subject to another. Again, this is really something you never see anymore, but in this movie it happens so often that you kind of forget about it. Soderbergh uses these to create his own Ocean’s Eleven cinematic language, and I think it works really well.
10. Besides the few long-takes I mentioned above, Ocean’s Eleven contains a lot of shorter “oners” (I put that in quotes because it’s not really a oner) that are anywhere from 3-5 different compositions in the same clip, with pans and zooms in between. Keeping these pans in, even when they’re fast and the set is blurred, gives the scene some room to breathe. It helps the audience understand the blocking / relativity of actors to the details also being shown in the scene. Combined with the zooms mentioned in the last observation, these things come together to really just make their own language. It’s different from most movies, and I like it a lot.
11. Building on the last point, these “long takes” with multiple compositions don’t always follow the same character or subject. Sometimes a scene would open with a Glidecam shot following someone walking and switch to tracking another person when they entered the frame. This is cool, maintains the visual language of the film with lots of pans, and also continues the practice of scene-setters that are more an actual part of the scene than just lame insert shots.
12. Expanding one more time on multiple-compositions-in-a-single-take, Soderbergh isn’t afraid to move from what would usually be an insert shot to a medium scene setter to a tight portrait, all in one take with pans in between. These differences in framing relative to the zoom and camera position add more depth to the scene. They’re super untraditional.
13. From a cinematography perspective, careful attention was taken to give each of the Eleven cast their own special introduction with their own unique camera trick or tactic. You’d have to watch to fully understand, but I’ll try to briefly give a few of the notable ones:
The introduction of Basher is almost entirely handheld with subtle camera shake
Livingston’s introduction includes zooms and pans that would be similar to his surveillance cameras
Linus’s introduction is shot in 12 frames per second with occasional freeze frames
Saul’s introduction is very slow with long takes
All of these cinematic styles are subtle and reflective of their characters / individual personalities. It’s a really subtle thing to do but a cool way to use cinematography to further illustrate different locations around the country and the different members of the cast.
14. The camera has a voice - this is fundamental cinematography knowledge. How a DP controls its movement, zoom, exposure, pacing, height, framing; all of these things affect how cohesive a scene or film feels. Often times Soderbergh matches up a left-to-right dolly movement between two different locations to make the transition smoother. Sometimes a clip will start slowly pushing in and a cut to another angle will continue that push in and stop. This cohesiveness really keeps things smooth and makes it feel intentional. This is good filmmaking.
15. However, opposed to my last point, sometimes this is just entirely by mistake and we mustn’t read too far into a DP’s thought process on set. A lot of the time, we’re just problem-solving. In an interview, Soderbergh explains how, near the end of the film when Terry is in the elevator and the doors close, it cuts to black and re-emerges on a black scene in a different location of the Oceans warehouse. He said this seems super intentional but was a total fluke and just worked out. A prime example of winging it and sometimes just getting lucky with how something comes together.
17. Soderbergh has explained in interviews that the reason he DP’d and directed the film was because he wanted to have a more intimate connection with the actors when filming. Though he has an appreciation and background doing cinematography, he openly admits he is far from the world’s best, and that they easily could’ve found someone better than him to do the movie. That being said, I now love that he did it. I think he created this super fascinating set of rules and practices that make the film super unique and unlike other movies. I particularly love that it’s not super flashy because it keeps the emphasis on the story.
Until I sat down to analyze this movie’s cinematography, I would’ve always just told you I liked the story, and I liked how the movie made me feel. I couldn’t point to specifics like “I love the colour palette” or “I like the funky camera movements” or “the bokeh is delicious”. I just loved the movie as a whole, and I think that’s one really important take-away here.
As a cinematographically-minded person, my first question when I’m filming something is, “How can I make this scene more beautiful?”, but Ocean’s Eleven is a reminder that the first question should be, “How can I make this scene better tell the story of the whole film?”
No shame here. Ocean’s Eleven remains one of my favourite movies of all time. #1 spot on my list of “Most Rewatchable Movies Ever”.
At a Glance: My Personal Takeaways for Future Filmmaking
Analyzing a movie like this is a waste of time if I don’t take something (or a long list of somethings) from each film and apply it to my filmmaking going forward. Here are my key takeaways from Ocean’s Eleven:
1. Filming a scene in a way that communicates the tone of the overall film is better than trying to make every frame worthy of hanging in a museum
2. Pans between compositions aren’t a waste if utilized properly
3. You can use unconventional techniques to create your own visual language for each film. In this instance, they were pans, zooms, and transitions that are traditionally thought of as cheesy
4. Don’t be afraid to make things feel unlit and natural. Ugly light can look like ugly light
5. Be more meticulous when shooting to combine multiple shorter cuts into a single mini-oner where appropriate
6. Not every film needs to be the same as the last one. Not every film needs to be different from the last one
7. Consider ways you can differentiate characters, locations, and themes using cinematic techniques such as framing, time of day, colour palette, frame rate, camera movement, and any other tool at your disposal
8. If a subject you’re shooting has a traditional approach that most filmmakers take, stray to set a different tone
9. Balanced doesn’t always mean symmetrical. Symmetrical doesn’t always mean balanced
10. Unconventional lighting doesn’t always need to be so over-the-top that it attracts attention to itself
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dbpedia
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3
| 10
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https://scifi.stackexchange.com/questions/188993/movie-with-ocean-and-dolphins-inside-spaceship
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en
|
Movie with ocean and dolphins inside spaceship
|
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[
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] | null |
[] |
2018-06-05T04:51:27
|
I'm looking for a (possibly animated) Science Fiction movie in which aliens, I think, installed a device that would cool down the Earth's core. To save their planet, one billion humans got on a gig...
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en
|
https://cdn.sstatic.net/Sites/scifi/Img/favicon.ico?v=65d99c90ab93
|
Science Fiction & Fantasy Stack Exchange
|
https://scifi.stackexchange.com/questions/188993/movie-with-ocean-and-dolphins-inside-spaceship
|
I'm looking for a (possibly animated) Science Fiction movie in which aliens, I think, installed a device that would cool down the Earth's core. To save their planet, one billion humans got on a gigantic spaceship and travelled to the planet of the aliens to get something to turn that device off. The spaceship was so big it had an ocean with dolphins inside. The people on it lived in "cities" labelled 1.1, 1.2, 1.3, etc. and were somehow ordered alphabetically by last name.
That's about all my ten year old son can remember. He says there was also a book series with about four volumes that tells the same story.
The movie was at least one or two years old, possibly more, and dubbed in German. It may have been rated (in Germany) for 12 year olds (despite my son's age at that time).
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5635
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dbpedia
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0
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https://stacker.com/movies/25-great-movies-set-water
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en
|
25 great movies set on the water
|
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[
"moves set on water",
"water movies",
"titanic",
"the talented mr ripley",
"the poseidon adventure",
"ponyo",
"pirates of the caribbean",
"moana",
"master and commander",
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"the lighthouse"
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[
"Jacob Osborn"
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2021-05-29T06:00:00-04:00
|
Using data from IMDb, Stacker presents a list of classic films that take place primarily on a body of water, whether that means it tak
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en
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/themes/custom/stacker/favicon.ico
|
Stacker
|
https://stacker.com/movies/25-great-movies-set-water
|
Read First
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5635
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dbpedia
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0
| 3
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https://filmsfortheearth.org/en/film/oceans/
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en
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Films for the Earth
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2011-01-29T18:19:54+00:00
|
en
|
Films for the Earth
|
https://filmsfortheearth.org/en/film/oceans/
|
An extraordinary nature documentary, with stunning imagery and previously unseen features, about life in the oceans. A powerful and emotional experience, that reveals the secrets of underwater world. The team behind “Oceans” present the most diverse ecosystem and its harmonic rhythm, from majestic whales to the bizarre creatures of the deep. The film explores the marine species of Earth’s five oceans and reflects on the negative aspects of human activity on the environment. Pierce Brosnan provides the English narration.
After the success of films “Microcosmos” and “Winged Migration” (German title: Nomaden der Lüfte), Jacques Perrin and Jacques Cluzaud take their documentary skills on a voyage to the deep blue oceans. They teamed up with divers, marine biologists and technicians for four years for this journey of discovery. Thanks to the state-of-the-art cameras and equipment, they were able to show the world the mysterious inner workings of life under water.
|