馬田史高西斯、李安納度、羅拔迪尼路《花月殺手》Killers of the Flower Moon 預告
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死廢老 搵個80歲老人扮後生 又5係好戲
終於明點解啲人話荷里活末落 香港電影重光
終於明點解啲人話荷里活末落 香港電影重光
De Niro型撚到震
個譯名感覺好懷舊
Disgusting film reply guy歐塞奇印第安人謀殺案（英語：Osage Indian murders）是1910年代至1930年代早期發生在美國奧克拉荷馬州歐塞奇縣的一系列謀殺美國原住民歐塞奇人的罪案。據估計，在這1921年至1925年間，有六十多名富有的歐塞奇族人被殺害。因案件懸而未破，案件頻發，當時的新聞媒體便直接稱之為「恐怖統治」（英語：Reign of Terror）。這些原住民的土地生產着寶貴的石油，他們每個人都擁有「人頭權」礦產信託，每年都能獲得豐厚的特許使用金。因此，這些謀殺案似乎是由意圖奪取歐塞奇人巨大財富的人犯下的。執法部門包括後來的聯邦調查局的前身組織「調查局」的調查，也揭露了參與歐塞奇監護人計劃的地方官員的大量腐敗行為。大多數謀殺案從未被起訴，只有部分人被定罪和判刑。
No wolves, only a whale
包皮都讚好👌🏼
是
仲好有舊荷里活經典嗰種vibe，好鬼正
好期待班邨費沙同jesse plemons
仲好有舊荷里活經典嗰種vibe，好鬼正
好期待班邨費沙同jesse plemons
正,有羅拔迪尼路!
DEADLINE: In Killers of the Flower Moon, the depiction of the exploitation and murder of Osage tribe members for oil money — and the indifference shown by the U.S. government and law enforcement — is just gutting. Why did you want to tell this story?
MARTIN SCORSESE: What I responded to when I read David Grann’s book was the natural order of things. The idea that one could rationalize that if the Osage are not going to be of any use, if they’re going to be phased out anyway, why don’t we just, you know, help them go? And, ultimately, do we really feel any guilt for that? I don’t mean you and I, but when you’re doing what was being done to the Osage, and if you tend to dehumanize someone…
DEADLINE: …You can rationalize abhorrent behavior, if it lines your own pockets?
SCORSESE: Do [the Osage] behave differently, culturally? Yes, on all levels. There’s no way they could fit in to the European model, the capitalist model, in terms of money and private property. So, then [the attitude is] we’re coming, and we’re not going away. Either you join us, or you have to go. Now, we love and admire you, by the way, but it’s just that your time is up.
I heard someone recently say, when they fire an executive, well, their time is over. And the person behind that fired person, it’s their time. Is this the natural order of who we are as human beings?
DEADLINE: Your movie supplies a bleak answer to that question.
SCORSESE: Well, the answer is: probably yes, if you’re driven by how much money you can make. All that land’s just sitting there, what are they doing with it? The Europeans are thinking, ‘We come here, and look at this place. Look at the riches! And what are they doing? Killing some buffalo. Fighting amongst themselves over hunting areas. Communal living. And, excuse me, nobody owns the land?’ The very fact they don’t understand, in European terms, the value of money means they can’t exist in this world.
MARTIN SCORSESE: What I responded to when I read David Grann’s book was the natural order of things. The idea that one could rationalize that if the Osage are not going to be of any use, if they’re going to be phased out anyway, why don’t we just, you know, help them go? And, ultimately, do we really feel any guilt for that? I don’t mean you and I, but when you’re doing what was being done to the Osage, and if you tend to dehumanize someone…
DEADLINE: …You can rationalize abhorrent behavior, if it lines your own pockets?
SCORSESE: Do [the Osage] behave differently, culturally? Yes, on all levels. There’s no way they could fit in to the European model, the capitalist model, in terms of money and private property. So, then [the attitude is] we’re coming, and we’re not going away. Either you join us, or you have to go. Now, we love and admire you, by the way, but it’s just that your time is up.
I heard someone recently say, when they fire an executive, well, their time is over. And the person behind that fired person, it’s their time. Is this the natural order of who we are as human beings?
DEADLINE: Your movie supplies a bleak answer to that question.
SCORSESE: Well, the answer is: probably yes, if you’re driven by how much money you can make. All that land’s just sitting there, what are they doing with it? The Europeans are thinking, ‘We come here, and look at this place. Look at the riches! And what are they doing? Killing some buffalo. Fighting amongst themselves over hunting areas. Communal living. And, excuse me, nobody owns the land?’ The very fact they don’t understand, in European terms, the value of money means they can’t exist in this world.
DEADLINE: So rather than take David Grann’s book and turn it into a mystery-thriller with murders solved and the FBI established, you decided that making it an exploration of human nature was your way in?
SCORSESE: Leo DiCaprio looked at me and said, “Where’s the heart in this movie?” This was when Eric Roth and I were writing the script from the point of view of the FBI coming in and unraveling everything. Look, the minute the FBI comes in, and you see a character that would be played by Robert De Niro, Bill Hale, you know he’s a bad guy. There’s no mystery. So, what is it? A police procedural? Who cares! We’ve got fantastic ones on television.
The least material available to us was about Ernest. There’s much written about Bill Hale, Mollie, and many of the others. Eric and I enjoyed working on that first version; it had all the tropes of the Western genre that I grew up with, and I was so tempted to do it that way. But I said, “The only person that has heart, besides Mollie Burkhart, is her husband Ernest, because they’re in love.”
We went to Oklahoma to the Gray Horse settlement, the Osage gave us a big dinner, and people got up and spoke. One woman got up and said, “You know, they loved each other, Ernest and Mollie. And don’t forget that. They loved each other.” I thought, ‘Whoa. That’s the story. How could he have done what he did?’
DEADLINE: Presumably, the other version would have been more in the spirit of Westerns told from a white male perspective.
SCORSESE: It was something we’ve seen before. We researched Tom White. He was super-straight. In the book, he’s the son of a lawman who instilled incorruptibility and empathy in his son. We tried to do more research, hoping to go deeper on Tom White. Does he have difficulties? Maybe he’s drinking? I finally said, “What are we making? A film about Tom White, who comes in and saves everybody?”
The woman who mentioned the love story said she’d told her mother about this film, and her mother said, “Tom White? You mean the man who saved us?” So, there’s still recognition of what they did, Tom White and what was then called the Bureau of Investigation. Even though a lot of people got away with what they did. We’ll never really know everything about what happened.
But the love story [changed everything]. I said, “How do we do the love story?” We couldn’t figure it out. And then Leo said, “What if I play Ernest?” I realized, because there is the least amount of research on Ernest, that we could do anything. If we did that, we’d take the script and turn it inside out, make it from the ground level out, rather than coming in from the outside. I said, “Let’s put ourselves in the mindset of the people who did this.”
SCORSESE: Leo DiCaprio looked at me and said, “Where’s the heart in this movie?” This was when Eric Roth and I were writing the script from the point of view of the FBI coming in and unraveling everything. Look, the minute the FBI comes in, and you see a character that would be played by Robert De Niro, Bill Hale, you know he’s a bad guy. There’s no mystery. So, what is it? A police procedural? Who cares! We’ve got fantastic ones on television.
The least material available to us was about Ernest. There’s much written about Bill Hale, Mollie, and many of the others. Eric and I enjoyed working on that first version; it had all the tropes of the Western genre that I grew up with, and I was so tempted to do it that way. But I said, “The only person that has heart, besides Mollie Burkhart, is her husband Ernest, because they’re in love.”
We went to Oklahoma to the Gray Horse settlement, the Osage gave us a big dinner, and people got up and spoke. One woman got up and said, “You know, they loved each other, Ernest and Mollie. And don’t forget that. They loved each other.” I thought, ‘Whoa. That’s the story. How could he have done what he did?’
DEADLINE: Presumably, the other version would have been more in the spirit of Westerns told from a white male perspective.
SCORSESE: It was something we’ve seen before. We researched Tom White. He was super-straight. In the book, he’s the son of a lawman who instilled incorruptibility and empathy in his son. We tried to do more research, hoping to go deeper on Tom White. Does he have difficulties? Maybe he’s drinking? I finally said, “What are we making? A film about Tom White, who comes in and saves everybody?”
The woman who mentioned the love story said she’d told her mother about this film, and her mother said, “Tom White? You mean the man who saved us?” So, there’s still recognition of what they did, Tom White and what was then called the Bureau of Investigation. Even though a lot of people got away with what they did. We’ll never really know everything about what happened.
But the love story [changed everything]. I said, “How do we do the love story?” We couldn’t figure it out. And then Leo said, “What if I play Ernest?” I realized, because there is the least amount of research on Ernest, that we could do anything. If we did that, we’d take the script and turn it inside out, make it from the ground level out, rather than coming in from the outside. I said, “Let’s put ourselves in the mindset of the people who did this.”
岩牙 死廢老演嗰幾套垃圾的士司機 狂牛 教父 喜劇之王 又唔好睇又冇演技 都唔知紅喺邊
新trailer link
https://youtu.be/BGwQ-Yqllw8
https://youtu.be/BGwQ-Yqllw8