Home myFILM
Select English    Επιλέξτε Ελληνικά
Αρχή ΝΕΑ Ταινίες Φεστιβάλ Βίντεο Φωτογραφίες DVD TV Box Office
  Εγγραφή / Σύνδεση
myFILM.gr toolbar
Σήμερα & προσεχώς
.: από 18/12/14 :.
. Χόμπιτ: Η Μάχη Των Πέντε Στρατών
. Serena
. Η Πρώτη Αγάπη
. Magical Girl
. Το Αγόρι Και Ο Κόσμος
. Η Αγάπη είναι Παράξενη
. Κελί από Χρυσάφι
. 10.000 Χιλιόμετρα
. Ψυχρά και Ανάποδα «Τραγουδιστά»
. Οι Αισθηματίες
. Ο Παραμυθάς Και Οι Ιστορίες του
.: από 25/12/14 :.
. Γκρέις του Μονακό
. Μια Νύχτα Στο Μουσείο: Το Μυστικό Του Φαραώ
. Αστερίξ: Η Κατοικία των Θεών (3D)
. Ο Έβδομος Γιος
. To Μονοπάτι Tου θανάτου
. Αγαπώντας, Πίνοντας και Τραγουδώντας
. Bekas
.: από 1/1/15 :.
. Αλύγιστος
. Μεγάλα Μάτια
. Τα Μυστικά Του Δάσους
. Απόψε Τρώμε στης Ιοκάστης
. Η Τίνκερμπελ και το Τέρας του Ποτέ
. Νορβηγία (από 3/1)
.: από 8/1/15 :.
. Big Bad Wolves: Στο Στόμα των Λύκων
. Ο Κύριος Τέρνερ
. Το Παιχνίδι Της Μίμησης
. Η Αρπαγή 3
. Το Πέρασμα
. Περιπέτεια στο Αιγαίο
. Λύσσα Κακιά
.: από 15/1/15 :.
. The Woman in Black 2 Angel of Death
. Ανωτέρα Βία
. Blackhat
. Πάρ’το από την αρχή
. Οι Γαμπροί Της Ευτυχίας
.: από 22/1/15 :.
. Ελεύθερος Σκοπευτής
. Birdman ή Η Απρόσμενη Αρετή της Αφέλειας
. Με αγάπη, Ρόζι

Περιοχή μελών
Εγγραφή εδώ:
Χρήστης:
Συνθηματικό:
Κωδικός Ασφαλείας: Κωδικός Ασφαλείας
Γράψτε Κωδικό Ασφαλείας (6ψήφιος αριθμός εικόνας):
Members List Μέλη:
Τελευταία: yiannasot's Profile yiannasot
Σήμερα: 0
Χθές: 1
Συνολικά: 9815

Συνδεδεμένοι:
Επισκέπτες: 220
Μέλη: 0
Σύνολο: 220

Εγγραφή


Cinema: Το Δαχτυλίδι της Φωτιάς (Pacific Rim) του Γκιγιέρμο Ντελ Τόρο (2013)

Ημερομηνία καταχώρησης: Παρασκευή, 14 Οκτ. 2011 @ 16:47:00 MST - Συντάκτης : Jim Papamichos

[Comments][Περισσότερα][Κριτικές][Βίντεο][Φωτό][Πόστερ][Κυκλοφορία][Στοιχεία]

Επιστημονικής Φαντασίας

Το Δαχτυλίδι της Φωτιάς
Pacific Rim

του Γκιγιέρμο Ντελ Τόρο
με τους Τσάρλι Χάναμ, Ίντρις Έλμπα, Ρίνκο Κικούκι, Τσάρλι Ντέι, Ρον Πέρλμαν

Υπόθεση:
Όταν λεγεώνες τρομακτικών πλασμάτων – γνωστά ως Καϊτζού – αρχίζουν να εφορμούν από την θάλασσα, ξεκινά ένας πόλεμος που θα στοιχίσει εκατομμύρια ζωές και θα εξαντλήσει τους πόρους της ανθρωπότητας. Προκειμένου να ανταπεξέλθουν οι άνθρωποι στις επιθέσεις των γιγαντιαίων Καϊτζού, κατασκεύασαν ένα ειδικό όπλο: ογκώδη ρομπότ – τα Γιάγκερ – τα οποία ελέγχονται ταυτόχρονα από δύο πιλότους των οποίων οι εγκέφαλοι είναι συνδεδεμένοι με μία γέφυρα νευρώνων. Όμως, ακόμα και τα Γιάγκερ αποδεικνύονται λίγα μπροστά στη μήνη των Καϊτζού. Λίγο πριν την οριστική ήττα, οι δυνάμεις που προασπίζονται το ανθρώπινο είδος, δεν έχουν άλλη επιλογή από το να στραφούν σε δύο μάλλον απίθανους ήρωες – έναν ξεπεσμένο πρώην πιλότο (Τσάρλι Χάναμ) και μια άπειρη δόκιμη (Ρίνκο Κικούτσι). Οι δυο τους θα ενώσουν τις δυνάμεις τους για να πλοηγήσουν ένα θρυλικό και φαινομενικά ξεπερασμένο Γιάγκερ από το παρελθόν. Αυτοί οι δύο θα κληθούν να προστατέψουν την ανθρωπότητα, καθώς είναι η τελευταία της ελπίδα πριν την αποκάλυψη.


ΠΕΡΙΣΣΟΤΕΡΑ

ΓΙΑΓΚΕΡ VS. ΚΑΪΤΖΟΥ

ΚΑΪΤΖΟΥ – Γιγάντιο Τέρας (Ιαπωνικά)
ΓΙΑΓΚΕΡ – Κυνηγός (Γερμανικά)

Τα Καϊτζού είναι εξωγήινα πλάσματα, μεγαλύτερα, πιο θηριώδη και πιο άγρια από οτιδήποτε έχουμε δει στην μεγάλη οθόνη.

Για να τα πολεμήσει, η ανθρωπότητα δημιούργησε το μεγαλύτερο, δυνατότερο και πιο ευέλικτο όπλο που έχει ποτέ κατασκευαστεί: ρομπότ ύψους 25 μέτρων. Κάθε ρομπότ λειτουργεί με τη συνεργασία δυο πιλότων, συνδεδεμένων εγκεφαλικά.

Στην αρχή της ανάπτυξης του Προγράμματος Γιάγκερ, ανακαλύφθηκε πως η πολυπλοκότητα και το μέγεθος των ρομπότ απαιτούσαν τη συνεργασία δυο πιλότων, καθώς το νευρικό φορτίο της σύνδεσης του ανθρώπινου εγκεφάλου με το ρομπότ ήταν θανάσιμο για ένα μόνο άτομο. Οι δημιουργοί τους συνειδητοποίησαν ότι κάτι τέτοιο μπορούσε να γίνει από δυο πιλότους: ο ένας θα ήλεγχε το δεξί ημισφαίριο του Γιάγκερ και ο άλλος το αριστερό. Για να μπορέσει να λειτουργήσει το ρομπότ – πολεμιστής, οι δυο πιλότοι έπρεπε να είναι σε απόλυτη αρμονία: να συνδέονται σωματικά με το ρομπότ και μεταξύ τους εγκεφαλικά.

Αυτή η ψυχική σύνδεση είναι γνωστή ως “Μετάδοση”.  Μπαίνοντας σε περιβάλλον Μετάδοσης, ο κάθε πιλότος αρχίζει να αισθάνεται την παρουσία μιας άλλης συνείδησης μέσα στο μυαλό του που είναι γνώστης κάθε σκέψης, κάθε ανάμνησης και κάθε συναισθήματος του. Οι δυο πιλότοι γίνονται μια μονάδα, συνδεδεμένοι μεταξύ τους και με την μηχανή.

Τα Γιάγκερ και τα Καϊτζού ήρθαν στη ζωή από τους μάγους των ειδικών εφέ της Industrial Light & Magic (ILM), οι οποίοι συνεργάζονται με τον Ντελ Τόρο για πρώτη φορά.

Για τον σχεδιασμό των τρομακτικών Καιτζού, ο Ντελ Τόρο συγκέντρωσε ορισμένους από τους καλύτερους σχεδιαστές της βιομηχανίας.

Κατά τη διάρκεια του σχεδιασμού των Καϊτζού ο Ντελ Τόρο έθεσε στην ομάδα σχεδιασμού ορισμένους περιορισμούς. Η μορφή των τεράτων έπρεπε να έχει επιρροές μόνο από συγκεκριμένα είδη του ζωικού βασιλείου και πιο συγκεκριμένα σαύρες, έντομα και μαλακόστρακα.

Κάθε ένα από τα Καϊτζού έχει την δική του ξεχωριστή σιλουέτα και δυνατότητες. Τα εξωγήινα τέρατα είναι ζωντανά όπλα. Κάθε απόφυση στα σώματα τους είναι μέρος του οπλοστασίου τους. Όπως λέει ο Τόμας Ταλ (παραγωγός), «Εξελίσσονται γρήγορα. Με κάθε επίθεση μαθαίνουν κάτι νέο και βελτιώνονται συνεχώς σε μέγεθος και τακτική.»

Το παγκόσμιο εύρος του πολέμου εναντίον των Καϊτζού αντανακλάται στα σχέδια, τα χρώματα και τα διακριτικά των Γιάγκερ. Κάθε ένα από τα τεράστια ρομπότ φέρει στοιχεία για την χώρα προέλευσης τους.

Τα τέσσερα βασικά Γιάγκερ που βλέπουμε να πολεμούν στην ταινία είναι η Τζίπσι Ντέιντζερ από τις ΗΠΑ, ο Κρίμσον Ταιφούν από την Κίνα, ο Τσέρνο Άλφα από την Ρωσία και ο Στράικερ Γιουρίκα από την Αυστραλία.

Τζίπσι Ντέιντζερ (ΗΠΑ)
Ένας «κλασικός πιστολέρο» έτοιμος για μάχη. Η Τζίπσι είναι εντυπωσιακή και έχει φτιαχτεί έτσι ώστε να μοιάζει με μαχητικό του Δεύτερου Παγκόσμιου Πολέμου.

Τσέρνο Άλφα (Ρωσία)
Είναι το παλαιότερο και βαρύτερο Γιάγκερ στο στόλο, με έναν υπερμεγέθη πυρηνικό αντιδραστήρα. Η ασύγκριτη δύναμη του εξισορροπεί το άτσαλο περπάτημα της.

Κρίμσον Ταϊφούν (Κίνα)
Είναι το μοναδικό Γιάγκερ με τρία χέρια, λόγω και της τριμελούς ομάδας που το πιλοτάρει. Οι κινήσεις του θυμίζουν μαχητή πολεμικών τεχνών.

Στράικερ Γιουρίκα (Αυστραλία)
Είναι το πιο πρόσφατο μοντέλο και για αυτό καλύτερο σε ταχύτητα και ευελιξία. Σαν τους αυστραλούς καβγατζήδες, είναι έτοιμο να ξεκινήσει καυγά οποιαδήποτε στιγμή.


Το νέο στοιχείο στην πλοκή του “Pacific Rim”, σε σχέση με προηγούμενες ταινίες επιστημονικής φαντασίας είναι πως οι εξωγήινοι δεν εισβάλουν στην Γη από το διάστημα, αλλά από τα βάθη της θάλασσας.

Η ιστορία του “Pacific Rim” ξεκίνησε όταν ο σεναριογράφος Τράβις Μπίτσαμ περπατούσε στο πραγματικό Pacific Rim, στην ακτή της Καλιφόρνια, στην παραλία της Σάντα Μόνικα. Όπως αναφέρει, «Ήταν ένα ιδιαίτερα ομιχλώδες πρωινό και υπήρχε κάτι ιδιαίτερο στο σχήμα της αποβάθρας, όπως φαίνονταν μέσα στην ομίχλη. Μια εικόνα ξεπήδησε στο μυαλό μου, ενός τέρατος που αναδύονταν από την θάλασσα, έτοιμο να συναντήσει ένα τεράστιο ρομπότ που περίμενε στην ακτή για να μονομαχήσουν».

Όπως λέει η παραγωγός του Pacific Rim, Μέρι Πάρεντ, ο Γκιγιέρμο Ντελ Τόρο έχει αυτή την ειδική επικοινωνιακή σύνδεση με το κοινό, επειδή είναι ο ίδιος μέρος του κοινού. «Αυτό κάνει όλη την διαφορά. Είναι το ίδιο ενθουσιασμένος με τους νέους κόσμους που δημιουργεί, όσο είμαστε κι εμείς να τους δούμε».

Κατασκευασμένο στα Pinewood Studios του Τορόντο, το βασικό σετ για τα Conn-pod, το εσωτερικό πιλοτήριο των Γιάγκερ ήταν ένας σχεδιαστικός και μηχανικός άθλος, στον οποίο συνεργάστηκε μια πλειάδα ανθρώπων. Το σετ ζύγιζε 20 τόνους και είχε 20 πόδια ύψος.

Για το στυλ των παπουτσιών του Χάνιμπαλ Τσάο βοήθησε ο ίδιος ο Ντελ Τόρο. Όπως λέει χαρακτηριστικά η ενδυματολόγος Κέιτ Χόλεϊ,  “Ξεκινήσαμε με ασημένια παπούτσια, αλλά ο Γκιγιέρμο τα ήθελε πιο πλούσια. Έτσι καταλήξαμε στα χρυσά”.

Ο Ντελ Τόρο αναφέρει, “Προσπαθήσαμε να δείξουμε πόσο έχει αλλάξει η κοινωνία και η γεωγραφία του κόσμου την εποχή που διαδραματίζεται η ταινία. Η εμφάνιση αυτών των πλασμάτων έχει δημιουργήσει ένα ντόμινο. Δε θέλαμε να φτιάξουμε έναν φουτουριστικό κόσμο. Όλη η τεχνολογία της εποχής θα εστίαζε στη δημιουργία όπλων, ικανών να πολεμήσουν τα τέρατα”.

«Το Σάτερντοουμ», όπως αναφέρει ο Άντριου Νεσκορόμνι (Καλλιτεχνική Διεύθυνση), «το θαλάσσιο οχυρό της Αντίστασης κατασκευάστηκε για να δείξει την επιδείνωση της κοινωνίας από τα χρόνια του πολέμου. Αυτό που θέλαμε να δείξουμε είναι πως πλησιάζει το τέλος, πως υπάρχει μια αίσθηση απόγνωσης, καθώς ο κόσμος αγωνίζεται για να κρατήσει τα πάντα σε λειτουργία. Δεν υπάρχουν φωτεινά χρώματα. Όλα έχουν ξεθωριάσει ή κιτρινίσει. Μπορείς να δεις τη σκουριά, την παρακμή.»

Το πιο χρωματιστό σκηνικό στην ταινία είναι το κρησφύγετο του Χάνιμπαλ Τσάο, στο Χονγκ Κονγκ. Το κυκλικό σκηνικό περιέχει μαρμάρινα πατώματα και κολώνες. Στα ράφια υπάρχουν γυάλες που περιέχουν μέρη από το σώμα των Καϊτζού που πρόκειται να πουληθούν στην μαύρη αγορά.

Το “Pacific Rim” γυρίστηκε με την κάμερα RED EPIC. Είναι η πρώτη φορά που ο Ντελ Τόρο χρησιμοποιεί ψηφιακή κάμερα σε ταινία του.

«Θέλαμε να δείξουμε πως η ιστορία μας έχει επηρεάσει όλο τον πλανήτη», λέει ο Ντελ Τόρο. «Η αφήγηση σε πηγαίνει σε εντελώς διαφορετικές περιοχές, από πυκνοκατοικημένες μεγαλουπόλεις, μέχρι τα βάθη των ωκεανών ή τα άκρα της γήινης ατμόσφαιρας».

Η πολυεθνική φύση της ιστορίας αντανακλάται και στη μουσική, με ήχους γιαπωνέζικων Τάικο ντραμς, κινέζικων βιολιών Έρχου, μιας ρωσικής χορωδίας και τουάνγκι κιθάρων.

Το Καστ

ΤΣΑΡΛΙ ΧΑΝΑΜ (Ράλεϊ Μπέκετ)

Ο Τσάρλι Χάναμ είναι γνωστός από τον ρόλο του Τζάκσον (Τζαξ) Τέλερ στην τηλεοπτική σειρά “Sons of Anarchy,” την μεγαλύτερη σε τηλεθέαση σειρά του καλωδιακού δικτύου FX. Η σειρά βρίσκεται ήδη στην 6η σαιζόν της.

Ο Χάναμ είναι γεννημένος στην Αγγλία και έγινε πασίγνωστος στο βρετανικό τηλεοπτικό κοινό μέσα από την σειρά “Queer as Folk.”  Στην σειρά υποδύονταν τον έφηβο Νέιθαν Μαλόνεϊ.

Έχει επίσης πρωταγωνιστήσει στην κινηματογραφική μεταφορά του μυθιστορήματος του Τσαρλς Ντίκενς, “Nicholas Nickleby”. Για την ερμηνεία του μοιράστηκε το Βραβείο του National Board of Review για το Καλύτερο Καστ με τους υπόλοιπους πρωταγωνιστές της ταινίας.

Τον έχουμε δει επίσης στο “Cold Mountain” του Άντονι Μινγκέλα, δίπλα στους Νικόλ Κίντμαν και Τζουντ Λο και στο “Children of Men” του Αλφόνσο Κουαρόν.

ΙΝΤΡΙΣ ΕΛΜΠΑ (Στάκερ Πέντεκοστ)

Τον είδαμε πρόσφατα στο “Prometheus,” του Ρίντλει Σκιτ και στο “Thor” του Κένεθ Μπράνα, στον ρόλο του Χάιμνταλ.

Το φθινόπωρο θα τον δούμε στο σίκουελ του “Thor”, με τίτλο “Thor: The Dark World”.

Στην τηλεόραση πρωταγωνιστεί στην υποψήφια για Χρυσή Σφαίρα σειρά του BBC, “Luther,” στο ρόλο του Τζον Λούθερ. Για τον ρόλο του έχει κερδίσει Χρυσή Σφαίρα και δυο υποψηφιότητες για Έμμυ.

Τον έχουμε δει επίσης στο τηλεοπτικό “The Wire” και στις ταινίες “RockNRolla”, “American Gangster”, “28 Weeks Later”.

ΡΙΝΚΟ ΚΙΚΟΥΤΣΙ (Μάκο Μόρι)

Η Ρίνκο Κικούτσι ήταν υποψήφια για Όσκαρ, για την ερμηνεία της στην ταινία “Babel” του Αλεχάνδρο Γκονζάλες Ινιαρίτου, το 2006.

Έχει πρωταγωνιστήσει στην κινηματογραφική μεταφορά του μυθιστορήματος του Χαρούκι Μουρακάμι, “Νορβηγικό Δάσος”, ενώ τον Δεκέμβριο του 2013 θα την δούμε στο “47 Ronin”, δίπλα στον Κιάνου Ριβς.

Έχει επίσης δουλέψει ως μοντέλο για την Σανέλ, τον Ιβ Σεν Λοράν και τον Τομ Φορντ.

ΤΣΑΡΛΙ ΝΤΕΪ (Δρ. Νιούτον Γκάιζλερ)

Τα τελευταία χρόνια έχει πρωταγωνιστήσει στις ταινίες, “Going the Distance,” με τους Ντρου Μπάριμορ και Τζάστιν Λονγκ και “Horrible Bosses” με τους Τζένιφερ Άνιστον, Τζέισον Σουντέικις, Κέβιν Σπέισι και Τζέιμι Φοξ.

Πρωταγωνιστεί στην κωμική σειρά του τηλεοπτικού δικτύου FX, “It’s Always Sunny in Philadelphia.” 

ΡΟΜΠ ΚΑΖΙΝΣΚΙ (Τσακ Χάνσεν)

Προστέθηκε φέτος στο καστ της τηλεοπτικής σειράς του HBO, “True Blood”, στο ρόλο του Μπεν, του νέου φίλου της Σούκι (Άννα Πάκουιν).

Ο Καζίνσκι έγινε γνωστός στο βρετανικό κοινό μέσα από την συμμετοχή του στην δημοφιλή βρετανική σαπουνόπερα “EastEnders”. Από το 2006 έως το 2009 έπαιξε σε 254 επεισόδια και κέρδισε Βραβείο Καλύτερου Ηθοποιού στα British Soap Awards το 2009.

ΡΟΝ ΠΕΡΛΜΑΝ (Χάνιμπαλ Τσάου)

Ο Ρον Πέρλμαν είναι μόνιμος συνεργάτης του Γκιγιέρμο Ντελ Τόρο. Πρωτοδούλεψαν μαζί στην πρώτη μεγάλου μήκους ταινία του σκηνοθέτη, το θρίλερ επιστημονικής φαντασίας “Cronos”, το 1993. Ακολούθησαν τα “Blade II” (2000), “Hellboy” (2004) και “Hellboy II: The Golden Army” (2008).

Τον έχουμε δει επίσης στα “Season of the Witch,” του Ντόμινικ Σένα και “Drive,” δίπλα στον Ράιαν Γκόσλινγκ.

Στην τηλεόραση πρωταγωνιστεί μαζί με τον Τσάρλι Χάναμ, στην σειρά “Sons of Anarchy”.

Έγινε γνωστός σε όλο τον κόσμο ως ο Βίνσεντ στην σειρά “Η Πεντάμορφη και το Τέρας”. Για την ερμηνεία του στην σειρά, ο Πέρλμαν κέρδισε Χρυσή Σφαίρα και δυο υποψηφιότητες για Έμμυ.

Ξεκίνησε την καριέρα του με την ταινία του Γάλλου σκηνοθέτη Ζαν-Ζακ Ανό, “Quest for Fire”, ενώ έχει συνεργαστεί με τον σκηνοθέτη και στο δημοφιλές “Το Όνομα του Ρόδου”.  

ΜΠΕΡΝ ΓΚΟΡΝΜΑΝ (Γκότλιεμπ)

Έπαιξε πέρυσι στο blockbuster του Κρίστοφερ Νολαν, “The Dark Knight Rises.” 

Τον έχουμε δει στις ταινίες “Red Lights,” “Johnny English Reborn,” “Up There,” “Cemetery Junction,” “The Oxford Murders,” “Fred Claus,” “Penelope,” “The Best Man,” “Layer Cake” και “Red Light Runners.”

Στην τηλεόραση έχει παίξει στο “Game of Thrones” του HBO και στο “Revenge” του ABC. 

Το Συνεργείο

ΓΚΙΓΙΕΡΜΟ ΝΤΕΛ ΤΟΡΟ (Σκηνοθεσία – Σενάριο – Παραγωγή)

Ο Γκιγιέρμο Ντελ Τόρο κέρδισε διεθνή αναγνώριση με την ταινία «Ο Λαβύρινθος του Πάνα» το 2006. Η ταινία κέρδισε 3 βραβεία Όσκαρ (Καλλιτεχνικής Διεύθυνσης, Φωτογραφίας και Μακιγιάζ) και άλλες τρεις υποψηφιότητες (Ξενόγλωσσης Ταινίας, Μουσικής και Πρωτότυπου Σεναρίου, η τελευταία για τον ίδιο τον Ντελ Τόρο).

Συνολικά “ο Λαβύρινθος του Πάνα” κέρδισε περισσότερα από 40 βραβεία διεθνώς, ενώ ο Ντελ Τόρο είναι ο ισπανόφωνος σκηνοθέτης με τις μεγαλύτερες εισπράξεις στις Ηνωμένες Πολιτείες.

Ακούσαμε για πρώτη φορά το όνομα του το 1993, με την μεξικανό-αμερικάνικη ταινία τρόμου “Cronos,” σε σενάριο του ιδίου. Έκανε πρεμιέρα στο Φεστιβάλ Καννών, κερδίζοντας το Βραβείο Mercedes Benz.

Η φιλμογραφία του περιλαμβάνει επίσης τις ταινίες “The Devil’s Backbone”, “Hellboy,” και “Hellboy II: The Golden Army.”

Έγραψε το σενάριο για την γοτθική ταινία τρόμου “Don’t be Afraid of the Dark,” ενώ ήταν παραγωγός στις ταινίες “Splice” και στο “The Orphanage,” την μεγαλύτερη εισπρακτική επιτυχία του ισπανικού box office.

Ο Ντελ Τόρο έχει γράψει σε συνεργασία με τον Τσακ Χόγκαν το βιβλίο τρόμου, “Το Ίχνος”. Το βιβλίο ακολούθησαν άλλα δυο, με τίτλους “Η Πτώση” και “Η Αιώνια Νύχτα”, συμπληρώνοντας την τριλογία των δυο συγγραφέων. Η σειρά βιβλίων πρόκειται να μεταφερθεί σύντομη στην μικρή οθόνη, με τον Ντελ Τόρο να συμμετέχει ενεργά στην παραγωγή.

ΤΡΑΒΙΣ ΜΠΙΤΣΑΜ (Σενάριο)

Τον θυμόμαστε από το σενάριο της ταινίας “Clash of the Titans,” το 2010 που συγκέντρωσε 493 εκατομμύρια δολάρια εισπράξεις παγκοσμίως.

Οι επόμενες δουλειές του περιλαμβάνουν το “Ballistic City”, μια νέα σειρά επιστημονικής φαντασίας που θα προβληθεί το επόμενο διάστημα από το καλωδιακό κανάλι AMC, την ταινία “20,000 Leagues Under the Sea: Captain Nemo” και το remake του “The Black Hole”.

ΓΚΙΓΙΕΡΜΟ ΝΑΒΑΡΟ (Φωτογραφία)

Έχει κερδίσει Όσκαρ Φωτογραφίας για τον “Λαβύρινθο του Πάνα”, του Γκιγιέρμο Ντελ Τόρο.

Δούλεψε πρόσφατα στις ταινίες “I Am Number Four” και στα “The Twilight Saga: Breaking Dawn 1 και 2”.

Στην τηλεόραση έκανε το ντεμπούτο του ως σκηνοθέτης στην σειρά του NBC, “Hannibal”.

ΑΝΤΡΙΟΥ ΝΕΣΚΟΡΟΜΝΙ (Καλλιτεχνική Διεύθυνση)

Έχει δουλέψει στις ταινίες “Dawn of the Dead”, “Alien vs. Predator: Requiem”, “Fast Five”; “Battle Los Angeles”, “Seabiscuit”, “Mission to Mars”, “Star Trek V: The Final Frontier”.

Στην τηλεόραση έχει εργαστεί ως art director στις σειρές, “Star Trek: The Next Generation” και “Star Trek: Voyager”.

ΡΑΜΙΝ ΤΖΑΒΑΝΤΙ (Συνθέτης)

Έχει κερδίσει δυο υποψηφιότητες για Έμμυ (“Prison Break” – 2005, “Flash Forward” – 2009).

Η μουσική του ποικίλει από κλασικά ορχηστρικά κομμάτια μέχρι πιο μοντέρνες συνθέσεις.

Ο Τζαβάντι έχει συνθέσει την μουσική για το “Game of Thrones” του HBO, μεταξύ των οποίων και το βασικό μουσικό θέμα της σειράς.

Έχει κερδίσει υποψηφιότητα για Γκράμυ για το μουσικό σκορ του “Iron Man”.


From acclaimed filmmaker Guillermo del Toro comes “Warner Bros. Pictures and Legendary Pictures Pacific Rim.”

When legions of monstrous creatures, known as Kaiju, started rising from the sea, a war began that would take millions of lives and consume humanity’s resources for years on end. To combat the giant Kaiju, a special type of weapon was devised: massive robots, called Jaegers, which are controlled simultaneously by two pilots whose minds are locked in a neural bridge. But even the Jaegers are proving nearly defenseless in the face of the relentless Kaiju. On the verge of defeat, the forces defending mankind have no choice but to turn to two unlikely heroes—a washed up former pilot (Charlie Hunnam) and an untested trainee (Rinko Kikuchi)—who are teamed to drive a legendary but seemingly obsolete Jaeger from the past. Together, they stand as mankind’s last hope against the mounting apocalypse.

Oscar® nominee Guillermo del Toro (“Pan’s Labyrinth”) is directing the epic sci-fi action adventure from a script by Travis Beacham (“Clash of the Titans”). Thomas Tull, Jon Jashni and Mary Parent are producing, with Callum Greene serving as executive producer.
The film stars Charlie Hunnam (TV’s “Sons of Anarchy”), Idris Elba (“Thor”), Rinko Kikuchi (“The Brothers Bloom”), Charlie Day (“Horrible Bosses”), and Ron Perlman (the “Hellboy” films). The ensemble cast also includes Max Martini, Robert Kazinsky, Clifton Collins, Jr., Burn Gorman, Larry Joe Campbell, Diego Klattenhoff, and Brad William Henke.

Del Toro’s behind-the-scenes team includes Academy Award®-winning director of photography Guillermo Navarro, production designer Andrew Neskoromny, editor Peter Amundson, and costume designer Kate Hawley. Slated for release beginning Summer 2013, the film is a presentation of Warner Bros. Pictures and Legendary Pictures and will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

ABOUT THE PRODUCTION

KAIJU (kaijū, Japanese) Giant Beast.

JAEGER (yā’gar, German) Hunter.

“When I was a kid, whenever I’d feel small or lonely,
I’d look up at the stars and wonder if there was life up there.
Turns out, I was looking in the wrong direction.”

The depths of the ocean have always held a fascination for people, but we have always assumed that its wonders—and its dangers—are of our own world.
We were wrong.
That intriguing premise gave rise to “Warner Bros. Pictures & Legendary Pictures Pacific Rim.” As the film begins, a breach in the floor of the Pacific Ocean unleashes a cataclysmic threat to the human race.
Director Guillermo del Toro, who also co-wrote and served as a producer on the film, relates, “Through that portal come alien creatures that are larger and more ferocious and brutal than anything we have ever seen: the Kaiju. In order to grapple with them, mankind pulls together all its resources and invents the largest, most dynamic and most versatile weapon ever devised. They create the Jaeger Program—towering 25-story-high robots, each operated by two pilots whose minds are neurally linked together.”
Paired together, these pilots are humanity’s last hope of survival.
He continues, “It was a project that encompassed every single thing on my wish list, visually, atmospherically and emotionally…an unstoppable, thrilling adventure about human pilots and giant robots up against alien monsters, the likes of which we’ve never seen.”
Producer Thomas Tull offers, “Just that description, ‘giant monsters versus giant robots,’ gives you a sense of the scope and scale, not to mention the action and fun. And there is also an element of mystery in that we don’t know why the Kaiju are attacking. What do they want and how is humanity going to react? How can we possibly defend ourselves against them?”
The story originated with screenwriter Travis Beacham, who was on the actual Pacific Rim—on the coast of California—when the central elements of the film began to take shape. He recounts, “I remember walking along the beach in Santa Monica. It was a particularly foggy morning and there was something about the shape of the pier in the fog jutting out into the water... An image just kind of popped into my head of a behemoth, a monster, rising from the surf to meet this giant robot waiting on the shore to do battle.
“However,” Beacham acknowledges, “I knew that by itself was not a story. What really crystallized the plot for me was figuring out who is driving the robot, and finally determining it had to be two pilots—two people whose minds would have to be intimately connected to control this massive thing. That’s when the pieces started to fall into place in a very organic way.”
After collaborating with producers Thomas Tull and Jon Jashni as a screenwriter on “Clash of the Titans,” Beacham told them about his original idea for a winner-take-all war that joins man and machine against aliens, who don’t invade from beyond our galaxy, but rather ascend from the deep.
“I was hooked from the first moment Travis pitched it to us,” Tull recalls. “The film is about humanity being up against something unexpected and utterly overwhelming, and how they have to come together to combat it. We also thought the notion that we could be invaded from within was a very cool concept.”
“You can’t really run from it because they are coming from a place that’s inescapably on Earth,” Beacham adds. “Part of the allure of the ocean is that it hides its secrets so well. There are so many myths about sea monsters and giant serpents and all the other things people suppose are down there. I think there is something elementally terrifying about what can come out of this blackness.”
Given the enormity of the threat, “the stakes are huge for the entire planet,” Jashni says. “But starting with such huge stakes means you also have to find a way to make it more relatable on a personal level. The ability to reduce everything down to the emotional core is one of Guillermo del Toro’s many gifts…not to mention he is a master of the genre. He is encyclopedic about the Kaiju and ‘mecha’ cultures, making him uniquely qualified to capture the most accessible and entertaining facets of both. When we shared with him what we were cooking up with Travis, he was immediately on board.”
As del Toro began crafting the screenplay with Beacham, he became totally immersed in the world they were forming. He attests, “The more we developed the universe, the more I became personally invested in the story, the characters, the monsters, the robots, and everything it would take to make it all real. I couldn’t wait.”
“Working with Guillermo is incredible,” Beacham remarks. “He bristles with ideas and can come up with the most brilliant strokes of insight at the drop of a hat. He also loves monster movies, so we were definitely playing in his sandbox,” he laughs. “He came at the project with a genuine passion for the material, which I think was vital to the soul of the movie.”
Del Toro’s enthusiasm was not only contagious to everyone involved in the film, but is also largely the reason he has become an unequivocal favorite among genre fans. In fact, he would be the first to count himself among those collectively known as “fanboys.”
Producer Mary Parent says, “Guillermo has a special connection to that audience because he is that audience, and that makes a huge difference. He is just as excited about creating these amazing worlds as we are to see them. You know, going in, he’s going to deliver a visceral, thrilling rollercoaster.”
Nevertheless, it was essential to the filmmakers that the magnitude of the action be balanced with the human stories that are at the heart of the film. Jashni notes, “A core theme of the movie is the indomitability of the human spirit, no matter how titanic the threat.”
Charlie Hunnam, who stars as Raleigh Becket, one of the brave Jaeger pilots, says, “The characters in the film are at the eleventh hour, and the only way they can overcome this colossal danger is by coming together and forgetting all their petty differences, be it nations or creeds or backgrounds. The one thing mankind has proven time and time again is that we can overcome any obstacle that we set our minds to, and I think that message will resonate with audiences.”
The global nature of the war against the Kaiju is reflected in the design, colors and insignia of the Jaegers, all giving nods to their country of origin. The four main Jaegers seen battling in the film are: Gipsy Danger, from the USA; the Chinese Crimson Typhoon; Russia’s Cherno Alpha; and Striker Eureka, from Australia.
No less attention was paid to the creation of the dreaded Kaiju, which are destruction incarnate. Del Toro assembled some of the top concept artists in the industry to design what he calls “the most terrifying but majestic creatures you could ever imagine,” each with its own distinct silhouette and lethal capabilities.
The Jaegers and the Kaiju were brought to life onscreen by the visual effects wizards at the renowned Industrial Light & Magic (ILM), who were collaborating with del Toro for the first time. Together they executed epic battles that unfold on land and sea and in the air.
The film also features an international cast, led by Hunnam and also starring Idris Elba, Rinko Kikuchi, Charlie Day, Rob Kazinsky, Max Martini, Clifton Collins, Jr., Burn Gorman, and Ron Perlman.
“We want people to be taken by the spectacle and the sound and fury,” del Toro says, “but it is all meant to illuminate the courage of the central characters. Physically, the human beings are the smallest thing in the movie, but their spirit is the largest thing in the movie. They show you the makings of real heroes.”
The expanse of the production took up every soundstage at Toronto’s Pinewood Studios, including two of the largest shooting stages in the world. One set, called the Conn-pod, was constructed on a large gimbal to make the actors—outfitted in specialized suits created by Legacy Effects—actually feel like they were engaged in battle. “We wanted to put the audience right there in the pilot seat. It will make you feel what it is to suit up, hook up, and take the robot for a ride.”

CAST

“Today, at the edge of our hope, at the end of our time,
we’ve chosen to believe in each other.”

Del Toro emphasizes, “The robot is only as good a fighter as the fighters inside. Ultimately, the most important dynamic that determines who pilots the Jaegers, and how effective they’ll be, is the relationship between the people.”
Early in the Jaeger program, it was discovered that the complexity and sheer size of the robots made it impossible for one person to handle alone. The neural load proved fatal for a single brain. Eventually, they learned that it could only be done with two pilots: one controlling the Jaeger’s right hemisphere; the other, the left. But in order for that to work, they had to be in perfect sync—connected to the robot in body, and to each other in mind.
That mental fusion is known as “The Drift.” Parent says, “Going into The Drift opens up all the channels of your brain. Suddenly, you have someone else in your head who is privy to every thought, every memory, every emotion.”
Del Toro adds, “They become one unit, fused with each other and with the machine. But in order to do that, you have to be prepared to let somebody literally peek into your mind…into your soul.”
“In The Drift, memories flood in and secrets come out,” says Beacham. “I think most people would have a natural reticence to let someone else into their brain. But Jaeger pilots need to bond instantly; that’s the only way it works. So they learned it’s best to pair people who already have some sort of relationship and trust.”
That theory resulted in most Jaeger co-pilot teams being immediate family, as is the case with Raleigh Becket and his older brother, Yancy, played by Diego Klattenhoff.
As soon as the Jaegers started gaining the upper hand against the monstrous invaders, their heroic pilots became nothing less than rock stars to a grateful and adoring public. When we meet Raleigh, he has the swagger of a Jaeger jockey who is on top of the world. Says Charlie Hunnam, “He’s young and full of bravado and lives to kick ass against the Kaiju. He’s doing very well piloting his Jaeger, Gipsy Danger, with his brother, but in their desire to protect humanity, they disobey an order, which turns out to be a tragic mistake that forces Raleigh to leave the Jaeger corps behind.”
Del Toro comments, “Raleigh is a man who is basically goodhearted and genuinely earnest and brave. He knows he has a dangerous job, but he has a code of honor that makes him willing to put his life on the line to save another life, despite any risk. Charlie Hunnam was the perfect choice to play Raleigh because he is able to convey that sincerity and purity of heart, and that mix of toughness and vulnerability. I’ve admired his work for years and believe he is on the brink of movie stardom. I was so happy to have the chance to direct him on this film.”
Hunnam had met del Toro years earlier and mentions that they also “have Ron Perlman in common,” referring to his “Sons of Anarchy” series castmate and longtime friend of the director. He continues, “I got a call saying that Guillermo was interested in me for this new film. We met and he gave me a vague outline of the story and who the character was. Then, about a week later, he called and offered it to me. Of course I said yes, and that was the first time in my career that I committed to a project without first reading the script. It was a leap of faith because, script or no script, I was signing on to work with Guillermo. He’s in a class of his own in both his imagination and his ability to bring together fantastical but fully dimensional worlds that you can believe in.”
The desire to work with del Toro was shared by the entire cast. Idris Elba affirms, “Guillermo is such an interesting filmmaker, and I was intrigued by what he would do with this ambitious script. I definitely wanted to be part of that.”
Rinko Kikuchi agrees. “He is a true artist. I knew if he was directing a monster movie, it was going to be more than just a monster movie. It’s going to be something special. Being part of this film is a dream come true.”
Elba plays Stacker Pentecost who had been the commander of the Pan Pacific Defense Corp before the Jaeger Program was cut when the world leaders decided to shift their resources to other forms of defense. Now he leads those who are willing to stand with him in the Resistance. The actor calls his character “a lifelong soldier and a natural born leader. No matter how big the problem is, his attitude is, ‘I’m going to find a way to fix this.’ Even after he loses his funding, he is still determined to fight and rally those who are left. Pentecost will not give up, even though he doesn’t have much to work with against an increasing number of Kaiju attacks. But as a strategist and a soldier, his only job is to figure out how to survive and to win.”
Tull expounds, “Stacker Pentecost has to be the ultimate warrior—true north in a world full of chaos. When the world appears to be crumbling around him, he is just steely-eyed. Idris was the man; I can’t imagine anyone else in that role, and I think audiences are going to love him.”
If Pentecost is going to keep up the fight, he is going to need every remaining Jaeger and Jaeger pilot…even someone who’s been out of the game for five years. Elba says, “Pentecost goes and seeks Raleigh out, believing once a soldier always a soldier. Their relationship is a bit strained at first because Raleigh is a man who marches to the beat of his own drum. But they have a lot of respect for each other, as soldiers and as men.”
“Now,” Hunnam offers, “the challenge is to find somebody Raleigh can be compatible enough with to drive a Jaeger together.”
There is one young woman who shows tremendous promise as a Jaeger pilot, although she has been held back by forces without and within. Kikuchi was cast as Mako Mori, whose appearance belies her true strength. Del Toro reveals she had been his choice for the role from the start. “I love Rinko,” he states. “Alejandro González Iñárritu first introduced me to her years ago when they were touring for ‘Babel.’ What really impressed me was how tough and yet delicate she was. That was essential to the character of Mako, a girl who dreams of being a pilot more than anything in the world.”
Kikuchi says, “Mako has wanted to be a Jaeger pilot ever since her parents were killed in an attack when she was a child. She is battling monsters and her own demons. She has something to prove to herself and to Pentecost, who is her hero and her mentor. He taught her everything she knows, but he still thinks she is too traumatized to join the fight. He wants to protect her and keep her out of harm’s way.”
“Rinko did a phenomenal job,” Tull declares. “You’ve got all these macho guys in the movie, and then there’s Rinko, who is the sweetest, most adorable young lady you’d ever want to meet. But when the cameras rolled, no matter how physically arduous the scene was, she absolutely brought it.”
The other remaining Jaeger pilots hail from the far corners of the Pacific Rim, and, like their leader, Pentecost, they have no intention of standing down even in the face of seemingly impossible odds. The imposing Kaidanovsky siblings, played by Robert Maillet and Heather Doerksen, handle the Russian Cherno Alpha. China’s Crimson Typhoon is uniquely configured for three pilots, to accommodate the Wei Tang triplets, played by Charles, Lance and Mark Luu. Australia’s Striker Eureka is driven by Herc Hansen and his son, Chuck, played by Max Martini and Rob Kazinsky, respectively.
Despite their small number, some of the veterans are reluctant to accept Raleigh into their ranks, especially the Australians. Martini asserts, “He’s not exactly welcomed with open arms. In any sort of military situation, you are reliant on the other people to have your back; you need that trust. And because Raleigh comes in with a questionable history, everyone is a little skeptical of him, wondering if he can earn his stripes.”
No one is more skeptical than Chuck Hansen, who “has a definite chip on his shoulder,” Kazinsky admits. “He was raised in a world at war and has lived his entire life to only one end: killing Kaiju. That’s all that matters to him, so he’s demanding to the extreme—on himself, his father, and especially this guy who was already a proven failure. I don’t think Chuck means to act like a jerk; he’s behaving that way because he knows his life could depend on Raleigh and doesn’t think he’ll be in safe hands. When he feels someone is going to let the team down when it counts, he doesn’t want them on the team at all.”
The soldiers in the Resistance are not limited to the Jaeger jockeys. Clifton Collins, Jr. appears as Tendo Choi, a brilliant engineer who serves as a kind of land-sea-air traffic controller in the Jaeger operations center. In researching for the role, Collins says, “I picked up a copy of Robot Building for Dummies just to get some fundamentals. Obviously, there’s so much fantasy incorporated into our Jaegers, but learning the nature of basic robotics helped me a lot.”
Behind the lines, there is another duo who are taking a more scientific approach to fighting the Kaiju by trying to stop the invasion at its source. But it might help if they could first stop fighting with each other.
Charlie Day, who was cast as Dr. Newton Geiszler, remarks, “Newton is obsessed with these monsters and believes he is the foremost expert on them.”
“But he’s not,” counters Burn Gorman, who plays Herman Gottlieb. “Newt thinks the solution is biological, but Herman believes the answer is in his mathematical calculations. There’s a lot of friction between them because they are both searching for a solution to the same problem, but their methods are entirely at odds and both of them think they are always right all of the time. And the clock is ticking.”
“Newt faces some interesting quandaries,” Day says. “One: the potential end of the world. Two: a lab partner who is constantly contradicting him. Three: being the smartest man on the planet and trying not to sound arrogant about it, but, hey, that’s who he is,” the actor kids. “Let’s face it, he’s a nerdy scientist, but he resents the nerdy scientist stereotype, so he rebels against it with his tattoos and leather coat.”
Avoiding stereotypes was exactly what del Toro was trying to do with the characters of Geiszler and Gottlieb. He details, “In a movie where you have to explain different environments and the creatures that function within them, there often comes a point where you need a science guy. And, unfortunately, this science guy can sometimes be the most boring part of the movie. So we studiously tried to avoid that by dividing the exposition duties between Charlie Day and Burn Gorman, who guide you through the science of the film in the funniest and most entertaining way.”
While the rest of humanity wants desperately to annihilate the Kaiju, one man has turned the invasion into his own cottage industry. Ron Perlman portrays Hannibal Chau, who has profited handsomely from selling Kaiju parts on the black market and has no intention of helping the Resistance kill his cash cow. “If that came to pass, he’d be selling used cars someplace, and that is not okay with Hannibal,” he laughs.
“Hannibal loves his creature comforts,” Perlman continues. “He’s a pure hedonist; he likes to be surrounded by rare, exotic things and has allegiance to no one and nothing except his own insatiable appetites. It was a delicious role to play because he is utterly ruthless and unpredictable.”
Del Toro says, “Hannibal is a pirate. I knew Ron would have fun with the role and let the audience have fun with it, too. He created a character I think they will love to hate.”
Perlman’s association with del Toro dates back 20 years and includes all of the director’s features. “It’s always fantastic to work with my favorite filmmaker, especially on a movie where he gets to play with all the toys that his incredible imagination will allow him to fashion,” the actor says. “He’s also a collaborative director who appreciates having talented, dedicated people around him. He loves when people are firing on all cylinders.”
Hunnam agrees. “Guillermo is a very hands-on director and had a clear idea of what he wanted. But he also welcomed the actors participating in shaping our characters. If we came in with strong ideas, he was open to exploring them.”

 

JAEGERS VS. KAIJU

“In order to fight monsters,
we created monsters of our own.”

Del Toro was largely responsible for shaping what are, literally speaking, the biggest stars of “Pacific Rim”: the Kaiju. “I love monsters,” states the director who conceived all the various monsters in the film in conjunction with an elite band of concept artists, illustrators, sculptors, and designers. “We had some of the best creature designers in the world involved in the making of the Kaiju.”
Del Toro began with a group that included artist and illustrator Francisco Ruiz Velasco, Wayne Barlowe, Stephen Schirle, Doug Williams, Hugo Martin, Tyruben Ellingson, Guy Davis, Oscar Chichoni, David Meng, Simon Lee, Raul Monge, Carlos Salgado, Keith Thompson, Simon Webber, Allen Williams and Rob McCallum.
Members of the team brainstormed for weeks, beginning in a windowless room they appropriately dubbed “the submarine.” Together, they examined everything: from sizes, shapes and colors to how the immense beings moved and fought. Del Toro says, “We wanted to evoke the sheer awe and terror that one would feel when coming upon one of these monsters.”
He set down certain parameters: an example being that any animal kingdom inspirations were primarily limited to lizards, crustaceans and insects. For the most part, however, the think tank could let their imaginations run wild, taking a tag team approach as they pooled ideas. Recalling some of the process, del Toro describes, “Guy Davis would start a design and then Francisco took a stab at it. Then Simon Webber rendered it and Dave Meng would sculpt it. Seeing all those iterations of the creatures enabled us to make them all individual.”
The designers gave the Kaiju different nicknames that were indicative of their most prominent physical attributes, like Knifehead, Axehead, Leatherback, etc. Some are viciously calculated, others are more raw power. “They are living weapons,” del Toro says. “They are blind instinct combined with tactical intelligence, capable of making instant decisions in battle, so there are definitely a few surprises.”
Making them even more fearsome, every appendage on the Kaiju bodies is part of their arsenal. And, as Thomas Tull points out, “They are quickly evolving. With every attack, they learn something and continually progress in both size and tactics.”
Many of the same artists who helped bring about the Kaiju also lent their talents to the formation of mankind’s last line of defense: the Jaegers.
Beacham says, “The biggest challenge in the world of ‘Pacific Rim’ is finding a way to beat the Kaiju on their own terms. That was the whole idea behind the invention of the Jaegers.”
Just as every Kaiju is unique, each Jaeger is distinct in both design and function, with its own array of weapons, “so every time you see a Jaeger go up against a Kaiju, it’s a completely different fight,” says del Toro.
The once mighty Jaeger fleet has been reduced to four surviving robots. The director wanted the huge war machines to appear combat-worn, with markings that flaunt the number of enemies downed. Their shape, color and insignias reflect their country of origin, as do their fighting styles.
Del Toro equates the look of the U.S. of A.’s Gipsy Danger to “a classic gunslinger heading into a fight. A mixture of a deco skyscraper and John Wayne. Gipsy has swagger and is made to resemble a WWII fighter jet in paint job and details.” A Mark 3, it is considered an old Jaeger and, although it’s been refurbished, it still carries the scars of war…as do its pilots.
Russia’s Cherno Alpha is a T-series Jaeger with an oversized nuclear reactor. Its exceptional brawn makes up for its more lumbering gait. It is the oldest, heaviest Jaeger in the surviving fleet. “Brute force and blunt trauma are its calling cards,” says Thomas Tull.
China’s Crimson Typhoon is a Mark 4, the only Jaeger with three arms, thanks to its three-man pilot team. Its moves are as close as a massive Jaeger can get to martial arts. Jon Jashni observes, “Some of what they’re able to pull off in the course of the movie is a function of them being able to do more with more.”
The Resistance has one Mark 5: Australia’s Striker Eureka. Being the latest model, it boasts faster speed and better maneuverability. “But it’s an Aussie brawler, so it has a lot of bravado and a bit of a strut, like a guy who would pick a fight in a bar,” del Toro teases.
Although the Jaegers would exist only on screen, a great deal of planning went into the mechanics of the robots. “From a technical standpoint, we decided to build them from the inside out in diagrams,” reveals del Toro. “We determined the way the pistons, the relays, the torque, the transmission, the engines, and every other element worked in detail. Then we pulled back and started figuring out the vents, the thermal insulation, the outer skin and so on.”
With the designs of the Kaiju and Jaegers in place, it was up to the visual effects team at ILM, headed by visual effects supervisor John Knoll, to pit them against each other using state-of-the-art computer animation.
Knoll says, “We knew this was going to be a large and very complex project. Every effects sequence had its own challenges, not only in bringing to life these characters but in their interaction with the environments: from the large-scale fluid simulation on the ocean; to the solid surfaces of the cities’ buildings and pavements; and going completely underwater, where we have silt and plankton and hydrothermal vents. Each shot presented an intricate cocktail of elements that had to be blended just so.”
James E. Price, who also served as a visual effects supervisor, says, “We were excited about working with ILM because they not only have an incredible character animation team but also the production pipeline needed to accomplish the sophisticated effects for the interaction between the Kaiju and Jaegers, as well as the water and urban environments where the battles take place.”
Tull remarks, “When you think about the pedigree of ILM, from “Star Wars” on, and then you marry that up with a director like Guillermo del Toro…we felt very fortunate. The first time we went up to ILM and saw some of the finished shots, it was awe inspiring.”
“Guillermo is the ideal director to work with on something like this. He had a very clear vision of what he wanted to see, could articulate it well, and was consistent in his pursuit of that vision,” says Knoll, who worked alongside animation supervisor Hal Hickel at ILM.
“I had the best experience working with ILM,” del Toro states. “John and Hal are two people I respect and admire so much—real creative partners. I knew I could count on them, as well as Jamie, to help us deliver something amazing.”
The sheer size of the combatants posed a major obstacle. Knoll offers, “A big hurdle for us was to try and strike the right balance between speed and scale, because if you think about how big these things are, the physics would dictate that they would need to move slower. But then if they move too slowly, the action is not as exciting, so we had to find a way to make them go fast enough without blowing the scale. And that was made harder by the different environments they were in, whether it’s splashing water or shattering concrete. All of these things had to be simulated in the computer with a believable sense of gravity and scale, so we had to constantly make adjustments to make it all work well together.”
Price confirms, “How do you frame up a Kaiju or a Jaeger that’s 250 feet high and get the audience to identify with something that large? We needed to convey the scale, both in water and on land. Having them together in any one arena required very specific effects.”
That was largely due to the juxtaposition of the mechanical Jaegers with the organic Kaiju. Putting the Jaegers in motion proved the more complicated process, because Hickel’s team had to impart a suggestion of robotic movement while avoiding anything too herky-jerky.
In order to make the warfare look more theatrical, del Toro determined that there should always be something tangible in the atmosphere, whether rain, snow, fog, smoke or embers. The running lights on the Jaegers would then illuminate the particles in the air, generating a radiant dome.
Del Toro also used the robots’ own perimeter lights to great effect, clarifying, “Throwing too much light on them would actually seem to miniaturize them.” Instead, by limiting the light source to what was on the Jaegers and brightening the background a bit, they projected a more imposing silhouette.
The VFX team often took cues from what was being accomplished on set, never more so than in the Conn-pod—the Jaeger cockpit located in the head of the robot, from which the pilots controlled its every move. Price explains, “We watched what the actors were doing in the Conn-pod and, to a certain extent, could extrapolate that to the movement of the Jaeger. Just as the pilots’ motion informs the Jaegers, the actors’ performances were a springboard for us.”

CONN-PODS

“Two pilots. Our minds and our memories connected.
The man and machine became one.”

Whenever possible, del Toro prefers to accomplish scenes in-camera, and while that was not feasible for waging war between the Kaiju and Jaegers, the sequences inside the Conn-pods were another matter.
Constructed on a soundstage at Pinewood Studios in Toronto, the main Conn-pod set was a design and engineering feat, involving the collaboration of numerous people, including production designer Andrew Neskoromny, cinematographer Guillermo Navarro, special effects supervisor Laird McMurray, and Shane Mahan of Legacy Effects.
Weighing in at approximately 20 tons, the set stood approximately 20 feet high…though it rarely stood still. It was built on a giant hydraulic gimbal, dubbed “Mighty Mo,” which could raise, drop, roll, and shake the entire set, and everyone on it. The steep angles necessitated that the entire structure be raised almost to the ceiling of the stage before even initiating motion.
McMurray relates, “The hardest part was the engineering of all the steel that supports everything, because as you add the people and equipment, not to mention water, we’re talking about 75,000 pounds. When you’re moving that much weight—and moving it fast—the mechanics of how it’s going to hold together get a little complicated.”
A second Conn-pod sat on a smaller gimbal, nicknamed “Shake ‘n’ Bake,” which involved a system of air bags to allow a rolling motion, although, as its name suggests, it was capable of producing equally unsettling seismic activity. It also kept the set lower to the ground, allowing del Toro to helm scenes at eye level.
States del Toro, “I wanted the clashes to be very intense, and all these things provided an interaction that is more immediate and visceral, because the actors are truly reacting to the impact in a physical way. When they threw a punch, the set threw that punch with them; when they are hit by the Kaiju, the force would knock them backwards and really rock them.”
Neskoromny customized the Conn-pod sets to correspond to the different Jaegers, so the set had to be repeatedly redressed depending on which duo was at the helm. The designer notes, “Like the exteriors of the Jaegers, we wanted the interiors to have their own identity, so we used color and the appropriate graphics to represent not only the characters, but also their cultures. They were also distressed to show the marks of earlier battles.”
Lighting was integral to establishing the color scheme. Navarro had the sets outfitted with LED lights, which could be changed to different hues and patterns to further distinguish each country’s Conn-pod.
By far, the most prominent feature of the Conn-pods was the elaborate apparatus by which the pilots drove the Jaegers, designed and built by Legacy Effects.
Del Toro outlines, “This exo-machine connects the Jaeger with the pilots through their suits, so every move of their muscles is transmitted to the corresponding part of the robot. They physically manipulate every step and every strike, so they are able to fight mano-a-mano, pitting this gigantic entity against these monstrous creatures. It’s completely immersive.”
The director acknowledges, “The easiest thing to do would have been to use motion capture, giving the actors total freedom of movement. But I felt we needed something that would provide real resistance.”
That was an understatement. The entire contraption, weighing several thousand pounds, was attached to the “flight suits” via fittings on the hands, arms and back. Additionally, the actors’ feet were encased in heavy boots that were fastened onto platforms, resembling skis on a stair stepper. Between that and the gimbals, “the actors were in for a ride,” del Toro grins. “It was a little like an amusement park simulator.”
“Amusement” might not have been the word the cast would have used to describe the experience. Charlie Hunnam deadpans, “Unless you have a fetish for wearing a suit of armor while working out on an elliptical machine, with 200 gallons of water being poured on you a minute, there was nothing you could do to prepare yourself for filming in the Conn-pod.”
Water was an important element, given the fact that much of the war is being fought in the Pacific Ocean. The VFX team was responsible for rendering large bodies of water for exterior sequences, including the battlegrounds of the Jaegers and Kaiju. However, the special effects department took a more practical approach for interiors. McMurray says, “We had huge water sprayers all over the Conn-pod that were set to release differing amounts of water on cue, sometimes upwards of a thousand gallons a take. And it had to be heated because it was winter. In Canada. On top of that we had extensive LED lighting…which occasionally doesn’t like water.”
Even those merely observing recognized the rigors of the Conn-pod. Jon Jashni recalls, “When I saw the Conn-pod set, my first thought was that I wanted to strap in and pretend I was piloting a Jaeger. But once I saw the wet and wild roller coaster that Charlie and the other actors were dealing with, I was glad to be sitting behind the camera.”
“It was extremely tough,” Idris Elba avows. “The suits we were wearing were definitely designed for combat, not comfort. But we knew the Conn-pod sequences were important for understanding what the human beings are going through inside the robot’s head, so the effort was well worth it.”
Although outwardly the smallest of the Jaeger jockeys, Rinko Kikuchi seemed to handle it all even better than the guys. “We all marveled at her,” says Mary Parent. “She had her own process of getting through the hours in the Conn-pod by going to a kind of Zen place. She ended up being the heartiest of them all.”
“I had a love/hate relationship with the suit,” Kikuchi admits. “It was very physically and emotionally demanding. I just had to think about happy things, like chocolate,” she smiles.

SUITING UP

“The Jaeger program was born.”

Costume designer Kate Hawley collaborated with Shane Mahan and the team at Legacy on the look of the pilots’ specialized suits. “I had the privilege of being part of the concept,” Hawley says. “It was a lovely opportunity to find ways to echo the characters’ personalities, as well as their backgrounds.”
“We worked with Kate in terms of color coordination, and together we came up with some really interesting flourishes,” Mahan adds.
Legacy was responsible for the construction of the suits, beginning with digital scans of the actors’ bodies. Mahan comments, “The method has really evolved from the days of plaster casts. Digital scanning allows us to get perfect lines that are more seamless. You still have the process of molding and manufacturing the individual parts, but that initial stage is a much better technique.”
Mahan shares that the outer portions of the suit were modular pieces fabricated with lightweight plastics and urethanes, noting, “It’s supposed to be an armored uniform, so it had to look heavy, but it couldn’t be heavy. It was the conundrum of either making it really light, but then it falls apart, or making it sturdy enough to withstand the wear and tear. It ended up being about 25 pounds, which is a fraction heavier than the actors would have preferred, but it wasn’t too bad.”
The under suits were made from a printed four-way stretch fabric that was custom fitted to the actors’ bodies. Then the appliqués of armor were placed on, including chest plates, arm and leg pieces, and metal-looking joints. Mahan details. “We were careful to hide all the connections, so when it’s all put together, it looks like one cohesive piece.”
The suits could not be cleaned in a traditional way. Instead, they were treated with an anti-bacterial spray and dried overnight using air blowers because, as Mahan states, “There’s nothing worse than getting into a wet Conn-pod pilot suit at 5:00 in the morning.”
Apart from their Conn-pod gear, the characters had their own personal styles. For Mako Mori’s costumes, Hawley offers, “She’s grown up in a male-dominated environment, so I went with that idea. It made sense to put her in coveralls and dress her like one of the boys.”
Stacker Pentecost, on the other hand, is decidedly not just one of the boys. “Guillermo had a clear idea of how he wanted Pentecost to look,” says Hawley. “He chose to leave the military, but he is now the leader of the Resistance, so he still embodies all the qualities of a commander though he’s no longer in uniform. No matter how his world is falling apart, he retains that structure. Guillermo wanted him in a suit and tie, perfectly tailored, without even a wrinkle. You put Idris Elba in a suit and you can’t go wrong. He looks quite splendid.”
Hawley had the freedom to get the most outlandish with the costume for Hannibal Chau, going from the ground up. “We started with those shoes,” she says. “They started off being silver, but Guillermo wanted them to be more opulent, so they ended up gold.” Hannibal’s costumes are as garish as his character, in stark contrast to the muted tones of a world at war. The makeup department, headed by Jordan Samuels, completed his visage with gold teeth, a nasty looking scar and a mutilated eye.
Hawley had to go to the opposite extreme within the confines of Shatterdome, once the headquarters of the Pan Pacific Defense Corp, now the base of the Resistance.
She expounds, “In Shatterdome, the palette is predominantly gray with rust seeping through the walls, and Guillermo wanted that patina to be reflected in the wardrobe of the people who live and work there. We worked very closely with Andrew and his production design team to make the clothes feel like they are literally part of the environment. Throughout production, we took a painterly approach to ensure that each setting informed the costumes.”

SIGHTS AND SOUNDS

“Today, we face the monsters that are at our door.
Today, we are canceling the apocalypse!”

Pinewood Studios Toronto served as the base of operations for the “Pacific Rim” production. Executive producer Callum Greene says, “We took over virtually every space at the studio, including all the soundstages, which still weren’t enough. We ended up splitting Stage 8 into two separate stages. It was quite an endeavor.”
Neskoromny notes, “The scope of the film required a lot of different looks, from Hong Kong to Tokyo to the various interiors, like Shatterdome and Hannibal Chau’s lair. We were building almost everything on stages, so from a design standpoint, it all had to be manufactured from scratch. We put on the layers of about 15 years going into the future…a future that does not appear hopeful.”
Del Toro observes, “In the time the film takes place, we tried to show a little of how society would be altered and geography would change. There’s a whole domino effect caused by these creatures showing up on our shores. We didn’t want it to look too futuristic because I think what would happen is the reverse. All our technology would go to creating weapons to fight them, and other advancements would slow down.”
Shatterdome, the Resistance’s fortress on the water, was fabricated to exhibit the deterioration caused by years of war. Neskoromny says, “The whole concept behind Shatterdome is that they’re nearing the end, so there is a sense of desperation as they struggle to keep everything working. There are no bright colors; everything is faded or yellowing, and you can see the rust and decay.”
One of the largest soundstages housed the Loccent, the command center, where Pentecost and Tendo Choi track the Jaegers and Kaiju battles on holographic monitors. A large digital clock on the wall is a constant reminder of the time elapsed since the last Kaiju attack—increments that are getting increasingly shorter.
The most colorful set, by far, was Hannibal Chau’s Hong Kong den, which is secreted behind the walls of an otherwise nondescript apothecary shop. Neskoromny describes, “You come to this store, which is small and very gritty. But then the guy behind the counter pushes a button, and the shelves open up to reveal this jewelry box of a hideaway. It transports you to a completely different place.” The circular-shaped set featured marble floors and columns. Jars lined the shelves, containing random Kaiju parts to be sold on the black market.
The design team had to build the streets of Hong Kong in two phases: pre-Kaiju attack, and then the aftermath. An island, constantly in the creatures’ line of fire, the Hong Kong of “Pacific Rim” is a war zone, where invasion alerts send people running to underground shelters, fortified with steel girders. The immense ribcage of a fallen Kaiju towers over the marketplace, and there is a hint of blue tainting everything, resulting from the spilled blood of the aliens.
Following a devastating Kaiju attack, “it was all about deconstruction,” says supervising art director Elinor Rose Galbraith. “The streets were all made with real concrete, so we brought in a big excavator that we called a chomper, which basically ate the set. Some of the added rubble had to be lighter materials, like Styrofoam, for safety and weight considerations, but most of it, including all the crushed and burnt out cars, was real.”


ΕΠΙΣΗΜΟ SITE :

Official Site

Facebook

ΑΛΛΕΣ ΠΗΓΕΣ

IMDb IMDb



top of the page


ΚΡΙΤΙΚΕΣ

Η Βαθμολογία μου:

Το πιο εντυπωσιακό και φαντασμαγορικό blockbuster της χρονιάς.

Πριν από λίγο καιρό που είδαμε το 20λεπτο εκείνο απόσπασμα από την νέα δημιουργία του Γκιγιέρμο Ντελ Τόρο, δεν περίμενε κανείς πόσο διαφορετική θα ήταν η ταινία με την χρήση 3D.

Πραγματικά μιλάμε για την καλύτερη τρισδιάστατη απεικόνιση που έχει γίνει σε ταινία μέχρι στιγμής μαζί φυσικά με το Avatar. Από τις σταγόνες του νερού έως τα θραύσματα των συγκρούσεων τα μάτια του θεατή γνωρίζουν μια πανδαισία εικόνων και χρωμάτων.

Στην υπόθεση της ταινίας τώρα έχουμε να κάνουμε με την μάχη τεράτων και ανθρώπων που μας φέρνει στο μυαλό παραπλήσιες ταινίες όπως Τransformers, Avatar κτλ.. Πλέον δεν είναι τυχαίο ότι τόσο οι επιστήμονες όσο και το Ηollywood μας ετοιμάζουν σιγά σιγά για μια νέα εποχή όπου η συνείδηση του ανθρώπου θα μεταφέρεται σε υπερμηχανές χαρίζοντας του απέραντες δυνατότητες. Η Δράση είναι καταιγιστική στο μεγαλύτερο μέρος της ταινίας παρόλο που η κλιμάκωση δεν καταφέρνει να ξεφύγει από τα γνωστά κλισέ που συναντάμε στο είδος. Το μεγαλύτερο όμως μειονέκτημα είναι η επίπεδη και μονότονη απεικόνιση των «κακών» τεράτων που δεν προσδίδει κάτι το συγκλονιστικό εν τέλει, εκτός φυσικά από το τεράστιο μέγεθος τους!

Σίγουρα το κορυφαίο blockbuster ως τώρα για αυτή την χρονιά. Είναι βέβαιο ότι θα κόψει χιλιάδες εισιτήρια και θα οριοθετήσει την επόμενη εποχή στις ταινίες επιστημονικής φαντασίας.

 

Άρης Λεχουρίτης
του Άρη  Λεχουρίτηaris.lechou@myfilm.gr

 


 

Η Βαθμολογία μου:

 

Ο Γκιγιέρμο Ντελ Τόρο του «Λαβύρινθου του Πάνα» με αυτή την ταινία του που καταφέρνει με αυτή την ταινία της τέλειας ψηφιακής απόδοσης να μας κρατήσει το ενδιαφέρον μέχρι το πρώτο ημίωρο. Από εκεί και ύστερα και εφόσον η ηλικία σου είναι πάνω από 18 ετών (ο μέσος όρος καταλληλότητας σε όλες τις χώρες που θα προβληθεί είναι για ηλικίες πάνω από 13 ετών, για την Ελλάδα δεν ξέρω), η ταινία εξελίσσεται σε μια βαρετή και θορυβώδη υπερπαραγωγή με απόλυτα προβλέψιμο τέλος. Ο άνθρωπος κερδίζει τα τέρατα από τη θάλασσα. Το Καλό επικρατεί του Κακού. Αλλά ποιος αντέχει μέχρι τότε; Ποιος αντέχει τόσο σκότος και τόσο έρεβος;

Τελικά η ψηφιακή τεχνολογία, τα καταφέρνει όλα στο σινεμά, εκτός από το να αποδίδει πρωινές σκηνές. Ηλιόλουστες σκηνές θα δείτε μόνο σε ταινίες animation. Έτσι και οι ταινίες είναι γυρισμένες με ηθοποιούς και χρησιμοποιούν ψηφιακή τεχνολογία, τότε η δράση διαδραματίζεται απόγευμα ή βράδυ. Μαυρίλα και καταχνιά και ας με διορθώσει κάποιος με απλά λόγια, έτσι ώστε ο θεατής να μη χρειάζεται να σπουδάσει κινηματογραφία, για να καταλάβει αν πρέπει να δει ή όχι την ταινία;

Ο Γκιγιέρμο Ντελ Τόρο, που πραγματικά δημιούργησε σχολή με τον Πάνα, δεν προσφέρει τίποτα παραπάνω αυτή τη φορά, εκτός από θορύβους μηχανών, τριξίματα μετάλλων και καταστροφές τέτοιες, που αν αφήναμε τα τεράστια τέρατα να κυριαρχήσουν, θα είχαμε λιγότερες.

 

 

Άγγελος Πολύδωρος
του Άγγελου Πολύδωρου   | blogspot

 


 

Η Βαθμολογία μου:

Απελπιστικά απλοϊκό!

Δυστυχώς ο αγαπημένος και πραγματικά χαρισματικός σκηνοθέτης Guillermo del Toro μετά από διαμάντια του φανταστικού κινηματογράφου  όπως « Ο λαβύρινθος του Πάνα» και η σειρά ταινιών « Hellboy» μιας δίνει ένα τόσο μέτριο φιλμ που κάνει τις ταινίες της σειράς “Transformers” να φαντάζουν ποιοτικός κινηματογράφος!

Είναι πραγματικά απογοητευτική η ταινία η οποία παρά την καταιγιστική διαφημιστή της επί μήνες, παραδίδει στους θαυμαστές του Guillermo del Toro αλλά και όλους τους λάτρεις των ταινιών επιστημονικής φαντασίας ένα κινηματογραφικό αποτέλεσμα πολύ κάτω του μετρίου αλλά και με όλα τα χαρακτηριστικά φτηνοδουλειάς.
Μια έξυπνη ιδέα μετεξελίσσεται σε μια προβλέψιμη ιστορία και τελικά καταλήγει  σε ένα απλοϊκή πάλη ανάμεσα σε σιδερικά και απροσδιόριστες μορφές που παραπέμπουν σε εξωγήινους «δεινοσαύρους» .

Η σκηνοθετική υλοποίηση δεν μπορεί να ξεφύγει τον πειρασμό του εύκολου εντυπωσιασμού με αποτέλεσμα η ταινία να καταλήγει σε μια διαρκή θορυβώδη σύγκρουση φτηνιάρικων ψηφιακών υλοποιήσεων οι  οποίες πραγματικά προκαλούν την νοημοσύνη του θεατή ταινιών επιστημονικής φαντασίας και  παραπέμπουν σε B-movies των δεκαετιών 1950 και 1960 , ίσως με την κρυφή ελπίδα ότι θα γοητευθεί ένα τμήμα του αμερικανικού κοινού το οποίο γαλουχήθηκε με παρόμοια θεάματα.

Δεν υπάρχει ιδιαίτερος λόγος να μιλήσει κανείς για ερμηνείες την στιγμή που το σύνολο των σκηνών όπου εμφανίζονται και ηθοποιοί είναι αρκετά περιορισμένο χρονικά και οι διάλογοι υποτυπώδεις, ενώ οι πρωταγωνιστές συνήθως μέσα σε ένα πιλοτήριο του ρομπότ όπου παρουσιάζονται επιδίδονται σε φιγούρες γυμναστικών επιδείξεων.

Το 3D είναι μάλλον περιττό και εκτός από την σύγχυση του θεατή στην οποία συμβάλει ιδιαίτερα στις πάμπολλες υποθαλάσσιες σκηνές, το μοναδικό στο οποίο συνεισφέρει είναι στην αύξηση του κόστους της παρακολούθησης της ταινίας.


Konstantinos Kommatas
του Κωνσταντίνου Κομματά kostakom@gmail.com


top of the page

blog comments powered by Disqus



top of the page


VIDEO CLIPS, TRAILER, TEASER, SCREENING PREVIEW


























top of the page


ΣΗΜΕΙΩΣΕΙΣ / ΗΜΕΡΟΜΗΝΙΕΣ ΚΥΚΛΟΦΟΡΙΑΣ

Κυκλοφορία:
12/7/2013 (ΗΠΑ, Ηνωμένο Βασίλειο)
12/9/2013 (Ελλάδα)


top of the page




PHOTOS - POSTERS


top of the page


ΣΤΟΙΧΕΙΑ ΤΑΙΝΙΑΣ / ΣΥΝΤΕΛΕΣΤΕΣ

>>CAST<<

Πρωταγωνιστούν:

    Charlie Hunnam ... Raleigh Antrobus
    Idris Elba ... Stacker Pentecost
    Charlie Day ... Newt Gotlieb
    Max Martini ... Roscoe Calhoun
    Willem Dafoe
    Diego Klattenhoff
    Clifton Collins Jr.
    Robert Maillet
    Rinko Kikuchi ... Mako Mori
    Robert Kazinsky ... Yancy Antrobus
    Morgane Slemp ... Kelly Greer
    Robert Kasinky ... Yance Antrobus

>>CREDITS<<

Σκηνοθεσία
Guillermo del Toro


Σενάριο
Travis Beacham

Παραγωγή
Jon Jashni
Mary Parent
Thomas Tull


Μουσική
Ramin Djawadi


Φωτογραφία
Guillermo Navarro


Μοντάζ
Peter Amundson
John Gilroy

Casting
Margery Simkin

Σχεδιασμός Παραγωγής
Andrew Neskoromny
Carol Spier

Καλλιτεχνική Διεύθυνση
Elinor Rose Galbraith
Richard L. Johnson
Andrew Li
Sandi Tanaka

Σκηνικά
Peter P. Nicolakakos

Κοστούμια
James Hagarty
Kate Hawley

Εταιρείες Παραγωγής
Legendary Pictures

Διανομή
Village Films
(Ελλάδα)
Warner Bros. Pictures

Ειδικά Εφέ
Spectral Motion (creature designs)

Χρονολογία παραγωγής
2013

Χώρα παραγωγής
ΗΠΑ

Γλώσσα
Αγγλικά, Ιαπωνικά, Κινέζικα (Καντονέζικα, Μανταρινικά)

Εικόνα
ΕΓΧΡΩΜΗ 1.85 : 1 - 35 mm | D-Cinema (3-D version)

Είδος ταινίας
ΔΡΑΣΗΣ, ΠΕΡΙΠΕΤΕΙΑ, ΕΠΙΣΤΗΜΟΝΙΚΗΣ ΦΑΝΤΑΣΙΑΣ

Διάρκεια
131'

Ήχος
Dolby Digital | Datasat | SDDS | Dolby Atmos | Dolby Surround 7.1

Τοποθεσίες γυρισμάτων
Καναδάς (Τορόντο)

AKA

Καταλληλότητα
USA:PG-13 (certificate #48301) | Sweden:11 | South Korea:12 | Canada:PG (British Columbia/Ontario) | Ireland:12A | UK:12A | Singapore:PG13 | Philippines:PG-13 | Denmark:11 | Hong Kong:IIA | Netherlands:12 | Portugal:M/12 | Switzerland:14 | Japan:G | Argentina:13

Κόστος
$180 εκατομμύρια

Εισπράξεις


top of the page










 
Βαθμολογία Κοινού
Μέσος Όρος: 0
Αριθμός Ψήφων: 0

Αξιολόγηση :

Αριστούργημα
Πολύ καλό
Καλό
Μέτριο
Κακό



Επιλογές
  Go Back [ Προηγούμενο ]

 Προεπισκόπηση Προεπισκόπηση

 Προωθήστε το Προωθήστε το



Σχετικοί Σύνδεσμοι

· Αναζήτηση σε: Επιστημονικής Φαντασίας
· Περισσότερα για Κατηγορία
· Ταινίες που προβάλλονται
· Τελευταία Τρέιλερ
· Box Office

· IMDb   
· RT

· ΘΕΜΑΤΑ

Εγκαταστήστε το myFILM.gr toolbar ΤΩΡΑ! Όλο το internet σε μια γραμμή εργαλείων - Δωρεάν λήψη


Ανά Είδος

· Δραματική
· Αισθηματική
· Κωμωδία
· Αστυνομική
· Μυστηρίου
· Φιλμ Νουάρ
· Θρίλερ
· Δράσης
· Περιπέτεια
· Φαντασίας
· Επιστημονικής Φαντασίας
· Τρόμου
· Βιογραφική
· Ντοκιμαντέρ
· Κινούμενα Σχέδια
· Μιούζικαλ
· Οικογενειακή
· Ιστορική
· Αθλητική
· Γουέστερν
· Πολεμική
· Ερωτική
· Μικρού Μήκους
· 3D
· Ασπρόμαυρη
· Βωβή

Συνδεδεμένα Θέματα

ΠεριπέτειαParents Strongly CautionedΕπιστημονικής ΦαντασίαςΔράσης


Advertisement



top of the page


-- Sponsored Links --

Dailymotion Movies LTD aggelospolidoros.blogspot.gr AGATHI Art Gallery cinefo.wordpress.comr

ΑΠΑΓΟΡΕΥΕΤΑΙ ΡΗΤΑ Η ΜΕΡΙΚΗ Ή ΟΛΙΚΗ ΑΝΤΙΓΡΑΦΗ ΠΕΡΙΕΧΟΜΕΝΟΥ, ΧΩΡΙΣ ΠΡΟΗΓΟΥΜΕΝΗ ΕΓΓΡΑΦΗ ΑΔΕΙΑ ΤΟΥ ΥΠΕΥΘΥΝΟΥ
Το πρωτότυπο περιεχόμενο του myFILM.gr, είναι αποτέλεσμα δημοσιογραφικής έρευνας και εργασίας και προστατεύεται από το νόμο περί πνευματικών δικαιωμάτων και διανόησης.
All logos, trademarks and content in this site are property of their respective owner, the comments and reviews of their posters.
Όλες οι δημοσιεύσεις σε αυτές τις ιστοσελίδες εκφράζουν τις απόψεις και τη γνώμη των συντακτών τους και όχι του εκδότη ή
αρχισυντάκτη, των διαχειριστών ή συντονιστών (εκτός των δημοσιεύσεων των ιδίων) και ως εκ τούτου δεν φέρουν καμία ευθύνη για αυτές.
myfilm.gr

| AdBrite - Advertise on myFILM.gr


Info | Feedback | Statistics | Topics | Submit News | Recommend Us | Advertising | Flag inappropriate copy-theft | RSS feed 2.0 | RSS feed 0.9 | Atom feed | twitter | facebook | myspace | Add in Google homepage


Related Posts with Thumbnails