The Road: They are "each the other's world entire.


Author Topic: The Road: They are "each the other's world entire.  (Read 56571 times)

Rohan

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Re: The Road: They are "each the other's world entire.
« Reply #75 on: March 22, 2009, 03:33:16 PM »
Is this going to be the official title theme for THE ROAD? Sounds like it is matchng the theme of story and locations, even though if it is not the official theme. I thought to share it with everyone here. Make sure have the volume high to feel the impact.

And one more thing, the official website http://www.theroad-movie.com is not working when I tried to have access to it. I was wondering if it is working for others. Let us know. And if it is not working for real, then I assume they are updating the official website.

Make sure check the theme song for it. - http://www.youtube.com/watch?v=6AalvLP1-HE


Rohan

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Re: The Road: They are "each the other's world entire.
« Reply #76 on: March 22, 2009, 06:30:19 PM »
More images from THE ROAD. They're all in good quality. Enjoy.

http://www.beyondhollywood.com/the-road-2008-movie-images-gallery/

Rohan

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Re: The Road: They are "each the other's world entire.
« Reply #77 on: March 22, 2009, 07:53:51 PM »
I was sitting idle today in my room. Pretty much nothing to do, I look outside through the blindes it was raining, sky was dark, no soul to be seen. I came with an idea which inspired me and brought this fan made poster of THE ROAD.



Created by Rohan
« Last Edit: March 23, 2009, 09:55:13 AM by Rohan »

shadowbender

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Re: The Road: They are "each the other's world entire.
« Reply #78 on: March 23, 2009, 05:57:31 PM »
That's awesome, Rohan.

Rohan

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Re: The Road: They are "each the other's world entire.
« Reply #79 on: March 23, 2009, 08:34:28 PM »
That's awesome, Rohan.

Thanks. Did you check the previous page 5 of this thread. There are behind the scenes shoot pictures. Make up and stuff.


shadowbender

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Re: The Road: They are "each the other's world entire.
« Reply #80 on: March 24, 2009, 05:31:53 PM »
That's awesome, Rohan.

Thanks. Did you check the previous page 5 of this thread. There are behind the scenes shoot pictures. Make up and stuff.



Yeah, I did. They were cool, and very realistic. Can't wait to see the final product.

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Re: The Road: They are "each the other's world entire.
« Reply #81 on: March 24, 2009, 06:01:49 PM »
VIEWERS DISCRETION IS ADVISED

Below are a set of pictures from actor 'Jeremy Ambler'. He plays the "Man In Cellar", thanks to him for sharing his pictures from behind the scenes of THE ROAD. Its courtesy of his website http://www.jeremyambler.com

Behind The Scenes - The Road




heh...nice teeth!!! ;D ;D ;D

Rohan

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Re: The Road: They are "each the other's world entire.
« Reply #82 on: March 24, 2009, 08:17:09 PM »
Actor Mortensen praises young Aussie co-star

US actor Viggo Mortensen has compared rising Australian star Kodi Smit-McPhee to legends Marlon Brando and Montgomery Clift after working together on upcoming film The Road.

Mortensen, 50, and Smit-McPhee, 12, play father and son in the film adaptation of Cormac McCarthy's 2006 post-apocalyptic novel.

Mortensen, who is in Australia to promote his new movie Good, was full of praise for his "self-confident, daring and kind" co-star.

"He's an incredibly talented actor, beyond his years," Mortensen told AAP.

"To me he was doing things - mostly just out of instinct and sheer raw talent - that actors like Montgomery Clift or Marlon Brando pioneered, [such as] having access to emotions and naturalistic way of listening and really being present and really engaging with the other performer.

"I remember the scenes we were doing with Robert Duvall, who plays the old man we encounter on the road, and after just a few minutes he looked at me and said 'Where did they get the kid? The kid's amazing'."

The Road tells of a journey taken by a father and his young son across a desolate landscape blasted years before by an unnamed disaster that destroyed civilisation and most life on earth.

Inundated with offers after his AFI Award-winning turn in Romulus My Father, Smit-McPhee dropped out of Wolverine to be part of it.

Mortensen said it was lucky for the filmmakers that he did.

"I know he was very good in Romulus, My Father but I think he takes it a step further in terms of acting in this movie," Mortensen said.

"And he had to really because ... one of the keys to making the movie interesting, to making that relationship work, is you have to have the best kid actor possible.

"The kid has to be really something unusual, and they were very lucky that he did it."

The Road is directed by Australian John Hillcoat (The Proposition) and also features Guy Pearce.

It was originally due to be released in late 2008, but has been pushed back until the last quarter of this year.

"I have hopes not just for the movie, but especially for him," Mortensen said.

"I think it will be a big deal for Kodi."


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Re: The Road: They are "each the other's world entire.
« Reply #83 on: March 27, 2009, 12:30:25 PM »
Interesting interview. That actor sounds great.

Rohan

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Re: The Road: They are "each the other's world entire.
« Reply #84 on: April 03, 2009, 09:29:03 PM »
The Road is one of "Entertainment Weekly"'s 20 Fall Movies They Can't Wait to See

Cormac McCarthy's 2006 post-apocalyptic novel about a dying man who tries to lead his young son to safety was a critical darling that grabbed the attention of readers and, yes, even Oprah (not to mention us — The Road nabbed the No. 1 spot on EW's New Classics book list). So why should the film adaptation be any different? Though certainly bleak, the film has Oscar written all over it. And when has Mortensen ever let us down?

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Re: The Road: They are "each the other's world entire.
« Reply #85 on: April 03, 2009, 09:36:26 PM »
Cormac McCarthy's "The Road" comes to the big screen Some Spoilers

Ext. ROAD -- DAY

In the burnt, barren landscape, through swirls of soft ash and smoggy air the MAN appears dressed as if homeless, a filthy old parka with the hood up, a knapsack on his back, pushing a rusted shopping cart with a bicycle mirror clamped to the handle and a blue tarp now covering its load. The little BOY, similarly dressed with a knapsack on his back, shuffles through the ash at his side.

Screenwriter Joe Penhall's adaptation of Cormac McCarthy's bestselling novel opens with the two survivors of some unspoken earthly catastrophe enduring an earthquake, witnessing a forest fire, stepping around a severed human leg and discovering a family of three who have hanged themselves -- all before Page 8. In Penhall's script, father and son also encounter a man stumbling along in near blindness, his hair singed, his flesh charred; run from a pack of gun-toting cannibals; and find a crudely painted billboard proclaiming, "Behold the Valley of Slaughter."

The world -- and everything in it -- is dying, and the Man and the Boy are determined to keep moving, knowing that if they stop, some horrible fate will claim them. The shopping cart's mirror isn't for decoration: It's to see if anyone is gaining on them. In such dire circumstances, the least comfort -- fresh food, clean water, a blanket -- is magnified into the greatest luxury, and that has made the scene that "The Road" director John Hillcoat was filming on a late spring day even more difficult to execute.

With a little more than a week of principal photography left on production of the film, the Man (Viggo Mortensen) and the Boy ("Romulus, My Father's" 11-year-old Kodi Smit-McPhee) had reached Horsetail Falls, a cataract thundering into a verdant gulch an hour east of Portland. Especially by Oregon standards, it was a stunning early May morning: The weather was T-shirt warm, with songbirds flitting about in the waterfall's mist. As Penhall and Hillcoat imagined the scene, which falls in the screenplay's first quarter, the two actors would wade into the waterfall's icy pool and, for a moment, pretend as if there was nothing wrong and the world hadn't become a soot-covered graveyard.: The Boy even remarked to the Man, "Look. Colors."

But as Hillcoat saw it, the Oregon setting was proving to be too picturesque. "It's a beautiful day," the Australian-born filmmaker said somewhat dejectedly. "I hope it clouds up."

It was a fair summation of the film's tonal balancing act. In adapting McCarthy's National Book Award and Pulitzer Prize winner, Hillcoat and Penhall (as well as the actors and production team) toiled to weigh hopelessness against faith, the worst of humanity opposite the possibility of civilization. But for some, including one top distributor of specialized film who passed on the Nov. 14 release, the cinematic version of "The Road" was ultimately still too bleak to appeal to moviegoers.

So even as the filmmakers were ratcheting up the story's danger and despair, they also were pushing to make the movie as uplifting as possible, emphasizing its intrinsic father-son love story and promoting the notion that the Boy embodies some sort of messiah. Along the way, movie version also became much less a story about a post-nuclear catastrophe and more a tale of climate change and a dying planet.

"The fact that my character keeps going," a reed-thin Mortensen said during a lunch break from filming under the waterfall, "is inherently hopeful and optimistic."

A course correction

PUBLISHED before "No Country for Old Men" was fashioned by Joel and Ethan Coen into their Oscar-winning masterwork, "The Road" represented a course correction for McCarthy. While its pages overflowed with his typically baroque diction and slightly pretentious lack of punctuation, the novel wasn't anchored by the epic narrative sweep of "No Country," "Blood Meridian" or "All the Pretty Horses" (and the rest of McCarthy's border trilogy).

nstead, its story focused on a dying man and a young boy struggling to remain alive as they traveled through a barren land with little food or water and even less consolation.

In addition, "The Road" was more contained (287 not very crowded pages) and personal than McCarthy's previous novels -- one he described, albeit elliptically, in a rare interview on "The Oprah Winfrey Show," whose host had picked the novel for her influential book group.

"I like to think it's just about the boy and the man on the road, but obviously you can draw conclusions about all sorts of things from reading the book, depending on your taste," McCarthy said on the talk show. Tellingly, the 75-year-old author dedicated the book to his elementary-school-age son, John.

Even on McCarthy's gothic scale for brutality, the 2006 novel was disturbingly depressing, not only in its specifically imagined terrors (notably including the roasting of a fetus on a spit) but also for its day-of-reckoning story line. For some people, especially parents, contemplating Armageddon alone with a child, even in a piece of fiction, was too unsettling to consider. There are people who openly weep reading "The Road," and many others who can't even pick it up.

Producer Nick Wechsler ("The Player," "Drugstore Cowboy") appreciated how troubling the book was but understood that underneath all of its desolation lay a story of hope and courage. "It's kind of ingrained in all fathers to protect their children," Wechsler said. "I wasn't afraid of the bleakness of the book, the darkness of the book."

Using money from public relations executives and nascent producers Steve and Paula Mae Schwartz, Wechsler won "The Road's" movie rights in a bidding war before the book was published. He then approached Hillcoat, unaware that the British filmmaker had directed 2005's little-seen but highly regarded western "The Proposition" as a homage to McCarthy's "Blood Meridian." (Like "Blood Meridian," Hillcoat's "The Proposition" is a bloody meditation on frontier justice where the rule of law is both a principle and a casualty.)

The rights deal for "The Road" closed before the book started sweeping up so many accolades -- "I think the success of the book took a lot of people by surprise," Hillcoat says -- and came as part of a fresh push to turn McCarthy's earlier books into films.

"No Country's" Academy Award-winning producer Scott Rudin and "Little Children" filmmaker Todd Field have been developing a "Blood Meridian" movie, and Australian filmmaker Andrew Dominik wants to film "Cities on the Plain," the last book in McCarthy's border trilogy. Said Field in explaining McCarthy's appeal: "His work examines our core, the two faces of violence that co-exist in every savage act -- brutal strength of purpose holding hands with a desperate and cowering weakness."

Though "The Road" unfolds on an ample landscape, it is ultimately a personal story, a fable of how individuals react when facing extraordinary circumstances. "At its core is a primal struggle against the utmost extremes of the natural world -- and a thrilling evocation of human endurance," Hillcoat wrote in a memo he prepared for his creative team. "It is an unflinching examination of human beings at their worst -- and at their best. . . . By the end of the film, it is the child's innate goodness and grace under fire that changes the man, showing us that amidst barbarity, our humanity can be inextinguishable."

Still, given "The Road's" end-of-the-world plot, Wechsler thought it best to make the movie beyond the reach of studio executives (who doubtlessly would have said, "Can't it be a really bad tsunami rather than the apocalypse?") and took it to 2929 Entertainment, where Wechsler has a deal.

In a twist of kismet, Mark Cuban and Todd Wagner's 2929 ("Good Night, and Good Luck") had liked Hillcoat's "Proposition" so muchthey had approached the director about making a mob-police drama. With Hillcoat at the helm of "The Road," 2929 agreed to finance its $25-million budget. Richard Gere expressed interest in the lead role, but Hillcoat always had Mortensen in mind. The laconic actor seems a natural for the part; he's naturally thin (and even more gaunt in the film itself), and, as "A History of Violence" and "Eastern Promises" proved, carries the fearless determination necessary to escape most predicaments.

Fox Searchlight passed on distributing the film, fearful that its apocalyptic plot and unspeakable atrocities were too demanding to sell to a wide audience. "People do rationalize" about why "The Road" is too difficult, says 2929 production chief Mark Butan, who nevertheless dismissed such worries as unfounded. The Weinstein Co. had no such qualms and will release "The Road" this fall.

Departure from the book

WITH THE incessant threats -- cannibals, thieves, starvation, dehydration, hypothermia -- the Man and the Boy face, it would seem unnecessary to make their survival even more difficult, but that's precisely what Penhall ("Enduring Love") and Hillcoat chose to do.

The film's most obvious departure from the book -- outside of the elimination of the novel's vaguely nuclear "long shear of light" that stopped clocks at 1:17 -- is its redoubling of the book's fleeting flashbacks of the Man and his final days with his desperate and suicidal wife (Charlize Theron). Throughout the movie, the filmmakers also have amplified McCarthy's already vast peril.

As readers of the book will recall, McCarthy takes detours along his corridor of brutality and despair. While the father and son make their way to the coast for unknown reasons, they enjoy not only a splash in a pristine waterfall but also discover a trove of canned food, a cistern of clear water, and even a place to take a bath. Some of those fleeting reprieves appear in the movie, but they're not always as calming on the screen as they were on the page.

When the Man and the Boy find the bomb shelter filled with canned goods in the movie, for example, there's now someone (or something) trying to break in. Rather than only contemplating having to kill his son to spare him from cannibals, the Man in the movie now actually cocks his pistol at his boy's head. And after stumbling across a cellar filled with barely alive people headed for some cannibals' butchering, the Man and the Boy must now dodge the prey like a scene out of a zombie film.

"That's not only to heighten the threat but also to get variety," Hillcoat said while Mortensen and a shaking Smit-McPhee warmed up from their freezing swim, the sun having ducked out of sight. "There's a lot of repetition in the book."

Hillcoat also has made the planet more of an active character, adding a scene where two massive trees nearly crush father and son. "It just builds on the story that we are creating of the revenge of nature," Hillcoat said. "We are certainly heightening the environmental threat."

Indeed, the visual references for the film are far closer to the eruption of Mt. St. Helens (whose swath of fallen trees may open the film) than the rubble of the World Trade Center.

"We will create a post-apocalyptic world that is boldly original and present a vision that will captivate and haunt precisely because of its strange echoes of familiarity," Hillcoat wrote in his style notes for the film.

With that in mind, the production filmed not against green screens where invented destruction could be added digitally but around areas of actual urban decay and natural disaster, taking cameras to New Orleans' Lower 9th Ward and slums outside of Pittsburgh. The production even found an abandoned four-lane highway in Pennsylvania to serve as one of the film's central thoroughfares.

The idea was to ground the story in American reality whenever possible rather than where-in-the-world-are-we "Mad Max" fantasy. Hillcoat hoped that one of the film's most distressing images would be a field of snow covered with blood and bloody footprints, inspired by a picture the director saw from a Bosnian Serb slaughter of Muslims.

With so much death, though, audiences may need a little life too, and that's where the relationship between Mortensen and Smit-McPhee will be critical. If the story's father dies before he can bring his son to a safe place, he knows that his young child will at best have to face this unforgiving world alone and at worst suffer a horrible end at someone else's hands.

If the father can somehow remain alive long enough, his son -- and, by extension, the human race -- might just be able to make it. Since the Man (likely a doctor) is dying of some unknown ailment, he needs to know that the Boy will still "carry the fire," as McCarthy memorably put it, and try to build a new and better world in the days and years ahead.

Hillcoat hoped that his movie's closing image will be an extreme close-up of the Boy's face, filled not with dread but optimism. "It's like first contact," Hillcoat says. "You can literally see the wheels of his mind spinning. The human story is what has to be the most intense."

Source: LA Times.

Rohan

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Re: The Road: They are "each the other's world entire.
« Reply #86 on: April 13, 2009, 04:50:55 PM »
Someone actually had this posted on IMDB and I thought to post it and share it with everyone. Either this person is passionate and a huge like me who cannot wait for the release he/she really seen the trailer of the movie somewhere.

Discription :

1) The sound of wind blowing, a thick, almost opaque flurry of grayness filling the screen.

2) Zoom back to show snow and ash, the Man and the Boy coming slowly into view.

3) Before all is revealed clearly, a few random voice overs from the film (assming/hopng these lines are in the film) that grow progressively more desperate:

Ely: Where men can't live, gods fare no better.

Boy: What is it, Papa?

Man: Shh. It' oaky.

(at this point, low, almost inaudible moaning that will grow louder with the next lines, the Boy and the Man coming closer into view.

Boy: If they find us, they'll kill us, won't they Papa?

Man: Yes. Yes they will.

Cellar Amputee: Help us, please help us.

Man: Oh, my god.

Moans become cries, shrieks.

Man: Run! We have to run!

(Rapid breathing, crunching fottsteps)

Once the chaotic noises hit a crescendo, all suddenly goes silent.

4) The Man and the Boy, fully in focus walk by the camera, the Man pushing the cart of supplies, his pistol visible, both of them sad, weary, dirty. When they pass, we see what is ahead of them: The long road, forested on either side of them, desolate, gray, dead trees, a long dead car on the side of the road, the gray snow. The screen goes black as our heroes disappear into the tranluscent ash storm.

5)Just as the screen goes black, a startling cymbal sounds. With the original lettering from the book cover are the words: The Road. Over this screen, one final voiceover:

Man: Tell us where the world went.

END

I think that such a trailer would be ambiguous enough to seem horrific. Those of us who read the book and haunt these boards will know better, but try to picture yourself completely ignorant of the novel. What would a trailer like this or similar to this tell you? How would you construct the trailer if it were up to you? Could get interesting.

Not much longer! I can feel it.

Note: I will post my trailer discription soon.

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Re: The Road: They are "each the other's world entire.
« Reply #87 on: April 13, 2009, 05:13:48 PM »
Not much longer indeed, and if that really is a description of a real trailer, that's really cool. Although I haven't read the book, I've heard a lot of things about it. So yeah, I'll post my view on how the trailer should go later on.

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Re: The Road: They are "each the other's world entire.
« Reply #88 on: April 14, 2009, 10:38:34 PM »
Ok here is my version of the trailer discription. I want this to be just a teaser trailer and not much dialogue in it.

Here is the discription of my version :

We are looking at the black screen. Background sound is 'Wind', 'Voices' - all of sudden THE MAN wakes up in the dark. We see only his face. Worried, Scared.

CUT TO : Various locations - empty,destroyed streets, allies, highways, snow, ash everywhere.

The Man pushing the cart while The Boy walks next to him. FADE TO BLACK.

On Screen Text/Legend : Based On The Novel By Cormac McCarthy.

Sorrow, sad, dark slow music, may be violin, some piano strings plays - SHOT MOS, Mitout sound - THE MAN comforts THE BOY- they are crying. FADE TO BLACK.

VOICE OVER: Tell Us Where The World Went.

CUT TO: Its the Road, we don't know where it leads though, we pull back just to reveal THE MAN/THE BOY Standing with their CART.

Title up: THE ROAD.

Legend: Fall 2009.

http://www.theroad-movie.com


This is basically the real MUSIC for the movie. Please, check it out. Enjoy it - TOTALY SPOILER FREE..

http://www.youtube.com/watch?v=Qn_fzNWyrFI&NR=1
« Last Edit: April 14, 2009, 10:42:27 PM by Rohan »

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Re: The Road: They are "each the other's world entire.
« Reply #89 on: April 14, 2009, 10:45:31 PM »
good visuals..gave me a bit of a shyamalan feel..where you see a few little things here and there but nobody really tells you what's going on.
See the villain's larger eyes insinuating a just-off-normal perspective on how they see the world? I see signs Lucius Hunt; just not as you see dead people. I am so very happy we saw..each other, and no I will not tell you what color love is. Stop asking.