Да, в тех условиях, в каких сейчас возможно промо фильма, это действительно очень разумно. До премьеры всего месяц. Как раз должен начинаться мощный промоушен. Уже нужно ждать пресс-джанкета. От этих ожиданий сильнее бьётся сердце и мурашки по спине.

думаю, что все так и будет, как ты описала. все три пункта
что ради карьеры Джонни (Рейнджер, ожидаемые пираты, их общий доктор Сьюз и так далее), Тим будет фотографироваться с Хеленой
что нам не покажут их вместе, что их интервью разделят. Ведь только Тим и Джонни (режиссер и актер) дают интервью вместе. в остальных случаях, актеры и режиссеры дают интервью отдельно.
боюсь увидеть в фильме что то очень страшное.
одним словом - страхи

Обратили внимание, что новых кадров из фильма очень мало.
В Эмпайре не было совсем нового из фильма. А здесь - из невиденных нами ранее - один. Тот, где Барнабас на корточках на дороге.
Тим и Джонни не хотят, чтобы в прессу попали новые кадры. Хватит и того, что мы видели в трейлерах.

в фильме будет и то,и другое,скорее всего. Там будет наверняка и музыка диско, под стать времени, как в трейлере,и леденящий душу саундтрек Денни. Зрители,смотревшие фильм, видели комедию. Но я думаю,что это будет трагикомедия, как всегда у Тима, когда грусть и радость в фильме соседствуют.

The Times
Saturday, April 7

How Tim Burton resurrected the vampire movie

Twilight sucked the genre dry, but a bonkers Sixties soap opera is providing fresh blood, the director tells Kevin Maher

It might just be the funniest moment of the imminent summer blockbuster season. It's Johnny Depp, in full vampire regalia, squaring off against Karen Carpenter in an early Act One set piece from Tim Burton's Dark Shadows. Carpenter is singing Top of the World on a family television set (this is 1972), while Depp's blood-sucking protagonist, Barnabas Collins, is newly risen from the grave after 200 years of undead slumber, and duly horrified at his first sight of small-screen entertainment. "What sorcery is this?" he says, staring at Carpenter's willowy form, before reaching round to the back of the set, snapping the cables free and yelling at the sparking, smoking screen: "Reveal yourself, tiny songstress!"

It's certainly a highlight of the trailer that set the internet abuzz last month with giddy speculation about Depp's dastardly turn and the delivery of yet another iconic performance to rank alongside his Edward Scissorhands and Captain Jack Sparrow. But, warn the makers of Dark Shadows, this is not the perky wink-wink comedy of, say, The Addams Family. And it's definitely not the whimpering angst of the Twilight movies. In fact, Depp recently claimed that his performance in the film is a reaction against the modernising vampire vogue that has spawned movies such as Twilight (teen vampires), Let Me In (kiddie vampires) and Underworld (sexy, PVC-clad vampires). "Over the years, these vampire movies have come out, and vampire TV shows," he said. "And you go, 'Well, nobody looks like a vampire, man! What happened?' I adored Dracula, and still do, from Bela Lugosi to Christopher Lee. And Nosferatu, with Max Schreck. I adore all those wonderful horror films. So Dark Shadows was an opportunity to go into what really doesn't exist any more — classic monster make-up and a classic monster character."

Burton, however, goes even further and says that Dark Shadows is not just a different vampire movie when compared with the current and upcoming glut (see facing page), it's not even a vampire film in the first place. "I never really considered it to be a vampire movie," he says, on the phone from his London office, where Dark Shadows is receiving final post-production tweaks. "It's just a movie with a character in it that happens to be a vampire." Burton's previous movie, Alice in Wonderland (another Depp collaboration), made more than $1 billion at the global box office, which essentially means that all eyes are once again on the maestro and his muse. "Studios don't like to hear me say this, but it's all a bit of an experiment," he continues. "It's like, is Dark Shadows a comedy? Is it a dark Gothic drama? Is it both? I've never thought about it in those terms. Because it's more about trying to get a vibe right. Trying to get a feeling right in a weird, melodramatic, soap opera-y way. I've made something that I can't quite categorise."

Confused? Well, prepare to be even more so, for Dark Shadows is based on an obscure yet long-running daytime soap opera of the same name, which was broadcast on America's ABC television network from 1966 to 1971 and ran to a whopping 1,245 episodes. The show featured the Canadian actor Jonathan Frid in the Barnabas Collins role and Kathryn Leigh Scott as his lover and sparring partner, Josette, and was set against the Gothic backdrop of the fictional Collinwood Estate in Maine (yet filmed in a tiny studio in New York). Low on genuine action, but high on heated conversation and implied drama, the series has since become a fetish for fans of arcane televisual camp — filmed live, with no post-production, the Dark Shadows signature motifs are wobbly tracking shots and slapdash camera work, never-ending dialogue exchanges and frequent unapologetic "bloopers" (lines are dropped, curtain rails crash, props collapse).

The series, nonetheless, has no greater fans than Burton and Depp, who claim to have been two of the many children who rushed home from school every day to catch the tail-end of the show — it started at 3pm — and eventually, and successfully, petitioned ABC with endless begging letters to shunt it to a later time slot. "It was something that affected me, and gave me a really strange feeling when I was at that awkward age of 13, 14 and 15, when I just felt like a real weirdo," Burton says. "I felt like I didn't fit into the world, so this kind of weird vampire, this weird, out-of-place person, had an impact on me."

Crucially, Burton says that one of the keys to adapting Dark Shadows was to keep the uninitiated, including his long-term partner, Helena Bonham Carter (who plays the Collins family psychiatrist), far away from the original Dark Shadows. "Besides Johnny, myself and Michelle Pfeiffer [who plays matriarch Elizabeth Collins], none of the rest of the cast knew what it was," he says. "And I couldn't really show it to them, because they'd just go, 'What the hell is this?' You had to be there to get the vibe of it. Johnny got it. Michelle got it. But for the rest it was about trying to describe a feeling to them. Because they would've run for the exit if they'd seen a single one of those things."

Still, there remained the question of how to transform more than 1,000 episodes of overwrought soap-opera antics into a competent two-hour movie. Enter 36-year-old screenwriter and novelist Seth Grahame-Smith, author of the bestselling "monster mash-up" novels Pride and Prejudice and Zombies and Abraham Lincoln, Vampire Hunter. The film version of the latter (produced by Burton) appears this summer, and Grahame-Smith is keen to put Dark Shadows into context, acknowledging that we are now in the midst of a vampire movie boom.

"I think the vampire myth is so enduring because there are so many ways into a vampire story," he says. "If you look at what I'm doing this summer, in one movie I've written the vampire as a likeable protagonist [Dark Shadows]; in the other they're a collective horrible menace [Lincoln]. Yet both are completely valid within the rule of the mythology. And though we certainly are in a boom time for vampires, and though I don't quite have a handle on why that is, I will say that one of the enduring aspirational qualities of all vampires is the idea of eternal beauty, which is something that we are increasingly obsessed with as a society." Vampires, in other words, have Botox-filled, surgically enhanced, preternaturally youthful doppelgangers, and they live not in subterranean crypts, but in the pages of celebrity magazines, on billboards and at red-carpet premieres. It's a nice idea. There's bound to be a movie in it.

As for Dark Shadows, Grahame-Smith says that the job was to distil everything down to a central theme — in this case, "blood is thicker than water" (Barnabas helps to rejuvenate the modern Collins family and re-establish the Collins name). "Despite all the witches, ghosts and vampires, it's a family drama and a story about a family that's lost its way, and of Barnabas reminding them who they are." He adds that the TV series is a rich source of ideas and material, not least because of its highbrow underpinnings: "So many of the original stories were based on Gothic literature," he says, "stories from Edgar Allan Poe that were woven into the plot lines."

Original Dark Shadows cast member Kathryn Leigh Scott confirms this thesis and says that the show's strange allure, and the "vibe" to which Burton refers, is the effect that high art can have on an audience who think that they're watching junk culture. "Dark Shadows always came down to the story, and we borrowed from the best of classic English literature," says Scott, who has written numerous Dark Shadows spin-off books (her latest is Dark Shadows: Return to Collinwood) and even snagged a cameo role in Burton's movie. "The show went from Jane Eyre to Dorian Gray to Rebecca, Wuthering Heights and The Turn of the Screw. And the kids who were watching it may not have got the references, but they recognised a good story, which was what really mattered."

Best of all, says Grahame-Smith, the source material practically screams "franchise". "It's rooted in soap opera, and the supernatural," he says. "So, without wanting to spoil anything, even if people pass away, they don't pass away. And secondly, with over 1,200 episodes to draw from, in terms of characters and plot lines, the possibilities are limitless."

And the vampire genre itself? Surely the current level of intensity cannot continue. It has to burn itself out soon. No? "Our fascination with renewing ourselves, being more powerful and living longer — these are very human qualities," says Grahame-Smith, summing up the allure of cinema's most undead and undying movie genre. "And as long as we have those qualities within ourselves I don't think that vampire mythology is going anywhere."

http://www.johnnydepp-zone.com/boards/v … ;start=180

Не только ты, я вижу "Твин Пикс" в кошмарах по сей день. И музыка (особенно, тема Лоры Палмер, если не ошибаюсь) гудит в ушах как похоронный колокол. Но, не смотря ни на что она очень завораживает. это правда.

Народ, идя на Тени, будет нацелен на просмотр что-то вроде "Шоколадной фабрики". А что, Депп опять в белом гриме... музычка в трейлере веселая... Чем не отдыхающее (как тут говорят) кино?
Кстати, однажды я услышала мнение о "фабрике...": "а, это тот фильм про конфеты..." Вот оно, оказывается, как: все дело-то - в конфетах! а мы думали...

PS Спасибо за долгожданные сканы!!! они прекрасны!!!

Отредактировано ВЕРА (2012-04-08 11:45:06)

я всегда думала, что это Анжелик. разве нет?