 |  |
| |
| kwCinema's set diary |
By "Mata Hari" a Set "Extra"? Please remember, this is a perspective from someone on the set only (Not to be taken as objective truths by any stretch of the imagination!) I thought it was worth adding because of the details of some of the scenes. Part 4 Lame Web Translation: Aimed quarter: the arrival of Martin on the set When Scorsese reaches Theatre 5 of Cinecittà, all spirit. It heads immediately towards its stretches, that he would be of the all normal school if were not for that oxygen cylinder to the outside and those mirrors mounted over the monitor... of Mata Hari Cinecittà. Black Mercedes 560 SEL arrives to Theatre 5, the driver comes down, opens the posterior door from which Martin exits Scorsese, than she heads immediately towards the studies where Helen, its most ready assistant, waits for it. Incamminano entirety towards the Five points mission. All the appearances as soon as they see the director greet it with a warmest " good Main day ", someone in possession of the minimal slight knowledge of English with a " good mornin' Master ". Scorsese exchanges again warmly, says that the turned scene yesterday is much beautiful one and wants to ringraziare all for the shown engagement. The aid director does not make in time translate that the appearances, intuendo the meant one, explode in a great applause. Satisfied and sorridente Scorsese it returns to its stretches. It stretches of the Master is all black one and to the inside there are four red chairs: on Scorsese is written, on an other Daniel Day Lewis, the others two Of Caprio and Michael Balhaus. Of forehead to the rested chairs, four cine monitor on black cases. It would be the canonical one stretches of a director, pardon, of a great director, if it were not for two particular: next to the shelter there is a large oxygen cylinder because Martin suffers from asthma. They say that from when is plagued from this problem its character is a lot changed and has assumed some tangible section of paranoia. Over one of the monitor, as an example, are three mirrors oriented in various directions. Scorsese uses them in order to control that nobody observes it: he dislikes the persons who fix it (come in mind Travis Bickle, the taxi driver of Taxi driver , than in its room, fixing to the mirror the own image reflected with the guns and the military jacket, says provokes: " you are watching me, you are watching just me? fottuto stronzo you are watching the mistaken person! "). Small of stature (to incirca like the that " Bravo boy " of Joe Pesci, what in its alternate films the attitude from compagnone to actions of inusitata violence), here Scorsese who, a moment after to be exploded in one fattest risata (such and which to that one of De Niro in King for a night, intenderci), is felt, from some part submergeeed from a sea of appearances, to tuonare turned to the crowd that prevents it to catch up the center of the scene: mothafucka don' t you Know who i' m, mothafucka? Its assistant, mortified in order avergli not made, as it is its primary task, from watershed between the crowd, succeeds in riguadagnare its position, in such way to concur with the Master, grabbed hold of with a hand to one its shoulder (very higher of the head of he), the low head and the other arm behind the back - it is its customary way to walk - the passage. Between the victims of the sfuriate ones odierne of Scorsese there is also some illustrious personage: Of Caprio, the director of the photography and the aid director American. Also for they one rain of mothafucka! But a beautiful turn for the set with its macchinina electrical worker is in a position to giving to Scorsese ilarità moments, not less than how much it happens to Leo, only the other owner of means. The arrival of Cameron Diaz, then, is able to pull outside the cake and romantico Archer lawyer de the age of the innocence that is in he. Goodness knows this sacred monster of the cinema which cameo it will reserve for if same in this film. Part 5 of kwCinema's set diary Scene episode: the apparitions of Cameron The female interpreter of Gangs of New York, still busy in USA on the set of another film, to Cinecittà you/he/she is made to see thin to now alone fugacemdente. But you/he/she is not passed unnoticed... of Mata Hari Cercasi Cameron hopelessly. They look for above all to her the hundred maschietti that you/they work on the set, whose frustration grows day after day for the fact to have been able to enjoy only till now of his fleeting apparitions. The beautiful Diaz, in fact, is still hocked on the set of another film in America and to Cinecittà you/he/she is seen few times. In an occasion we were all inside the theater five to turn the scene of the meeting among Bill the Butcher (Daniel Day Lewis) and Amsterdam Vallon (Leo Of Caprio) to the "Satan's Circus", the basic pub of the illegal trafficis of Bill. Actors and appearances knew what you/they had to do: there was who let from the prostitutes decoyed; Bill the butcher played cards; after all to the pub, inside an enclosure, a dog incited by about ten wagers had to kill a hundred mice in the briefest possible time. The meeting among the two protagonists is one of the scenes up to this moment tense and beautiful than the film: Leo is introduced, "I am Amsterdam Vallon" and Daniel, "what kind of name is... my name is instead New York". Á. taken back completed the stop and the female population of the set it arrives you/he/she can finally give her/it for him to legs, with cries of disgust, away from the anxious presence of the mice. Unexpectedly, however, this tumult is surpassed by well other howls, those cavernous - and a little bit from trivio - uttered by all (or almost) the men of the set. To provoke is them a blonde head and a bewitching smile as that capolinos serve behind a door: Cameron has arrived. It is not in custom and this means with great regret of everybody, that won't turn. In every case, the amazement provoked from gets her/it of the Diaz you/he/she has literally paralysed all the presents. Paralysis that is broken when a propman, exhausted by the weight of the tripod that holds had lifted since second, it allows to noisily fall earth object. Then Scorsese, turning himself/herself/itself in the direction in which all the eyes are aimed, his beautiful actress perceives and immediately races from her to embrace her/it, immediately followed by the manager of the photo. They send to us in pause - we have all need of it. The second apparition of the young diva has happened while we were being hocked in the resumptions, inside her "Five points mission", of the annual dance. In that occasion Cameron Diaz recited the scene of the meeting with Leo - Amsterdam. Wound in a so narrow bodice by to cut the breath (also his), in head a red wig, the ready smile to overwhelm whatever look met, Cameron danced a walzer hold among the arms of Of Caprio. The scene, complicated for the necessity to coordinate the action of dance of hundreds of appearances, it immediately seems particularly difficult for Leo, which doesn't succeed really to avoid to crush the feet of the poor Cameron: the awkward accident happens, curiously, always on the same notes of the walzer. This is obviously the occasion for the appearances for sbeffeggiare in every way Of Caprio. Only to the tithe repetition of the scene the envious persons will be realized that in reality the awkwardness of the actor does it departs some script. The appearances it has been since ten in the morning that they are risked in the dances that serve as contour to those of the protagonists and they will stop only at eleven o'clock in the evening: they are consoled, if nothing else, looking (present the horses are not so also have killed? Here perlomeno the little boys have an analgesic: to look at Cameron). The third apparition (fleeting as the first one) some American actress has been inside the fumeria of opium "Chinese Pagoda" (one of the principal sets of the film besides her "Five points mission" and to the pub "Satan's encircled"). During a test wanted from Scorsese and from the scenografo Dante Ferretti to test the effect scenografico, first still therefore that the mind of the presents (about twenty appearances appartenenti, in the film, to the different gangses in New York) you/he/she could be obnubilata from the smokes, here again to end magic: dressed with a pair of fitted tightly jeanses and a short shirt that he/she leaves the navel open, Cameron it is revolved snooping for the set. Ended the test and received the order to leave the place, the appearances, that generally race toward the exit similar to a herd of buffalos, this time they delay as you hypnotize. Between them a voice murmurs": blessed Matt Dillon", but a more informed responds to him": if so' left da'ns sack de time, you adjourn"!. Entry 6 in the GONY set diary. It's about Leo's mom visiting him on the set... by Mata Hari By now we can say that Leonardo Di Caprio him it is here perfectly settled in Rome. Before the passion - unbridled - bursted for the mozzarellas (one of the causes of the kilos acquired in the last times); then, cheer the dead moments on the set, the plays-station two that holds in the dressing room, the ping-pong table and that from billiards (I play, this last, to which every possible adversary challenges: the last, in order of time, two Scottish actors that have lost ventimila liras! ). There is then the electric macchinina that work spares him to move on one side to the other of the immense set; and anchor, the car photographic digitalis with which photographer all and with which loves to make to immortalize surrounded by a crowd of appearances. From few, then they have come to also cuddle him his better friend and his mother. This last, a beautiful blonde lady from the juvenile air has still remained the whole first day to the center of the attentions of her son, that raced from her to chat to every pause, and to joke and together with which is done to withdraw in more than a photo. Today all the actors protagonists have been called to relationship. They have to appear all in the same scene as spectators of a meeting of clandestine boxe on an impromptu ring above one of the benches of the I bring. Daniel and Leo, standing one close to the other, again word they have not addressed, if the moment is excluded in which Scorsese has summoned them to see the scene together again. Barbaric Bouchet, arrived hardly, she takes familiarity with the set. Also Cameron Diaz seems to perfectly be to her ease, accomplice the presence of Henry Thomas (her ex child prodigy of E.T.) with which the young diva has immediately familiarized. To every pause, Cameron left his position of scene (a big wood box from which, standing, it has to assist to the meeting of boxing) to withdraw with the actor to exchange long confidences. They have been more times recalled by the help American director because they delayed to regain their position in scene. Then, during a long pause in the resumptions owed to the bad weather, she is seen them under a parvis the one close to the other with the spellbound look to admire the rain that fell... Tuesday November 14 2000 - Entry 7 in the GONY set diary: Of Caprio beats and stays without cake Scorsese makes to turn the scene of a scazzottata: Leonardo does seriously and Gary Lewis ends with a black eye. Friday was the birthday of the star, but the production has forbidden to him to eat sweets for problems of line by Mata Hari..who seems to finally be won over by Leo's charms.. Today a further wedge in the New York is disclosed reconstructed by Dante Cinecittà Ferretti: the Satan's Circus. It is a pub Irish underground, everything in wood, with an enormous it takes root that it goes down from the ceiling to wind the counter; the floor is opened on a small arena, where in the film the clandestine fights are developed among animals. The pub Satan's circus is not one of that you post calm in which would go to drink you a beer. Base of the illegitimate activities that head makes Bill to the boss of the district the butcher - Daniel Day Lewis, is often theater of violent brawls. As that bursted among Amstrerdam Vallon - Leonardo Of Caprio and the right arm of Bill the butcher, McGloin (interpreted by Gary Lewis). All the good " boys " that, in the district, they draw profit from the illegitimate trafficis, they have to pay a percentage to the local boss. So ago also Amsterdam - Of Caprio, that thanks to his successes in the activities illegal door many money to Bill the butcher, plain pain the respect of this last earning himself/herself/itself, but also the violent jealousy of McGloin, up to that moment Bill's favorite. In the scene that the two is turned the one they are cast against the other, but the first cazzotto given from Of Caprio reaches the contact. " Stop "! Scorsese immediately shouts. Gary Lewis has a black eye and doesn't seem at all happy. A pause is necessary: correct the time to detach a beefsteak from a quarter of suspended ox to the ceiling (that part of the scenography does) to cure the swollen and black eye of Lewis (that in remuneration, so tanned, it doesn't need the makeup of scene anymore). Second ciak. Naturally The scazzottata should be alone simulated, but Leo enters so in the part not to be been able to hold back another true cazzotto, this time direct to the forehead of Lewis. Third rounds - third ciaks - and, punctual, third cazzottos. McGloin is black and not only of anger; Of Caprio as the preceding times, it snickers repeating " sorry " and embracing Gary that, in turn, smiling in forced way, mugugna a " doesn't " matter of circumstance. To the tenth repetition of the scene finally everything is all right and you/he/she can finally be gone over. The rest of the scene foresees a phase of earth fight. To the first ciak the intentions of Gary are already understood - McGloin: Of Caprio immediately ends against the wall and is slightly hurt the left hand, a knuckle peeling himself/herself/itself. The helps immediately go off. Among the other things a fan also appears - brought by the truccatrice - that it lets loose frustration and the envy of the about ten propmen, costume designer and appearances, all forced ones there within from different times under the warm one of the reflectors. The final part of the scene sees Of victorious Caprio that he/she talks to Bill. Since the scene foresees that Leo has just sustained a fight, he should appear tired, rather destroyed, and to hardly stand up on the legs. This way Leo, to make well tiredness, few second after the rollin' are thrown to earth and it start to perform in a session of bending. This and other braveries of Of Caprios make to increase, day after day, his admirers' number on the set. Among these, particularly affectionate, a group of appearances that has not forgotten a special recurrence: Saturday 11 November has been the birthday of Leo (Friday 17 will be instead that of Scorsese). The fans, to celebrate him/it, has brought on the set a cake with so much of candeline but the production, to protect the line of his superstar, you/he/she has prohibited that was delivered to him. This way to the pause I have lunch the cake you/he/she has served as dessert to around 150 appearances. To the face, beninteso, of the celebrated one. Entry 8: Red lights on the set. Scorsese has summoned to Cinecittà Eva Henger and other porno actors to film the scene of an orgy. They are done insistent meanwhile the voices on the arrival in Rome of De Niro. By Mata Hari Motive is finally disclosed for which the production of Gangs of New York is very worried for the shape of Leonardo Di Caprio: the superstar has to be to the best of the physical form to film the scene of the orgy. Whoever is interested in to see how Scorsese has decided to make on screen the scene of collective sex among his actors in its entirety, it will necessarily have to go to the cinema. I am in fact anticipated two versions of the film: one for the great screen, longer and more osés (?) in the scene in matter (the actors are naked or seeds (?)- naked); the other for the television, briefer and chaster (the actors are dressed). To create on the set of the filming (for the occasion more guarded than ever) a suitable spicy atmosphere, some actors of porno films have been summoned (among which Eva Henger). Before the beginning of the resumptions, the actors involved in the scene showed conflicting humors: uninhibited the principal actors (Di Caprio, Day Lewis and Diaz); rather worried those Scottish; decidedly galvanized the porno actor, that was prepared to the scene with long dissertations on the amatory art, narrating to whoever you/he/she was prepared to listen to him/it his amazing sexual performances (and provoking a general hilarity). As at times it happens, the opinion that is had of him same comes, in some circumstances, denied by the events: a lot of time after their entry in the room of the filming, the actors finally went out from there, allowing to shine through from their expressions the carrying out of the facts. The Scottish actors, despite the initial reticences, they were shown very satisfied. The porno actor went out out-of-breath and to low head: you/he/she has failed, as you/he/she is known later immediately. In the spogliatois you/he/she is changed of hidden, protected from a screen. For Di Caprio it must not have been difficult to abdicate the heavy suits of scene, in whose comparisons show a continuous impatience: at the end of every filming, in fact, the actor is accustomed to undo the accurate work of costuming performed on his person by the numerous costume designer, unbuttoning himself with anger the shirt or unthreading it from the pants (for then to be, after few minutes, quickly put again in draught for the scene from the hard-working costume designer). That Di Caprio loves liberty in his movements is also testified by the variety of objects hi tech that holds in his dressing room and what they allow him to do, in the pauses among the filming, of the virtual trips: from the two PlayStations to the TV by satellite, from the DVD to the stereo and to Internet. Besides the romantic trips with the thought that the about ten fresh flowers of day perhaps inspire him that adorn its room to Cinecittà. The everything, in every case, it puts Di Caprio in an absolute state of relaxation, as it shows work with which at the end of the pauses it goes out out of his alcove. Scorsese, instead, between a resumption and the other one it loves to relax listening to all volume Bob Dylan; disturbed only by the frequent and sonorous broken that originate from the dressing room of Leo. Cinecittà, in the meantime, it attends impatient the arrival of one of the decanis in Hollywood: in Gangs of New York will also recite Robert De Niro. Entry 9 Ninth nose-dive: between generals and pigs...by Mata Hari The executive producer of the Miramax, a former official of the army, is sealed with lead on the set with the task to cut wastes to it, but to seed the panic it has been above all a porcellino In two months and means of resumptions, although serratissimi the rhythms of working, Gangs of New York has accumulated three weeks of delay regarding the working table. The main culprit is the maltempo, that he has sent in tilt the Italian production, little accustomed to manage a set from the immense dimensions much.. The unexpected heavy showers have induced the organizers have to rispedire(?) all to house, rather than to change the every day program and to move the resumptions in one of the set covered. The moneies lost from the Miramax - in these and other occasions - have lead to the first " business restructure " of the film: beyond one hundred appearances, chosen between the indisciplinati subjects more (ritardatari, " casinari ", lazy-bones, etc), they have been fired. To restore the discipline on the set Michael Hausman has thought to us then, executive producer of the film (with to Harvey Weinstein), let alone former general of the American army. Joint to Cinecittà, Hausman has immediately inaugurated its permanence with one beautiful lecture turned to all the witness thinking of the set: all the present ones, arranged tidily one next to the other to mò of platoon, mestamente endured the reproachs on waste and accumulated inefficiencies. The arrival of Hausman has coincided with the working of a scene that previews the presence, to the flank of the actors, of a sure number of beasts: pigs, goats, horses and hens. But the beginning of the resumptions has been sent back cause absence Of Caprio (than as usual it sleeps placidly in its small room), giving way to Hausman to characterize the second cause, after the maltempo, of the expensive losses of time. In attended that Leo arrives, it happens that one of the pigs thinks well to escape from the fencing. Immediately the chaos explodes. All the present ones, with in head the responsible of the rose-colored quadruped (every animal have a its peronale tutor), are launch to the pursuit of the fuggitivo, but without happening. General Hausman, trovandosi finally the small pig to shooting, tries of sferrargli a soccer and endured he comes imitated from one appeared that for this he comes but attacked from the responsible of the animal. The terror of the poor one porcellino reaches stars: in preda to the panic the beast it does not find other shelter that it stretches it of Scorsese. Hounded, the pig comes maldestramente to the fine insured person with a led back rope and in the fencing, accompanied also from Hausman that does not hide the satisfaction for the operation from coordinated and gone he, even if, to good aim. Episode Ten: by Mata Hari Daniel thrills Scorsese
Day Lewis improvises a scene with final grisly together with John C. Reilly and the director he/she remains conquered by the cleverness of the two actors In the district of Five points is not set for two rival gangs there: the Nativeses Americans and the Dead Rabbits have reached the short irons. The head of the first ones, Bill the butcher (Daniel Day Lewis), you/he/she has decided to eliminate that face of angel of Amsterdam Vallon (Leonardo Of Caprio), by now become the dangerous head of the rival gang. For a job of the kind it is better always not to directly get dirty the hands: which better assassin of a friend police officer, limb of the newborn but already notoriously corrupt police of New York? The scene in matter is developed in the smoky environment of the pub Satan's Circus and Scorsese you/he/she has made to sit the two actors protagonists of the same one, Daniel Day Lewis and John C. Reilly (the police officer of the film Magnolia), the one in front of the other. Bill the butcher - Daniel Day Lewis has to ask Happy Jack - John C. Reilly to kill Amsterdam - Leo. To the first mutual look, Day Lewis and Reilly, suffered the inspiration, they ask the director to be able to improvise the dialogue, immediately satisfied by Scorsese that it is enthusiastic of the initiative. It has beginning so a series of sketch among the two actors, of which unfortunately on I screen him/it we will see only a small fragment. To the first ciak, Daniel begins to fix in the eyes Reilly. He/she doesn't speak, but he/she eloquently caresses with the hands a dead rabbit (a dead rabbit) that it lies on the table and it divides the two actors: the message is clear, but the police officer seems to not to understand. Daniel - Bill, then, test to be more explicit": you Know what you have to do?" (in English), it says alternating him/it look among Happy Jack - that it keeps on looking him/it perplexed - and the dead rabbit, with whose hair toy twisting them among the fingers. Scorsese, extremely satisfied, it stops resumptions, but the two actors want to continue and the second ciak is turned. Immediately Daniel - Bill is lifted standing, you/he/she grabs the rabbit and if you/he/she puts him/it in head as if you/he/she were an attractive hat; you/he/she walks before and back, illustrating the gravity of the situation to his interlocutor in the district, when the interioras of the rabbit - what time you/he/she is revealed to simply be dead not but quartered - they begin to strain on his forehead. Is the rabbit naturally faked, but the impression that arouses however, if you/he/she has a good time enormously Reilly, Scorsese and the other presents (that don't hold back some laughter), in Daniel you/he/she instills a grisly paroxysm": you Know what we will eat to supper?"!, does you/he/she say turned to Happy Jack - John C. Reilly, paralysing him/it with a mad person glance. Without attending the answer, Daniel grabs the rabbit with the teeth and helping himself/herself/itself with the hands mentions to bite him/it, but he/she immediately leaves him/it to fall in earth sputtering with bother the hair been left to him in mouth. Scorsese and the rest of the troupe are in visibilio: they have only the embarrassment of what scene to choose among the so many surprises. In the meantime Of Caprio you/he/she is hocked in a romanticissima scene of love with Cameron Diaz (that in the film the prostitute thievish Jenny interprets). After a first approach made of some mutual slap, the two, recites the script," they begin to kiss to him, at first timidly, then with an impetus of passion that seems to conceal something more of a simple sexual attraction...." |
| Rome News Page || GONY Links || Home |