Industrie du cinéma à Montréal et tournages mettant Montréal en vedette

[IluvMTL]

parmi les acteurs dans ce film

 

Charlotte Gainsbourg

Marie-Josée Croze

James Franco

 

L'équipe technique commence à arriver

 

Modifié 16 août 2013 par IluvMTL

[LindbergMTL]

J'ai vraiment hate de voir ce film et comment il filme Montreal. Les ailes du desir est un tres beau film. Surpris qu'il tourne en 3d.

[IluvMTL]

Moi aussi! Wim Wenders qui choisit Montréal pour jouer elle-même. Ça promet! Quand j'ai passé hier, il y avait une ambulance et 2 autos de police, probablement pour la scene pivot ou il frappe il l'enfant de 14 ans.

Modifié 17 août 2013 par IluvMTL

[LindbergMTL]

parmi les acteurs dans ce film

 

Charlotte Gainsbourg

Marie-Josée Croze

James Franco

 

L'équipe technique commence à arriver

 

[ATTACH]10540[/ATTACH]

 

Où se trouve cet immense parking? Y avait-il quelque chose là récemment?

[IluvMTL]

Où se trouve cet immense parking? Y avait-il quelque chose là récemment?

 

Non c'est le fameux site du projet proposé en 2004 'Porte Sainte-Marie' par SICAM et le SAQ. Il y a une fil là dessus (Projet Annullé). Dépuis, la SAQ a vendu leur terrain à SICAM qui déteint tout maintenant.

 

http://www.mtlurb.com/forums/showthread.php/14481-Porte-Sainte-Marie-16-16-%C3%A9tages-%282004%29

Modifié 17 août 2013 par IluvMTL

[LindbergMTL]

Chose rare, une pub de voiture, la Nissan Versa, tournee a Montreal, sur la tele americaine.

[franktko]

Chose rare, une pub de voiture, la Nissan Versa, tournee a Montreal, sur la tele americaine.

 

Moi aussi je l'avais remarqué...

 

http://www.youtube.com/watch?v=d9HzXw7q_LE

[denpanosekai]

Wow, nice ad!!!

[LindbergMTL]

Souvent Montréal devient un double de New York. Ici dans cette série tant attendue, c'est New York qui sert de double pour Montréal.

 

Crafty Character. The Actor, Too.

 

 

By BILL CARTER

The set, inside the cavernous studio on Chelsea Piers in Manhattan, is meant to represent the bunkerlike headquarters of a polished Chinese techno-gangster who has a relationship with the criminal mastermind Raymond Reddington, now — for murky reasons unknown to both the gangster and the audience — aligned with the F.B.I.

 

Reddington, the main character in the coming and much-anticipated new NBC drama “The Blacklist,” is, at this moment, wearing a light-green short-sleeved shirt and brown walking shorts. He looks more like a U.P.S. delivery man than the scourge of American law enforcement. Then again, it’s only rehearsal, and James Spader has his Reddington intensity dialed down to zero, in favor of his normal, real-life mode of free-associating bonhomie.

 

That is the quality that comes through in his enthusiasm for this new starring role: “The possibilities of this show are limitless,” he says, excitement pitched in his voice. “Anybody can be on the blacklist. Ha, ha, ha! Anybody!”

 

No new network drama enters the season with higher expectations — or more pressure — than “The Blacklist.” The show has won wide praise from critics and was the most talked about show during the last development season in Hollywood. And, to be blunt, NBC needs a hit. The network has slotted it in the best spot on its schedule, Mondays at 10 p.m., after its top-rated show, “The Voice.” A lot is riding on this series and Mr. Spader’s eye-catching performance.

 

A few minutes after rehearsal, in a gray herringbone suit and vest, hair skimmed close to his scalp, Mr. Spader is in full Reddington mode, jousting with his Chinese nemesis with weary disdain, delivering lines of complicated dialogue with precision — through 12 long takes.

 

One reason for all the repetition: Mr. Spader’s new co-star, Megan Boone, who plays Reddington’s foil in the series, a young F.B.I. agent named Liz Keen, is not as sure-footed in the scene. Of course, Ms. Boone, perhaps best known for the short-lived “Law & Order: Los Angeles,” hasn’t been acting in movies, television and theater for 35 years as Mr. Spader has.

 

“Would you say Spader is kind of an enigma?” Ms. Boone muses later in her dressing room. “He’s very unexpected. He’s very kind and considerate. But then you also don’t ever feel 100 percent comfortable.”

 

All of which makes James Spader the ideal choice for Reddington, a character intended to fascinate and mystify. In the opening episode, to be shown on Monday night, Reddington gives himself up to the F.B.I., offering to help capture a host of known and unknown supercriminals — on just one condition: that he work with Liz Keen, a woman he seemingly has had no prior connection to. Even Mr. Spader doesn’t want to know too much about the reasons for all that.

 

“As long as the show continues to be enigmatic, it has its compulsion,” Mr. Spader said. “I need to know a little bit more than the viewer, but I don’t want to know more than that.”

 

Jon Bokenkamp, one of the executive producers of “The Blacklist,” said that in conversations with another producer, John Fox, they pictured a Keyser Soze, the mysterious villain of the film “The Usual Suspects.” Mr. Bokenkamp pointed out that Reddington tells the F.B.I.: “Don’t trust me. Everything about me is a lie.”

 

The script for the “Blacklist” was, Mr. Spader says, intriguing in ways that got his attention. “It was to be shot in New York,” he noted, which he considers home. And then there was that character. There is, he said, his eyes widening with delight, “a lot of room for me to move around in there.”

 

Mr. Spader has always been an actor who looks to expand boundaries. His career has ranged from memorable teenagers (“Pretty in Pink”) to provocative bad boys (“Sex, Lies and Videotape”) to acclaimed television lawyers. He won three Emmy Awards for playing the character Alan Shore in two series, “The Practice” and “Boston Legal.” Along the way he acquired a reputation for quirky, idiosyncratic performances of eccentric characters.

 

Now 53 and no longer in possession of the wavy locks that were his early signature, Mr. Spader remains in demand for more mature quirky, idiosyncratic performances.

 

Coming off “Boston Legal,” Mr. Spader was at loose ends — and broke, he said, because he spent all his television money “on new households, families, new lives and all that.” Movies held little appeal, either in roles or compensation. Then David Mamet approached him about his play “Race,” slated for a Broadway run.

 

Mr. Spader said yes: “Not a perfect play but a great role for me.”

 

But, “after that I was really broke,” he said. While looking for work, an offer came in unexpectedly to make a one-time appearance on “The Office.” That went so well, the NBC comedy pitched a regular role the next season.

 

At the same time Mr. Spader got a call from Steven Spielberg offering a juicy role — the prototype lobbyist William Bilbo — in his long-delayed film “Lincoln.” But that work was eight months away. “I didn’t want to stiff him,” Mr. Spader said of Mr. Spielberg, “if all of a sudden something came along to pay the mortgage.”

 

He was saved by the producers of “The Office,” who said he could take a break from the comedy to make the movie, a prestige project he was eager to be part of. After he wrapped his season on “The Office,” a flood of new pilot scripts arrived, among which “The Blacklist” stood out.

 

It came with a somewhat odd instruction from the producers: Don’t get the impression this project borrows too heavily from a famous film.

 

That impression has been mentioned often in connection with “The Blacklist,” because a host of its essential elements are strikingly reminiscent of “Silence of the Lambs.” These would include the central dangerous criminal, captured, shackled and put in a boxlike cage, who will speak only with one young female F.B.I. agent.

 

Both Mr. Spader and Ms. Boone acknowledged that the pilot suggests “Silence,” mainly in its imagery: those shackles for example. But Reddington is no serial killer, not even a psychopath, though “he might be a little crazy,” Mr. Spader conceded.

 

Mr. Bokenkamp argued that Reddington shares almost nothing with the “Silence” man-eating villain, Hannibal Lecter. “On the other hand,” he said, “If you have to be compared to something, you might as well be compared to something great.”

 

Though it definitely makes Mr. Spader happy, “The Blacklist” is being shot in New York mainly because the city can double for almost anywhere else, Mr. Bokenkamp said, and the producers intend to create scenes around the world, as Reddington and Liz capture what the staff calls “the Bond villain of the week.” Ms. Boone noted, “We have already turned Barrow Street into Montreal and Queens into Shanghai.”

 

Ideally “The Blacklist” would grab some of the magic of the recent spate of great dramas on cable television by emphasizing serial elements like the continuing mysteries of Reddington’s motivation and Liz’s past while at the same time following network procedural tradition by catching “the bad guy of the week,” as Mr. Bokenkamp put it.

 

But there is little doubt the show’s spotlight will fall on Mr. Spader. He wants the idiosyncrasies doled out carefully. “I’ve hammered into the producers as much as I can,” he said, that “too much of him will be like too much ice cream.”

 

Who is anyone kidding? Television series love to serve ice cream.

 

“You really want to watch him,” Ms. Boone said, then added, “He does play the overly confident, egomaniacal, morally ambiguous guy really well.”

 

 

http://www.nytimes.com/2013/09/22/arts/television/james-spader-stars-in-the-blacklist.html?adxnnl=1&pagewanted=all&adxnnlx=1379950438-uejDmVRkIawPf3j1UANzrQ

[Feanaro]

Technicolor ouvre un studio d'effets visuels à Montréal

 

Un autre acteur majeur de l'industrie des effets visuels s'installe à Montréal: Technicolor a annoncé officiellement ce matin l'ouverture du studio montréalais de sa division Moving Picture Company (MPC), qui comptera au moins 200 employés d'ici trois ans.

 

La première mission de MPC Montréal: faire une partie des effets spéciaux X-Men: Days of Future Past, un film tourné à Montréal l'été dernier.

 

La première ministre du Québec Pauline Marois et le directeur général du Groupe Technicolor Frédéric Rose ont procédé ce matin à Montréal à l'annonce du nouveau studio de MPC. En février dernier, La Presse annonçait l'arrivée prochaine de MPC à Montréal, notamment pour travailler sur X-Men: Days of Future Past.

 

Avec l'arrivée de Technicolor, l'industrie québécoise des effets visuels comptera bientôt sur trois studios d'environ 200 employés d'ici trois ans: l'entreprise britannique Framestore et les entreprises françaises Technicolor et Mikros.

 

Comme Framestore, Technicolor bénéficiera d'un prêt du gouvernement du Québec, qui prêtera 1,2 million. Le coût de ce prêt pour Québec est estimé à 500 00 $ sur deux ans, les retombées fiscales à sept millions sur cinq ans. «En choisissant Montréal, Technicolor confirme une fois de plus la réputation d'excellence et le dynamisme de notre industrie cinématographique. En optant pour Montréal, vous faites un bon choix », dit la première ministre du Québec Pauline Marois, qui a souligné la création « d'au moins 200 emplois payants dans un secteur de pointe.»

 

Le studio de 25 000 pieds carrés de MPC dans le Vieux-Montréal sera inauguré officiellement le 28 octobre. MPC s'est engagé avec le gouvernement du Québec à créer 200 emplois, mais son studio montréalais - le septième de MPC - pourrait accueillir 250 employés. MPC Montréal sera dirigé par la Québécoise Émilie Dussault.

 

Outre X-Men: Days of Future Past produit par 20th Century Fox, MPC Montréal travaillera aussi immédiatement sur deux films de Disney: Cinderella du réalisateur Kenneth Branagh et Into the Woods du réalisateur Rob Marshall.

 

Source ICI