Showing posts with label Brendon Fraiser. Show all posts
Showing posts with label Brendon Fraiser. Show all posts

Inkheart (2009)(Warner Bros)

Source: Warner Bros

Based on the best-selling book by Cornelia Funke, "Inkheart" is a fantasy adventure that sends a father and daughter on a quest through worlds both real and imagined.

Mortimer "Mo" Folchart (Brendan Fraser) and his 12-year-old daughter, Meggie (Eliza Hope Bennett), share a passion for books. What they also share is an extraordinary gift for bringing characters from books to life when they read aloud. But there is a danger: when a character is brought to life from a book, a real person disappears into its pages.

On one of their trips to a secondhand book shop, Mo hears voices he hasn't heard for years, and when he locates the book they're coming from, it sends a shiver up his spine. It's Inkheart, a book filled with illustrations of medieval castles and strange creatures--a book he's been searching for since Meggie was three years old, when her mother, Resa (Sienna Guillory), vanished into its mystical world.

But Mo's plan to use the book to find and rescue Resa is thwarted when Capricorn (Andy Serkis), the evil villain of Inkheart, kidnaps Meggie and, discovering she has inherited her father's gift, demands that she bring his most powerful ally to life--the Shadow. Determined to rescue his daughter and send the fictional characters back where they belong, Mo assembles a small group of friends and family--some from the real world, some from the pages of books--and embarks on a daring and perilous journey to set things right.

"What are the boundaries between what is real and what is imagined?" asks "Inkheart" director Iain Softley. "That's something in which I've always been interested--the way that fantasy can impinge on the real world. And when you are talking about books and stories, especially in the mind of a child or an adolescent, then those boundaries between reality and imagination are even more fascinating to explore. One of the things that appealed to me about 'Inkheart' is that it's a story that bridges the everyday and fantasy realms."

The film "Inkheart" is based on a best-selling book of the same name by internationally acclaimed author Cornelia Funke. An instant sensation when it was published in 2004, Inkheart became a #1 New York Times bestseller, spending a total of 70 weeks on the list and going on to be translated into 37 languages. The first novel in Funke's Inkworld trilogy, Inkheart was followed by Inkspell, published in 2005, and the latest book, Inkdeath, which was just published in 2008. In 2005, Funke, who has written nearly 50 books, was named one of Time magazine's "Most Influential People of the Year."


"Inkheart" charts the adventures of Mortimer "Mo" Folchart and his daughter, Meggie, as they battle the evil forces of a fictional world--forces Mo himself inadvertently called forth from the pages of a fantastical story by reading it aloud.

While the thought of characters springing to life at the mere mention of their names could be perceived as a cautionary tale, Brendan Fraser, who plays the part of Mo, counters, "I think 'Inkheart' advocates the written word read aloud. To have people read aloud to one another is quite powerful--parents to children, children to adults, teachers to children, children to each other... It's an interesting notion that something real might come out of the story, but if the listener actually believes it in their imagination, it might as well be real. There is always room for a story that relies on the power of literature."

Producer Diana Pokorny knows exactly how much of an impact the novel has had on young readers. "My daughters are voracious readers and my eldest daughter's favorite book is Inkheart. She knows the book backwards and forwards and talked incessantly about it, so it really did seem fateful that I would get the opportunity to be a part of the film. For me, it is a story about the love of reading and the power of books, but, more importantly, it is a story about home and family. And as the mother of two ardent fans, and as a fan myself, it was quite magical to see those words that we loved to read so much as a family actually come to life."

Softley, who also served as a producer on the film, notes, "Cornelia provided us with such rich material that bringing it to life was the easy part. She created a wonderful, magical adventure, and her vivid descriptions and illustrations enabled us to step into her book within a book."

Funke, who produced the film with Softley and Pokorny, says that she knew Softley was the ideal person to take the helm in bringing her book to the screen. "'The Wings of the Dove' is one of my all-time favorite movies, one of the most brilliant film adaptations of a book I've ever seen. So when I heard that Iain was interested in directing 'Inkheart,' I was thrilled. I knew he wouldn't back away from the darker elements of the story, but would nevertheless fill it with warmth. He is an excellent actors' director, but he's also one of the most visual directors with an exceptional feeling for texture and color. I could not imagine a better choice for 'Inkheart.'"

Together with executive producer Ileen Maisel, Funke was also instrumental in the choice of David Lindsay-Abaire to adapt her novel. The author worked closely with him throughout the course of crafting the screenplay, which was "a very interesting process for me as a writer," she says. "I believe if you stick too closely to a book, it can paralyze you creatively. I knew David loved the book, so I wanted to free him from being too faithful to it. I said, 'Just go for the heart,' and when I finally saw the script, it was a magical moment. It was a thrill for me to see my story through the eyes of another artist. That is the greatest privilege of being a storyteller--to have the opportunity to work with so many incredibly gifted people to tell my story again in a different way. What a kick!"

"I was very eager to work with Cornelia," Lindsay-Abaire states. "I had read the book a couple of times and relished every page of it. It's a terrific story, filled with adventure and characters that were wonderfully rich and fun to explore, and I loved how complicated many of the relationships between them are. But I was mostly drawn to what Inkheart says about the power of books and storytelling. I was honored to be entrusted with adapting it and felt a strong obligation to stay true to the spirit and tone of her book. She and I were in constant contact while I was writing the screenplay. Some things inevitably change from page to screen because they are very different mediums, but it was important to me that Cornelia be a part of the process and approve the choices we made. It's her baby, after all."

Softley remarks, "One of the things I really look for in a script is if I can see the film in my head, and that was definitely the case with this one. As I was turning the pages, I couldn't wait to know what was going to happen next. The characters leapt off the page, really fascinating, diverse characters, each with his or her own distinct attributes."

For Funke, the casting of Brendan Fraser as Mo was the fulfillment of her original vision for the character. "Brendan inspired this character from the very beginning," the author reveals. "I pictured Mo with Brendan's face and Brendan's voice. He has an exceptionally beautiful and expressive voice, which is very important for this character." Very important, because, in the world of "Inkheart," Mo is known as a "Silvertongue"--someone who can speak the written word into reality.

Mo has been hiding a secret from his young daughter, Meggie. "Her mother disappeared under mysterious circumstances nine years ago due to Mo's strange ability to make real anything printed when he reads aloud," Fraser offers. "Innocently enough, he was reading Meggie a bedtime story from an obscure book they found called Inkheart...and something terrible happened. Three of the book's characters came to life and then disappeared into the night. But there was a trade off: his wife and Meggie's mother, Resa, went into the book. And that's what sent Mo on his expedition to find Resa and set things right."

Unfortunately for Mo, the characters released from Inkheart stole his only copy of the book. Nine years later, he is still searching through the dusty shelves of bookstores far and wide, hunting for his only hope: another copy of Inkheart.

Only three years old when her mother vanished, Meggie has no memory of that fateful night. And though she knows Mo is keeping something important from her, she never could have imagined the truth about her father's amazing gift...a gift she inherited.

Meggie is played by British actress Eliza Hope Bennett, who won the role over hundreds of other young hopefuls. Describing her character, Bennett says, "Meggie is a bookworm like her father, but he does not allow her to read aloud, which frustrates her because she doesn't know why. She also has a natural curiosity about her mother, but if she ever brings her up to Mo, he instantly shuts her down, so she knows not to push it. She's always been very dependent on her father because he's the only parent she's had, but I think over the course of the film she is forced to become more independent. She grows up quite a lot by the end of the story."

The close relationship between Mo and Meggie was mirrored by the actors playing them. "When I first met Brendan, I knew it was extremely important that we got on because Meggie and Mo have such a strong relationship. He was so warm and welcoming to me, we got along immediately. I found it really easy to treat him as my father because he treated me as if I were his daughter. He was just so nice and really caring."

Fraser has equal praise for his co-star, saying, "It was a privilege to be working with a young person who is so intelligent and thoughtful and so enthusiastic about her work. She's remarkably talented as an actress, which is evident, but as a person, she's just a terrific kid. It's going to be exciting to see where she goes from here, but I think we're going to be seeing a great deal more of her in the years to come."

See Also: Inkheart - Coming Up With Lifelike Characters Is The Key To Any Story / Inkheart - Sometimes Filming A Movie Is All About The Location

If you like this movie, then you may want to check out: Journey To The Center Of The Earth (2008) / The Mummy: Tomb Of The Dragon Emperor (2008)

The Mummy: Tomb Of The Dragon Emperor (2008)(Universal)

Source: Universal

The blockbuster global Mummy franchise takes a spellbinding turn as the action shifts to Asia for the next chapter in the adventure series, The Mummy: Tomb of the Dragon Emperor. Brendan Fraser returns as explorer Rick O'Connell to combat the resurrected Han Emperor (Jet Li) in an epic that races from the catacombs of ancient China to the neon-lit streets of post-war Shanghai and high into the spectacular Himalayas. Rick is joined in this all-new adventure by son Alex (newcomer Luke Ford), wife Evelyn (Maria Bello) and her brother, Jonathan (John Hannah). And this time, the O'Connells must stop a mummy awoken from a 2,000-year-old curse who threatens to plunge the world into his merciless, unending service.

Doomed by a double-crossing sorceress (Michelle Yeoh) to spend eternity in suspended animation, China's ruthless Dragon Emperor and his 10,000 warriors have laid forgotten for eons, entombed in clay as a vast, silent terra cotta army. But when dashing adventurer Alex O'Connell is tricked into awakening the ruler from eternal slumber, the reckless young archaeologist must seek the help of the only people who know more than he does about taking down the undead: his parents.

As the monarch roars back to life, our heroes find his quest for world domination has only intensified over the millennia. Striding the Far East with unimaginable supernatural powers, the Emperor Mummy will rouse his legion as an unstoppable, otherworldly force...unless the O'Connells can stop him first. Now, in The Mummy: Tomb of the Dragon Emperor, the trademark thrills and visually spectacular action of the Mummy series will be redefined for a new generation.

Though director Rob Cohen's resume includes blockbuster actioners such as xXx and The Fast and the Furious, many moviegoers do not know that the filmmaker is a student of anthropology who has long been intrigued by-as well as sometimes a resident of-Asia. When approached to helm an epic adventure that would take The Mummy series in a Far-Eastern direction, Cohen realized he could finally join two of his deepest passions: grand-scale filmmaking and China.

The director explains his lifelong interest in the country in a foreword to the moviebook companion piece for The Mummy: Tomb of the Dragon Emperor. He provides, "I have a deep love of Chinese culture and a complete fascination with the sweep and tumult of its 5,000-year history. Since high school, when my mother began painting Chinese watercolors as a hobby, China had occupied my imagination and reading time. I was intrigued by various dynasties, most especially the Tang and the Ming with their early explorers discovering Indonesia, India, Africa and the giant 'treasure ships' that may have circumvented the world long before Magellan, and might have reached the Americas long before Columbus."

As he read the screenplay for a new Mummy film-penned by Alfred Gough & Miles Millar-Cohen was impressed by both the script's humor and epic adventure outlined for the O'Connells. He had looked to the Far East several times for source material and believed this project would dovetail well with his curiosity of and studies about China. Cohen explains, "I'm a history buff, and I had read an enormous amount on Chinese history even before I came into this. I have loved the culture since I directed Dragon: The Bruce Lee Story and a miniseries about two Chinese brothers immigrating to the United States, called Vanishing Son."

It was fortunate for all involved that the producers behind the juggernaut hits that launched it all-1999's The Mummy and 2001's The Mummy Returns-wanted to head in a new direction for the series and had commissioned Gough & Millar to shake up the franchise. They felt they had exhausted the possibilities in an Egyptian setting and were looking for a filmmaker who could take the trouble-seeking O'Connells out of Africa and expand their adventures to the continent of Asia. Of the audience's continued interest in the films that share the O'Connells' escapades, producer Stephen Sommers reflects, "I think the reason they were so successful is that they are romantic adventures set in exotic worlds. People just love that."

The Mummy: Tomb of the Dragon Emperor marks the third time James Jacks and Sean Daniel have produced a Mummy film. For this chapter, they would be joined by Bob Ducsay and Stephen Sommers as producers. All four men had begun their collaboration by creating the first two in the series, with Sommers directing and Ducsay serving as editor on both and executive producer on The Mummy Returns.

"It took us years before we had an epiphany of using the Terracotta Warriors in China," remembers producer Ducsay. "We realized this might be a great catalyst for a new adventure with characters the audience had grown to love in the first two stories."
The team discovered in Cohen a filmmaker with the experience necessary to create a film on the scale they imagined. "Thankfully, Rob wanted to make the picture, because he was an absolutely perfect fit," Ducsay sums. "He has the skill set to mount a gigantic production on two continents, is fantastic with action and actors and has a great sense of humor. These are all essential ingredients in the DNA of a Mummy movie"

"The idea that the Terracotta Warriors of Xi'an were, in fact, the mummies, really appealed to me," says Cohen. "It was all about exploring the true history of China during two periods, 200 B.C. and 1946, in an unusual way and having a lot of fun with it. It was an opportunity to use all the goodwill of The Mummy and the wonderful characters that Steve Sommers set up. All the great elements are there, but I wanted to take it in a whole new direction, away from Egypt and into Asia. It's a brand-new adventure for our heroes; spectacular, colorful and completely Asian."

About his interest in returning to the series, producer Sean Daniel admits that his obsession with this genre as a child continues to bring him back for more. "When I was a kid, I used to go to every Boris Karloff version [of a mummy film] I could find and the many other mummy movies that followed," he recalls. "I cut pictures of the mummy out of the Famous Monsters of Filmland magazine and stuck them on the wall. When I went to Universal, I immediately started to talk to them about making a mummy movie, as they are a personal love of mine."
Adds producer Jacks: "We've been part of the O'Connell family for almost a decade now. To help see their adventures continue and Rick and Evy begin to pass the mantle on to their son, Alex, makes us all feel proud. I admit, it's like seeing one of your own children grow up."

With director Cohen on board to inject an Asian influence into the series, the returning producers from the first two chapters and Gough & Millar's revamped screenplay, it was time to cast a shape-shifting emperor and a family of fighting O'Connells. Not to mention the thousands of man hours necessary to design gun battles and high-speed chases, creating the worlds of 200 BC and 1946 would prove quite a challenge.

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The Mummy: Tomb Of The Dragon Emperor - Battling The Undead

Source: Universal

It wouldn’t be a Mummy movie without intricate fight sequences. Any sequence involving master martial artist Jet Li raises the bar, but add to the film Brendan Fraser’s Krav Maga, Michelle Yeoh’s swordplay, Isabella Leong’s kung fu, Luke Ford’s martial arts-inspired street fighting and Maria Bello’s combination punches and you have a feast for fight fans.

Jet Li commends what was impressive about his director’s grasp of staging an exciting fight: "Rob has a very good understanding of the timing and the fast pace that is so important in a fight sequence, and he uses very interesting angles."

Key fights in the production include one set in the Foundation Chamber, the subterranean temple in which the Emperor attempts to raise his Terracotta Army. With ceilings formed from the bones of conquered enemies, the chamber is filled with flickering flames that line the walkway as the Emperor weaves his dark magic.

In the sequence, Rick O’Connell confronts the Emperor by throwing a knife into his back. The Emperor, only slightly inconvenienced, yanks it out and attacks O’Connell with a rage pent up over centuries of being cursed. O’Connell races at him, and an incredible hand-to-hand battle ensues.

Cohen came up with the idea that, in the years since we last met our hero, O’Connell had become skilled in the type of practical street fighting found in the short, sharp moves of Krav Maga. "It’s a system of combat defense devised by the Czech Jews during the Second World War," explains Fraser. "They started fighting back by using a system of body motions based on instinct. Basically, you go to the problem, rather than let it come to you. It’s confidence building and, needless to say, great exercise."

"Brendan is a fantastic action actor," commends Vic Armstrong. "He’s really been working out, and he is rock solid. He loves his action and knows what he is good at, so we catered to that in all fights we’ve done with him."

Asian fight coordinator MIKE LAMBERT, who worked with Michelle Yeoh in her breakout role in Tomorrow Never Dies, was primarily responsible for training the actors and choreographing the fight sequences in conjunction with stunt coordinator MARK SOUTHWORTH. Lambert, who has lived in Hong Kong for years, knew many of the film’s actors from having taught them in that country.

One sequence that fascinated the Chinese press was the sword fight between Jet Li and his longtime friend Michelle Yeoh. The fight takes place in the desolate beauty of Tian Mo desert and represents the first time Li and Yeoh have been on opposing sides of a film fight. "It’s funny," says Yeoh. "If you looked at our shooting schedule, it said, ‘The fight that the whole of Asia is waiting for.’"

Of the duo’s fighting sequences and trainers, Yeoh offers, "Jet’s fight coordinator, DE DE KU [affectionately known as Master De], is a longtime collaborator. He is so brilliant…we just stand there and let him weave his artistry around us. Jet and I understand each other. We are on the same beat and just doing the best we can." Jet Li agrees: "When you find a good player to fight with you, it’s like having a good opponent at tennis. You have to be on the same level to play well. I very much enjoyed working with Michelle, and I hope to do so in the future."

Other actors also had their fair share of the action. Maria Bello lived a childhood dream in a fantasy sword fight sequence—an homage to swashbucklers—as Evy. "Maria’s character is a lot more refined," explains Lambert. "She is a little more expert in martial arts, but she has also picked up Rick’s street-fighting style. Alex is a bit of a stylist, but again with a little bit of his father’s raw, street-fighting style mixed in." Luke Ford prepared for almost three months before production began. Necessary, as he would have to dodge a barrage of booby traps to awaken the planet’s newest threat.

"I spent five days a week working on the fight training," explains the actor. "I began with cardio, weights and stretching. Then I progressed into training for the fights; there were some martial arts, but also a lot of swashbuckling, punching and kicking. It was pretty intense."

Ford’s sparring partner, Leong, also spent much time training in martial arts. Adds Lambert, "Every spare opportunity Isabella had, she came to train and stretch. She put in a lot of hours and it really inspired her to do more."

Known for pushing the envelope in his action sequences, Armstrong went all out for this production. "It is just nonstop," says the master stunt choreographer. "It’s the kind of film I can really get my teeth into—with all sorts of action, from large scale down to interesting chases, fights and Jet Li’s martial arts."

During the key Shanghai chase sequence in which the Emperor Mummy drives through Shanghai on his chariot of four horses (filmed at Shanghai Studios), the sarcophagus flies through the streets while Lin and Alex desperately hang on. All the time, it is closely followed by the rest of the O’Connells on a truck loaded with fireworks.

"It’s a bit like Stagecoach crossed with Ben-Hur," laughs Armstrong. "We’ve got the two young leads in the movie fighting with Yang, who’s on the front of the chariot with the Emperor. It was a huge sequence and very complicated. We had a 500-person crowd every night for about two weeks."

There was also a fair amount of horse riding needed for the film; this took place in Tian Mo. Much of the horse work was done by the actors themselves, and the necessary stunt work was accomplished by Chinese stunt riders. Michelle Yeoh rides with Russell Wong, who has action sequences with his group of 12 warriors, and Jet Li rides his horse into battle.

Once Armstrong and crew had completed work on key chases, they moved down to Hengdian World Studio to complete the final action sequences. Armstrong reflects, "With every sequel, you have to raise the bar, and the ones that have gone before have been very good, so it was quite a challenge. It’s really interesting watching Rob work, with the speed of the shots he wants as much as the length of the shots."

Cohen also enjoyed their collaboration, especially Armstrong’s ability to execute ambitious projects with a keen eye for safety. "Vic has done everything from the Bond films and Indiana Jones to everything in between," nods the director. "He is one of those guys who takes your idea, builds on it and knows how to create it so it can be done safely."

See Also: The Mummy: Tomb Of The Dragon Emperor - Blending Fantasy And Reality