Michael Fassbender

[carmencrem]

Lol don't worry I won't delete my account tho. Just the app cos I'm tired of receiving notifications from people I have in my ignore list and to see always the same old stuff......There's much more to say. It's boring to death...
Just this. I think I may pop in just when I've something cool to share with some of you and then bye

 

[pearlyqueen]

Thumbs up for TLBO from this guy:

'The Light Between Oceans' is a wrenching emotional journey'

By PETER LARSEN, STAFF WRITER »
For writer-director Derek Cianfrance, the epiphany struck as he neared the final pages of M.L. Stedman’s novel “The Light Between Oceans” riding on a subway car clattering through the darkness deep beneath the streets of New York.
“I was on the C train in Brooklyn, going back home, and I was just bawling my eyes out,” says Cianfrance as he talks by phone from a sidewalk somewhere in Los Angeles. “And it was so embarrassing to be crying like that in public.
“But then I thought: ‘If anyone else was feeling what I was feeling reading this, they’d be crying too.’”
That’s the moment, Cianfrance says, when he knew he had to be the one to take this story of a lighthouse keeper, his wife and the daughter they raise on an isolated island off Australia after World War I from the pages of Stedman’s 2012 best-seller to the screen.
“I just connected so much with the story and the book and the characters,” says Cianfrance, the director of such well-regarded films as “Blue Valentine” and “The Place Beyond the Pines.” “It’s a compliment to the writer of the book. She wrote something that was so cinematic at its heart. I could see the movie clearly as I read.”
“The Light Between Oceans,” which stars Michael Fassbender, Alicia Vikander and Rachel Weisz and opens Friday, is a beautifully acted, gorgeously filmed and emotionally wrenching story of love and romance, loss and redemption, the power of secrets and sacrifice.
To Cianfrance, there’s more than a little bit of fate at play in the way he and the book and the film came together. He says he’d long been interested in trying his hand at adapting a book. A meeting at DreamWorks, where co-founder Steven Spielberg had expressed interest in working with Cianfrance after the success of his 2010 film “Blue Valentine,” brought together the director and the novel.
“I went into their office and they gave me a pile of books they had options on, and the book on top was ‘The Light Between Oceans,’” Cianfrance says. “Immediately I thought it was a cinematic idea, a lighthouse after World War I.”
His work as a filmmaker also often focused on complicated families and relationships, he says, drawing him even closer into Stedman’s story.
“I could have sworn that this book reflected the ideas that I always struggle with and that I work with as a filmmaker,” Cianfrance says.
He read it first in 2013. By September 2014 he’d won the job to direct, and six months later had a draft of the script, which early readers said gave them the same emotions that novel had elicited.
“That was honestly my north star, the emotion I felt as I was reading the books,” Cianfrance says. “And I wanted to not shy away from that in the movie.
“Emotion isn’t cool (in movies today). It’s not a popular thing. But once they gave me a shot to do it I made it an undeniable quest.”
As a parent, he knew well the feelings that surged through the characters in the book and the script, and especially the power of a relationship between parent and child.
“I wanted to tell a story that is about these personal human relationships set against the background of epicness, of expanse,“ Cianfrance says. “Cassavetes is my hero and I’ve always tried to make movies that are intimate and about human relationships like he did, but I thought this movie could be like a John Cassavetes movie in a David Lean landscape.”
Cianfrance says he started to think about Fassbender for the lighthouse keeper, Tom, as he was writing the screenplay, having long admired the smartness and strength of his acting in roles such as his Oscar-nominated turn as a cruel slaveholder in “12 Years a Slave” and as the title character in “Steve Jobs.”
“I had to make this movie where he was conflicted between his heart and his mind,” Cianfrance says. “And he became the only guy for Tom. But then I had to give him his match, the character of Isabel, who is all heart, all emotions.”
At the time, Vikander was a little-known Swedish actress, having yet to appear in “The Danish Girl,” for which she won an Oscar as best actress.
“I told my casting director, ‘I want Vivian Leigh in “Gone With the Wind,” or I want Gena Rowlands from “A Woman Under the Influence,” or I want Emily Watson from “Breaking the Waves.”’”
He met with Vikander, was astounded by the openness and honesty of her audition, and considered no one else.
Weisz, meanwhile, had been someone he’d wanted to work with for years – for several years she was set to play the part in “Blue Valentine” for which Michelle Williams was nominated for an Academy Award – and here, in a supporting role, she’s heartbreakingly good.
Cianfrance says he persuaded the studio to let Fassbender, Vikander and a small crew live in trailers on location by the lighthouse he found in a remote part of New Zealand in order to more fully experience what it would be like to be so far from civilization.
“It gave the actors the experience of isolation, they no longer had to fake it, they could be it,” Cianfrance says. “I’m looking for a place where acting stops and life begins.”
For Fassbender and Vikander, that apparently happened beyond what even their director might have imagined. They began the film as actors who didn’t really know each other, but ended it as a real-life couple.
Like the novel, the film is an emotional journey of the kind that Hollywood used to make but rarely does anymore.
“I’m an emotional person,” Cianfrance says. “I’m obsessed with characters that make emotional choices. I’m obsessed with the consequence of those choices.”
Tom and Isabel try unsuccessfully to start a family on the lighthouse island, and when a rowboat washes ashore one day with a dead man and an infant onboard, they make a choice that will have profound consequences years in the future.
“In ‘The Light Between Oceans’ there’s no villain and there’s also no hero,” Cianfrance says. “There’s just people. Today in the landscape of cinema everything is black and white. Everything is clear as a bell. There’s no mystery.”
His movie, like the book, revels in the mysteries that lie in the gray spaces where clear-cut answers aren’t found.
“I’m interested in making human movies and the human experience is an emotional one,” Cianfrance says. “In terms of movies, they sometimes get labeled as melodrama, but to me, I always just see it as heightened reality or heightened moments. I think that’s the point of art – art has to be heightened.
“That’s what this movie does,” he says. “When I show it to people I see how it affects them. And if people are open to it, like I was on that subway train, crying, I think they’ll be moved by it, too.”

http://m.ocregister.com/articles/says-727097-cianfrance-book.html

 

[carmencrem]

Like now:
http://www.indiewire.com/2016/08/de...ferral&utm_medium=social&utm_campaign=twitter very interesting!

https://sobrosnetwork.com/2016/08/30/movie-review-the-light-between-oceans/ very nice review not many spoilers:

Choices have an impact on our lives, and depending on our decision, we can find ourselves taking very distinguishable paths. In the heart-wrenching drama,The Light Between Oceans, choices have been decided on, bringing about a devastating conclusion.

Tom (Michael Fassbender) is a survivor of The Great War, searching for a quiet place away from civilization, and there’s no better spot than Janus Island. His past has numbed him, and solitude has become his closest ally. He becomes the lighthouse keeper on the island, and even as its sole inhabitant, he can’t help but fall in love with a beauty from the mainland. Isabel (Alicia Vikander) is stunning and gives Tom a new purpose, so who can blame him for putting a ring on it rather quickly after some fond letters are passed along.

Haplessly, miscarriages become a menace to their “happily ever after,” appearing to be denied of having their own family. That is, until a rowboat washes ashore with a dead man and a distraught infant girl inside. In what must be fate, Isabel sees no reason to tell anyone while Tom finds himself fighting a new war within himself. He has his feet on solid moral ground but chooses love instead, giving in to Isabel’s wish for them to be parents. They find themselves playing house with unsparing consequences because the real mother is somewhere, aching with pain and sadness, searching for her little girl.

Rachel Weisz plays Hannah, the mother trying to piece her life back together after losing her husband and baby. Though moving on is not an option after receiving anonymous clues in her mailbox concerning her baby’s well being. Now seeping through Hannah’s grief is a glimmer of hope, and Weisz lays it all out there with moving confidence.

Derek Cianfrance (Blue Valentine,The Place Beyond the Pines) is a magnificent storyteller of the complexities of being human. Our flaws, our ethical dilemmas, our successes, he extraordinarily captures who an individual becomes when faced with an indescribable situation. InThe Light Between Oceans, Cianfrance’s camera gouges in to the souls of each character and stuns on all cylinders. The trio of tremendous performances are haunted, and Cianfrance lets their grieving eyes speak thunderously.

Fassbender is riveting as a husband being devoured by guilt. He is a first-hand witness to his wife’s suffering, yettheirchild is not theirs at all. As beautiful as she is talented, Vikander comes just shy of ripping her own heart out in the role of a wrecked wife desperately wanting to be a mother. But at what cost?

The Light Between Oceansexposes love in ways which can be greatly fulfilling and monstrously destructive. It strikingly paints a story of people straining to find happiness by overdosing on passion and devotion for those they love. Now imagine those same people being torn apart from what they venerate the most. The hands of time cannot be turned back.

The damage is done.

 

[carmencrem]

this one too: https://lemmonavenue.net/2016/08/30/review-the-light-between-oceans/
"
Through sharp and beautiful cinematography, Cianfrance is able to bring to the big screen a vibrant and timeless romance. Each scene reverberates the inner struggles that each character conveys and becomes obvious that Fassbender and Vikander are the real deal. The challenging choices the story presents after a “reawakening” occurs in both of their lives transcends across the screen and into to your heart. Rachel Weiz’s characterization of Hannah, a grieving mother with little will to live, is nothing short of magnificent as she echoes the person she once used to be before the loss of her loved ones. The score of the film is by Academy Award winner Alexandre Desplat (Argo, Philomena, The Danish Girl, Secret Life of Pets) and is the anchor that sets the motion and aura of this dramatic love story.

This is a story about love and letting go, and embracing the present and moving forward to the future. While there are moments of predictability, the dialogue is strong and thoroughly centers the story without oversaturating its ebb and flow. Highest acclaim to the performances and production of the film as it portrays the humanity that exists between the notions of right and wrong when love clouds our judgment. This film is a perfect representation of the moments in life that are taken for granted, the selfless and selfish acts that we do out of love for others and the inner sadness that we battle in our search for forgiveness. A powerful, heartbreaking story beautifully told of what it means to love and to be loved.
"

 

[carmencrem]

loved this:
http://l.facebook.com/l.php?u=http:...een-oceans-review-mr-rowboat/&h=tAQH2IfY7&s=1

"The performances are extraordinary all around. Fassbender imbues Tom with a quiet reluctance that even the character can never quite contain. His emotions are too raw to be as reclusive as he thinks he is. Vikander has the most overtly harrowing stuff to play, first the miscarriages and then he knowledge that she’s perpetrating this deception. I hope Weisz doesn’t get lost in the shuffle because imagine what she has to play. She’s technically the villain, standing in Isabel’s way, but could you blame her? Weisz remains sympathetic while projecting strength throughout the crisis.

To callThe Light Between Oceansan epic drama might be misleading so I hope everyone understands what I mean. The feelings are epic. Sure, it has the period costume and the oceanside cinematography, but the story itself takes place over a few years and in one place between a few people. It’s what they go through that’s epic, and it reminds you of how a movie can make you feel. Not as in feeling good or feeling bad, but letting a film take you through the gamut of emotions vicariously."

 

[Morgane]

Like now:
http://www.indiewire.com/2016/08/de...ferral&utm_medium=social&utm_campaign=twitter very interesting!

Great inrerview! I really like to read his thoughts:

“I would read all these scripts and I had just no idea what was going on,” he explained. “Some of the scripts that they send me, like the ‘Asteroid’ movie, I just had no idea. I read the scripts and I honestly do not know what’s going on. I have no idea. I can’t even read words. I just don’t know what’s happening.”

"Fortunately, a chance encounter with no less than Steven Spielberg — who Cianfrance initially met while making the rounds on the awards circuit, only to be bowled over when Spielberg told him “Blue Valentine” was his favorite film of 2010 — helped align him with DreamWorks, who offered him a number of different options to potentially helm.

“They gave me a pile of books,” Cianfrance remembered. “I looked through them and there was a book called ‘The Light Between Oceans,’ and I thought, ‘That’s a pretty cinematic title.’ Cracked it open and started reading it, and it’s about this lightkeeper, which is a very cinematic job.”

As Cianfrance read more of Stedman’s novel, he began to recognize not just the inherently cinematic attributes of the story, but a family whose story he desperately wanted to tell. A family, in fact, whose story he had always wanted to tell.

Every Man an Island
“He has this family on this island,” Cianfrance said. “When I was a kid, I always thought people lived on islands, because when people used to come to my house, when we’d have company, we would change. When the company would leave, we’d get back to the truth, we’d get back to being real again. I’ve always tried to make movies that are about those families.”

And Cianfrance’s early instinct to adapt someone else’s material proved to be the right move as well, as Stedman’s book provided a strong structure that he could build off in service to his own take on the material. Even with the novel as his base, Cianfrance could still make a “Derek Cianfrance film,” free of the stuff that had been holding him back post-“Pines.” (Cianfrance indicated that Stedman is very pleased with the final product.)

“I just thought this is an extension of everything I’ve been trying to do, but the structure is intact,” he said. “That was my intention in the first place, was to deal with story in a way where I had a framework already set and I could play within that framework and kind of push to the boundaries. You need to know where those boundaries are.”

As for that “everything” Cianfrance had been trying to do, it also extended to the story, which echoes so much of his previous work. First and foremost in Cianfrance’s eyes? “It’s a relationship movie.”

The Power of Love
“It’s a companion piece to ‘Blue Valentine’ in a way, because it’s about love,” the director continued. “This movie, to me, is about love surviving children. It’s about the power of love, and when the kids go off to school when they’re 18, that the love is still there.”

That’s a fine bookend to “Blue Valentine,” which features Ryan Gosling and Michelle Williams as a once deeply in love couple who struggle to make their relationship work as time — including the birth of their child — marches ever onward, but the links between the two films go even deeper than that.

“To me, the ending of ‘Blue Valentine’ was always a hopeful ending, because that movie was about how being in a relationship can kind of crush your individuality, can crush who is you,” Cianfrance said. “You become a pair and you lose some of that person that you were. This movie is about when you’re an individual, and having a partner who unlock parts of you and make you a better person. This movie is about really wanting to, despite everything, stay together and get stronger and build.”



When it came time to cast his leads, Cianfrance knew early on that he wanted Fassbender to play Tom, his haunted solider-turned-lighthouse-keeper, who wrestles with some of the film’s most wrenching moments.

“When I was prepping ‘Blue Valentine,’ I went to go see ‘Hunger’ and I was just blown away by that guy,” he said. “The thing that always stood out about him was his mind. What I was curious about with Michael, and what I didn’t know, was the heart. I had never really seen the heart of Michael Fassbender in a movie.”

Cianfrance’s desire to match up Fassbender’s heart and head on the big screen ultimately formed the film’s central theme — a “battle between truth and love” — that the filmmaker compared to no less than the “Star Wars” franchise. Casting the actress who could push Fassbender to those limits wasn’t as easy.

The director asked his casting director, Francine Maisler, to find him what now sounds a bit like a Hollywood unicorn. As he tells it, Cianfrance was looking for an actress who could embody Gena Rowlands from “A Woman Under the Influence,” Vivien Leigh from “Gone With the Wind” and Emily Watson from “Breaking the Waves.” Maisler offered up Vikander, and Cianfrance admits he initially had “no idea” who she was.

After a crash course in Vikander’s filmography — he started with “A Royal Affair” — he called her in for an audition, a process he rarely puts himself (or his possible stars) through."

“I wanted to see what she would do. For four hours, she put herself out there for me,” he explained. “I ask all my actors to do two things. I ask them to fail for me, and I ask them to surprise me. In this audition, she was failing and surprising me every second. I realized she was it.”

The final product is a deeply emotional film that hits plenty of traditional notes, while also folding in the kind of big moral questions Cianfrance still loves to ask (and rarely wants to answer). For him, that means the film deals “in the gray area of humanity” that he’s obsessed with portraying.

“There’s this thing in Hollywood about the sympathetic character and likability. I’ve never understood that because the people I love most in my life are not likable all the time,” he said. “My wife is not always likable. I’m certainly not always likable. My dad is not always likable. We’re human beings.”

And although “The Light Between Oceans” doesn’t offer up a clean ending, Cianfrance seems personally pleased with the ambiguity it deals in.

“In all of my movies, every character, every person makes choices,” he said. “Oftentimes the characters in my movies make choices based on their heart. I love people that work with passion and love. When you make choices that way, there’s reverberations, consequences. That’s what I’m interested in, that echo, that ripple of choice.”

 

[carmencrem]

Great inrerview! I really like to read his thoughts:



"Fortunately, a chance encounter with no less than Steven Spielberg — who Cianfrance initially met while making the rounds on the awards circuit, only to be bowled over when Spielberg told him “Blue Valentine” was his favorite film of 2010 — helped align him with DreamWorks, who offered him a number of different options to potentially helm.

“They gave me a pile of books,” Cianfrance remembered. “I looked through them and there was a book called ‘The Light Between Oceans,’ and I thought, ‘That’s a pretty cinematic title.’ Cracked it open and started reading it, and it’s about this lightkeeper, which is a very cinematic job.”

As Cianfrance read more of Stedman’s novel, he began to recognize not just the inherently cinematic attributes of the story, but a family whose story he desperately wanted to tell. A family, in fact, whose story he had always wanted to tell.

Every Man an Island
“He has this family on this island,” Cianfrance said. “When I was a kid, I always thought people lived on islands, because when people used to come to my house, when we’d have company, we would change. When the company would leave, we’d get back to the truth, we’d get back to being real again. I’ve always tried to make movies that are about those families.”

And Cianfrance’s early instinct to adapt someone else’s material proved to be the right move as well, as Stedman’s book provided a strong structure that he could build off in service to his own take on the material. Even with the novel as his base, Cianfrance could still make a “Derek Cianfrance film,” free of the stuff that had been holding him back post-“Pines.” (Cianfrance indicated that Stedman is very pleased with the final product.)

“I just thought this is an extension of everything I’ve been trying to do, but the structure is intact,” he said. “That was my intention in the first place, was to deal with story in a way where I had a framework already set and I could play within that framework and kind of push to the boundaries. You need to know where those boundaries are.”

As for that “everything” Cianfrance had been trying to do, it also extended to the story, which echoes so much of his previous work. First and foremost in Cianfrance’s eyes? “It’s a relationship movie.”

The Power of Love
“It’s a companion piece to ‘Blue Valentine’ in a way, because it’s about love,” the director continued. “This movie, to me, is about love surviving children. It’s about the power of love, and when the kids go off to school when they’re 18, that the love is still there.”

That’s a fine bookend to “Blue Valentine,” which features Ryan Gosling and Michelle Williams as a once deeply in love couple who struggle to make their relationship work as time — including the birth of their child — marches ever onward, but the links between the two films go even deeper than that.

“To me, the ending of ‘Blue Valentine’ was always a hopeful ending, because that movie was about how being in a relationship can kind of crush your individuality, can crush who is you,” Cianfrance said. “You become a pair and you lose some of that person that you were. This movie is about when you’re an individual, and having a partner who unlock parts of you and make you a better person. This movie is about really wanting to, despite everything, stay together and get stronger and build.”



When it came time to cast his leads, Cianfrance knew early on that he wanted Fassbender to play Tom, his haunted solider-turned-lighthouse-keeper, who wrestles with some of the film’s most wrenching moments.

“When I was prepping ‘Blue Valentine,’ I went to go see ‘Hunger’ and I was just blown away by that guy,” he said. “The thing that always stood out about him was his mind. What I was curious about with Michael, and what I didn’t know, was the heart. I had never really seen the heart of Michael Fassbender in a movie.”

Cianfrance’s desire to match up Fassbender’s heart and head on the big screen ultimately formed the film’s central theme — a “battle between truth and love” — that the filmmaker compared to no less than the “Star Wars” franchise. Casting the actress who could push Fassbender to those limits wasn’t as easy.

The director asked his casting director, Francine Maisler, to find him what now sounds a bit like a Hollywood unicorn. As he tells it, Cianfrance was looking for an actress who could embody Gena Rowlands from “A Woman Under the Influence,” Vivien Leigh from “Gone With the Wind” and Emily Watson from “Breaking the Waves.” Maisler offered up Vikander, and Cianfrance admits he initially had “no idea” who she was.

After a crash course in Vikander’s filmography — he started with “A Royal Affair” — he called her in for an audition, a process he rarely puts himself (or his possible stars) through."

“I wanted to see what she would do. For four hours, she put herself out there for me,” he explained. “I ask all my actors to do two things. I ask them to fail for me, and I ask them to surprise me. In this audition, she was failing and surprising me every second. I realized she was it.”

lol i didnt thought life would be that easy without the PF app, so I can pop in whenever I want. I'm receiving a lot of messages so I'm still here
Btw I love Cianfrance everyday more. I've always known he was an amazing artist since I've seen BV for the first time, but now I respect him even more. He's one of the fewest directors I don't find boring nor difficult to understand at all, but yet so sensitive, clever, romantic. Just as I like.

I can't wait I'm seeing this movie in 2 days: I'm super curious about the whole story, the developement, the ending, the relationship Hannah-Isabel and most of all the first part, the Tom-Isabel's relationship, which is so beautifully described in the book and in all the clips I saw. I'm sure I won't be disappointed. I love everything about this movie: cast, story, director, places, music. SO HAPPY SO HAPPY!

 

[zen1965]

This thread has completely turned me off from watching the movie.

On a sidenote from an older person: Avoid making dramatic farewell statements unless you are prepared to stay away. If not, you quickly look like a fool.

 

[carmencrem]

No dramatic farewells, just opinions.
I'm not leaving the forum forever, just taking a break and deleting the app, so I won't receive some notifications anymore and I will enjoy my passions without meaningless pointless discussions in a place we're all taking too seriously.
It would be nice not to receive advices from people I don't know nor care about tho, thanks xx

 

[Just Askin]

Grown ups aye?! What can you say...

 

[carmencrem]

Grown ups aye?! What can you say...

Lol. Don't worry

 

[Selayang430]

No dramatic farewells, just opinions.
I'm not leaving the forum forever, just taking a break and deleting the app, so I won't receive some notifications anymore and I will enjoy my passions without meaningless pointless discussions in a place we're all taking too seriously.
It would be nice not to receive advices from people I don't know nor care about tho, thanks xx

You have us

 

[carmencrem]

You have us View attachment 3453817

You're so cute ❣

 

[Flatsy]

Well I appreciate all the stuff you've been posting on TLBO recently, it's made it nice to come here again.

 

[Just Askin]

Mama's boy