The Professor and the Madman

Neuigkeiten und Diskussionen zu Filmen aus den USA und dem Rest der Welt.
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Don Kolleone
Beiträge: 7100
Registriert: Do 17. Sep 2015, 08:02
Wohnort: Hodenhagen

Re: The Professor and the Madman

Beitrag von Don Kolleone » Sa 7. Sep 2019, 11:06

:mrgreen: :D
"Krieg ist wie Kino. Vorne flimmerts, hinten sind die besten Plätze." - Arnim Dahl

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Julio Sacchi
Beiträge: 29698
Registriert: Do 10. Mai 2012, 17:52

Re: The Professor and the Madman

Beitrag von Julio Sacchi » Sa 7. Sep 2019, 17:31

:lol: :lol:

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Don Kolleone
Beiträge: 7100
Registriert: Do 17. Sep 2015, 08:02
Wohnort: Hodenhagen

Re: The Professor and the Madman

Beitrag von Don Kolleone » So 8. Sep 2019, 17:36

Sylvio Constabel hat geschrieben:
Di 16. Jul 2019, 12:03
Meine Lieblingsfigur ist Eddie Marsans Wärter. Eddie spielt ihn mit so viel Mitgefühl und Zuneigung, daß einem ganz warm ums Herz wird.
Haste Dir FEEDBACK schon auf'm FFF-Zettel notiert? Da hat er die Hauptrolle inne.
"Krieg ist wie Kino. Vorne flimmerts, hinten sind die besten Plätze." - Arnim Dahl

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Sylvio Constabel
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Registriert: Mo 11. Jun 2012, 15:34

Re: The Professor and the Madman

Beitrag von Sylvio Constabel » So 8. Sep 2019, 20:11

Da kann ich leider nicht. Ich kann nur zu SCHEISSENDRECK wie VIVARIUM. :thumbdown:
Bei Sylvio mag ich, er guckt halt auch viel mit dem Herzen. Jimfried Nullinie

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Don Kolleone
Beiträge: 7100
Registriert: Do 17. Sep 2015, 08:02
Wohnort: Hodenhagen

Re: The Professor and the Madman

Beitrag von Don Kolleone » Mo 16. Sep 2019, 13:54

Bisschen was zur holprigen Entstehungsgeschichte des Films:
A longtime dream project that Mel Gibson's had on the backburner since purchasing the movie rights to Simon Winchester's book when it was released in 1998, THE PROFESSOR AND THE MADMAN ultimately became a nightmare of behind-the-scenes clashes and multiple lawsuits. Gibson began developing it as far back as 2001, when the great John Boorman (DELIVERANCE, EXCALIBUR) was set to write and direct. That fell apart and Boorman's script was reworked in 2007 by Todd Komarnicki (SULLY), with Luc Besson attached to direct, but that was right around the time that Gibson's traffic stop and other offscreen problems essentially made him persona non grata in Hollywood for at least the next decade. Nine years later, with numerous international financiers, Gibson finally got THE PROFESSOR AND THE MADMAN going with a new script by his friend and APOCALYPTO collaborator Farhad Safinia, who would also be making his directing debut. It was near the end of filming in Ireland in 2016 that disagreements began to develop between Gibson/Safinia and Voltage Pictures head Nicolas Chartier, when the pair asked for an additional $2.5 million for five additional days to shoot some scenes that they insisted had to be done on location at Oxford University (Trinity College was filling in for Oxford until then). Chartier rejected the request, telling them that they were already behind schedule and over the $25 million budget, so Trinity in Dublin would have to suffice.

Believing the film wouldn't be complete without these Oxford-shot scenes, Gibson told Chartier that Safinia wasn't being permitted to sufficiently finish the film. Gibson sued Voltage Pictures for breach of contract, claiming the film wasn't completed and he was guaranteed final cut, with Safinia also suing, claiming copyright infringement, accusing Voltage of never finalizing his contract, thus "his" script (which still contained some of Boorman's and Komarnicki's work) was never officially handed over to them. When Voltage released a statement accusing Gibson and Safinia of trying to "hijack the movie," Safinia sued for defamation. A judge ruled in favor of Voltage all around, and when Safinia's planned 160-minute film was whittled down to 124 minutes with neither Gibson nor Safinia's input, Gibson unsuccessfully tried to prevent it from being screened for potential distributors. These lawsuits kept the film on the shelf over 2017 and 2018 until a settlement was reached in early 2019, with Gibson removing his producer credit and any mention of his Icon Productions company. Safinia also successfully petitioned to have his name removed as director and co-writer, with credit now going to the non-existent "P.B. Shemran." Also absent is any mention of Boorman, still credited as a co-writer in initial press releases, in festival reviews, and on IMDb, but whose name is nowhere to be found on the released film. A troubled production, for sure, but there was a time when a prestige period piece starring Mel Gibson and Sean Penn would've been one of the most anticipated films of its year instead of one that gets a buried on VOD like a state secret by lowly, Redbox-ready Vertical Entertainment, with seemingly everyone involved actively distancing themselves from what sounds less like a battle of artistic differences and more like an alpha-male pissing contest.
Quelle
"Krieg ist wie Kino. Vorne flimmerts, hinten sind die besten Plätze." - Arnim Dahl

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