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Meets Johnny


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Tim Burton

10 Ottobre 2012: Cristina membro del nostro fans club, intervista Tim Burton al London Film Festival!
GUARDA IL VIDEO DELL'INTERVISTA A TIM BURTON | Ours Christina INTERVIEW TIM BURTON

Depp Heaven interview Tim Burtont
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Steadman elogia Johnny Depp | Steadman talks adout Johnny Depp

Johnny Depp “è una delle persone con cui è più facile parlare che si possa immaginare” dice il disegnatore Britannico. Ralph Steadman, il soggetto di “For no good reason” ha elogiato la star di Hollywood, che appare nel suo film. Parlando prima della proiezione del film al BFI London Film Festival, Steadman ha ricordato il tempo trascorso con Depp e lo scrittore Hunter S. Thompson nella casa di quest’ultimo a Colorado.

“E ‘un ottimo compagno di lavoro, l’ho conosciuto negli anni Novanta  alla fattoria di Hunter S. Thompson in Colorado  Questo era prima di suicidarsi, naturalmente. Depp aveva l’abitudine di andare a trovare Hunter quando ci andavo anche io, ma io andavo perchè stavamo lavorando insieme ad un giornalismo gonzo”

Steadman ha lavorato con Thompson nel famoso Paura e Delirio a Las Vegas, mentre Depp ha recitato in The Rum Diary lo scorso anno, il quale è basato su uno dei migliori romanzi di Thompson. Steadman non riusciva a ricordare tutti gli argomenti di conversazione dei tre uomini quando si sono incontrati, ma un argomento certo è grande personalità Depp.

“Depp è uno delle più facili persone con cui parlare che si possa immaginare. Lui è così dolce e così bello e così alla mano,invece Hunter è stato sempre così burbero.”

“For no good reason” è stato frutto di 15 anni di lavoro, e il regista Charlie Paul ha parlato della sua gioia di ottenere Depp a bordo. “In un primo momento era piuttosto scoraggiante, ma Johnny è un uomo incantevole e un grande fan di Ralph e lui è così rilassato a casa di Ralph che era molto facile e molto naturale fare tutto” ha detto.

“For no good reason” sarà rilasciato l’anno prossimo in UK.

Johnny Depp is “one of the easiest people to talk to you could ever imagine”, according to the British cartoonist at the centre of a new documentary. Ralph Steadman, the subject of For No Good Reason, heaped praise on the Hollywood star, who appears in the film about his work. Speaking before the film’s screening at the BFI London Film Festival, Steadman reminisced about time he spent with Depp and writer Hunter S. Thompson at the latter’s home in Colorado.

“He’s a lovely fellow. I met him in the Nineties. He was at Hunter S. Thompson’s farm in Colorado – this was before he committed suicide of course. Depp used to turn up to see Hunter as I turned up, but I would turn up to see Hunter because we were working together doing gonzo journalism,” he said.

Steadman worked with Thompson most famously on Fear and Loathing in Las Vegas, while Depp acted in The Rum Diary last year which was based on one of Thompson’s best known novels of the same name. Steadman couldn’t quite remember all the topics of conversation the three men covered when they met up, but one thing he was certain of was Depp’s great personality.

“How easy to talk to I found Johnny Depp, one of the easiest people to talk to you could ever imagine. He’s so sweet and just so nice and easy going, and Hunter was always so gruff.” For No Good Reason has been 15 years in the making, and director Charlie Paul spoke of his delight at getting Depp on board. “At first it was quite daunting but Johnny is such a lovely man and such a great fan of Ralph’s and he’s so relaxed over at Ralph’s house that it was very easy and very natural,” he said.

For No Good Reason is released in the UK next year.

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LIAF Opening 2012: For No Good Reason Q&A

 

Signore e signori, aiutateci ad aprire il festival in grande stile. Abbiamo preso una collezione dei film più attesi in competizione, mescolandoli con dei classici e aggiungendo dei film Inglesi.

In più abbiamo uno screening davvero speciale di “For No Good Reason”, il film che esplora la connessione tra la vita e l’arte attraverso gli occhi di un artista inglese, Ralph Steadman.

E a completare il tutto lo screening con la discussione in diretta di Ralph Steadman, il regista Charlie Paul e il direttore d’animazione Kevin Richards. Ci saranno un sacco di cose di cui parlare – letteralmente centinaia opere d’arte di Ralph, sono stati catturate da uno stop-frame di una telecamera posizionata sopra il suo tavolo da lavoro per gli ultimi 10 anni. Per la prima volta, le sequenze animate sono state create dalla sua arte originale, compresa la raccolta completa di disegni di Hunter S. Thompson ‘Paura e delirio a Las Vegas’.

Un ringraziamento speciale a  Itch Film per aver reso  possibile questo screening.

Johnny Depp paga una chiamata per il suo amico ed eroe Ralph Steadman e veniamo catapultati in un viaggio di alto spirito, di stampo lirico, di scoperta della vita e dei lavori del più importante artista inglese dei tempi moderni.

Steadman è salito alla ribalta nei primi anni ’70, quando le sue immagini appassionate e piene di agitazione hanno ottenuto il riconoscimento attraverso le più diffuse pubblicazioni culturali e media sia nel Regno Unito che negli Stati Uniti per il loro accento sulla politica mondiale e le violazioni dei diritti umani.

For No Good Reason’ da importanza all’arte nell’obbiettivo che si è dato Ralph “Ho imparato a disegnare per provare a cambiare il mondo”. Il regista Charlie Paul ha speso 15 anni meticolosamente ricercando il materiale e creando un film energico, arrabbiato e che mostrasse tutto lo spirito libero di Steadman.

E’ un tripudio di storie e immagini che letteralmente fanno saltare fuori dello schermo, per far intraprendere un viaggio attraverso i giorni selvaggi e oscuri del tempo di Steadman e  Paura e delirio a Las Vegas dello scrittore Hunter S. Thompson.

Attraverso la guida di Depp in questo ritratto intimo, siamo in grado di arrivare al cuore di questo artista, le sue amicizie e i suoi “fallimenti”, il suo amore per l’arte e la passione per le libertà civili.
Si tratta di un originale, energico, straziante film di tanto in tanto, ma stimolante ed esaltante con il contributo di Terry Gilliam, Richard E Grant e musica da Slash, All American Rejects, Jason Mraz, James Blake, Ed Harcourt e Crystal Castles, il tutto ‘senza una buona ragione ‘.

Ladies and Gentlemen – come and help us open the festival in style. We take a collection of the hottest films from competition, mix them with some of our favourite classics from the special programmes and add in a couple of the top new British films. This is the essential LIAF showbag and the numbers are strictly limited.

Plus – we have a very special screening of For No Good Reason’, the brand new feature film exploring the connection between life and art through the eyes of seminal British artist, Ralph Steadman.

To top the evening off we‘ll follow the screening with an onstage discussion with the seminal British artist himself – Ralph Steadman, as well as ‘For No Good Reason’ Director Charlie Paul and Animation Director Kevin Richards. There will be lots to talk about -  literally hundreds of Ralph’s artworks have been captured by a stop-frame camera positioned above his work-table for the past 10 years. For the first time, animated sequences have been created from his original art, including the complete collection of drawings from Hunter S Thompson’s ‘Fear and Loathing in Las Vegas’.

This gala opening is the essential LIAF showbag and a great preview of the 11 days ahead. Come one, come all – but book early!

Special thanks to Itch Film for making this screening possible.

Johnny Depp pays a call on his friend and hero Ralph Steadman and we take off on a high-spirited, lyrical, raging and soulful journey discovering the life and works of one of the most important radical British artists of modern times.

Steadman rose to prominence in the early 70’s when his impassioned and stirring images gained recognition through popular cultural publications and press both in the UK and US for their bold comment on world politics and human rights infringements.

For No Good Reason’ is a richly creative, visual feast of a film about the power and importance of art to achieve Steadman’s aim “I learnt to draw…to try to change the world”. Director Charlie Paul spent 15 years meticulously amassing the footage and creating the remarkable animations for the film to match the same anarchic energy, anger and free spirit of Steadman’s pictures. It is riot of stories and images that literally blast out of the screen as we take a trip through the wild and dark days of Steadman’s time and consignments with ‘Fear & Loathing in Las Vegas’ writer Hunter S Thompson, the Rumble in the Jungle, gun fights with literary giant William S Burroughs and his fiercely heart-felt politics.

Through Depp’s lead in this intimate portrait, we are able to reach to the heart of what make this artist tick, his friendships and fallings out, his love for art and passion for civil liberties.

This is an inventive, energetic, occasionally harrowing but inspiring and uplifting film with contributions from Terry Gilliam, Richard E Grant and music from Slash, All American Rejects, Jason Mraz, James Blake, Ed Harcourt and Crystal Castles, all ‘For No Good Reason’.

 

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[Tutorial] Il gilet di Johnny

Lo amiamo, lo adoriamo, ed adoriamo anche come si veste..vorremmo vestirci come lui magari…
Beh oggi sarà in parte possibile, con il gilet nello stile di Johnny, adattato per la moda femminile!

Heidi, blogger, ha fatto un tutorial su come realizzare tale gilet, un progetto che è stato partecipe di un progetto “Project Run and Play” (istituito sempre da un gruppo di blogger).

A questo link, il tutorial per realizzare questo splendido capo! Serve abilità di cucito ovviamente, quindi filo e ago saranno compagni di questa creazione!!

 

 

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Tim Burton, a casa nella sua testa ci parla di Depp

Da una lunga intervista con Burton, riportiamo la parte riguardante al rapporto Burton-Depp

D: Quando hai lavorato con Johnny Depp per la prima volta, in “Edward mani di forbice”, che cosa è che ti ha connesso a lui?

R: Un ragazzo conosciuto come idolo teenager di Tiger Beat. Ma conoscendolo senza sapere ciò, non sembrava affatto questo tipo di persona. Semplicemente lui rientrava perfettamente nel profilo del personaggio. Eravamo in Florida con 90 gradi, e non poteva usare le sue mani e stava indossando un completo di pelle e aveva la faccia coperta di trucca. Ero impressionato dalla sua forza e resistenza. Ricordo che Jack Nicholson mi ha mostrato un libro sulla recitazione e come entrare in un’altra persona. Sono sempre stato impressionato da chiunque fosse in grado di farlo. Perchè molti attori non vogliono la maschera intesa come strumento.

D: La tua relazione con Johnny è cambiata col crescere della tua carriera?

R: E ‘sempre stato in grado di decifrare le mie divagazioni. Per me lui è più simile a un tipo di attore come Karloff Boris, un attore di carattere, di un uomo di primo piano. L’unica cosa che cambia – e questa è una cosa a cui non cerco di prestare attenzione – è come il mondo di fuori percepisce la cosa. [Maliziosamente] “Oh, stai lavorando con Johnny di nuovo?” “Oh, come mai non stai lavorando con lui, questa volta?” Non si può vincere. Mi arrendo.

D: Pensi che la troppa familiarità possa essere un problema con “Dark Shadows”, dove le persone ti han visto, han visto Johnny, e dei mostri, ed han pensato “Tutto questo l’ho già visto prima”?

R: Anche il fatto che è stato ritenuto un fallimento, anche finanziariamente, non è vero. Potrebbe non aver mandato il mondo in escandescenza ma i suoi soldi li ha fatti, e posso dire che non è stato un completo fallimento. Ci sono certe persone con cui ho parlato ai quali il film è piaciuto. “Alice” è stato molto criticato, ha fatto più di un miliardo, mi pare. “Ed Wood” è stato criticato, ed era una bomba!

Q. When you worked with Johnny Depp for the first time, on “Edward Scissorhands,” what was it that connected you to him?

A. Here was a guy who was perceived as this thing — this Tiger Beat teen idol. But just meeting him, I could tell, without knowing the guy, he wasn’t that as a person. Very simply, he fit the profile of the character. We were in Florida in 90-degree heat, and he couldn’t use his hands, and he was wearing a leather outfit and covered head to toe with makeup. I was impressed by his strength and stamina. I remember Jack Nicholson showed me this book about mask acting and how it unleashes something else in a person. I’ve always been impressed by anybody that was willing to do that. Because a lot of actors don’t want to cover [theatrical voice] “the instrument.”

Q. Has your relationship with Johnny changed as your careers have evolved?

A. There’s always been a shorthand. He’s always been able to decipher my ramblings. To me he’s more like a Boris Karloff-type actor, a character actor, than a leading man. The only thing that changes — and this is something I try not to pay any attention to — is how the outside world perceives it. [Snidely] “Oh, you’re working with Johnny again?” “Oh, how come you’re not working with him this time?” You can’t win. I give up.

Q. Do you think that overfamiliarity might have been a problem with “Dark Shadows,” that people saw it was you, and Johnny, and monsters, and they thought, “I’ve seen this before”?

A. Even the fact that it was deemed a failure — financially, it wasn’t really. It may not have set the world on fire, but it made its money back plus some, so I can tick that off as not being a total disaster. There’s some people that I talk to that liked it. “Alice” got critically panned. It made over a billion, I guess, whatever. “Ed Wood” got a lot of critical acclaim, it was a complete bomb. It all has a weird way of balancing itself out.

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Ruth Ellsworth, songwriter, esperta di cucina, e sarta per Depp

ITA: Ruth Ellsworth è famosa per aver scritto la canzone “Crossfire” con Stevie Ray Vaughan, ma ha anche scritto 5 libri di cucina, ed infine ha cominciato a pianificare una linea di pantaloni basati su quelli cuciti per Depp, amico suo e del marito Bill Carter, durante le riprese di Pirati Dei Caraibi. I pantaloni sono in tipico stile pirata, larghi e lunghi per 3/4 di gamba. Depp ha poi “divulgato” questi pantaloni pirata ad amici, come Keith Richard (chitarrista dei Rolling Stones) dal cui manager si è saputo che non indossa altro che quei pantaloni.Il budget di questi pantaloni che hanno dato il via alla linea, è stato di 1000 dollari, anticipati tutti da Depp, e spesi per una stoffa pregiata di lino Irlandese comprata presso il “International Silks and Woolens”, negozio di Los Angeles. Questi pantaloni hanno grandi tasche, indossabili anche alla spiaggia, e come sappiamo, Johnny possiede un’intera isola alle Bahamas.Depp fece la conoscenza di Ruth e del marito Bill, mentre girava “What’s Eating Gilbert Grape?”, e si trasferì da loro per qualche mese dopo aver terminato il film.  Depp e la coppia Carter, collaborarono anche per la canzone “Sand Theme”, colonna sonora del film “C’era una volta in messico”Ruth rivela che il motivo per cui lei ed il marito sono ancora amici di Depp è perchè lo trattano come una normale persona, nonostante la vita di Depp sia notevolmente cambiata dopo il primo film di Pirati.

 

ENG: Ruth Ellsworth is best known for helping create a classic Stevie Ray Vaughan song. But she’s also a culinary expert — and lately, she’s making clothes for Johnny Depp.
One day, she’ll write a song in her head while shopping for produce. The next day she might be found working up soup and recipes in the kitchen of the Eastside Cafe. Nighttime usually finds her painting or messing with fabrics and looking at old sewing patterns for fashion ideas.
Songs, soups and sewing have long been passions for Ruth Ellsworth, 53. The straight-shooting Oak Hill resident is best known as the co-writer of Stevie Ray Vaughan’s signature tune “Crossfire,” but she has also written five cookbooks and is planning a new clothing business based on pants she made for famed actor Johnny Depp, who is a close friend of Ellsworth and her husband, songwriter Bill Carter.
“I’ve never known anyone less content with doing nothing,” Eastside Cafe owner Elaine Martin said. “Ruth is always doing something with her hands.”
True to her calling as an expressive, independent Austin artist, she usually does it her own way.
“There are things that I’ve learned in the music business that I’ve been able to apply (to fashion),” Ellsworth said. “We used to watch the industry try to change Stevie (Ray Vaughan). You know, ‘You need to play more rock and less blues, and your solos are too long,’ that kind of stuff. But Stevie wasn’t malleable. He wasn’t going to change his style for anybody.”
Before her songwriting career took off in the 1980s, Ellsworth helped pay the bills by doing alterations for musician associates. Her seamstress gift has come to the forefront since she made a few pairs of baggy, three-quarter-length trousers of Irish linen for Depp while he was on the set of the latest “Pirates of the Caribbean” movie. . The actor started giving the “pirate pants” to people in his inner circle, including Rolling Stone guitarist Keith Richards.
Carter said he ran into Richards’ manager recently, and she jokingly gave him grief about the pants.
“She said ‘the only thing Keith ever wears is those blasted pirate pants,’ ” Carter said.
As word spread, folks were clamoring for more of the clam diggers than Ellsworth’s modest Singer sewing machine could handle, and she decided to start the clothing and accessory line, called SWAG, which stands for “sea wear and gear.” Production on the pants, which will retail for $165 a pair online (Web site is pending) and at select boutiques, will take place at a union shop in Los Angeles. “I’m not going to make some 9-year-old Chinese girl go blind just to increase the profit margin,” Ellsworth said.
The clothing enterprise began accidentally when Depp, who has been tight with the couple since 1993, gave Ellsworth $1,000 to buy fabric from International Silks and Woolens, a shop in Los Angeles owned by the father of Depp’s business manager. She spent it all on Irish linen and designed the one-size-fits-all pants with big pockets that Depp and Carter, who’ve trained together for several years, could wear at the beach. Depp owns a small island in the Bahamas, as well as homes in Los Angeles and southern France.
A guitar player who was in bands before stardom struck with TV’s “21 Jump Street” in 1987, Depp met the couple at Antone’s when he was in town filming “What’s Eating Gilbert Grape?” After the movie shoot, Depp moved in with them for a few months to avoid the glare of Hollywood.
“Whenever Johnny tried to leave, his 1950 Mercury would break down, so he ended up staying longer than expected,” said Carter, who subsequently formed the short-lived experimental blues-rock band P with Depp and Gibby Haynes of the Butthole Surfers. Depp, Ellsworth and Carter later collaborated on the song “Sands Theme” for the soundtrack of the movie “Once Upon a Time In Mexico,” but mainly they just hang out together.
Ellsworth and Carter, who have no children but do have a couple of rambunctious dogs, have watched their friend’s popularity surge ridiculously since the first “Pirates” movie five years ago. “Johnny can’t go anywhere in public anymore — he’ll be mobbed,” Carter said.
Ellsworth said one of the main reasons they’ve remained such such good friends is because the she and her husband don’t treat Depp any different than anyone else. “He’s just a great friend with an amazing job,” said Ellsworth, who, with her husband, is godparent to Depp’s two children with French singer and actress Vanessa Paradis.
Ellsworth and Carter met in 1976 at Inner Sanctum Records, where Carter, who had just moved down from Washington state, was playing an in-store set with local songwriter Jubal Clark. A native of Bethany, Okla., Ellsworth had moved here to study English literature at the University of Texas, but her true goal was to become part of Austin’s singer-songwriter scene.
She’d been cooking and sewing long before that. She learned to sew from a family friend who lived to be 99. “Gertie was a master of needlework,” Ellsworth says of the woman who raised her mother.
A natural inclination as a hostess fueled Ellsworth’s desire to be a great cook. She started throwing dinner parties for her friends in high school.
She didn’t cook for a living until the early 1980s, when she was waiting tables at the Dorsett 221 truckstop in Buda one day and the cook didn’t show up. “I loved working in the kitchen,” she said. “You can listen to your own music and wear what you want to wear, plus you didn’t have to kiss anyone’s ass.”
Ellsworth and Carter, who married in 1984, were working at Xalepeno Charlie’s on South First Street two years later— Ellsworth in the kitchen and Carter busing tables — when the Fabulous Thunderbirds recorded their song “Why Get Up” on the double-platinum album “Tuff Enuff.” Good fortune hit even before the record took off when the Carters were contacted by representatives of General Mills, who made a deal to pay the couple $25,000 to put a hold on the tune, while they decided if it was right for an upcoming cereal commercial.
“We were living in a dump in Manchaca and we were more than a month behind on the rent,” Carter said, setting up one of the greatest “mailbox money” stories ever. “I kept telling the landlord that we had money coming in any day now, but he was losing his patience. One day the check for $25,000 arrives and we’re just besides ourselves. So we get back inside and right then the phone rings. It’s the landlord and he’s screaming ‘I want you outta there today!’ and I said, ‘No problem, man.’ Ruth and I went and rented a big house in Tarrytown.”
The song was never used for the commercial, but Ellsworth and Carter were finally making a living a songwriters.
Ellsworth retired from cooking, but the break was shortlived when Elaine Martin, who used to work with Ellsworth at Moveable Feast catering, bought Carla’s on Manor Road in 1988 and renamed it the Eastside Cafe. She needed a soup chef, Ellsworth’s specialty. “I missed the camaraderie of the kitchen, plus you get a lot of ideas for songs when you’re cooking,” said Ellsworth. “Nothing frees the mind like a cutting board.”
Or guiding fabric under the throbbing tattoo of a sewing machine needle. Keeping busy has always been easy for this former Girl Scout, whose badges of merit now come from all sorts of creations of her own design. Gertie taught her to pay close attention to detail, that anything worth doing was worth doing right. “Gertie was so meticulous in her garden; everything had to be perfect,” Ellsworth said. “But then as she got older, she couldn’t work on it as much and the garden grew out a bit. But it was still quite lovely. Gertie said, ‘if I had only known that the wild garden was more beautiful. …’”
It’s a philosophy Ellsworth says guides her creative pursuits. “I don’t try to impose my will on what I’m working on,” she said. “A simple word may inspire a song, just as something from the garden leads to a recipe or a piece of fabric inspires a clothing design. I let it speak to me and as I work I see what unfolds.”

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[Photos] The Kids @ Agora, Ott 1981

Tramite Zone, che ringraziamo come sempre, siamo venuti a conoscenza di queste foto, risalenti all’ottobre 1981, dei “The Kids” all’Agora (Hallandale, Florida)

Le foto sono state scattate da Lauri Sims Alaimo

Johnny, come gli altri componenti del gruppo, era poco più che un bambino!!

Cliccate sulla foto sottostante per vedere le altre foto!


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The Lone Ranger – La “febbre da film” tenuta a bada dalla sicurezza/ Security dampens movie fever

ITA: Marcia Wood, residente di Angel Fire racconta:

“I residenti di Ute Park, Pine Ridge, Cimarron e Valle Moreno, sono stati “contagiati” dalla “febbre da film” durante la settimana di riprese di The Lone Ranger, con Johnny Depp.

Decine di poliziotti e guardie hanno tenuto lontano il pubblico dal Cimmaron Canyon Lunedì e Martedì 20 e 21 agosto, perchè non si avvicinassero troppo al luogo delle riprese per curiosare.

La zona fu completamente svuotata dalle persone del luogo che volevano assistere alle riprese e partecipare al fermento in cui si trovava la zona, piena dello staff del film. Alcune amichevoli guardie hanno accettato di farsi fotografare, pur che fosse mantenuto il loro anonimato. Queste guardie stavano fino a 12 ore di turno sulle rocce, a controllare la situazione, mandando sms e ascoltando la radio per passare il tempo.

Siamo riusciti a vedere poca azione. Vogliamo di più.”

ENG: Residents of Ute Park, Pine Ridge, Cimarron and the Moreno Valley caught movie fever this week with the filming of “The Lone Ranger” starring Johnny Depp.
Dozens of state police and road guards kept the public at bay in Cimarron Canyon Monday and Tuesday (Aug. 20 and 21), stationed strategically preventing roadside looky-loos.
One crusty road guard, a Cimarron gal, shooed us away from Ute Park and the camera boom on top of an Old West railroad car. The area was abuzz with movie crew.
Friendlier bearded guards up the canyon — movie extras from Denver — agreed to visit and be photographed on the promise of anonymity. They were extras in earlier Albuquerque filming and said they’d met about a dozen Angel Fire people working on the project.
The guards’ 12-hour shifts — sitting on rocks, in lawn chairs, texting and listening for messages on their assigned radios — get pretty boring. One young guy resorted to doing push-ups on the shoulder of the road. [...] We got a peak at some action. We want more.

Raw Footage Lone Ranger Movie scene New Mexico

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