Two years after winning an Academy Award for “The Blind Side,” Sandra Bullock takes the role of grief-stricken mother whose apparent absence in her son’s life is not quite what it seems, in Warner Bros.’ heartwrenching drama, “Extremely Loud & Incredibly Close.”

Nominated for Best Picture at this year’s Academy Awards, the film is a story that unfolds from inside the young mind of Oskar Schell (Thomas Horn), an inventive eleven year-old New Yorker whose discovery of a key in his deceased father’s belongings sets him off on an urgent search across the city for the lock it will open. A year after his father (Tom Hanks) die on 9/11 in the World Trade Center on what Oskar calls “The Worst Day,” he is determined to keep his vital connection to the man who playfully cajoled him into confronting his wildest fears.

“What I find so moving about Oskar is that he feels there has to be an answer, but there is not always a clear ‘why’ or a ‘because’ to a situation,” Bullock says. “And sometimes the answer you get is not the one you expect, which is something Oskar has to discover for himself.”

Unlike Oskar’s father, his mother, Linda (Bullock), has always found it tough to reach her son, and that only seems to increase by a factor of 10 when her husband is no longer there to bridge the gap. Yet, much as she seems lost in her own private realm of grief, Linda is connecting to Oskar in ways of which he is not even aware.

Director Stephen Daldry felt there was an organic empathy in Bullock that would allow the role to work. “Sandra is a first-rate actress who really took her role to heart,” he says. “She looked after Thomas very well and formed a strong relationship with him that translated to the screen. She was able to bring a gravitas that was entirely appropriate but also a real charm.”

For Bullock, the intriguing part was playing a mother who has to work at bonding with her son and forging her own route back into his world after his father’s death. “I think when her husband was alive, Linda was always okay with just stepping back and letting Oskar and his father be a great team together,” she observes. “But now that Oskar has lost his playmate and the one person who grounded him and who he felt was his intellectual equal, she isn’t sure she can be any of those things to her son. And she’s in the process of grieving too, so she doesn’t have much energy to fight for that connection she so desperately wants with him. She has to struggle to find the solution.”

Given the subjective, first-person viewpoint of the film, Bullock also had to play her character the way Oskar perceives her – which was especially difficult because Oskar does not see the full picture of his mother. “I had to come to grips with the idea that the audience is seeing Linda on the screen entirely through Oskar’s point of view – and his view of her is not always very favorable,” she explains. “In some scenes, she can seem to be the opposite of nurturing, yet later, it becomes clear what is really going on with her. Still, I had to be okay with her looking at times like she wasn’t being a good mother to a child who is really in need. Part of it is that what Oskar sees is her grief, which is ugly and imperfect, but also very real. But what Oskar doesn’t know is that she is also very worried about him and that causes her to really try to think like he does.”

To explore Linda Schell’s experience more deeply, Bullock listened to recordings of phone calls and voice-mail messages left by those trapped in the World Trade Center for their families. “That was very hard for me,” she says. “But what floored me was to hear people giving comfort to those they were leaving behind. You really understand that the pain of hearing that is something that could never go away.”

Opening soon across the Philippines, “Extremely Loud & Incredibly Close” is distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

The Weinstein Company’s critically acclaimed and Oscar-nominated film “My Week With Marilyn” starring Michelle Williams and Kenneth Branagh will be shown soon exclusively at Ayala Malls Cinemas (Glorietta 4, Greenbelt 3 and Trinoma).

Early in the summer of 1956, American film star Marilyn Monroe (Williams) set foot on British soil for the first time. On honeymoon with her husband, the celebrated playwright Arthur Miller (Dougray Scott), Monroe came to England to shoot “The Prince and the Showgirl” – the film that famously united her with Sir Laurence Olivier (Branagh), the British theatre and film legend who directed and co-starred in the film.

That same summer, 23-year-old Colin Clark (Eddie Redmayne) set foot on a film set for the first time in his life. Newly graduated from Oxford, Clark aspired to be a filmmaker and found a job as a lowly production hand on the set of “The Prince and the Showgirl.” Forty years later, he recounted his experiences of the six-month shoot in a diary-style memoir entitled The Prince, the Showgirl and Me. But one week in Clark’s account was missing…

It wasn’t until years later that Clark revealed why. In a follow-up memoir entitled My Week with Marilyn, he recounted the true story of one magical week he spent alone with the world’s biggest star — the week he spent with Marilyn.

“For a lot of people Marilyn is more of an iconic image than an actress,” admits director Simon Curtis. “People haven’t seen her films as much as they have her portrait. My way into this project was falling in love with the first of Colin Clark’s two memoirs. As somebody who was assistant director at The Royal Court Theatre, I found it fascinating to uncover this moment in time.”

The first memoir, The Prince, The Showgirl and Me, recounts Clark’s experiences working as third assistant director on the set of Monroe’s first film as both producer and star in which she played opposite Olivier, who also directed. The book recounts the production’s myriad problems, fuelled almost exclusively by the lack of communication and understanding between the two stars: Monroe’s erratic behavior and tardiness were exacerbated by her addiction to alcohol and prescription medication; while Olivier, a staunch traditionalist, refused to accommodate Monroe’s idiosyncrasies or her devotion to Method acting, which she practiced under the guidance of Paula Strasberg.

While Clark’s memoir is a dishy, fly-on-the-wall account of Olivier’s and Monroe’s fraught partnership, his follow-up memoir, My Week With Marilyn, feels like an intimate confession. In it, Clark affectionately remembers one enchanted week he spent leading the troubled Monroe on a tour of the English countryside. It offers an all-too-rare glimpse of the real woman beneath the carefully cultivated image, unencumbered by the busy machinery of stardom.

“I couldn’t believe my eyes when My Week with Marilyn was published,” avows Curtis. “Colin really did have this tense, erotically charged week with the most famous woman in the world, at the peak of her fame. I couldn’t believe my luck when I was able to get hold of the rights. People had tried over the years. And in the last year I’ve met at least three very established directors who have said, “I’ve always wanted to make that story.’ So I feel very lucky.”

Director Dennis Dugan re-teams with Adam Sandler for the eighth time on Columbia Pictures’ new comedy “Jack and Jill.”

In the film, Jack (Sandler) was living an almost perfect life, with the exception of one, annoying constant – his twin sister Jill (also played by Sandler). Every year he has to tolerate a Thanksgiving visit from his smothering sister, who doesn’t take long to turn his life upside down. As the weekend intrusion starts stretching into a month, the siblings fight, tease, and bicker in the way only twins can. When it becomes clear Jill is never leaving, Jack sets into motion several schemes that he hopes will return Jill to where he loves her most – the other side of the country.

“What I found interesting was that somewhere partway through the production I thought of Adam as playing Jack, but I thought of Jill as if she were her own person. Adam didn’t walk around off-camera acting like Jill, but after a while, it was as if Jill was a woman we hired who happened to look remarkably like Adam.”

In the film, Sandler plays Jack, an advertising executive who is one commercial away from hitting the big time – or, if the deal falls through, unmitigated disaster. Into this turmoil comes his twin sister, Jill – who always makes things more complicated than they need to be.

“I knew Adam would have no problem playing Jill. The part he worked at was to play Jack,” says Steve Koren, who co-wrote the screenplay with Sandler. “Jack’s the kind of guy who’s a little bit on edge – he’s had to work to make that guy different from who he really is.”

While writing the film with Adam Sandler, Koren found some interesting things. “Some twins actually create their own language when they’re little kids, so we invented a special, private language that only Jack and Jill speak,” he says. “We also found out that twins have a bond that is a lot stronger than some siblings, so we tried to incorporate as much of that as possible.”

Playing the dual role required an ingenious sense of timing from Sandler. “Part of the joke was that Jack and Jill would do the exact same things at the exact same time,” Koren explains. “What that meant, of course, was that Adam would do the scene once, and then he’d redo it as the other character. It was almost like a dance, a ballet; Adam had to have incredible focus and perfect timing. It was pretty incredible to watch.”

Describing the character and the plot of the film, Koren explains, “Jill had only two constants in her life – taking care of her parents and the love of her bird, Poopsie. She’s sacrificed her personal life. When she comes to visit Jack for the holidays and won’t leave, Jack tries to help her find a guy – a guy who he hopes will get her out of his house.”

Opening across the Philippines on Feb. 22, “Jack and Jill” is distributed by Columbia Pictures, local office of Sony Pictures Releasing International. Visit http://www.columbiapictures.com.ph for trailers, exclusive content and free downloads. Like us at www.Facebook.com/ColumbiaPicturesPH and join our fan contests.

Walt Disney Pictures has announced that “Tangled Ever After,” the short film follow-up to their 2010 hit animated feature “Tangled” will be an added attraction to “Beauty and the Beast” 3D when it opens in the Philippines on Feb. 22.

By popular demand, directors Nathan Greno and Byron Howard are bringing back some of Disney’s most beloved characters when “Tangled Ever After” picks up where “Tangled” left off. The Kingdom is in a festive mood as everyone gathers for the royal wedding of Rapunzel and Flynn. However, when Pascal and Maximus, as flower chameleon and ring bearer, respectively, lose the gold bands, a frenzied search and recovery mission gets underway. As the desperate duo tries to find the rings before anyone discovers that they’re missing, they leave behind a trail of comical chaos that includes flying lanterns, a flock of doves, a wine barrel barricade and a very sticky finale. Will Maximus and Pascal save the day and make it to the church in time? And will they ever get Flynn’s nose right?

“Tangled Ever After” is the perfect accompaniment to “Beauty and the Beast”, which is returning to the big screen in Disney Digital 3D and introducing a whole new generation to the Disney classic with stunning new 3D imagery. “Beauty and the Beast” was nominated for six Academy Awards, winning Oscars for Best Song, by the renowned Alan Menken and Howard Ashman, and Best Original Score (Menken).

“Beauty and the Beast” 3D is distributed by Walt Disney Studios Motion Pictures International through Columbia Pictures.

The epic adventure “Star Wars Episode 1 The Phantom Menace,” from visionary filmmaker George Lucas, captivated global audiences when it first came out in 1999.  The Force is back. But this time in 3D giving the film an immersive dimension and turning it into an altogether richer cinematic experience.

It’s an experience that will inevitably be thrilling: watching “Star Wars Episode 1 The Phantom Menace” 3D on the big screen. The first Star Wars movie to be presented in spectacular 3D, all the exciting elements of the original remain, with  added dimension and nuance.

George Lucas, the pioneering and brilliant filmmaker behind Star Wars, has overseen the process with his renowned attention to detail. John Knoll, the visual effects supervisor for Lucasfilm’s Industrial Light & Magic (ILM) was responsible for the actual conversion. He served as visual effects  supervisor on all three of the Star Wars prequels.  The remaining five Star Wars films will be converted to 3D over the coming years.

“I think 3D makes the film more immersive,” says John Knoll. “The extra dimension makes the audience feel like they are more present in the Star Wars universe. I wanted to make sure that we were not turning this into a gimmick. It’s something that should feel natural and not cause eye-strain or cheapen the product so I was not looking for places to poke stuff out of the camera. I went for naturalistic stereo as though the movie had actually been shot in stereo. I think the film looks better than it ever looked before.”

“Star Wars Episode 1 The Phantom Menace” was released in 1999.  The movie starred Liam Neeson as Qui-Gon Jinn and Ewan McGregor as his apprentice Obi-Wan-Kenobi, a determined young Jedi Knight. Natalie Portman played Queen Amidala. Jake Lloyd starred as Anakin Skywalker. It is a fantastically exciting adventure set 32 years before the events of the original.  The film follows Anakin’s journey as he pursues his dreams and confronts his fears in the midst of a galaxy in turmoil.

In between the production of Episode II (2002) and Episode III (2005), director George Lucas first began exploring the idea of presenting the entire Star Wars saga as 3D theatrical releases. Active 3D conversion work on “Star Wars: Episode I The Phantom Menace” began in 2010. ““I’m really excited about the new big screen release of the film.  We’ve worked very hard to get the best quality 3D we could. The big screen experience is so much better than watching it on television. It was designed to put you in the environment and surround you with the sound and the picture. There is   nothing like it. I’m so glad that we were able to bring this whole experience to the next generation. This will be the third generation that will be able to see it on the big screen and when you’re young, it’s an overwhelming and powerful event,” relates Lucas on the 3D conversion of the movie.

Lucas recalls that “Star Wars: Episode I The Phantom Menace” underwent a painstaking frame-by-frame conversion from a 2D film to a 3D experience thanks to the efforts of Prime Focus, a global visual entertainment services company, and Industrial Light & Magic (ILM), the preeminent visual effects company that has produced the visuals for all the Star Wars movies.

“Originally I was not a big fan of 3D. I really thought 3D was a gimmick. Then later on I was trying to get digital projectors into the theaters. I was doing a presentation in Las Vegas. Bob Zemeckis and Jim Cameron came up to me  and said: ‘We want to get 3D into the theaters. Would you join us in showing the theater owners that you can do 3D?’   And I said: ‘That’d be good because in order to do 3D you have to have digital theaters. So it would promote my idea of digital theaters.’ Then when I saw the test that we did of Star Wars in 3D, I realized how great it was and how great it looked.  I became  fascinated with the idea of converting STAR WARS into 3D, which was  easier said than done.  It took us a long time to develop a structure in which we could actually do a really good conversion of a 2D film into a 3D film,” further shares Lucas.

“Star Wars Episode 1 The Phantom Menace” (3D) opens February 9 in  cinemas from 20^th Century Fox  to be distributed by Warner Bros.

Rachel McAdams and Channing Tatum are set to warm audience’s hearts in Columbia Pictures’ upcoming romantic movie, “The Vow,” but when it came time to shoot the movie’s racy scenes, Channing had a few tricks up his sleeve – and down his pants!

“He bared his ass quite a bit,” Access Hollywood correspondent Tim Vincent said of Channing’s performance to Rachel at the film’s junket.

“He did bare some other things. Yeah, he goes for it,” Rachel said with laugh.

In the upcoming movie, the actors share a scene where Rachel’s character walks in on Channing’s character completely naked, a scene that the actor employed the help of the prop department on to enhance his nether regions.

“He’s very generous, giving, thoughtful actor. He went to the prop department like a month in advance and said hey, ‘I want to help Rachel out in this scene. I don’t want her to have to pretend too much,’” Rachel explained. “He had a prosthetic made!”

Channing told Access that he worried about Rachel’s reaction skills for the pivotal scene.

“I really didn’t have faith in her acting, to be totally honest. I wanted to get a real reaction from her, because it needed to be good,” he joked. “I made sure that I had [a prosthetic] that was down to my shin and that take is in the movie.”

“The Vow” is the real-life story of a young couple who were struck by tragedy shortly after their wedding. A car crash puts the wife (McAdams) in a coma, where she is cared for by her devoted husband (Tatum). When she comes to, without any memory of her husband or their marriage, the husband must woo her and ultimately win her heart once again.

Opening across the Philippines on Friday, Feb. 10, “The Vow” is distributed by Columbia Pictures, local office of Sony Pictures Releasing International. Visit www.columbiapictures.com.ph to see the latest trailers, get free downloads and play free movie games.

Warner Bros.’ highly-awaited sequel “Ghost Rider: Spirit of Vengeance” brings to the screen the hell-raising hero Johnny Blaze/Ghost Rider in eye-popping 3D!

“The movie for us was always going to be in 3D, from the very beginning – we love making the movie a more immersive experience. It seemed like a really cool idea, especially with our style of shooting,” says co-director Brian Taylor. “We tried to push the envelope with the technology. The first thing they told us was all the things we couldn’t do – no handheld camera, no quick cuts, no lens flares, no soft foreground, no super-long lenses, no super-wide lenses… and we asked, well, why?”

“There are rules, and directors Mark [Neveldine] and Brian wanted to break those rules, so it was my job to break them,” says stereographer Craig Mumma. “We wanted to take their style and adapt it to the screen and make 3D an enjoyable experience. The way Mark and Brian shoot, the camera work is an integral part of the movie, almost like another character. There’s no changing the way they shoot, so we had to come up with tools to adapt.”

In the film, Johnny (Nicolas Cage) – still struggling with his curse as the devil’s bounty hunter – is hiding out in a remote part of Eastern Europe when he is recruited by a secret sect of the church to save a young boy from the devil. At first, Johnny is reluctant to embrace the power of the Ghost Rider, but it is the only way to protect the boy – and possibly rid himself of his curse forever.

Neveldine/Taylor’s extreme filmmaking required a story that broke new ground as well. It wouldn’t do to simply pick up where the last film left off. “This story takes place years later, when Blaze – and the Ghost Rider – are in an entirely different place,” says producer Ari Arad. “Johnny Blaze is now miles away from his place of birth, trying to run away from the demon inside him. In comes a priest, Moreau, played by Idris Elba, who promises to help Johnny – if Johnny can help find a certain boy. If Johnny can find the boy and save the child’s soul, he might be able to save his own soul as well.”

Opening across the Philippines on Friday, Feb. 17 in digital 3D and regular theaters, “Ghost Rider: Spirit of Vengeance” is distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

As the grand opening of the 3D epic, action-adventure “John Carter” gets nearer, Walt Disney Pictures released some interesting trivia about the making of this much anticipated film.

Set on the mysterious and exotic planet of Barsoom (Mars), “John Carter” tells the story of war‐weary, former military captain John Carter (Taylor Kitsch), who is inexplicably transported to Mars where he becomes reluctantly embroiled in a conflict of epic proportions amongst the inhabitants of the planet, including Tars Tarkas (Willem Dafoe) and the captivating Princess Dejah Thoris (Lynn Collins). In a world on the brink of collapse, Carter rediscovers his humanity when he realizes that the survival of Barsoom and its people rests in his hands.

• · “John Carter” is based on Edgar Rice Burroughs’ first novel, “A Princess of Mars.” An American writer, Burroughs was born in Chicago and is best known for writing and creating “Tarzan”—still one of the most successful and iconic fictional creations of all time.
• · 2012 marks the 100th anniversary of the character John Carter.
• · Since 1935, various filmmakers have attempted to make a movie based on “A Princess of Mars”—the first was intended to be an animated feature film by Bob Clampett of “Beany and Cecil” fame. If it had been made, it would have been America’s first full-length animated film, prior to Disney’s “Snow White and the Seven Dwarfs,” which premiered in 1937.
• · Academy Award®–winning director/writer Andrew Stanton directed and co-wrote the screenplay for “WALL•E,” which earned the Academy Award® and Golden Globe Award® for Best Animated Feature of 2008. He was Oscar®-nominated for the screenplay. Stanton made his directorial debut with “Finding Nemo,” garnering an Oscar nomination for Best Original Screenplay and winning the Oscar for Best Animated Feature Film of 2003.
• · “John Carter” screenwriters Andrew Stanton, Mark Andrews and Michael Chabon discovered they had something in common when they met: they all still possessed the John Carter drawings and artwork that they had done when they were boys.
• · Crewmembers, working on location in Utah, found a large bone protruding from the ground. The Bureau of Land Management confirmed it was in fact a Sauropod bone—either a femur or scapula—from a dinosaur that could have been 60ft long. An excavation is currently taking place to retrieve the rest of the prehistoric skeleton.
• · The Ancient Barsoomian typography carved into the walls of the sacred temples in “John Carter” took their original design from actual markings found on the surface of the planet Mars.
• · Working from the original source material, a linguist was hired to create the entire Thark Martian language, using just a few words mentioned in Edgar Rice Burroughs’ novels.
• · The actors playing the nine-foot tall, green Thark characters had to learn to walk on stilts to film the scenes with John Carter, giving the correct eye-line contact for the dialogue.
• · Stunt Coordinator Tom Struthers was delighted and amazed that Taylor Kitsch did 98% of his own stunt work, including an 85-foot jump in the learning-to-walk sequence, a 65-foot jump in the arena, battling the ferocious white apes, and a 250- foot long series of jumps in the Martian wilderness.
• · Cinema audiences will be astonished to see actress Lynn Collins, when not donning her Dejah Thoris look, has strawberry blonde hair and fair skin.
• · While filming in Utah, the film crew came across a small space center called the Mars Society Desert Research Station. No one was home but the Website reads: “Teams of hard-working volunteers, working in full simulation mode in the barren canyon lands of Utah, continue to explore the surrounding terrain, cataloging more waypoints, and analyzing the geology and biology of this fascinating and remarkably Mars-like region.”

(Opening across the Philippines in March, “John Carter” is distributed by Walt Disney Studios Motion Pictures International through Columbia Pictures.)