Tic it by Tiago Careta

TIC I T

TIC IT this is cinema 1st trimestral magazine in English

In first place i would like to thank every person who helped me with this project, and believed in it. Secondly, i want to dedicate TIC IT to the cinema fans. It´s for those who never knew where to look for new releases, good articles or interviews with their idols. This magazine is for those such as me, that can´t live without a good movie. Making a magazine is not easy and as never been, but we did our best with our low budget, short staff, and almost no time at all. Hope you all enjoy it as much as we did by making it. Let’s hope for this magazine’s sucess, so that both you and me can have a decent cinema magazine. by Tiago Careta

INDEX

NATALIE PORTMAN & Cole Haddon Interview

Black Swan By moviemanMA Article

Academy Oscars 2011 Nominees All About

Most Waited Movie Releases News

Shop online at Diesel.com

BE STUPID

INTERVIEW

Natalie Portman & Cole Haddon The actress shares her thoughts on ballet, getting into character, and the Oscar buzz she's generating. Cole Haddon: This must be a bit of a dream role for you. Itâ&#x20AC;&#x2122;s not every day that parts this complex, this rich for an actress to play, are actually allowed to reach the screen. Natalie Portman: Well, I had danced when I was younger, until I was about 12 and I guess always sort of idealized it, as most young girls do, as the most beautiful art, this expression without words. I always wanted to do a film related to dance. So when Darren had this incredible idea that was not just related to the dance world, but also had this really complicated character, two characters to go into, it was just an opportunity, and espe10

cially with Darren who is a director that I would do anything for -it was just something completely exciting. CH: Now this is a movie about transformation, exemplified by the use of the ballet Swan Lake. It also required you to achieve a physical transformation yourself, to prepare your body for the part. Can you talk about how you approach something like that? NP: Well, it was a great challenge and I had really, really amazing support. I mean, all the teachers and coaches and the choreographer, obviously, and the director first and fore-

most were shaping and pushing along the way. But I started with my ballet teacher a year ahead of time, Mary Helen Bowers, and she started very basically with me, but we would do two hours a day for six months. That was really just sort of strengthening and getting me ready to do more so that I wouldn’t get injured, and then at about six months we started doing five hours a day where we added in swimming. So I was swimming a mile a day, toning, and then doing three hours of ballet class a day. And then two months before we added the choreography. So we were probably doing eight hours a day, and 11

the physical discipline of it really helped for the emotional side of the character because you get the sense of the sort of monastic lifestyle of only working out that is a ballet dancer’s life. You don’t drink. You don’t go out with your friends. You don’t have much food. You are constantly putting your body through extreme pain, and you really get that understanding of the self-flagellation of a ballet dancer. CH: There’s already Oscar buzz aplenty around your performance. How do you feel about being in those shoes? NP: The best thing that you can

INTERVIEW

“I had danced when I was younger, until I was about 12“

hope for when you make a movie and you put your soul into it like all of us did, is that people respond to it well, and the fact that audiences have come away moved and excited and entertained and stimulated by this film is extraordinarily flattering. So it’s a great, great honor. CH: Speaking of shoes, what was it like wearing pointe shoes in Black Swan? NP: Pointe shoes are torture devices. I mean, ballerinas get used to it and so it was definitely a case of it being a new experience for me, but they feel very medieval. CH: The choreography in the movie is exquisite. You performed almost all of your own ballet, from what I understand. NP: Well, the choreography were different pieces for Black Swan and White Swan. I had an amazing coach, Georgina Parkinson, who very sadly passed away two weeks before we started shooting. She is sort of the premier, was the premier Swan Lake coach for Odile/Odette and so she worked very specifically with me on everything from fingertips to where you put your eyes on different movements that are sort of ballet acting. It’s little gestures that you can do that really 12

“The best thing that you can hope for when you make a movie and you put your soul into it like all of us did, is that people respond to it well”

differentiate between those two characters. CH: You have a degree in psychology from Harvard. What would your professional diagnosis of your character Nina be? NP: Well, this was actually a case where something that I did learn in school did translate into something practical which is very, very rare. But it was absolutely a case of obsessive compulsive behavior. The scratching. The bulimia, obviously. Anorexia and bulimia are forms of OCD and ballet really lends itself to that because there’s such a sense of ritual -the wrapping of the shoes every-

day and the preparing of new shoes for every performance. It’s such a process. It’s almost religious in nature. It’s almost like Jews putting on their tefillin or Catholics with their rosary beads, and then they have this sort of godlike character in their director. It really is a devotional, ritualistic, religious art which you can relate to as an actor, too, because, when you do a film, you submit to your director in that way. Your director is your everything, and you devote yourself to them, and you want to help create their vision. So all of that, I think the sort of religious obsession compulsion would be my profes13

sional diagnosis. CH: Well, as you just put it, so much of this movie is about obsession with a character. How do you pull yourself out of that as an actress? What keeps you from spiraling? NP: Well, pulling out of it, I’m very much like, as soon as I finish a scene I’m back to being me. As soon as I finish shooting I want to be myself again. I’m not someone who likes to stay in character. This clearly had a kind of discipline that lent itself to me being probably more like my character while we were shooting than past experiences.

T H I S

ARTICLE

Black Swan by moviemanMA the IMDB member brings us his oppinion on this movie, that so much everyone talks about... Darren Aronofskyâ&#x20AC;&#x2122;s Black Swan is an examination of obsession. Obsession for beauty, fame, and above all, perfection. We are shown glimpses of its splendor, only to be consumed by the ugliness and harsh reality that is the world of professional ballet. Nina Sayers, played by the talented Natalie Portman, is placed in the precarious situation of replacing the companyâ&#x20AC;&#x2122;s former star (Winona Ryder), the shining pupil of director Thomas Leroy (Vincent Cassel), in the production of Swan Lake. The role is a dual role, in which she must play both the sweet, innocent White Swan as well as her evil twin sister, the Black Swan. Though Nina is best suited for the White Swan, she must find a way to evoke her inner Black Swan.

Though all of the ballerinas in the company would kill for her role, the least jealous one, Lily, played by Mila Kunis in a breakthrough performance, has become Nina’s biggest rival, catching the eye of Thomas. Still, Nina is set on perfecting the role. It is Nina’s obsession for perfection, a constant theme through the film, that is the root of her troubles. This obsession is passed down from her mother, played brilliantly by Barbara Hershey. She too was a ballerina but gave up her career to support Nina, living vicariously through her daughter. Her obsession for dance is shared by all dancers,

really, but Nina takes it a step further, causing it to physically and mentally affect her. The pain and suffering that Nina’s goes through takes its toll early on in the film. She sees herself on the faces of strangers, the scratching and itching she inflicts on her back, yet we never see, and the scrapes and cuts that appear out of thin air, as if something inside of her is ready to burst out. As the film goes on, it becomes more clear that her thoughts and hallucinations are blending with her reality to the point where she can’t distinguish the two from one another. 19

Here’s where Aronofsky’s obsession/passion for filmmaking takes over. He too seeks perfection in his work, finding the right camera angles, the right tempo, and the right composition. This film has some of his best camera work to date, thanks to the cinematography of Matthew Libatique, whose fluid camera movements are the glue that hold the film together. Aronofsky is a director who tries to make his shots look as beautiful as they can be, while not blowing you away with CGI and special effects. The Fountain, though not a perfect movie by any means, had some truly

ARTICLE

outstanding photography (also partnered with Libatique) that wasn’t heavy on the artificial special effects. Here he makes a similar attempt to create an incredibly realistic picture. It helps that both Portman and Kunis dedicated months and months of training and dieting to get the appropriate look for the film. That hard work paid off for sure. Without those two ladies the film would be lost. Having seen the film I can’t see another actress in either role. They were perfectly cast. Portman, though not afraid to show some skin for the camera in a film like Closer (and even Star Wars Episode II: Attack of the Clones), acts and

“Without those two ladies (actresses) the film would be lost”

appears so fragile and innocent in many of her roles. Kunis on the other hand, hearkening back to her days on “That 70s Show” has always been the pretty girl with a bit of attitude. Her eyes are almost hypnotic. These two women play perfectly off of each other, contrasting like the two swans in the ballet. I’m sure the talk of the movie will be the scene in Nina’s bedroom (see it for yourself), but I enjoyed their night on the town leading up to the bedroom scene more. We see Lilly’s influence and persuasiveness affect Nina tremendously. Their performances are backed by a tight story. It’s takes us plac-

ARTICLE

es that we least expect to go, showing us beautiful and disturbing images that you would not expect from a movie about ballerinas, making Black Swan one of the more original psychological thrillers in the past decade. Like every good thriller, there needs to be good music, too. Enter Clint Mansell, whose score for Aronofsky’s second film Requiem for a Dream has become one of the more beloved scores of all time. I am particularly fond of his work for Moon, but Requiem

is just as good if not better. Here we have a great blend of classical and original pieces.

“It takes us to the places that we least expect to go”

These pieces come together to create a portrait of a dancer whose demeanor gets in the way of her heart’s yearning for success. When her dreams start slipping, her mind does the same. Passion leads to obsession. Obsession leads to transformation. The White Swan becomes the Black Swan, and she must pay the price. moviemanMA

I S

ALL ABOUT

Academy Oscars Nominations 2011 Lets find out evrything about the oscars’11. Want to know if your favorite movie has a chance? The academy Oscars 2011 will take place on sunday, February 27th. The hosts are: Anne Hattaway and James Franco (the last one also a nominee for best Leading Role Actor, but we will get there soon enough. Don’t be fooled, 2010 has been a hell of a year, with lots of great movies... So, whos going to win? We’ll give the best nominees for best picture, best leadind Actor and Actress, and we will show you what the IMDB comunity has to say. See you there. Tiago Careta 26

Oscarsâ&#x20AC;&#x2122;11 hosts: Anne Hattaway and James Franco

ALL ABOUT

B E S T Black Swan

The Fighter

Inception

8.5 Stars on IMDB

8.1 Stars on IMDB

8.9 Stars on IMDB

PICTURE The Kids are All Right

The Kingâ&#x20AC;&#x2122;s Speech

127 Hours

7.3 Stars on IMDB

8.5 Stars on IMDB

8.1 Stars on IMDB

ALL ABOUT

B E S T The Social Network

Toy Story 3

True Grit

8.1 Stars on IMDB

8.7 Stars on IMDB

8.1 Stars on IMDB

PICTURE Winter’s Bone 7.4 Stars on IMDB

ALL ABOUT

B E S T Javier Bardem

Jeff Bridges

Jesse Eisenberg

with Biutiful

with True Grit

with The Social Network

A C T O R Colin Firth

James Franco

with The Kingâ&#x20AC;&#x2122;s Speech

with 127 Hours

ALL ABOUT

B E S T Annette Bening

Nicole Kidman

Jennifer Lawrence

with The Kids are all fine

with Rabbit Hole

with Winterâ&#x20AC;&#x2122;s Bone

ACTRESS Natalie Portman

Michelle Williams

with Black Swan

with Blue Valentine

ALL ABOUT

OTHER CATEGORIES Best Director Darren Aronofsky 'Black Swan' David O. Russell 'The Fighter' Tom Hooper 'The King's Speech' David Fincher 'The Social Network' Joel and Ethan Coen 'True Grit'

Best Visual Effects 'Alice in Wonderland' Ken Ralston, David Schaub, Carey Villegas & Sean Phillips 'Harry Potter and the Deathly Hallows Part 1' Tim Burke, John Richardson, Christian Manz & Nicolas Aithadi 'Hereafter' Michael Owens, Bryan Grill, Stephan Trojanski & Joe Farrell 'Inception' Paul Franklin, Chris Corbould, Andrew Lockley & Peter Bebb 'Iron Man 2' Janek Sirrs, Ben Snow, Ged Wright & Daniel Sudick

Best Supporting Actor Christian Bale 'The Fighter' John Hawkes 'Winter's Bone' Jeremy Renner 'The Town' Mark Ruffalo 'The Kids Are All Right' Geoffrey Rush 'The King's Speech'

Best Foreign Language Film 'Biutiful' Mexico 'Dogtooth' Greece 'In a Better World' Denmark 'Incendies' Canada 'Outside the law' Algeria

Best Supporting Actress Amy Adams ‘The Fighter’ Helena Bonham Carter ‘The King’s Speech’ Melissa Leo ‘The Fighter’ Hailee Steinfeld ‘True Grit’ Jacki Weaver ‘Animal Kingdom’

www.imdb.com

C I N E MA

News

Most Waited Movie Releases January

February

March

Jan 5 If I Want to Whistle, I Whistle Phil Ochs: There But For Fortune

Feb 2 Into Eternity

Mar 4 Beastly Rango Take Me Home Tonight The Adjustment Bureau

Jan 7 Season of the Witch The Absent The Time That Remains No One Killed Jessica Jan 14 The Green Hornet The Dilemma A Somewhat Gentle Man The Heart Specialist Plastic Planet Jan 21 No Strings Attached The Company Men The Way Back The Housemaid Jan 28 The Rite The Mechanic From Prada to Nada Biutiful Kaboom

Feb 4 The Roommate Sanctum Waiting for Forever The Other Woman Cold Weather Feb 11 Gnomeo and Juliet The Eagle Just Go With It Feb 18 I Am Number Four Big Mommas: Like Father, Like Son Unknown Vanishing on 7th Street The Resident Feb 23 Public Speaking Feb 25 Of Gods and Men Hall Pass Drive Angry 40

Mar 11 Battle: Los Angeles Mars Needs Moms! Jane Eyre Mar 17 The Butcher, The Chef and The Swordsman Mar 18 Limitless Cracks Paul The Lincoln Lawyer Win Win Mar 25 Sucker Punch Diary of a Wimpy Kid: Rodrick Rules Miral

Jan 14th

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