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  #81  
Old Posted Apr 27, 2006, 2:17 PM
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Question: Why is this thread still stickied??
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  #82  
Old Posted Apr 27, 2006, 4:07 PM
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Originally Posted by HomeInMyShoes
In my world, the only show Ben would be on would be Air Farce as the Chicken Canon target. In person, not that lousy picture crap.
He doesn't need any mor TV face time, just quitely drown him off the coast of Labrador in the middle of the night.
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  #83  
Old Posted Apr 27, 2006, 4:20 PM
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^agreed. hat about Tanya Kim though, we...must...get...rid of her too! I suggest we torch down her house and force her to live outside of Toronto...with no make-up. Boy is she gonna have it hard
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  #84  
Old Posted Apr 27, 2006, 4:20 PM
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Quote:
Originally Posted by canucklehead2
I saw The Rocket today. Not bad for a relatively low budget cdn flick ($8 mln) there were a few fake annoying intercut scenes that looked cheezy, and it dragged in parts, but overall a really top notch flick. I'd recommend to anyone..
Is it dubbed? or are there actually english speaking scenes in it?

I wonder why it took so long to come out in English.. I guess it had to do with the timing of the playoffs.
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  #85  
Old Posted Apr 27, 2006, 4:20 PM
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^agreed. what about Tanya Kim though, we...must...get...rid of her too! I suggest we torch down her house and force her to live outside of Toronto...and with no make-up. Boy is she gonna have it hard
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  #86  
Old Posted Apr 27, 2006, 4:22 PM
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Quote:
Originally Posted by harls
Is it dubbed? or are there actually english speaking scenes in it?

I wonder why it took so long to come out in English.. I guess it had to do with the timing of the playoffs.
Must be weird watching this one in dubbed-english. I mean the whole film is about francophones "rebelling" against the english-speaking NHL...
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  #87  
Old Posted Apr 27, 2006, 4:33 PM
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yeah, that would be weird.

As for Tanya Kim - I like that idea. Let's extradite her to Sudbury and burn her push-up bras.
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  #88  
Old Posted Apr 28, 2006, 5:27 PM
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Actually The Rocket is in a mix of english and french, with subtitles for each market. In English Canada, the french part had subtitles, and in Quebec it was the opposite. To me this is really clever and it will be used again in another movie being released the fall. A buddy cop comedy/action film has been filmed with Colm Feore as an Ontario cop, and a french speaking cdn actor as Quebec one who have to work together on murder case that took place on the joint provincial border. To me it sounds pretty good, but we will have to wait and see if its a success.
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  #89  
Old Posted Apr 28, 2006, 5:38 PM
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When I watched Maurice Richard when it came out last winter, I was told that they would dub the french parts in English. The movie to me seemed like it could never be dubbed, it would be too awkward.

The film your talking about is BoN Cop Bad Cop. It's written by famous Quebec actor/comedien Patrick Huard. Eric Canuel (the director) is a very visual filmmaker. He's also very gritty and dark (for Cnd standards). I'm looking forward for this movie, apparently the climax is set at a Habs/Laughs game.
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  #90  
Old Posted Apr 28, 2006, 7:14 PM
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saw a preview for Bon Cop Bad Cop wedneasday night - it actually looks like it could be a pretty amusing movie

I went to see Un Dimanche A Kigali, with Luc Picard... I really like his acting

it's worth seeing - it's a tough film to watch, but I think it portrays in quite frightening reality some of what was going on during the Rwandan Genocide

imo a very well-made Canadian film from Quebec, another to add to he growing list
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  #91  
Old Posted Apr 28, 2006, 8:04 PM
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That movie looks crazy. It's also the first Quebec movie to shoot entirely outside of Canada and the first movie filmed in post-butcherhouse Rwanda. Even Hotel Rwanda wasn't shot there, it was shot in South Africa.
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  #92  
Old Posted Apr 28, 2006, 8:05 PM
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a bit of jealousy coming from Edmonton?
==================================
Montreal sound: myth or movement?
Stills latest band to call the city home


By MIKE ROSS, EDMONTON SUN




The "Montreal sound" is exploding so fast that even the bands in the centre of it aren't aware it's happening. Or it could be a media creation, in which case, here's some more.

Dave Hamelin of the Stills, when asked in passing about fellow Montrealers Mobile - last week's featured Montreal rock band with a really short name that came to play at a medium-sized bar in Edmonton; the Stills play tomorrow at the U of A's Powerplant - he draws a blank.

"Really? Never heard of them," he says.

Where you been, dude? They're huge! Top 10 with a bullet.

"Who the hell are Mobile? I really don't understand. These guys are a new band? They're huge? So since I've been gone, this band is now huge and people are talking about them as being part of this scene? That's so crazy. Wow. Communications now are so quick. Everybody comes and goes in like 10 minutes. F---ing nuts."



Agreed.

Just never mind for a second that few of the Montreal bands mentioned in stories about the Montreal explosion actually live in Montreal. The Stills lived in New York, then Paris, France. Mobile moved to Toronto before they got huge.

The founders of the Arcade Fire are of Haitian and American descent. The Dears made it big in Europe.

But rest assured, Montreal shall claim them all - so will the press eager for the next trend. Has "the French-Canadian Seattle" been taken yet?

OK, needs work.

Point is, Montreal "is a good place to come from," says Hamelin. "I'm really happy about the Montreal thing, actually. People are thinking about it, people are talking about it, all the better. It's a good town. It's a strange but beautiful place."

This brings up a discussion of the effect of isolation on the originality and general health of a city's music scene (or even country; any fan of Latin music will testify that Cuba produces more great music per capita than any other country in the world).

Hamelin then asks, "Why aren't there any amazing bands from Edmonton?"

He doesn't wait for the answer, "I think Edmonton is more isolated than Montreal. But Montreal chooses to be isolated. I think that people there don't feel like they're part of Canada, to a certain extent.

"I don't know if that's the single cause of a good music scene, but Montreal is a strange place. It is its own island. It could be its own city state."

He goes on to point out Montreal's history of political "f---edupedness" - which really ought to be a legitimate term in political science - and how it shaped the musicians who grew up there.

It could explain the escapist bent of a good deal of new "Montreal rock." Or not. The studies continue.

Getting specifically to the keyboard-laden, Coldplay-meets-the-Cure music of the Stills, the band is soon to release its third record, Without Feathers - the title taken from a Woody Allen book for no good reason other than "it sounded good."

Content to remain at the very least a cult favourite, the band isn't set to follow the path of the "get a big hit or die" philosophy of the modern rock business. It's just not that kind of band.

"We never had a single, so it's good for us," Hamelin says. "Our career is not based on a single, which I'm really happy with. That's a gamble. You don't want to play Russian roulette with the single."

On the usual stupid rock 'n' roll question of how the new album is a "departure" from the old - the equivalent of a sportswriter asking an athlete if he's "come to play" - Hamelin answers patiently. To sum it up, duh, yeah, it's different.

"You know the Beatles album, Please Please Me? Then there was Sergeant Peppers. Those are pretty big changes. And from the first Clash record to London Calling is a pretty big change. If you listen to OK Computer and then you listen to Kid A, it's a pretty significant change."

All right, all right, point taken. We at least got a sense of what this guy has listened to. He also declares that the Stills will not be the kind of band that keeps putting out the same album over and over again just so they can tour and make lots of money.

"I think that's a bit backwards. We all love playing shows, but the record will last forever, or not. They have the potential. Everybody's trying to overcome death - having kids, making records, whatever."

Whether reports of the Montreal Invasion will last longer than this time next year remains to be seen.
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  #93  
Old Posted Apr 28, 2006, 8:11 PM
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"Look at us, we have shit to show for, and get no national media attention"

cry me a river.

No but seriously, I didn't know that, that they came from elsewhere. Interesting.

*** *** *** ***

Speaking of un Dimanche à Kigali, its opening week in Quebec was poorer than I expected: 4th place at $238 000. The film cost 8 000 000 according to IMDB http://www2.canoe.com/cinema/boxoffice.html


Not surprised now, Thier Tout le monde en parles PR was shitty.
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  #94  
Old Posted Apr 28, 2006, 8:21 PM
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Quote:
Originally Posted by althegreat II
That movie looks crazy. It's also the first Quebec movie to shoot entirely outside of Canada and the first movie filmed in post-butcherhouse Rwanda. Even Hotel Rwanda wasn't shot there, it was shot in South Africa.
I would highly recommend seeing it, al

although you might be able to critique the film from a filmmaker's point of view, which I obviously can't do, I find it hard to imagine anybody not being quite moved/disturbed by it. I think it needs to be seen by lots of poeple out there, much as Hotel Rwanda should be seen. makes me wond how the fvck we can just be sitting here doing nothing while similar shit is happening again as we speak, in Darfur this time

though, I guess that's a topic more suited for the ssp section where all the international issues get discussed - whatever it's called again - can't remember, I haven't been there in many many months.
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  #95  
Old Posted Apr 28, 2006, 8:26 PM
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Hey, you're talking to the guy who saw Irreversible and Seul Contre Tous from beginning to end, if I can handle those, I can handle UDAK.

But yeah, these kinds of things happen and we don't give a flying fuck. Oh the stories I've heard on the genocide, and the stories I heard about Darfour. Ugh.

On a related topic, Lord of War with Nicholas cage is a good movie to watch and calls attention to this kind of horseshit. Highly recommend it too. The title sequence on its own is strong enough.
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  #96  
Old Posted Apr 28, 2006, 8:33 PM
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I got some sort of ultra-compressed DVD version of Lord of War from a friend (who got it from the web). I really wanna see it, but I can't for the life of me figure out what software I need to be able to get the damn file to play. so for now, looks like I gotta wait. maybe this weekend

ya Irreversible was pretty freakin disturbing too. saw that when I was traveling in Spain a few years ago - happened to be in town during a major film festival and went to see it because it was one of the few shows we could get tix to. I had heard that it was controversial and caused a bunch of people to walk out when it screened at Cannes ealier that year. still, it was a bit more fucked than I was expecting. not many films have ever left me feeling queasy - that was one of the very very few.
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  #97  
Old Posted Apr 28, 2006, 10:04 PM
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althegreat, irreversible was nothing.

try checking Darwin's nightmare, i will guarantee that you will gag from the smell of fish... the images are so strong, that your brain starts inventing fish odors
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  #98  
Old Posted Apr 30, 2006, 1:58 AM
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I still can't believe we dropped the plan for a casion/cirque du soleil;
---------------------
Keep your growth and uniqueness in balance


The challenge To stage costlier spectacles in bigger venues without compromising your daring and innovation or spreading yourself too thin financially The call Resist the urge to go "assembly line" with knock-offs of your acclaimed shows, drive creativity even more relentlessly and join deep-pocketed partners who value your risk-taking, outside-the-box approach
BERTRAND MAROTTE

MONTREAL -- Daniel Lamarre gets asked the question a lot. Why doesn't Quebec's world-famous cultural export, Cirque du Soleil, go the cookie-cutter route and do -- for example -- 10 touring productions of its aquatic extravaganza O, which plays only at the Bellagio Hotel and Casino in Las Vegas?

"We very deliberately chose a strategy of exclusivity," says Mr. Lamarre, president and chief operating officer of the Montreal-based entertainment giant, which got its start more than 20 years ago when a ragtag group of street entertainers banded together.

"We've been approached by corporations around the world who would like us to do copies but we always say, 'No. If you want to see O, you have to go to Las Vegas."

Clowns, yes. Clones, no.

Avoiding the temptation to churn out carbon-copy shows means that the product retains a valuable cachet and Cirque partners, such as MGM Mirage Inc., the owner of the Bellagio and three other Vegas venues where Cirque has resident productions, are delighted at the resulting boost in gambling, dining and hotel sleepovers, says Mr. Lamarre.

It's a careful balancing act that Cirque and its founder and chief executive officer, Guy Laliberté, are committed to, says Mr. Lamarre: Go big, pursue growth, but not at the expense of the quality and uniqueness of your offbeat product, the very thing that made your name in the first place.

Cirque's partners share in the profits, too, but they also take on a big portion of the risk. MGM shelled out $170-million (U.S.) to build a state-of-the-art theatre -- to Cirque's highly demanding specifications -- for its blockbuster show at MGM's Grand Hotel in Vegas launched last year, KA, directed by world-famous theatrical innovator Robert Lepage.

Cirque's production costs? About $30-million, said Mr. Lamarre, seated at a conference table in his office at the troupe's sprawling head office and rehearsal space in a North Montreal working-class neighbourhood.

Other giants of the entertainment world with which Cirque has partnered include Walt Disney Co. and Live Nation, the entertainment division that was spun off last year from U.S. multimedia giant Clear Channel.

Cirque carefully nurtures and protects the goose that lays the golden eggs -- the core group of artists, technicians and crafts people who take about three years to put together a show from concept to launch -- says Mr. Lamarre, a former print reporter and television executive who decided to run away with the Cirque five years ago.

Not everyone, though, is dazzled by what the Cirque has become over the years.

"Big, expensive and filled with technical razzle-dazzle, Cirque productions also have gone far beyond the intimate 1987 show [We Reinvent the Circus] we fell in love with," California arts reviewer Janice Steinberg wrote earlier this year in the San Diego Union-Tribune.

Too far, many critics say. They find the Cirque style overpolished and lacking humanity, and virtually no one has a good word to say about the typical Euro-pop score that tends toward singers warbling nonsense syllables, backed by synthesized instruments."

Lyn Gardner, a critic at Britain's Guardian newspaper, said the European touring production of Dralion transformed "the daring, drama and dreams of the circus ring into nice, clean, sawdust-free corporate entertainment."

The 3,000-employee company now has a total of 12 shows -- six touring and five resident, as well as one live music show that is on the road.

Privately held Cirque's sales this year will be in the $500-million range, Mr. Lamarre said.

About 40 per cent of profits are plowed back into the core creative activities, twice the usual reinvestment rate in corporate research and development in North America.

A new Vegas show, inspired by the Beatles and with legendary music producer George Martin on board, is planned for later this year at the MGM Mirage.

Having left a hefty footprint on Vegas, Cirque is now focused on growth in Asia.

The company plans to open a resident show at Japan's Disney Tokyo Resort in 2008 and is part of a consortium with MGM that is bidding against three other groups for a casino-resort-entertainment complex at Marina Bay in Singapore.

On the touring front, Cirque is also diversifying away from the big top -- le grand chapiteau -- as its traditional venue.

A new production called Delirium is a music-and-dance show that takes Cirque even further away from its flying-trapeze origins. It plays the North American concert-tour circuit of such arenas as Montreal's Bell Centre, where it launched three months ago.

Instead of taking two weeks to rack up ticket sales in a tent accommodating only 2,500 a night, arenas offer audience capacities of 12,000 seats or so an evening, allowing for two-or-three-night stands in individual cities. Cirque's partner on Delirium is Live Nation, which takes care of production and promotion.

Cirque has also branched out into the music business with a record label called Cirque du Soleil Musique that packages and promotes music from the shows as well as emerging artists from around the world. And merchandising and licensing of Cirque-related products is a thriving business.

But at the centre of all that commercial bustle is the sacrosanct creative unit, Mr. Lamarre says.

"We're able to attract the top creators in the world because people don't see the Cirque as a commercial enterprise.

"We don't have a traditional business plan. Here, everything flows from the creative. It's the creative that rules."

Daniel Lamarre,

president

and chief operating officer, Cirque du Soleil

Age: 52

Family: Two children, Josianne and Sébastien.

Education: Bachelor of Arts in communications, University of Ottawa.

First career-related job: Reporter with Trois-Rivières daily Le Nouvelliste.

Activities: Jogging, tennis, shows, movies.

Last book read: The Spark: Igniting the Creative Fire That Lives Within Us All, by Lyn Heward, former president of creative content at Cirque du Soleil, with John Bacon

Favourite place: Philippines island resort Amanpulo.

Favourite management guru: Tom Peters.

Management philosophy: Trust your team and create an environment conducive to creativity.

What he likes best about his job: The opportunity to watch creators and artists at work.
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  #99  
Old Posted Apr 30, 2006, 6:42 AM
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I find it strange that Quebec artists now have to go fuckin' Vegas, I mean for crying out loud, Vegas!!?? I wouldn't be caught dead there. No shows here in Montreal, that's right. Fucking whinning Pointe St-Charles fascists.

I heard of a plan for a Wal-mart and a Super C to now go up on the wouldbecasino site. Oh I'm sure they'll go ape-shit for that one. Crying jerks, because of them, Cirque's unofficial HQ is in the middle of the desert, and Montreal's chance to come back has been fucked up the ass. Fuckitty fuck fuck!
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  #100  
Old Posted Apr 30, 2006, 8:29 AM
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yes, thanks to the elsonic clones, we will have some walmart's and other 7.50$/h jobs in that area... wow that will do leaps and bounds to remove these people from poverty.
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