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> From: VeryPDF-Email-Service <noreply@verymailer.com>
> Subject: [VeryPDF RSS to Email] RSSMix.com Mix ID 8161944 - 20151224122023
> To: moganomics@yahoo.com
> Date: Thursday, 24 December, 2015, 8:20 PM
> Generated by VeryPDF RSS to Email
> SubscriptionIñárritu Delivers A '360-Degree Emotional
> Experience' In 'The Revenant'
> 24 December 2015, 9:55 am
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>             Filmmaker
> Alejandro González Iñárritu's latest is called The
> Revenant — a tale of endurance, survival, love and
> revenge. The film was shot using only natural sunlight and
> firelight in remote areas of Canada and Argentina. "Every
> molecule of this film was absolutely difficult," Iñárritu
> says.
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> Courtesy Twentieth Century Fox
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>         Courtesy Twentieth Century Fox
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>         Filmmaker Alejandro González
> Iñárritu's latest is called The Revenant — a tale of
> endurance, survival, love and revenge. The film was shot
> using only natural sunlight and firelight in remote areas of
> Canada and Argentina. "Every molecule of this film was
> absolutely difficult," Iñárritu says.
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>             Courtesy Twentieth
> Century Fox
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>    Last year filmmaker Alejandro González
> Iñárritu won the Best Picture, Best Director and Best
> Screenplay Oscars for Birdman. His new film, set to open
> Christmas Day, is already getting Oscar buzz. The Revenant
> is a Western, set in the American frontier in 1823. It stars
> Leonardo DiCaprio as legendary explorer Hugh Glass. In the
> harsh, icy American wilderness, he gets mauled by a grizzly
> bear. A fellow fur trapper murders Glass' son and then
> buries Glass alive, leaving him to die. The movie chronicles
> the hero's struggle to survive, bent on
> revenge.   Iñárritu says The Revenant is
> about endurance, resilience and the love between father and
> son. He wants viewers to feel what it is to "be broken and
> isolated and be dead and reborn again."   
>            
>       'We were submerged in the same odyssey
> that these trappers were.
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> Alejandro González Iñárritu, filmmaker
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>    Nature is also a main character in the
> story. Iñárritu says he shot his film chronologically,
> using only natural sunlight and firelight in remote areas of
> Canada and Argentina. "Every molecule of this film was
> absolutely difficult," he says. For 11 months they were "at
> the mercy of the low temperatures, and different conditions
> that changed seven times a day."   There was
> sometimes a 25-degree difference between the temperature in
> the morning and the temperature at night. The crew endured
> rain, snow, wind and sun. "We were submerged in the same
> odyssey that these trappers were," the director
> says.   Shooting the movie opened
> Iñárritu's eyes to climate change in a very real way. "I
> saw the difference between 1 degree — which is between ice
> and water," he says.   In an interview
> provided by Twentieth Century Fox, DiCaprio says Iñárritu
> wanted to "create poetry" in this story. He says he admires
> the director and his longtime collaborator, cinematographer
> Emmanuel "Chivo" Lubezki.   
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>             Leonardo DiCaprio
> (right) says Iñárritu achieves an experience akin to
> virtual reality in the film. "You get the visual perspective
> of a character in the movie, almost," he says.
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> Kimberley French/Courtesy Twentieth Century Fox
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>         Kimberley French/Courtesy
> Twentieth Century Fox
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>         Leonardo DiCaprio (right) says
> Iñárritu achieves an experience akin to virtual reality in
> the film. "You get the visual perspective of a character in
> the movie, almost," he says.
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>             Kimberley
> French/Courtesy Twentieth Century Fox
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>    "I think what they quite uniquely achieve
> is this almost virtual reality, where you really feel like
> you're out in the elements with these characters," DiCaprio
> says. "You really feel immersed in their lives. But he's
> also able to have that camera move all the way through the
> wilderness, but stop at a very intimate moment with the
> character and then travel on. So you almost feel like some
> strange, delusional wanderer watching all this chaos ensue.
> And you get the visual perspective of a character in the
> movie, almost."   Sometimes DiCaprio's breath
> fogs the camera lens. Other shots are long scenes of the
> river rushing by, or wind rustling through the trees. The
> camera also weaves through battle
> scenes.   "We choreograph all this very
> meticulously," Iñárritu says. "There's this beautiful
> dance between the camera and the actor, and even animals,
> and avalanches, and mountains. ... These long takes are
> extremely exciting and it creates a dramatic
> tension."   The result is a "360-degree
> emotional experience," he says.   Iñárritu
> and Lubezki also played with the camera for Birdman, filmed
> to seem like one long, continuous shot. Michael Keaton
> earned an Oscar for his performance of a washed-up superhero
> actor in that film. He told TV host Jimmy Kimmel that he
> admired Iñárritu for being a demanding
> perfectionist.   "He's an artist," Keaton
> said. "I joke — I call him a madman — 'cause he is a
> madman, but he's an artist and you want to follow guys like
> that into the jungle."   Iñárritu's first
> feature film in 2000, Amores Perros, was filled with the
> frenetic energy of his hometown, Mexico City. Director
> Guillermo del Toro says he helped out in the editing
> booth.   "Even back then, in his first film,
> it was quite evident to me that the guy was quite a
> brilliant filmmaker," del Toro says.   Del
> Toro says he, Iñárritu, and another Oscar winning
> director, Alfonso Cuarón, often collaborate behind the
> scenes. For a time, the "tres amigos" — as the three
> Mexican directors were known — had a production company
> called Cha Cha Cha Films. They've been outspoken
> politically, defending Mexican immigrants in the
> U.S.   In the time they've known each other,
> Del Toro says his friend Iñárritu has matured as a
> filmmaker.   "His first movies depended
> enormously on a chain of tragedies," Del Toro says. "And I
> think with Birdman and Revenant, he is truly more curious
> about character. He is also very interested in the small
> moments. His sense of motion and action and his sense of
> place and character is almost like combat photography done
> by a virtuoso."   
>    
>
>    The soundtrack of The Revenant mixes beats
> with DiCaprio's breaths. Iñárritu says each of his films
> — Amores Perros, Babel, Biutiful, Birdman and this —
> have their own rhythm and tempo. It's something he first
> learned to appreciate as a radio DJ in Mexico City in the
> 1980s.   "I think there's a cosmic order, and
> everything is musical," he says.   When he
> riffs about making movies he sounds like a jazz
> musician.   "Cinema's an ocean," he says. "We
> filmmakers, we go out with our boats as sailors and we are
> just navigating a couple of waves. So you find a wave and
> you try to survive, then the next one. And every time you
> approach it different depending on the wind. ... How we can
> tell stories about humans in a cinematic spectacular way —
> it's a process. I'm still finding out."
>
>
>
>
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