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[ suche infos zu dem film "When in Rome" 13.7.10 14:22
suche infos zu dem film "When in Rome" 13.7.10 15:51
suche infos zu dem film "When in Rome" Christoph 13.7.10 16:00
Daaaaaaaanke :-) 13.7.10 19:49
Hi,
es ist ein auf der Piazza Borghese für den Film errichteter Brunnen:
http://www.flickr.com/photos/zakmc/2614611676/
... und das Google Streetview-Auto kam auch gerade vorbei:
http://maps.google.de/maps?hl=de&q=%22Piazza+Borghese+%22+rom&ie=UTF8&hq=&hnear=Piazza+Borghese,+00186+Rom,+Latium,+Italien&ll=41.903547,12.476199&spn=0.003705,0.008256&z=18&layer=c&cbll=41.903491,12.476039&panoid=qIBvOpK2yYgS9kCU-hxiZw&cbp=12,352.97,,1,-0.24
Hier der Abschnitt aus den Produktionsnotizen:
BELLA ROMA!
On Location in Italy
While most of the film takes place in New York, the soul of it, says director Mark Steven Johnson, is really Rome. “The spirit of Rome was so important to the movie. It elevated the film. It’s about love and the two greatest cities in the world. The fun of it is you really feel it and soak it up like Beth does, and once Beth goes back to New York and tries to leave it… Rome follows her. And now suddenly there are fountains everywhere in New York City, and even the Italian music that we hear in Rome finds its way to the music in New York. And cherubs pop up. It is a really fun thing to bring the essence of Rome back to New York. She tries to leave it behind, but the universe just doesn’t let her.”
Production designer Kirk Petruccelli says, “If you really start looking at the foundation of love or the foundation of art, you have to start with the classics. And I think Rome is where the classics are. There’s an overwhelming sense of honor and privilege to be among the greatest masterpieces of all time.”
The first order of business for Rome was to find the location for one of the film’s other stars, Venus, the goddess of love in the Fontana D’Amore. They needed a square that had ample space, scope, and architectural and visual interest, and also one that did not already have something installed in its center, because the fountain had to be built. Historically, Roman fountains always required the approval of the Vatican. And since Venus is a pagan goddess, she would never have been allowed to be built in a Roman square. The American filmmakers teamed up with Italian producer Enzo Sisti and Italian art director Stefano Ortolani and began scouting locations in the historical center of Rome. Once the filmmakers saw how spacious Piazza Borghese was and how unencumbered its view of surrounding buildings was, they were completely enamored.
Filmmakers were thrilled to secure the Piazza della Maddalena and its Maddalena Church for the film’s church ceremonies. Other Roman locations included the Roman Forum and the Spanish Steps, where Joan and her husband chat on the phone with Beth in NY, plus the stunning terraced apartment near Piazza Venezia that belongs to the very lucky and apparently wealthy newlyweds. Filmmakers were sure to get beauty shots of the Colosseum, too. The production dared to shoot at the Pantheon and the Fountain of Trevi, requiring a 3 a.m. call time to avoid crowds visiting the historical attractions. But a funny thing happened at the fountain, says executive producer Ezra Swerdlow. “At 3 o’clock, literally, there were about a thousand Spanish students jumping in the fountain with the police trying to control them in a near riot. So that was rather amusing.”
The end-of-exams celebration was broken up in time for shooting, adds Swerdlow.
For director Mark Steven Johnson, the entire city of Rome was cinematic. “There is something magical and ethereal about Rome. All the nights there are enchanting. Everyone’s strolling, everyone’s laughing, everyone’s in love, everyone looks great. You think...this is Rome.”
THE FONTANA D’AMORE
Filmmakers called on an 83-year-old veteran of Italian cinema to sculpt the film’s fictional Fontana D’Amore. Gianni Gianese, who did his first film in 1955, worked on films for legendary director Federico Fellini, John Huston, Luchino Visconti and Martin Scorsese. The artist was recovering from a serious illness when he was contacted for the project. “This offer recharged my batteries and my spirit more than any medicine. And I have immersed myself in this adventure with great enthusiasm and the result is obvious.”
Sculptor Giambologna provided the inspiration for the Roman Venus in the Fontana D’Amore. “To make a statue like Giambologna is very hard,” says Gianese, “but I think I was able to do a great job since I have so much experience and expertise in the art of the 1600s. I am very happy with the results of the Venus, also because she is very tall. She is almost seven feet tall, from her toes to the last tuft of hair on her head. And making this statue was very exciting for me—to be able to see it while the statue was taking form, while it was getting bigger, more sumptuous. First I created her nude, then I dressed her and you can feel it. If you look well behind that drapery, there is a wonderful body.”
Indeed, Gianese was not thrilled about having to clothe his Venus. “I wasn’t very happy about it because every Venus that has ever been made was nude. This time we dressed the Venus. It is OK,” he says.
Despite her clothes, production designer Kirk Petruccelli says the filmmakers wanted to add a touch of “naughtiness” to Venus and articulated that through the lively cherubs that surrounded her. The cherubs are tied to the whimsical, fanciful nature of the statue’s power in the film and the effect of her spell on Beth. “Yet, overwhelmingly, she is of love and peace and wisdom,” says Petruccelli. He was amazed by the Italian art department’s ability to interpret their long-distance philosophical and thematic conversations into the fountain, which he considers a “glorious, really beautiful piece of art.”
The fountain took about 40 days to sculpt; it took six days to install, and included a pump system to ensure it functioned as a real fountain. It was placed in the center of the Piazza Borghese with several steps leading up to it. Shooting took place at night in Rome for the first few days, so passing tourists were confused when they could not find a notation for the fountain in their guide books. Some even threw coins into the fountain. The movie artistry created such a convincing illusion, says Petruccelli, that “everybody who walked up had no idea it hadn’t been there for generations.”
Christoph 13.7.10 16:00
es ist ein auf der Piazza Borghese für den Film errichteter Brunnen:
http://www.... und das Google Streetview-Auto kam auch gerade vorbei:
http://maps.Hier der Abschnitt aus den Produktionsnotizen:
BELLA ROMA!
On Location in Italy
While most of the film takes place in New York, the soul of it, says director Mark Steven Johnson, is really Rome. “The spirit of Rome was so important to the movie. It elevated the film. It’s about love and the two greatest cities in the world. The fun of it is you really feel it and soak it up like Beth does, and once Beth goes back to New York and tries to leave it… Rome follows her. And now suddenly there are fountains everywhere in New York City, and even the Italian music that we hear in Rome finds its way to the music in New York. And cherubs pop up. It is a really fun thing to bring the essence of Rome back to New York. She tries to leave it behind, but the universe just doesn’t let her.”
Production designer Kirk Petruccelli says, “If you really start looking at the foundation of love or the foundation of art, you have to start with the classics. And I think Rome is where the classics are. There’s an overwhelming sense of honor and privilege to be among the greatest masterpieces of all time.”
The first order of business for Rome was to find the location for one of the film’s other stars, Venus, the goddess of love in the Fontana D’Amore. They needed a square that had ample space, scope, and architectural and visual interest, and also one that did not already have something installed in its center, because the fountain had to be built. Historically, Roman fountains always required the approval of the Vatican. And since Venus is a pagan goddess, she would never have been allowed to be built in a Roman square. The American filmmakers teamed up with Italian producer Enzo Sisti and Italian art director Stefano Ortolani and began scouting locations in the historical center of Rome. Once the filmmakers saw how spacious Piazza Borghese was and how unencumbered its view of surrounding buildings was, they were completely enamored.
Filmmakers were thrilled to secure the Piazza della Maddalena and its Maddalena Church for the film’s church ceremonies. Other Roman locations included the Roman Forum and the Spanish Steps, where Joan and her husband chat on the phone with Beth in NY, plus the stunning terraced apartment near Piazza Venezia that belongs to the very lucky and apparently wealthy newlyweds. Filmmakers were sure to get beauty shots of the Colosseum, too. The production dared to shoot at the Pantheon and the Fountain of Trevi, requiring a 3 a.m. call time to avoid crowds visiting the historical attractions. But a funny thing happened at the fountain, says executive producer Ezra Swerdlow. “At 3 o’clock, literally, there were about a thousand Spanish students jumping in the fountain with the police trying to control them in a near riot. So that was rather amusing.”
The end-of-exams celebration was broken up in time for shooting, adds Swerdlow.
For director Mark Steven Johnson, the entire city of Rome was cinematic. “There is something magical and ethereal about Rome. All the nights there are enchanting. Everyone’s strolling, everyone’s laughing, everyone’s in love, everyone looks great. You think...this is Rome.”
THE FONTANA D’AMORE
Filmmakers called on an 83-year-old veteran of Italian cinema to sculpt the film’s fictional Fontana D’Amore. Gianni Gianese, who did his first film in 1955, worked on films for legendary director Federico Fellini, John Huston, Luchino Visconti and Martin Scorsese. The artist was recovering from a serious illness when he was contacted for the project. “This offer recharged my batteries and my spirit more than any medicine. And I have immersed myself in this adventure with great enthusiasm and the result is obvious.”
Sculptor Giambologna provided the inspiration for the Roman Venus in the Fontana D’Amore. “To make a statue like Giambologna is very hard,” says Gianese, “but I think I was able to do a great job since I have so much experience and expertise in the art of the 1600s. I am very happy with the results of the Venus, also because she is very tall. She is almost seven feet tall, from her toes to the last tuft of hair on her head. And making this statue was very exciting for me—to be able to see it while the statue was taking form, while it was getting bigger, more sumptuous. First I created her nude, then I dressed her and you can feel it. If you look well behind that drapery, there is a wonderful body.”
Indeed, Gianese was not thrilled about having to clothe his Venus. “I wasn’t very happy about it because every Venus that has ever been made was nude. This time we dressed the Venus. It is OK,” he says.
Despite her clothes, production designer Kirk Petruccelli says the filmmakers wanted to add a touch of “naughtiness” to Venus and articulated that through the lively cherubs that surrounded her. The cherubs are tied to the whimsical, fanciful nature of the statue’s power in the film and the effect of her spell on Beth. “Yet, overwhelmingly, she is of love and peace and wisdom,” says Petruccelli. He was amazed by the Italian art department’s ability to interpret their long-distance philosophical and thematic conversations into the fountain, which he considers a “glorious, really beautiful piece of art.”
The fountain took about 40 days to sculpt; it took six days to install, and included a pump system to ensure it functioned as a real fountain. It was placed in the center of the Piazza Borghese with several steps leading up to it. Shooting took place at night in Rome for the first few days, so passing tourists were confused when they could not find a notation for the fountain in their guide books. Some even threw coins into the fountain. The movie artistry created such a convincing illusion, says Petruccelli, that “everybody who walked up had no idea it hadn’t been there for generations.”
Christoph 13.7.10 16:00