Wednesday, August 03, 2011

Wednesday, August 03, 2011 9:30 pm by M. in , , ,    No comments
Artificial Eye via Digital Spy has announced the official release date of Wuthering Heights 2011. Finally it will not coincide with the UK release of Jane Eyre:
Fish Tank director Andrea Arnold's adaptation of Wuthering Heights will open in UK cinemas on November 11, 2011 through Artificial Eye. (Simon Reynolds)
Collider interviews Cary Fukunaga about the upcoming release of the Jane Eyre 2011 DVD/Blu Ray. Obviously he has not supervised this edition:
Can you tell us what we can expect to see?
Fukunaga: It’s so funny. I have no idea what they put on the DVD. No one has told me. I have no idea what deleted scenes are on there. I hope not too many because they’re usually deleted for a reason. I’ve heard there are some featurettes on there that a friend of mine shot so I’m hoping you’ll see some of those. There will be a commentary with me by myself and there’ll also be an Easter Egg commentary. (...)
Can you talk about your collaboration with your cinematographer, Adriano Goldman, and also your composer, Dario Marianelli
Fukunaga: Adriano and I have worked together since my first film and we have a really nice sort of shorthand. I was a cinematographer myself before so we have a strong mutual respect for each others’ lighting and camera positioning and stuff. We just see eye-to-eye and we have our little arguments on set and figure out how we’re going to shoot the film. It’s always like continual discovery. I don’t storyboard and I don’t really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene and then from there we cover it. And then, Adriano’s lighting, there’s a general theme that we speak about beforehand. We talk about naturalism and about trying to make the interiors feel as dark as they do touring these sites and the nighttimes feel as dark as they would be with candles and make sure it can be as rugged and unforgiving as possible and that’s being looked for in terms of locations. And with Dario, similarly, the score is very much determined by the landscape. I was looking for a jagged, raw sounding, passionate score, something that has to do with Jane and her inner fire and her sort of blossoming discovery of her sexuality and her intellect.
What was it like to work with a sterling cast like Mia Wasikowska, Michael Fassbender, Jamie Bell, Sally Hawkins and Judi Dench?
Fukunaga: It’s kind of overwhelming when you name them all at once. They were fantastic. They really were. It was such a pleasure working with all of them and some of them just really stood out to be jewels. Sally Hawkins only spent two or three days. I just loved working with her. She really gave it her all. She’s a really fantastic actress and also a giving soul. And every time Judi was on set, it was like having royalty around. She is just so inspiring and there’s nothing about her that isn’t still excited about making movies. There’s no jadedness or fatigue with having done this for decades. She treats every prop and every day on set as another exciting adventure, and I think for the young actors, like Mia and even Michael, to see that sort of dedication and that positive attitude is an amazing inspiration.
Both Sin Nombre and Jane Eyre have strong female protagonists. Are you attracted to stories with strong female characters?
Fukunaga: Yes, I think it’s more interesting. In Sin Nombre, the girl makes the decisions but in a lot of ways she didn’t have a lot of choices or places to make choices. So, when I could give her something that defined her more, I tried to do that. Jane is obviously the protagonist of this film and she’s an extraordinarily intelligent and perceptive woman. And I think, whatever I do for my next film, I’ll definitely have a woman in there that is driving her own destiny. I think that’s far more interesting than female characters that are just used as devices in films. (...)
You immerse your audience in a completely different world in Jane Eyre. What’s it like to work in that kind of an environment and to shoot on location?
Fukunaga: Shooting on location was amazing. The house we used for Thornfield Hall was, I think, a thousand years old or possibly eleven hundred years old. It predates the Doomsday Book and it’s gone through many transitions. You just walk in that space and it immediately transports you to a different time with all the period costumes. It’s pretty awesome to see people dressed up in period clothing and running around on horses and in carriages and all that kind of thing. Part of the fun of making a period film is just that playfulness. It’s just like make believe when you’re a child except you get to do it for a real job. (Sheila Roberts)
The obituary of the writer Stan Barstow in The Times remembers how he lived for a time in Haworth:
From 1990 he lived in South Wales with the radio playwright, Diana Griffiths. They had previously lived in Haworth, home town of the Brontë sisters.
The Liverpool Daily Post vindicates Heathcliff's origins:
[One] of fiction’s most dashing heroes originated in Liverpool, although they are more usually associated with places farther afield. First up, Heathcliff, the romantic hero from Emily Brontë’s 1847 novel, Wuthering Heights. He was discovered wandering the streets of Liverpool before Mr Lockwood found and fostered him, setting him on the path to falling for Cathy on the Yorkshire moors. (Laura Davis)
The Huddersfield Daily Examiner is not thrilled about the idea of Brontës on bank notes... well, it is not thrilled about the Brontës altogether:
Mrs Wallis believes that this historical slight against God’s Own County should be corrected by ensuring that Bradford lasses Emily, Charlotte and Anne Brontë feature on the next new set of bank notes.
I won’t pretend to be overly familiar with their work. As a teenager I was forced to read Victorian novels at school, an experience which put me off fiction for life.
One of the books I was subjected to was Charlotte Brontë’s Jane Eyre. I hope one day to be able to talk about the trauma of ploughing through page after page of Victorian drivel, but my therapist says it’s too soon.
I accept that other people – not least those working in Bradford’s tourism industry – have a slightly more positive view of the Brontë sisters.
Apart from not being exactly from Bradford and Jane Eyre not being really very Victorian, everyone is entitled to a, no matter how wrong, opinion.

Culture24 has an article about the first Stanza Stone featuring works by the poet Simon Armitage has been completed on Pule Hill in the Pennines:
The Stanza Stones are also a response to the wild and rugged landscape of the Pennines, which famously provided inspiration for the Brontë sisters. (Nick Owen)
The Florida Times-Union talks about the joys of walking:
"There was no possibility of taking a walk that day."
That's the first line of one of my favorite novels of all time, "Jane Eyre."
Young and orphaned, Jane lives with her mean aunt Reed and her cousins at the beginning of the story. The book opens with Jane sitting in a window seat. She looks outside at the raw English weather and realizes she won't be enjoying the freedom of a walk that November day. (...)
Jane Eyre loves walking, too. On one of her walks later in the book, she encounters the man who will eventually become her husband, Mr. Rochester. What a find. (Nancy Bethea)
The Windy City Times reviews the play The Trestle at Pope Lick Creek by Naomi Wallace, performed in Chicago:
 "My heart's shooting dice in my chest—snake-eyes!" declares our heroine, thrilling to the powerful engines that swiftly slice through boredom and bodies. Is Wallace's play a neo-gothic romance of innocents thwarted by nihilism driving them to a despair as fatal as that of Heathcliff and his Cathy? (Mary Shen Barnidge)
New York Press reviews Raoul Ruiz's film Mistérios de Lisboa:
There's no narrative drive as to what comes next—not even when Ricardo Pereira is on screen as Alberto de Magalhes. A Latin version of Olivier's Heathcliff, Pereira is dramaticlooking even when the movie is slack. (Armond White)
Guyism discusses with thumour the use and abuse of top ten lists, particularly the ones addressed to men:
Reading a list is a qualitatively different experience from reading, say, Wuthering Heights, but it is still reading nonetheless.  (Kevin Arnold)
We read on 4rfv how MGFX Studio has already completed the Wuthering Heights 2011 credit titles; a stone-built farmhouse for sale in Haworth featured in The Guardian; a congress intern and Brontëite in Rio Rancho Observer; 50 Year Project and Per Non Dimenticare (in Spanish) review Jane Eyre; the Brontë Sisters posts about the Keighley of 1848.

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