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Post by eaz35173 on Apr 30, 2013 4:31:23 GMT -5
www.entertainment-focus.com/film-review/love-is-all-you-need-review/Love Is All You Need reviewPosted on April 30, 2013 By Jason Palmer Ida (Trine Dyrholm – A Royal Affair) is in remission from cancer when she finds out that her husband has been cheating on her. This coincides with the wedding of her daughter Astrid (Molly Blixt Egelind- Rebounce), so she decides to go to the wedding and put aside her personal problems for the time being. Whilst on-route, she has a chance encounter with a grumpy but sincere businessman named Philip (Pierce Brosnan – Goldeneye). The two are complete opposites but soon find out that they have much more in common than they think. Love Is All You Need is the new romantic comedy from Susanne Bier. Featuring an all-star cast mixed with fresh, new European talent, this is a joy to watch from start to finish. It’s a story that playfully dances between drama, romance and comedy with purpose and knowing guile. It crafts a quite classic take on a genre too – something that makes a refreshing change from the usual, overworked and boiled-down Hollywood attempts we have become accustomed to. Any romantic comedy/drama is only as successful as their leads. Get that wrong and the whole dynamic of the film shifts gear. Love Is All You Need nails its central paring so well, it’s hard not to fall in love with the film. Pierce Brosnan, still re-establishing his career after his successful Bond stint, personifies Philip with a performance layered with texture. He is a great romantic lead and easily handles the comedy when needed. He also shares great chemistry with Euro royalty Trine Dyrholm. Dyrholm hands in a very brave performance here that is the beating heart of this sweet story. Her illness is handled with just the right amount of sentimentally and is never played up. Her natural comedic timing is perfectly suited, especially when the film features some quite hilarious situation-comedy i.e. the car crash at the airport. She completes the trifecta with a sweet and hopeful approach to the romance, something that endears her to the audience instantly. She easily sells the film on her sparkling dynamic alongside Brosnan too. The supporting talent are all great with Molly Blixt Egelind a particular highlight as the hopeful bride-to-be Astrid. Paprika Steen steals all of her scenes as an over-friendly admirer to Brosnan and is frequently the funniest person in the movie too. Love Is All You Need is sumptuously shot and uses some breathtaking locations. Set in a lush lemon grove in Sorrento, this proves to be the perfect setting for this sweetly affectionate tale of love and second chances. Sun-kissed and romantic in every frame, the locations add a new dimension to the film and blanket this gem of a movie in picture-postcard heaven. Love Is All You Need is a wonderful romantic comedy that hits every one of its targets. It’s unabashed but knowing approach to the romance is both commendable and believable. The setting is gorgeous and crucially, the comedy aspect is given room to grow and naturally flourish out of realistic situations. With an amazing cast to boot, Love Is All You Need really is one of the best romantic comedies of the year and should not be missed.
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Post by Ace on Apr 30, 2013 10:17:33 GMT -5
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Post by rosafermu on Apr 30, 2013 12:38:34 GMT -5
Hmmm I can not see one ((((
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Post by Ace on Apr 30, 2013 13:20:58 GMT -5
www.salon.com/2013/04/30/love_is_all_you_need_pierce_brosnans_lovely_lightweight_romcom/SALON
Tuesday, Apr 30, 2013 “Love Is All You Need”: Pierce Brosnan’s lovely, lightweight romcom The former James Bond and the spectacular Trine Dyrholm star in Oscar-winner Susanne Bier's winning love storyBy Andrew O'Hehir Danish director Susanne Bier has spent her career stuck in the mushy European middle, halfway between Ingmar Bergman and Hollywood. She has a tremendous gift for character and storytelling, coupled with a penchant for preachy, melodramatic message delivery in the Paul Haggis vein, especially as her films have attracted a global audience. She won the foreign-language Oscar for the Euro-guilt odyssey “In a Better World” in 2010 – a picture that was conspicuously trying to be meaningful – and has made one semi-unsuccessful American venture, the 2007 “Things We Lost in the Fire,” with Halle Berry and Benicio del Toro. So from a certain point of view, “Love Is All You Need,” a sun-splashed romantic comedy built around Pierce Brosnan and the wonderful Danish actress Trine Dyrholm, is the least ambitious and most formulaic film of Bier’s career. But I actually enjoyed it more than anything she’s made since “After the Wedding” and “Brothers” in the mid-2000s, and it’s an enormous relief to have a lightweight but non-insulting date movie to recommend in this arid season. This isn’t a movie that requires your full attention at every second – although when Dyrholm and Brosnan are on screen, you won’t be able to look away – but it’s a nifty entertainment that’s always easy on the eyes and gains just a bit of dramatic weight as it moves forward. I say this with respect and without snark: Bier and screenwriter Anders Thomas Jensen, her longtime collaborator, have identified a killer niche here, and I hope it pays off. “Love Is All You Need” is not just a romcom but an upscale European romcom aimed at women over 40. More than that, it’s a Mediterranean wedding comedy complete with beaches, lemon orchards, Tuscan sunlight, glorious Italian locations and romantic confusion galore. Suspense is minimal, to be sure, from the moment when ditzy, jilted Ida (Dyrholm) backs her boxy economy car into the Mercedes driven by garrulous Anglo businessman Philip (Brosnan). Yes, they begin with an argument and a misunderstanding; yes, they’re from different class backgrounds, she thinks he’s a dreadful person and he thinks she’s an idiot. We know all that! How long until they realize they totally can’t live without each other? Not all that long, but there have to be numerous amusing pitfalls along the road to undying middle-aged love, of course. Philip’s a widower who has evidently taken some workaholic vow of celibacy (listen, it’s the movies) – but he’s also Pierce Brosnan, so he’s been fending off the advances of half the females in Denmark, including his nightmarish and larger-than-life sister-in-law, Benedikte (the amazing Paprika Steen, abducting the entire film and devouring it whenever she’s on screen). Ida was recently jilted for a younger woman – while she’s going through cancer treatments! — by her overweight, self-centered and thoroughly idiotic husband, Leif (Kim Bodnia, one of the hidden delights of Danish cinema), but she remains obscurely loyal to him for no good reason. Oh, and did I mention that Philip, Ida, Leif and Leif’s hilariously awful new blue-eyeliner girlfriend, “Tilde from accounting,” (Christiane Schaumburg-Müller) are all on their way to the same wedding in Italy? That’s because Philip’s son Patrick (Sebastian Jessen) and Ida’s daughter Astrid (Molly Blixt Egelind) are getting married, at the decrepit but enormous Italian villa where Philip and his now-dead wife lived years ago. Patrick and Astrid, a pair of beautiful, sprite-like beings, are deliberately not very interesting so we won’t lose sight of Brosnan and Dyrholm, and unless you text with your friends throughout the entire film you’ll immediately spot the reasons why this wedding may not go forward precisely as planned. I suppose it tells you something about our world that on screen Philip and Ida come off as an entirely age-appropriate pairing, whereas in reality Brosnan is 59 years old and Dyrholm 41. I grant you that Brosnan is not a typical 59-year-old male, but then again Dyrholm is a soulful and vulnerable beauty, with heart-stopping blue eyes that could paralyze a cobra. At any rate, watching these two consummate pros do their stuff as Philip and Ida move, offhandedly and incidentally, from casual acquaintance to profound connection to passion is very much worth the price of admission. There’s a scene when Philip surprises Ida swimming in the cove – she’s not just naked but completely bald, having removed her blonde “chemo wig” – that has pure magic in very few words, the kind of thing Bier can deliver beautifully when she’s not trying too hard. All this fine character work and Morten Søborg’s blissful photography make for a highly enjoyable experience, but it’s fair to say that “Love Is All You Need” is more like the sketchy outline for a terrific romcom than a work that rescues the genre. Of course we know how the story will end, generally speaking, but the dramatic-romantic payoff is pretty light, the story of Patrick and Astrid is unceremoniously abandoned, and Steen’s wily, sexy, abrasive drama-queen really doesn’t get enough to do. I’m rewriting this movie in my head – if Philip drunkenly sleeps with Benedikte, or almost does, and Ida finds out about it … OK, point being, romantic comedy with two irresistible actors that’s well above average and offers Susanne Bier a pathway out of virtuous tedium.
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Post by Ace on Apr 30, 2013 13:30:25 GMT -5
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Post by amilein on Apr 30, 2013 13:48:47 GMT -5
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Post by lattimore on Apr 30, 2013 13:51:46 GMT -5
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Post by Ace on Apr 30, 2013 13:56:08 GMT -5
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Post by Ace on Apr 30, 2013 19:44:42 GMT -5
Great interview with Susanne Bier Director’s Cut: Susanne Bier (‘Love Is All You Need’)David Ehrlich April 30, 2013 It’s rather extraordinary to consider how Susanne Bier, one of Denmark’s most famous living filmmakers and a recent recipient of the Academy Award for Best Foreign Language Film (she won for 2010′s “In a Better World”) still feels like a director on the rise. First touted for her comedies but best known for her layered and tremendously powerful dramas, Bier continues to push herself in new directions. Her latest work, which opens in American theaters on Friday, is a refreshingly earnest romantic comedy called “Love Is All You Need,” in which the brilliant Trine Dyrholm plays a woman who’s just finishing up her treatment for breast cancer, only to learn that her husband has been cheating on her while she was at chemo (it’s funnier than it sounds). On the way to her daughter’s wedding on the coast of Italy (Bier’s films, light or heavy, are always told on a global canvas), Trine’s character crashes into a flustered executive played by Pierce Brosnan, who’s traveling to his son’s wedding on the coast of Italy. What are the odds. While the premise might sound somewhat hackneyed, Bier has such tremendous respect for her craft and love for her characters that the final result is an unusually winsome and practical love story. Currently in post-production on her new film “Serena,” which will reunite “Silver Linings Playbook” stars Bradley Cooper and Jennifer Lawrence, Susanne Bier sat down with me to chat about how she needed to make this movie, what makes for bad romantic comedies, and why she’s worried about the “arrogance” of new European cinema. Continued: www.film.com/movies/susanne-bier-interview
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Post by Ace on Apr 30, 2013 22:07:49 GMT -5
Indiewire: Pierce Brosnan on Faking His Way Through 'Love Is All You Need' and Why 'Skyfall' Marked the First Time He Saw Daniel Craig as BondPierce Brosnan gained global fame as James Bond, and earned his best critical kudos as an unraveling hitman in "The Matador," but the actor's fans may well find his turn in "Love Is All You Need," a Danish film set in Sorrento, Italy, to be their favorite Brosnan performance. Directed by Dogme 95 veteran and Oscar winner Susanne Bier ("In a Better World"), this sweet-and-sour, Murphy's-Law dramedy casts Brosnan as Philip, an irritable English widower and produce salesman stationed in Denmark. Philip heads to Sorrento for his son's vacation wedding, and comes across humble hairdresser Ida (Trine Dyrholm), the Danish mother of the bride, in a classic meet-cute. The movie proceeds to reveal both families' mad ups and downs, including Ida's struggle to bounce back from cancer, and her husband's flagrant flaunting of his young mistress. Bier largely achieves a fine tragicomic balance, transcending clichés of character and plot by digging up true humanity. For Brosnan, it proved an opportunity to bare emotion in a way he never has before, resulting in some of his most affecting work. The material hit close to home, as like Philip, Brosnan saw his first wife, actress Cassandra Harris, pass away, succumbing to cancer in 1991 (the actor has since remarried, wedding journalist Keely Shaye Smith in 2001). Passing through New York to promote his endearing new project, the dapper Irish actor caught up with Indiewire at the Waldorf Astoria Towers, and chatted about how life influences art, how he finally got around to watching his Bond successor, and how he faked his way through starring in a (partially) foreign-language film. Continued: www.indiewire.com/article/pierce-brosnan-on-faking-his-way-through-love-is-all-you-need-and-why-skyfall-marked-the-first-time-he-saw-daniel-craig-as-bond
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Post by Ace on May 1, 2013 19:18:21 GMT -5
www.iamrogue.com/roguetv/video-interviews/item/8792-exclusive-video-pierce-brosnan-and-trine-dyrholm-talk-love-is-all-you-need.htmlOpening in US theaters on May 3rd is the Danish romantic comedy Love is All You Need from director Susanne Bier (In a Better World). The film features an international cast that includes Pierce Brosnan (GoldenEye, The Thomas Crown Affair), Trine Dyrholm (The Celebration), Paprika Steen (The Substitute), Kim Bodnia (Pusher), Sebastian Jessen (Nothing's All Bad), and Molly Blixt Egelind (Fighter). IAR's Managing Editor Jami Philbrick recently had the pleasure of sitting down with Pierce Brosnan and Trine Dyrholm to talk about their work on Love is All You Need. The former James Bond actor discussed having Dyrholm actually cut his hair in the film, his post-Bond film choices, why he wanted to be a part of this project, and being one of the few English-speaking actors in a foreign film, while the acclaimed Danish actress talked about her complex character, preparing for her role, shooting in Italy, and her character's attraction to the handsome man that Brosnan portrays in the film.
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Post by Ace on May 2, 2013 16:41:12 GMT -5
BACKSTAGE: All You Need’ Star Pierce BrosnanBy Melinda Loewenstein | Posted May 2, 2013, 3:03 p.m. The former 007 shows his softer side in Susanne Bier’s nontraditional romantic comedy “Love is All You Need,” a heartfelt and witty story of a woman recovering from cancer who falls in love with the father of the groom at her daughter's wedding. Known for action films like “James Bond” and “The Thomas Crown Affair,” Brosnan has also ventured into the musical genre with “Mamma Mia!” He was actually shooting a romantic comedy with Sarah Jessica Parker when the offer for “Love is All You Need” came to him. We chatted with Brosnan about the film, and he shared some advice for actors. Trust your director.When Brosnan was offered a part in what was then called “The Bald-Headed Hairdresser,” he was impressed by the script and by director Susanne Bier’s previous work, but he was a little concerned about how he would fit into a Danish film. “I [didn’t] want to upset the apple cart, Irish actor in a Danish movie,” he says. Bier assured him that she’d make it work and she did. “I was very nervous, but Susanne is very persuasive and a very confident woman, and a very competent filmmaker and director,” Brosnan says. So he just surrendered to the piece. “I didn’t have to learn a lick of Danish,” says Brosnan who only improvised one phrase in Danish for the film. Bier’s script and direction allowed for the English scenes to be interwoven with the Danish scenes and when he viewed the finished film in Paris, he was able to see for himself how well he fit in. Act from the heart.Despite not having to speak Danish onscreen, Brosnan did have to communicate with the Danish cast, but luckily they all spoke English. He says connecting with co-star Trine Dyrholm was easy because he’d seen her in “A Better World” and was already captivated by her presence. “We started reading the play and Trine and I sat together and at one point I found myself reaching out and holding her hand as we read,” says Brosnan. The character development came naturally. “Actors have an innate sense of self and humanity, the good ones do, and of being generous of heart and generous of spirit," he says. "So when the text is meaningful and has richness of character and story-telling, it’s easy to fall in love, it’s easy to go to war, it’s easy to enter into the dream world of literature and the make-believe of literature to create the dream, and most movies are like dreams.” Build a strong backbone.Brosnan trained in experimental theater and then had his formal training at the Drama Centre in England. “It’s the backbone of my career,” Brosnan says of the stage. “I realized within the context of [the method training], that I didn’t have to do every exercise to get to the role," he adds. "Because sometimes you just pretend. If you get it for nothing, if it’s there on the page, if you can create it with the immediacy and sincerity then you don’t have to jump through all those method-oriented hoops. They’re tools that you use when it’s inaccessible.” But his training didn’t end there. “ ’Remington Steele’ when I came to America was a work ethic and a training with the camera which was demanding, exhausting, exhilarating, because of the time constraints and the amount of work for each season,” he says. Brosnan feels every stage of his career has helped build and mold him into the actor he is today.
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Post by Ace on May 2, 2013 23:18:23 GMT -5
TIME: Love is All You Need: A Rom-Com for AdultsBy Mary Pols May 02, 2013 Fellow Mama Mia! haters, I understand how much you might fear Love is All You Need. On the surface there are so many similarities: the setting a destination wedding in the Mediterranean (in this case, Italy’s Amalfi Coast rather than a Greek island), a quirky mother of the bride and the elegant presence of Pierce Brosnan, standing around looking slightly aloof yet dreamy. But director and co-writer Susanne Bier’s (Brothers, Open Hearts) movie is a far more thoughtful, gentle look at love and family; it’s the art-house version of a good Hollywood rom-com. Ultimately, instead of calling to mind Mama Mia! it feels more reminiscent of two 2000 films, Bread and Tulips and the Dogme film Italian for Beginners. The movie, which is subtitled and alternates between Danish, Italian and a smattering of English, starts with a glowing bride, Astrid (Molly Blixt Egelind, who has even better blonde tresses than Gwyneth Paltrow) and her nervous groom Patrick (Sebastian Jessen) arriving in Italy to get his family’s vacation home ready for their wedding. The villa is set among lemon groves, has gardens with balconies built over the sea and stairs down to secret beaches. But the house has been abandoned for years; Patrick’s irascible father Philip (Brosnan) couldn’t bear to spend time there after his wife’s untimely death. Even when he’s as cranky as Philip, the sad widower is really the dream stuff of romantic comedies (see: Sleepless in Seattle). The widower is a seasoned love interest, but no culpability, no legal proceedings required, and no obligations but grieving. Philip’s own sister-in-law, Benedikte, played by the marvelous Allison Janney look-a-like Paprika Steen, practically has to wipe the drool over her chin whenever she’s around him. Would that someone would write a contemporary romance where everyone is in hot pursuit of a widow over 50. With a fine prospect like this about, is there a clumsy but good-hearted woman around? Maybe one who doesn’t know her own beauty or has been maligned by her own spouse, or better yet, both? Enter Ida (Trine Dyrholm, who starred in Bier’s Oscar-nominated film In a Better World), Astrid’s mother back in Copenhagen, recovering from breast cancer. Her chemotherapy is over and she’s just waiting to find out if she is cancer-free when she arrives home to find her husband Leif (Kim Bodnia) bending a young woman from “accounting” over the couch. She and Philip first meet at the airport after she backs into his car. He’s rude to her, her wig almost falls off; it’s the middle-aged version of meeting cute. It’s so easy to spot where Love is All You Need (ouch, that title) is going that I almost groaned at the parking-lot collision. And yet at the same time, within the predictability of Ida and Philip finding each other, there are flashes of romantic unconventionality. When Leif shows up at the wedding with his girlfriend Thilde (the funny Christiane Schaumburg-Müller) in tow—and now introducing herself as his fiancée—even the generally saintly Ida can’t fake her way through the pleasantries and goes off to gaze into the sea. There’s a lovely scene that follows where Philip spots her swimming, nude, from high up on the cliff and goes down to check on her. She comes out of the water, naked, bald, one breast mangled by surgery and they have a blue-eyed stare-off that’s quite something. He won’t look away and while modesty and mortification seem to fit with the character of Ida, she seems to grow bolder, fiercer under his stare. There’s something glorious about her nudity, his response to it, and her response to his response. It’s also heartening to see such a matter-of-a-fact depiction of the physical ravages of breast cancer and its treatment. The movie may have all the trappings of a happy confection, from the slapstick business of various family members punching each other to many glam shots of scenery that seems destined to increase bookings of Amalfi Coast vacations (including a few amid the idyllic lemon groves that have given Philip such a comfortable existence). But Biers and her frequent co-writer Anders Thomas Jensen, take their characters seriously. From the family member exploring his sexuality to the resentful teenaged daughter to Ida, who doesn’t want to cast a pal over the wedding by lamenting over her cancer, her marital crisis or the fact that the airlines never manage to get her lost baggage to her, these people go beyond the usual props and stereotypes who populate romantic comedies. But much of what makes Love is All You Need so appealing, and a natural followup to that Mother’s Day brunch of eggs Benedict, has to be attributed to performance. Dyrholm has an unusual magnetism, the kind of face that seems open and unguarded, yet you can’t figure out just what it is she’s thinking — she and Brosnan share an excitingly adult chemistry. If you know something of his history, that the actor himself lost a beloved wife, all too young, there is a special resonance to the back story given to Philip. But I don’t want to overstate the impact of the personal on the performance; Brosnan is just at his witty, tender best.
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Post by Ace on May 3, 2013 11:45:07 GMT -5
Showing in 2 theaters in NYC, 1 in LA and 1 in Bethesda, MD
Lincoln Plaza Cinemas 2.7 mi. 1886 Broadway, New York, NY 10023 | (212) 757-2280
Landmark Sunshine Cinema 143 East Houston Street, New York, NY 10012 | (212)777-3456
Landmark Bethesda Row Cinema 7235 Woodmont Ave, Bethesda, MD 20814-2959 | (301) 652-7273
The Landmark 2403. 10850 W Pico Blvd, Los Angeles, CA 90064 | (310)281-8223
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Post by tlowrites on May 4, 2013 11:21:54 GMT -5
Saw it yesterday in Los Angeles. The subtitles did detract a bit. I would have rather been able to watch the emotions cross the faces of the actors than constantly scan the bottom of the screen to read. That said, the language did flow from English to Danish quite seamlessly and never felt out of place.
While I did feel this was a film that allowed Brosnan to stretch his emotional acting muscles, I did feel like I missed some of it because I had to keep reading the bloody bottom of the screen to see what people were saying.
Once scene with no words was his best. Pure, raw emotion and being aware of his previous loss, made it all the more poignant.
And the end. The dialogue and truly heartfelt delivery brought tears to my eyes.
It is a foreign film and not one that I think American audiences will embrace. It's just not written for them. Nor do I think it should be. This is a lovely little Indie film that is worthy of the praise being heaped upon it.
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Post by Ace on May 4, 2013 11:39:22 GMT -5
Thanks for the review, sounds great. I should see it this weekend.
I have no difficulty with subtitled films, I've been watching them for eons - though I do think they're easier to follow on a small screen when your eyes don't have to cover as much distance. Just this last week, via Netflix, I watched and easily followed as well as enjoyed movies from Japan and Italy (and Marcello & Sophia also talk rapidly and copiously)
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Post by Ace on May 4, 2013 11:55:56 GMT -5
www.prlog.org/12130329-pierce-brosnan-imbcr-movie-premiere-love-is-all-you-need-sell-out.htmlPierce Brosnan IMBCR Movie Premiere ‘Love Is All You Need’ a Sell Out! The Institute for Myeloma & Bone Cancer Research (IMBCR) Announces their Recent Fundraiser, the Premiere of Pierce Brosnan’s New Film ‘Love Is All You Need’ was a Sold-Out Success PRLog (Press Release) - May 3, 2013 - LOS ANGELES, Calif. -- The Institute for Myeloma & Bone Cancer Research (IMBCR) today announced that its fundraiser last week Thursday, April 25th, for the premiere of Sony Pictures Classics’ new film “Love Is All You Need” starring Pierce Brosnan, was a sold out success. The event took place at the Linwood Dunn Theater in Hollywood, at the famed intersection of Sunset and Vine. Celebrated guests walking the red carpet included the lead actors Pierce Brosnan and Trine Dyrhold, the director Susanne Bier, saxophone star Kenny G, actors Aiden Turner and Amanda Lockwood, designers Malan Breton and Sue Wong, Artist Romio Shrestha, Tom Bernard, the Co-President and Co-Founder of Sony Pictures Classics, and IMBCR President, Medical & Scientific Director Dr. James Berenson and his wife and event chair Debra and their daughter Ariana, as well as IMBCR Executive Director Geoffrey Gee and advisory board members Tony Garzio and John Forrester. Upon arrival, guests had an opportunity to peruse and bid on items in the silent auction, benefitting IMBCR, which included donated items from the following fine organizations: ‘Lucid Junction’ life coach Regina Barang, Annie Skin & Body Care at Umberto Salon, Dr. Thom E. Lobe of Rejuveneda Medical Group, The Huntington Library, Art Collections and Botanical Gardens, La Costa Resort & Spa, X1V Karats, Ltd., The Pasadena Playhouse, Beverly Hills Lingual Institute, Clear Talent Group, Dr. Steve Liu, LAc, OMD & Feng Shui master, Golden Life Medical Group, American Cinematheque, Mallet Hill, Zina Sterling Silver, Bikram Yoga Silver lake, The US Grant, a Luxury Collection Hotel, Plantacion Properties’ ‘Casa Sirena,’ a luxury beachfront home in Costa Rica, designer Sue Wong, Temple of the Arts @ the Saban Theatre, Celebrity Personal Trainer Jason DeHoyos, Earth Bar’s Vibrance, Author Grace Robbins, ‘Cinderella and the Carpetbagger,’ Author Leslie D. Weinberg, ‘A Palm Beach Picture Book,’ Actress and Author Debbie Reynolds ‘Unsinkable: A Memoir,’ the Curve Hotel in Palm Springs, Jeff Field of Field Marketing, Republic eCigs, and Melody Korenbrot of Block Korenbrot Public Relations donated several cast-signed ‘Love Is All You Need’ movie posters. The benefit commenced with moving comments from Debra Berenson, highlighting the important accomplishments of the IMBCR research laboratory this past year in the quest to find a cure for multiple myeloma. Next up was Dr. Berenson, who acknowledged founding IMBCR board member Ron Rogers in the audience. Dr. Berenson spoke of the great improvement in patients’ quality of life, and ever increasing longevity- due to breakthroughs in his research laboratory. The next speaker was Tom Bernard, the Co-President and Co-Founder of Sony Pictures Classics, who gave the audience a little back story on ‘Love Is All You Need’, then introduced the Director Susanne Bier and Stars Pierce Brosnan and Trine Dyrhold. The audience, comprised largely of patients of Dr. Berenson and supporters of IMBCR, seemed truly captivated by the unrolling film on the big screen, ‘Love Is All You Need.” The plot revolves around hairdresser Ida (Trine Dyrholm), who had recently finished a successful breast cancer treatment, returned home to find her husband Leif (Kim Bodnia) cheating on her. At the same time, her daughter’s getting married at an Italian lemon plantation in a few days, and on the way there she bumps into Philip (Pierce Brosnan), the groom's father. The characterizations are brilliant, the photography in Southern Italy gorgeous, and the audience resonated with the message for hope and love for everyone, even those facing life-challenging medical conditions. Dr. James R. Berenson of IMBCR commented: “This is the message of not only the movie but what we want to spread from IMBCR. We are now looking at a very hopeful and long, fulfilling life for our myeloma patients today that was not the case only a decade ago.” After the film, guests enjoyed a sumptuous After Party in the theatre foyer and lobby. Ferrarini Café of Beverly Hills (9622 Brighton Avenue) served a delicious assortment of spicy salami, prosciutto, mortadella bread bites, gourmet cheese samples including; parmesan, pecorino blocks and granapaddano, rock melon wrapped prosciutto, piadina, tuna peppers, Capri bites and a coffee and cannoli dessert bar. Special cocktails were created by Disaronno, including; The Stone Basil Sour, Spiced Disaronno Daisy and the Godfather Revised. Wine & Champagne was donated courtesy of Mionetto Prosecco, and water was donated courtesy of Hint Water. The event was produced by David Manning and the capable team at A-LIST Communications, who donated their services for the event. Event PR was handled by experts Rebecca Fisher, Alexandra Glazer and Melody Korenbrot of Block-Korenbrot Public Relations. - Ends –
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Post by Ace on May 4, 2013 13:53:06 GMT -5
ASCAP: Film Music Friday: Johan Söderqvist on Love Is All You Need and Kon-TikiBy Jennifer Harmon, Associate Director, Film & TV/Visual Media This past year has been a fruitful one for composer Johan Söderqvist. In addition to juggling his normal roster of TV shows and new scoring assignments, the STIM composer continued his collaborative partnership with Oscar-winning Danish director Susanne Bier on Love Is All You Need, and soundtracked the Oscar-nominated adaptation of the beloved high-seas adventure Kon-Tiki. Söderqvist phoned in from Sweden to tell us about all the projects he has brewing. ******** Your new film Love Is All You Need, starring Pierce Brosnan, comes out May 3rd. This is now your ninth or tenth project with director Susanne Bier. How did the two of you meet?When I met her, I was a jazz musician playing on a couple of films, but I hadn’t written for any films. A producer that I played for on a theatrical play recommended me to her, so I met her in a café when she was writing her film. It was her first film after film school, and I think she met with like three or four persons, but we kind of clicked as persons directly. It was a really fun meeting. And then she made a beautiful film called Freud Leaving Home, her first movie. I read in the paper somewhere that she still thinks that is maybe her best film. It won all the film prizes in Scandinavia that year. That was actually my first film and her first film, so it was a good start. Were you classically trained, just coming out of school yourself?I was 25 and I had toured the world ten times over as a jazz musician, but I wanted to not travel so much, wanting to have a life after I made a thousand concerts or something. I was actually trained as a composer, but I never used it much because I was touring all the time. I wrote for all my groups and all the groups I played in, but the bigger things I started to do with film started when I met her. What do you think makes your partnership with Susanne Bier so successful over two decades of working together?
I think first of all, she is a really fun person and it’s fun to be with her. But it isn’t only her, and that’s really important to point out. If I had worked with her from 1991, she worked from 1990, one extra year, with her editor Pernille [Bech Christensen]. They went to school together and they are best friends, and they’re really, really close. And what happened during these 20 years is that I worked really closely with Pernille, so we're doing the day-to-day job. And then because she is so close to Susanne as a friend, we would show things to her when we were done and she would say "This is great, but you have to change this." Because she is, you know – she is big now! She is all over the place right now and doing big things. It has really worked well, because in film it’s a lot of everyday work. You really have to work hard on all cues on all films. So that’s been me and Pernille for 20 years also. We’ve been together the same amount of time. And then Pernille usually edits the film, and she also stays during the whole process of mix and everything, so she is kind of the right hand. She’s Susanne’s closest associate. When we made these American films like Things We Lost in the Fire, I would work really, really hard with Pernille and then Susanne comes in and says "I like this, but you have to go there and there" when she would come in and see what we have done. How early in the process does Susanne bring you in? Do you hear about the project while it's still in development?It’s different [each time], but a good answer could be the faster the better. It’s always best to come in really early in the process. Even though you don’t have to write early, it's really nice to be a part of the process. “We want to go there,” and “What do you think about that?” But then a lot of times you cannot dwell on it and think about it and come with suggestions and stuff. On some films like Things We Lost in the Fire, I came in really late. But on other films like In a Better World, I came in probably six or eight months before recording. During the whole edit part I was there and could provide them suggestions all the time. For me that’s the best situation, because then you grow with the film, and also the film grows with you. In the end it's linked together, the sketch and the music and the editing. That’s my favorite way of working. Then other times instead, you get a finished film and you have to perform…that’s not so fun. It’s much nicer to kind of investigate the material together. Has that evolved over the last 20 years, where you've built trust and have a lot more creative contribution?It's kind of a back and forth thing, much more between me and Pernille. I mean, they are so close. They just divide the responsibilities; there's so much to do in the film. In that day-to-day relationship, it’s been much nicer now, because they know what I can do and we have done it so many times. It’s always hard work to work for them because – you can see it in the film – they have a high standard. So it’s really hard. Sometimes I say it’s like going into a dishwasher, or dry tumbling – is that the right word? When you come out you’re like “Aaahh.” It's fun, but it’s hard work because they have really, really high standards in whatever they are doing. [Love Is All You Need] is a comedy, and it’s hard to make comedy because you have to have a light hand. You have to not make it too dark. The last three or four films I’ve done with her have been really dark and sincere – you know, In a Better World, Things We Lost in the Fire, After the Wedding and Brothers. This is a different process in this film…it couldn’t get too dark of course because it’s a comedy, a love comedy. You’re a sound guy and you love creating new palettes to work with on your films. What was your palette like for Love Is All You Need? Did you feel a need to be particularly Italian?Kon-Tiki was much more of a film with a palette, because I could create a new world. I hope everybody will see it on the screens, it’s a good film. And in that film I had the opportunity to create a big palette with huge drums and a conch horn shell. Sony Classics is releasing the soundtrack and it sounds great. Initially we intended to release it ourselves. Then Jeremy Thomas from Recorded Pictures, the producer who made Last Emperor, who is also the producer of Kon-Tiki, loved the music and wanted it more widespread so he contacted Sony and they liked it. I get e-mails everyday from people who want the score, and that feels really good. It’s like Lawrence of Arabia at sea. It’s just a beautiful film. In this film (Love Is All You Need), because of its Italian location, it's more about creating a sound that puts the film into that kind of category, the kind of nostalgic, Italian cinema parties…this old Italian sound. So I couldn’t do my weird stuff in this film. This wasn’t the film to do all this strange stuff that I always try to do. But on the other hand, I wrote my first mambo in my life for this film. So it was kind of fun to do other stuff. It was really weird for me but really fun because it’s very far from where I usually am. When I see the film, and I’m not the guy that kind of cries all the time, but it's got pretty strong emotions. It’s much more a romantic film than a romantic comedy. It is a comedy of course, but its much more a romantic film about this girl who has cancer and about how she has this emerging love with this man, and she’s very vulnerable, and it's touching, actually. So it’s kind of emotional but in a light way. What I wanted to try to do was to try to find a really beautiful theme, like a Michel Legrand theme. And that was pretty hard work, something that you could take over and over again like a dramatic film. Then there were many cues with rhythmic content because you need drive in a romantic comedy. Most of my other material uses a lot of weird sounds but this is not one of them. This was a more traditional approach for you?Yeah, it's traditional. Not a John Williams traditional, more like ‘60s Italian, like Morricone with cembalo. It's kind of trying to play with that sound in a way I love, that ‘60s sound from Europe, Italy, Fellini. I think it’s a beautiful film sound. We recorded it on old ribbon microphones and we made this very lush. We had a pretty small setting, we had fifteen persons that we dubbed, strings, and then solo players, solo clarinets, cello, violin and stuff. But with the strings we really tried to get the sound analog and lush sounding like it would sound in the ‘60s. It’s kind of an homage to that music. Full article here: www.ascap.com/playback/2013/05/wecreatemusic/fmf-johan-soderqvist-on-love-is-all-you-need-and-kon-tiki.aspx
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Post by steeleinc on May 4, 2013 17:04:57 GMT -5
No wonder I couldn't find it in the Atlanta area! Is it supposed to go wider next week?
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Post by eaz35173 on May 4, 2013 17:49:40 GMT -5
Saw it yesterday in Los Angeles. The subtitles did detract a bit. I would have rather been able to watch the emotions cross the faces of the actors than constantly scan the bottom of the screen to read. That said, the language did flow from English to Danish quite seamlessly and never felt out of place. While I did feel this was a film that allowed Brosnan to stretch his emotional acting muscles, I did feel like I missed some of it because I had to keep reading the bloody bottom of the screen to see what people were saying. Once scene with no words was his best. Pure, raw emotion and being aware of his previous loss, made it all the more poignant. And the end. The dialogue and truly heartfelt delivery brought tears to my eyes. It is a foreign film and not one that I think American audiences will embrace. It's just not written for them. Nor do I think it should be. This is a lovely little Indie film that is worthy of the praise being heaped upon it. I also saw the movie yesterday with Tammy and I really enjoyed it. I was not bothered too much by the subtitles and I agree that the flow from Danish to English seemed natural. I imagine for people living and working in foreign countries it is easier to understand the native language than it is to speak it. I also agree that this was a great film for PB to show off his emotional/vulnerable side. And, yes, that scene with no words, only facial expressions, to let us know what was going on in the character's head was very raw an poignant - you can just see it in his eyes. One of my favorite scenes is one of Phillp's interactions with his sister-in-law, Benedikte. Wonderful delivery by Mr. Brosnan! And I agree, the end is beautifully scripted and acted. I had tears myself. If you can't catch it at your local art house soon, then definitely see it when it comes out on dvd!!
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