LUCY - Scarlett Johansson to Lead Luc Besson's Sci-Fi tale - Page 5 - AVS Forum
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post #121 of 146 Old 07-25-2014, 08:41 AM
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This looks good. Kind of the same premise as the Bradley Cooper movie " Limitless ". Which I liked a lot !

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post #122 of 146 Old 07-25-2014, 08:48 AM
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Quote:
Originally Posted by fookoo_2010 View Post
That was a rhetorical question. Supposedly, there are three Auro 3D capable cinemas in Los Angeles, all of which have botched the audio, one way or another. For example, the audio track for Auro was not included with the hard drive or the big proponent of Auro in LA, the Dub Stage, could not recommend any theater in which to actually hear Auro. Nothing but excuses.
Ahhh, a rhetorical question. Didn't realize the Auro experience was that bad in Southern California.

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post #123 of 146 Old 07-25-2014, 06:58 PM
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The film got surprisingly positive reviews in the trades:

http://variety.com/2014/film/reviews...cy-1201267405/

http://www.hollywoodreporter.com/rev...-review-720583

Lucy is set to hit about $30M this weekend, which is surprising given that it was a much less-costly film than the other film opening, Hercules. You could accurately say that Lucy is about to kick Hercules' ass...
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post #124 of 146 Old 07-27-2014, 07:32 AM
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Saw it. Rent it I would suggest - it was interesting up to a certain point imo.
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post #125 of 146 Old 07-27-2014, 12:16 PM
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Nikita
Mathilda
Leeloo
Angela
Cataleya
Sun Kyi
Lucy

Not like there's a pattern, but Leeloo might be the best mirror here,
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post #126 of 146 Old 07-27-2014, 08:46 PM
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Looks like people wanted to see ScarJo use more than 10% of her brain this weekend. Not a bad haul at all.

The top ten
"Lucy," $44M;
"Hercules," $29M;
"Dawn of the Planet of the Apes," $16.4M;
"The Purge: Anarchy," $9.8M;
"Planes: Fire and Rescue," $9.3M;
"Sex Tape," $5.9M;
"Transformers: Age of Extinction," $4.6M;
"And So It Goes," $4.5M;
"Tammy," $3.4M;
"A Most Wanted Man," $2.7M

https://www.yahoo.com/movies/scarlet...019385417.html

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post #127 of 146 Old 07-27-2014, 11:46 PM
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Quote:
Originally Posted by Waboman View Post
Looks like people wanted to see ScarJo use more than 10% of her brain this weekend. Not a bad haul at all.

The top ten
"Lucy," $44M;
"Hercules," $29M;
"Dawn of the Planet of the Apes," $16.4M;
"The Purge: Anarchy," $9.8M;
"Planes: Fire and Rescue," $9.3M;
"Sex Tape," $5.9M;
"Transformers: Age of Extinction," $4.6M;
"And So It Goes," $4.5M;
"Tammy," $3.4M;
"A Most Wanted Man," $2.7M

https://www.yahoo.com/movies/scarlet...019385417.html
Worth every penny
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post #128 of 146 Old 07-27-2014, 11:57 PM
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Originally Posted by Franin View Post
Worth every penny
Have you seen it, Franin?

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post #129 of 146 Old 07-28-2014, 12:04 AM
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Have you seen it, Franin?
No! But I was referring to Scarlett Johansson
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post #130 of 146 Old 07-28-2014, 12:13 AM
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No! But I was referring to Scarlett Johansson
I feel what you're saying.




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post #131 of 146 Old 07-28-2014, 12:17 AM
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I feel what you're saying.


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post #132 of 146 Old 07-28-2014, 05:03 PM
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Quote:
Originally Posted by Waboman View Post
Looks like people wanted to see ScarJo use more than 10% of her brain this weekend. Not a bad haul at all.

The top ten
"Lucy," $44M;
"Hercules," $29M;
"Dawn of the Planet of the Apes," $16.4M;
"The Purge: Anarchy," $9.8M;
"Planes: Fire and Rescue," $9.3M;
"Sex Tape," $5.9M;
"Transformers: Age of Extinction," $4.6M;
"And So It Goes," $4.5M;
"Tammy," $3.4M;
"A Most Wanted Man," $2.7M

https://www.yahoo.com/movies/scarlet...019385417.html
She has a brain, interesting?
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post #133 of 146 Old 07-28-2014, 05:30 PM
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Originally Posted by fookoo_2010 View Post
I just saw Lucy in Hollywood, CA. It is a highly ambitious film from Luc Besson and covers a much wider gamut than one would expect and is both sci-fi and a thriller. Visually, the film looks great. One interesting thing in the ending screen credits is that it is listed as Auro 11.1 and DataSat. The question then becomes where can one actually hear a Lucy Auro 11.1 mix in Southern California? Although the BR is up for pre-order, Lucy and Scarlett Johansson is certainly worth seeing on a big screen.

http://www.youtube.com/user/universa...?v=bN7ksFEVO9U
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post #134 of 146 Old 07-28-2014, 05:39 PM
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looks like lilo reinvented, dark side
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post #135 of 146 Old 07-28-2014, 10:03 PM - Thread Starter
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Jesus, I had to do a double-triple take when I saw that Lucy nearly doubled Hercules at the box office. I never in million years saw that coming esp when Hercules is such a biblical figure family movie. What a shocker huh?

Someone posted this pretty funny on IMDB:

"Luc Besson only used 10% of his brain while making this movie" -
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post #136 of 146 Old 07-29-2014, 02:35 PM
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Originally Posted by zoey67 View Post
Jesus, I had to do a double-triple take when I saw that Lucy nearly doubled Hercules at the box office. I never in million years saw that coming esp when Hercules is such a biblical figure family movie. What a shocker huh?

Someone posted this pretty funny on IMDB:

"Luc Besson only used 10% of his brain while making this movie" -

This was expected, if you follow Variety. As to Luc Besson using only 10% of neuron capacity, he said, after the screening, that the neuron capacity used by people is 15%.
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post #137 of 146 Old 07-29-2014, 05:39 PM
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Quote:
Originally Posted by zoro View Post
looks like lilo reinvented, dark side
No, but it is entertaining if you're willing bypass several points of reality.
It's actually quite positive once you get past the action stuff that's obviously there to
pay the bills.

Casting Mrs. Johansson doesn't help the story, but it did sell it west of the Atlantic.

Last edited by thedeskE; 07-29-2014 at 05:51 PM.
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post #138 of 146 Old 07-30-2014, 01:48 AM
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Quote:
Originally Posted by zoro View Post
looks like lilo reinvented, dark side
With a little Black Widow thrown for good measure..

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post #139 of 146 Old 07-30-2014, 05:29 AM
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Originally Posted by thedeskE View Post
Casting Mrs. Johansson doesn't help the story, but it did sell it west of the Atlantic.
Casting her is consistent with Luc Besson's style imo - it's not just to sell the movie. Scarlett Johansson is "kinda cute" , but she's a true actress too. She's no Megan Fox...


Here's a nice interview with Luc Besson...

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LUC BESSON ON LUCY AND LIMITS OF THE HUMAN BRAIN

In recent years, it seems we’ve had more female action heroes in the movies. I feel like you were a pioneer in this regard. When you made Nikita back in 1990, did you get any pushback about making an action movie starring a woman?
I was maybe not very happy in the ’80s and ’90s, when all the big parts were big guys with muscles and simple minds. And the girl was always in the back, crying, waiting for the hero to return. That’s not the energy I have from women. So I always try to write the best I can for women, and the best I can for men. Big Blue is about two guys; Subway is an adventure with two guys and one girl; Nikita is a girl and a bunch of guys. Léon [in Léon: The Professional] is a very big, strong guy, but Mathilda is as strong as him. I always try to do the best for both. I don’t feel that I’m a specialist in female characters. I mean, when you see Lucy, there’s one girl and three guys. So I try to treat them the best I can no matter what they are.
Actually, the funny thing is that when I was trying to do Subway years earlier, one of the comments that one producer who wanted to put money in the film said was, “Yeah, we don’t know. You never filmed an actress, so we don’t know if you’re going to be good with an actress.” [Laughs.] And when you see my career after that, it’s very funny that people were wondering if I would be able to direct an actress.

I love how the male cop in Lucy who follows her is clearly relegated to the background in a funny way. At one point Lucy kisses him, but she does it aggressively, the way a male character might; she’s basically kissing him good-bye.
Yeah. He’s a “reminder”; that’s all he is. I love that.

One of the things that impressed me about Lucy was how far you were willing to take this premise. It’s not just “She gets a lot of powers, and then: the end.” You have her transcending space and time, and the film goes off in a totally different direction at the end. Did you ever have any fears about going so far with the premise? Did you ever think, Maybe I should just pull back a little here?
No. I was excited, and I always want to go beyond. We have to push, we have to push. It’s so exciting to do it. It’s a couple of minutes, anyway, so it’s not a big risk. And so for the people who followed the film, I tried to make it very appealing, you know, since the first image: What’s going on? What’s going on? What’s going to happen next? And you’re in the train, you’re rolling, you’re rolling, you’re going. And then at the end it’s like a triple looping. [Laughs.] You don’t know where you are, exactly. And I love that.
When we see the prehistoric Lucy in the beginning, she’s 3 million years old. Imagine that you come into the grotto where she is, and you’re dressed normally, like in a suit and tie, and you open an iPad, and you show a video of Lady Gaga … the girl will collapse. Because you have so much information in one moment, about the sound of music, the tissues, the language, the hair, everything would be just amazing. So I tried to figure out what it would look like. Where can we go? So I tried to show the end of the universe. And then for a couple of seconds we even go in a black hole. And then we see what’s after. You know, the music is totally reversed. The background is white rather than dark. And it’s the reverse of the universe. So for two, three seconds, we see what we have here, and then woop, we come back. And that was so exciting to do that.

Do you ever get frustrated when you see other films with interesting premises that they don’t seem to carry far enough?
I’m a very simple moviegoer. I see a trailer, and I go to see the film, and I enjoy it most of the time. But, you know, I’m not 15 anymore; I’m 50. So most of the time I need a little more “food.” When the action is well done, I appreciate it, but if you don’t give me more than that, I start to get bored. So I start to please me also as a moviegoer. I think, in an action film, it doesn’t hurt to have real content.

Some people are complaining about the fact that the science behind your film — the whole idea that humans only use 10 percent of their brains — is not true. What’s your response to that?
It’s totally not true. Do they think that I don’t know this? I work on this thing for nine years and they think that I don’t know it’s not true? Of course I know it’s not true! But, you know, there are lots of facts in the film that are totally right. The CPH4, even if it’s not the real name — because I want to hide the real name — this molecule exists and is carried by the woman at six weeks of pregnancy. Yes, it’s true that every cell in our body is sending 1,000 messages per second, per cell. And in fact, the theory of the 10 percent is an old theory from the ’60s. It’s never been proven. Some people worked on it, and it sounds like it’s not the truth. What is true is that we’re using only 15 percent of our neurons at one time. We never use 100 [percent]. We use 15 percent on [the] left, and then after, we use 15 percent on the right. But we never use more than 15 percent at one time.
The 10 percent is a metaphor in a way. So that’s why I was not bothered by that. I’m always amazed by these people who become scientists at the last minute and go, “This is wrong!” Of course; it’s a film. [Laughs.] What’s more interesting — more than the 10 percent or the 15 percent — is that if we get the capacity of full intelligence, in the film, we say that the first step is the control of the cell, the second step is the control of others, the third is the control of matter, and the fourth is the control of time. And I talked to a lot of scientists, and they believe that at least the first three are possible. They don’t say it’s true, but it’s at least logical. The good thing is when you take a lot of things that are totally right and mix them very well with a few things that are wrong, at the end of the film, you think everything is real. And that’s the magic of film.

Your films often have ambiguous endings. Characters often disappear at the end: Nikita vanishes; Jacques Mayol in The Big Blue goes off into the blackness of the ocean. Without getting too much into what happens to Lucy at the end of this film, I find it fascinating that you’ve been able to get away with these ambiguous endings.
I think it’s how characters become legends. What about God? Everyone’s been talking about him for thousands of years and no one has seen him.

When The Big Blue came to the U.S., it was recut and they added a shot at the end where we see Jacques coming out of the water and swimming away. So, has it been difficult to convince studios and distributors to let you get away with these kinds of endings over the years?
No. The only time it has happened to me was The Big Blue. And they did that totally behind my back. And when I discovered it, I canceled the tour of the U.S. I didn’t do any promotion. And that’s the only country in the world that had that version. All the rest is my version, and it works very well. Do you remember this whole story about Bambi, and how when they did a sneak preview, the audience response was, “We don’t like the end”? The studio was ready to redo something because they thought it was a catastrophe. But they tested the film again, and this time, they ask the question differently. They say, “Do you like the movie?” and the answer is “no” from like 80 percent. And they then ask, “Do you want a different ending?” and the answer is “no” again from like 80 percent. It was very interesting. Why don’t they like the ending? Because it’s so sad! But at the same time, we love the movie because it’s sad.

In the ’80s, I think you were something of an outlier for France — a director of action films. I imagine your relationship with the French film industry has changed throughout the years.
Oh, I try not to think too much about it. I have a very good relationship with French directors, and lots of friends. And honestly, any time we see each other, we appreciate each other. Directors are never in competition, in a way. Because we always do our film the way we think. So we never are in competition with somebody else, you know. The rest of the community, I try not to pay too much attention — not because I feel superior or anything, just because for a long time there was lots of **** about me and jealousy and things. You know, France is producing 250 films per year, and I produce ten. So there’s really room for everyone. There’s 240 films to do [all] that I will never do.
Years ago, I read something John Boorman wrote about trying to get a film off the ground. It was at a studio that was also producing Spielberg’s Hook at the time. So he was desperately watching the box office returns for Hook. If Hook was successful, then his movie had a better chance of getting made — because the studio would be in good financial shape. I think directors realize that the big movies often help pay for the little movies.
All the time, all the time. When you make a hit, you’ll make more films the year after. Everyone’s doing that. You need the locomotives to grab the wagons. Sometimes the big movies help to produce the small, intellectual films that we need also. This year I produced The Homesman with Tommy Lee Jones, and I was very proud to produce the film. It was a difficult film. We tried to be careful not to lose money. You obviously know that you need to make money, but sometimes you want to do the film because you love the guy and you love the film.

You’ve been producing since the ’80s, but you’re also a director with a very pronounced style. For projects you produce but don’t direct, is it hard to give up some control and let someone else be the director?
No, very easy. Because there’s only one boss on the film — it’s the director. So when I work with, for example, Olivier Megaton, I work with him before on the cast, the costume and everything. We really challenge each other and share the information. When the film starts, I’m not there. There’s only one boss. I’m not there at all. I don’t come on the set at all. I come once to say hi and eat lunch with the main actors; otherwise they don’t think I love them. And that’s it. And I leave the director to edit his film, and when he’s tired, when he doesn’t know what else to do, I come back and I’m fresh. I’m here at the beginning and the end. But during the shooting, it’s about the director. Because if I’m there all the time telling him what to do, what’s the point? I’d rather right away know if the guy is strong or if he’s weak. If he’s strong, then he’s going to be a great director to have for future films.
http://www.vulture.com/2014/07/luc-b...lucy-chat.html
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post #140 of 146 Old 07-30-2014, 09:01 AM
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It would be tough to top Leeloo.

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post #141 of 146 Old 07-30-2014, 12:35 PM
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Quote:
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Casting her is consistent with Luc Besson's style imo
He's grown out of bedding the lead actress, so it could be his "New" style
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post #142 of 146 Old 07-31-2014, 07:31 AM
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I have a pretty good capacity for suspension of disbelief, but the large doses of pseudo-science in this movie ultimately exceeded that capacity, and it ended up feeling silly and forced. I thought Johansson did a fine job until the plot development moved her into monotonic mode.

Caveat emptor.
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post #143 of 146 Old 07-31-2014, 09:20 AM
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I'm probably just especially dense this morning but I'm not sure what genre you are referring to. Leon and TFE are quite different movies is most aspects with Leon being a drama/thriller and TFE being Sci-fi/action. Either way I hope it is a good movie as I have pretty high expectations from him. I love the fact that he jumps around and does different things. Aside from what you already mentioned, Taxi is hilarious (obviously not the remake in English) and Angel-A was just stunning on all levels, probably my favourite movie of his.

Quote:
Originally Posted by zoey67 View Post
Nice job Waboman, you beat me to my own thread. Trailer looks spiffy, finally Besson is back in his "element" no pun intended. This genre like Leon, TFE is what he should be relegated to instead of experimenting around... this is his calling. It will most likely bomb at the BO cause the new generation would rather skip over this for 21 Jump St or Ride Along which is good for us as it will be on dvd in no time.

And this could easily turn into another multiple sequels like Resident evil franchise now that it has reached the end. With a title Lucy imagine the ease and novelty of naming the sequels...Lucy: Ruthless, A Fistful of Lucy, The Wrath of Lucy, etc
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post #144 of 146 Old 07-31-2014, 09:43 AM
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For those who enjoy Besson's films, you should check out The Extraordinary Adventures of Adèle Blanc-Sec. A funny action/adventure french film with a lead character who could be Indiana Jones' little sister... I would love to see a sequel made actually.
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post #145 of 146 Old 07-31-2014, 01:02 PM
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I saw "Lucy" yesterday afternoon. It's the first time I've been to a theater in a year and the theater is a couple blocks away and state of the art. Just wish I could find the pause button. (bada-bing)

I liked the film. The 10% thing is more of a metaphor and something the general public can hang it's hat on. Personally I find much of the public to be lazy minded. It's like it's "hip" to be stupid (or it makes for a good excuse if you do something wrong). We've come all this far with civilization and what have we done?
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