Brazil (1985) [DVD5 - Eng Fra Ita - MultiSub] Sci Fi - Fantasy [TnTvillage]
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Files (19 files, 4.36 Gb)
Brazil (1985) [DVD5 - Eng Fra Ita - MultiSub] Sci Fi - Fantasy [TnTvillage]Description
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Comments (54): March 24, and it seems I'm stuck at 99.9% too. But I attempted to open the file at 99.9%, and I get a message asking me for a password. I hate passworded things, and I just thought I'd let others know that this movie apparently needs one to open. • Same here, I've been stuck at 99.9% since maybe the end of February, and it's March 9 now. Thx. • could someone please seed for a bit, I've been at 99.9% for about a week now • People the download speed is painfully slow please SEED • the quality is reasonable for the size and duration but because there are few people seeding this torrent the download speed is painfully slow.I am downloading the entire episodes,my computer has been on from 8 in the morning to 12 at night for about 3 week but i have managed to download 9.6 percent of the files.Also there is some problems with my port forwarding i would be gratefull if anyone could help me with that. And i know about 5 years have passed from the time RTL2 showed DBZ but please seed. • u fools the quality is good i
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Technical
Trackers & scrape stats (1)
| Tracker | dls | seeders | leechers | updated |
|---|---|---|---|---|
| http://announce.opensharing.org:2710/announce | 0 | 0 | 1 | 5 days ago |
Description
Year
1985
Director
Terry Gilliam
Produced by
Arnon Milchan
Written by
Terry Gilliam
Tom Stoppard & Charles McKeown
Starring
Jonathan Pryce: Sam Lowry
Robert De Niro: Archibald "Harry" Tuttle
Katherine Helmond: Ida Lowry
Ian Holm: M. Kurtzmann
Bob Hoskins: Spoor
Michael Palin: Jack Lint
Ian Richardson: Mr. Warrenn
Peter Vaughan: Mr. Helpmann
Kim Greist: Jill Layton
Jim Broadbent: Dr. Jaffe
Barbara Hicks: Alma Terrain
Charles McKeown: Harvey Lime
Cinematography
Roger Pratt
Music
Michael Kamen
Editing
Julian Doyle
Awards
British Academy of Film and Television Arts 1985:
Best Production Design
Best Special Visual Effects
Boston Society of Film Critics 1985:
Best Supporting Actor (Ian Holm)
Los Angeles Film Critics Association Award 1985:
Best Director, Best Picture, Best Screenplay
A Collection of Frustrations
Brazil was really a collection of frustrations and growing anger about the way the world was. As inspiration, I spent quite a long time gathering information from my stint in advertising—the only corporate job I've ever had. At the time there were a lot of terrorist activities, such as planes being hijacked. Governments were cracking down on so-called terrorists. In Germany, professors and people in positions of authority were being asked to sign loyalty oaths. In South America, people were being detained and having to pay for the detention while in prison. There were a lot of things in the world that were frustrating me, making me angry, and Brazil was my attempt at a catharsis; to clear these things out of my system before I started making and throwing bombs.
When I was originally working on this project, I didn't know what to call it. At one point we were going to call it 1984 ½. Even though I hadn't actually read George Orwell's book, I kind of knew it, it was out there in the ether. Also I was a huge fan of Fellini, and 8 ½ was one of the most important films to me. So I thought 1984 plus 8 ½...1984 ½.
In the end I was thinking more about music and the song Brazil, which I've always loved. I was on a beach at Port Talbot in Wales one day when we were looking for locations. It's a beach completely covered in coal dust because of the great factories there. The coal is delivered by ship and transported on conveyor belts across the beach to the factories, and the dust blows off and covers everything. It was a grim day and probably one of the most monochromatic, miserable places I've ever been.
I was sitting on this blackened beach and I started thinking about somebody sitting there trying to escape from that world, looking out across this ugly sea. He has this little portable radio and suddenly on this portable radio, you hear "Da dum, da da da da dum"—beautiful music from "Brazil," and I thought, "Ahh...we will call the film Brazil, because that's where he wants to escape to, even though we never show the place."
One thing that's always made me crazy is bureaucracy in any form. We need order sometimes in the world but we don't need to make it so miserable for most people. And so Brazil was very much about a bureaucracy gone mad: The Ministry of Information. Interestingly enough, it applies very much to the world we're living in now.
The Totalitarian Aesthetic
The look of the film is an interesting collage of influences I think. I've always liked 1930s architecture, which tends towards the totalitarian, towards fascist imagery, but it looks great, it's fantastic. German Expressionist film I've always loved—shadows, angles. I'm interested in technology that doesn't quite work.
We created a retro-style future that incorporated everything in 20th century technology and design, so the film takes place throughout the 20th century, at any point, incorporating the future and the past.
Sam's apartment is very sleek, very modern. Everything is tucked behind the wall panels, but if you rip them open, the guts hang out. It's almost human, almost organic, the amount of stuff hidden behind that smooth exterior.
And that was because, as you find in our modern world, none of us know how things work, we accept it, we think oh, behind the walls everything is functioning, we never have to look. It's a mess back there. I think I was originally inspired by the Pompidou Centre in Paris where they put the inside on the outside.
There are lots of posters all through the film. They're there for a variety of reasons, because they offer glimpses into other sides of the world: there are some posters that offer luxury holidays on secure boats in the middle of nowhere, safe from terrorism; others are encouraging you to be a good citizen. We started using the old wartime slogans, like "Loose Lips Sink Ships." We've got "Don't Suspect a Friend, Report Him." Give them to the authorities, trust them to sort it out, anything suspicious about your friend, anything you don't like.
"Trust in Haste, Regret at Leisure"—these are encouraging people to be paranoid, to be uncertain. You don't have to look to our posters anymore for advice, listen to Homeland Security—they're trying to tell you the same things our posters were trying to tell you then.
Battling the Studio
After nine months—I'll repeat that, nine months—of work, we finished the shoot, and spent six months more on the editing. We got the film together and started showing it to public audiences, and half the audience would invariably walk out. It was clear that this was not going to be a popular movie. It made people think about the society that they lived in, and a lot of people don't want to do that.
When we had what I thought was the final cut and were very happy with it, the film was released in Europe—20th Century Fox had it for the rest of the world while Universal had it for North America, where it did reasonable business. We had fantastic reviews from the French critics in particular, which gave us confidence that we had made an interesting film.
At this point, Universal decided that the film was unreleasable, that nobody would ever go and see it, it didn't make sense, it was a disaster, and they then said, "We will not release the film." I was encouraged by Mr. Sid Sheinberg and others within the Hollywood system to change the story somewhat. Why do we need this dark ending? Why can't we have a happy ending? It would get more people into the cinema, more people to enjoy the experience.
I said, unfortunately, this is the story we set out to make. People like Robert De Niro and Jonathan Pryce agreed to be in this movie because of the story that we're telling, and we don't change the story for the sake of a larger audience. This is a concept not easily understood in the higher offices of Hollywood, so we were at a stalemate: the studio was busy trying to cut their version of the film, and they'd taken out an embargo on us showing the film in America. So I had to do something.
I took out an ad in the pages of Variety magazine, the show business bible...a full-page ad! A blank full page surrounded by a black border as they do in funeral announcements in places like Italy. In the middle of this vast white space in Variety was a personal message: "Dear Sid Sheinberg—when are you going to release my film Brazil? Terry Gilliam."
Journalists found this an interesting story. Nobody had ever done this before. One particular journalist for the Los Angeles Times, Jack Mathews, began a dialogue between me and Sid Sheinberg. After our initial meetings, Sid and I never spoke. I would quote something to Jack, he would then go to Sid, Sid would then respond to that, and this dialogue was then repeated on the pages of the Los Angeles Times. This was good reading: David versus Goliath, the little artist against the corporate system, a perfect story for the journos. And on it went, this dialogue between Sid and myself, the film being unable to be seen in America. BUT...
Luckily there was one journalist who had seen the film in Paris who wrote a rather nice article about it, which intrigued other journalists. Then we discovered that a few friends in the Los Angeles Film Critics Association started showing the film in private cinemas in people's homes, so it had gone underground at this point.
Then it came time for the release of Out of Africa, Universal's biggest picture of the year. They'd spent all of their money on that one—Robert Redford, Meryl Streep. Everybody gathered in New York for a black tie premiere, and lo and behold, the press that day revealed something interesting: the Los Angeles Film Critics Assocation had voted Brazil best picture, best screenplay, and best director, without the film having been released. They had discovered that nothing in their bylaws said that the film actually had to be released. As long as it was made, they could vote on it. Very embarrassing for the boys at Universal, especially on such an important night.
I'd say the shit hit the fan at that point. They suddenly had a problem. The heads of the studio—all of the major heads—had all described the film as unreleasable, unwatchable, and now it had been voted top of the heap, the best film of the year.
"That is what we call an obsession, and we won"
They rushed out a release of the film. It went out to New York and Los Angeles without a poster. The film made more money per seat than any other film over Christmas; the studio thought maybe they'd made a mistake, maybe they had a hit on their hands, and then dutifully released it all over the country in little towns that had never heard of this battle. So a film called Brazil turned up in Lick-Spit, Ohio, and why would anybody want to go and see a documentary about a South American country? And they didn't!
There's one little sidestep in this story of getting the film released. We got on ABC television because Bobby De Niro agreed to come on the show. Now Bobby never does publicity for his movies and this was a coup for Good Morning America, and so Bobby and myself went on to the show. Maria Shriver, very nice lady, was interviewing Bobby and eventually she turned to me and said, "Well Terry, I understand you have a problem with this studio." And I said, "Moi, I don't have a problem with this studio, I have a problem with one man, his name is Sid Sheinberg, and he looks like this—" and I pulled out an 8-by-10 glossy of Sid and held it up to the camera, so millions of Americans could see the man that was stopping my film being shown.
Getting the film released was the only important thing. It didn't matter how it was released as long as it was out there for the public to find it in their own good time. That is what we call an obsession, and we won.
Love. Conquers. All.
The great thing about a major corporation is that they don't give up easily. We got our version of Brazil out, uncut, untouched, the way those of us who worked long and hard on it wanted it to be. But it turned out the studio had their version, and eventually they got their version out. Strangely enough, I didn't care because it went out on syndicated television and every five minutes, there's a commercial break. I thought, why not let their film be ruined and not mine?
It's considerably shorter, and what they thought the film was really about was Love. Conquers. All. They cut out a lot of those messy fantasy sequences, they cut out a lot of the nastier elements, and they found a happy ending in our outtakes. We did have a happy ending, which had Sam there in his torture chair dreaming of that happy ending. They removed the torture chair, and found a few more shots to give our film—or, let's be honest, their film—a truly happy ending. I think anybody who had to sit there through that syndicated version with commercials every five minutes deserved the happy ending that Universal so kindly and graciously provided.
Holly Gilliam and Michael Connor. June 15, 2011
ORIGINAL COVER
Filesize
4.35 Gb
Time
2h 16m
Format
DVD5 single layer
2 PAL
Compression
Yes
(DVD Shrink)
Display
1.85:1 - 16:9
Audio
2.0 Surround
English - French - Italian
Subtitles
English - French - Italian - Dutch
Extra
Theatrical Trailer
Featurette: What Is Brazil?
INSIDE COVER
Seed
50kbs
on request
.
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