Zac Efron - Zac Spanish Thread #19: porque Orson Welles necesitaba el carisma de Zac.

Ana Sofia · 11-22-2009, 04:47 PM

Zac Efron

Hola y Bienvenidos, este es un thread dedicado al actor mas guapo, carismatico y dueño de los ojos mas increibles del mundo: Zac Efron, quien es famoso por su personaje de "Troy" en la magnifica pelicula de Disney Channel: High School Musical, y por la interpretacion de "Link Larkin" en Hairspray.
Ya termino de filmar "Seventeen", que se estrena en Agosto de 2009, y "Me and Orson Welles", sin fecha de estreno hasta el momento. Ahora se encuentra en Utah filmando High School Musical 3: Senior Year , ultima pelicula de la franquisia. Para el proximo año tiene el remake de Footlose. Lleno de proyectos, verdad?

Aqui podras encontrar todas las ultimas noticias e informaciones de Zac, ademas de conversar con otras fans en tu mismo idioma! No te lo pierdas!

Nosotras:
Chica_Priestley (Ceci)
Anneris (Anne)
daniela_20 (Daniela)
vivizanessafan (Vivi)
>>Val_haydenlover26<< (Val)
Ana Sofia (Ana Sofia)
Lizzie♥Z&V (Lizzie)
angie<3 (Angie)
zanessatroygabriellalover (Harley)

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Fotos del Momento

vivizanessafan · 11-22-2009, 05:25 PM

Gracias por abrir amor!!!!!

ya tenemos lista la thread para todo lo que se viene mañana......gracias de nuevo!!!

ETA....copio directo de ZF

Zac Efron - what was your worst audition ever?

YouTube - Zac Efron - what was your worst audition ever?

Zac Efron - why did you pull out of 'Footloose'?

YouTube - Zac Efron - why did you pull out of 'Footloose'?

Alessandrah · 11-22-2009, 07:18 PM

Gracias x el thread i Gracias Vivi por ls info,estara en The View Mañana?.. me tendre que levantar temprano. ahahah

Ana Sofia · 11-23-2009, 03:37 AM

Si, Ale... lo de The View es hoy

Y al parecer claire y el tambien estaran en the early show... supongo que the early show lo haran antes porque creo que the view es un poco despues... asi que esta mañana vamos a tener que estar pendiente de la tele quien pueda y quien no de lo que diga sobre todo la gente de NY que seran los que puedan verlo antes.

Gracias vivi por los videos.

Pongo tambien alguna cosa que he visto navegando por los foros y por ehs...

Empezamos con las criticas de los grandes periodicos... esta es de The New Yorker, y es positiva... esto empieza a gustarme

Ya veremos el resto de periodicos.

Quote:

The lips are wrong. Well, at any rate, they’re different: thin and pursed rather than fleshy and cherubic. But Christian McKay, the thirty-six-year-old British actor who plays the young Orson Welles in “Me and Orson Welles,” has the necessary stature and the vaunting authority for the job. McKay has an easy way with a cigar, too, and a small, sly smile and a strong voice. Not that voice, with its sonic-boom impact, but a fine, leathery instrument. “I am Orson Welles!” he thunders, when challenged. “I own the store.” The year is 1937, when the great man is twenty-two. The newly formed Mercury Theatre, under the joint direction of Welles and John Houseman (Eddie Marsan), is mounting its first production in New York—a heavily cut and rearranged version of Shakespeare’s “Julius Caesar,” with the characters dressed in the uniforms and long coats of the Italian Fascists. We see Welles through the eyes of a cocky seventeen-year-old, Richard Samuels (Zac Efron), a New Jersey kid who bluffs his way into the company. Richard Linklater, the director, and Holly Gent Palmo and Vince Palmo, the screenwriters (who adapted Robert Kaplow’s 2003 novel of the same title), create a bond between the boy and the theatre big shot. Welles recognizes Samuels as a fellow-mover, and, for a frantic week, as the production lurches toward opening night, the two of them take each other’s measure. It’s a drastically unequal contest. Welles plays Brutus in the production, but his will is closer to Caesar’s. He seduces and bullies everyone, drops actors from the script at will, exercises droit du seigneur over the women in the company, and, in general, acts as if he were God incarnate, which, for all practical purposes, he is. The actors and the craftsmen admire him, loathe him, and know that they couldn’t have theatrical careers of comparable magnitude without him—all New York awaits the opening.

The plot, unfortunately, is conventionally conceived: Richard gets initiated into sex and other fascinating and complicated rites of the grownup world; that is, he gets warmed and then burned by people more experienced and ruthless than anyone could be at seventeen. We’ve seen this rueful coming-of-age story before. And we’ve seen other movies about the staging of a famous production. But if “Me and Orson Welles” isn’t as witty as “Shakespeare in Love,” which, after all, had a script shined up by Tom Stoppard, it’s much better than “Cradle Will Rock,” Tim Robbins’s 1999 account of another legendary early Welles project, a movie with too many characters and too narrow a view (i.e., orthodox left) of the relation of money and art. The strength of “Me and Orson Welles” is that it sticks to Welles’s actual production and to the life of a new theatre company. This is a movie of great spirit and considerable charm. It’s about the giddiness of promise—the awakening of young talent, after years of the Depression, to a moment when anything seems possible.

Working with a limited budget, Linklater found a vintage theatre on the Isle of Man which doubles for the Mercury, on West Forty-first Street (formerly the Comedy, and now long gone); he and his crew reconstructed nineteen-thirties-style New York exteriors at Pinewood Studios, outside London, and assembled a decent cast to support McKay. As Samuels, Zac Efron, the dancing teen heartthrob and shirtless Internet sensation, is surprisingly winning. Efron draws on his confident good looks (from certain angles, this Jewish hoofer from California looks like, of all people, Tyrone Power) without being smug. He’s an actor, after all—maybe even a genuine star. And the even better-looking Claire Danes, of the foot-wide smile, achieves something difficult as Welles’s secretary, Sonja Jones, a friendly and likable woman whose ambition is nevertheless so ravenous that she can’t be trusted for a second. There are many minor characters, swiftly and easily drawn. Linklater, the director of “Slackers,” “School of Rock,” and many other movies, usually works with pop culture; this is his first foray into the classics. Quippy, fast, and enjoyably corny, “Welles” is like a musical comedy without songs. The music is mostly swing hits from the period, along with Marc Blitzstein’s martial drums-and-brass score for the original production, which is played (with the musicians missing many cues) throughout the film.

As opening night nears, Richard’s adventures are of secondary interest, and we welcome with relish the movie’s returning again and again to Welles. He carries on like a much older man—Henry Irving, for example, or some other flamboyant, groundbreaking actor-manager of the nineteenth century, who raised money, edited texts, designed sets, starred in many of the productions, and kept the company going. But Welles has a modernist temperament and a subversive love of shock. He’s abrasive, treacherous, boastful, and inconstant, blocking and reblocking the show at the last minute. At first, this bombast, no matter how amusing, feels too broadly vociferous. Then it becomes clear that Linklater and McKay are portraying Welles as a man who’s consciously entertaining and stimulating his company, playing the black-hearted son of a bitch, creating a crisis atmosphere so that he can pull everything together at the last minute and save the day. What reconciles us to him, and also compels the actors, including Joseph Cotten (James Tupper) and George Coulouris (Ben Chaplin), to stay with him, is his theatrical intelligence. Welles directs as he acts, moving people around between lines, getting them to lower or raise their voices or shape a phrase in a different way. He’s like a conductor who points out mistakes while pushing the music forward. And when opening night finally arrives, and we get to see chunks of the production, the old radical theatre ideas still have power. The stage is bare, the back wall a rust red, the violence frightening, and the audience stunned. For moviegoers, however, the triumph is bittersweet. A theatrical performance can be altered and revised until just before the curtain rises, but a movie, with its thousands of interlocking details, requires long-range planning, consistency, and reliability. In Welles’s rabbit-out-of-the-hat victory of 1937, one sees the habits that will lead not only to a few peerless films but also to many defeats and tragically abandoned projects.

“Me and Orson Welles” and “Bad Lieutenant: Port of Call New Orleans” : The New Yorker

Y conforme van saliendo criticas las van añadiendo tambien al advertising de la pelicula.

La de Rolling Stone no la habia leido hasta ahora

Y una historia de la premier de IOM

Quote:

I'm a mild-mannered programmer by day, so hearing myself and colleagues described as Minders on our local radio station was pretty darned surreal.

My father-in-law has worked on the Production Crew in a variety of roles on a number of recent films. As a result I find myself working as part of his team on a semi-regular basis in the evenings, at the weekends and during my time off.

Last night saw the Isle of Man hosting a local premier of Me and Orson Welles, which was shown in the Gaiety Theater itself, the location where most of the film was shot. The special guests for the presentation were Richard Linklater, Claire Danes, Christian McKay and Zac Efron.

The draw for the crowds was, of course, Zac Efron. After his obligations in front of the TV camera's Zac signed autographs and posed for photographs with the guests of a Champagne Reception which was also going on before the Premier. We had brought as many of the children attending the reception through the front as we could and Zac spent the most time with the kids, which I thought was the right and proper thing to do.

Health and Safety were directing security through our earpieces and to avoid too much of a press of people which was forming within the Reception area we were instructed to move Zac onwards to the Red Carpet in front of the Gaiety.

What impressed me was Zac's desire to sign as much as possible. He stopped us to hug a member of the crowd as we moved between the Reception and the Red Carpet. Even as we swept onwards through the theatre itself he was squiggling his signature as much as he could.

Zac became more of a person than a movie star for the Gaiety Staff and Security Team last night, and this quote from the earlier interview struck true:
"The other thing I remember [during filming] is looking out of my hotel window and seeing the sea every morning. That's one thing I will never forget. I have seen that view so many times and I really appreciated it."

I was also impressed with Christian McKay, a real gentleman during the Reception. As we left the Reception he leapt out to cheer Zac on in the style of his fans. True comedy and I hope his awesome performance as Orson Welles wins him more roles in the future.

Watch out for the BBC Culture Show later in the week for the TV interviews.

marianitadulce · 11-23-2009, 05:38 AM

hola chicas!! me presento soy Mariana, de Argentina, y hace mucho tiempo que estoy por aqui leyendo y no me animaba a participar...espero ser bienvenida y encontrar amigas por aqui!

vivizanessafan · 11-23-2009, 06:35 AM

Hola Mariana!!!!.....otra argentina mas!!......de que parte de argentina sos??......yo soy de Capital.....me llamo Viviana pero todos me dicen Vivi....

Gracias Anita por toda la info!!

ETA......the early show

Zac Efron, Claire Danes' New Film - CBS News Video

marianitadulce · 11-23-2009, 08:03 AM

Quote:

Originally Posted by vivizanessafan (View Post)

Hola Mariana!!!!.....otra argentina mas!!......de que parte de argentina sos??......yo soy de Capital.....me llamo Viviana pero todos me dicen Vivi....

Gracias Anita por toda la info!!

ETA......the early show

Zac Efron, Claire Danes' New Film - CBS News Video

holaaa Vivi..soy de capital, pero ahora me encuentro en el sur...

vivizanessafan · 11-23-2009, 08:23 AM

en el sur del pais??......de que barrio de capital sos?

Zac Efron and Claire Danes visit "The Early Show" at the CBS studio

Alessandrah · 11-23-2009, 08:25 AM

Buen dia.

Bienvenida Marianita,Soi Aleh.

i Gracias x las fotos Vivi.

marianitadulce · 11-23-2009, 08:27 AM

Quote:

Originally Posted by vivizanessafan (View Post)

en el sur del pais??......de que barrio de capital sos?

Zac Efron and Claire Danes visit "The Early Show" at the CBS studio

Vivia en belgrano...y si en el sur del pais....

Gracias por el video y las fotos!!

Ana Sofia · 11-23-2009, 08:46 AM

Hola Mariana!! Aqui las argentinas siempre son bienvendias!! Me alegro que te animes a escribir.

Gracias por el video de "the early show", Me ha gustado, aunque demasiado corto para dos invitados, pero ha estado muy bien. Bueno lo de claire, zac no necesita ningun consejo

Alessandrah · 11-23-2009, 09:07 AM

ya empezo the View... estas mujeres si hablan Dios Mio,, ya que salga Zac ahah.

Ana Sofia · 11-23-2009, 09:12 AM

the view no es que me guste especialmente, cuando se juntan todas la mujeres, sobre todo a dar su opiniones en plan cotilleo pueden ser terribles

Asi que espero que zac pueda salir vivi con tanta mujer junta, al menos tendra una, claire, que espero que le eche una mano

Alessandrah · 11-23-2009, 09:19 AM

Seh... hablan de todo... no paran. lol

i amee estah fotoh ♥ Dios.

Ana Sofia · 11-23-2009, 09:24 AM

Que cara de dormido!!!

Parece un niño pequeño a punto de taparse la cara con la almohada para que su madre le deje en paz y no le despierte

Rara interpretacion de la foto, lo se


Fan Forum > Archived Celebrities > Zac Efron > Zac Spanish Thread #19: porque Orson Welles necesitaba el carisma de Zac.