MOVIES NEWS: New Clips From The Losers

Warner Brothers Pictures presents 2 new clips from The Losers, which will be in theaters April 23rd.






The Losers “Pick –up” Clip


The Losers WonderCon Video
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MOVIE NEWS: New Jonah Hex Image

Warner has released a new picture from the upcoming Jonah Hex film.


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MOVIE NEWS: The Losers - Cast & Crew Talk About The Prodcution Part 3

“It’s pretty much a suicide mission."




Despite their individual and combined skills, The Losers need help to sneak back into the U.S. undetected. That’s where Aisha comes in. Zoë Saldana plays the woman who proves to be either a formidable ally or a dangerous enemy…or both. It’s hard to know whose side she’s really on—other than her own—but Clay is about to learn she usually comes out on top.



“Aisha appears to them out of nowhere just when the guys think there is no hope for them to get back home,” says Saldana. “She makes them an offer that sounds too good to be true, but it’s also an offer they can’t refuse: she’ll get them back into the country, but then they have to deliver Max. They decide to take her up on it, but there is mistrust from the beginning because they don’t know what this woman is hiding up her sleeve,” the actress smiles.

White, who had been a fan of Saldana’s even before her recent roles in the sci-fi blockbusters “Avatar” and “Star Trek,” recalls, “When we started discussing the role of Aisha, I instantly thought of Zoë. She has remarkable acting chops, but she also has the physicality the role demanded. Aisha is not the lady in distress; quite the contrary, she’s the badass who actually rescues the men. She’s very capable, very strong and very determined, and Zoë brought her own genuine strength to her performance. She also happens to look very much like the character in the comic book, so we were thrilled when she said yes.”



Joel Silver adds, “Zoë is beautiful and sexy and exciting—all the things Aisha needed to be. We wanted Aisha to be a match for the guys and then some. She’s tough, smart, opinionated and able to mix it up, and everything we expected of the character, Zoë delivered to the role.”

The man who targeted The Losers—and who is now their target—is Max, a shadowy and ruthless government operative, who is now operating by his own set of rules to keep America on top. And if a few billion dollars end up in his pocket along the way, even better.



Jason Patric, who plays the role of Max, affirms, “He has his own manifesto and a twisted sense of patriotism that I thought was funny and even a little topical today. Max has a bit of a swagger and an overconfidence, which I think he uses to hide the fact that he’s been beaten down in the past. But I just tried to have fun with it.”

“Max was probably the trickiest part to cast,” White asserts. “We wanted to cast against type, and Jason has never played a true bad guy in a movie before. He came in with some great ideas for the role, and I thought he would help me create a unique character who is different from other villains we’ve seen. He brought this quirkiness to his performance that I think really sets it apart.”



“Jason was terrific,” Foster agrees. “He made Max menacing and eccentric and funny all at the same time. He’s a villain you love to hate.”

As do all self-respecting villains, Max also has a henchman named Wade, because, as Patric says, “Every bad guy should have a thug.”



Wade is played by Holt McCallany, who offers, “Wade is a former special ops soldier, a very competent guy who has now kind of gone over to the dark side. He took all the skills he learned in the Special Forces and become a soldier of fortune. He’s a guy who’s essentially a mercenary. What makes him dangerous to The Losers is that he knows these guys. He knows their history and what they’re capable of…and what a threat they are.”

Judging by appearances, you can also tell what Wade is capable of. “You know Wade could physically take Max out any time he wanted to,” White allows. “But Max is smart enough and manipulative enough to have Wade following his orders, no matter how outrageous they are. Holt played the character with just the right balance of fear, loathing and respect.” Read more...

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MOVIE NEWS: The Losers - Cast & Crew Talk About The Production Part 2

“We’re not soldiers anymore. We’re fugitives.”




Despite what they are called, “The Losers” started out as anything but. Rather, they were an elite black ops unit, who were called upon for only the most perilous missions.

But in the jungles of Bolivia, while on a secret mission to eliminate a powerful drug and arms dealer, they are betrayed by a shadowy government operative named Max, who has his own reasons for wanting them eliminated…and almost succeeds.

“They’re left for dead and left taking the blame for the innocent lives that were lost on their mission,” White remarks. “Now they have to find their way back into the U.S. and redeem their names.”

Being presumed dead does have its advantages. But, although no one may be looking for them, five “dead men” can’t exactly walk back into the country without drawing unwanted attention. They need help and they find it in an unlikely source: Aisha, who is as beautiful as she is mysterious. Before they can reclaim their lives, however, they will have to deal with Max.

Each member of the team—Clay, Roque, Jensen, Pooch and Cougar—has a specialty that makes him individually strong. Together, they are unstoppable…or so they hope.

CLAY – OPERATIONAL CONTROL


Jeffrey Dean Morgan is Clay, The Losers’ man in command, whose entire identity had been wrapped up in being a soldier. After the team is betrayed, however, he is forced not only to fight for his country and his men but also his name.

Morgan offers, “His rank is colonel and that had defined him. Without that he has to question who he is, but he still has to lead this ragtag group. The leadership thing came naturally to me. It helped that I’m older than most of the guys in this movie, so I immediately wanted to kick their butts anyway,” he deadpans.

“Clay is a hardened man, but he has a definite sense of humor and I loved the dry wit of the script,” Morgan continues. “That can be difficult for a writer to capture on the page and a tricky thing for an actor to deliver. But I’m pretty sarcastic in real life,” he smiles. “In fact, I tend to be even a little dryer than Clay, so that worked well for me in playing the part.”

Sylvain White says he was sure Morgan was the right man for the role even before he actually met him. “He pulled up on his Harley and I knew instantly he was the guy. He’s got this very cool, mature energy about him, a kind of old soul quality that makes him a born leader. Jeffrey is very likeable, very approachable, but there is also a bit of a dark edge to him, which was something he was able to layer very well into the character of Clay as he spirals down into his obsession to take revenge on Max.”

“Jeffrey is that great combination of a tough guy with a heart of gold,” adds Goldsman about the actor, who played a very different kind of soldier in “Watchmen,” the film adaptation of the acclaimed DC Comics graphic novel. “He’s handsome and rugged and can appear dangerous, but at the same time be kind and sensitive. It’s a very mercurial quality that is hard to deliver, but he absolutely did.”

JENSEN – COMMUNICATIONS & TECH


Chris Evans plays Jensen, the team’s computer wizard, who can hack anything—or into anything—that comes his way. Even under cover on the other side of the world, he manages to keep up, via computer, with the standings of his niece’s 8-andunder soccer team, The Petunias.
“In terms of the family dynamic of the team, he is kind of the kid,” Evans admits.

“He gets into mischief and cracks jokes at inappropriate times, but he cares about this group of people and loves what he does. He’s quick with a smile and has limitless energy. I enjoy playing guys like that because you can’t help but bring some of that attitude home with you.”

“Jensen is the geek with a gun,” White laughs. “Every character has moments of comic relief, but Jensen is probably the funniest guy in the movie. Chris had a ball with that because he is a genuinely funny person and was able to bring his own natural humor to the role. He is such a great guy to be around; he was always making us laugh, and that’s basically who Jensen is.”

“Chris was a wonderful addition to ‘The Losers’ cast,” Goldsman says of Evans, who is already a favorite of comic book genre fans for his role in the “Fantastic Four” movies and has just been announced as the new “Captain America.” “He is not only a talented and appealing actor, he also has the same sort of charm as Jensen, which is very engaging.”

ROQUE – DEMO & TACTICAL


Idris Elba plays Roque, an explosives expert, whose personal weapon of choice is a knife…the bigger the better. Roque has been Clay’s brother-in-arms for years, although Clay’s dogged determination to exact revenge on Max, at any and all costs, is now causing friction between the two old friends. “Roque is a no-nonsense type of character,” the actor observes. He’s a straight talker, very to the point. He’s an experienced soldier who’s not very emotional about the job; he just gets it done.”

White remembers, “When I first met with Idris, he told me about his ideas for how he could bring facets to the character of Roque because his story takes an unpredictable turn. He is an amazing actor; I knew he had the capacity to make his arc believable and yet surprising.”

“I liked the character of Roque, and that I had enough room to make it my own,” says Elba, who adds that there were other elements that appealed to him about the project. “The script was great—funny with a lot of larger-than-life action. And I’ve worked with Joel Silver before and am a fan of his movies, so that was another draw.”

“Idris is one of those go-to actors,” notes Silver who previously worked with the actor on “RocknRolla” and “The Reaping.” “I always know he’s going to give a great performance, no matter what the role. He can do drama, he can do comedy, he can do action, and there’s all of that in this movie. This is my third film with him, and I’m sure it won’t be the last.”

POOCH – TRANSPORTATION & HEAVY WEAPONS


Columbus Short takes on the role of Pooch, the group’s transportation expert, who “can rig, wire, fly, drive or commandeer any vehicle, and gets to shoot some pretty sweet weapons,” states Short.

Pooch also has the most personal motivation for wanting to return home. Short explains, “Pooch’s wife is about to have their first baby, and he desperately wants to get back in time to see his child be born. It makes Pooch kind of the heart of the group and adds to the guys’ individual reasons for wanting to clear their names.”

Short’s motivations for taking the role involved both the script and the director. “The storyline was great and the writing was very clever and witty; I laughed out loud reading some of the dialogue and I loved the action,” he comments.

The actor says he also appreciated the opportunity to reunite with Sylvain White, who had directed him in “Stomp the Yard,” which marked his first leading role. “Sylvain is a very collaborative director; he gave me the freedom to discover things about my character that weren’t necessarily in the dialogue. I couldn’t imagine a better experience than working with him again on this movie.”

White states, “I knew Columbus was perfect for Pooch from the get-go; I didn’t even have to think about it. When I read the script for ‘The Losers,’ I felt that the character was the emotional anchor of the team. He’s the family man and the kind of guy you want as a friend. And Columbus has a very warm soul and this sweet innocence about him that makes you care about him the second you meet him, so I pictured him as Pooch right off the bat.”

COUGAR – LONG-RANGE ELIMINATIONS


Spanish actor Oscar Jaenada is cast as Cougar, the unit’s crack sniper, who can hit any target with a steady hand, a cool eye and a quiet calm. “I loved playing a character who is more about sight than sound, more visual than verbal,” Jaenada offers. “Cougar may be the quiet type, but he’s always there watching out for his team. He’s the strong, silent guy in the movie.”

“Cougar is the mystery man of the crew,” says White. “I met Oscar and thought he was incredible; he has such an expressive face and an amazing presence. We needed someone who could act with his eyes, and that’s Oscar. He brought the character of Cougar to life in a way not many people could have.”

Kerry Foster emphasizes, “Oscar was such a boon to the cast. He enjoyed the idea of playing the guy who doesn’t need to speak to get his point across. He came in from Spain and wasn’t able to arrive until the day before we started shooting, and I think the other guys were sad to see him because he was clearly the coolest of the bunch,” Foster teases. “But he’s just the sweetest man and everybody loved working with him.” Read more...

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MOVIE NEWS: The Losers - Cast & Crew Talk About The Production Part 1

Anyone else would be dead by now.

“The Losers have fun while they kick butt.” Director Sylvain White succinctly sums up the appeal of the ex-special forces unit that comes to the big screen from the pages of the popular DC/Vertigo comic book series, by the team of writer Andy Diggle and artist Jock.




As a fan of the original comics, White wanted to capture the same irreverent style in the film “The Losers.” He relates, “When I read the comics, the first thing that really struck me was the sense of humor Diggle and Jock were able to inject into a very action driven story. It was such good source material, and I wanted to stay true to it by reflecting that tone in the movie.”


ZOË SALDANA as Aisha, CHRIS EVANS as Jensen, JEFFREY DEAN MORGAN as Clay, COLUMBUS SHORT as
Pooch, IDRIS ELBA as Roque and OSCAR JAENADA as Cougar in Warner Bros. Pictures’ and Dark Castle
Entertainment’s action thriller “The Losers,” released by Warner Bros. Pictures.
TM & © DC Comics Photo by John Bramley
Producer Joel Silver agrees. “The great thing about ‘The Losers’ is that it doesn’t take itself too seriously, which originated with the comics, of course. But much of that attitude also came from the screenwriters, Peter Berg and James Vanderbilt, who brought so much to the table, and a lot came from Sylvain, who delivered a strong, visual cinematic style that I think feels fresh and hip and cool.”


L-r: IDRIS ELBA as Roque, OSCAR JAENADA as Cougar, JEFFREY DEAN MORGAN as Clay, CHRIS EVANS as Jensen,
COLUMBUS SHORT as Pooch and ZOË SALDANA as Aisha in Warner Bros. Pictures’ and Dark Castle
Entertainment’s thriller “The Losers,” released by Warner Bros. Pictures.
TM & © DC Comics Photo by John Bramley
Producer Akiva Goldsman was already familiar with Sylvain White’s work from the director’s feature film debut, “Stomp the Yard,” a drama centered around a stepdancing competition. “And yet,” Goldsman says, “there was a construct to the dancing in it that made it very much like martial arts, which spoke to the style he wanted to bring to this movie. Sylvain has a really good eye and a terrific sense of character and action.

When he showed us what he wanted to do with ‘The Losers,’ we were all impressed.” Employing his graphic arts background, White had created a full storyboard for the film that told the producers all they needed to know. “Sylvain came in and gave us a dazzling presentation,” recalls producer Kerry Foster. “He was so passionate and had such a clear vision for the movie that we knew he was the perfect choice to direct it.”


L-r: IDRIS ELBA as Roque, CHRIS EVANS as Jensen, JEFFREY DEAN MORGAN as Clay, COLUMBUS SHORT as
Pooch and OSCAR JAENADA as Cougar in Warner Bros. Pictures’ and Dark Castle Entertainment’s action
thriller “The Losers,” released by Warner Bros. Pictures.
TM & © DC Comics Photo courtesy of Warner Bros. Pictures
White says he not only drew inspiration from the original comic books but also from the screenplay. “It had a light tone paired with very gritty, visceral action. That can be a very difficult balance to maintain, but Peter and Jamie did it perfectly.”

James Vanderbilt, who collaborated with Peter Berg on the screenplay for “The Losers,” notes, “I was raised on Joel Silver movies like ‘Die Hard,’ ‘Lethal Weapon’ and ‘48 Hrs.,’ and that is my favorite type of action film—where there are real emotions, but not everything is so dire all of the time. The stakes are high, but the characters seem to be having a good time…and we have a good time with them.”


ZOË SALDANA as Aisha and JEFFREY DEAN MORGAN as Clay in Warner Bros. Pictures’ and Dark Castle
Entertainment’s action thriller “The Losers,” released by Warner Bros. Pictures.
TM & © DC Comics Photo courtesy of Warner Bros. Pictures
“The Losers are fun; you want to hang out with them,” White affirms. “They are not superheroes, they are real guys; in fact they’re underdogs who find themselves in what I would say is an extreme situation.” Read more...

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MOVIE NEWS: News The Losers Movie Poster

Warner Brothers has released a new poster from the upcoming The Losers movie.


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MOVIE NEWS: Losers Trailer

Warner Brothers Pictures presents the trailer for The Losers




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Movie Review: Sherlock Holmes (Warner)

Guy Ritchie’s take on the famous English detective Sherlock Holmes promised to deliver a new spin on the classic character. With a star studded cast that includes Robert Downey Jr., Jude Law, and Rachel McAdams, and an add campaign that advertised a full throttle adventure, all the pieces of a great movie seem to be in place. So, does the film live up to expectations? Well, no sadly, not really.



So where does the film falter? The performances from Robert Downey Jr. (Sherlock Holmes) and Jude Law (Dr. Watson) are good, and the performances by Rachel McAdams (Irene Adler) and Mark Strong (Lord Blackwood) are sufficient (though Blackwood is a bit of a limp villain). Sadly, there isn’t anything the actors could do to stop the problems with the film. The main problem runs much deeper, and was already in effect before the actors ever stepped in front of the cameras. What I’m referring to of course is the screenplay, which I can only describe as dull and rushed.



From the very get go something seemed wrong. I sat in the theatre wondering to myself, “Why doesn’t this feel right?” And then it hit me. “Where’s the set up?” Well, there isn’t one really. As the film opens up, Holmes and Watson are in an underground tunnel, fighting two men, and then making there way into an open room where what looks to be an ancient ritual of human sacrifice is taking place. The person conducting the ritual is none other than Lord Blackwood. At this point I’m thinking to myself, “Oh God, the theatre has screwed something up. This is the end of the film….” But it wasn’t. It was just a really odd opening to a movie. Holmes and Watson stop the ritual and Lord Blackwood is apprehended and sent to prison. As he is taken into custody, Lord Blackwood taunts Holmes that “It isn’t over.” I wish it had been. Instead, what happens is we are introduced to Holmes’ old flame … (does every hero have to have an old flame?) who isn’t exactly what she seems, and from this point on, the trio basically move from one set to another, fighting more than detecting, until they stumble their way to the end of the film, revealing an “evil master plan” that seems as if it was written by a six year old.



There are a few moments in the film where Holmes thought process is shown to the audience visually. This would have been a great way to get across Holmes intelligence in a film adaptation, if only it would have been used as a way to show his keen eye for picking up clues and putting the pieces together. Instead, it is used to show how Holmes plans out his moves in a fight before it actually happens, again putting more emphasis on Holmes as a fighter and action adventurer than a detective.



By the time we reach the conclusion, I don’t feel as if we know anymore about the central characters than when the film began. Sure, most of us know who Sherlock Holmes and his trusty sidekick are, but how many of us have read the actual stories? If you haven’t then this film won’t teach you what these stories are really like, and if you have read the stories, then the film will probably play even worse for you since Holmes is played more as a sly fighter than a detective.



This ruined opportunity could have easily been prevented. Many of the problems with the screenplay could have been avoided if they simply would have done an origin story for the first film of what I suppose will end up being a series. How did Holmes become a detective that is respected by the police? How did Holmes and Watson meet, befriend each other, and eventually work together to solve mysteries? Neither of these issues are addressed and it really hurts the film. Secondly, if you were going to base a film series on one of the most famous characters from popular fiction, why would you not base the story on one of the beloved works featuring the character?



Evidently the filmmakers thought that an intelligent, more direct adaptation of the great detective wouldn’t play to the average A.D.D. movie viewer, so instead of sprinkling the story with clues, they sprinkled it with explosions and action sequences. What’s worse is that instead of actually filming the final confrontation on a set, the majority of the setting is done in very obvious CG. Some directors can handle filming scenes where vast amounts of CG will be needed and integrate it well. A good example of this would be what J.J. Abrams was able to do with the recent Star Trek reboot. Unfortunately, Ritchie doesn’t handle this type of filming well in Holmes. It’s bad enough that the over the top action doesn’t fit the character or story that should be expected from a Sherlock Holmes movie, but when the effects are blatantly obvious, it only makes things worse. The only thing elementary about this Sherlock Holmes is how much of a missed opportunity it is.



Terry Barnhill
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Movie News: REPRISE RECORDS TO RELEASE ORIGINAL SOUNDTRACK TO FEATURE FILM BOOK OF ELI ON JANUARY 12th, 2010

Soundtrack to Post-Apocalyptic Drama Features Original Score by Nine Inch Nails Collaborator Atticus Ross



Reprise Records will release the original motion picture soundtrack to the Hughes Brothers-directed feature film The Book Of Eli on January 12th, 2010 — three days before the film hits theaters nationwide on January 15th, 2010.

The Book of Eli Original Motion Picture Soundtrack features an original score by composer/musician/producer Atticus Ross, marking his third collaboration with the Hughes Brothers and his first feature film score. Ross’ music is a unique hybrid score of electronic and organic elements; writing with his wife (Claudia Sarne) and brother (Leopold Ross), the basic tracks were recorded at his studio in Los Angeles before departing to London where it was finished in Abbey Road Studios with a full 80 piece orchestra.

Ross’ other film credits include co-writing and producing “Go All the Way (Into the Twilight),” the Perry Ferrell single for the hit film Twilight, the score for the Allen Hughes’ vignette for the film New York, I Love You, as well as the music to the Hughes Brothers TV show 'Touching Evil" . Ross has also incorporated his musical style into collaborations and productions of such major artists as NIN (the albums With Teeth, Year Zero, The Slip, and the Grammy-nominated Ghosts), Jane's Addiction, and Korn.

The Book of Eli stars Denzel Washington, Mila Kunis, and Gary Oldman in a post-apocalyptic tale in which a lone man, Eli (Washington), fights his way across America in order to protect a sacred book that holds the secrets to saving humankind.

The soundtrack will be released in four configurations: standard CD, a digital version available through all digital service providers, and a special exclusive iTunes edition that will feature a remixed track by Dave Sitek (TV on the Radio). A vinyl version will be released in February. The Book of Eli is being distributed domestically by Warner Bros. Pictures.

The track-listing for The Book of Eli Original Motion Picture Soundtrack is as follows:

• Panoramic
• Outland
• The Journey
• Amen
• The Convoy
• Solara Violated
• Safe
• Human
• Meant to be Shared
• The Passenger
• Den of Vice
• Gattling
• Blind Faith
• Convoy Destruct
• Movement
• Carnegie's Demise
• The Purpose

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Movie News: The Book of Eli - ABOUT THE PRODUCTION

“One day I heard this voice, like it was coming from inside me.
It led me to a place…I found this book, buried deep in the rubble…
And the voice told me to carry it west.”



“What we liked about this story was that it was an action adventure but it also had
something to say about commitment, sacrifice, survival and human nature,” offers Allen Hughes, who, with his twin brother, Albert, directed “The Book of Eli.” It is the fifth feature film for the pair, who made their auspicious debut at age 20 with the powerful and acclaimed inner-city drama “Menace II Society.”

Says Albert Hughes, “‘The Book of Eli’ takes us to a future that is decimated—whether
by war, nuclear or natural disasters, or any combination of events, it doesn’t matter. The devastation is total and that allowed us to speculate about how the world would look and how people would manage if the whole grid was wiped out and we were thrown back into a primitive way of life. There would be a lot of lawlessness. But, in time, there might be a few brave individuals who would regain a sense of purpose and take up the mantle of leadership.”

Eli is one of these few. In a time when people are either hunter or prey, he dares to be a free man, committed only to his belief in what he’s doing and his determination to see it through.

But the price he pays for following his conscience is harsh. Without respite, without a home…nearly every day brings him into fresh peril and another fight against the forces that would drag him and whatever is left of society into an ever-deeper abyss.

Denzel Washington was so taken with the story that, when initially approached for the
title role, he also signed on as a producer. “It’s an interesting journey,” he acknowledges. “Eli is a man on a mission of great importance that he’s been pursuing for a long time. When we meet him, he’s nearing the end of it but his greatest tests are still to come.”

Exactly who Eli is—where he comes from and where he is going—remains largely, and
intentionally, a mystery. Says Allen Hughes, “A character like Eli, the enigmatic lone warrior, is almost mythical. You know there’s a rich back story, but it shouldn’t be entirely revealed, and Denzel was conscientious about doing little things that would shed light into his past without spelling it out. One of his ideas was for Eli to bear a burn scar on his back as a mark of the catastrophe he has survived. He was very good at painting in those kinds of details that would
add to Eli’s mystique.”

“Denzel really got into the soul of the movie, taking it beyond the adrenalin rush of
action,” says producer Broderick Johnson. “His performance makes you want to take that walk with him, to be moved by Eli’s quest and the obstacles in his way.”

Adds Johnson’s longtime producing partner, Andrew A. Kosove, “One of the themes of
the film is about believing you can do something that needs to be done, and then following through. Eli has a hard road to travel, literally, but he believes he can succeed. He has a driving faith in what he’s doing.”

But if it’s this conviction that keeps Eli focused, it’s his quick wits and quicker fists that keep him alive.

Producer Joel Silver, the force behind some of Hollywood’s most memorable action
films, addresses the character’s dual nature. “He has a mission to fulfill. If people try to divert him from it or stop him for any reason, then he will, quite simply, do whatever is necessary to get past them. I think you’re inclined to forgive his actions because, at his core, he’s an honest and peaceful man, and this mission is the most important thing in the world to him.”

“Part of what makes Eli heroic is this focus on the future. He is constantly moving
forward,” notes producer David Valdes. “I’m a real movie fan. I love the classic struggle of good versus evil, and I especially love to see a hero who believes in the future as much as Eli does. It speaks of hope.”

“He’s not like the others. You won’t be able to make him do what you want.”

The most formidable of Eli’s obstacles is a man named Carnegie. Like Eli, he is one of the few living relics from “the time before” and carries the burden of remembering how things used to be. “There’s a line in the movie where Eli explains, ‘People kill each other now for things we used to throw away,’ and he’s talking about basic things like soap or matches, that are now rare and valuable commodities,” reveals Albert Hughes.

Unlike Eli, Carnegie has devoted the past 30 years to amassing a crude empire amid the ruins of an abandoned town and his taste for power has grown. He is accustomed to getting what he wants, and what he wants now is a book that Eli carries in his pack—a Bible, believed to be the last one on Earth.

“It’s a great mano a mano dynamic between these two men in total opposition. Each of
them wants the same thing but for entirely different reasons, and they are equally determined not to give up,” Silver says.

In his role as filmmaker, Washington contributed significantly to the development of
Eli’s nemesis. “Denzel started fleshing out the Carnegie character, first, in pre-production, saying, ‘The good guy is only as good as the bad guy is bad,’” recalls Allen Hughes. “We’d talk about whether or not Carnegie was a true villain or just a man caught in desperate times who does bad things as a means to an end. With Carnegie, things are not black and white, but gray. The remnants of his humanity make him all the more unpredictable.”

Washington and the Hughes brothers agreed that the actor portraying Carnegie would
have to present Eli with a formidable challenge and that led them to Gary Oldman. Says Washington, “Gary’s a champion actor and I wanted to be sparring with the best.”
Albert Hughes also cites Oldman’s “wicked sense of humor,” saying, “He and Denzel
injected some levity into tense moments on screen. It’s a serious story, but it’s definitely notbleak and especially not when these two face off.”

“I always appreciate a classic battle,” Johnson attests. “When Denzel Washington confronts an enemy on screen, I know that’s a movie I’m going to enjoy.”

“Carnegie is essentially a dictator,” states Oldman. “He has built this town through
violence and through control of a very valuable commodity—fresh water—because he
remembers where to find it. But he’s also smart. He has a philosophy. Carnegie is familiar with the book Eli carries and he’s aware of what it can achieve because it’s a part of his own history and childhood. He’s been looking for it himself for years. These two men have the same obsession over this book, though one is coming from a good place and one from a darker place.”

An essential question raised by the story is what contributes to building a civilization. As much as Eli believes the Bible will serve as the basis for a new, just and equitable society, a chance to start over and avoid the errors of the past, Carnegie sees the same text as a means to controlling people and expanding his dominion. The two might agree on the inherent power of the words between the covers of this book but have diametrically disparate views on how that power should be used.

Carnegie has no qualms about eliminating Eli, yet at the same time, he can’t help being intrigued by this extraordinary man who dares oppose him, unlike the uneducated thugs in his employ or the damaged souls who roam the landscape. It’s as if he has finally found a worthy adversary and must savor the moment. “Eli has a powerful presence. He’s steady, resolute and composed,” adds Oldman. “Carnegie has never seen anyone quite like him.”

Says Washington, “Eli won’t capitulate and Carnegie won’t take no for an answer. Carnegie challenges him on every level. It becomes a great battle of wills.” It also becomes a battle of heavy artillery as Carnegie launches an all-out assault on the man he derisively calls “the walker.”

Their conflict plays out against the ongoing and immediate issues of survival that affect everyone around them, and is another of the themes the film explores. Screenwriter Gary Whitta once attended a practical two-day survival course in which he learned some stark truths that served to inspire some of the onscreen action.

“The first thing you learn is that it’s not pleasant.You may have to eat something or drink something you would ordinarily never consider, but the bottom line is that you’ll do what you have to do to stay alive and that comes from basic human nature.”

“When people regress to a primitive level, true character emerges and every conflict is more dramatic,” observes Allen Hughes. “The simplest exchanges are potentially life-or-death.”

“I don’t plan on staying. I got someplace I need to be.”

Despite Eli’s singular goal, Washington believes that part of his journey involves lessons he’s not yet aware he needs to learn. “When Eli crosses through Carnegie’s town, he becomes the focus of some unwelcome attention—not only from Carnegie, who wants to destroy him, but from Carnegie’s stepdaughter, Solara, an innocent who reminds him that being human means dealing with other human beings. In his desire to protect the book he thinks of nothing else, but part of his responsibility might also be to open himself up, to really give and do more for others. He’s been entrusted with carrying the book but he must also remember to carry its message. It could be the final test of his particular mission and he is very reluctant to take it on.”

Carnegie’s household includes his blind common-law wife, Claudia, and her daughter, Solara, both of whom he rescued from the badlands years ago and continues to protect—though that benevolence is often tainted by his own self-interest.

Mila Kunis, who stars as Solara, points out, “Carnegie keeps them safe, but they are virtually slaves for it. Solara is a smart girl, a young, strong spirit. She believes there is more to life than this town, but it’s not until she meets Eli that she is inspired to escape. Solara is fascinated and drawn to him. She wants to learn from him, follow him wherever he’s going and explore the rest of the world.”

The filmmakers recognized in Kunis the ability to convey vulnerability mixed with boldness and optimism, all of which define Solara as she ventures into a realm she has long been denied. “Mila is a firecracker,” says Albert Hughes. “She plays Solara in a way that lets you watch her grow, and she grows up fast once outside of Carnegie’s control.”

Solara shares a strong bond with her mother, Claudia, played by Jennifer Beals. Together, the two women endure Carnegie’s tempers and ill-treatment for each others’ sake. Beals explains, “Claudia lives for her daughter. Through her relationship with Carnegie she is able to provide Solara with food and clothes and some of the amenities that are completely impossible for other people to get. If Carnegie is the king of this place he has created, then Claudia is its powerless queen.”

Albert Hughes credits Beals with “playing all their tortured history in her face. There’s not a lot of dialogue so she communicates a lot through her body language and her expressions.”

Like Solara, Claudia too has a strong reaction to Eli’s arrival. “He is the first person aside from Solara who shows Claudia unmitigated kindness, and it reminds her of what civilization used to be and how people were once capable of behaving,” says Beals. “It’s a sliver of hope and it gives her strength. The fact that Eli stands up to Carnegie is thrilling for her because it’s something she would love to do but can’t.”

Another person who would love to stand up to Carnegie is his right-hand man, Redridge, played by Ray Stevenson, who describes his role as “Carnegie’s enforcer and personal bodyguard, among other things. He does as he’s told but you get the sense that he’s biding his time. He has his own agenda.”

When Eli and Solara are discovered fleeing town, Carnegie orders Redridge to execute a search-and-destroy. It could be the break Redridge has long been waiting for.

Meanwhile, in the wasteland beyond Carnegie’s borders are two people who have devised their own unique way of coping with the daily difficulties of existence: George and Martha, played by Michael Gambon and Frances de la Tour as a happily married couple who are also shrewd survivalists.

Eccentrics, even in this strange age, the pair live in a quaint, meticulously decorated cottage, complete with embroidered sofa pillows and framed photos on the wall—a striking anomaly in this desolate terrain where no other structures stand for miles in any direction.

“They’ve tried to retain a bit of the old life, a wind-up gramophone and china cups for tea,” says de la Tour. But like many things in “The Book of Eli,” these two may not be what they seem.

“When strangers show up at their door, they’re treated as a threat. George and Martha think everyone is a threat. Because they are.”

“You lay that hand on me again and you will not get it back.”

Veteran stunt coordinator Jeff Imada (“The Bourne Ultimatum,” “Fight Club”) orchestrated the film’s explosive confrontations to reveal the breadth of Eli’s hard-won survival skills. “In ‘The Book of Eli’ we’re going to see some street-oriented fighting. There will be a lot of weaponry, some knife fighting, sword and stick fighting; you’ll see Eli using his environment to defend himself, facing multiple opponents coming at him like a pack of wolves, and some one-on-ones. Anything goes,” he says.

Preparation for these brutal sequences attest to Denzel Washington’s dedication. He put in months of hard work with some of the industry’s best trainers to credibly achieve the fluid action the filmmakers wanted, which meant fight scenes captured in a single take and without the support of a stunt double.

“Denzel really stepped up to the plate,” says Allen Hughes. “There were a lot of physically demanding scenes and we weren’t cutting around it and making him look good. He really had to do it straight through and he pulled it off. It was amazing.”

Working with renowned martial arts practitioner and teacher Dan Inosanto, a protégé of Bruce Lee, Imada subjected Washington to what he calls “total immersion.” It was a discipline not unfamiliar to the actor, who famously worked out for a year with boxing pro Terry Claybon for his Oscar-nominated® role as middleweight champion Rubin “Hurricane” Carter in “The Hurricane” and has continued to use the sport to keep in shape. “We put Denzel through a crash course in all different aspects and techniques of fighting and pulled it all together for the final result, which is a combination of various different styles of marital arts and hand-to-hand combat skills,” says Imada.

From Washington’s perspective, it represented an opportunity. “I was fortunate to work with experts like Jeff and with Danny, one of the great masters of martial arts. It was challenging and a lot of fun to train with these guys in the dojo and I have the utmost respect for what they do. Together, we worked on a fighting style for Eli that was an amalgamation of skills he would have developed the hard way, on the road.”

“Denzel also learned to expertly handle a blade as if it was an extension of his arm,” says Albert Hughes. Eli’s weapon of choice was originally conceived as a Samurai-style sword but Washington and the Hughes brothers opted for a shorter, machete-hybrid design, a less formal design that better suited the lone traveler’s circumstances, something he could easily conceal under his backpack and grasp quickly when needed.

Both the look and function of Eli’s eclectic arsenal and fighting style are part of his character. Forced to travel light, he must use everything he has learned and everything he has collected along the way to maximum affect—whether to get him through the day or to serve his greater purpose. This pragmatic approach extended from the performances to production design, from wardrobe to props. In Eli’s hands, a knife is not only for self-defense but for hunting and cleaning.

Eli’s response to the highwaymen, Carnegie’s hit-men and others who confront him is likewise instinctive and visceral and calls into play all of this accumulated knowledge. “He had to be able to face down his adversaries with proficiency but not appear to be trained in any specific system,” says Imada, who strove to organize each scene as if unchoreographed, “where people are grabbing and pulling at him, punching and kicking him all at the same time.”

Says screenwriter Whitta, “It’s essential that Eli wasn’t a combat veteran or some supersoldier who would already have remarkable skills. We wanted him to be a nobody, an Everyman. Through him and what he’s able to do, you see how people would have to adapt to stay alive. Denzel understood that audiences would have to buy these fight scenes to buy into his character and the story.”

“I want to see what the rest of the world looks like.”
“No. You don’t.”

The film’s opening scenes introduce audiences to a disturbing reality as Eli strides past long-dead bodies in looted, burnt-out vehicles that litter the road. Lonely miles stretch far ahead and behind him, along what the filmmakers came to refer to as the Highway of Death. It’s a world Joel Silver calls both “futuristic and completely broken down, a strange, surreal place with minimal functionality.”

“We knew the Hughes brothers would bring a very distinct visual style to it that’s integral to the action and the themes of the movie,” says Broderick Johnson. David Valdes explains, “The challenge was creating this primitive existence 30 years into the future. Usually, on a futuristic movie you’re thinking about concept cars and trying to figure out what a blender is going to look like decades from now. On ‘Eli,’ the idea was that in the future only the most rudimentary mechanical things, relics from the past, would still work.”

The filmmakers imagined a stark and gritty landscape that was dramatic and yet realistic in its depiction of what the earth might resemble following a major calamity. “We researched material about the likely impact on the environment, whether from a nuclear or biological assault or even ash from a super-volcano,” says Allen Hughes. “What would happen to plant and animal life, weather patterns, cloud formations? What degree of decomposition would there be? What would such a future look like?”

“In some ways it was inspired by graphic novel imagery, even though the story doesn’t have those origins,” adds Albert. “We used comic book artists Tommy Lee Edwards, Chris Weston and Rodolfo Dimaggio to help us arrive at the overall look of the movie: the color template, characters, sets and locations…a kind of visual script.” Extensive storyboarding then developed into a set of reference books that set the tone for each department, from preproduction through scoring and color timing. “The cast and crew could look at them and instantly get the vibe of the movie.”

Employing a strategy of dividing the workload as they often do, Allen spent much of the pre-production schedule overseeing casting and the script in Los Angeles while Albert focused on the specifics of production design and cinematography with Valdes on location, maintaining constant communication.

“Allen and Albert have a seamless partnership. They complement each other so well and they each bring so much to the table, it’s exponential,” says Andrew A. Kosove. The production filmed at various New Mexico locales, primarily in and around Albuquerque, as well as the roadways at Cochiti Pueblo. It also utilized the White Sands National Monument and White Sands Ranch in the southern part of the state for its characteristic open skies and expansive vistas.

For all its topographical perfection, the area had its drawbacks, like blinding 65 mile-per hour dust storms. “Extreme weather can come up out of nowhere. It can be a calm sunny day and the next minute it’s like that scene in ‘The Wizard of Oz’ where the house blows away,” Allen Hughes laughingly recalls.

Though naturally austere, exterior footage still required digital adjustment, a task entrusted to visual effects supervisor Jon Farhat (“The Mask”), who describes, “Even in shots of the most barren parts of New Mexico, the sage and tumbleweeds had to go. The directors wanted a totally denuded environment. Essentially, every exterior shot in the movie—from the horizon up, and behind anything in the foreground—was modified.”

Visual effects also enhanced the sense of movement and urgency the Hughes brothers wanted. Says Farhat, “In this fragile atmosphere, the sky needs to move a little faster than normal. Clouds were a significant design element. During most of the movie they are moving against Eli’s forward progress, indicating that he’s heading west.”

After some experimentation, the directors and cinematographer Don Burgess elected to shoot “The Book of Eli” with a RED Digital Camera, which records directly to a flash or hard disk. “With computers set up in the trailer, we had the opportunity after every scene to color adjust and immediately project the image onto a screen. It kept us in tune with the changes of color or texture we’d be making in post,” says Burgess.

Color and texture were also the focus of production designer Gae Buckley, reuniting with producers Johnson and Kosove after “The Sisterhood of the Traveling Pants 2.” “Gae had worked with us on a very different kind of film,” Kosove says, while adding, “I knew she could create Eli’s world. What she did is magnificent. The sets were spectacular; everywhere you look, it’s a post-apocalyptic universe.”

Buckley designed sets on soundstages at the Albuquerque Studios, as well as an abandoned road and set piece elements for green-screen work on the backlot. She also oversaw construction of the house occupied by George and Martha on a desolate stretch of desert a short distance from the studio. But her most comprehensive design was Carnegie’s town.

“We were looking for a small community that might have some missing buildings in its downtown area so we could build in some ruined structures,” says Buckley, who found what she needed in the New Mexico town of Carrizozo, population 1,036. She created a streetscape that stretched between two avenues, installing false fronts over existing businesses or building new structures in vacant spaces on both sides of the street, based on historic photos of war-torn sites.

The jewel in this crown was the story’s Orpheum Theatre, Carnegie’s home and base of operations, relatively well-preserved due to its brick construction. It’s here that Eli and Carnegie first size each other up.

Addressing the artistry of cinematic decay, Buckley admits, “I love working with crumbling walls and their silhouettes, and creating these textures with layers of paint and rubble. Our painters were incredible. Every single surface has about four or five colors on it: the undercoats, then the peeling and aging coats. It was a tremendous amount of work.”

The theater’s interior was built on a soundstage, an elaborate two-story set with a circular balcony and a bar that showcases one of the big fight scenes.

Another unusual set was a stark and leafless forest that Buckley constructed entirely
indoors, with dead trees harvested from the site of New Mexico’s recent Manzano forest fire, through the cooperation of the National Forest Service. As the setting for the film’s opening scene, the forest immediately defines Eli’s brutally inhospitable surroundings and helps to define the man himself: smart, resourceful, able to use everything in his environment to stay alive. It suggests the sacrifices and the risks such an existence would require.

“I think there are elements of instinct and human nature here that anyone can relate to. Our hope is for audiences to feel an emotional connection to these characters and come away with a feeling that stays with them,” says Albert Hughes.

Adds Allen, “What we’d like people to take away from ‘The Book of Eli’ is an appreciation of life and how precious it is. It’s a story that touches on universal themes of faith, commitment, sacrifice and, ultimately, hope. These are the elements that originally attracted us and we tried to do them justice.” Read more...

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Movie News: SHERLOCK HOLMES Interview with the cast and filmmakers

Here's an Press Conference with the cast & crew of SHERLOCK HOLMES.



SHERLOCK HOLMES opens in theatres Christmas Day.






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Movie News: FIRST POINT OF ATTACK: THE ACTION OF “SHERLOCK HOLMES”

“It does make considerable difference to me havingsomeone with me on whom I can thoroughly rely.”



In the film, as in the books, both Holmes and Watson know their way around a fight and their skills are frequently tested. Holmes is a skilled martial artist; this propensity links him with both the star and director of “Sherlock Holmes,” as Downey and Ritchie have practiced martial arts for years, and worked together to create Holmes’s distinct fighting style. “Doyle called it Baritsu in the novels, which is tied to a 19thcentury hybrid of jujitsu that is actually called Bartitsu, created by Edward William Barton-Wright,” Downey explains. “Jujitsu is Guy’s chosen martial art. Mine is Wing Chun Kung Fu. So, we developed our own combination of martial arts styles for the movie.”

As efficient as he is at neutralizing an enemy in the course of his work, Holmes is also known to blow off steam in a boxing ring at a working class pub called the Punch Bowl. Here, in front a raucous crowd, Holmes takes on a massive boxer named McMurdo, played by David Garrick, in a brutal bare-knuckle fight which showcases the detective’s prowess and physical strength.

“The bare-knuckle boxing ring is the only place where Holmes doesn’t think,” says Downey. “But even there he does think; he thinks about how to win the fight, but doesn’t think about all of these ongoing concerns of life. Interpersonal relations don’t enter into it. It’s just you and your opponent.”

“The Punch Bowl is where Holmes goes to hone his skill, to make mistakes, and test out techniques against very powerful opponents,” comments fight consultant Eric Oram, who for years has trained with Downey in Wing Chun Kung Fu and helped prepare the actor for the fight sequences. “He starts by using the least amount of force in the first half of the fight. It’s only after his opponent crosses the line that he wants to teach him a lesson.”

More out of necessity than choice, Watson too knows his way around a street fight, though he is more of a brawler compared to the fluid combat style of Holmes. “Watson is used to the up-close-and-personal fight-for-your-life stuff,” Downey attests. “He has a much more accessible but no less effective style than Holmes. As a matter of fact, there are often times when Holmes over thinks in order to come up with the best deduction, where Watson will just strike with any tool that’s handy.”

“Watson is a war veteran and used to thinking on his feet,” says stunt coordinator Franklin Henson. “He can throw a wild punch in reaction, and, like a street fighter, he’ll use whatever it takes—his head, knees or elbows—to bring an opponent down.” Law relished participating in the fight sequences. “When you’re in the hands of someone like Guy, who shoots with such a unique eye, you know you’re not shooting a standard fight scene,” says the actor. “He’s always looking for a new way to reveal the story behind the fight, and he knows exactly what he wants. So it’s good fun.”

Director of photography Philippe Rousselot utilized lighting and camera to make the textures palpable and the fights a truly physical experience. “Guy wants the film to feel to the viewer as if you’re there,” Rousselot states. “A good example is the Punch Bowl fight. It was crucial to bring in every detail, from a miniscule drop of sweat to the effect of each blow on the opponent’s body to the sea of movement and tussling in the crowd.”

Ritchie also used these sequences to deconstruct Holmes’s thinking over the course of a fight. He and Rousselot accomplished this moment-by-moment technique using a high-speed digital camera called the Phantom, which creates an ultra-slow motion effect. “The Phantom takes one second of filming and strings it out over 40 or 50 seconds,” says the director. “The camera takes in a great deal of information in a very short period of time, which is the perfect lens through which to illustrate how Holmes’s mind operates. He is able to condense an enormous amount of information into a fraction of a second.”

For a key action sequence—on a multi-story set representing the half-constructed Tower Bridge—Ritchie rehearsed extensively with the actors, along with Oram and Henson, as well as fight coordinator Richard R. Ryan. “We worked very closely with quite a big stunt team,” notes co-producer Steve Clark-Hall. “They knew Robert’s capabilities, which are considerable, and were able to play to his strengths. Pulling off this degree of high intensity action in these stunt sequences was quite a team effort.”

Ritchie sought a strategic blend of rehearsal and spontaneity to ensure the chaos of fighting was reflected in the sequences. “I made the creative decision to make the film gritty, so I didn’t want things to be too choreographed,” he says. “We discussed everything, but we also made sure to leave room for improvisation. I didn’t want it to look too perfect.”

This sensibility appealed to Rachel McAdams, who had extensive stunt work in the Tower Bridge sequence. “Guy liked to keep things messy and keep the truth within this fantastical world,” she notes. “There’s always the temptation to get too refined when dealing with this period, but Guy made sure it was also rough and tumble and modernized. Doing this movie with Guy taught me to be really quick on my feet and precise, yet always open and flexible.”

Of course, humor was an important ingredient in the action and found its way into all the action scenes. “There needed to be moments of levity and other moments of gravity,” Ritchie offers. “So the funny bits got funnier and the darker bits got darker as we went along.” Read more...

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Movies News: Images from Sherlock Holmes

Warner Brothers Pictures has released images from the upcoming Sherlock Holmes film, which opens on December 25th.




(L-r) JUDE LAW as Dr. John Watson and ROBERT DOWNEY JR. as Sherlock Holmes
in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure mystery
“Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo by Alex Bailey


ROBERT DOWNEY JR. (center) as Sherlock Holmes in Warner Bros. Pictures’ and
Village Roadshow Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by
Warner Bros. Pictures.
Photo by Alex Bailey


MARK STRONG (hooded) as Lord Blackwood in Warner Bros. Pictures’ and Village
Roadshow Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner
Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


KELLY REILLY as Mary Morstan and JUDE LAW as Dr. John Watson in Warner Bros.
Pictures’ and Village Roadshow Pictures’ action-adventure mystery “Sherlock Holmes,”
distributed by Warner Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


ROBERT DOWNEY JR. as Sherlock Holmes in Warner Bros. Pictures’ and Village
Roadshow Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner
Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


MARK STRONG as Lord Blackwood in Warner Bros. Pictures’ and Village Roadshow
Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner Bros.
Pictures.
Photo courtesy of Warner Bros. Pictures


RACHEL McADAMS as Irene Adler in Warner Bros. Pictures’ and Village Roadshow
Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner Bros.
Pictures.
Photo by Alex Bailey


JUDE LAW as Dr. John Watson in Warner Bros. Pictures’ and Village Roadshow
Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner Bros.
Pictures.
Photo courtesy of Warner Bros. Pictures


ROBERT DOWNEY JR. as Sherlock Holmes in Warner Bros. Pictures’ and Village
Roadshow Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner
Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


(L-r) JUDE LAW as Dr. John Watson and ROBERT DOWNEY JR. as Sherlock Holmes
in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure mystery
“Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo by Barry Wetcher


(L-r) JUDE LAW as Dr. John Watson and ROBERT DOWNEY JR. as Sherlock Holmes
in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure mystery
“Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo by Alex Bailey


(L-r) JUDE LAW as Dr. John Watson and ROBERT DOWNEY JR. as Sherlock Holmes
in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure mystery
“Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo by Alex Bailey


(L-r) JUDE LAW as Dr. John Watson and ROBERT DOWNEY JR. as Sherlock Holmes
in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure mystery
“Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo by Alex Bailey
SHH-SWTP-055
JUDE LAW as Dr. John Watson in Warner Bros. Pictures’ and Village Roadshow
Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner Bros.
Pictures.
Photo courtesy of Warner Bros. Pictures


ROBERT DOWNEY JR. as Sherlock Holmes in Warner Bros. Pictures’ and Village
Roadshow Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner
Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


ROBERT DOWNEY JR. as Sherlock Holmes in Warner Bros. Pictures’ and Village
Roadshow Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner
Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


(L-r) ROBERT DOWNEY JR. as Sherlock Holmes and JUDE LAW as Dr. John Watson
in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure mystery
“Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


JUDE LAW as Dr. John Watson in Warner Bros. Pictures’ and Village Roadshow
Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner Bros.
Pictures.
Photo by Alex Bailey


(L-r) ROBERT DOWNEY JR. as Sherlock Holmes and JUDE LAW as Dr. John Watson
in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure mystery
“Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


(L-r) ROBERT DOWNEY JR. as Sherlock Holmes and JUDE LAW as Dr. John Watson
in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure mystery
“Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


EDDIE MARSAN as Inspector Lestrade (center) and ROBERT DOWNEY JR. (far right)
as Sherlock Holmes in Warner Bros. Pictures’ and Village Roadshow Pictures’ actionadventure
mystery “Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


(L-r) JAMES FOX as Sir Thomas Rotheram, HANS MATHESON as Lord Coward,
WILLIAM HOPE as Ambassador Standish and ROBERT DOWNEY JR. as Sherlock
Holmes in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure
mystery “Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


(L-r) MARK STRONG as Lord Blackwood and JAMES FOX as Sir Thomas Rotheram
in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure mystery
“Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


ROBERT DOWNEY JR. as Sherlock Holmes in Warner Bros. Pictures’ and Village
Roadshow Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner
Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


MARK STRONG as Lord Blackwood in Warner Bros. Pictures’ and Village Roadshow
Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner Bros.
Pictures.
Photo courtesy of Warner Bros. Pictures


(L-r) ROBERT DOWNEY JR. as Sherlock Holmes and JUDE LAW as Dr. John Watson
in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure mystery
“Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


ROBERT DOWNEY JR. as Sherlock Holmes and RACHEL McADAMS as Irene Adler
in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure mystery
“Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


HANS MATHESON (left center) as Lord Coward and MARK STRONG (center) as Lord
Blackwood in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure
mystery “Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


(L-r) JUDE LAW as Dr. John Watson and ROBERT DOWNEY JR. as Sherlock Holmes
in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure mystery
“Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


(L-r) JUDE LAW as Dr. John Watson, ROBERT DOWNEY JR. as Sherlock Holmes and
RACHEL McADAMS as Irene Adler in Warner Bros. Pictures’ and Village Roadshow
Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner Bros.
Pictures.
Photo by Alex Bailey


RACHEL McADAMS as Irene Adler in Warner Bros. Pictures’ and Village Roadshow
Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner Bros.
Pictures.
Photo by Alex Bailey


ROBERT DOWNEY JR. as Sherlock Holmes and RACHEL McADAMS as Irene Adler
in Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure mystery
“Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo by Alex Bailey


KELLY REILLY as Mary Morstan and JUDE LAW as Dr. John Watson in Warner Bros.
Pictures’ and Village Roadshow Pictures’ action-adventure mystery “Sherlock Holmes,”
distributed by Warner Bros. Pictures.
Photo courtesy of Warner Bros. Pictures


(L-r) JUDE LAW as Dr. John Watson, KELLY REILLY as Mary Morstan and ROBERT
DOWNEY JR. as Sherlock Holmes in Warner Bros. Pictures’ and Village Roadshow
Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner Bros.
Pictures.
Photo courtesy of Warner Bros. Pictures


Director GUY RITCHIE on the set of Warner Bros. Pictures’ and Village Roadshow
Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner Bros.
Pictures.
Photo by Alex Bailey


Director GUY RITCHIE on the set of Warner Bros. Pictures’ and Village Roadshow
Pictures’ action-adventure mystery “Sherlock Holmes,” distributed by Warner Bros.
Pictures.
Photo by Alex Bailey


Director GUY RITCHIE (center) with ROBERT DOWNEY JR. (left) and JUDE LAW
on the set of Warner Bros. Pictures’ and Village Roadshow Pictures’ action-adventure
mystery “Sherlock Holmes,” distributed by Warner Bros. Pictures.
Photo by Alex Bailey Read more...

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