Showing posts with label contagion. Show all posts
Showing posts with label contagion. Show all posts

Tuesday, February 21, 2012

Two more actors joining hunt for Osama bin Laden takedown movie -- EXCLUSIVE (EW.COM)



Two more actors joining hunt for Osama bin Laden takedown movie -- EXCLUSIVE by Anthony Breznican

 Jennifer Ehle, who attempted to stop a pandemic as a quick-thinking researcher in Contagion, is in talks to help rid the world of another pestilence as part of the team targeting the al-Qaeda founder.

That makes two very kickass female characters who are part of the ensemble, with The Tree of Life‘s Jessica Chastain already signed on to play another.

Ehle, 42, previously co-starred as George Clooney’s wife in The Ides of March and played Elizabeth to Colin Firth’s Mr. Darcy in the 1995 miniseries version of Pride and Prejudice. It’s unclear what specific role she will play in the bin Laden project.

Another cast member being added is Nash Edgerton, 39. The Australian stuntman and actor will play a Navy SEAL, according to a source. His brother, Joel Edgerton (Animal Kingdon), has already signed on to play another role in the film. Read more about this project: http://insidemovies.ew.com/2012/02/21/bin-laden-takedown-cast/

Read more about this project:  http://insidemovies.ew.com/2012/02/21/bin-laden-takedown-cast/



Monday, December 5, 2011

The New Yorker: The Best Films of 2011

December 5, 2011

The Best Films of 2011

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Hugo”—In Martin Scorsese’s wondrous 3-D masterpiece, you feel like you’re inside a giant box with the entire history of the cinema playing on the walls. The movie is intricate, touching, a reverent summing up of the past of movies, and a triumphant, heart-swelling surge into the future.

The Tree of Life”—Yes, I know, Terrence Malick’s movie is unbearably high-minded and humorless. But still! There are sequences that rival the greatest things ever done in movies, especially the long family episodes with Brad Pitt, Jessica Chastain, and the little boys, in which the camera floats around the characters, and all of eternity is summoned in the minutest motions of love and rage. Brad Pitt gives an amazing performance; he’s a shoo-in for the Oscar.
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Margin Call”—Or, as Werner Herzog might put it, Der Sheisse fliegen in der Whirligig, i.e., the bottom falls out of the mortgage-backed derivatives market. J. C. Chandor’s first feature film is sparely but eloquently written and perfectly played by a large cast whose attitudes towards one another, in the roles of financial executives, mutate through a long day from wary collegiality to outright hatred or desperate loyalty. The movie has a keen, bitter sense of the sudden breakdown of preposterous illusions. Great performances by Kevin Spacey, Zachary Quinto, Paul Bettany, and even Demi Moore.

Certified Copy”—In Abbas Kiarostami’s puzzling fable, a British art historian (William Shimmel) and a French gallery owner (Juliette Binoche) meet, seemingly for the first time, in Arezzo, and take off for a day of sight-seeing in the village of Lucignano. For their own amusement, they play at being married. Or are they really married? In the end, we realize that both stories are true; that both have been woven together in a double-sided fiction abut the varieties of intimacy. Beautifully shot in Lucignano, with a hand-held camera that smoothly recedes as the two, walking together, quarrel and flirt in the handsome stone village.

A Separation”—This somber but spirited look at the concentrics spreading out from the break-up of an attractive and intelligent couple—its effect on elders, servants, children—holds you from first to last. An Iranian film written and directed by Asghar Farhadi.

Contagion”—A businesslike, unexaggerated vision of catastrophe. Steven Soderbergh’s depiction of a new toxic virus spreading, well, virally, is frightening in its sober-minded attention to specifics. Some people wanted more filmmaking excitement, but the plainness and sureness of the movie are its greatest virtues.

The Descendants”—Nothing could be more suggestive of the screwed-up nature of Hollywood’s current business arrangements than the seven-year wait for a new movie from Alexander Payne (“Sideways”). In this lovely film, the director takes his time, pausing for observation, reflection, puzzlement, but there are two clear, intersecting story-lines: The cluelessness of a father (George Clooney) who has to take care, for the first time in his life, of his two daughters; and the debate within a large family over what to do with a large hunk of virgin property on the Hawaiian island of Kauai. The movie asks: Who shall inherit Hawaii?

J. Edgar”—Clint Eastwood does his best to inject some soul into the creaky biopic form in this epic portrait of the F.B.I. director as a mother-dominated man whose furious sexual self-suppression erupts into a broadly authoritarian drive. By casting Leonardo DiCaprio as the young Hoover, the movie traces how an attractive young man thickens with power and age. Armie Hammer is suavely appealing as Hoover’s lifetime inamorata Clyde Tolson.

Source Code”—Duncan Jones’s crackerjack time-travel thriller injects Jake Gyllenhaal into a speeding train booby-trapped with bombs. The entire thing is wild fantasy, of course, but the separate eight-minute segments of Gyllenhaal looking for the bombs are shot in real time, and the suspense is terrific.

Rise of the Planet of the Apes”—The best use of digital in a big commercial movie this year. The apes, injected with DNA intended to prevent Alzheimer’s, become super intelligent, and develop humanish traits like empathy. But then their inner apeness comes out, and they climb and jump all over San Francisco. Enormous fun. Directed by Rupert Wyatt.

Illustration by Jim Stoten.
Photograph by Merie Wallace/Fox Searchlight.

THE NEW YORKER
Read more http://www.newyorker.com/online/blogs/culture/2011/12/denby-the-best-films-of-2011.html#ixzz1fhKtU0KY

Tuesday, October 18, 2011

How Kate Winslet is helping in the fight against disease

The new Kate Winslet film, Contagion, is a boost for academics striving to understand how diseases


Kate Winslet in a scene from the film Contagion. Photograph: AP/Warner Bros.
Kate Winslet proclaims the line with a purposeful clarity. "The average person," she tells Matt Damon in the trailer for the forthcoming film Contagion, due for release this week, "touches his or her face three to five times every waking minute. In the meantime, we're touching doorknobs, water fountains, each other." Winslet plays Dr Erin Mears, one of the medics struggling to contain a pandemic that is threatening civilisation.

The film could hardly have come at a more opportune time for researchers at Warwick and Liverpool universities. "It focuses on how many contacts we make during each day and how highly infectious diseases spread through the population," says Matt Keeling, professor of maths and biology at Warwick. "That's exactly what we're looking at."

His colleague Dr Leon Danon, a research fellow in the university's Mathematics Institute, says Contagion will provide a much-needed boost to their attempts to track our interactions with other people. "Already we're getting responses from those who have seen the trailer," he goes on. "We've even discussed getting students to stand outside cinemas and hand out flyers."

Respondents are asked to think back to the previous day and recall what they did, who they met and talked to, how they were greeted, how far they travelled and by what means. "This important research will give us a better idea of how to control infections and understand who the main at-risk groups are," says Keeling. Danon puts it rather more starkly: "This stuff will save lives and, at the very least, fewer people will catch the flu." Flu viruses are passed on in various ways. "Physical skin-to-skin contact, not just kissing, is important, says Danon. "So you can catch flu through shaking hands with someone already infected. Flu can also spread through the air with no physical contact necessary, which is why we ask respondents to tell us about those people they had conversations with. It's also possible to catch flu by touching an item that has been touched by an infected person, but only for a few hours afterwards. How well the virus survives and is still able to infect depends on the environmental conditions, including temperature and humidity."

By tracking thousands of patterns of human interaction, the researchers hope to be able to predict more accurately the spread of pandemic flu and therefore provide healthcare agencies with the information to monitor and tackle outbreaks with the most cost-effective solutions.

The project started soon after the avian flu scare of 2008 and will end in March next year, when funding of £679,294 from the Medical Research Council runs out. One of the more prestigious medical journals will be offered the chance to publish the results but, before then, the researchers are hoping to at least double the 6,000 respondents.

"We need at least 10,000," Danon says. Women and retired people are over-represented. The academics are working with a marketing company on ways of targeting men and have started taking survey forms into schools. Keeling is keen to get more schoolchildren and people under 30 to take part. "They're currently under-represented in the survey yet they're probably the most important groups in spreading the infection," he says.

Schools have rightly been pinpointed as breeding grounds of infection. Says Danon: "The swine flu outbreak of 2009 died down once the school holidays started, and one proposition for containing future epidemics and pandemics could be the closure of schools at critical moments. That way you'd buy a couple of weeks to roll out vaccines."

Preliminary results suggest that teachers are high on the list of professions in greatest need of preventative measures. "It may be intuitive that certain people and occupations have higher numbers of contacts than others," Danon accepts, "but the most important part of our work is quantifying these effects and differences. How much more are teachers at risk than cleaners? Without the numbers, we can't accurately model epidemics and predict their future characteristics. Accurate predictions are the key for this work to be useful for public health."

Outside the Mathematics Institute, a bus pulls up, packed with people under 30. Plastered the length of it is an advertisement in stark letters: CONTAGION.

Friday, September 23, 2011

A Gifted Man’s Leading Lady - Jennifer Ehle

A Gifted Man’s Leading Lady


Jennifer Ehle, best known for playing Elizabeth Bennet in BBC’s ‘Pride & Prejudice,’ co-stars in a new CBS drama. She talks to Jace Lacob about ghost sex and Mr. Darcy.                                   


Many viewers will forever associate Jennifer Ehle with her career-making role as Elizabeth Bennet in the BBC’s Pride & Prejudice, the sumptuous adaptation of Jane Austen’s classic novel. But the 41-year old actress, the daughter of the actress Rosemary Harris and the writer John Ehle and now a mother of two, has been producing a steady body of work for both the stage and film, since she first donned a curly black wig to play Austen’s outspoken romantic heroine back in 1995. On Broadway, she won a Tony award in 2000 for The Real Thing and another in 2007 for The Coast of Utopia.
 
Recently, Ehle starred alongside her Darcy, Colin Firth, in The King’s Speech, though the two only shared one brief scene together; she played Lady Catelyn Stark in the original pilot for HBO’s Game of Thrones, but departed the role before it went to series. This month, she’s in Steven Soderbergh’s big-budget germaphobe’s-worst-nightmare flick, Contagion, in which she plays a CDC scientist, and next month she’ll appear as the wife of George Clooney’s politician character in The Ides of March.
Ehle also stars in CBS’s new supernatural/medical/personal journey drama, A Gifted Man, created by Susannah Grant (Erin Brockovich) and launching tonight. She plays Anna Paul, the ghost of a free clinic doctor on a mission to improve the character of her arrogant ex-husband, Michael (Patrick Wilson), a brilliant neurosurgeon who has lost his way.
The Daily Beast sat down with Ehle, and in these excerpts we discussed A Gifted Man, why she left Game of Thrones, attachment parenting, why she’s never recognized on the street, and ghost sex.
Why did you decide to do a weekly series now?
Jennifer Ehle: I never thought in a million years that I would do a weekly series. One of my closest friends is [creator] Susannah Grant, and I know how dedicated she is and how hard she works. I met Jonathan Demme when I’d auditioned for him for Rachel Getting Married. It hadn’t worked out, but I knew he liked me. Without Patrick being attached to this and Jonathan directing it I don’t think I would have even read it or looked at it. Then I just sort of started taking baby steps because if they’re both seeing something in this then maybe what I see is not an illusion.
Jennifer Ehle
Heather Wines / CBS
Your character, Anna, seems almost saintly, but she does have flaws.
Ehle: She does have flaws. My kids don’t really know what I do. They kind of do, but it’s just always been “We help to tell stories,” and that’s what we’ve always said that we do as a family. It’s kind of hard to tell a story when you don’t know where it’s going to end so, it’s a steep learning curve. The way that I’ve adjusted it in my head to kind of make sense for me is that Anna, she is a new fresh spirit in the pilot: like in a photograph, she’s not fully developed yet. Then she begins to come into focus as we’re all discovering who she is along with the audience. It’s very important to me that she not be someone who ever wants him to just be good solely because he should be good or just for his own sake, because I know that’s not somebody that I would particularly want to watch. Her objective is to continue the work that she was doing and she was so passionate about since she finds herself here. She didn’t choose this.
I think that’s an important distinction to make.
Ehle: They are being given a sort of odd second chance. They’re not quite ready to let go of each other now that they’ve found each other, even though it’s not all roses and Champagne, one of them happens to be dead, and also they still have the same clashes personality-wise and ethics-wise that is perhaps what ended their relationship.
You were in the original pilot for HBO’s Game of Thrones, but opted not to return for the series. (The part is now played by Michelle Fairley.) Why did you ultimately decided to not stick with the show?
Ehle: Well, it was entirely personal. My daughter was seven months old when we did the pilot. It was too soon for me to be working, emotionally and bonding-wise, but I needed to do it and I was also passionate about the books. I loved the idea of telling that story. I finished the first book when I was in the hospital getting ready to have my daughter. My husband actually went out and got the second book for me. I handed the first book to the midwife and started the second one. When I went back for my six-week checkup with the midwife, she had started the second book.