(:: History ::)
1)In a public garden, two 11-year-old children fight and hurt themselves. The parents of the "victim" ask to explain with the parents of the "culprit". Fast, cordial exchanges give way in clash. Where will stop massacre?2)Tells the story of two sets of parents who decide to have a cordial meeting after their sons are involved in a schoolyard brawl.
Date (s) of Exit (s):
December 07th, 2011 | 
November 18th, 2011| Accomplished by: | Novel Polanski |
| With: | Kate Winslet, Jodie Foster, Christoph Waltz, John C. Reilly... |
| Distributor: | Wild Bunch Distribution |
| Type: | Drama |
| Country: | France, Germany, Poland |
| Length: | 1 h 20 |
| Original title: | God of Massacre, The God of massacre |
Festivals, Evénements: Venice 2011.
(:: Trailer for Carnage ::)
(:: Free Streaming to Watch Carnage Online ::)
Italiano:
English:
(:: Pictures Of Carnage ::)
(:: Downloads Links ::)
DVD RIP, XVID, DIVX, AVI, TS:http://www.filesonic.com/file/4057618044/Carnage.2011.CAM.XviD.700MB.rar
OR
http://www.filesonic.com/file/4056194655/Carnage.2011.CAM.XviD-EVOUTiON.avi
3gp, MP4, Cam:
http://letitbit.net/download/1525508/9071.9a1065ed92fc2414366b50b0eb46/Carnage.2011.L1.CAMRip.3gp.html
(:: Scenes of the movie ::)
Notes on the film:Putting one-to-one debate two families after a fight between their children, Massacre gives a caustic look on contradictions and prejudices of four adults of the good American middle classes. Having greeted by criticism and public, the room The God du Carnage, created in 2006, was played in counters closed in Paris, London and Broadway, and won many prices, among whom Laurence Olivier and Tony Award. When Novel Polanski discovered the room of Yasmina Reza, he told himself that she could give rise to an exciting film: «The tone of the room is hilarious and very quick rhythm. What particularly interested me it is the unity of time and unit of of place».
The film-maker offered adaptation to Yasmina Reza of coécrire with him. If the action of the room took place at first in Paris, it was transposed in New York when it was taken up to Broadway in 2009. It is in Brooklyn that Polanski chooses to locate the action of the film: «L ’mind of the room seemed to me more American than French and Brooklyn a very plausible place of residence for a liberal family».
The film director also wanted to remain faithful to the unity of place and unit of of time of the room in spite of the pressures which it implicated. «C ’a true challenge is to make a film real-time, without the slightest ellipse», explains Polanski. «Since my childhood I always took more pleasure to see films which took place in the single decor rather than action films. I like feeling to be close to characters, as what it is possible to feel in front of a painting of Van Eyck when the artist gives feeling to the spectator to be in the room. I have already made films in a confined space but ever in so strict a way and it was therefore for me a very new experience».
Polanski then set out to choose his actors: Kate Winslet and Christoph Waltz, in the roles of Nancy and Alan Cowan, and Jodie Foster and John C. Reilly, for those of Penelope and Michael Longstreet. Four actors had to be on the set every day during all length of filming because they were any gifts in every stage.« So that the film works the actors have to be able live together together» declares Polanski. «C e a huge chance was which four work in complete harmony. It is far from being case on all filming».
For Kate Winslet, Nancy Cowan «a mother of family is who works tremendously, but who feels guilty permanently because she doesn't dedicate enough time to its child. What doesn't prevent him from having well stopped ideas of motherhood and role of the parents. Although she loves her son, she doesn't always know very well about what she speaks».
For the actress, the success of the room is fond of the fact that it approaches universal topics with humour. «The room gives a tremendous lighting on our world», she says. «She speaks of the difficulty of the role of the parents, the education of the children, and the complexity of the reports of couple. And the fact that Yasmina Reza makes a comedy is even more rewarding and flare for the audience. Whatever is the language which we speak, whatever is the country where we live and whatever is our personal situation, we all have, in either way, been able to show autoderision and laugh of human condition».
It also appreciated painting without concession of a modern society dominated by technology: «The room shows well that it is easy to climb out of its own reality», she resumes.« As though they needed our 'dose ' to fill up the faults of our reports with others. They are addicted in our SMS, and they are suspended in the 'beep ' of the messages which arrive on our portable. They belong every repeat customers in these behaviours and in these relational modes which pass by a nonverbal communication».
Kate Winslet was wrapped by the wealth of scenario: «What I thought intriguing, it is that he passes continuously from a subject to the other one», she says. «It is what I like in this history, at the same time realistic and unforeseen. They have an impression that the film takes a direction and, very fast, he changes it without telling! »Jodie Foster, who represents Penelope Longstreet, was interested by topics approached in scenario:« Although tone is satirical and sometimes crazy, relations between the characters lean on a true psychology and on authentic family reports, and it is this mosaic of human trajectories that I think incredible: it is intriguing to see them tearing each other apart, losing any deduction. We are any monstrous in some way, and if it was accepted, they would come undoubtedly better». Jodie Foster, qui incarne Penelope Longstreet, a été intéressée par les thèmes abordés dans le scénario : « Bien que le ton soit satirique et parfois loufoque, les relations entre les personnages s’appuient sur une véritable psychologie et sur d’authentiques rapports familiaux, et c’est cette mosaïque de trajectoires humaines que je trouve incroyable : c’est fascinant de les voir s’entre-déchirer, perdre toute retenue. Nous sommes tous monstrueux d’une certaine manière, et si on l’admettait, on s’en porterait sans doute mieux ».
« The question of morality is interesting», follows the actress. «Four adults try to know which is the most fair position to be adopted, and little by little, they reveal the true face. They become more and more monstrous, and I think that it is what makes laugh. It is very high people, coming from the good middle classes, that live in fashionable districts – and it would be possible to think that they act in a civilised way. And it is all opposite which takes place». Regarding her character she adds: «She is continuously in the politically correct and she gets everything from tragedy», she entrusts. «His reports to others are of a big complexity. It is a rigid woman who is appalled by this couple whom she invited at home and who – penset-elle – doesn't seem to be concerned about misfortunes of the world». A propos de son personnage elle ajoute : « Elle est sans cesse dans le politiquement correct et elle prend tout au tragique », confie-t-elle. « Ses rapports aux autres sont d’une grande complexité. C’est une femme rigide qui est consternée par ce couple qu’elle a invité chez elle et qui – penset-elle – ne semble pas se préoccuper des malheurs du monde ».
The language also enticed the actress, fascinated by the way the characters show themselves across their purposes. «Penelope always repeats ‘It is nauseating’ or ‘this sickens me’. Reluctance is, at home, as a fixed idea. And Nancy spends the time to be said 'naturally ', while she is the least natural person who is. Michael, it, is the type of type which repeats, ‘it would be possible to give up coming in legs?’, or else ‘why is it necessary to approach the subjects which make angry?’». Kate Winslet, also, was passionate at the idea of scrubbing himself in a text of a big wealth. «The characters use extremely violent terms to express their emotions or their interpretation of what think others. And no takes what he or she can say». Kate Winslet, elle aussi, était enthousiaste à l’idée de se frotter à un texte d’une grande richesse. « Les personnages utilisent des termes extrêmement violents pour exprimer leurs émotions ou leur interprétation de ce que pensent les autres. Et aucun n’assume ce qu’il ou elle peut dire ».
John C. Reilly camps Michael Longstreet, representing in domestic articles. «Michael tries hard to be any smile but, in the last analysis, he can't there any more and blows up. It was a character stimulating to play. What is tremendous in the writing of Yasmina Reza, it is that at the time when they think that she is going to conclude the story, one of the characters intervenes to say ‘I am not ready to leave, I still have this to say etc.’ And it is what causes this storm which ends up bursting at the end. It is a destructive portrait of the American parents». Jodie Foster adds:« Even if tone is sometimes removed, situations have to be anchored in reality. Humour comes from plausible situations, even though they are in excess. For example, the stage where Penelope speaks about Africa is overpowering because she is seen collapsing while saying of what she thinks. It is his sincerity which is odd. As for Alan, it is his absolute insensitiveness which makes laugh». Jodie Foster ajoute : « Même si le ton est parfois déjanté, il fallait que les situations soient ancrées dans la réalité. L’humour provient de situations vraisemblables, alors même qu’on est dans l’outrance. Par exemple, la scène où Penelope parle de l’Afrique est irrésistible parce qu’on la voit s’effondrer tout en disant ce qu’elle pense. C’est sa sincérité même qui est drôle. Quant à Alan, c’est son insensibilité absolue qui fait rire ».
Polanski organised two weeks of intensive repetitions so that the actors could learn to know each other and to surround the tone of the film which wobbles between the satire, comedy and drama. «I always liked repetitions», underlines Kate Winslet. «It is such luxury and such pleasure. But I think that none of us expected that Novel makes us memorise scenario entirely, from start to finish, as a play. I found very invigorating that it is possible to play the text beforehand because once they were on the set, it was easily possible to find our marks. It was very useful for us, but also for Novel because it allowed him to construct his production».
« Repetitions allowed me to float several ideas and to find tone only for my dialogues», underlines Reilly. «It also allowed us to find the rhythm of reports between the characters in the cramped space of the decor. We exchanged quite a lot of ideas, notably as regards dialogues. Novel translated the French text of origin, and he explained us how this or that retort in French would be pronounced, and typically American turns were offered him. The fact that there is no question of ego between us allowed us to be frank and direct in all our exchanges»., souligne Reilly. « Cela nous a aussi permis de trouver le rythme des rapports entre les personnages dans l’espace exigu du décor. Nous avons échangé pas mal d’idées, notamment en ce qui concerne les dialogues. Roman traduisait le texte français d’origine, et il nous expliquait comment on prononcerait telle ou telle réplique en français, et on lui proposait des tournures typiquement américaines. Le fait qu’il n’y ait aucune question d’ego entre nous nous a permis d’être francs et directs dans tous nos échanges ».
« It is a big chance to be run by a film director who was also actor», adds John C. Reilly, «not only because he includes the actors better, but because he knows at which instant to turn plan. Suddenly, he was also interested as to us by repetitions, and by reactions and behaviour of the actors. When they repeated, he asked us always why they went to this or that direction»., ajoute John C. Reilly, « non seulement parce qu’il comprend mieux les comédiens, mais parce qu’il sait à quel moment tourner le plan. Du coup, il était aussi intéressé que nous par les répétitions, et par les réactions et le comportement des acteurs. Quand on répétait, il nous demandait constamment pourquoi on allait dans telle ou telle direction ».
« I think that Novel had a good time well», entrusts Jodie Foster. «It is during repetitions that Novel defined its direction of actors and, suddenly, when filming began, he especially concentrated on the movements of camera and viewing angles and it had some indications, punctually, to be given to us. Novel controls technology perfectly, its style is of a perfect precision and its method is very strict: it is it which establishes marks on the soil, which puts down its camera and that is in the viewfinder – I saw nobody making this since about twenty years».
Christoph Waltz adds: «Repetitions were necessary for this film. They weren't only intended them to learn to know each other, but also to give us the time to attract things, to test tracks, and to move aside what didn't correspond to us. On most filming, there is no luxury to take this time».
« But it is the filming real-time that was the biggest challenge», adds Jodie Foster. «Whatever are joins and transitions from a stage to the other one, they can't take place except field, but have to take place in front of the camera. The room is so well written that it wasn't difficult to pass from an emotional state to the other one. When is made a film with only four characters, a nearness takes shape between the actors whom it wouldn't be possible to get in another way. I have never known such solidarity between actors on a set».
Reputed for the quality of its production, Novel Polanski united a team of technicians of high flight, as the manager of the photograph Pawel Edelman, the leader-interior decorator Dean Tavoularis and leader-costumer Milena Canonero.
The decor was a so important element as a casting. Constructed in the studios of Bry-sur-Marne, in Paris region, the decor was conceived by Dean Tavoularis, especially known for its collaboration with Francis Ford Coppola (The Sponsor, Secret Dialogue and Apocalypse Now).
The leader-interior decorator imagined a development of space as realistic as possible, so that it is possible to pass from a room to the other one, or to notice what takes place in the room located on the other side of the corridor, exactly as in a true flat. He also conceived this last as a key element of narration.
Dean Tavoularis, who collaborated with Novel Polanski on The Ninth Door, had never conceived an unique decor putting four characters face to face. «I work always tremendously the details of a decor because they don't know beforehand what the movie director intends to film there: will they see in the picture the inside of a cupboard or of a drawer? Foodstuff and other types of articles of New York were sent so that the flat has air as authentic as possible. I was sure that everything in the picture wouldn't be seen, but I nevertheless refined the decor for the actors. It was important all the more as they met on the same set for the duration of the film».
His efforts weren't vain.« When I saw the decor», explains John C. Reilly, «I had the feeling that job had been really made easier for me. In general, in the cinema, the camera films only what the spectator is supposed to see, and there is therefore only a half of decor of constructing, or, if you open a book, pages are white devices are used. But the decor of Dean was rich in thousand details. The kitchen was almost in a fit state of functioning. It really allowed us to imagine in a flat of Brooklyn».
By revising with Polanski, Dean Tavoularis found a movie director who controls his art completely. «Novel knows perfectly all aspects of the production, decors with visual effects. He exactly knows how to regulate a problem. He goes straight to the point and doesn't waste time in the useless details».
