The Proposal er en av de mest fremgangsrike romantiske komediene noensinne, og er Sandra Bullocks beste film når det gjelder åpning i det amerikanske markedet. Budsjettet på filmen antas å være rundt 40 millioner dollar, og den dro inn hele 34,1 millioner dollar allerede første helg i USA. Hittentil antas den å ha spilt inn over 200 millioner dollar.
Filmen er regissert av Anne Fletcher (27 Dresses) og har i tillegg til Bullock med Ryan Reynolds, Betty White og svenske Malin Akerman.
Her kan dere få se noen klipp fra filmen:
Spørsmål til Bullock og Reynolds Bak scenen Morsomme klipp Nakenscene fra filmen Intervju med Sandra Bullock (kun på engelsk) THE PROPOSAL HAS A WONDERFUL CLASSIC HOLLYWOOD FEEL TO IT, REMINISCENT OF THE GOLDEN AGE OF COMEDY… It’s funny, [the script] read like a film from the 30’s or 40’s - those Hepburn and Tracy elements, or The Philadelphia Story, when everyone wasn’t so concerned about being cute and PC about everything… They wrote well back then for comedies that happened to have some romance in them. I personally stopped doing romantic comedies because I couldn’t stand them anymore. They weren’t funny. They weren’t romantic. So, for me, they had nothing to say. This, however, felt different - like a big comedy with a landscape that was also a very big character. We didn’t draw on anything [specifically], but I was so happy that the writing was so smart. [bilde]2009/34/5672[/bilde] HOW DID IT COME ABOUT? Well, I’d initially said, no… Because that ‘RC’ word [romantic comedy] was attached to it, I had no desire. And then someone I know very well said, “Just read it and then you can have an opinion about it.” And I read it. And I was really upset (laughs). Because it was so well written… The problem, though, was who can direct a comedy like that? Who can raise the bar? Who are you going to cast? And they said, “What if we cast Ryan Reynolds?” I’ve known Ryan for a while, so as soon as they said that, it made it a lot more difficult to say no to. And then all the elements coming together – Anne Fletcher, the director, hearing who else they wanted to cast, where they wanted to shoot… I just watched all the pieces come together and waited until I had a nice plate that I thought would make me happy and proud to be a part of something like this. YOU ALSO SIGNED UP FOR NUDE SCENE – A COMEDIC ONE, BUT A NUDE SCENE, NEVERTHELESS… If I was going to do my full nudity in my career, this was the perfect time to do it. If I can do it for a joke, yes… And Ryan and I wanted the laugh. We wanted it to be something you’ve never quite seen before. We said, “Ok, we just gotta [do it]; just warn the crew, you know, don’t eat your lunch cause it might get ugly.” But everyone was on the same page. Anne Fletcher, the director, wanted it choreographed a certain way and we were all game for it. I just said, “Please don’t let this wind up on YouTube. Just please…” YOU LOOK FANTASTIC - DID YOU HAVE TO DIET OR WORK OUT BEFOREHAND? No… The fun part about our job is we get paid to hire someone to make us work out (laughs)… I wanted to be in a certain shape [anyway]. And I knew that scene was coming. So as you get close, you just don’t eat the Krispy Kremes…. You have a goal. Which is helpful in staying on target, because you know that you’re going to be 18-feet tall and the whole world is going to be dissecting you - literally. You know, I love my body. But when you see it that big on screen and you see it slap against another body, well, things move (laughs). You just don’t want too much moving! The pressure is on, but the day after we shot it, you can then eat anything you want. [bilde]2009/34/5674[/bilde] HOW DID YOU FIND WORKING WITH ANNE FLETCHER – WAS IT HELPFUL HAVING A DIRECTOR WITH AN ESTABLISHED BACKGROUND IN CHOREOGRAPHY? ARE DANCE AND COMEDY SOMEHOW CONNECTED? The combination of who she is as a person and who she was, and still is, as a choreographer, I think is instrumental in comedy. If you think about it, that combination goes back to all those great comedies from the golden age. There was a rhythm. There was a choreography. There was quick wit, coupled with camera movement. You need to have that sense of rhythm in comedy, and she has that on so many different levels, with so many different comedic styles. She has that gift… She’s the real thing. And I’m thankful for her choreography background… IT IS A GREAT ENSEMBLE, ESPECIALLY THE PERFORMANCE FROM BETTY WHITE, WHO PLAYS YOUR PROSPECTIVE NEW GRANDMOTHER ON SCREEN… You talk about a comedic genius – just sitting in a room with her, watching her say one word or one line, over and over again, different every single time. Her professionalism, her stamina… On location, we would be outside in the cold, going, ‘Can we get some blankets or something?’ And they’d say, “Betty do you need anything?” And she’s like, “No, I’m fine!” Age has no place next to Betty White’s name. She’s in Round 8 of her career. And I love sparring with brilliant people because they only make you better and you have to come up to their level. So Betty or Oscar [Nuñez], or Ryan [Reynolds], or any of the people in our ensemble - seasoned actors who take their job seriously are a joy, because they make you better. And Betty is amazing. To have dinner with her, is one of the greatest treats. WHAT MAKES YOU LAUGH? What makes me laugh? Me naked, makes me laugh. Especially with the horrible lighting we have at home, which is down lighting. I’m like, “Oh my god.” (Laughs)… People who have a great wit and a self deprecating wit - that makes me laugh. Animals doing stupid things makes me laugh. I mean, just about anything makes me laugh. I’m an easy target! But I love a sharp wit. And I love twisted humor. I love it when people’s minds come up with things. When they just say things and they don’t censor themselves. DID YOU ENJOY PLAYING MARGARET TATE - THE WOMAN THAT EVERYONE LOVES TO HATE? It was heaven. To be a bitch for three months and be unapologetic about it? And go, “Hey it’s my character…I’m staying in character.” (Laughs)… “Get out of my face” – sorry, character, speaking! I loved it. I mean, we all have it [in us]. And when it’s written well, it is so much fun to do. DO YOU STILL ENJOY MAKING FILMS AFTER ALL THESE YEARS? I enjoy it now, even more so, because I pick only what is worth leaving home for. Do you know what I mean? People don’t realize that when you make a film, you’re gone. And I don’t want to be gone unless it’s something special, something that I don’t want to look at later on thinking, “I should have done that...”
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