Valerian: Die Stadt der tausend Planeten ~ Luc Besson [Kritik]

Clive77

Serial Watcher
BG-Kritik: Valerian und die Stadt der tausend Jays

Produzent und Regisseur Luc Besson wird "Valerian" in Szene setzen und auch das Drehbuch zum Film beisteuern.
Der Film wird eine Adaption des französischen Graphic Novels "Valérian et Laureline" (deutsch: "Valerian und Veronique") von Pierre Christin und Jean-Claude Mézières aus dem Jahre 1967 über zwei Agenten des Raum-Zeit-Service, der von Galaxity – der Hauptstadt der Zukunft – aus agiert...

Dane DeHaan (The Amazing Spider Man 2) und Cara Delevingne (Paper Towns) sind laut Bessons Aussage im Cast.

Quelle: Deadline.
 

Der Pirat

New Member
Ouh :smile:
Das sind mal schöne Nachrichten. Habe als Kind, durch meinen Vater, einige Valerian und Veronique Comics lesen können. Die haben mir ausgesprochen gut gefallen!
 

Butch

Well-Known Member
SciFi von Luc Besson, klar her damit!
Da fällt mir ein ich muss ja noch Lucy nachholen.
 

TheRealNeo

Well-Known Member
Den französischen Regisseur Luc Besson zieht es nach LUCY erstmal wieder in das ferne Weltallt. VALERIAN soll das ganze heißen und im Sommer 2017 in die Kinos kommen. Budget liegt bei 180 Millionen.

Mehr dazu erzählt er hier:

DEADLINE: So much of the recent San Diego Comic-Con was prepackaged and stage managed, but you gathered a bunch of journalists in the back of a bar, and showed us elaborate storyboards that introduced characters and the worlds we will see in Valerian. You said you thought you were ready to make the movie years ago, and then you saw Avatar and threw out your script because it was too safe and not groundbreaking enough. I found the vulnerability and ambition refreshing. As a filmmaker who hasn’t put himself on public display too often, how did you feel, putting yourself out like that?
BESSON: If it was not natural, I won’t be able to do it. But this is such an adventure for me, and I know it’s really a turning point. This is a huge film. It’s expensive. It’s in 3D. It’s on Imax. Usually, only the big studios are doing this kind of film, and only basically Spielberg, and Lucas, and Jim Cameron, and Peter Jackson are doing this kind of film. I’m not feeling pretentious; I’m just feeling excited to try to follow this guys because they’re my heroes. They’re my big guys. They impress me often, and I just want to play with them. So I’m overexcited, and I wanted to share that. It’s not the kind of adventure where I say to all my friends in the press and everyone else, let me be by myself and I’ll see you in two years. This is too big. I want to share, and I’d rather take the risk that, down the road, some people might betray me, because that’s the human nature, and I will be sad. But I’d rather take the risk and share with a couple of thousand who follow on Instagram or on the news through you.

DEADLINE: How large are the stake on this movie?
BESSON: It’s the first time in the history of cinema in Europe that we going to do this kind of film. The last example was The Fifth Element. It’s like telling someone you’re going to the Olympics and you’re going to race, and there is Usain Bolt next to you. And you say, fuck yeah, I want to run.

DEADLINE: All those filmmakers are friendly, but they trying to top each other with technology and techniques. France hasn’t been in that race…
BESSON: No, we haven’t. But what I really appreciate also is that the people we just named really like each other, respect each other, and work together. They’re not teachers, but they help each other, exchange, share. I want to be part of that. Jim, for example, has always been nice with me. I went to see him two years ago to ask him for some advice before I start Valerian. He’s always happy to do it. These are guys who want to see good films from everyone, they don’t just want to see their own films.

DEADLINE: Sounds like you want to earn your way into that elite club, and maybe raise the bar and think, how do I top that?
BESSON: Well, I won’t be as pretentious as that. I will do my best, that’s for sure.

DEADLINE: What did making The Fifth Element teach you as you take an even bigger challenge here?
BESSON: I learned two things. The Fifth Element was the last film to be made with old fashioned special effects, because the digital was not there yet. Six months later, you could basically do whatever you want, and they will take care of it, later. On The Fifth Element, I have to lock my camera for eight hours. We have to put dots on the walls everywhere. It was a nightmare. On The Fifth Element, I had 180 shots of special effects. On Valerian, I have 2,370.

DEADLINE: It sounds like even though you’ve got many more, that technology has improved to the point where maybe this is not much harder?
BESSON: It’s more manageable. On The Fifth Element, I have to use my brain to cheat, to say, OK, how can we do this thing when we don’t have the tools to do it? All my concentration was on that. On Valerian, I feel so free because the only limit is my imagination. That’s all. You can do whatever you want today, and one of the things I do have is an imagination. So I feel good. So that’s the first lesson, is that on term of script and ideas, I feel so much better now because I have no limit. So that’s the first thing.
The second thing is, when I prepped and worked on The Fifth Element. Everything was from Paris. I had Jean-Paul Gaultier, Jean-Claude Mezieres, lots of good artists, but at the end, when I released the film in U.S., I feel for the first time the difference of appreciation, of feeling, and I realized very late that the film was very European. The Fifth Element in the U.S. now is kind of classical; everybody still talks about it. But at the time, the film didn’t work so well here, when in the rest of the world, it was a huge hit. I am 20 years older, I have traveled much more, everywhere, a lot in U.S. and China. I think I will have a film here that feels much more global. It’s still France and European in a way, but it’s not so stacked.

DEADLINE: The situation you just described is one that studios are now comfortable with because overseas ticket sales account for more than 70% of a film’s revenue. If the film doesn’t do great here but crushes it overseas, that’s fine and movies like Hansel & Gretel get sequels because of overseas revenue. If you make Valerian feel less European, how do you guard against losing yourself when one of the things that makes you different is that you’re a European director?
BESSON: No, I won’t lose myself, but I’m not the same 20 years later, and what I see now is that there is way less difference between the audience in U.S., the audience in Europe, the audience in China, in Russia, everywhere. That’s because of the Internet and the new technology. This audience is…everybody has the jeans and T-shirts now, they all have the iPad, they listen to the same music. You used to eat sushi in Japan 25 years ago, but now it’s everywhere. I think everything’s much more global, and I evolve like everyone. So my film is not less European, or more American, or more Hollywood. I think the entire world in the last 20 years became much more altogether, you know?

http://deadline.com/2015/08/luc-besson-valerian-europacorp-red-launch-1201505909/

Inhalt des Films (via comingsoon.net):

Rooted in the classic graphic novel series, Valerian and Laureline- visionary writer/director Luc Besson advances this iconic source material into the contemporary, unique and epic science-fiction saga Valerian and the City of a Thousand Planets.

Valerian (Dane DeHaan) and Laureline (Cara Delevingne) are special operatives for the government of the human territories charged with maintaining order throughout the universe. Valerian has more in mind than a professional relationship with his partner- blatantly chasing after her with propositions of romance. But his extensive history with women, and her traditional values, drive Laureline to continuously rebuff him.

Under directive from their Commander (Clive Owen), Valerian and Laureline embark on a mission to the breathtaking intergalactic city of Alpha, an ever-expanding metropolis comprised of thousands of different species from all four corners of the universe. Alpha’s seventeen million inhabitants have converged over time- uniting their talents, technology and resources for the betterment of all. Unfortunately, not everyone on Alpha shares in these same objectives; in fact, unseen forces are at work, placing our race in great danger.

######

Nach THE FIFTH ELEMENT bereit für ein neues Abenteuer im Weltall von Luc Besson?
 

Manny

Professioneller Zeitungsbügler
EIne Intergalaktische Stadt mit tausenden verschiedener Spezies? Ich bin dabei.

Mal sehen, ob Besson den wie Das 5. Element wieder recht lustig macht oder ob der ernster wird.
 

Jay

hauptsache bereits gesehen
Teammitglied
Besson hat eine sehr seltsame Filmografie:

Leon der Profi
Nikita

(okay, die passen noch zusammen)

Lucy

Das 5. Element

dann die völlig typische flache Hollywoodkomödie Malavita mit Robert de Niro

dann eine Meeresdoku

die animierte Minimoys Trilogie

der Historienfilm Johanna von Orleans mit Milla Jovovich

der trashige Abenteuerfilm Adèle und das Geheimnis des Pharaos

ein Biopic der Nobelpreisträgerin Aung San Suu Kyi aus Burma

Da ist seine Arbeit als Actionproducer bei Europacorp schon sehr viel stringenter.
 

Woodstock

Verified Twitter Account ☑️
Klassische Science-Fiction aus den 60ern (yeah!) verfilmt von Luc Besson (wenn es sein muss). Besson ist immer so eine Sache. Die Filme halten sich immer die Wage, entweder sie sind großartig (selten), totaler Mist (selten) oder irgendwas dazwischen (die restliche Zeit).
 

jimbo

ehemals jak12345
Teammitglied
Die letzte Sängerin mit der er gearbeitet hat, hat ihren Job doch auch gut gemacht. Also Scarlett Johannson meine ich.
 

Argento

Well-Known Member
Ich bin kein großer Liebhaber von Bessons Œuvre (von seinem Meisterwerk LEON und mit Abstrichen NIKITA einmal abgesehen), aber dennoch gebe ich seinen Werken meist die Chance mich zu verführen.

Die Beteiligung von Rihanna finde ich ziemlich interessant, da ich mir vorstellen könnte, dass sie unter der Anleitung eines einigermaßen kompetenten Regisseurs und auf der Basis eines gut geschriebenen Charakters für positive Überraschungen sorgen könnte.

Rihanna hat die Gabe mitunter geradezu elektrisierend zu wirken und ihre ganz eigene Ausstrahlung zu entwickeln, da sie eben dieses gewisse Etwas in Sachen Charisma und Erscheinung besitzt, welches einen zu einem Superstar machen kann, und welches sie in dem äußerst gelugnenen und von ihr selbstgedrehten Musikvideo BITCH BETTER HAVE MY MONEY eindrucksvoll unter Beweis stellt, um nur ein Beispiel herauszufischen.

Stand der Dinge bin ich dsbzgl. also erst einmal offen, da ich Potential sehe.

Und musikalische Superstars in Filmen zu besetzen, kann durchaus Früchte tragen. Man rufe sich nur Madonna in EVITA oder DICK TRACY, Whitney Houston in BODYGUARD, Tina Turner in MAD MAX - JENSEITS DER DONNERKUPPEL oder Cher in Erinnerung.
 
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