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MCN Film Docket - Archives for April, 2011

Transformers 3: Trailer 2

Newest trailer for Transformers 3: Dark of the Moon

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The Green Lantern

In brightest day, in blackest night, No evil shall escape my sight … and a variety of posters!

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Trailering Harry Potter and the Deathly Hallows: Part II

The end begins as Harry, Ron, and Hermione go back to Hogwarts to find and destroy Voldemort’s final horcruxes…

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The Immortals Trailer

The brutal and bloodthirsty King Hyperion and his murderous Heraklion army are rampaging across Greece in search of the long lost Bow of Epirus. With the invincible Bow, the king will be able to overthrow the Gods of Olympus and become the undisputed master of his world. With ruthless efficiency, Hyperion and his legions destroy everything in their wake, and it seems nothing will stop the evil king’s mission. As village after village is obliterated, a stonemason named Theseus vows to avenge the death of his mother in one of Hyperion’s raids. When Theseus meets the Sybelline Oracle, Phaedra, her disturbing visions of the young man’s future convince her that he is the key to stopping the destruction. With her help, Theseus assembles a small band of followers and embraces his destiny in a final desperate battle for the future of humanity.

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X-Men First Class Gets Second Trailer

In 1963, Charles Xavier starts up a school and later a team, for humans with superhuman abilities. Among them is Erik Lensherr, his best friend… and future archenemy.

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Enter To Win: Something Borrowed

When lifelong friendship collides with true love, it leads to unexpected complications …

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Trailering The Devil’s Double

A chilling vision of the House of Saddam Hussein comes to life through the eyes of the man who was forced to become the double of Hussein’s sadistic son.

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The Cowboys & Aliens Trailer

Arizona, 1873. A man with no memory enters Absolution … a town with an alien spaceship problem.

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POTC: Die Trying

Pirates of the Caribbean: On Stranger Tides TV Spot – Die Trying

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Immortal Posters

Mickey Rourke declares war on humanity …

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The Hangover Part II – Four New TV Spots

Phil, Stu, and Alan travel to Bangkok for Stu’s wedding … yes, Bangkok.

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Images of Transformers 3

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MCN Enter To Win: Arthur

Great Prizes! Win your own “Billionaire in Training” tee, a bath set in a bucket, or even a martini set to drink to your winnings!

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“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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