Gone With The Wind Movie Poster
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Gone With The Wind Movie Poster - Famous Clark Gable & Vivian Leigh Kiss Photo Poster
Gone With The Wind Kiss Poster
Gone With The Wind Movie Poster
Buy Gone With The Wind - Clark Gable & Vivian Leigh Kiss Poster at AllPosters.com
Gone With The Wind Movie Poster - Famous Clark Gable & Vivian Leigh Kiss Photo Poster
Rat Pack Billiard Print Shooting Pool - Frank Sinatra
The Rat Pack Print
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Black and White Rat Pack Movie Billiard Scene Photo Print - Famous Billiard Shooting Pool Scene - Starring Frank Sinatra, Peter Lawford, Sammy Davis, Jr., Dean Martin, Joey Bishop.
Channing Tatum, Terrence Howard in Fighting, starring Luis Guzmán, Zulay Henao, Brian White
Rogue Pictures Presents A Misher Films Production: Channing Tatum, Terrence Howard in Fighting, starring Luis Guzmán, Zulay Henao, Brian White. The casting is by Amanda Mackey, CSA and Cathy Sandrich Gelfond, CSA.
The costume designers are Kurt and Bart, and the music is by David Wittman and Jonathan Elias. The music supervisors are Dave Jordan and Jojo Villanueva, and the editors are Jake Pushinsky and Saar Klein. The film’s production designer is Thérèse DePrez, and the director of photography is Stefan Czapsky, ASC.
Fighting’s executive producers are Lisa Bruce and Andrew Rona, and the film is produced by Kevin Misher. The action film is written by Robert Munic and Dito Montiel, and the film is directed by Dito Montiel.
Small-town boy Shawn MacArthur (Channing Tatum) has come to New York City with nothing. Barely earning a living selling counterfeit goods on the streets, his luck changes when scam artist Harvey Boarden (Terrence Howard) sees that he has a natural talent for streetfighting. When Harvey offers Shawn help at making the real cash, the two form an uneasy partnership.
As Shawn’s manager, Harvey introduces him to the corrupt bare-knuckle circuit, where rich men bet on disposable pawns. Almost overnight, he becomes a star brawler, taking down professional boxers, mixed martial arts champs and ultimate fighters in a series of staggeringly intense bouts. But if Shawn ever hopes to escape the dark world in which he’s found himself, he must now face the toughest fight of his life.
Fighting Movie Shooting Locations
Shawn’s bare-knuckled journey weaves him through New York City’s cramped, roach-ridden housing projects to spectacular penthouses, where he finds himself part of the evening’s entertainment for wealthy Wall Streeters. Each of his four key fights in the film takes him to different ethnic neighborhoods. The climactic battle atop the Wall Street high-rise is preceded by a fight in a Russian community hall in Brighton Beach, one in an Asian pleasure palace in Flushing, and another in a back alley in the Bronx.
“What was wonderful about working with Dito was knowing how he is completely grounded in reality,” says production designer Thérèse DePrez, whose work was recently seen in Mr. Magorium’s Wonder Emporium and will soon be seen in Antoine Fuqua’s Brooklyn’s Finest. “This is a film in which the design should not outshine anything. As a New Yorker, it was very important to me to make sure that it never screamed New York; things should be subtle but very real, warm and authentic.”
Montiel wanted to bring audiences the same excitement he felt as a kid on trips to Manhattan. In order to keep an authentic feel for the film, the casting directors looked for extras from the different neighborhoods where the fights take place. Many Russian extras were found in Brighton Beach, many Dominican cast members were found in the Bronx and many Korean extras were found in Flushing. “I wanted to show New York off and roam around the city,” says Montiel. “We didn’t need close-ups of the Empire State Building to let the audience know they’re looking at New York. The extras, who randomly walk through our shots, have such interesting faces. That’s why you film in New York.”
Agrees producer Misher: “You get a feeling that these people actually are New Yorkers. Hopefully, in the finished product, you get to feel like you’ve actually taken a trip to a New York that people haven’t seen that often—a city of great diversity and very different people.”
DP Czapsky hadn’t shot a film in Manhattan since 1989’s Last Exit to Brooklyn. “I wanted to come up with some out-of-the-ordinary, iconic visuals of New York City,” he says. “I hope the audience feels like they’ve been taken to places in the city they normally wouldn’t get the opportunity to visit as a tourist or an outsider.”
Montiel, Misher and DePrez were eager to find unique locations for each fight. “There were a lot of places that were incredibly cinematic but they seemed very stagey,” says DePrez. “We would find a terrific location with great vantage points, but Dito would question why the characters would fight in that particular space.” For example, while looking for a location for Shawn’s final fight with Evan, DePrez found the perfect spot under the Brooklyn Bridge in an old factory that had arched windows. The setting had a Roman Coliseum feel to it, almost completely set up to host a fight scene, but it seemed too staged for Montiel. Explains DePrez: “Dito asked me, ‘Why would they come to this location?’ So we honed that scene down to the Wall Street penthouse. That made much more sense for the characters, and it’s more in keeping with the obsession Dito and I had with keeping the film as realistic-looking as possible.”
The filmmakers used Linden Place (which features a large dim sum banquet hall on the first floor) in Flushing as the location for Shawn’s battle with the Korean fighter. A popular establishment that often hosts weddings, the setting reflected that this fight involved much more money than the ones in Brighton Beach or the Bronx.
The penthouse fight, set in a work-in-progress home atop an early 20th-century Beaux Arts skyscraper, is now the finished apartment of one of the leading Google entrepreneurs. It is located on Nassau Street and Spruce Street, right in the Wall Street area. With its three floors, huge arched windows and vast open spaces, it is one of the most spectacular living spaces in the city. Montiel and DePrez were looking for a raw, unfinished location, and it fit perfectly. An added bonus was that it contained an expansive outdoor terrace with astonishing views of Manhattan’s surrounding bridges, high-rises and night sky.
“We wanted something that was under construction,” reflects DePrez, “because it was important to have the fighters crashing into and through various elements. What was great about this location were the vantage points—the views and the huge exterior and interior space.”
Filming of this complex, final fight sequence stretched out over the course of more than a week, much of it outdoors in bone-chilling winds. What was tough for the crew was even tougher for the actors, who were stripped to the waist throughout. Recalls Tatum: “I practiced martial arts as a kid, but preparing for fight scenes that are similar to backyard brawls, in which only one person can come out alive, was an intense experience.”
“What was wonderful about working with Dito was knowing how he is completely grounded in reality,” says production designer Thérèse DePrez, whose work was recently seen in Mr. Magorium’s Wonder Emporium and will soon be seen in Antoine Fuqua’s Brooklyn’s Finest. “This is a film in which the design should not outshine anything. As a New Yorker, it was very important to me to make sure that it never screamed New York; things should be subtle but very real, warm and authentic.”
Montiel wanted to bring audiences the same excitement he felt as a kid on trips to Manhattan. In order to keep an authentic feel for the film, the casting directors looked for extras from the different neighborhoods where the fights take place. Many Russian extras were found in Brighton Beach, many Dominican cast members were found in the Bronx and many Korean extras were found in Flushing. “I wanted to show New York off and roam around the city,” says Montiel. “We didn’t need close-ups of the Empire State Building to let the audience know they’re looking at New York. The extras, who randomly walk through our shots, have such interesting faces. That’s why you film in New York.”
Agrees producer Misher: “You get a feeling that these people actually are New Yorkers. Hopefully, in the finished product, you get to feel like you’ve actually taken a trip to a New York that people haven’t seen that often—a city of great diversity and very different people.”
DP Czapsky hadn’t shot a film in Manhattan since 1989’s Last Exit to Brooklyn. “I wanted to come up with some out-of-the-ordinary, iconic visuals of New York City,” he says. “I hope the audience feels like they’ve been taken to places in the city they normally wouldn’t get the opportunity to visit as a tourist or an outsider.”
Montiel, Misher and DePrez were eager to find unique locations for each fight. “There were a lot of places that were incredibly cinematic but they seemed very stagey,” says DePrez. “We would find a terrific location with great vantage points, but Dito would question why the characters would fight in that particular space.” For example, while looking for a location for Shawn’s final fight with Evan, DePrez found the perfect spot under the Brooklyn Bridge in an old factory that had arched windows. The setting had a Roman Coliseum feel to it, almost completely set up to host a fight scene, but it seemed too staged for Montiel. Explains DePrez: “Dito asked me, ‘Why would they come to this location?’ So we honed that scene down to the Wall Street penthouse. That made much more sense for the characters, and it’s more in keeping with the obsession Dito and I had with keeping the film as realistic-looking as possible.”
The filmmakers used Linden Place (which features a large dim sum banquet hall on the first floor) in Flushing as the location for Shawn’s battle with the Korean fighter. A popular establishment that often hosts weddings, the setting reflected that this fight involved much more money than the ones in Brighton Beach or the Bronx.
The penthouse fight, set in a work-in-progress home atop an early 20th-century Beaux Arts skyscraper, is now the finished apartment of one of the leading Google entrepreneurs. It is located on Nassau Street and Spruce Street, right in the Wall Street area. With its three floors, huge arched windows and vast open spaces, it is one of the most spectacular living spaces in the city. Montiel and DePrez were looking for a raw, unfinished location, and it fit perfectly. An added bonus was that it contained an expansive outdoor terrace with astonishing views of Manhattan’s surrounding bridges, high-rises and night sky.
“We wanted something that was under construction,” reflects DePrez, “because it was important to have the fighters crashing into and through various elements. What was great about this location were the vantage points—the views and the huge exterior and interior space.”
Filming of this complex, final fight sequence stretched out over the course of more than a week, much of it outdoors in bone-chilling winds. What was tough for the crew was even tougher for the actors, who were stripped to the waist throughout. Recalls Tatum: “I practiced martial arts as a kid, but preparing for fight scenes that are similar to backyard brawls, in which only one person can come out alive, was an intense experience.”
Fighting Movie: Fight Choreography
Masterminding the choreography of the fight sequences were veteran stunt coordinator MIC RODGERS (Fast & Furious, Mr. and Mrs. Smith, the Lethal Weapon franchise) and fight coordinator MIKE GUNTHER (Underworld, Live Free or Die Hard, Fast & Furious).
They began working with Tatum five weeks before filming, teaching him routines that involved techniques from boxing and Greco-Roman wrestling to Ultimate Fighting and mixed martial arts. All quite helpful, because facing Tatum in each of the fight sequences were men who had been involved in combat sports, some professionally.
Up-and-coming Russian boxer Yuri Foreman plays Sean’s opponent in the scene at the social hall in Brighton Beach, while top-ranked mixed martial arts champion Cung Le squares off with him in the Chinese pleasure palace. His partner in the Bronx brawl is Stand Up’s DANTE NERO, who has extensive experience in multiple fighting techniques. Much like our film’s hero, Dante—in his early years—fought on the streets to make money. Sean’s ultimate opponent on the rooftop, Evan, is played by a man with extensive martial arts training.
“To come in and work with him was, from my standpoint, a dream come true,” says Mike Gunther. Tatum’s character is supposed to be trained in high-school wrestling, so the style that the fight coordinators created had to reflect that. Fortunately, they had a good student. “Channing’s a really great athlete,” says Gunther, “so he made my job very easy.”
In preparation for the role, White trained for three hours every day for four weeks. The former football player had to train to get the look and feel of his character’s fight champion moves down.
The coordinators trained White in moves derived from Brazilian jujitsu, muay thai and grappling techniques. About doing most of his own stunts, White says: “When you hire athletes, or actors that happen to be athletes who can do their own stunts, you add a lot of realism. You could be the best actor in the world but, as soon as there’s a shot of an actor from behind and we see a punch but never see his face, we know it’s not him.”
For Tatum, working with each opponent was a chance for camaraderie. As their fight scene had a number of different elements, Cung Le worked with Tatum for three days prior to shooting. The two actors performed a combination of dirty fighting and street fighting on their feet, as well as on the ground. The fight was not entirely choreographed, leaving them freedom to freestyle some of their moves.
As they staged the fights, ensuring safety for their actors was a serious responsibility for Mic Rodgers and Mike Gunther. The trick was to make the scenes look as real as possible, while keeping the actors safe from harm. Says Gunther: “If the actor goes down, everyone that’s working on this movie goes down. So the responsibility of keeping him safe added a lot of pressure. You definitely don’t want anyone to get hurt on your shift.”
Misher knows that the authenticity has paid off in the fight scenes captured in the film. “I’m a fight fan, and actors able to perform their own stunts is something I don’t see that often,” says the producer. “That feels rich and exciting to me. I enjoy the specificity and the gifts boxers and mixed martial artists have, so I love the way we were able to authentically bring that to the film.”
“The fights are not classic movie-style fights,” adds Rodgers. “What we tried to do was reinvent that. We worked closely with the special-effects department, so there’s a lot of breaking glass and knocking stuff over that’s special-effects rigged. We advised them on what was safe, and they came up with their ideas.”
Despite Tatum’s broad athletic experience, fight training was an entirely new beast. For an actor, it’s not simply a question of remembering the moves and making the fight look real. It’s also a matter of maintaining the performance, which requires equal concentration. “Keeping up the emotion in a fight is hard,” says Tatum, “because you’re filming one fight scene for 14 hours a day. You need to show emotion when you take a punch or grab somebody and slam them into a wall or a plate-glass window. Mic Rodgers pointed out to me that one reason the fight scenes in Lethal Weapon worked was because Mel Gibson is so good at selling it in his face and in the emotions. He’s not just going through the physicality of it.”
Adding to the illusion was director of photography Stefan Czapsky and editors Jake Pushinsky and Saar Klein. “We shot the fights with a handheld camera—three cameras simultaneously, in fact,” says Czapsky. “That gave Jake plenty to work with in the editing room. And you have to find camera angles that make the punching look real. During our first fight, Channing actually got hit; he wound up with a bit of a black eye. He learned after that why there’s a good reason to fake it. It doesn’t hurt as much.”
The editors had the challenge of combining the editing with sound design in order to make the fight scenes look realistic. “The combination of editing and sound design can make or break a fight scene in a movie,” believes Pushinsky. “People hear a good slap or a good punch and, even if it’s not there visually, they still believe it. With sound and editing, you can do a lot of tricks.”
In addition to quick cuts, the editors also rely on the actors to portray the throwing and receiving of a punch. Continues Pushinsky: “People’s eyes aren’t as fast as they think. One thing I learned was that it’s more the person getting hit who has to do this real acting of selling the reaction to a punch than the person throwing the punch. Everybody can throw a punch into the sky, but not everybody can act like they just got hit.”
Pushinsky also believes in the importance of music, especially when doing his editing work. For him, a big part of these fight scenes is rhythm. The editor comes from a music background, and music always plays a huge part in his process. Pushinsky plays music while editing, even if it’s music that’s never going make it into the scene, as it adds a rhythm, a feeling and a pace to a scene that he believes audiences feel subconsciously, because everyone listens to music.
Agrees Montiel, an avid musician who finds filmmaking and making music very similar, “I know what feels right when I play music. When you’re writing music or writing a film, you’re picturing everything that goes with it.”
They began working with Tatum five weeks before filming, teaching him routines that involved techniques from boxing and Greco-Roman wrestling to Ultimate Fighting and mixed martial arts. All quite helpful, because facing Tatum in each of the fight sequences were men who had been involved in combat sports, some professionally.
Up-and-coming Russian boxer Yuri Foreman plays Sean’s opponent in the scene at the social hall in Brighton Beach, while top-ranked mixed martial arts champion Cung Le squares off with him in the Chinese pleasure palace. His partner in the Bronx brawl is Stand Up’s DANTE NERO, who has extensive experience in multiple fighting techniques. Much like our film’s hero, Dante—in his early years—fought on the streets to make money. Sean’s ultimate opponent on the rooftop, Evan, is played by a man with extensive martial arts training.
“To come in and work with him was, from my standpoint, a dream come true,” says Mike Gunther. Tatum’s character is supposed to be trained in high-school wrestling, so the style that the fight coordinators created had to reflect that. Fortunately, they had a good student. “Channing’s a really great athlete,” says Gunther, “so he made my job very easy.”
In preparation for the role, White trained for three hours every day for four weeks. The former football player had to train to get the look and feel of his character’s fight champion moves down.
The coordinators trained White in moves derived from Brazilian jujitsu, muay thai and grappling techniques. About doing most of his own stunts, White says: “When you hire athletes, or actors that happen to be athletes who can do their own stunts, you add a lot of realism. You could be the best actor in the world but, as soon as there’s a shot of an actor from behind and we see a punch but never see his face, we know it’s not him.”
For Tatum, working with each opponent was a chance for camaraderie. As their fight scene had a number of different elements, Cung Le worked with Tatum for three days prior to shooting. The two actors performed a combination of dirty fighting and street fighting on their feet, as well as on the ground. The fight was not entirely choreographed, leaving them freedom to freestyle some of their moves.
As they staged the fights, ensuring safety for their actors was a serious responsibility for Mic Rodgers and Mike Gunther. The trick was to make the scenes look as real as possible, while keeping the actors safe from harm. Says Gunther: “If the actor goes down, everyone that’s working on this movie goes down. So the responsibility of keeping him safe added a lot of pressure. You definitely don’t want anyone to get hurt on your shift.”
Misher knows that the authenticity has paid off in the fight scenes captured in the film. “I’m a fight fan, and actors able to perform their own stunts is something I don’t see that often,” says the producer. “That feels rich and exciting to me. I enjoy the specificity and the gifts boxers and mixed martial artists have, so I love the way we were able to authentically bring that to the film.”
“The fights are not classic movie-style fights,” adds Rodgers. “What we tried to do was reinvent that. We worked closely with the special-effects department, so there’s a lot of breaking glass and knocking stuff over that’s special-effects rigged. We advised them on what was safe, and they came up with their ideas.”
Despite Tatum’s broad athletic experience, fight training was an entirely new beast. For an actor, it’s not simply a question of remembering the moves and making the fight look real. It’s also a matter of maintaining the performance, which requires equal concentration. “Keeping up the emotion in a fight is hard,” says Tatum, “because you’re filming one fight scene for 14 hours a day. You need to show emotion when you take a punch or grab somebody and slam them into a wall or a plate-glass window. Mic Rodgers pointed out to me that one reason the fight scenes in Lethal Weapon worked was because Mel Gibson is so good at selling it in his face and in the emotions. He’s not just going through the physicality of it.”
Adding to the illusion was director of photography Stefan Czapsky and editors Jake Pushinsky and Saar Klein. “We shot the fights with a handheld camera—three cameras simultaneously, in fact,” says Czapsky. “That gave Jake plenty to work with in the editing room. And you have to find camera angles that make the punching look real. During our first fight, Channing actually got hit; he wound up with a bit of a black eye. He learned after that why there’s a good reason to fake it. It doesn’t hurt as much.”
The editors had the challenge of combining the editing with sound design in order to make the fight scenes look realistic. “The combination of editing and sound design can make or break a fight scene in a movie,” believes Pushinsky. “People hear a good slap or a good punch and, even if it’s not there visually, they still believe it. With sound and editing, you can do a lot of tricks.”
In addition to quick cuts, the editors also rely on the actors to portray the throwing and receiving of a punch. Continues Pushinsky: “People’s eyes aren’t as fast as they think. One thing I learned was that it’s more the person getting hit who has to do this real acting of selling the reaction to a punch than the person throwing the punch. Everybody can throw a punch into the sky, but not everybody can act like they just got hit.”
Pushinsky also believes in the importance of music, especially when doing his editing work. For him, a big part of these fight scenes is rhythm. The editor comes from a music background, and music always plays a huge part in his process. Pushinsky plays music while editing, even if it’s music that’s never going make it into the scene, as it adds a rhythm, a feeling and a pace to a scene that he believes audiences feel subconsciously, because everyone listens to music.
Agrees Montiel, an avid musician who finds filmmaking and making music very similar, “I know what feels right when I play music. When you’re writing music or writing a film, you’re picturing everything that goes with it.”
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