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Post by dvbalove ♥ on Dec 16, 2007 0:05:07 GMT
PlotClint Eastwood directs Angelina Jolie and John Malkovich in a provocative thriller based on actual events. In the film, Christine Collins' (Jolie) prayers are met when her kidnapped son is returned. But amidst the frenzy of the photo-op reunion, she realizes this child is not hers. Facing corrupt police and a skeptical public, she desperately hunts for answers, only to be confronted by a truth that will change her forever. CastDirector: Clint Eastwood Writer: J. Michael Straczynski Michael Kelly ... Det. Lester Ybarra Jeffrey Donovan ... Captain J.J. Jones Jason Butler Harner ... Gordon Northcott Devon Conti ... Arthur Hutchins Eddie Alderson ... Sanford Clark Angelina Jolie ... Mrs. Hutchins John Malkovich ... Reverend Briegleb Sterling Wolfe ... Briegleb's Aide Colm Feore ... Chief of police Scheduled Release DateUSA ... 7 November 2008 UK ... 2 January 2009 Promo Pics
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Post by dvbalove ♥ on May 12, 2008 0:14:06 GMT
Premieres on the 20th of May as in the Cannes Film Festival. I bet it's fantastic, good luck, and win!!
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Post by Yada on May 12, 2008 5:52:54 GMT
Good luck to Changeling! I hope they win
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Post by Yada on May 17, 2008 6:32:24 GMT
This is what Changeling is about.... It is based on a true story
Murderer wanted his name 'known all over the world'Fame-seeking Gordon Stewart Northcott was hanged for child sex killings and a new film may just give him that infamy, writes Randy BoswellRandy Boswell.
The Ottawa Citizen Published: Wednesday, May 07, 2008 Nearly 80 years after a young, publicity-craving Canadian man was hanged in California for a series of child sex killings -- horrific crimes dubbed the Wineville Chicken Coop Murders during his sensational 1929 trial -- Gordon Stewart Northcott's twisted dream of global fame is finally set to be fulfilled.
Changeling, a hotly anticipated historical drama directed by Hollywood icon Clint Eastwood and chosen to premiere this month at the Cannes Festival, revolves around efforts of a desperate mother, played by Angelina Jolie, to determine whether her 10-year-old son was one of the victims. Born in Saskatchewan in 1906 and raised in B.C., Mr. Northcott moved to the Los Angeles area with his parents in the 1920s, but fled to Canada after body parts of four boys were discovered at the family's Wineville, California, chicken farm in 1928.
The 21-year-old fugitive was apprehended near Vernon, B.C., and Mr. Northcott's extradition and interrogation aboard a Los Angeles-bound train, his mother's admitted involvement in the slayings, his high-profile trial -- at which he unsuccessfully defended himself -- and his execution at San Quentin Prison in October 1930 were all widely covered by North American newspapers.
But the film -- backed by renowned producers Ron Howard and Brian Grazer, and also starring Canadian actor Colm Feore as the Los Angeles police chief -- is certain to ensure Mr. Northcott's enduring infamy.
Jason Butler Harner plays the Canadian killer. "He was a fascinating, malevolent sociopath," says James Jeffrey Paul, a North Carolina writer who recently completed a biography of Mr. Northcott. "He should be on the list of the most famous Canadians, though certainly not for good reasons." Mr. Paul, who spent 15 years researching the book, said yesterday that Mr. Northcott's mother, Louisa, "absolutely doted" on her son, ultimately taking her devotion to extremes by helping facilitate and cover up his gruesome acts.
The isolated chicken ranch provided "the perfect place for him to exercise his pedophiliac tendencies," Mr. Paul says, adding that although Mr. Northcott was implicated in three killings, he may have committed several more. During the trial, Mr. Northcott fired his defence lawyer, who warned the accused that he was effectively hanging himself. "It will be worth it," Mr. Northcott reportedly replied. "My name will become known all over the world." He was, in the end, convicted of raping and killing an unidentified Mexican boy, 12-year-old Lewis Winslow and his brother, Nelson, 10. Traces of their dismembered bodies were found buried under a mound of lime near the chicken coops at the Northcott farm. Mrs. Northcott was convicted in one case and served 10 years at San Quentin, before her death in 1944.
The murders came to light after the disappearance of Walter Collins, the boy whose mother, Christine, is played by Ms. Jolie in Changeling. Bizarrely, police initially told her they'd found the lost child, but she disputed the identity of the boy returned to her and was forced to undergo psychiatric treatment.
In November 1928, under the headline "Northcott Wilts Under Questioning," a Toronto Globe story described how the suspect, while being transported by train from Canada to California, confessed to killing the Mexican boy .
"Gordon Stewart Northcott broke down under a severe grilling this afternoon," the newspaper reported, "and shouted: 'I am willing to die, for I have nothing to live for.'"
Mr. Northcott was sentenced to death, despite his 11th-hour attempts at trial to recant his own confessions.
And despite the bravado he exhibited in the courtroom, Mr. Northcott was distraught on the day of his execution and had to be carried up the stairs to the San Quentin gallows.
"He had been so arrogant throughout his trial," Mr. Paul observed, but in the face of death, he really broke down, screaming in terror."
© The Ottawa Citizen 2008
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Post by Yada on May 18, 2008 22:11:55 GMT
Here is an enjoyable interview with the director, legendary Clint Eastwood, on his latest film Changeling.... We are at the beginning of May 2008 and the film, shooting of which was completed in November 2007, is not finished yet. Eastwood is completing the mixing. From a folder he produces a photograph of Christine Collins, played onscreen by Angelina Jolie. "This woman haunts me," he says. "She seems rather old at first sight to have a 9 year old child. She is not beautiful, but has an interesting face, an uncommon depth." From this face, Clint Eastwood draws one of his most ambitious films, in which a banal abduction story is transformed first by a superb portrait of a free woman whose desire for independence is seen as a threat by men, then becomes one of the most convincing recreations of 1920's Los Angeles. The fate of a child holds the key to understanding a city and a time. Los Angeles is more than a city where individuals live & work, but a malignant place, heir to the haunted forests of fairy tales where people disappear amidst general indifference.
In the film Christine Collins pursues the LA police force in front of the courts after the removal of her son, Walter. Another boy who resembled him, an absconder, had been returned as her missing son (Changeling means a substituted child). Christine Collins recognizes that fact but, on the orders of a police officer, is committed to an insane asylum to conceal the truth. "I do not believe there has ever been a golden age in Los Angeles," says Eastwood. He looks at the portrait of Collins one last time before closing the folder. "In any case, not for this woman."
Q: The removal of Walter Collins made great noise in Los Angeles in 1928. What explains its complete absence from the collective memory?
Eastwood: I read the script in the plane bringing me home after a trip to Europe. I liked it very much. The script is complex, because it was split in two distinct parts. The first part with the imprisonment of Christine Collins in an insane asylum, the second with the implication of the Los Angeles police force, and the corruption of a whole city, while revealing one of the most terrible businesses of murder in the history of the United States. Because that's part of the drama of this business. Walter Collins was, among a score of others, one of the kids murdered by Gordon Northcott, a farmer from Riverside county. This criminal case was abundantly covered by the local press. A similar case would make the newspapers and televisions at the national level today, but at that time it was different. I believe that people quite simply wanted to erase this business from their memory. Then there was the crisis of 1929. The population had other problems that needed sorting.
Q: Had a book been written about this business?
Eastwood: Nothing. J. Michael Straczynski, the script writer, found it by chance, thanks to a friend who works at the Los Angeles Times. The newspaper was getting rid of its paper files & his friend immediately recognized the strangeness of the Christine Collins story. Straczynski became haunted by the business.
Q: Do the places still exist?
Eastwood: We went to the farm at Riverside where the murders occurred. It takes two hours in the car from Los Angeles plus the return. It took a good day. The distance was real, that also explains why this fact is not registered in the collective memory. The house hadn't changed, one would have believed that we had gone back in time. It was empty, the windows masked by Venetian blinds. We walked around the property. The hen houses were there where the bodies of all those children had been buried. We knocked on the door, nobody answered. I was disappointed but at the same time, I couldn't see myself announcing to the new owner that 80 years ago all these children had been brutally murdered at his place.
I briefly lived in Los Angeles in 1930, in Santa Monica. My father had found a job in a service station. My sister was born over there. I still have precise memories. The city was smaller, without the least skyscraper. The town hall was one of the highest buildings. It is today one of oldest & we shot there. The downtown area was one of the most frequented, & we took care to show this in the film. Hollywood and North Hollywood were located very far away in the countryside. There were no motorways which connected the downtown area to Pasadena. There was the tram with its red coaches, which runs Angelina Jolie back & forth in the film as she searches for her son. These electric trams traversed the length of the town, & linked Pasadena with Santa Monica.
Q: Changeling looks like a complement to Mystic River (2003). The film shows how an isolated incident, a violated child, contaminated a community for twenty-five years. Here, a missing child is at the centre of the corruption of a city.
Eastwood: Absolutely! The behavior of the police force shows you how a woman was considered; she's an unmarried mother, & nobody takes her seriously. That suggested to me films like Obsession (1944), directed by George Cukor with Charles Boyer and Ingrid Bergman. The latter wonders permanently if she is not insane. Christine Collins was treated thus. I looked at the photographs of her in the company of her false child. She smiles and yet, it is obvious, this child supposedly found by the police force, is not hers. It resembles him only vaguely & his size is wrong.
I read again the depositions of the doctor of the psychiatric asylum where Christine Collins was locked up. I even used certain sentences in the film. This speech on the way in which one considered a woman then, inevitably hysterical, unable of reliable judgement. Christine is in the company of the men who judged with contempt the credibility of this womans claims. The police officer who follows the business and decides to send Christine Collins to the asylum says to her: " Something is wrong with you. You are an independent woman." The time could not accept similar women. This history would never have occurred with a couple.
Q: You were always inspired by the characters of independent women, which explains why you are one of the only directors who can use them as they were in the 1940's with Joan Crawford & Bette Davis.
Eastwood: Angelina Jolie is one of the rare American actresses today who would have made a career in the 1940's. Her face, like her personality, is very distinct, always attractive. It does not resemble anybody else. I also believe that her talent is underestimated; as an actress she is a superb girl. Angelina Jolie registers more in the tradition of Simone Signoret, in which the obvious glamour never erases the very strong personality.
Q: You have systematically chosen actresses who are not Barbie doll types: Jessica Walter in Play Misty (1971), Kay Lenz in Breezy (1973), more recently Hilary Swank in Million Dollar Baby (2004).
Eastwood: It's a question of realism. How credible can the character be if the actress resembles a Barbie doll? For my first film, Play Misty, the studio wanted actresses more in that mode than Jessica Walter for the role of the woman who becomes obsessed by her lover. I liked [Jessica Walter] because she was exactly the type of girl that I imagined being able to accost in a bar. Let us take an extreme case, Lana Turner only in a bar. How to believe a similar thing? Lana Turner, only, in a bar: instantly you are in a Hollywood film. There's no naturalness any more. An actress can release a certain beauty in one of my films, but that's a different thing. Her appeal is due to the characters history, and if it attracts you by her personality.
The interpretation of Angelina Jolie is particularly impressive. She is permanently on the brink of collapse. She knows to be tragic yet avoid the excesses of melodrama.
Q: At the end of Changeling, Christine Collins does not give up the search for her child but simply disappears. This is one of the characteristics of several of your characters - Josey Wales in The Outlaw Josey wales (1976), William Munny in Unforgiven (1992), Frankie in Million Dollar Baby.
Eastwood: I asked for the panes of the bar to be obscured at the end of Million Dollar Baby so one cannot see who was at the counter. Is this Frankie or someone else? This ambiguity I like. I like this unfinished destiny. The script writer of Changelingdid a good job in this respect. There were so many ways of telling this history, but the good idea was to stress that Walter Collins only disappeared. One never found his body, he arrived at the farm but may have escaped & afterward one knows nothing. The last word pronounced by his mother: "hope". One too often seeks to tie down history, I prefer to leave it open.
Q: The sequence of the hanging of the serial killer is very detailed.
Eastwood: If you are in favour of capital punishment, Gordon Northcott constitutes an ideal candidate. In a perfect world, capital punishment could seem the adequate answer to a similar murderer. At least I would like to believe that. Whether you are for or against capital punishment, you must recognize there is something of the barbarian in making the executions public. I seized the reasoning behind such an initiative. You carry out the culprit in front of the family of the victims. Justice is thus made and these people will find a certain interior peace. Yet what peace? After this spectacle, what peace do you hope to find? It is for that I made a point of filming this scene with the greatest realism, the noise of the neck which breaks at the time when the body is balanced in space, the feet shaking at the time of greatest anguish, then the doctor runs to the condemned to note his death. I know it is unbearable to look at, and that was the required effect.
Q: You are the only example of a director making his best films after 65 years of age. How do you explain this longevity?
Eastwood: I know more about this trade than twenty years ago, & I always thought that I had things to learn. As long as that's the case, I do not see any reason to stop. Certain directors of the 1940's, Raoul Walsh, Alfred Hitch**** & Howard Hawks turned at the end of their career to remakes of their greatest successes. This is not for me. I prefer to face a new wave instead of surfing on the same one. That was the lesson of Bird & Honkytonk Man. When you disappear prematurely, you cheat your public. Charlie Parker would perhaps never have done anything again. Or on the contrary, he might have explored other facets of his talent. One will never know and that troubles me. In Honkytonk Man, the character of Red Stovall is inspired by two singers of country, Red Foley and Hank Williams, he related to their self-destruction. I will not compare myself with such artists but I could have stopped. I thought of it twice. After Unforgiven (1992). Then afterwards with Bridges of Madison County. I thought that was perhaps the moment to cultivate my garden and to go drink a good glass of wine. But if I had done that I would have passed on much challenging work. For example, I would never have made Flags of Our Fathers (2006) or made a companion film in Japanese (Letters from Iwo Jima, 2006).
Q: You did not seek to be fashionable.
Eastwood: Especially not! I am wary of the air of the time. I have worked for fifty years in an industry which follows fashion. I hate to be a follower. When I arrived at Hollywood, there was no guarantee I had any future. The films which marked a turning in my career were different than the last fashion, to start with. Nobody believed any more in the traditional western. When I think of Million Dollar Baby and the difficulty I had to assemble it! In Hollywood, everyone knows - thinks they know - which films the public will like. When I proposed the story to Warner who produced almost all my films, they answered: " A film about boxing with a girl in a boxing ring,is a very bad idéa." "This is not a film about boxing, I answered, it is a love story. A father has never known his daughter, a girl has never known her father, and two individuals fill this lack thus. It is just that this drama occurs against a background of boxing." I took the script to Universal. They liked it, but they were producing their own boxing film. I started again with my speech: " Dear Sir, this is not a film about boxing." Everywhere the same response. Warner returned, on the condition that the film was cheap. The irony is that they offered the same contract as for my first film, Play Misty: no wages, and a percentage on the receipts. That made me smile, I said to my agent: " We're right back where we were 30 years ago." I particularly liked my counterpart in White Hunter, black heart. The director, inspired by John Huston, who says to his script writer: "When you make a film, don't allow yourself to be swayed by the people who will see it. Make your film and remains faithful to yourself."
Q: After Changeling?
Eastwood: A small film in July, Gran Torino, about a veteran of the Korean war, set in Michigan, who has not adapted to the modern world. It was originally set in Poland about Polish immigrants but it ended up changing, after certain meetings. I will play the main role. At the beginning of 2009 I go on to a biography of Nelson Mandela about the years separating his coming out of prison with his election as head of South Africa. What I'm interested in is how an individual maintains the cohesion of his country while supporting those people who once placed him in captivity. www.lemonde.fr/le-monde-2/article/2008/05/16/clint-eastwood-dan s-les-tenebres-de-los-angeles_1045803_1004868.html
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Post by Yada on May 20, 2008 17:58:39 GMT
Some reviews from during Cannes...
Cannes Film Fest 2008 (In Competition)-- Clint Eastwood had done it again. Dramatically and artistically, his new period thriller, "The Changeling," based on an actual case that helped bring down a corrupt police force and ushered a new era of greater legal equality, is right up there with his seminal, Oscar-winning features, "Mystic River" in 2003 and "Million Dollar Baby" in 2004
Though a historical piece set in the particular socio-cultural context--Los Angeles in March 1928--"The Changeling" is a dramatically gripping, supremely acted, technically accomplished picture that bears relevant contemporary meanings due to its central set of significant issues that continues to resonate in our lives today: the definition and structure of family as a social institution, the ineffectiveness and corruption of our main guardian institution, the police force. Add to it a strong female protagonist (splendidly played by Angelina Jolie), who begins as a misfit and weakling only to find strong reserves within herself and become a genuine heroine, and you also have a film about the nascent feminist movements of the late 1920s, with insights about the position of women (and other minorities) in society back then, with strong implications for today.
Clearly on a roll over the past decade, in which he has helmed "Mystic River," "Million Dollar Baby," and the back to back war films that are really companion pieces, "Flags of Our Fathers" and "Letters from Iwo Jima," Eastwood is like a good old French wine, the more senior he gets in age and experience, the better, deeper, and more resonant is his work.
At 78, Eastwood is at the prime of his career. With the notable exception of John Huston, who had done some good films in his 70s and up to his death ("Wise Blood," "Prizzi's Honor," "The Dead," his very last picture), it's hard to think of another major American director who has continues to evolve and sharpen his already commanding skills by applying them to a diversity of genres and stories.
The collaboration of Eastwood, who here relies again on his long-time crew of cinematographer Tom Stern and editor Joel Cox, screenwriter J. Michael Straczynski (who amazingly comes from journalism and TV), and actress Angelina Jolie, who gives a stronger dramatic performance in this picture than in "A Mighty Heart" last year, results in one of the bets pictures to be seen in Cannes Fest. Indeed, as of Day 7, "Changeling" impresses as one of the highlights of a rather lukewarm competition. Alongside Desplechin's delirious French ensemble film "A Christmas Tale and the Turkish entry "Three Monkeys," it's one of the top contenders for the prestigious prize Palme d'Or.
Universal will bow the film in the late fall, the prime season for serious "meaty" movies and Oscar contenders. With strong critical support and the right handling and marketing, "The Changeling" has a good chance to receive multiple Oscar nominations in the most important categories: Picture, Director, Screenplay, Actress, and several Supporting Actors. (I realize this is only late May, but the same prediction was made in this column last year out of Cannes Fest for the Coen brothers' "No Country for Old Men" and Schnabel's "The Diving Bell").
Before I begin my analysis, a word about the title and context of viewing Eastwood's landmark movie. In French, the film is called "L'echange," which translates into "The Exchange," a better, more apt title than "The Changeling," which brings connotations of the horror genre; the movie has its share of horrific moments but it certainly is not a horror flick.
It just happened that I saw "The Changeling" early in the morning, right after a late night screening of James Gray's "Two Lovers," which is also in the main competition. Eastwood's work would have shone in any context, but coming after yet another disappointing film from Gray, the contrast was all the more striking (Yes, I know, Gray is much younger, and has made only four films, but he shows few signs of improvement as writer or director).
The new saga begins on a sunny Saturday morning in a modest home in a working class suburb of Los Angeles, when single mother Christine Collins (Jolie) says goodbye to her nine-year old son Walter, sending him to school, before she leaves for her job as a telephone operator. Hours later, when Christine returns home, she faces the worst nightmare any parent can experience: the vanishing of her son.
Walter has disappeared without a trace. The initial search for him proves fruitless. Devastated, Christine refuses to accept the new reality but begins to realize that Walter will never be found. However, when a boy claiming to be Walter was discovered in DeKalb, Illinois, Christine and the others involved in the search wait with bated breath. Letters and photos were exchanged, and the authorities believed the missing person case had been solved. Collins scrapped together the money to bring the boy home, and LAPD organized a very public photo-op reunion with the found child and anxious mother. Hoping to put a stop to the scrutiny surrounding their inability to solve this case (and others) and desperate for uplift from human-interest success to counter the string of corruption scandals, members of the department hope the reunion would spell public redemption for LAPD's top brass.
Dazed and bewildered by the turns of events and swirl of cops, reporters, and photographers, Christine is persuaded to take the boy home. Confused and disoriented, she agrees, and the case presumably closed. Or did it? The "only" problem is that the child who arrived home was not Walter. Nonetheless, despite her immediate and repeated declarations that the boy is not hers, Collins is rebuffed by Captain J. J. Jones, the officer in charge of the case. Christine is told-and that was recounted from the City Council hearing transcripts--to "try him for a couple of weeks."
However, from the first moment of reencountering the boy, her emotions are conflicted, and in her inner heart, she begins to suspect that the boy is not her Walter.
While pressuring the authorities to keep looking for her real son, Christine learns some realities about the position of women in Prohibition-era Los Angeles, particularly single women of the lower classes. And in is in these chapters, that the real dramatic conflicts begin to unfold. Women are not supposed to challenge the system and its mainstream institutions. Like other femme (and minorities), Christine is subject to profiling and rigid stereotyping: She is slandered as unfit, deviant, and delusional. Needing support, Christine finds an ally in Reverend Gustav Briegleb (John Malkovich), a community activist who helps her to fight the city authorities in looking for her missing son.
Eastwood and his scenarist are excellent at showing both the workings (and corruption) of the police department and the political machine, forces that continue to question Christine's sanity, and the mass public's thirst for sensationalism on the one hand and eagerness for happy (fairy-tale like) endings to problems on the other.
Bridging the personal and the political domains, the filmmakers place the case against the broader context of Los Angeles in its formative era, during years of personal and public scandals, such as the kidnapping of evangelist Aimee Semple McPherson in 1926. Polanski's seminal noir, "Chinatown," about city corruption vis-à-vis real estate and water supply is set a few years later, in the early Depression.
Back in 1928, L.A. was in the grips of a despotic political infrastructure, led by Mayor George E. Cryer and enforced by Police Chief James E. "Two Guns" Davis (often photographed in a gunslinger pose with his weapons) and his sanctioned gun squad that terrorized the city at will. That despotic rule began to unravel with the Collins and other cases. After months of fruitless searching, the police had nothing to show, save an onslaught of negative publicity and mounting public pressure to find a solid lead in the kidnapping.
But what counts the most in "The Changeling" is the dramatic center: The gripping tale of a scandal and the emergence of a new type of heroine. Indeed, in her indefatigable search, and through dealing with various, insurmountable obstacles, Christine evolves into an unlikely, almost reluctant heroine, a spokesperson for the poor classes and downtrodden individuals who have been consistently and methodically abused, ignored, and swept aside by the police, political, and other authority machines.
In her one-woman's quest, Chritsine joins a whole line of American working class heroines, such as Norma Rae (Sally Field), Karen Silkwood (Meryl Streep), Erin Brockovich (Julia Roberts), and most recently Charlize Theron as a coal miner activist in "North Country." Each of these women is an idiosyncratic individual in her own right, and I don't want to suggest that they represent the same type, only to suggest the notion of misfit, disenfranchised women who embark on a journey of self-discovery through which they commit themselves to the welfare of a larger cause than their personal problems. In this respect, "The Changeling" could have easily be retiteld or subtitled, "Christine Collins."
Thematically, "The Changeling" bears resemblance to Agniezska Holland's French film, "Olivier, Olivier," as well as Ben Affleck's "Gone Baby Gone," which also revolves around the missing of a young girl and the police role in the kidnapping. Linking those two pictures is the great Amy Ryan, who was nominated for an Oscar for playing the irresponsible mother in "Gone Baby Gone," and in "The Changeling" plays Carol Dexter, a fellow innocent prisoner, who helps Christine during her lockdown in a mental ward.
Just in case you thought is a solely femme-driven saga, the accomplished ensemble includes half a dozen fully developed male characters, such as Captain J. J. Jones (Jeffrey Donovan), as the head of the LAPD Juvenile Investigation Unit assigned to find Walter, and Detective Lester Ybarra (Michael Kelly), who plays the crucial role of the officer, who is the first to suggest a link between Walter's disappearance and another crime.
Other impressive roles include LAPD Police Chief James E. Davis (Colm Feore) the head of the corrupt department, and a serial killer, Gordon Northcott (Jason Butler Harner), who may or may not have clues to Walter's vanishing.
Cast
Christine Collins - Angelina Jolie Rev. Gustav Briegleb - John Malkovich Capt. J.J. Jones - Jeffrey Donovan Det. Lester Ybarra - Michael Kelly Chief James E. Davis - Colm Feore Gordon Northcott - Jason Butler Harner Carol Dexter - Amy Ryan S.S. Hahn - Geoff Pierson Dr. Jonathan Steele - Denis O'Hare Ben Harris - Frank Wood Dr. Earl W. Tarr - Peter Gerety Mayor Cryer - Reed Birney Walter Collins - Gattlin Griffith Arthur Hutchins - Devon Conti Sanford Clark - Eddie Alderson
Credits
A Universal release of a Universal Pictures and Imagine Entertainment presentation in association with Relativity Media of a Malpaso production. Produced by Clint Eastwood, Brian Grazer, Ron Howard, Robert Lorenz. Executive producers: Tim Moore, Jim Whitaker. Directed by Clint Eastwood. Screenplay, J. Michael Straczynski. Camera: Tom Stern. Editors: Joel Cox, Gary D. Roach. Music: Clint Eastwood. Production designer: James J. Murakami. Art director: Patrick M. Sullivan Jr. Set designers: Adrian Gorton, Dianne Wager. Set decorator: Gary Fettis. Costume designer: Deborah Hopper. Sound: Walt Martin; supervising sound editor, Alan Robert Murray; co-supervising sound editor, Bub Asman; re-recording mixers, John T. Reitz, Gregg Rudloff. Visual effects supervisor: Michael Owens. Visual effects: CIS Vancouver, Pacific Title and Art Studio. Stunt coordinator: Buddy Van Horn.
MPAA Rating: R. Running time: 142 Minutes
emanuellevy.com
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Post by dvbalove ♥ on May 25, 2008 12:13:27 GMT
One of the surprises in Cannes for not only Angelina Jolie, but also director Clint Eastwood was the discovery upon arriving to do promotional work that the name of the movie had changed from Changeling, to The Exchange.
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Post by Yada on May 25, 2008 12:19:45 GMT
Oh my, but how can it be possible?? Not even the director knew this in advance?!
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Post by Yada on Jun 6, 2008 19:58:37 GMT
Clint Eastwood's Changeling changes name Clint Eastwood’s Changeling has undergone a transformation of its own, with the director changing the film’s title on the eve of its competition screening in Cannes. It will now be called The Exchange. The film, about a woman in 1920s Los Angeles whose son is kidnapped, has always been dubbed L’Echange in France and evidently Eastwood liked that title better. www.screendaily.com
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Post by Yada on Sept 12, 2008 6:55:40 GMT
Los Angeles, 1928 The film is set in 1920s Los Angeles and is based upon the Wineville Chicken Murders, an infamous kidnapping and murder case that occurred from 1928 through 1930 and received nationwide attention in the United States. When the son of Christine Collins (Jolie) is returned to her after being kidnapped, she suspects that the child is not her own. After being vilified as an unfit mother, Christine confronts the city authorities and corruption in the Los Angeles Police Department in order to find out the truth. The Changeling opens on Friday, October 24! or here: movies.yahoo.com/movie/1809945088/video/9690286/
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