Exodus: Gods and Kings: new interviews and behind the scenes footage in the electronic press kit

vlcsnap-2014-11-26-12h41m27s105The electronic press kit for Exodus: Gods and Kings is here, and with it, some new behind-the-scenes footage that hints at things we have not yet seen in any of the ads or clips released so far. It also has lots of soundbites from key cast and crew members. Check it out below the jump.

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Watch: Two new Exodus: Gods and Kings videos highlight Ramses’ relationship with his father Seti and with Moses

exodus-ramses-03Another day, another featurette for Exodus: Gods and Kings — and this one, without quite saying so, draws perhaps the closest connection between this film and Gladiator of any video to date.

Note how it focuses on Ramses’ relationship with his father Seti, who thinks Moses would make a better Pharaoh in his place than Ramses, his own flesh and blood. That’s eerily reminiscent of how Marcus Aurelius wanted Maximus to succeed him as the Emperor of Rome rather than his own son Commodus, no?

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Exodus: Gods and Kings: complete soundtrack now online, plus a new featurette on the character of Moses

exodusgodsandkings-141110Last night, I posted a link to a track from the Exodus: Gods and Kings soundtrack. Today, I’ve got something even better: the entire score, which is available for streaming via the German website Cinema Musica, but only until December 1. Check it out while you can.

In other news, the British Board of Film Classification has given the film a 12A rating, and it reveals that the film is 150 minutes and 3 seconds long. That would make it the fourth-longest theatrical release of Ridley Scott’s career, behind American Gangster, Gladiator and 1492: Conquest of Paradise, the longest of which was only seven minutes longer than Exodus.

The film itself was screened for the Screen Actors Guild in New York last week, and it will screen again in Los Angeles tomorrow. No formal reviews have popped up yet, but individuals who attended the New York screening are already raving about it.

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Ben-Hur gears up for its Italian shoot next year

benhur1959-raceThe Charlton Heston version of Ben-Hur was filmed partly at the Cinecitta Studios in Rome, so it comes as no surprise that the new version will be filmed there, too, as Variety reports today. The four-month shoot is set to begin in February.

More interesting is the fact that the new film will also be shot partly in Matera, the Italian town that was thought to be “a shocking example of European poverty” back when Pier Paolo Pasolini shot The Gospel According to St Matthew there in the 1960s, but has since become something of a tourist spot — not to mention a location for several other Bible movies.

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Exodus: Gods and Kings interview round-up (with photos and video): Christian Bale on Moses’ “sadistic” side and making Moses accessible for believers and skeptics alike

exodus-empire-dec1Time to round up some Exodus: Gods and Kings interviews.

First, Entertainment Tonight has a few brief soundbites from Christian Bale, in which, among other things, he makes the first public comments I have heard him make on the controversy over the casting of Caucasians in the key roles.

ET also has some behind-the-scenes footage of Bale as Moses shouting “You’ll never make it back! We will not harm you!” — to Egyptians fleeing the Red Sea tsunami, perhaps? — and, even more interestingly, they have a shot in which we can hear the 11-year-old boy who’s playing the voice of God call to Moses as “Moshe, Moshe.”

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Listen: the ‘Tsunami’ track from Exodus: Gods and Kings

exodusgodsandkings-soundtrackCopies of the Exodus: Gods and Kings soundtrack album, which doesn’t come out until next month, must be making the rounds already. We now have a more detailed list of its contents, and there are even a few reviews of it out there.

The biggest surprise, for me at least, is that some of the most important scenes in the film were not scored by Alberto Iglesias, whose name appears on the front cover. Instead, tracks like ‘Hittite Battle’ and ‘Tsunami’ — from the big spectacular sequences that open and close the film and give it its epic feel — were written by Harry Gregson-Williams (The Chronicles of Narnia, Kingdom of Heaven), while other tracks like ‘Lamb’s Blood’ and ‘The Chariots’ were written by Federico Jusid (The Secret in Their Eyes).

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