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 1 er FILM DE RONAN : GODDESS

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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyMar 12 Mar - 20:45

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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyMer 13 Mar - 11:26

MUSIQUE DU FILM GODDESS 13 Songs

https://itunes.apple.com/au/album/goddess-original-soundtrack/id619373336


1 Welcome to My Kitchen Sink Laura Michelle Kelly 1:15
2 The Goddess Dustin Clare 2:36
3 Be Careful What You Wish Laura Michelle Kelly 2:54
4 Don't Give Up Ronan Keating 3:39
5 Private Party Laura Michelle Kelly 2:15
6 Tantrum Laura Michelle Kelly 1:25
7 Mama's Shoes Laura Michelle Kelly 3:10
8 Do You Know Who I Am Magda Szubanski 2:41
9 Frozen Heart Ronan Keating & Laura Michelle Kelly 4:14
10 Corporate Bitch Laura Michelle Kelly 2:30
11 Waltz (feat. the Melbourne Studio Orchestra) Bryony Marks 1:34
12 Don't Give Up Laura Michelle Kelly 1:02
13 Finale Laura Michelle Kelly 3:30

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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyMer 13 Mar - 14:00

10 Minutes With Goddess Stars Laura Michelle Kelly and Magda Szubanski




http://www.popsugar.com.au/Interview-Goddess-Laura-Michelle-Kelly-Magda-Szubanski-28511779

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In Goddess, the new Australian musical comedy opening on March 14, Elspeth Dickins (Laura Michelle Kelly) is a young mother living in Tasmania who’s looking after her toddler twin boys while her husband (Ronan Keating) is travelling around the world, saving whales. He gives her a webcam so they can stay in touch, but he’s never online when Elspeth is. So she installs the webcam above in her kitchen and invites the world in as she performs her ‘sink songs,’ gradually building an audience and catching the attention of advertising exec Cassandra Wolfe (Magda Szubanski), who needs a new star to front a campaign for a new female-targeted laptop called the Goddess. Elspeth leaves her kids behind to try her luck in Sydney, but is then faced with the dilemma of chasing her dreams or being with her family.

Leading ladies Laura Michelle Kelly and Magda Szubanski did press for the movie ahead of its world premiere last week. I caught up with the stars — it was also Laura Michelle’s birthday! — to discuss what drew them to the story, what it was like to work with first-time actor Ronan, and Magda’s nerves over doing a big musical number. Read on for our chat!

What was your initial reaction to the story or script?
Laura Michelle: I absolutely fell in love with it. I grew up on a farm on the Isle of White Milk and Cows, and I have this musical thirst in me. And that’s definitely the heart of this character — she’s got a thirst to be creative, she’s got to do what she can with what she has. And that’s one of the interesting things about this story — she’s a country girl and she gets brought to the big city and bright lights, and she has a choice between fame and family. I love that dilemma. I really understood it.

Magda: First of all I loved having a kick-ass song, and being a dancing diva surrounded by dancing boys — I just loved that. Having Kelley Abbey do the choreography, she’s world-renowned for her choreography and she did all the choreography on Happy Feet, so I know her from previous things, so that was a real highlight. But also for me, it was the opportunity to play a powerful, dramatic character, who’s a bit of a bitch. It’s just so different from anything I’ve done before. And getting to sing — all those things were enormously compelling for me.

She’s three-dimensional. Those big characters do exist, especially in the advertising world — I’ve met them. To me she’s kind of like a ball-breaking version of Vivienne Westwood. It’s not unbelievable, those kind of people are really around. And now, as I’ve said before, it’s credible that Sydney would be an international powerhouse that a character like that might live in. You can say, “New York, Paris, London, Sydney,” and people won’t laugh. They’ll go, “Yeah, that makes sense.” Sydney’s a major international player, so the idea that my character would try to launch Laura Michelle’s character from here in a big way really makes sense.

The last big musical to come out was Les Mis, and they kept going on about singing live . . .
Laura Michelle: Yeah, and they had a massive budget! What was awesome for us was we weren’t, we were restrained, which meant we had to create a sound that was our own. We did all our songs in the recording studio prior, which meant that on the day we could edit easily, cut things to different shots easily, and we knew what we were doing. We weren’t having to concentrate on singing perfectly, we were concentrating on all the other pieces coming together beautifully. So I think it’s very ambitious to do it live, and I did it live on Sweeney Todd as a beggar woman, so I know what that’s like. I’m really glad I had the safety of knowing that these were all pre-recorded.

Magda: Especially when you’re dancing and moving around. For me that would’ve been a deal breaker if it had been live — I couldn’t have done it.

Laura, you have an extensive musical theatre background and when I found out you played Mary Poppins in the musical I could totally see it.

Laura Michelle: I loved Mary Poppins. I loved playing it. I was supposed to come and do it here [the production in Sydney] but I got caught up with something.

Madga: That must’ve been a hard role — was it physically demanding?

Laura Michelle: It was mentally draining. I did that collectively over my life for four years, on and off. And it’s closing today! Right now. The final Broadway show. So there’s a lot happening today — my birthday, the end of Mary Poppins, the opening of our movie.

Magda: One Poppins closes and another one opens.

Laura Michelle: So I’m loving the release of this movie — finally what we’ve done and what we’re proud of is coming out, and we seem to be getting really great responses from people, especially guys, too. I forgot that a lot of men would be able to relate to Ronan’s character when he’s the left behind husband coping with the kids when the wife’s decided that’s it for her. I think a lot of guys can relate to that problem too, with the wife wanting more.



Can you both tell me about your experiences of working with Ronan? Magda, I know you didn’t really have scenes with him, but I heard he helped you with your recording session.

Madga: Yeah, in a way that was really crucial for me. He was there in the studio when I was recording my number, and there had been some doubt as to whether I was able to pull it off, and they thought I might have to Rex Harrison it and just talk my way through it. It’s actually pitched a bit high for me, I’m a lower singer than that, and I was like, ‘Oh OK, I hope I can manage it.’ And he was so supportive. And that really just gave me the confidence. He was giving me good feedback and saying lovely things, things that made me feel emboldened to go further with it. Otherwise it might have been very different if I lost my nerve about it and it was voiced by someone else. I don’t know if they would’ve ever actually done that, I think in the end they would’ve gotten me just talking it, but I wanted to really give it a go singing it, and in a nice, jazz-swing way, too.

And it was fun to do a sexy thing, too! It’s really fun to be bold. I know some of the boys who were dancers there because I’ve worked with them before, and that was terrific fun.

Laura Michelle: Ronan bounded in every day, ready to go with the scenes. I was still waking up in the morning, like, ‘Give me a break,’ but his energy was so positive. His children were on set, which gave the whole set a feeling of family and fun. We just had such a good time. He’s such an easy person to work with. He’s so pumped about being in a movie, like he’s wanted to be in movies his whole life.

Magda: I know, it’s so sweet! And he’s so good. That kind of understated, male hunky lead, who’s got a sort of wry humour, they don’t come along like buses every 10 minutes. I really hope this leads to other things for him because he’s such a lovely guy.

And be bares his bottom in his first movie.

Laura Michelle: He’s so game.

Magda: Don’t most men, though? I don’t think I’ve ever worked with any men, especially male comedians, who have not flashed their bums. I’m just saying — irrespective of what their bums look like.

Laura, who had a lot of the big choreographed numbers but you also had a lot of scenes singing right into the camera, the way lots of Internet stars do. What was that like?

Laura Michelle: That’s easy! That’s almost like singing to my friend. I think what isn’t easy is doing a music video. Being like, ‘Look how great I am.’ [With singing straight into the camera] I’m singing to other mums out there, they’re gonna be my voice, they’re gonna be connected to me. That’s how you see it. In the movie it’s like a conversation and that’s why there was less pressure. No pressure.



The mothers’ group features an eclectic mix of women including [YouTube star] Natalie Tran. Did she offer anything about her experience of reaching global fame through her videos, pretty much the way your character does?

Laura Michelle: I love that you mentioned her — she’s got so many followers. We did get to have a bit of a chance to chat on set, but I think because it was the mothers’ group against Elspeth, there weren’t many opportunities to hang out. But I would’ve loved to have heard her story. I know it’s very much like Elspeth in a way that she’s become very well known on the Internet just by being herself.

And I wanted to quickly talk about the costumes — how long did it take to get into them and were they easy to move in?

Laura Michelle: I had no idea that the concept of the glove dress was going to happen. And it totally informed my character’s journey, the whole process of how she’s going to get more outrageous as the story goes on. And it ends up being this amazing big thing they put on the poster. She’s [costume designer Shareen Beringer] so talented.

Magda: Oh, she really is. For my one, initially my song was going to be a frill-necked lizard, CGI — it was going to come up and be this real powerful thing. That all got dropped, and she had a few days and she came up with that fantastic, slightly Brunhilda . . . I wanted to do a Varga Girl thing, and we were talking about that, and she just melded that with this amazing, slightly Brunhilda-esque quality — I don’t even know you’d describe it! She just put that together effortlessly, just so clever. But her costumes — the costumes and the makeup — really did alter my view of the character, because I had a much more boring concept I have to say, which shows the paucity of my imagination. With the hair and all the wardrobe, I went, ‘Bang, now I get it.’ So I have to give so much credit to Wendy Dwyer and Sarah Bernard, who did the makeup, and Sherine Beringer. They’re really so good at their job and such lovely, generous people. They don’t often get the credit and they really should.


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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyMer 13 Mar - 19:11

MERCI ANNIE
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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyJeu 14 Mar - 13:51

http://www.heraldsun.com.au/entertainment/movies/sugar-and-a-little-bit-of-spice/story-e6frf8r6-1226597006267
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Sugar and a little bit of spice



MARY Poppins and her distinctive, parrot-head umbrella cast a very long shadow.


..Just ask Laura Michelle Kelly, the English actress who originated the role in the West End stage musical and reprised it five years later on Broadway.

"She has impeccable manners," says the 32-year-old Brit.

"You hope those good traits will rub off on you, but there are definitely moments in my life where I don't use them - usually when I am tired, jet-lagged, or hormonal."

Elspeth Dickens, the frustrated housewife Kelly plays in the new Australian musical Goddess, is probably closer to the woman she is in real life.

"The fact that she made some bad decisions in the process of her journey is very much like me," says Kelly.

Actor and character part ways, however, when it comes to the domestic arts.

"I can't sew. That's a quality my mother had, which is why I really like that Elspeth has it," says Kelly. "In fact, I am terrible with clothes ... Honestly, I don't have a stylish bone in my body."

The triple-threat admits she's not that handy in the kitchen, either. But it is all more than compensated for on the stage, in projects as diverse as A Tribute To Dirty Dancing and David Mamet's Speed-the-Plow with Kevin Spacey and Jeff Goldblum.

Kelly has played dark characters before - a syphilitic hag in Tim Burton's film adaptation of Sweeney Todd, for instance, and more recently The Second Mrs Tanqueray, for which she was given the thumbs-up from The Guardian's film critic Michael Billington. "Laura Michelle Kelly, last seen as Mary Poppins, banishes any hint of the nursery governess and plays Paula as restless, fiery and seductive," he said of the Victorian with a past.

"It was obviously very well written and directed," says the actress. "But she is depressing and aggressive and angry. It takes a little while to cleanse yourself of that.

"So although I liked the challenge (of playing Mrs Tanqueray), if I could choose, I would pick an inspirational character every time because I would really like to learn those traits."

But while Goddess is ultimately an uplifting story, Dickens wrestles with her own demons along the way.

Stuck in a remote farmhouse with two young sons for long periods of time while her whale-watching husband (Ronan Keating) is at sea, the former singer feels emotionally isolated and professionally thwarted.

Out of desperation, she starts performing her music to a webcam positioned in front of the kitchen sink. Before long she attracts the attention of Magda Szubanski's hard-nosed advertising executive.

Success, however, comes at a personal cost - eventually Dickens is forced to choose between motherhood and the opportunity to follow her dream .

Of herself, Kelly says: "I have been so desperate to meet the right man and have kids that by the time Mr Right comes along, I think I will just be content with that. But women are entitled to aim for a career for themselves."

For the time being, Kelly is focusing on her career - having recently collaborated with Sting on The Last Ship and on Ghost the Musical. Now based in Los Angeles, she recently sold her house in Putney.

"It's a clean state. A new start. I feel freer than ever," says Kelly, who is divorced from choreographer Nick Winston.




http://www.sbs.com.au/films/movie/14679/goddess

Energetic musical sings familiar tune with glee.

Goddess Review / Peter Galvin
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Writer/director Mark Lamprell creates a bouncy, buzzy mood
Goddess opens with a very funny musical joke. Or maybe I should say a joke about musicals.

We are flying over a set of very green hills. There are mountains in the distance. The music swells in a familiar way... A woman, attractive, happy, is racing toward us through a field, arms outreached embracing all this goodness and loveliness – it’s all not coincidentally reminiscent of something called The Sound of Music.

I won’t ruin the joke for punters by describing the punch line. And that’s not out of respect for the inordinate reverence accorded the practice of with holding ‘spoilers’ from reviews. It’s because this Sound of Music parody is one of Goddess’ few laugh out loud moments.

Suffice to say that that woman in the opening shot is brought crashing down to earth straight after the opening titles. She is the film’s hero. Her name is Elspeth (Laura Michelle Kelly), and before her marriage to James, who here is played by Ronan Keating, she was a successful singer/songwriter. They make their home in Tasmania (hence the green hills) and Elspeth is a mother of rambunctious twin boys. As her life consists of tracking the regular bowel movements of her lads – and keeping them fed, clean and happy, as well as making sure they don’t acquire a taste for cow patties – Elspeth barely has the time to scratch out a tune on her battered old upright, which, with crushing significance, does not reside inside the great rambling colonial pile the family call home, but in the barn.

James, who appears to work for an environmentally ‘sound’ organisation not unlike Greenpeace, spends most of his time underwater watching whales, away from the regular madness that Elspeth must endure.

There is little respite for Elspeth. The local mothers’ group hates Elspeth on sight, leaving her feeling suffocated and friendless (though Pia Miranda is cast as one of these bitchy types who turns out to be nice after all, becoming a shoulder to cry on).

All this plot detail is sketched in rather deftly in the film’s first 20-minutes or so, which fly by, guided by the expert editing of Mark Warner. Writer/director Mark Lamprell creates a bouncy, buzzy mood and cinematographer Damian E. Wyvill (The Chronicles of Narnia) coats everything in a happy sheen of sparkly highlights, healthy skin tones, and a colour scheme that reminded me of a particularly bright and fatty kid’s birthday cake.

Still, it takes a while for the film’s major plot gimmick to kick in: Elspeth installs a web-cam in her kitchen right over the sink so she can have 24-hour access to James while he’s at sea. The kitchen becomes her ‘stage’ where she performs a lovely set of numbers intended to bring her absent hubby up to speed with whatever is happening in her head and heart; the lyrics are witty and the tunes have a nice toe-tappy Broadway swing to them.

Elspeth turns out to be a social media hit. A marketing company wants to recruit her ‘act’ and use it to launch a new digital product designed to appeal to women. So in the great tradition of musicals, Elspeth gets the chance to live the showbiz fantasy. But since she’s a very sweet woman, a doting mother, and a loving, faithful wife, the price she has to pay for fame and big bucks is guilt. The marriage has to compromise; James takes more of an on-site fathering role while Elspeth ponders the relative merits of doing nude shots and that special kind of celebrity that murders all sense of reality…

The best stuff in Goddess is the musical comedy. Most of the many songs come from composer/lyricist Joanna Weinberg and were road tested in her original one-woman show called ‘Sinksongs’. Weinberg did the film’s score – smart, poppy arrangements – with Bryony Marks. The smart, ticklish and relentlessly silly choreography is by Kelley Abbey and Lamprell and the tech team have great fun exploiting ancient film musical clichés for comic effect throughout.

But what gives the film its beguiling drive and energy is the performers. I really liked Hugo Johnstone-Burt who plays a corporate flack who first sees the potential in Elspeth, and then there’s Magda Szubanski in a star turn as his boss. She plays a character with the improbable name of Cassandra Wolfe; she comes with a frightening wardrobe to match the moniker, too. Keating is decorous and does the dutiful, troubled
and soulful dad act ably.

But its Broadway and West End star Kelly that dominates. On stage she played Mary Poppins and her Elspeth is a close relative; she doesn’t do angst, but she’s a genius at expressing ebullience. Kelly is so much fun to be around that it’s possible to miss the fact that the script of Goddess is thin and episodic. What keeps the film alive, though, is the fact that its fantasy is so rooted in lived experience; its needy urge to liberate its character’s is infectious.

Some reviewers have divined a retrograde anti-feminist ‘message’ in Elspeth’s dilemma, since she seems so queasy to strike out and enjoy fame on its own terms but I think that misses the point. This is a movie musical romance about a married couple. Elspeth’s genuine talent reshapes her world. Fame isn’t the issue; ‘sharing’, in the deepest sense of the word, is. Apparently the desire for an equitable marriage that harmoniously balances career and domestic responsibility between spouses is a non-question for some.

And since the film has some truly compelling ideas (and a less than elegant delivery), Goddess presents one of the occasional dilemmas of film criticism where one is faced with a picture that on so many levels just isn’t very good… and yet, there’s something irresistible about it. Make of that what you will.





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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyVen 15 Mar - 10:46

PHOTOS NEWSCOM


Dernière édition par @nnie le Ven 15 Mar - 16:42, édité 1 fois
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http://www.empireonline.com.au/reviews/films/2013/3/goddess/review/

Goddess (2013)
Reviewed by
•Paul Merrill 4/5


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• A frustrated mum alone in the wilds of Tasmania with only her toddler twins for company uses a webcam to stay in touch with her husband. Her singing routines go viral and attract the attention of a ball-breaking businesswoman who realises she can exploit the young mum. But her new career threatens to take over her life.
The shamelessly uplifting music-infused rom-com has become a stock in trade of the Aussie film industry. Strictly, Priscilla, Muriel, Sapphires. All made significant inroads into international markets in a way that more serious local fare often failed to do. Maybe a couple of Abba numbers would have spurred Baz Luhrmann’s Australia to greater heights.
Goddess is aimed at the same razzle dazzle’ em audience and its two leads should ensure that it gets a distributor in the UK at least. Kelly rose to fame in the West End production of Mary Poppins, while Keating, in his first film role, was probably cast more for his profile then his acting credentials.

The premise of a bored housewife lusting after more excitement creates a Shirley Valentine for the 21st century, except instead of talking to the walls, this one sings to them while her slightly dull marine biologist husband is away tracking whales off Antarctica.
Soon her kitchen sink ditties are heard by a fearsome corporate boss (Szubanski) who promises her fame, fortune and an escape from drudgery. But then comes the predictable moralising about sacrificing family time for the bright lights and glitz.

Director Lamprell wisely eschews too much in the way of schmaltz or sentimentality and instead lets the impressive Kelly belt out some catchy numbers and milk the comedy to good effect. Keating thankfully isn’t called upon to do much more than look plaintive and remove his shirt a couple of times.
If you check your cynical hat at the door, then there’s a lot to enjoy in what will surely be the Aussie feelgood movie of the year.


Verdict
Infectious and great fun, it will be a clarion call to domiciled women everywhere to rise up and, er, sing more. Kelly, with a Tina Fey-esque charisma, effortlessly carries proceedings and should have frothing casting directors forming a line to her door.

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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyVen 15 Mar - 16:51

merci annie
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merci annie
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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyLun 18 Mar - 9:57


GODDESS est 4ème au BOX OFFICE cette semaine


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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyMar 19 Mar - 14:00




merci fab Bravo




http://www.dailytelegraph.com.au/entertainment/movies/movie-review-goddess/story-fn5n3bsy-1226597010305
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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyMar 19 Mar - 15:40

MP3 GODDESS SUR AMAZON FRANCE


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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyMar 19 Mar - 17:10

MERCI
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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyMer 20 Mar - 9:49

http://tasmaniantimes.com/index.php?/arts-article/credible-keating-seals-celluloid-success/
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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyMer 27 Mar - 20:36

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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyMer 27 Mar - 20:45

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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyDim 5 Mai - 10:08

http://open.spotify.com/track/6Pdg142dXpoZXo4H5ygtKB#




Dernière édition par @nnie le Mar 17 Sep - 21:25, édité 2 fois
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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptyDim 5 Mai - 10:10

merci annie, j'aime bien l'album
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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptySam 11 Mai - 8:52

DVD release in Oz on 17 July by Sanity
http://www.sanity.com.au/Search.aspx?sanquery=goddess



Lancement du film le 30 mai 2013 à HONG KONG
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MessageSujet: Re: 1 er FILM DE RONAN : GODDESS   1 er  FILM DE RONAN : GODDESS - Page 3 EmptySam 6 Juil - 12:34

http://if.com.au/2013/07/05/article/Ronan-Keating-on-his-transition-to-the-big-screen/MLWZIXRYSL.html

Ronan Keating on his transition to the big screen

By Emily Blatchford

He’s a successful pop star, an international heartthrob and has smashed his way onto Australian TV screens as a popular judge on hit show The X-Factor. But Ronan Keating is very, very nervous.

After ten years of trying to break into the acting world (the star famously was unsuccessful in his audition for The Hobbit) Keating has landed a main role in the upcoming Australian feature film, Goddess.

Now the film has wrapped and is about to hit Australian screens, Keating is uncharacteristically insecure about how his first foray into the acting world will be received.

“I’m really bloody nervous,” he admits during a fifteen minute phone interview. “It’s not out there in the public yet but I’m so curious to what they will think of the film and my character. I have no idea. I’ve got nothing to gage it against. You know you release an album and say, ‘Well this is different to my other one,’ or, you know, you have some idea. But this is brand new and I’m just not sure how it’s all going to go.”

Goddess is a musical comedy based on the 1996 cult hit one-woman show, Sink Songs, by Joanna Weinberg. Also starring Australian favourite Magda Szubanski, the story follows couple Elspeth and James (Laura Michelle Kelly and Keating) who, with their troublesome twin boys, relocate to Tasmania so James can pursue a career in whale conservation. Frustrated with rural life, Elspeth sets up a web-cam in her kitchen and begins broadcasting her ‘sink-songs’ to the world, with unexpected consequences.

Keating says it was only after he landed the role he realised why he may not have previously been successful in other film auditions.

“I think (there’s) been a combination of directors not believing in me and probably a lack of talent,” he says. “I tried and I tried… But you know it was only when I got the role I realised how unprepared I was. It was a big learning curve for me.”

Both producer Richard Keddie and director Mark Lamprell threw away the rule book when casting Goddess, with neither leads having any film experience.

Still, it is a gamble they are glad to have made.

“I had a huge respect for Ronan Keating’s ability as a performer,” Keddie says.

“He's a total professional and we were very confident he could make the transition. He is a major find in the acting world. And the bonus is that his star power is fantastic.”

Keddie is equally full of praise for Broadway darling Kelly.

“Laura Michelle Kelly's performance as Mary Poppins both on the West End and Broadway is probably the best qualification you could have to play our lead character. She's exquisite.”

Though Goddess obviously features plenty of musical content, Keating’s ability to sing is not what makes his performance. In fact, with the lion’s share of songs going to Kelly, Keating sings just three numbers, and one of those appears only over the credits. What we see in Goddess is very much Keating as an actor, rather than a pop star with a film role.

In a reflection of this, when asked about his favourite moment of the film, Keating disregards his solo and instead chooses the scene he found most challenging as an actor.

"For me, my personal favourite of the film, the bit where I thought I could really get my teeth into, is when I’m getting on the ship, and Laura is rushing over to me to say sorry, and I’m just – ‘forget about it.’ It’s a really gritty moment and I liked that.”

Keating says the transition between pop star and actor was not without its challenges.

“On my very first day I was with the twins. It was my very first scene on set and it was just me and the two boys in the kitchen and I was making them breakfast. My very first day and I didn’t have an adult to deal with. But the boys were brilliant, we had a great time,” he says.

There were other, less craft-based challenges for Keating to face as well - in particular a scene where James does the washing up wearing only an apron.

“Getting my rear out was pretty full-on. I was pretty nervous about that,” Keating laughs. “But you know I realised you just have to lose all your inhibitions. You didn’t see my arse, you saw James’s arse! That’s how I justify it to myself.”

Though nervous about critical reception, Keating is also hopeful his performance in Goddess will land him other roles on the silver screen.

“Oh, I hope so. It’s something I’ve really wanted to do for a long, long time. I know how much of a risk it is, because I hadn’t done a film before, and I really appreciate them taking a chance on me. I owe them.”
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