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  1. #1
    Senior Member Country: UK DB7's Avatar
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    Boyle & Garland Creating Sunshine

    Source: Variety Thursday, February 5, 2004



    28 Days Later director Danny Boyle and its writer, Alex Garland, are back in business with U.K.-based DNA Films and its financial partner, Fox Searchlight. Garland has just sold his spec sci-fi thriller Sunshine, with Boyle attached to direct.



    Described as reminiscent of Henri-Georges Clouzot's 1953 pic The Wages of Fear, which followed men hired to transport an urgently needed shipment of high explosives without the equipment that would make it safe to do so, Sunshine follows a similarly fraught mission in space.



    While no budget has been set for the film and no cast determined, Fox Searchlight confirms it will likely be in production by year's end. Sunshine would film in Europe and is expected to carry a budget of between $40 million and $45 million.

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    DB7:

    reminiscent of Henri-Georges Clouzot's 1953 pic The Wages of Fear
    Excellent film, by the way. One of my favourites.

  3. #3
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    Yeoh, Murphy and Evans Seek Boyle's Sunshine

    Source: Variety June 9, 2005





    Fox Searchlight Pictures has hired Michelle Yeoh, Cillian Murphy and Chris Evans to star in the space travel sci-fi thriller Sunshine for director Danny Boyle reports Variety.



    The film, about a team of astronauts sent to discover what became of a space mission crew gone AWOL, will begin shooting this summer in the U.K, and will be produced by Andrew Macdonald through DNA Films.



    The film has been scripted by Alex Garland, who collaborated with Boyle on 28 Days Later and The Beach.

  4. #4
    Senior Member Country: UK DB7's Avatar
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    Website up with clips: http://www.sunshinedna.com/

  5. #5
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    was lucky enough to catch a press screening of this....



    fantastic stuff...anyone else seen it?



    trailer




  6. #6
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    no one?




  7. #7
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    Just posted my review of this on another site:



    i blagged a press screening of this last week, and i can tell you it's damn amazing.



    without a doubt... DO NOT see this on some crappy small screen...You need the scale of it. The production values are something else...But it's not some 'empty' blockbuster like half the crap out there..

    It's definitely not another disaster movie..Much more in line with Alien etc...Classy as hell. Some seriously thought provoking stuff, not so much the science (although that is interesting), but more the human interaction stuff.



    I am a big danny boyle supporter, although i wasn't a massive fan of the ending of 28DL..i still rate it highly as a film...Some of the set pieces (particularly the intro sequence in London and the tower block chase) were incredible...



    As with sunshine, the thought-provoking stuff was actually quite early on. A lot of the same themes of claustrophobia and harsh-moral-decision-for-the-greater-good are present in both sunshine & 28DL



    I mean ask yourself...Could you kill a loved one to save the rest of mankind? (that's the sort of thing the crew in sunshine face)



    It's a simple, but genuinely intriguing moral dilemma...and the film's full of them



    trust me - you have to see this one




  8. #8
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    lovely new clip up



    Sunshine - U.K. - Videos



    don't tell me you've seen better cgi than that




  9. #9
    Senior Member Country: UK DB7's Avatar
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    Sunshine (2007)



    It is the year 2057, the Sun is dying and mankind faces extinction. Earth’s last hope lies with the Icarus II, a spacecraft with a crew of eight men and women led by Captain Kaneda. Their mission: to deliver a nuclear device designed to reignite our fading sun.





    Deep into their voyage, out of radio contact with Earth, the crew hear a distress beacon from the Icarus I, which disappeared on the same mission seven years earlier. A terrible accident throws their mission into jeopardy and soon the crew find themselves fighting not only for their lives and their sanity, but for the future of us all…








    “The premise of SUNSHINE,” explains producer Andrew Macdonald, “is that in 50 years from now the Sun is dying. It is no longer providing the energy and the light that mankind needs to survive on Earth. The entire global community pools its resources to send a mission into space to deliver a bomb to reignite the part of the Sun that is failing. Our story concerns the eight astronauts and scientists who lead this mission. On their journey towards the Sun the crew stumble upon the ship that was sent on the same mission seven years previously, the Icarus I, drifting in space. From this point on things start to go very wrong and it’s about how the crew react under the enormous pressure of their endeavor to save mankind.”





    Screenwriter Alex Garland came up with the concept for SUNSHINE back in 2004 after reading an article in an American scientific periodical. “I always had a desire to write a certain kind of science fiction film,” Garland says. “I wanted to explore the idea of man traveling into deep space and what he discovers there, as well as what he finds in his own subconscious. I had been looking for a storyline to hang this idea on when I read an article projecting the future of mankind from a physics-based atheistic perspective. It contained theories on when the Sun would die and what would actually happen when it eventually did. Man needs the Sun’s energy to survive and when that energy runs out it will lead to man’s extinction. What I found interesting about that was that it is easy to speculate about the potential end of mankind, but what if it was a certainty within our lifetime. What interested me was the idea that it could get to a point when the entire planet’s survival rests on the shoulders of one man, and what that would do to his head. That became a trigger point for the story.”

    Eight months later Garland arranged to meet director Danny Boyle in a West End pub and gave him the first draft of his script to read. Boyle called Garland the next day enthusing that they should go ahead and make the film. “What I love about Alex’s work is he has these big ideas,” explains Boyle. “The British film industry tends to make quite small films, but Alex’s writing always contains these massive ideas and concepts, which is wonderful, though complex to finance and realize.” For producer Macdonald, Garland’s script was a real page-turner. “I think Alex writes tremendously visually, and, unlike a lot of scripts you read, SUNSHINE has got a driving narrative that really pulls you along. Some scripts are quite academic and hard work but with Alex’s scripts you can easily visualize the story as you read it.”





    The trio of Boyle, Macdonald and Garland had previously teamed up for Fox Searchlight’s 2003 smash hit 28 Days Later. “We share a love of certain types of films, but we all have our own opinions of how they should play out, which I think makes the relationships stronger,” says Macdonald. “One of the key things is that Alex is very much the writer and Danny is very much the director and they both have very strong voices. My job is to help them realize what is in their imaginations, while at the same time balancing that with the practical realities of making a successful film.” “I think we are all very ambitious people but for some reason when we get together we abandon our egos,” Boyle notes. “I kick into the script and Alex kicks into the film and we are quite blunt and honest with each other and that helps the process enormously.”







    Sunshine trailer. (6.2mb .wmv format)



  10. #10
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    nice pix!



    i found more here



    Flickr: Photos from SunshineDNA

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    oh nice...Just saw this: Sunshine Moments Competition



    Some lovely pix in there....







    Also, interview with boyle in the guardian;



    http://film.guardian.co.uk/interview...040180,00.html





    interesting to read this:





    "We had this argument in the bar last night. He said it's absolutely critical we use nuclear power and Cillian said, 'What about the Irish sea? It's so polluted and there's all these leukaemia clusters.' And Cox went, 'If we use nuclear power we can give light and food to a million people in Africa and you're worried about a few hundred people in Ireland?'"



    I'm more and more convinced that Boyle's principle interests lie in these human dilemmas, and his films are just different backdrops to explore what is basically the same idea each time

  13. #13
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    name='DB7']Website up with clips: Sunshine


    just found this > www.myspace.com/sunshinemovie



    More clips etc....interesting choice of top friends ;0)

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    UK release this weekend! BOH!



    :)

  15. #15
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    hearing a lot of different reviews of this - seems to be polarising people something chronic. two reviews from papers here - seems to sum it up fairly well..







    2007: a scorching new space odyssey | Review | The Observer



    "2007: a scorching new space odyssey





    One of the most exciting British movies this year is Danny Boyle's sci-fi epic, Sunshine, which puts the divine back into a genre that had lost its way. To film-makers, it seems, the infinite has a spiritual attraction



    Mark Kermode

    Sunday March 25, 2007

    The Observer



    At a key moment in Danny Boyle's radiant new sci-fi film Sunshine, a character is asked, 'Are you an angel?' With its retina-scorching visuals, which blaze from the screen into the dark abyss of the cinema auditorium, this extraordinary epic certainly seems to burn as brightly as a host of fiery angels. Set in 2057, Sunshine follows the crew of the spaceship Icarus II as they attempt to deliver a thermonuclear payload into the heart of the sun, lending new light to our galaxy's inexorably darkening star. En route, they pick up a distress signal from their lost predecessor, Icarus I, which disappeared into the void seven years earlier. Like an interstellar Marie Celeste, the first Icarus now hangs in space like a ghost ship, seemingly without a soul in sight. But as the reason for its mission failure is gradually revealed (more psychological than scientific), the crew of Icarus II fall prey to the eternal inner demons which haunt those who fly too close to the sun.



    Article continues

    Shot not in Hollywood but in the 3 Mills studios in London's East End, Sunshine boasts extraordinary computer graphic imagery so luminescent you feel you could get sunburn just watching the film. As a sensory experience, it's overwhelming. But perhaps more importantly, Sunshine also harks back to a time when sci-fi turned its attention not toward the hallowed teen market but toward the heavens. Although screenwriter Alex Garland has said the inspiration for the film came from 'an article projecting the future of mankind from a physics-based, atheist perspective', this ambitious British fantasy increasingly blurs the boundaries between science and religion. In this respect, it falls within a grand tradition of adult-orientated science-fiction which is haunted by the question of divinity, whether as a presence or an absence.



    These ideas are familiar to director Danny Boyle, who had a traditional religious upbringing, and planned to join a seminary at the age of 14. 'I was at school in Bolton,' he remembers, 'and all set to transfer to this seminary near Wigan. Then one of the priests told me that maybe I should wait, maybe I should stay and finish my school education. Quite soon after that, I saw A Clockwork Orange, which was the first film I went to see by myself. And it just changed everything. I know it all sounds too neat, but that's what happened.'



    Boyle went on to make Trainspotting, which has been dubbed 'the Clockwork Orange of the Nineties' - a viscerally hip portrait of anarchic youth culture which became both a controversial modern film classic and a defining pop icon. Yet despite his current free-form agnosticism, Boyle's films have continued to be haunted by the detritus of his religious background, from the worldly angels of the romantic fantasy A Life Less Ordinary (which owes a debt to Powell and Pressburger's A Matter of Life and Death aka Stairway to Heaven) to the solidly earthy apparitions of saints who appear to the young hero of the underrated Millions. Other Boyle hits include 28 Days Later, a Garland-scripted zombie shocker set in a terrifying post-apocalyptic Britain. Now, with Sunshine, Boyle has set his sights higher than ever before, making a film which addresses 'what happens to your mind when you meet the creator of all things in the universe'.



    Sci-fi fans will see a range of familiar texts echoed in the broadstrokes outline of Sunshine, most notably Paul WS Anderson's Event Horizon, a flawed but fascinating Nineties Brit-pic in which a lost spaceship re-emerges from a black hole having been to hell and back - literally. There are also nods to John Carpenter's Seventies cult classic Dark Star, in which co-creator Dan O'Bannon plays Sgt Pinback, whose oddball moniker inspired Sunshine's most mysterious character, Pinbacker. O'Bannon went on to co-write Alien, Ridley Scott's deep space shocker to which so much modern sci-fi owes a debt, and with which Sunshine shares its use of the time-honoured 'intercepted distress signal' motif. And then of course there's my own personal favourite, the underrated sci-fi masterpiece Silent Running - Doug Trumbull's eco-warning dystopian fantasy in which the last of Earth's forests are consigned to giant geodesic domes in space, an idea that appears to have blossomed into the 'oxygen gardens' aboard the Icarus spaceship in Boyle's 21st-century adventure.



    Yet the primary heavenly body around which Sunshine charts its orbit is Kubrick's 2001: A Space Odyssey, a weighty and portentous work which opens with 'The Dawn of Man' and climaxes with the birth of a Star Child in what appears to be an extraterrestrial rewriting of the creationist myth. Just as God creates Adam in his own image in Genesis, so the 'aliens' of 2001 transform a dying astronaut into a perfectly formed space baby, the first of a new species which will return to earth (presumably) to herald the next age in man's cosmic evolution.



    This conclusion may be obliquely expressed (I remember thinking 'what was all that about?' and having to read the novel to find out) but the mesmerising symphony of sound and vision which constitutes the film's final act clearly suggest a metaphysical encounter way beyond the realms of rational explanation. Dubbed 'the ultimate trip', Kubrick's psychedelic movie used music by the avant garde composer Gyorgy Ligeti, which Underworld's Karl Hyde admits profoundly influenced his own work on the music for Boyle's new film. 'I'd never heard anything like it,' says Hyde of Ligeti's Lux Aeterna, which sounds for all the world like choirs of alien angels ringing throughout the heavens, investing 2001's baffling denouement with undeniable overtones of religious ecstasy and unearthly transcendence.



    There's a strikingly similar blend of science and theology in Sunshine, in which whizz-kid physicist Capa (played by the ethereally blue-eyed Cillian Murphy) comes face to face with his maker in the shape of a dying sun. Just as the enigmatic monoliths from 2001 act as creative gods to the earthlings, so the sun serves as both the giver of life and the source of all knowledge in Boyle's soul-searching movie.



    'I tried to keep it visual,' says Boyle, 'because some of the ideas in the film are very hard to talk about. But when we were making Sunshine, which involved a lot of post-production special effects, my responsibility to the actors was to describe to them what they would be seeing. I was brought up in a religious environment, and so my natural tendency was to lapse into descriptions which were broadly creationist. I'd be saying things like: "Kneel before the source of all creation, bow down before the source of all life!" And even Alex [Garland], who is quite an aggressive atheist, has that same cultural instinct in the language that he uses.'



    So too, it appears, does Sunshine's scientific consultant Dr Brian Cox, who works at Cern (the Centre for European Nuclear Research), the world's largest particle-physics laboratory. According to Boyle, Cox's work includes the pursuit of the 'Higgs boson', the missing piece in the current theory of the fundamental nature of matter which is affectionately known amongst scientists as the 'God particle'. 'Brian Cox admits that you can't really speak about these things without allowing for what some people would call a "spiritual dimension",' says Boyle. 'The question is, of course, whether that spiritual dimension is just a constraint of the language - the fact that we simply have no other vocabulary to describe such things. I think that's what Alex believes. But for me, what Capa sees at the end of the movie is definitely something beyond the rational.'



    The other significant star in Sunshine's cinematic galaxy is Tarkovsky's Solaris, a sombre Russian classic which, like 2001, uses a journey into deep space to dramatise a symbolic voyage into the very soul of man. Tarkovsky and Kubrick were aware of each other's work, and their joint efforts represent the twin peaks of a neo-spiritualist brand of science-fiction cinema which reached its apotheosis in the late Sixties and early Seventies. Other contemporaneous works (which flourished in the period before Star Wars turned sci-fi into an amusement park ride) include John Boorman's bonkers Zardoz, a self-important romp with philosophical pretensions. Here, Sean Connery (in leather straps, boots, and fetching posing pouch) can be found climbing inside the mouth of the flying deity Zardoz which rules the wastelands of the earth in a godforsaken near-future. Zardoz is meant to be a marauding, all-powerful divinity but, as Connery's Zed discovers, he is nothing more than a false idol - a smoke-and-mirrors illusion like the Wizard of Oz ('Zard-Oz', geddit?). The movie was pretentious, boring, and very, very silly. But its adults-only X-rating and esoteric script spoke volumes about the grown-up aura that sci-fi had attained in the wake of 2001 and Solaris



    Nor were the theosophical tendencies of the genre utterly quelled by the kidtastic assault of George Lucas and his clones. Although Star Wars and its spin-off sequels and prequels played primarily to a congregation of children and arrested adolescents, the endless ooga-booga about 'The Force' and 'The Dark Side' have since flourished into something resembling a modern religion which commands an army of merchandise-hungry disciples. I can't stand the Star Wars movies, which always seemed to me to represent a gross infantalisation of the dark hearted 'serious' sci-fi (Quatermass and the Pit, Silent Running, Soylent Green) on which I was raised. But I've heard pulpit preachers quote Yoda in their attempts to engage young people with religion, the battle between Good and Evil having been played out in the popular imagination as a war between Sith Lords and Jedi Knights.



    Even Captain Kirk has dabbled in the search for God, most egregiously in Star Trek V: The Final Frontier in which the Enterprise boldly goes 'through the barrier' between this world and the next. One sub-2001 light show later, and Kirk is splitting infinitives in heaven. Of course, it all turns out to be a Zardoz-style con, but not before everyone has had a chance to pontificate at great length about the meaning of paradise and the nature of the divine being. (The film was directed by William Shatner himself, which perhaps explains why God turns out to be no match for Captain Kirk.)



    Danny Boyle sensibly prefers Robert Zemeckis's 1997 film Contact, large swathes of which involve heated debate about whether a priest, a psychoanalyst or a particle physicist would be best placed to represent mankind in our first meeting with extraterrestrial life-forms. 'I was there on opening night,' says Boyle, a devoted sci-fi fan with an enthusiasm for the genre in all its forms. He was even slated to direct the third Alien sequel but backed out due to anxieties about the level of special effects and the studio's evident desire for a nuts-and-bolts, action-orientated romp.



    Having completed Sunshine, however, this endlessly energetic filmmaker has no plans to revisit sci-fi, which has a habit of producing creative burn-out. 'There's a reason why many directors only make one science-fiction film,' he says.



    'It's because you exhaust yourself... spiritually. I do think that I've become more spiritual working on this - you have to be open-minded. The interesting thing is that the more commercial sci-fi films, like Event Horizon or Alien, tend to go for Hell in space. But maybe its more ambitious to aim for Heaven...'"

  16. #16
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    Sunshine Sunspots Competition



    cute idea...and lol @ the first entry > YouTube - Broadcast Yourself.

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    I absolutely LOVE the film. Is totally awesome. The effects, the music! and the performances (Cillian, brilliant!!!!!), the whole problem with the crew, their fears, decisions. Great. Wonderful.

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    Hi all,



    Is this film still out?



    It doesn't seem to be out at all at the Showcase and only at a few odeon cinemas .



    Have i missed it?

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    Hi all,



    Is this film still out?



    It doesn't seem to be out at all at the Showcase and only at a few odeon cinemas .



    Have i missed it?
    been and gone i think

  20. #20
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    If you fancy a trip to Stamford in Lincolnshire (there is a railway station), it's being shown at the Arts Centre next Tuesday to Thursday.



    Stamford Arts Centre, Stamford UK



    Nick

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