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About The Battalion. (College Station, Tex.) 1893-current | View Entire Issue (Nov. 3, 2000)
lny. Novemfe: Friday, November 3, 2000 AGGIE/i/r Page 3 ‘ed frotnM i e a partial^ ind violencel Arafat want^, ivants staid t -t> he adfe|® tinian rev.fe feting by ense oflivel aes not foril; conflict, [ >e a certain: y will realij liaid. “Inott & attempt as to be stop tecessity w mt. :e is a because I® Jst allies United Stats have no oik :ast than too lid. "The l >h themtoi o it onto is is conside negotiator! said, bee* egionnottk important I appened i thing to do ' point, tk : | id on this it the (rat® S Cole prod iastern tie s occurreii. behalf ofti hat a soli® : for Palest ny and m erritory ni a good eco go out ill es,” he sail ieves the an an equaj they hat ley just sit . The kej /een the tit stablish. ise there r nethineMt d. va endfiit hatfr^® THE BATTALION McG, director of Charlie’s Angels, tells w By Hillary Gant The Battalion McG has joined the recent wave of music-video directors turned movie-makers with his first feature film, Charlie’s An gels. McG is attempting to follow music-video directors like Academy Award nominee Spike Jonze {Being John Mal- covich) and Tarsem (The Cell), who have successfully switched from the television to the silver screen. McG hopes his big-screen adaptation of the beloved pop culture favorite will be a hit. McG spoke via satellite to students at college campuses across the country after a special Charlie’s Angels premiere sponsored by the MSC Film Society. The director answered questions via satellite about the film, the stars and his life. McG said his musical background helped bring the* sexy 70s show a new, updated look and sound. McG cut his teeth on creating music videos for artists like Barenaked Ladies, Everclear and the Offspring before winning awards for Smashmouth’s “Walking on the Sun” music video and Sug ar Ray’s “Fly,” which he also co-wrote. “I wanted the musical score to feel like your favorite mix tape,” McG said. “I’m not a really secular music fan and I don’t think very many people are, so we tried to get a lot of different styles in there.” McG said that he did not want to make just a remake of the television show “Charlie’s Angels.” He said that the film should be more like a James Bond movie for women. "A lot of movies that come from old TV shows are a let down,” McG said. “We tried to take everything and ampli fy it — bring it to a heightened place of reality. I wanted a 90- minute ride of stimulus on every level conceivable.” One of the ways McG tried to appeal to a new audience was by bringing in martial arts master Cheung-Yan Yuen, whose brother was the action choreographer for The Matrix. “We all saw the great fight scenes in that movie,” said McG. “We wanted to utilize everything that’s out there, and the stars really trained hard for all the kung fu stuff.” McG said that, for the most part, the actresses trained so well for their martial-arts scenes that by the time shooting be gan, the director had a hard time telling them they could not do their all their own stunts. “I think it’s lame in movies when there’s Cameron Diaz and then there’s this guy with a mustache with a blonde wig on doing the stunt,” McG said. “So we were all prepared with doubles, but they ended up doing almost all their own stunts — like the alley scene.” McG said that he needed a cutting-edge cinematographer to create the movie that he envisioned. He praised cine matographer Russell Carpenter (Academy Award winner fc%^| Titanic) for giving the film a distinctive look. “The frames are sped up to like 150 frames per seconc then slow motion for the kicks, then back to real time,” Me said. “It’s simple manipulation.” McG said that at first, he was disappointed when the orig inal Charlie’s Angels chose not to be in the new film. He said that Jacqeline Smith did come to the premiere, and she preivously had some ideas of how to play on the old charac ters and new characters. “I thought it would be so cool to have a six shot with all of them walking on the beach or maybe riding up in an elevau together,” McG said. “But in the end, they made the to let a good thing lie, and in retrospect, that w^ decision to let the Angels fly.” d inft ite co ne, tliei' idea#' 1 igreemei'i from flf ■ Twelve A* urdercotisp nal plot®' Din Laden U.S. wans r .cofli ■rest Ran •eekfy) KLY t User 5 united# 1 '' YST0 can le al o camP l: stems, ^ Airport on, 6322 Charlie’s A ngels ’ Starring Drew Barrymore and Cameron Diaz Directed by McG How does one remake a cheesy ’70s television show about three gor geous women who kick a lot of butt into a movie for the new millenium? Well, if that person is music-video . director McG and the film is Charlie’s Angels, then everything that was cheesy or unbelievable in the television show is made even more so for • the movie. Exaggerated , sexiness and over-the- •top action fuel this exhil- . arating tongue-in-cheek action-comedy. The plot is basic and anyone remotely famil iar with the television show should be able to figure it out — the Angels have to save the day from a maniacal mad man and his kung-fu-fighting hench men. But the plot is a minor part of the film. Fun and furiously paced, this movie succeeds because of its eye-popping visuals and its not-so- subtle comedy. Director McG delivers the goods, utilitizing a variety of slow motion and Matrix-like tech nology to take the ac tion to the next level. However, there are times that the action is deliberately so unbe lievable that one can only laugh. As if the sex jokes were not funny enough, McG takes every chance to poke fun at the situations presented in the film, and this is the true ge nius of this movie. What would a Charlie’s Angels movie be without three beautiful women? Who better than Diaz, Bar rymore and Lucy Liu to pour on the sexiness mixed with the ditziness ex pected from Angels? Their looks are stellar, but what makes this three some work is their talent for deliver ing the most obvious sexual innuen dos with deadpan flair. Angels is a rare oddity in the movie business because it actually stays faithful to the original show, while being an extremely entertain ing movie. If a person is not willing to join this film in laughing at itself, then chances are this is not the movie to see. If audiences can join in the joke, though, this is a wild ride of a movie. In fact, it may be one of the most satisfying guilty pleasures to be released in a long time. 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