First, a new image of Alina Puscau in the costume she wears in the film:
Alina has been featured in the Pepe Jeans and Victoria Secret campaigns as well as in magazines like Harper’s Bazaar and Allure. In 2009 she was featured on the cover of Playboy magazine in a shoot by Hollywood director Brett Ratner. Alina is signed with Elite Model Management.
On August 11th Alina will make her acting debut in the upcoming summer blockbuster Conan the barbarian in which she plays one of the slaves who rebels against oppression.
For more news, click onwards.
A fairly big piece of news next, as the exclusive Red Carpet gala premiere for Conan in the US will be on Thursday 11th August at 8:00PM:
Instead of doing a pre-screening for SACC-GLA, we have something better to offer. We have been given 10 exclusive red carpet premier tickets to Conan The Barbarian 3D This Thursday and We Are Giving Them To You!
How Do You Get The Tickets?
You have to be a member of SACC-GLA to be eligible to win a ticket. To become a member, please click here and sign up.
SACC-GLA members, simply email us your interest at firstname.lastname@example.org by submitting your full name (first and last) and email address and we will submit you to the draw. You have until 6pm Tomorrow 8/9.
The winners will be announced shortly after and will be emailed the complete details of the event.
Tickets are personal and non- transferrable. The tickets are for a single person only. Persons that are not on the list will be turned down at the door.
Don’t miss this unique opportunity to mingle with the stars of Conan the barbarian 3D and 9 other lucky SACC-GLA members.
Best of Luck!
This is pretty big, as we’ll probably get some reviews following the film’s screening, and you can bet we at Conan Movie Blog will get on it.
We also have another new interview with Jason Momoa up on Youtube:
This Fangoria interview is coming last because there’s something I really have to get off my chest.
The August 19 release of Lionsgate’s 3D CONAN THE BARBARIAN marks yet another rebirth of the most legendary fictional barbarian of all time. Since his creation by writer Robert E. Howard in 1932 in a series of fantasy stories published in Weird Tales magazine, the character has evolved over eight decades through numerous licensed books, comics, films, television shows, video games and role-playing games, cementing himself in pop-culture history as a tough, masculine hero with no allegiances.
“I think the appeal of Conan is that he doesn’t conform to anybody,” explains director Marcus Nispel, who helmed two other reboots fright fans are probably familiar with: THE TEXAS CHAINSAW MASSACRE and FRIDAY THE 13TH. “He’s not politically correct. He’s not living by anyone else’s moral standards. He’s a barbarian who depends on no one but himself.”
With such a pedigree, you’d think a new origin story wouldn’t be necessary, but the new film’s creators say such is not the case. “If we get Conan right, we have re-established the franchise and we can then go ahead with adaptations of the original stories,” explains producer Fredrik Malmberg, who bought the rights to the character 10 years ago and has fought to get a film made since. “First we have to get the Conan character into people’s minds. He’s a complex character, and I believe we, like [1982 film director John] Milius, had to tell some kind of origin story. Fans don’t think that’s necessary, but we still have to please the studio system and the executives and marketing. And you see, the majority of the audience will not know where Conan comes from. They never saw the Milius movie. We need to create something that today’s audience will appreciate. ‘Give the people what they want but not what they expect’ is the mantra.”
While it’s hard to deny the impact Milius’ movie had on the character’s popularity, Malmberg also acknowledges that times have changed. “We respect [that feature] for what it was, but we capture Howard’s Conan better. We really wanted this one to stand on its own. There were even a couple of actors from the original who came and wanted to do little parts, but we had to say no.”
Jason Momoa (Khal Drogo in GAME OF THRONES) took the lead role and the heavy task of portraying a cultural icon. “Jason just feels very contemporary, yet he fits the description that Howard wrote for Conan much more to me than Arnold [Schwarzenegger],” Malmberg boasts. “When you see Jason, you’ll say, ‘That’s Conan.’ Better than that walking special effect.”
Speaking of special FX, Malmberg adds that the new film will appeal to horror fans and gorehounds who are unfamiliar with the titular savage: “It’s a more gritty, realistic violence. This is a world where a sword cut is fatal and heads fly and arms get cut off. Marcus has an extreme visual knowledge. There are some scenes that will make you cringe. Then there are others where we said, ‘Maybe that’s a little too dark, and we’ll put that on the extended version.’ ”
Fright fans should be familiar with not only the film’s director, but its composer too: Tyler Bates has composed for films such as SLITHER, SEE NO EVIL, Zach Snyder’s DAWN OF THE DEAD and Rob Zombie’s HALLOWEEN, HALLOWEEN II and THE DEVIL’S REJECTS. If all else fails, audiences will be treated to “dark drums that really elevate that feeling of a prehistoric, gritty, dirty world.”
The film’s 3D status shouldn’t be much of a surprise to anyone who’s attended a movie theater over the past few years, but Malmberg promises this isn’t just another ploy to put more butts in seats. “I believe 3D is really great for getting immersed in a world,” he says. “ ’Cause otherwise people say, ‘Oh, Conan, it’s a big guy with a sword,’ and that’s where it ends. But that’s not enough today; fans now are so much more sophisticated. It was Lionsgate and their marketing team who were saying, ‘We really want this to be a spectacle and big event.’ I think 3D will really work to give it depth.”
CONAN is slashing its way onto North American screens over 25 years since the barbarian’s last big-screen appearance, and Nispel believes this is a particularly opportune time to be revisiting the iconic hero. “We live in a very artificial world,” the director says. “We spend most of our day in front of computers, borrowing knowledge, borrowing real experiences. Conan gets you into a world where you still get dirt under your fingernails and where you don’t have to ask everybody for permission.” Adds Malmberg, “Conan’s a man who lives now. He’s not gonna brood over past times much. It’s a refreshing theme of barbarism vs. civilization. Many people feel it would be nice to be in control of your own destiny, because we’re all squished inside this civilization and feeling hopeless. Conan represents freedom.”
Alright, I’ve been charitable with the film’s approach with catering to all fans, but I really have to speak my mind here.
I’ve made no bones about my stance. I’m a Howard purist of the Rusty Burke definition: pastiches (that is, any Conan story composed by someone other than Robert E. Howard) are perfectly fine, as long as they don’t claim to be part of some shared universe that has equal bearing with Robert E. Howard. This was a source of great controversy with L. Sprague de Camp, who credited himself alongside Howard even in collections consisting entirely of Howard stories, giving an impression of co-authorship which was entirely unwarranted.
When people start talking about how people’s perceptions and expectations of Conan have changed, how the books and comics and games which came later have to be acknowledged… that’s reinforcing that very sensibility that Howard purists had been railing against for decades. Saying that the character has “evolved” over the years gives the impression that that “evolution” has contributed to Conan not as a franchise, but as a character. To me, that’s like saying Neil Gaiman’s “The Problem of Susan” should be considered an example of C.S. Lewis’ Susan Pevensie “evolving” over the decades.
Some might bring up characters like James Bond, Dracula, Tarzan or Sherlock Holmes, how their characters have indeed changed due to public perception. The difference is that most (though not all) Bond/Holmes films which aren’t directly based on a story don’t try to sell a film as being “deftly adapted” and “faithful to the mythology and psychology” of Fleming’s, Stoker’s, Burroughs’ or Conan Doyle’s creations. I should say that this isn’t a rant, per se: I just think that this could lead to some confusion over what is Howard and what isn’t. My biggest worry about the upcoming film is that, should it fail, people would assume that it’s because of its closer fidelity to Howard, and that Milius and company were right to stray. That makes me edgy when it comes to things like this.
I’m sure Fredrik’s dismissal of Arnold as “that walking special effect” and claims that the new film captures Conan better than the 1982 film will rankle some, especially that demographic who take it as some sort of personal affront that Jason Momoa hasn’t seen the 1982 film. And obviously CPI want to do their best – it’s in their financial interests, right? The fact that Conan Properties International is continuing to put out new Howard publications – including the recent collection directly tied into the upcoming film by way of billing itself as “the stories that inspired the movie” – already makes things far different from the old Conan Properties Incorporated. Back in 1982, CPInc didn’t see fit to re-release the original Conan stories to coincide with it – not even reprints of the phenomenally successful Lancers. Contrast that with CPInt, where we have the REH Foundation printing as-yet-unpublished Howard documents and stories in addition to keeping them in print, even ones that are in the public domain of several countries.
I don’t know. Maybe I’m just getting a bit testy with the film coming up, especially the US premiere on Thursday, and going to London with the spectre of the riots going on. But I’m not going to let a bunch of malcontent thugs get in my way. I am from just outside Glasgow, after all.