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Pantera Negra (Black Panther, 2018)

Turgon

Mugiwara no Ichimi
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O Marvel Studios deve revelar nas próximas semanas os seus novos filmes inspirados nas HQs do Universo Marvel. O Latino Review se adianta, porém, e diz que o longa-metragem do Pantera Negra é um dos escolhidos, segundo quatro fontes distintas ouvidas pelo site.

[Atualização 06/06] Segundo as fontes do site ComingSoon dentro do estúdio, a informação não passa de um boato.

Black Panther tem roteiro de Mark Bailey, contratado em janeiro do ano passado. É um nome curioso; Bailey é conhecido como roteirista ou editor de roteiro de documentários de natureza, como The Last of the Tribe: The Epic Quest to Save a Lone Man in the Amazon. É provável que a Marvel esteja querendo dar credibilidade ao cenário africano das histórias do herói, que debutou em 1966 nas páginas de Fantastic Four e integra Os Vingadores.

Nos quadrinhos, depois de ser educado nas melhores escolas europeias e dos EUA, T'Challa volta para assumir a liderança da nação africana Wakanda. Sob sua orientação, o pequeno país torna-se uma das nações mais ricas e avançadas de todo o planeta. Durante uma cerimônia de iniciação de seu povo, o Pantera Negra ingeriu uma erva mística - reservada aos reis -, que lhe conferiu poderes sobre-humanos, tais como sentidos aguçados, força, velocidade e resistência acima dos níveis normais. É um exímio ginasta e acrobata, além de conhecer artes marcais africanas e ser um excelente rastreador.

Candidatos para viver T'Challa não faltam. No passado, Wesley Snipes, Chiwetel Ejiofor e Adewale Akinnuoye-Agbaje já tiveram seus nomes vinculados ao personagem no cinema, além de Djimon Hounsou, que dubla o Pantera na série animada. Por enquanto o único nome confirmado em Black Panther é o roteirista.

Fonte: Omelete
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Acho que será interessante esse filme.
 

Anexos

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Acabei de ler no perfil do Kabral no face, não gosto muito do Pantera, mas já é um passo para heróis mais desconhecidos virem a tona.

Sabe o que falta, um filme do Namor. =]
 
A Marvel ja divulgou nota dizendo que não há projeto com o Pantera Negra.

Não que isso sirva de alguma coisa...:roll:
 
A Marvel desmentiu, mas pode mudar de idéia, eu ia gostar muito, pena que se rolar o Black Panther temos de esquecer a Ororo.

O ator perfeito na minha opinão é o que fez o guardião da ponte em Thor.
 
Eu não conheço quase nada do Universo Marvel, mas seria um filme muito bom, eu assistiria, de momento um ator para esse personagem seria o Wesley Snipes, alguém sabe se ele já saiu da cadeia?
 
Nossa, tem um herói que é xará do meu anjinho... já gostei :D

Quero assistir sim - se sair -, mas não veria se fosse com o Wesley Snipes acho... :think: não gosto dele.
 
A Marvel desmentiu, mas pode mudar de idéia, eu ia gostar muito, pena que se rolar o Black Panther temos de esquecer a Ororo.

O ator perfeito na minha opinão é o que fez o guardião da ponte em Thor.

Heimdall, o guardião da Bifrös: o ator Idris Elba
 
Black Panther Is Cleverly Reimagining One of Its Major Villains To Avoid Racial Stereotypes

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When Black Panther hits theaters next year, we’ll see the king of Wakanda facing off against a number of his classic villains like Ulysses Klaue and Erik Killmonger. But in order to include Man-Ape, one of the Black Panther’s more iconic foes, Marvel had to be thoughtful and get creative.

In the comics, Man-Ape, a Wakandan man named M’Baku, is a rival to the Black Panther who is constantly attempting to overthrow the Wakandan monarchy with the support of the White Gorilla Cult, a group of anti-technology luddite extremists who worship the Wakandan Gorilla deity. In Wakanda, there are multiple religious groups who style themselves after various Heliopolitan gods that are loosely based on the Egyptian pantheon. Bast, for example, is the goddess of the Black Panther Cult that dominates Wakandan society.

In the same way that members of the royal family who consume the Black Panther Cult’s sacred heart-shaped herb to gain enhanced abilities, followers of the White Gorilla cult consume the flesh and bathe in the blood of the endangered White Gorilla to gain massive amounts of strength. M’Baku himself is traditionally depicted wearing a special suit styled after a gorilla.

While Man-Ape origins make him one of Black Panther’s more culturally interesting and complicated enemies in Marvel’s books, the idea of dressing up a black actor in a gorilla suit and introducing him as a villain called “Man-Ape” immediately raised red flags for Marvel Studios, given the longstanding history of racists comparing black people to apes.

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Speaking to Entertainment Weekly, Black Panther executive producer Nate Moore explained how the studio recognized the narrative value Man-Ape’s character (portrayed by Winston Duke) could bring to the movie and worked to modify him to avoid any potential controversy. The first step was an easy one: dropping his codename.

Said Moore:

We don’t call him Man-Ape. We do call him M’Baku.

Having a black character dress up as an ape, I think there’s a lot of racial implications that don’t sit well, if done wrong. But the idea that they worship the gorilla gods is interesting because it’s a movie about the Black Panther who, himself, is a sort of deity in his own right.

In the Marvel Cinematic Universe, Moore continued, the White Gorilla Cult is reimagined as a religious minority within Wakanda that lives side by side with those who worship the Panther God. M’Baku, a leader within the cult, is at odds with the Black Panther and his late father primarily because of a difference in opinion about what role Wakanda should play in the larger world.

“In M’Baku’s worldview, T’Chaka made a huge mistake going to the U.N.,” Moore said. “‘We should never engage with the outside world. That’s a terrible mistake. And if his son is anything like his father, I don’t support him being on the throne.’”

In lieu of his classic gorilla suit, Black Panther’s take on M’Baka is less literal and involves an intricate set of armor that features a number of gorilla-inspired accents. Not only does the suit do a solid job of paying tribute to Man-Ape’s original design, it also makes it clear that when we finally get a chance to meet M’Baka, it’ll be impossible to see him as anything but a human.

Aproveitei para atualizar a data no título do tópico =)
 
Pantera Negra é um filmaço que não tem medo de ser político
Roberto Sadovski
06/02/2018 15h00

Respeito: essa é a palavra que define Pantera Negra, aventura que redefine o que conhecemos por “filme de super-heróis”. Ao aceitar o trabalho de conduzir a aventura-solo do Rei T’Challa, depois de sua introdução em Capitão América: Guerra Civil, o diretor Ryan Coogler não viu o menor interesse em desconstruir o que aceitamos como parte das engrenagens deste sub-gênero. Pelo contrário. O responsável por Creed usou a oportunidade de brincar com as ferramentas do cinema arrasa-quarteirão para expandir fronteiras, para ir além do entretenimento. Pantera Negra é, claro, um filme da Marvel, parte de um plano grandioso e mais uma peça na construção do universo cinematográfico do estúdio. Mas é também uma aventura que usa a fantasia sem nenhum receio em ser político, anti colonialista, explosivo e atual (isso só para dar um pontapé na porta da discussão que vai dar o tom das conversas pós-sessão), um espelho incômodo ante uma sociedade cada vez mais protecionista, radical e isolada perante o resto do mundo. E nem estamos falando de Wakanda…

Ah, claro. Respeito. Pantera Negra não é o primeiro filme baseado em quadrinhos com um protagonista afro-descendente. Só para manter na esfera da Marvel, Blade conseguiu, duas décadas atrás, jogar os holofotes em um anti-herói que, se na superfície era um vampiro caçando seus iguais, em nenhum momento foi tímido ao abordar questões de raça e posição social – imagino a reação, hoje, com a cena em que Wesley Snipes, sem pensar duas vezes, arrebenta um policial (branco!) que trabalha para os vampiros (brancos!) dentro do sistema. Blade merece todos os méritos, mas Pantera Negra chega com outro panorama sócio-político, em que metade do mundo presta mais atenção nas questões de diversidades e direitos de minorias, enquanto a outra metade sua para manter o status quo. Wakanda, país africano em que o herói é rei, é a sociedade tecnologicamente mais avançada do mundo, mas mantém todo esse conhecimento entrincheirado em suas fronteiras, temendo que esse mesmo mundo não descansaria enquanto a balança do poder pendesse para longe da África.

A trama do filme, num roteiro escrito por Coogler e por Joe Robert Cole, gira justamente em torno desse momento crucial para a história de Wakanda: será que o mundo está pronto para abraçar seus irmãos do berço da civilização, que poder revelar-se não como fazendeiros do Terceiro Mundo, mas como uma superpotência capaz de desequilibrar a balança do poder no planeta? É um tema poderoso, agregado em uma trama que coloca T’Challa (Chadwick Boseman, que transpira realeza), empossado no trono após a morte do seu pai (também em Guerra Civil), ainda temeroso em não ser um monarca a altura de seu antecessor. Os pecados do passado perturbam essa epifania em duas formas. Primeiro, como o terrorista Ulisses Klaue (Andy Serkis, brilhante como um agitador que quer ver o mundo queimar), o único homem a escapar de Wakanda com vida, após ter roubado um fragmento de vibranium, metal raro (no universo Marvel) e fonte de energia inesgotável: é dele a fagulha anarquista que sugere ao agente da CIA Everett K. Ross (Martin Freeman) que há mais em Wakanda que os olhos internacionais podem enxergar. A maior ameaça, porém, surge na forma de Erik Killmonger (Michael B. Jordan), um soldado renegado que revela, em seu direito de nascença, que o trono do Pantera Negra pode ter encontrado herdeiro mais digno.

É aqui que Pantera Negra encontra ressonância com o mundo do lado de cá. Killmonger não surge como um vilão “comum”, seus objetivos passam longe de ganhos materiais ou da conquista global. O que faz dele o antagonista mais perigoso já mostrado em qualquer filme de super-heróis da história (rivalizando, talvez, com o Coringa de Batman – O Cavaleiro das Trevas) é que seus métodos podem ser violentos e radicais, mas sua causa é justa. Foi a primeira vez, em uma década de Marvel (só para ficar em seu universo cinematográfico), que me peguei questionando se o “bandido” não deveria sair triunfante. O que eleva o filme de Ryan Coogler bem acima de seus pares é colocar essa motivação em pauta e fazer com que seu herói, o rei recém-empossado, um homem poderoso e justo – talvez predicados que não combinem com a eventual frieza que um monarca deva possuir –, reflita sobre seu papel no mundo e sobre o modo como ele pode direcionar o futuro de seu país. Temas complexos, com certeza, mas que ganham chance de abrir ainda mais discussão quando apresentados em um espetáculo de tamanha grandeza – a primeira cena pós-créditos traz um dos monólogos mais poderosos que o cinemão já teve peito para entregar.

Porque, afinal, estamos falando sobre um filme da Marvel. Embora sua estrutura narrativa seja familiar (como todo filme que aborda a jornada do herói), Pantera Negra chega cercado de tanto talento, de tantos personagens carismáticos e bem desenvolvidos, que a trama corre como uma brisa, carregada sob ombros tão competentes. Seja o peso trazido por Angela Bassett (a rainha Ramonda, mãe de T’Challa) e Forest Whitaker (Zuri é um dos pontos-chave da história); seja a majestade de Lupita Nyong’o e Danai Gurira, excepcionais em personagens que caminham ombro a ombro com o protagonista. Ou os conflitos internos que movem as decisões de Daniel Kaluuya (W’Kabi, mestre dos rinocerontes de guerra) e de Winstn Duke (que defende a força bruta de M’Baku, da tribo dos gorilas brancos). E ainda o frescor de Letitia Wright (vista no episódio “Black Museum” da série Black Mirror), que dá vida – em todos os sentidos – a Shuri, gênio tecnológico de Wakanda, irmã caçula de T’Challa e que eu não vejo a hora de testemunhar sua interação com Tony Stark em Guerra Infinita.

Sem falar que Pantera Negra é um filme absurdo de lindo! As cores da África explodem no desenho de produção esperto (o design da tecnologia é intencionalmente distante dos gadgets que Tony Stark coloca na Marvel que testemunhamos até agora) e no figurino fulgurante. O cuidado com sotaques, símbolos e signos é palpável, fazendo que o mundo executado por Ryan Coogler seja único e transmita verdade. Embora a trama tenha fragmentos na Califórnia, em Londres e na Coréia do Sul, é Wakanda o palco central, um país único, de tradições e credos bem definidos, com suas diferentes tribos unidas sob a sombra de Bast, a deus felina egípcia que encontra aqui sua representação como o animal que dá título ao filme. São tantos predicados, da fidelidade à história do herói e seu mundo nos quadrinhos à sensibilidade a este momento no mundo artístico, em que um mundo formado por tantas vozes raramente encontra espaço no cinema mainstream. Tudo resumido em uma palavra: respeito. Por isso, Pantera Negra é um filme de tamanha importância. Por isso, Pantera Negra é motivo de celebração para todos que buscam entretenimento e saem do cinema com uma recompensa muito maior.

Fonte: https://robertosadovski.blogosfera....-um-filmaco-que-nao-tem-medo-de-ser-politico/
 
Essa resenha me deixou muito ansioso pelo filme.

Já ouço o som daqueles que reclamam e vão reclamar de ter um protagonista negro africano, onde o cenário principal é a África. A resenha ter começado realçando o caráter político do filme vai aumentar ainda mais o volume da reclamação de alguns.
 
Última edição:
JANUARY 30, 2018 5:00am PT by Ryan Parker, Aaron Couch
Wesley Snipes Reveals Untold Story Behind His 'Black Panther' Film
Getting the project off the ground was an uphill battle that included script re-writes, director uncertainty, storytelling clashes and CG technology that was inadequate to create the fictional nation of Wakanda.

In the mid 1990s, while riding a wave of box-office hits that propelled him to superstardom, Wesley Snipes undertook a bold initiative: make a film about the Marvel Comics character Black Panther.

The African superhero is now a household name thanks to the juggernaut Marvel film franchise including him in 2016's Captain America: Civil War. Star Chadwick Boseman's work as T'Challa (Black Panther) quickly became a fan favorite, which helped launch the character's first self-titled feature film, opening Feb. 16.

Hype for the Ryan Coogler-directed movie, also starring Lupita Nyong'o and Michael B. Jordan, is at a boiling point. Pre-ticket sales broke a Fandango record, and the film is projected to open to $100 million-$120 million and could become the biggest launch for a Marvel Cinematic Universe hero's first standalone movie. Not to mention that buzz for the film after Monday night's Hollywood premiere set social media ablaze.

Yet, some 25 years ago, it was a much different story. Snipes' uphill battle was plagued with script re-writes, director uncertainty, storytelling clashes and inadequate CG capabilities needed to truly bring the marvelous fictional African nation of Wakanda to life.

There have always been rumors about the defunct project — which would ultimately lay a road map for 1998's Blade (the first hit film based on a Marvel character) — but the details have remained murky, until now.

For the first time, Snipes pulls back the curtain for The Hollywood Reporter and shares the tale of how his version of the beloved superhero never quite came to fruition despite his efforts and ambitious vision, which very much mirrored what the character has become.



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Courtesy of Marvel Comics
'Jungle Action featuring the Black Panther' No. 21 (May 1976, Marvel).


"I think Black Panther spoke to me because he was noble, and he was the antithesis of the stereotypes presented and portrayed about Africans, African history and the great kingdoms of Africa," Snipes tells THR. "It had cultural significance, social significance. It was something that the black community and the white community hadn’t seen before."

Created in 1966 by Stan Lee and Jack Kirby, Black Panther was revolutionary as the first African superhero in mainstream comics. The king and kick-butt protector of Wakanda had it all: brawn, brains, wealth and advanced technologies.

Snipes was hooked in an instant when he and his then manager, Doug Robertson, were approached by Marvel for the project. Feeling that Africa, save for the unique animal population, was too commonly shown in film as a depressing, desolate land, Snipes yearned to show its beauty and lush history.

"Many people don’t know that there were fantastic, glorious periods of African empires and African royalty — Mansa Musa [emperor of the West African Mali Empire] and some of the wealthiest men in the world compared to the wealth of today," Snipes explains. "That was always very, very attractive. And I loved the idea of the advanced technology. I thought that was very forward thinking."

At the time, Marvel was hardly the Disney-backed powerhouse that it is today. After years of hemorrhaging money, the company declared bankruptcy in 1996. While competitor DC Comics had enjoyed big-screen success with hits such as Tim Burton's Batman movies and Christopher Reeve's Superman franchise, box-office hits eluded Marvel.

"Our major competitor was owned by Warners, and they were coming out with Superman movies and Batman movies.... We were out there struggling," recalls former Marvel editor in chief Tom DeFalco (1987-94), who suffered through critical and commercial failures like Howard the Duck (1986), Dolph Lundgren's The Punisher(1989) and a 1994 Fantastic Four movie so bad it never even came out.

Snipes, on the other hand, was red hot, having just starred in a string of hits including New Jack City, White Men Can't Jump, Passenger 57, Rising Sun and Demolition Man. More than just his next picture, Snipes says he saw the Marvel superhero project as a cultural movement.



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Steve Granitz/Getty Images
Wesley Snipes at the Planet Hollywood Beverly Hills grand opening in September 1995.


"Black Panther is an iconic character who much of the world was unfamiliar with and the communities that I grew up in would love," Snipes says. "Look, from the days of William Marshall playing Blacula in the 1970s black flicks and the fervor you found inside the black and Hispanic communities, it never crossed my mind that the audience wouldn’t be down with it."

With Stan Lee's blessing ("He was supportive of the Black Panther project at the time."), Snipes was ready.

But right off the bat, there was an issue. The initial struggle, as Snipes explains, was explaining to the uninitiated that he was trying to make a movie about the comic book superhero Black Panther, not the 1960s civil rights revolutionaries. "They think you want to come out with a black beret and clothing and then there’s a movie," he says, sounding exhausted.

With Columbia locked in as the film's studio, it was time to find a screenwriter and director. Neither search would be simple.

"We went through three different scripts and a couple of different director options — very interesting director options at the time," Snipes says, chuckling.

Mario Van Peebles was on the short list, as was John Singleton, who made a big splash in the industry at the age of 23 with his 1991 film Boyz n the Hood. "They were trying to find the young, up-and-coming black directors," Snipes says.

Snipes would never chat with Van Peebles about the project, but he did have an unforgettable meeting with Singleton.

"I laid on him my vision of the film being closer to what you see now: the whole world of Africa being a hidden, highly technically advanced society, cloaked by a force field, Vibranium," Snipes begins. "John was like, 'Nah! Hah! Hah! See, he’s got the spirit of the Black Panther, but he is trying to get his son to join the [civil rights activist] organization. And he and his son have a problem, and they have some strife because he is trying to be politically correct and his son wants to be a knucklehead.' "

Laughing, Snipes continued, "I am loosely paraphrasing our conversation. But ultimately, John wanted to take the character and put him in the civil rights movement. And I’m like, 'Dude! Where’s the toys?! They are highly technically advanced, and it will be fantastic to see Africa in this light opposed to how Africa is typically portrayed.' I wanted to see the glory and the beautiful Africa. The jewel Africa."

Snipes, somewhat intimidated by Singleton's interpretation, says he was unsuccessful in fully laying out his vision. But that wasn't a bad thing.

"Thank God," Snipes proclaims. "I love John, but I am so glad we didn’t go down that road, because that would have been the wrong thing to do with such a rich project."



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Courtesy of Marvel Comics
'Jungle Action featuring the Black Panther' No. 8 (January 1974, Marvel)


Recalling the costume idea leaves Snipes in hysterics.

"Actually, I figured it would be a leotard," he says. "A leotard with maybe some little cat ears on it. I would have to be in shape and just be straight bodied up. I never imagined anything more than a leotard at the time, which I didn’t have a problem with because I started out as a dancer."

DeFalco, who sat through dozens of pitches for Marvel properties during those years ("Most of them I think I was fighting to stay awake"), recalls taking a trip with Marvel brass to Los Angeles for a flurry of meetings, during which they had a dinner with Columbia execs and screenwriter Terry Hayes. The screenwriter "gave this incredible pitch" from beginning to end for Black Panther, which began with a battle in Wakanda, and baby T'Challa being put on a river in a basket to be saved. Years later, T'Challa is a grown man living somewhere else, going about his life. Suddenly he's attacked in an elevator in an elaborately choreographed fight scene — and the story goes from there.

"I just remember as the writer was describing the scene, I could see it in my mind," recalls DeFalco. "[I thought], 'If this is our Black Panther movie, sign me up!' He really had a terrific handle on the character, on the action, on the stakes and everything else."

After some time, and a great deal of Snipes' effort, the project stalled.

"Ultimately, we couldn’t find the right combination of script and director and, also at the time, we were so far ahead of the game in the thinking, the technology wasn’t there to do what they had already created in the comic book," Snipes says.

But the action star didn't dwell on the missed opportunity. Rather, he took what he learned from the experience and applied it to his next superhero project: Blade.

"It was a natural progression and a readjustment," Snipes says. "They both [Black Panther and Blade] had nobility. They both were fighters. So I thought, hey, we can’t do the King of Wakanda and the Vibranium and the hidden kingdom in Africa, let’s do a black vampire," he says, laughing.

Blade, based on the vampire hunter character created in July 1973 by Marv Wolfman and Gene Colan, would go one to be the first hit film based on a Marvel property, giving the company a much-needed win as it licked its wounds from bankruptcy woes. Blade earned $131 million worldwide for New Line Cinema and spawned two sequels, with its success helping to pave the way for Marvel hits like Fox's X-Men (2000) and Sony's Spider-Man(2002).



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Photofest
Wesley Snipes as Blade in the self-titled 1998 film based on the Marvel character.


Black Panther, meanwhile, soon found greater prominence in the comics after the Snipes project stalled. Writer Christopher Priest and artist Mark Texeira reinvigorated the character with the launch of a 1998 Marvel Knights line, which offered a more modern take on T'Challa. Jimmy Palmiotti, who along with Joe Quesada edited the line, both confirmed to THR that despite internet rumors to the contrary, they were never tapped to work on a Black Panther movie in the '90s. But Palmiotti is thrilled to see Boseman's interpretation of the character 20 years after he first worked with T'Challa.

"Diversity with characters has always been what comic books were about, and it's just taking the rest of the world time to catch up on a lot of the things that have been done for years in this medium," says Palmiotti.

Snipes says that over the years, people have told him how much they appreciated Blade, which helped put Marvel films back on track.

"Remember, during that time, Marvel was going through a liquidation and there were concerns that the whole company might fold," he says. "And it is my understanding that film was a catalyst to its resurgence and the empire we see now."

As for what Marvel Studios has become, Snipes says some of the films he really enjoys, and others not as much.

"I think the real shift is when they started bringing real character actors into the projects, people who are capable of creating three-dimensional characters and story and nuance, like Robert Downey, " he says. "I think that is also what made Blade a success. I had a theatrical, classically trained stage performer background, and all of those skills I brought to the character of Blade. I am always supportive of the actors. I think that is the key to some of the pillars of success we see at Marvel."

As for Boseman's Black Panther, Snipes could not be more thrilled, he says.

"Even though I am not a part of this particular project, I support it 1,000 percent, and I am absolutely convinced that it will be a catalyst for change and open other doors and other opportunities," he says. "And we need that kind of diversity and different flavor now. He is a young, talented actor, and I think he is going to make it his own. I hope they give him a great opportunity to really come into the fullness of the character."

And, yes, Snipes — whose upcoming projects include Beetle, an action thriller; Namigo Blu, an action comedy; Arson, a crime drama; and the supernatural thriller Talon of God!, among others — would step back into a Marvel film, if it made sense.

"I am very much open to all of the possibilities," Snipes says. "If Blade 4 comes along, that is a conversation we can have. And there are other characters in the Marvel universe that, if they want to invite me to play around with, I am with that too. I think the fans have a hunger for me to revision the Blade character, so that could limit where they could place me as another character in that universe."

Fonte: https://www.hollywoodreporter.com/h...-reveals-untold-story-behind-90s-film-1078868
 

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