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| 57247545 | 18/03/2026 19:09:17 |
| The head-shaving story is still the best. Portman, already massive from Star Wars, told McTeigue she wanted to do it for real. On camera. No cuts. He'd worked with her on "Attack of the Clones" so he knew she meant it. Still, he played it safe — her personal hairdresser on standby, three cameras rolling in case something went wrong. Nothing did. The real chaos started later. Same weekend, "Revenge of the Sith" was premiering at Cannes. Portman shows up on the red carpet completely bald and the whole festival loses its collective mind. "Free publicity," McTeigue laughs now. Twenty years later, it's still the best anecdote from the whole production.
The director, James McTeigue, gave an interview for the 20th anniversary. Talked to The Hollywood Reporter. Most of it was what you'd expect — fond memories, technical challenges, Natalie Portman insisting on shaving her head for real. But one thing stayed with me. He said he doesn't think the film was prophetic. Just observant. Because we keep circling the same political drains, generation after generation. Thatcher's Britain when the graphic novel was written. Bush's America when they shot it. And now, whatever this is. Fear of the other. Control through media. Comedians being the first ones they come for. It's not prediction if it just keeps happening.
And of course, Alan Moore. The man who hates every adaptation of his work. Met with McTeigue before filming, told him Hollywood stinks and this would be terrible. McTeigue doesn't argue. Just says, with a shrug: "Maybe he should pull a Taylor Swift and reclaim his rights instead of hiding behind having sold them." Moore didn't even like Snyder's "Watchmen," so V is in good company. The full interview and Moore's eternal war with Hollywood here: Alan Moore, James McTeigue, and the Art of Adaptation.
I started with the music. Don't know why, maybe because it's the first thing that hits you when the credits roll and you're just sitting there. Dario Marianelli's score. That "Cry me a river" cover in the final scene. Evey standing in the rain, and it's not sad, it's not happy, it's just... true. Rain washing away years of fear. I've seen the film maybe five times, and that moment still gets me. If you've only watched it on a laptop, do yourself a favor — good headphones, late at night, volume up. There are layers you don't hear the first time. Textures that Marianelli wove in like a second language. The orchestra breathes like one giant instrument made of pain and something close to hope.
Fifth Paragraph (The Genre and a Closing Thought):
McTeigue also had thoughts on where comic book movies are now. Said they've gotten same-y. Too much quip-quip-quip. Nolan's Batman worked because it was different. Marvel and DC feel the shift too, apparently. Audiences are tired. But "V for Vendetta" sits outside all that. Twenty years and it still feels like it was made last week. Which is maybe the saddest thing you can say about a movie. Because it means nothing much has changed. |
| Город: Другой | | |
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