Also, Ricky, ich habe das Foto nochmals eingehend studiert und nachgerechnet.
Während meiner Analyse habe ich die Angabe des Winkels auf nunmehr 40° korrigiert:
[Blockierte Grafik: http://img219.imageshack.us/img219/4339/27alanrickmanpuffelhx6.jpg]
q.e.d. 
Angel, köstlich! 
Ich hab hier mal einen Link aus dem Widoe-Thread gemopst, Cherry hatte den dort am 3. Nov gepostet. Hab gerade geschaut, hier im Thread ist er bisher noch nicht aufgetaucht...
Snape Reading the Evening Prophet on his B-Day
Hat jemand zufällig die Tonspur?... Das Potter Gebrabbel im Hintergrund stört ein wenig 
Wenn jemand das reine Sprachfile hat oder rausfiltern kann *fingerheb* Ich hätte es gerne! Dieser Seufzer Ahhhhh 
[Blockierte Grafik: http://www.mysmilie.de/smilies/verwirrt/2/58.gif]
Kaum zu glauben das es nicht Alans Voice ist...
Nana, so schnell schießen sie nicht die Preußen.
Sehr überzeugend, Dein Beweisbild, aber:
Du hast eine wesetliche Komponente übersehen, nämlich Alans gesamte Körperneigung, die auch nach unten rechts driftet. Wenn man nämlich eine Linie von Alans rechter Schulter bis über seinen Oberschenkel zum Knie zieht (ich bin leider nicht so begabt wie Du! ) dann erhältst du eine schöne Paralelle zu den von Dir vermessenen 40°. Das hieße dann, nicht nur die Brustwarzen-Pudge-Linie betrüge diesen Winkel, sondern ebenso die Schulter-Oberschenkel Linie, was beweist: Der Mann steht völlig schepps. Besonders wenn mann die Daten in Hinblick auf das Podium betrachtet, sozusagen die Konstante auf diesem Bild, die mit Sicherheit im 90° Winkel auf der Bühne steht.
Dann noch fröhliches Nachmessen, Liebes! qed!
Außerdem, was mir gerade, beim Linealanlegen am Bildschirm (ja, vor 30 Jahren arbeitete man noch mit so primitiven Mitteln!) aufgefallen ist, steht Alan ja nicht im Vollprofil, sondern im Halbprofil!
Das müßte dann so aussehen:
[Blockierte Grafik: http://i29.photobucket.com/albums/c258/rickwoman/guess-who.gif]
Verfolgen Sie weiterhin die spannende, kontroverse Doktorarbeit von whiteangel und rickwoman zum Thema "Hat AR einen Bauch und wenn ja, wie groß ist er" hier in diesem Theater!
Herzlich willkommen, Vena! 
@ all 
Vielen Dank für die Bilder und Links! Ich überlasse Whiteangel gerne das erneute Ausmessen des Bauchwinkels, Mathe war ja noch nie meine Stärke. Was Alan-Luv wohl zu dem aktuellen Thema in diesem Thread zu sagen hätte? Mich überkommen gerade wieder warme fuzzy feelings, wenn ich eure Beiträge lese. Ihr seid so herrlich bekloppt!
@ Silah
Huuhuuu *tock tock tock* Huuhuuu 
Diesen Link habe ich schon einmal im alten ARTE-Thread im Forum, das nicht genannt werden darf, gepostet. Der Hersteller des Videos muss die Originaltonspur, die er hier geklaut hat, einfach über einen Ausschnitt des ersten HP-Films gelegt haben. Wie du siehst, gibt es 24 Episoden, die auch noch unglaublich lang sind, daher kann ich dir nicht verraten, welche Datei die von dir gesuchte ist. Schau mal bei den Informationen nach, vielleicht hilft dir das weiter... 
Und nun bastle ich mir einen Bauschkäfer-Würfel!
Jetzt macht es endlich Sinn, dass ich öfters beim Wörtchen Bauschkäfer das wichtige 's' vergesse... 
[Blockierte Grafik: http://i172.photobucket.com/al…/lizzie_lilly/4y6ois8.jpg]
Das habe ich ja auch schon immer gesagt!
Jemand, der angeblich im Besitz des 'Sweeney Todd'-Skripts ist, hat ein paar Kleinigkeiten über den möglichen Inhalt verraten:
ZitatAlles anzeigenIt's the revised shooting script as of Dec 21, 2006.
A couple of things I noticed:
- As the screeners have reported, the dialogue from the stage version is mostly intact. Amazingly true to the Hugh Wheeler libretto.
- The opening ballad AND THE TRANSITION BALLADS are still in it, and it would have looked wonderful, it seems. Maybe a bit too theatrical, but amazing -nonetheless. However, it seems that the ballad singers are meant to be only in Todd's head, encouraging him to murder Pirelli when it comes to that. Not a concept I care for at all.
- Among those who were to sing the ballad are a Priest and a General – that is a concept I do care for.
- Since Mrs Lovett doesn't buy a harmonium, the wonderful line about it being only partly singed after the chapel burned down comes in right after WORST PIES and refers to her wallpaper.
- There's a lyric in POOR THING (which has been slightly changed) which I don't recall hearing before:
There was this Judge, you see
Wanted her like mad
Every day he'd send her a flower
But did she come down from her tower?
Sat up there and sobbed by the hour
Poor fool... :hmm:
- About half of GREEN FINCH is cut, but what's left should be enough for a movie. I'm not terribly sad to see most of it go, to tell you the truth.
- The beggar woman doesn't appear until after GREEN FINCH, after which she sings ALMS ALMS, Anthony gives her a coin and ask her who lives in that house. After the dialogue, she sings the LITTLE MUFF song and leaves singing ALMS ALMS again.
- JOHANNA: After Anthony gets to I'll steal you..., the door opens and the Judge asks him in...
- … where they participate in a clever dialogue which I can't wait to hear coming from Rickman.The beginning of the scene sounds like something by Woody Allen:
JUDGE TURPIN
… you were looking for Hyde Park, you say?
ANTHONY
Yes, it's terribly large on the map but I keep getting lost.
- After Anthony is thrown out, he finishes JOHANNA with no cuts at all.
- The „Oriental Disease“ bit is cut from ELIXIR, but the rest of it is left intact with the exception of what is sung by the chorus.
- WAIT is intact.
- LADIES is in the script, KISS ME is not – Grrrr!
- PRETTY WOMEN is intact
- EPIPHANY is intact.
- Mrs Lovett's line was changed to „That's all very well, but what are we going to do about – the dear departed?“
- CUTS FROM A LITTLE PRIEST:
o „And good for business, too. Trouble is, we only get it on Sundays.“ - why? Such a great line!
o The rhyming part (Tinker/Pinker etc.) - I see why they would cut it. It needs reactions from the audience and would look silly on film – and the rest of this part, ending with „Down well with beer.“ It goes to „Marine“ straight after „Those down below.“
o Instead of the two singing „Meaning anyone,“ Mrs Lovett repeats Todd's line „We'll serve anyone.“
- After PRIEST, there is a scene in which Judge sees Johanna pack, they argue and he has Beadle take her away violently.
- As we thought, the chair part was cut from GOD THAT'S GOOD, but it is during that song that Todd assembles the chair.
- Unlike the screeners have reported, the chorus in GOD THAT'S GOOD is mostly kept in the script. They must have changed their mind afterwards.
- I can't wait to see JOHANNA – sounds wonderfully cinematic in the script.
- BY THE SEA will be amazing.
- NOT WHILE I'M AROUND is basically intact, except for the „Two quid was in it“ part.
- Mr Fogg's demise is much more interesting than the stage version. I'll leave it as a surprise for you.
- PARLOR SONGS are gone, naturally.
- THE FINAL SEQUENCE is intact musically, and dialogue only changed around a bit now and then.
- The concept of the final ballad is thrilling, you'd have to read it, though. But since I'm not a fan of the concept of the ballad singer being ghosts inside his head, I'm not sure I'd like to see it in the film.
Conclusion:
Thrilling, great, true to the stage version. Can't wait to see the film!
- bin ich verbaut?
- Natur kennt keinen rechten Winkel
Seht Euch nur die Bottle-Bilder auf der vorherigen Seite an, dann könnt Ihr den Anfang eines Rundrückens erkennen.
Wirbelsäulen-Deformation, ob ich ihn danach frage?
eine detaillierte Rückantwort ist heute schon garantiert.
Merci Asphodel 
Hab mir schon alle 24 Episoden gezogen und werde sie nun nach und nach durchsuchen... Sind ja zusammen genau unglaubliche 38h 1min und 39sek
Bei einigen Sachen ist es unglaublich das es nicht das Original ist... :hmm: Aber der Anfang jeder Folge (I can teach you...) ist doch wirklich Alans Stimme, oder? Bitte, ich kann mich doch nicht so verhören... 
Da sich meine Tagesplanung gerade arg verschoben hat werde ich mal was suchen was ich anstellen kann, vielleicht schaue ich mal etwas genauer nach Screencaps, die ich zum laufen bringen kann Das muß doch mal voran gehen... *vor Tatendrang sprüh* Oder ich baue mir auch einen Würfel
@ Judi: der rechte Winkel diente doch nur als Referenzgröße...*schmoll* Aber Du hast Recht, er wird sicherlich gern mit Dir darüber diskutieren.
@ Ricky: Dein "Schattenbild" finde ich noch überzeugender, auch wenn man das Hohlkreuz nun um die Bauchneigung vermindern müsste. Ich kann aber gerade nicht: ich bin von der David-Hassolhoff-ähnlichen Haarpracht so irritiert, dass ich mich außerstande sehe, Zahlen auf sinnvolle Weise miteinander zu kombinieren.
Was man nicht alles verpasst, wenn man mal 2 Tage nicht on ist!
Vielen Dank an alle, für die Bastellanleitungen, Videos, Links und Berichte!
Whiteangel, mit Mathe hab ich nichts am Hut. Vor allem nicht mit Winkelberechnungen.
Soll unser Bauscherkäfer wirklich eine Wirbelsäulen-Deformation haben?
Wie bist du eigentlich auf diesen Gedanken gekommen?
Das ist mir bis jetzt nie aufgefallen! :hmm:
Hallo Vena! Da kann man endlich wieder eine neue Alan Rickman Stalkerin begrüßen! 
Hoffentlich hatten wir die hier noch nicht!
http://www.youtube.com/watch?v=2qbPZ2Pd9io
http://www.youtube.com/watch?v=XIwoYE_hR54
http://www.youtube.com/watch?v=3S12zQb4Enw
Heute ein bisschen im Rasputin-Fieber!
@Cherryrose:
Aha... hier treibt sich "mein Göttergatte" also rum!
Aber ich hab hier auch noch was, was euch interessieren dürfte...
OMG, Snapes Tochter! [Blockierte Grafik: http://www.cosgan.de/images/smilie/konfus/n025.gif]
Das ist so...schön...*ich umfalle*
Diese Stimme, dieses Rumgewackele... [Blockierte Grafik: http://www.cosgan.de/images/smilie/konfus/g010.gif]
Er scheint ein wenig abwesend zu sein, oder bilde ich mir das nur ein? :hmm:
Ja, closed den X-perts Thread!
Das kann man sich doch nicht mehr ansehen! [Blockierte Grafik: http://www.cosgan.de/images/smilie/konfus/g035.gif]
Hab hier noch was für euch.
Nach langer Sucherei, hab ich endlich etwas gefunden. Ist schon etwas älter, aber ich dachte, es könnte euch vielleicht interessieren:
RICKMAN'S WORTH
GQ - September 1991
In a decade full of villains, Alan Rickman has created two of the Eighties' most captivating ones. First he starred as Valmont. the amoral, manipulative seducer in Christopher Hampton's stage play, Les Liaisons Dangereuses which was a huge success both in London and New York. Then he played the suave, international criminal Hans Gruber in Die Hard, disdainful of the sweaty heroics of his all-American nemesis, Bruce Willis.
Rickman may have been well-known to a select theatre-going audience, and for his role as another villain, the comic but odious Obadiah Slope in the BBC series The Barchester Chronicles, but the success of Die Hard, his first film, gave him a different level of fame. "I wasn't prepared for the reaction. I flew to New York for a preview and the audience just sttod up and cheered and threw things at the screen. I walked into that cinema and I could have been just someone with a ticket, but when I walked out, I couldn't get to the car. My girlfriens and I went to Anguilla at Christmas and you're on this little West Indian island and everyone knows who you are. You're not Alan, you're the guy in Die Hard." Yet Rickman has played decent characters - he went straight from Die Hard to a film called The January Man. "I was playing someone perfectly nice in that - Kevin's eccentric next door neighbour," he says. And for all the menace and piercing intensity he projects on both stage and screen, in person Alan Rickman is diffuse, amiable, tousled and gently bear-like. His voice remains a remarkable instrument - deep, soft and relaxed to the point of langour, with notes of musical delicacy. He gives an impression of having to crank his vocal chords into motion in order to answer my questions.
But in spite of the good guys he's played, people tend to remember his lustful Angelo in Measure for Measure and his title role in the stage version of Mephisto. Even his benevolent characters display hints of darkness, and his bad characters make evil sinuously intelligent and captivating. A female admirer of Rickman's describes the actor's unusual appeal this way: "He isn't obviously handsome, almost ugly, but when he played Valmont something about his passion and intelligence made him unbelievably sexy."
By his own account, after 500 performances, the intensity of this character, who destroys other people and then himself, almost consumed him. "It stopped being a play in a way, and became an event - especially on Broadway. People came with such high expectations that a mountain had to be climbed every night. You are up there manipulating the audience in the way Valmont manipulates the characters. And when you're playing someone as self-destructive as that night after night, it can't help but to get to you to some extent. The body doesn't always know when it's lying. You know from the neck up, but you send the rest of you actually through it."
Stepping from that to a major film in Hollywood was like a holiday. "It was like taking a vacuum cleaner to your brain but switching it the other way round so that it just blew everything out. It was good to work in a completely different way. Valmont had such a complicated psyche, you couldn't say that about Hans Gruber - his psyche was: 'Give me you money - now.' "
Rickman came into acting late. He went to RADA when he was 26 years old after he had first studied design at Chelsea and the Royal College of Art, and worked as a Soho-based graphics designer. He has no regrets about his late start in the profession. He speaks with a cool sense of having arrived when he was emotionally ready to deal with its pressures and rewards. Faced with a question about being a celebrity, he answers: "I enjoy what happens when you read a script and as an actor, if you're happy enough and open enough on a rehearsal floor or on a film set, something happens between you and the script. I enjoy that, I enjoy the nuts and bolts. As for the other stuff, you start to notice that if you get into a limousine that it's only there for as long as you're selling the movie."
Not much has been seen of Rickman in the past couple of years - but now he is becoming visible in a variety of roles. The different levels of his success allow him to take a peculiar variety of work from informal workshops to high-earning roles in major Hollywood films. When I met him he was padding around his fiendishly tidy flat in London's Westbourne Grove preparing to leave for LA for the opening of Robin Hood: Prince of Thieves, starring Kevin Costner - and himself as the Sheriff of Nottingham.
About the film, which was shot in England, reputedly amid much conflict between director, star and studio, he speaks vaguely. Is his Sheriff of Nottingham another suave villain? "Not at all," replies Rickman, recalling a more theatrical, spluttering, flamboyantly wicked villain than the cerebral manipulators we are used to from him.
Rickman also stars in the recently released film Truly, Madly, Deeply written and directed by Anthony Minghella. Co-starring with Juliet Stevenson and Michael Maloney, Rickman plays a dead man returning to look after his ex-lover. Though produced by the BBC, the film has opened in the United States to much praise: "It's been described as a thinking man's Ghost," he says.
And opening this month is Close My Eyes, Stephen Poliakoff's tale of star-crossed lovers who happen to be brother and sister. In what otherwise looks like a glossy TV commercial for incest, Rickman is a welcome astringent presence as the cuckolded husband Sinclair, an egnimatic City whizz kid who reads Proust and is by turns sinister and affable. Rickman used his design background to collaborate closely with the costume and productiton designer to make it impossible to put Sinclair into any rigid social pigeon hole. "I didn't want people to learn anything about him through where he lived or who his friends were." It's a remarkable performance that adds a dimension to a character who might seem thin on the page.
But potentially his most interesting appearance is in the play Tango at the End of Winter, which is transferring to the West End after a run at the Edinburgh Festival. Tango is the first production in English of the great Japanese director Ninegawah, and Rickman's first stage appearance since he left Les Liaisons Dangereuses four years ago.
That's not to say that Rickman has been totally absent from the theatre during the years since Les Liaisons - during his spare time he has also been directing Ruby Wax's stage show.
How does he keep control over such a disparate career?
"I've never been able to plan my life. I just lurch from indecision to indecision," he laughs, clearly untroubled by such uncertainty. "It's just a matter of the next sandpit to climb into."
Vielen Dank für das Interview und die Links!
http://www.sweeneytoddmovie.co…ds/myspace/downloads.html
Leider ist wieder kein Judge Turpin in Sícht...
ZitatAlles anzeigenThe European Film Academy (EFA) has publicized its list of candidated films to the nominations of the European Film Awards.
Most of the films selected by the EFA will be shown at the different sections of Seville European Film Festival, where for the third consecutive year, will take place the announcement of the nominees to the European Film Awards, next 3rd of november.
Other films selected by the EFA are the Stephen Frears production The queen, the French Olivier Dahan film La vie en rose. The passionate life of Edith Piaf, the Italian La sconosciuta/The unknown/La desconocida, by Giuseppe Tornatore and the German Perfume: story of a murderer/El perfume: historia de un asesino, by Tom Tywker, also coproduced by Spain.
The European Film Awards ceremony will be celebrated the first of december in an special XX anniversary gala in Berlín.
http://www.festivaldesevilla.c…oticias&codigoelemento=17
*gerade mal wieder wortkarg bin* 
Edit:
DIE NOMINIERUNGEN FÜR DEN 20. EUROPÄISCHEN FILMPREIS
Asphodel, trotzdem Danke für deine Mühen!
Ich weiß nicht, wie du das immer anstellst, so viele Sachen zu finden! 
[Blockierte Grafik: http://www.geocities.com/faustaw/youngold.jpg]
Ich wollte das hier gerne als Avatar verwenden, doch es ist zu groß (vom Speicher her): 
[Blockierte Grafik: http://img.photobucket.com/albums/v723/kellysnape/snape.gif]
@ Cherryrose 
Vielen Dank für die Bilder! Die Animation ist sehr schön, aber was meinst du mit 'trotzdem Danke'? Haben wortkarge Nordfriesinnen eigentlich keinen Dank verdient?
Das Bild ist zwar nicht neu, aber diesmal so groß:
[Blockierte Grafik: http://img64.imageshack.us/img…nbild07jpeg1400x93ya6.jpg]
Und der völlig bekloppte Sweeney: :verrückt:
http://img64.imageshack.us/img…nbild02jpeg1400x93jc2.jpg
http://img64.imageshack.us/img…nbild06jpeg1400x93ks0.jpg<- wundervolles Bild!
Obacht! Eine Hiobsbotschaft: 
ZitatAlles anzeigenDetailed Report on "Order of the Phoenix" DVD Deleted Scenes and Extras
Posted by: Sue
November 07, 2007, 04:57 PM
With many thanks due to TLC reader Joanne, we now have a detailed report on some of the extras and deleted scenes due to be included on the "Harry Potter and the Order of the Phoenix" DVD. Joanne, who purchased the DVD last week as it was released in South Africa, sent in a breakdown of the many new things we will see. As there are a fair number of serious SPOILERS contained in the following report, if you wish to avoid them until the release in the UK on November 12 and in the US December 11, please stop reading now! However, those wishing to read details about the deleted scenes with Neville, Trelawney, Umbridge, the special feature with Tonks and more, scroll down. NOTE: Joanne was not able to yet access the link to the sneak peek to the upcoming "Half-Blood Prince" film.
SCROLL DOWN
SPOILERS AHOY
SCROLL DOWN
STILL TOO CLOSE, KEEP SCROLLING
A FEW MORE SCROLLS
ALMOST THERE
ONE MORE
HERE IT IS.... A breakdown of each of the deleted scenes contained on the "Order of the Phoenix" DVD are as follows (spoilers!)
The second disc menu opens with a sweeping shot of the Black Family Tree Tapestry – stunning! Though I couldn’t see much it moves quite quickly. There were tantalizing glimpses including – the Black Family Crest – a coat of arms topped by a skull, with three ravens and an armoured hand holding a wands, and the motto Toujours Pur. Plus all those names – the Prewitts, Weasleys, Tonks’s, Regulus and Sirius, and someone called Orion Walburg (1925-195/8?). The shot ends with Lucius and then great embroidered face of Draco Malfoy. The branches also have little skulls, dragons, Griffons, and a Snake on the branch. Then the menu comes (still in tapestry form) and you choose from: additional scenes,Trailing Tonks, Hidden secrets of HP, HP: the magic of editing
Trelawney Eating
An extended shot of Trelawney eating her way through her dinner while Umbridge is making her speech in the backgrounds. Obviously, the cameraman couldn’t move on because Emma is so truly hysterically funny. Lots of fumbling and bumbling (I won’t spoil it for you by giving you all the details). A lovely touch is the ironic counterpoint of Umbridge’s phrases ( “utmost seriousness, practices which must be pruned, improve what can be improved, etc.) with Trelawney’s muddled messes. What’s nice is that you get to see lovely details of the table settings.
Neville in Common Room
Additional bit (only a few seconds long) after Harry’s confrontation with Seamus in the Gryffindor common room, where Neville talks about it being the Daily Prophet that’s rubbish.
Gryffindor Common Room
This is one continuous sweeping shot of the common room taking in all the other students before coming to rest on Harry sitting alone in front of the fire. I think it is after the detention with Umbridge and before Harry’s chat on the sofa at the fire with Ron and Hermione. There are some delightful touches, including a couple snogging on the stairs, Nevillle tending his Mimbulus Mimbletonia, some girls plaiting each other’s hair, Seamus and Dean playing cards, and glimpses of the tapestries on the walls. They should definitely have kept this scene! It’s just a complete contrast to the horror Harry has just endured with Umbridge, and it emphasizes how alone and apart from other students Harry is, how much more serious his worries are.
Umbridge questions Trelawney during a dream interpretation class
This is a lovely scene, with a sarcastic Umbridge interrupting and generally terrorizing Trelawney. There are also some great cuts to Ron (canon Ron - yay!) and Harry. Harry shows more grim, adult-like expressions as we see his dawning realization of how cruel Umbridge is, how she enjoys her power, how she is beginning to interfere at Hogwarts. They have cut this longish scene up into short cuts which they have spliced into the Umbridge Montage in the final cut of the film. Although the gist of the scene is kept, the mounting/dawning realization of what is happening (“The Minister’s eyes and ears”), is lost. Slytherins are grinning in the background, enjoying the cruelty. I think this sets up their later conversion to the Inquisitorial Squad. The scene also sets up Trelawney’s dismissal very nicely
Umbridge and Filch
Just a few seconds of Umbridge and Filch looking down from a high tower or balcony while some Slytherins (including Draco, Crabbe and Goyle) bully a young Ravenclaw student in the quad below. The scene shows her tolerance of evil as long as it supports her domination of the school, and her natural inclination to sadism, but not much is lost by omitting this from the movie.
Filch and Umbridge’s hair
Filch sniffing then blowing on Umbridge’s still smoking hair (after the fireworks)
Extended forest scene with Umbridge, Hermione and Harry
A longish scene in which Umbridge explains herself more, justifies her actions, and tries to elicit sympathy from Harry and Hermione. She winds up crying “Look what you’ve done to me, I cannot take it anymore!”
Harry in DD’s office
After the battle at the ministry, a rather battered Harry enters Dumbledore’s office. There are nice details of the office, the whirring and clicking instruments, the Gryffindor sword (I think – though it looks a little plain) on the desk, and cabinets full of mysterious objects in the background. But sadly (sigh) Harry does not go mad with grief and rage and smash things up. Harry spots the sorting hat again, then angrily turns to walk out but is called by back by DD.
Harry packing
Extended version of the scene in which Harry is packing to go home. Ron comes in and Harry tells him to go on to the feast without him (Harry). Ron returns to Hermione in the common room, and just shrugs in response to her enquiring glance. Nice canon Ron, good emphasis of Harry’s grief and aloneness, but to my taste, the poignancy of the scene is lost when Hermione half smiles in response to Ron’s shrug.
TRAILING TONKS
A high Energy Natalia Tena roams around Leavesdon Studios, using a marauder’s map type effect to show the viewer which department will be viewed next. We get to see her: in hair and make-up, the sound desk on one of the sound stages (not much to see there), the canteen, singing while playing a guitar in her trailer, cuddling the boarhound who plays Fang, Matt Lewis and Alfie Enoch (Dean) playing some cricket out on a nearby field, art departments – with a model of Kreecher’s head and one of the brooms, and brief views of some models of the set (e.g., atrium of the Ministry, Hogsmeade Village), graphics dept where we see Daily Prohpet newspapers, Sirius “Wanted” Poster, Marauders’ Map (yay!), special FX dept (wands, locking door from Gringotts movie I, prophecy ball, sound stage with fighting (wand dueling) training session, soundstage in the room of requirement, brief chat with Dan. Here everyone was wearing wierd blue surgeon-type shoes (so as not to muck up set floor?) Grimmauld Place kitchen and house (super-brief) Ministry atrium with set men scattering the floor with the shattered glass, model shop (centaurs, Mimulus Mimbletonia)
extra feature “Secrets of HP”
Narrated by the sexy-voiced Jason Isaacs (I knew you’d like that, Sue!), this is a long feature along main HP themes (e.g., Things are not what they seem; Choice; Pride and Prejudice; Battle for Harry; It includes: cuts and a few stills from all the movies so far,brief comments by all the major cast members (except Gambon ), David Heyman, and David Yates. Also no Alan Rickman (maybe he was still sitting on his Snapey secrets!) [Blockierte Grafik: http://www.mysmilie.de/smilies/boese/3/img/004.gif] and theorizing by commentators including Jane Scott Batchler (author of “What will Harry Do?”), John Granger (author “Unlocking Harry Potter) and a fair few comments from Steve Vander Ark. No new movie material (I think). It gives the backstory of Harry, and his connection to Voldemort, his developing identity, etc.It’s a nice feature, though it could have been more in-depth for the true fan’s liking.
Extra feature: "Harry Potter and The magic of editing"
This is a shortish featurette on the difference that editing, visual effects, music and sound can make to a scene, with an interactive exercise at the end where you can choose the edits and accompanying sound and music for a scene (DA practice). I couldn't get this "game" feature to work, but this may be due to deficiencies in my DVD player, or my (non-existent) gaming ability.
Thanks very much Joanne!
Hat jemand im Forum, das nicht genannt werden darf, gepostet
http://bab.la/testview.php?testId=38
Ich hatte 80%, nicht überzeugend! 
ZitatAlles anzeigenSweeney Todd The Demon Barber Of Fleet Street Deluxe Complete Edition
Track Listings
1. Opening Title*
2. No Place Like London
3. The Worst Pies in London
4. Poor Thing
5. My Friends
6. Green Finch & Linnett Bird
7. Alms Alms*
8. Johanna
9. Pirelli s Miracle Elixir
10. The Contest
11. Wait
12. Ladies and Their Sensitivities*
13. Pretty Women
14. Epiphany
15. A Little Priest
16. Johanna
17. God, That s Good!
18. By the Sea
19. Not While I m Around
20. Final Scene*
http://www.amazon.com/gp/produ…=278842001&pf_rd_i=507846
Jetzt mache ich auch mal den Test... 
Danke Asphodel und Cherryrose für die Berichte und Bilder
Also enthält die HP OotP DVD überhaupt keine Specials mit Alan. Wie wunderbar. Und auch keine Snapes Worst Memory?
Ich schäm mich so, 67%.... 
@ Asphodel: warum mag Mr. Rickman nicht öfter mal auf der DVD auftauchen?! Warum nicht?! Dann wird er eben umso öfter vor- und zurückgespult werden müssen. Tja, wer nicht hören will... 
Ich habe auch nur 80 %, bin aber damit zufrieden, weil ich mir 'Deathly Hallows' sehr unsympathisch ist. Ich will es gar nicht besser kennenlernen... 
Und Alan-Luv ist bestimmt nur schüchtern und möchte deswegen keine Interviews geben. Professor Snape ist ja eigentlich auch vollkommen unwichtig für die Handlung. Ihn könnte man ohne Probleme aus den Drehbüchern streichen. 
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