He is now running to become a United States Senate. Van Loon offers Eddie a supply of the drug in exchange for Eddie assisting his ambitions of becoming the US President. Eddie shares with Van Loom that he is off the drug but has retained all his abilities without having any side effects. By this ending and the events that take place before them, one can assume that Eddie has found a way of retaining the abilities.
The movie goes a full circle and shows the ups and downs of taking the drug. Towards the ending of Limitless , it is hinted that he has found a permanent way of making use of NZT Now follow your favourite television celebs and telly updates. Republic World is your one-stop destination for trending Bollywood news. Tune in today to stay updated with all the latest news and headlines from the world of entertainment.
Day Trader uncredited Produced by Bradley Cooper Cooper Keith R. Cooper, additional photography Janeen Schreyer Cooper Jasen Joseph Sica DeNiro Ljiljana Lee Cado Keith Cleary Dodge Natalie N. Clyde McCartney Stuart Jr. Stern Antonello Stornelli Del Cueto Travis Merendino Eric Camp Raymundo Garcia Production Assistant Matt Imbrogno DeNiro Kelly L.
Eberwine III Stolk III Tim Fennel Michael Kelly Weiss Jr. Production Manager Joshua J. Gilberto Esqueda Rich Fellegara Eduardo Ortiz Raffi Paloulian Fernando Ramirez John Rash Tan Abbey Taylor Nutter Gabriel Pena Getting Started Contributor Zone ». Edit page. Top Gap. See more gaps ». Create a list ». Aanraders voor Babette. Robert Deniro. Highly recommended. See all related lists ». Share this page:.
Clear your history. Carl Van Loon. Man in Tan Coat. Morris Brandt. Marla Sutton. Rebecca Dayan. Financial Newscaster. Female Assistant. TV News Reporter. Day Trader 1 as Joe McCarthy. Day Trader 2.
Campaign Manager. Father Skater. Businessman 1. Businessman 2. Maria Winberg as Caroline Maria Winberg. Beautiful Black Woman. Coffee Shop Owner. Poker Player 1. Poker Player 2. Girl Passenger. Gennady Thug as Eddie Fernandez.
Gennady Blind Thug. Friend at Beach 1. Friend at Beach 2. Friend at Beach 3. Friend at Beach 4. Friend at Beach 5. Self archive footage uncredited. Beautiful Socialite uncredited. Restaurant Patron uncredited. Campaign Volunteer uncredited. Carter uncredited. Business Woman uncredited. Party Goer uncredited. Campaign Worker uncredited. Day Trader uncredited. Man In Police Line-Up uncredited.
Eddie's Aunt uncredited. Partygoer uncredited. Barfly uncredited. Detective uncredited. Diner uncredited. He later directed and co-starred in The Good Shepherd, with. The facility features office space, a screening room, banquet hall and.
She recently played a pirate queen. Actress in a Television Series - Musical or Comedy. He played a co-starring. In addition to his acting work, Howard co-wrote the screenplay for Shooters, a British. In , he was awarded the Best Actor prize at the Tokyo.
International Film Festival for his portrayal of Jon in Mr. For his performance in. He created a series of television spots for Amnesty International. His enhanced abilities soon attract shadowy forces that threaten his new life in this suspenseful and provocative film. With every synapse crackling, Eddie can recall everything he has ever read, seen or heard, learn any language in a day, comprehend complex equations and beguile anyone he meets—as long as he keeps taking the untested drug.
Soon Eddie takes Wall Street by storm, parlaying a small stake into millions. His accomplishments catch the eye of mega-mogul Carl Van Loon De Niro , who invites him to help broker the largest merger in corporate history.
But they also bring Eddie to the attention of people willing to do anything to get their hands on his stash of NZT. A riveting, high-concept thriller written by Alan Glynn, the book had a premise that immediately intrigued her. What if there was a drug that would make you the best you could possibly be? A drug that allowed you to use every scrap of potential you possess? I eventually optioned it with my own money and wrote the script on my own to see if I could get it made without a lot of compromises.
And here we are. Doubtfire, Hairspray and Freaky Friday. As the story begins, his girlfriend dumps him, his publisher threatens to drop him unless he can produce the manuscript he has promised and his landlady wants to evict him. But when an old friend slips him a tablet of the mysterious drug NZT, Eddie is transformed into an unstoppable torrent of ideas and accomplishments, bringing him the success he has always dreamed of.
People are taking things like Adderall to give themselves an edge. It's sort of ironic that we have begun to see drugs as a way to enhance our achievement rather than just to have fun. Women drop at his feet after half a dozen sentences, because he's so charming and funny. All of these things are things that we wish we could do, and it's fun to go there with the character.
When things get hairy and it turns out that bad people are after him, watching him think and fight his way out of those situations is exhilarating.
I immediately fell in love with it. You might be more coordinated. You could learn faster and recover memories you thought you had forgotten long ago. Neil Burger, whose earlier films include The Illusionist and Interview with the Assassin, impressed them with his innovative concept for the movie.
I had a number of ideas for unconventional visual techniques to show how he perceives the world. He's cartwheeling through life. He has to stay on it or he gets piercing headaches. And when he takes too much of it, he loses blocks of time. I want the audience to be there with him as he makes his choices. I think we'd all love to do something special and make an impact on the world. This story is about a guy who actually finds a fantastical way to make that happen, and it's all played very real.
He's not a superhero; he's the perfect version of himself. NZT is like that times a thousand. But if it's all just tinkering with brain chemistry like a computer hard drive, where does personal responsibility come in? What are the limits of our moral identity? I met him in New York and we hung out for an evening, talking about the movie, about life, about everything. He has such a winning personality and I could see how it would translate to our story.
I knew that Bradley was a very smart guy and a great talker. I was certain he could play all the facets of Eddie believably and powerfully. Bradley Cooper was a rising star and he also just happened to be perfect for the movie. He can play both the down-on-his-luck, sad-sack writer and the articulate, brilliant guy who's using a percent of his brain. Bradley has an opportunity here to use all his comedy chops, and then gets to show off all the other qualities he has as an actor.
He's effortless to work with, because there's absolutely no ego, yet he knows exactly what he wants to do. Living the way he does might have been cool when he was 25, but at 35, it becomes pathetic. Then it's a question of what else is he going to do with his enhanced abilities. First of all, who would that be? He's a failure, he's a success, he's dying. We've seen the different facets of what Bradley can do as an actor before, but this is all of his skills and talents jammed into this one movie.
And his performance is incredible. It's a roller coaster ride from the beginning to the end. He is also a very generous and kind person as well, and, at first, Van Loon comes off that way. I discussed some ideas about changing the part for him, he liked them and left the door open to go back to him. I told Leslie and she wrote some great new lines for him. But I realized to my horror that I'd written kind of a standard part and there was nothing particularly special about it that would attract him.
That brought quite a bit more color and juice to the writing. They are both incredibly inventive. They stay with the text, but they always find little wrinkles that keep the other actor on his toes. I'm going to tell Robert De Niro where he's supposed to stand or how he's supposed to say a line?
I had to put all that aside and just get back to the business at hand, which was the actor in front of me, not the one in my head. He treats everybody the same, which, to me, is one of the greatest assets a director can have. All you have to do is react to what they're doing. When he discovers NZT and becomes wildly successful, they get back together again. Abbie has this mischievous energy, but she's also incredibly bright.
They are pretty amazing together. You could feel the connection and get a sense of the history of their characters. He has a great sense of humor as well as great depth to him, so he has that enormous range as an actor. Borrowing money from him is reckless, but it's also very smart, because Eddie is able to turn a little money into a lot of money very quickly.
The problem comes when Gennady gets wind of this drug and wants in on it. When Gennady starts to take NZT, it smartens up a bad guy. Andrew Howard pointed out that when you give a thug this drug, he may not get as smart as Eddie, but an enhanced brain would give a bad guy enhanced capacity to be horrible. He's looking like the man about town, but it's just off-kilter. I jumped on the chance to see and hear and feel a real Russian community right in New York City.
It's got brilliant performances. Neil is an extraordinary director and he knew exactly how to tell this story. He always brought a little something extra to the table that would give it more nuance and color.
Working with actors is one of the real pleasures of my job. As in my other movies, the goal is to get great and different performances out of the actors. In this case it was to shape Bradley Cooper's role through all the phases of his wild journey and support that performance visually. Each phase has a particular color palette, camera movement, design concept and acting style. I wanted the audience to always feel what he was feeling, to be zooming along with him.
How does someone with extraordinary abilities sort through the noise and distractions of contemporary life and pull out the key and information? How do we show that so the audience gets some insight into the workings of his supercharged mind? I studied fractals, which is a self-replicating kind of design.
I wanted everything to have an intensity that reflects Eddie's experience, but also retain a certain whimsy. There's a dark humor throughout the film that is there in the visuals as well.
I wanted to show even that in a new way, to make it beautiful in its own way, but with the edge and energy he's experiencing. As you watch the movie, you can't really put your finger on it, but you feel it. When he's on that drug, everything flows effortlessly. It's as if we're inside his head. Because we were developing a character in a visual way, we weren't afraid to be very subjective with the imagery and pull the audience in.
They're all about how the world is perceived in a different way when you're on this drug, so they have a very visceral quality. It creates a very surreal, intense image. Sometimes that meant a very simple in-camera effect, other times we did invent new looks. The point was to direct it, from performance to visuals, in such a way that you know what it feels like for him. We question his reasons for making the journey and we question his reasons for wanting to stay there. The moral choices our hero makes are very interesting in the modern world.
When his world changes, so do the colors surrounding him. New York architecture is essentially the gray of slate, granite and steel, which is a very cool tone. Burger, who lives in New York, put together a binder full of reference photos that represented his ideas on how to use his hometown as a backdrop. With only two weeks to shoot in the city, the shoot took on a rough and tumble atmosphere. We just let the street be what it is, with people passing by. Bradley Cooper would cross streets in the middle of the block, as you do when you're in New York.
We had a very small crew following him, trying to keep it as real as possible. It has that feeling of stolen footage, as opposed to a choreographed Hollywood movie. When Eddie is on the drug, we had a more controlled way. We shot with cranes, dollies and steady cam. We had to work fast and it was good fun. We shot on 52nd Street off 8th Avenue in a building called the Lynx. We shot in Chelsea, Tribeca and all over Midtown, which is about as busy and touristy a place as you can find.
We were working in the middle of the street with people passing by, but there was something incredibly energetic about that. I had to really focus. You can't do it. They've seen so much shooting they don't care. No city is more about those two extremes and the way people go from one to the other. I wanted to shoot as much as I could on the streets, without locking everything down.
Too often, New York is turned into a Hollywood set, but we wanted it raw and real and flowing around us. Directed by Todd Phillips Old School , the film revolves around three friends who lose their best friend at his bachelor party in Las Vegas.
To figure out what went wrong, the trio Cooper, Ed Helms and Zach Galifianakis attempt to retrace their steps and piece together their bad decisions from the night before. The Hangover opened No. Cooper currently resides in Venice, CA.
Cornish is best known for her starring roles in the independent Australian films Candy , opposite Heath Ledger and Somersault , with Sam Worthington. In spring , Cornish will begin production on the indie drama film The Girl, directed by David Riker, which features a mother, played by Cornish, forced into running illegal immigrants across the border in order to protect her son.
In fall , Cornish starred in Jane Campion's period drama Bright Star, which was a true life adaptation of poet John Keats' love affair with a young woman named Fanny Brawne.
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