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David Poland

By David Poland

20 Weeks – Rest of the Charts

A bit of a screw-up in technoland… here are all the first week 20 Weeks charts, which are now linked to one another, so you only really need to click on one to navigate.
Actor/Supporting Actor
Actress/Supporting Actress
Screenplay/Adapted Screenplay

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11 Responses to “20 Weeks – Rest of the Charts”

  1. Joe Leydon says:

    Again: I would not bet against a Supporting Actor nomination for Peter Fonda in 3:10 to Yuma.

  2. Hopscotch says:

    I would. I doubt that film will get any nominations.
    I think one of the most overlooked individuals to not win an oscar is Roger Deakins, famed cinematographer. And god willing this will be his year….unless he splits-vote. He’s got No Country, Assassination of Jesse James AND In the Valley of Elah. Missed Elah, can’t wait to see his other ones.

  3. Jeff says:

    Isn’t Diving Bell based on a book?

  4. Crow T Robot says:

    Wow! I didn’t think he was gonna do HairSpray, but BAM! Second encore!

  5. Fishermansfriend says:

    I don’t know about Bianca for supporting actress. She seems just a bit too wooden in the movie.

  6. christian says:

    Here’s another case of Poland and Wells being way off the mark.
    Hal Holbrook WILL be nominated for INTO THE WILD. To miss that is to miss the most obvious call.

  7. Rob says:

    Whoa whoa…no Tommy Lee Jones for Elah? I realize it tanked, but his role is a lot more substantial than in No Country, right?
    Love that supporting actress lineup. Would love for Jennifer Jason Leigh to finally get some recognition, 20+ years into an amazing career.

  8. doug r says:

    Best original screenplay: The Simpsons Movie
    Best actress: Julie Kavner

  9. seymourgrant says:

    Sean Penn for Crossing Over for Best Actor? Really?
    I was under the impression he only had two short scenes in the movie.

  10. movielocke says:

    Atonement only in the top five for BP and Keira nom but no BD or Supporting actress for Ronan? I’d think the reverse were more likely to be true, if the film’s a hit commercially it’ll get both BP and BD easily but if it’s a LA/NY hit it’ll still probably be stronger with the directors than the academy at large, so I would think a lone director nom is more likely than a lone picture nod for this film.
    Setting aside score and screenplay, which the film is very strong in, I’d think Ronan is the single most likely nomination for the film to earn, so putting her at the very last of the supporting list is puzzling.
    Checking out Michael Clayton in the AM tomorrow at AMC, gotta love those five dollar weekend matinees.
    It’s interesting that Kris Taley’s first charts had Michael Clayton in the top five (which put the film on my radar for the first time) but then it disappeared for everyone until this last week or so and now it’s popping up everywhere in predictions (except for Tapley’s). Seems the film is sitting well with those that have seen it and even improving as they think about it or see it a second time.

  11. Dave, I don’t pretend be anything other than an amatuer Oscar guesser and I know you’ve seen the movie but Atonement? You really think it’s going to be this year’s, effectively, Dreamgirls? Have you heard something in industry circles that others have not? Ronan and Wright so low, the film and Knightley only in 4th? Hmmm…
    Elsewhere, that John Travolta nod seems scarily possible doesn’t it? Weird. Your best actress list differs quite a bit from the way that most people seem to be looking at it, which would be Christie, Cotilard, Knightley, Linney and Page. Any reason as to why Berry will appear?

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon