35 Weeks To Go
The Next Oscars Will Be Rated X
Some will try to make it The Year of The Woman, with Nine leading the way for such hopefuls as Julie & Julia, Bright Star, Precious, An Education, Broken Embraces, the 2 SPC Coco Chanel movies, Amelia, Cheri, and even the female director of The Hurt Locker. And maybe they will have a point
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20 Weeks To Oscar: Rush To Poor Judgment?
12 Weeks To Oscar: The Battle Of Black Swan
15 Weeks To Oscar: Don’t You Forget About Me
26 Weeks To Oscar: The Year Of… Patience
20 Weeks To Oscar – 16 Days To Go.
20 Weeks To Oscar – 11 Weeks To Go
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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
No room for INGLOURIOUS BASTERDS in all of that? I think it’s got a shot at making a ten-wide BP ballot…
Trust me on this: the remake of Fame has zero chance of getting a Best Picture nomination. Zero. From what I’ve heard, it might get some Razzie noms, though.
Interesting that you didn’t list Funny People. Is this just an omission or is it your feeling it has no chance?
I don’t think I’ve seen one review of Cheri that suggests it has a shot at Oscar.
At this point, in this list, Wild Things deserves to be an outlier.
I’m thinking Bright Star has a much better chance (but you’re right in being wary of a first time distrib).
Forget about the ten best picture nominees though, I’m more interested in how best director pans out. Can we really get two female nominees (atm I’m thinking Campion and Bigelow, although Schofig could be up their alley too) and a black man (Daniels). Throw in a gay man (Marshall) and that category is looking quite the picture of “diverse”.
Hey DP — what’s with the hate on comedies? No, Funny People? No Hangover? With the extension of Best Picture to 10 nods it’s clear that the Academy wants to include more populist films. With The Hangover still going strong there is no way it isn’t going to push for a nomination. Also, if Funny People turns out to be the moving/funny experience it’s hinting at, there is definitely going to be a big push for that one as well.
Both of those films have a much better shot than Cheri.
I haven’t seen Funny People yet, so it may be something… or it may not. The Hangover is exactly the kind of picture that The Academy doesn’t have any interest in honoring. Same with Inglourious Basterds, which didn’t exactly come out of Cannes smoking.
I don’t disagree that Cheri and Fame are not likely to be serious contenders. But they do fit the profile, much more so than the big comedy hits.
I thought Fantastic Mr. Fox was bumped to Feb-Apr of 2010?
Isn’t Fame more Centre Stage than Fame circa 1980.