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Noah Forrest

By Noah Forrest Forrest@moviecitynews.com

Damon Was Robbed

I was surfing through the channels earlier and I saw that Steven Soderbergh’s The Informant! was on, so I decided to watch a few minutes.  I wound up watching about an hour of the movie because I got so wrapped up in Matt Damon’s lead performance.  I’ve long felt that Damon was one of the best young actors we have, but he just keeps getting better.  What he does in The Informant! has such a high degree of difficulty.  The tone of the performance is so perfectly calculated and one wrong note could throw the whole thing off.

But the point is that Damon was nominated for an Oscar last year…for Invictus.  I mean, Damon is fine in that movie and does a convincing South African accent, but I don’t understand how 1) that was only his second acting nomination and the first since Good Will Hunting and 2) that he was shut out for The Informant!.  It is astounding to me that Damon’s work in The Talented Mr. Ripley, Rounders, The Departed, and The Good Shepherd all went unrecognized by the Academy.

One of our best

This year, though, I just don’t see how Colin Firth (A Single Man) and Morgan Freeman (Invictus) got nominated ahead of Damon’s masterful performance.  Damon is objectively better than those two and he’s better than George Clooney in Up in the Air (although I don’t begrudge that nomination).  It almost seems to me that either there is a conspiracy against nominating Matt Damon in the acting categories or the majority of the Academy is stupid (the more likely explanation).

Damon should have three films coming out before the end of the year: True Grit, Hereafter, and The Adjustment Bureau.  That’s three chances for the Academy to screw up.

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One Response to “Damon Was Robbed”

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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