MCN Columnists
David Poland

By David Poland

Actress Charts – 19 Weeks To Go – 10/21/10

Actress – Film
Natalie Portman – Black Swan
Anette Bening – The Kids Are All Right
Carey Mulligan – Never Let Me Go
Jennifer Lawrence – Winter’s Bone
Reese Witherspoon – How Do You Know
Nicole Kidman – Rabbit Hole
Anne Hathaway – Love & Other Drugs
Lesley Manville – Another Year
Sally Hawkins – Made in Dagenham
Michelle Williams- Blue Valentine
Kimberly Elise – For Colored Girls… Hard to really know who will be the film’s choice for Lead
Diane Lane – Secretariat
Hilary Swank – Conviction
Helen Mirren – The Tempest
Rachel McAdams – Morning Glory
Actress – Film
Helena Bonham Carter – The King’s Speech
Hailee Steinfeld – True Grit
Sissy Spacek – Get Low
Barbara Hershey – Black Swan
Whoopi Goldberg/Thandie Newton/Kerry Washington – For Colored Girls… Hard to really know who will be the film’schoice for Supporting
Julianne Moore- The Kids Are All Right
Melissa Leo – The Fighter
Sandra Oh – Rabbit Hole
Mila Kunis – Black Swan
Miranada Richardson – Made in Dagenham
October 21, 2010
by David Poland

Previous Chart

Be Sociable, Share!

3 Responses to “Actress Charts – 19 Weeks To Go – 10/21/10”

  1. hcat says:

    No love for Amy Adams? The main reason I’m going to see the fighter is to watch her be all tough, earthy and concerned.

    And I would put Hathaway in over Witherspoon. I know Brooks has (had?) the magic touch with actresses but something about Love and Other Drugs just screams blockbuster to me. I could easily see this outgrossing all the other films with female leads, as well as becoming Fox’s biggest release this year.

  2. Everyone will be campaigned supporting in For Colored Girls.

  3. TPK says:

    Sandra Oh for Rabbit Hole over Dianne Wiest? Kind of love that, simply based on the few short clips that’ve been put out there.

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