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David Poland

By David Poland poland@moviecitynews.com

Best Picture Chart – 19 Weeks To Go – 10/21/10

BEST PICTURE
Picture
Studio
Director

Stars
Comment
The Ten, If I Had To Pick Today
Dec 25
True Grit
Par
Coens
Bridges
Brolin
Damon
Nov
24
The King’s Speech
TWC
Marshall
Firth
Dec 1
Black Swan
FxSch
Aronofsky
Portman
Oct 1

The Social Network
Sony
Fincher
Eisenberg
Dec 10
The Fighter
Par/Rel
O. Russell
Wahlberg
Nov 5
127 Hours
FxSch
Boyle
Franco
Oct 22
Hereafter
WB
Eastwood
Damon
June 18
Toy Story 3
Disney
Unkrich
July 16

Inception
WB
Nolan
DiCaprio
July 9
The Kids Are All Right
Focus
Cholodenko
Bening
Moore
The Next Tiers Of Likely
Dec 17
Everything You’ve Got
Sony
Brooks
Witherspoon
Nicholson
Nov 24
Love & Other Drugs
Fox
Zwick Hathaway
Dec 29
Another Year
SPC
Leigh
Broadbent
Staunton
June 11 Winter’s Bone
RdAtt
Granik
Lawrence
Feb 19
Shutter Island
Par
Scorsese
DiCaprio
July 30
Get Low
SPC
Schneider
Duvall
Spacek
Murray
Sept 15
Never Let Me Go
FxSch
Romanek
Knightley
Mulligan
Garfield
Sept 17
The Town
WB
Affleck

Renner
Hall
Cooper

Nov 19
Made In Dagenham
SPC
Cole
Hawkins
Oct 8
Secretariat
Dis
Wallace
Lane
Dec 25

Somewhere
Focus
Coppola

Dorff
Fanning

Dec 10
The Tempest
Mir
Taymor
Mirren
Dec 31
Blue Valentine
TWC
Cianfrance
Gosling
Williams
Dec 29
Biutiful
RdAtt
Gonzalez-
Inarritu
Bardem
Dec 29
The Way Home
NewMkt
Weir
Farrell

by David Poland

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10 Responses to “Best Picture Chart – 19 Weeks To Go – 10/21/10”

  1. Raj Himself says:

    It’s called The Way Back and it should be a lot higher.

  2. Rob says:

    Really? Hereafter is that high? Even with, y’know, the reviews?

  3. indiemarketer says:

    Also called “How Do You Know” (not “Everything You’ve Got”) which you have correct on the Actor/Actress charts.

  4. Luke says:

    Come’on….The Way Home(?) lower than The Tempest? Really?

  5. D says:

    Why is THE WAY BACK so low….seriously half the films above it are complete messes

  6. TAB says:

    HOWL…..a masterpiece!

  7. Max Berger says:

    your forgetting some of the formula from last year, I would really take hereafter off the list, just because its clint eastwood does not mean it has a bp spot secured. And then for the final spot I would say the town (made money, fun), Winter’s Bone ( the serious indie contender), Made in Dagenham, and Blue V (If both actors get the nominations I would say it has to get nominated), are the final contenders for the last spot.

  8. Dave says:

    The Ghost Writer is a better movie than almost everything on the next likely list, and some of the likely list.

  9. B.D. says:

    Inception and Toy Story 3 are sure things. Fighter is not. It will play well with audiences and get nods for Bale and Leo, but it’s nowhere near a sure thing.

  10. JFK says:

    Um, The Tempest was hands-down the worst film I have seen this year, I am shocked to even see it listed. We’re talking any other film out there should be placed before The Tempest, not an exaggeration.

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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