By David Poland poland@moviecitynews.com

DP/30 – 43 Oscar Nominees

ACTOR
Javier Bardem, Biutiful
Jeff Bridges, True Grit
Jesse Eisenberg, The Social Network with Andrew Garfield
James Franco, 127 Hours
Colin Firth, The King’s Speech

ACTRESS
Nicole Kidman, Rabbit Hole
Jennifer Lawrence, Winter’s Bone
Natalie Portman, Black Swan
Michelle Williams, Blue Valentine

SUPPORTING ACTRESS
Amy Adams, The Fighter
Melissa Leo, The Fighter
Hailee Steinfeld, True Grit
Jacki Weaver, Animal Kingdom

SUPPORTING ACTOR
John Hawkes, Winter’s Bone
Jeremy Renner, The Town
Mark Ruffalo, The Kids Are All Right
Geoffrey Rush, The King’s Speech

DIRECTOR
Darren Aronofsky, Black Swan
Tom Hooper, The King’s Speech

SCREENWRITER
Simon Beaufoy, Danny Boyle with producer Christian Colson
Lisa Cholodenko, The Kids Are All Right
Debra Granik, Winter’s Bone
Mark Heyman, Black Swan with choreographer/actor Benjamin Millepied
Mike Leigh, Another Year
Aaron Sorkin, The Social Network
Lee Unkrich, Toy Story 3

CINEMATOGRAPHER
Roger Deakins, True Grit
Matthew Libatique, Black Swan
Wally Pfister, Inception
Jeff Cronenweth, The Social Network

EDITOR
Angus Wall & Kirk Baxter, The Social Network
Andy Weisblum, Black Swan

PRODUCER/PICTURE
Danny Boyle, Christian Colson with screenwriter Simon Beaufoy

MUSIC/SCORE
composer/songwriter Alan Menken
composer A.R. Rahman with sound designer Glenn Freemantle

OTHER CATEGORIES
Lee Unkrich, Animated Feature, Toy Story 3
Greg Russell, Sound Mixing, Salt
Mark P. Stoeckinger, Sound Editing, Unstoppable
Mary Zophres, Costume Design, True Grit

DOCUMENTARIES
Exit Through The Gift Shop – producer Jaimie D’ Cruz, editor Chris King
Inside Job – director Charles Ferguson
Waste Land – director Lucy Walker

FOREIGN LANGUAGE
Biutiful, Mexico – director Alejandro González Iñárritu, cinematographer Rodrigo Prieto, editor Stephen Mirrione, composer Gustavo Santaolalla, executive producer Guillermo del Toro
In a Better World, Denmark – writer/director Susanne Bier

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One Response to “DP/30 – 43 Oscar Nominees”

  1. army mos says:

    Great read , I am going to spend more time learning about this subject

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