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David Poland

By David Poland poland@moviecitynews.com

Posted Sunday, October 23rd, 2011 - 10 Comments »
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20W20: Best Supporting Actor Chart, Oct 23, 2011

10/23/11 Charts
Picture | Actor | Supporting Actor | Actress | Supporting Actress

BEST SUPPORTING ACTOR
Picture
 Comment
The Field
Christopher Plummer / Stellan Skarsgard
The Girl With The Dragon Tattoo 		I expect one of these two great actors to take a nod… maybe both.  Or a shy Academy could reward Plummer by nom’ing him in Beginners.
Mark Strong/Colin Firth/John Hurt
Tinker, Tailor, Soldier, Spy 		As good an ensemble piece as you’ll ever see.  The biggest problem they’ve have is picking which one is most worthy.
Max Von Sydow
Extremely Loud & Incredibly Close 		He’s all the buzz.  Haven’t seen it.  Make-up nom for not nom’ing Ming The Merciless.
Neils Arestrup
War Horse
 Who knows?  He may not be in a big enough role. But there are still people who want to give him props for some other brilliant performances.
John Hawkes
Martha Marcy May Marlene		 He’s in the Academy wheelhouse now.  And he is subtly brilliant in this film.
Albert Brooks
Drive		 Would be my happiest nod.  One of the greatest writer/directors of all time could get his 2nd nod for acting to 0 for his real work.  Give him this and we’ll talk Lifetime Achievement in 10 years.
Patton Oswalt
Young Adult 		Really strong work in this film.  The question will be whether The Academy likes the film enough to bring him to the party.
Nick Nolte
Warrior		 One of the most underrated acting careers in movie history.  A serious actor with a problematic rep.  But he is undeniable in this role.  (Where’s the disc?!?!)
Corey Stoll
Midnight in Paris 		The most memorable character in a movie full of characters.
Christopher Plummer
Beginners		 Nice work.  But this living legend has pushed harder… and will again.  Still, might be a moment to share.
Armie Hammer
J Edgar 		Haven’t seen the movie.  I’m assuming he’s the top in the relationship.  But I guess we’ll see how edgy Clint went.
Andy Serkis
Rise of the Planet of the Apes / Tintin		 This is the third and fourth time people have screamed for Serkis to be recognized.  And Tintin is coming too.  Not sure actors are ready for it.  But there really should be a special award.
Ezra Miller
We Need To Talk About Kevin 		A stunning performance.  So real, but so scary.  He and Hawkes could be movie family.  Won’t happen.  He’s a newbie.  But “Wow!”
David Thewlis
The Lady 		A great actor in a movie that seemed a bit stodgy at Toronto.  Waiting to see the new cut.
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10 Comments »

10 Responses to “20W20: Best Supporting Actor Chart, Oct 23, 2011”

  1. Danella Isaacs says:
    October 24, 2011 at 7:18 am

    If Von Sydow doesn’t get some love from the Academy soon, I’m gonna eat my foot. ONE nod in all these years (for PELLE)?? This is the acting genius we’ve seen headlining THE SEVENTH SEAL; THE MAGICIAN; THE VIRGIN SPRING; HOUR OF THE WOLF; Bergman’s SHAME, really his best work; THE PASSION OF ANNA; THE EMIGRANTS; and THE NEW LAND. He also deserved a nod in the supporting category for WINTER LIGHT; yes, FLASH GORDON; SNOW FALLING ON CEDERS; and THE DIVING BELL AND THE BUTTERFLY. Hell, forget the supporting nod here. Just give him the honorary Oscar he’s deserved for twenty years now.

  2. tc says:
    October 24, 2011 at 8:43 am

    Re:Ezra Miller – the ‘newbie’ comment makes no sense in light of past years,like Jennifer Lawrence and Gabbie From Precious were newbies as well. And Miller will have appeared in FOUR movies by years’ end – Every Day, Beware The Gonzo, Another Happy Day, and WNTTAKevin. With the field so crowded, he could pull out a nom by default

  3. jb says:
    October 24, 2011 at 9:47 am

    I haven’t seen most of the movies being talked about, but I saw moneyball and ides back2back the other night and thought they were both pretty lame, but I’d still give Giamatti best in show(s) and he was even better in win-win. Warrior was awesome, i must have cried for half of the film and all the performances were excellent! Drive was even better, what the hell is wrong with everybody that these two movies aren’t doing better business and getting more oscar talk than crappyball or the bores of march.

  4. jb says:
    October 24, 2011 at 9:52 am

    I should add – maybe a nom for best original song for “the show” in Moneyball would be the only thing I’d be ok with – the scene in the guitar store was by far the best scene, but may have belonged in a different movie.

  5. chris says:
    October 24, 2011 at 11:56 am

    “Top” thing. Really?

  6. David Poland says:
    October 24, 2011 at 12:02 pm

    What does that mean, Chris?

  7. David Poland says:
    October 24, 2011 at 12:04 pm

    tc… I don’t think being a newbie is a disqualifier. In fact, I have both actors from The Artist on top of their lists. But the movie needs to drive those nominations. I don’t see “Kevin” getting Ezra there, a Winter’s Bone took Jennifer AND Hawkes & Precious took Gabby. Wish I could say otherwise. He really deserves the recognition.

  8. chris says:
    October 24, 2011 at 8:48 pm

    That the lame/offensive joke is beneath you.

  9. cadavra says:
    October 24, 2011 at 10:19 pm

    Seriously? No PSH for either film?

  10. Danny says:
    October 25, 2011 at 10:11 pm

    I think Brad Pitt will get into supporting for Tree of Life. Even without the studio lobbying for it, voters who want to reward that performance will not be hampered by category confusion since everyone will see Moneyball as Pitt’s Best Actor racehorse, and thus place his Tree of Life performance in supporting.

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