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By DP30 david@thehotbuttonl.com

DP/30: 53 Oscar Nominees

PICTURE
Hugo – Graham King
Midnight in Paris – Letty Aronson
The Tree of Life – Bill Pohlad, Dede Gardner

ACTOR
A Better Life – Demian Bichir
The Artist – Jean Dujardin – COMING
Tinker Tailor Solider Spy – Gary Oldman, Nov 2011, Feb 2012

ACTRESS
Albert Nobbs – Glenn Close
My Week With Marilyn – Michelle Williams

SUPPORTING ACTRESS
The Artist – Berenice Bejo – COMING
The Help – Jessica Chastain – May 2011, Aug 2011
Albert Nobbs – Janet McTeer

SUPPORTING ACTOR
My Week With Marilyn – Kenneth Branagh
Warrior – NIck Nolte
Extremely Loud & Incredibly Close –Max von Sydow

DIRECTOR
The Artist – Michel Hazanavicius

ORIGINAL SCREENPLAY
The Artist Michel Hazanavicius
Margin Call – JC Chandor
A Separation – Asghar Farhadi

ADAPTED SCREEENPLAY
Hugo – John Logan
The Ides of March Grant Heslov / Beau Willimon
Tinker Tailor Soldier Spy – Peter Straughan – Oct 2011, Nov 2011

FOREIGN LANGUAGE
A Separation – Asghar Farhadi
Footnote – Joseph Cedar
In Darkness – Agnieszka Holland

ANIMATED FEATURE
A Cat In Paris – Jean-Loup Felicioli and Alain Gagnol
Chico and Rita – Fernando Trueba
Kung Fu Panda 2 – Jessica Yuh Nelson
Puss In Boots – Chris Miller
Rango – Gore Verbinski

DOCUMENTARY
If A Tree Falls: A Story of the Earth Liberation Front – Marshall Curry
Paradise Lost 3: Purgatory – Joe Berlinger
Pina – Wim Wenders, Sept 2011, Dec 2011
To Hell & Back – Danfung Dennis
Undefeated –TJ Martin & Daniel Lindsay

EDITOR
The Artist Michel Hazanavicius
The Descendants – Kevin Tent
Hugo – Thelma Schoonmaker
Moneyball – Christopher Tellefsen

CINEMATOGRAPHY
War Horse – Janusz Kaminski

ART DIRECTION
War Horse – Rick Carter

VISUAL EFFECTS
Rise of the Planet of the Apes – Joe Letteri

SOUND MIXING
Moneyball – Deb Adair

SCORE
The Artist – Ludovic Bource

SONG
The Muppets – Bret McKenzie, Dec 2011, Feb 2012
RIO – Sergio Mendes, Siedah Garrett

ANIMATED SHORT
Dimanche/Sunday – Patrick Doyon
LA Luna – Enrico Casarosa
Wild Life – Amanda Forbis and Wendy Tilby

LIVE ACTION SHORT
Raju – Max Zähle
The Shore – Terry George

ALSO… MEET 9 MORE NOMINEES VIA INTERVIEWS FROM PREVIOUS FILMS
Christopher Plummer
Viola Davis
Jeff Cronenweth
Sandy Powell
Lucy Walker
Kirk Baxter and Angus Wall
Greg P. Russell
Aaron Sorkin

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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