Awards Watch Archive for December, 2007

Best Screenplay Chart

BEST ORIGINAL SCREENPLAY Writer(s) – Film Comment Michael Clayton Tony Gilroy Juno Diablo Cody The Savages Tamara Jenkins Before The Devil Knows You’re Dead Kelly Masterson Lars & The Real Girl Nancy Oliver Knocked Up I’m Not There Margot At The Wedding American Gangster In The Valley Of Elah BEST ADAPTED SCREENPLAY Writer(s) – Film…

Read the full article »

Best Actress Chart

BEST ACTRESS Actress – Film Comment Marion Cotillard – La Vie En Rose Helena Bonham Carter – Sweeney Todd Julie Christie – Away From Her Keira Knightley – Atonement Ellen Page – Juno Laura Linney – The Savages Angelina Jolie – A Mighty Heart BEST SUPPORTING ACTRESS Actress – Film Comment Cate Blanchett – I’m…

Read the full article »

Best Actor Chart

BEST ACTOR Actor – Film Comment Johnny Depp – Sweeney Todd Daniel Day Lewis – There Will Be Blood George Clooney – Michael Clayton Phillip Seymour Hoffman – Before The Devil Knows You’re Dead Josh Brolin – No Country For Old Men James McAvoy – Atonement Denzel Washington – American Gangster Tom Hanks – Charlie…

Read the full article »

Best Picture Chart

BEST PICTURE Release Date Picture Studio Globe Guess Comment Nov 9 No Country For Old Men Miramax D Seems set for a nomination… now the trick is not to peak too early for the finals Oct 5 Michael Clayton WB D The thinking man’s movie Dec 7 Atonement Focus D The romantic choice Dec 21…

Read the full article »

Best Director Chart

BEST DIRECTOR Director – Film Comment The Best Picture Runners The Coen Bros – No Country For Old Men Tony Gilroy – Michael Clayton Tim Burton – Sweeney Todd Joe Wright – Atonement The Superstars Of Directing ’07 Julian Schnabel – The Diving Bell & The Butterfly Sidney Lumet – Before The Devil Knows You’re…

Read the full article »

13 Weeks To Go Love: A Four Letter Word

It’s funny what turns your head. The notion of prognosticating, which is often attacked by those who have no skill at doing it, is not a science.  It is an artistic endeavor.  And like all art, there is good and bad … and taste involved. Oscar prognostication is particularly odd, since we are already well…

Read the full article »

Awards Watch

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