Awards Watch Archive for November, 2012

“Why Washington Can’t Stop Talking about Lincoln”

“Why Washington Can’t Stop Talking about Lincoln”  

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Gurus o’ Gold: At The End Of November…

The Gurus are going for it in all of the Top 8 categories this week, having seen all of what seem to be the top BP candidates. And for the first time this week, Original and Adapted Screenplay. The game changers are, as you might expect, Les Miserables and Zero Dark Thirty.

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Beefing Up With Rust & Bone’s Matthias Shoenaerts

Beefing Up With Rust & Bone’s Matthias Shoenaerts

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10 Contenders Vie For VFX Oscar

10 Contenders Vie For VFX Oscar

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20W2O: 14 Weeks To Go – Consult THAT!

Where are we now in this Oscar race?

Well, this is the moment when all of the serious BP candidates have been shown, voters for other awards are going to start voting next week, and the field is clear and clearly spread.

This is when Awards consultants make their money.

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Ebert Goes Oscar

“If I had my way, and I don’t, a Best Picture nomination would certainly go to Beasts of the Southern Wild.” Ebert Goes Oscar

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Bigelow And Boal On Zero Dark Thirty On Nightline

Bigelow And Boal On Zero Dark Thirty On Nightline

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Branagh On Knightley

Branagh On Knightley

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Gambling Site Intrade, Fond Of Making Book On Oscar Hopefuls, Shuts Portals To U. S. Users

Gambling Site Intrade, Fond Of Making Book On Oscar Hopefuls, Shuts Portals To U. S. Users

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Virginia Uses Lincoln To Peddle Tourism

Virginia Uses Lincoln To Peddle Tourism

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Rohter Seeks Gloom In Foreign Language Oscar Submissions

Rohter Seeks Gloom In Foreign Language Oscar Submissions

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McCarthy Plies Trade Trade In Zero Dark Assay

“Films touching on 9/11, such as United 93, World Trade Center, and Extremely Loud & Incredibly Close, have proven commercially toxic, and while this one has a ‘happy’ ending, its rigorous, unsparing approach will inspire genuine enthusiasm among the serious, hardcore film crowd more than with the wider public.” McCarthy Plies Trade Trade In Zero Dark Assay

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Corliss First-Reviews Zero Dark Thirty

“This is movie journalism that snaps and stings, that purifies a decade’s clamor and clutter into narrative clarity, with a salutary kick.” Corliss First-Reviews Zero Dark Thirty spoilers

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Case-Studying Two Viewings Of The Master, In 70mm, Then DCP

Case-Studying Two Viewings Of The Master, In 70mm, Then DCP

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Critics Top Ten List 2012: Cahiers du cinéma

1. Holy Motors 2. Cosmopolis 3. Twixt 4. 4:44 Last Day On Earth 4. In Another Country 4. Take Shelter 7. Go Go Tales 8. Tabu 8. Faust 10. Keep The Lights On

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Gurus o’ Gold: Thanks, About To Be Given The Last 4 Films

Coming up this weekend, Les Miserables and Zero Dark Thirty come out to be seen by the media and guilds. Next week, Django Unchained and The Hobbit. And at that point, all the mysteries will be unfolded and voting for many groups will begin. So to give you a proper “before” and “after,” one last spin with the Gurus’ Top Ten lists for Best Picture…

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Zemeckis Compares Denzel’s Flight Character To Marty McFly

Zemeckis Compares Denzel’s Flight Character To Marty McFly

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“Life of Pi is possibly the best-looking film I’ve seen so far this century. It’s so hypnotically beautiful that people will be using it to calibrate their new TV monitors.”

“Life of Pi is possibly the best-looking film I’ve seen so far this century. It’s so hypnotically beautiful that people will be using it to calibrate their new TV monitors.”

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James Spader On That Eccentric Lincoln Character Of His

James Spader On That Eccentric Lincoln Character Of His

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Fan-Made “Trailer” Assembles 7’37” Of Bits From Hobbit Trilogy

Fan-Made “Trailer” Assembles 7’37” Of Bits From Hobbit Trilogy

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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