Awards Update Archive for October, 2013

20W2O: Choking On The Tea Leaves

In the last week, there have been a series of attacks on the box office potential of 12 Years A Slave, which is “dirty tricks”-speak for “there is something less than great about this movie about the black people you have no responsibility for to which They are trying to force you to give a Best Picture Oscar.” These two stories ran, by the way, on the front page of the Los Angeles Times, the day before the film’s first expansion to 123 screens, and then in the New York Times, two days after the film’s first expansion.

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David Simon On 12 Years A Slave

“It marks the first time in history that our entertainment industry has managed to stare directly at slavery and maintain that gaze.” David Simon On 12 Years A Slave

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Trailering The Wolf Of Wall Street For Christmas Delight

Oh, It’s A Comedy: Trailering The Wolf Of Wall Street For Christmas Delight

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20W2O: LA Times A1 Piece On 12 Years A Slave Could Be A Hit Job By An Awards Rival

This story is a textbook example of how to give a hard backhand slap to a movie that someone sees as having vulnerabilities. None of the Oscar Whisperers out there could have asked for anything better, short of a series of stories that people had actually gotten ill or had to run out of the theater to avoid the horrors of this film. It’s a marketing story! Why would that be bad?

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20 Weeks To Oscar: Late October And Still No True Frontrunner

Truth is, We have usually set the field pretty effectively by mid-November. 80%-plus of nominees are pretty well guessed at by then. So then it gets even weirder, as We fight over the last 20% and attempt to “win” by guessing the winners before anyone else. Every minor shift gets overemphasized because it – how dare it! – surprises Us. What started as somewhat rational prognostication turns personal… and sometimes ugly. And the people who have jobs trying to convince Us of this or that get sharper edged, which is often misconstrued as “dirty tricks,” but outside of the bubble is just called “publicity.”

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Consultant Henry Louis Gates Jr. Fact-Checks 12 Years A Slave

Consultant Henry Louis Gates Jr. Fact-Checks 12 Years A Slave

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Gurus o’ Gold: Post New York Film Festival

This week, in our last pre-November rankings, The Gurus are looking at the Best Picture race, split into films that have been widely seen by the industry (in theatrical release, wide screenings or at festivals) and those that have not.

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“Blackwater At Sea: The Legacy Of Captain Phillips”

“Blackwater At Sea: The Legacy Of Captain Phillips“

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“Gravity is not a “hopeful”: It’s in, because while huge grosses, rapturous reviews, two well-liked movie stars, a respected director from another country, nerdgasms all over Twitter, and bar-raising visuals are not, in themselves, guaranteed roads to an Oscar nomination, the combination of them certainly is.”

“Gravity is not a “hopeful”: It’s in, because while huge grosses, rapturous reviews, two well-liked movie stars, a respected director from another country, nerdgasms all over Twitter, and bar-raising visuals are not, in themselves, guaranteed roads to an Oscar nomination, the combination of them certainly is.”

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Yes, That “Space Suspense In 3D” Gravity Is Not A Documentary

Yes, That “Space Suspense In 3D” Gravity Is Not A Documentary

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Dargis On The Pungent Subtlety Of Captain Phillips

Dargis On The Pungent Subtlety Of Captain Phillips

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Julian Assange’s Letter To Benedict Cumberbatch

Julian Assange‘s Letter To Benedict Cumberbatch

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22 Weeks To Oscar: How It’s Looking… OR And Then There Were Five

There are pieces to the puzzle we have pieces that have yet to appear, and mostly, pieces that we have in our hands, but whose fit it is really impossible to know at this time. What will Gravity and Captain Phillips gross? Will The Fifth Estate stir debate or will everyone be too distracted by the government shutdown? Will Ridley Scott’s The Counselor present as an awards movie to everyone’s shock?

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A. O. Scott On Race In This Year’s Movies

“The habit of referring to it as “race” reflects a tendency toward euphemism and abstraction.” A. O. Scott On Race In This Year’s Movies

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Awards Update

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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