Quoted Archive for February, 2008

ACHIEVEMENT IN MUSIC WRITTEN FOR MOTION PICTURES (ORIGINAL SONG)

Glen Hansard:
Thanks! This is amazing. What are we doing here? This is mad. We made this film two years ago. We shot on two Handycams. It took us three weeks to make. We made it for a hundred grand. We never thought we would come into a room like this and be in front of you people. It’s been an amazing thing. Thanks for taking this film seriously, all of you. It means a lot to us. Thanks to the Academy, thanks to all the people who’ve helped us, they know who they are, we don’t need to say them. This is amazing. Make art. Make art. Thanks.
Marketa Irglova:
Hi everyone. I just want to thank you so much. This is such a big deal, not only for us, but for all other independent musicians and artists that spend most of their time struggling, and this, the fact that we’re standing here tonight, the fact that we’re able to hold this, it’s just to prove no matter how far out your dreams are, it’s possible. And, you know, fair play to those who dare to dream and don’t give up. And this song was written from a perspective of hope, and hope at the end of the day connects us all, no matter how different we are. And so thank you so much, who helped us along way. Thank you.
– Glen Hansard and Marketa Irglova on receiving the Oscar for “Falling Slowly”

ADAPTED SCREENPLAY

Joel Coen:
Thank you very much for this. Thank you, Scott Rudin for bringing us this novel and giving us the opportunity to make the movie. I think whatever success we’ve had in this area has been entirely attributable to how selective we are. We’ve only adapted Homer and Cormac McCarthy, so thank you.
Ethan Coen:
We, uh and thank you very much.
– Joel Coen and Ethan Coen on receiving the Oscar for “No Country for Old Men”

PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE

Oh, no. Happy birthday, man. I have an American agent who is the spitting image of this. Really truly the same shape head and, it has to be said, the buttocks.
And I’m giving this to him because there’s no way I would be in America at all ever on a plane, if it wasn’t for him. So, Brian Swardstrom, I’m giving this to you. And Tony Gilroy walks on water, it’s entirely official as far as I’m concerned, and Jen Fox and Steve Samuels, our incredible producers.
And Sydney Pollack, and George Clooney, you know, the seriousness and the dedication to your art, seeing you climb into that rubber bat suit from “Batman & Robin,” the one with the nipples, every morning under your costume, on the set, off the set, hanging upside-down at lunch, you rock, man.
– Tilda Swinton on receiving the Oscar for “Michael Clayton”

ACHIEVEMENT IN SOUND MIXING

Scott Millan:
Would it be all right to kiss Halle Berry now? We’d like to thank the Academy, certainly, Per and Karen, just thank you, principally everybody, Frank Marshall, Pat Crowley. Our director, Paul Greengrass. Chris Rouse, our picture editor. Everybody at Universal, Per and Karen, of course. Everybody at Todd AO, our team there.
And I’d like to add one thing, kind of a somber note, this last week we lost a colleague and a friend, who was also a member of the Board of Governors here at the Academy, his name is Paul Huntsman. I would like to dedicate this to Paul. So, thank you very much.
David Parker:
Thanks to everyone who worked on sound for the film and thanks to the Academy. Thank you very much.
– Scott Millan, David Parker and Kirk Francis on receiving the Oscar for “The Bourne Ultimatum”

ACHIEVEMENT IN SOUND EDITING

Karen Baker Landers:
Oh my God, I went blank. It’s such an honor to be here. I want to thank, we want to thank the Academy. We want to thank Universal Studios.
Per Hallberg:
And the pleasure of doing something like this with filmmakers like Paul, and I’m blanking out, too.
Karen Baker Landers:
Frank Marshall
Per Hallberg:
Pat Crowley
Karen Baker Landers:
Pat Crowley
Per Hallberg:
Chris Rouse
Karen Baker Landers:
Chris Rouse. Paul Greengrass.
Per Hallberg:
You said that already.
Karen Baker Landers:
Mixers. Scott Millan, David Parker. We planned this and we blew it.
Per Hallberg:
And, anyway, most of all, we want to thank the crew that works with us every day.
Karen Baker Landers:
Yes, gosh, Chris Assells, Dan Hegeman, I know, I know, music. Thank you so much.
Per Hallberg:
Thank you, thank you.
– Karen Baker Landers and Per Hallberg on receiving the Oscar for “The Bourne Ultimatum”

PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE

Wow. Alright, this is very amazing. It’s a great honor for me to have this. I want to & I have to speak fast here, man.
Thank you to the Coens for being crazy enough to think that I could do that and put one of the most horrible haircuts in history over my head.
Thank you for really proving my work. I want to share this with the cast, with the great Tommy Lee Jones, with the great Josh Brolin, with the great Kelly MacDonald. And I want to dedicate this to my mother, and I have to say this in Spanish, and I’m sorry…
[Speaking in Spanish]
Thank you very much!
– Javier Bardem on receiving the Oscar for “No Country for Old Men”

BEST LIVE ACTION SHORT FILM

Thank you, thank you very much. I don’t really speak English. I’m very bad student. I can say I’m very happy and I want to thank my producer Fabrice Goldstein and Antoine Rein and my wife Gaby and my son Sebastien. And merci beaucoups& [speaking French] &Merci au revoir.
– Phillippe Pollet-Villard on receiving the Oscar for “The Mozart of Pickpockets”

CATEGORY: ACHIEVEMENT IN ART DIRECTION

Dante Ferretti:
Thank you to the Academy. And thank you to Tim Burton, fantastic director. Thank you to Richard Zanuck. Thank you to everybody, thank you to my team, all the department, everyone. Thank you, Johnny. And I’m sorry, i forgot something, but I’m very — thank you anyway.
Francesca Lo Schiavo:
Just i would like to say, this time, thank you, thank you to the Academy. I’m so happy, so grateful. And thank you to Tim Burton. Great director. Johnny Depp and all the actors, Everybody, for this fantastic movie.
– Dante Ferretti and Francesca Lo Schiavo on receiving the Oscar for “Sweeney Todd: The Demon Barber of Fleet Street”

BEST ANIMATED SHORT FILM

Suzie Templeton:
This is for everyone. This for our fantastic crew and this for everybody who worked so passionately on our film to make our dream come true.
Hugh Welchman:
Yeah, no this really is a fairy tale ending for us, but hopefully it’s only the beginning for Peter and this amazing award, and it will help keep Prokofiev’s “Peter and the Wolf” in the hearts and minds of children all over the world. So, the Academy, thank you so much. it’s been amazing.
– Suzie Templeton and Hugh Welchman on receiving the Oscar for “Peter and the Wolf”

BEST ANIMATED FEATURE FILM OF THE YEAR

I think I’m gonna throw up, too. I want to thank the Academy and I also want to thank my junior high guidance counselor for a meeting we had where he asked me, “What do you want to do with your life?” And I said, “I want to make movies.” And he said, “What else do you want to do with your life?” And I said, “Make movies,” and he said, “What if you couldn’t make movies,” and I said, “I’d find a way that I could.”
“What if movies didn’t exist?”
“I’d have to invent them.” And it went on like this until we were sick of each other and i only realized just recently that he gave me the perfect training for the movie business.
So, I want to thank my wife Liz, who I love, my sons, all the dreamers at Pixar and Disney, John Lasseter, Steve Jobs, Ed Catmull. Wrap it up. I hate that thing. Producer Brad Lewis, Jan Pinkava, and Dick Cook, and all the dreamers who are supporting a rat who dreams. Thanks.
– Brad Bird on receiving the Oscar for Ratatouille

ACHIEVEMENT IN MAKEUP

Didier Lavergne:
Thank you very much. Thank you to the Academy and what can I say? I’m really happy and proud to be here with you. Bye.
Jan Archibald:
Thank you to the academy for this huge honor. I’m overwhelmed. It’s just amazing. I have a lot of people to thank. My assistants, particularly, my Czech crew that worked with us in Prague and in Paris, they were amazing. They worked very hard and I owe a lot to them. And just, it’s so exciting to be here. I don’t know what to say. Thank you.
– Didier Lavergne and Jan Archibald on receiving the Oscar for La Vie en Rose

ACHIEVEMENT IN VISUAL EFFECTS

Michael Fink:
We just want to say “Thank you!” We just brought a small quote from Walt Disney, who said “It’s kind of fun to do the impossible.”
And along with that, I want to extend some thanks to Phil Pullman, Chris Weitz, Susan MacLeod, our producers, our incredible crew from all over the world. And to especially to our families and to my wife, Melissa, my handsome son Alex.
Bill Westenhofer:
And to my family, Rhythm & Hues, Sue Rose out there watching this, Thank you.
Ben Morris:
Thank you to my family and my wonderful crew at Framestore CFC. Trevor Wood:
A great crew and a great family. Thank you very much indeed.
Ben Morris:
Thank you!
– Michael Fink, Bill Westenhofer, Ben Morris and Trevor Wood on receiving the Oscar for The Golden Compass

ACHIEVEMENT IN COSTUME DESIGN

“Wow. Thank you to the Academy. Thank you to Working Title and Universal. To Shekhar and Cate. And a huge thank you to my brilliant team and to my family.”
– Alexandra Bryne, on receiving the Oscar for Elizabeth: The Golden Age

Red carpet awe ..

“I never even thought I’d say an Italian name, let alone wear a dress by an Italian designer”
– 13 year old Saoirse Ronan

Blogging the good times

“Holy crap?!? Is that Gary Busey giving Jennifer Garner a hickey?!? Garner’s reaction to Seacrest is priceless. “You’re not going to ask me about getting kissed on the neck on the red carpet by this man?” Please please PLEASE show us the video footage when Busey gets tasered.”
Peter Hartlaub’s Red Carpet Blog, who “Like most straight males, I love love love the red carpet shows that precede the Academy Awards.”

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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