Roundup: Piecing together the fragments of 'Her'

Posted by · 4:21 am · January 2nd, 2014

One of the year’s most complex achievements in film editing, I think, is one likely to go unrecognized at Oscar time: Eric Zumbrunnen’s meticulous cutting of “Her,” which goes a long way toward creating a convincing character and a relationship — more or less literally — out of thin air. In the last part of the LA Times’s excellent “Five Days of ‘Her'” series, Zumbrunnen discusses the challenges the film posed, notably┬áthe tricky process of replacing a key performance in post-production, as well as the decision over whether or not to feature a physical representation of Scarlett Johansson’s Samantha on screen. Fascinating stuff. [LA Times]

Conor Oberst tried out for the title role in “Inside Llewyn Davis,” apparently. [The Guardian]

David S. Cohen argues against the notion that “The Wolf of Wall Street” glorifies criminals. [Variety]

Joe Reid, meanwhile, argues that the film condemns and celebrates them, and wonders if the film’s critical defenders are a bit too aggressive. [The Wire]

Melena Ryzik profiles two Oscar-shortlisted documentaries banned in their home countries: “The Square” and “Pussy Riot: A Punk Prayer.” [New York Times]

Wesley Morris joins the increasingly large anti-“Saving Mr. Banks” contingent, railing against the film’s “appalling chill.” [Grantland]

“Banks” screenwriter Kelly Marcel, meanwhile, describes the scene in the film that she found toughest to write. [Vulture]

R. Kurt Osenlund on the bright Oscar prospects of “American Hustle,” which he describes as the highlight of a year “replete with great trash.” [Slant]

Andy Hoglund on why 2013 was secretly the year of Spike Jonze. [The Film Experience]

I suppose this is an honor of sorts: the first “Hobbit” film was last year’s most-pirated title. But who knew that many people were keen to see “Gangster Squad?” [Screen Daily]

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