• How did you know you were in love? Enter a “How Do You Know” contest to win a San Francisco trip with your story. [Yahoo!]
• John Lopez talks “Harry Potter and the Deathly Hallows: Part 1” with producer David Heyman. [Little Gold Men]
• Ryan Reynolds is crowned 2010’s sexiest man alive. [People]
Cue the annual outcry over what titles didn’t make it — judging from the Twitter reaction, this year’s most-mourned snubee is the Chinese critical darling “Last Train Home.” (I’d join the pitchfork-wielders, but I haven’t had an opportunity to see the film yet.) More surprising, however, is the omission of such widely fancied contenders as “The Oath” and “A Film Unfinished” — yes, folks, hell is experiencing a cold snap and the Academy snubbed a Holocaust documentary.
Beyond that, hoewever, most of the perceived frontrunners are present, including “Inside Job,” “Waiting for Superman,” “Restrepo,” “Client 9: The Rise and Fall of Eliot Spitzer” and “Waste Land.” Joining them on the list, I’m happy to say, is “Exit Through the Gift Shop,” which I suspected would fall foul of the Academy’s usual resistance to crowdpleasing pop-culture docs. (The likes of “Catfish” and “Joan Rivers: A Piece of Work” took that bullet instead, unfortunately.)
At this stage, I’m afraid I’ve seen only a third of the shortlist — from which Banksy’s shape-shifting, satirical art study is comfortably my favourite. (Come on, Academy: aren’t you a little curious to see who will show up if you nominate him?) “Inside Job,” however, plainly remains the film to beat. Full list after the cut.
If nothing else, this John H. Richardson Esquire interview with Christian Bale paints a definitive portrait of a man — or at least the portrait he wants you to see. You might think he comes off as an asshole, you might appreciate the directness and honesty about his craft and perspective on the film industry’s day-to-day circus, but whatever side you take, you can’t deny that a unique persona is revealed, which can be seen as a breath of fresh air in the overly “produced” spread of awards season.
I’m reminded slightly of Mo’Nique’s consistent “it’s not about the politics” stance of last season. But Bale is a guy I think I’d relish interviewing, if only BECAUSE he’s so challenging in an interview setting. Any journalist looking for quick sound bytes would be at the mercy of unexpected and unwanted ridicule in the way the actor takes to disassembling the process. I found it utterly compelling and delightful, though, as I think we all understand the level of B.S. shoveled in this realm, despite this or that passion that keeps the fire lit.
Well, we all knew Harvey Weinstein wasn’t going to take that head-scratching (and commercially damaging) ‘NC-17’ rating for “Blue Valentine” lying down. (While still generating maximum publicity from the unfortunate situation, natch.) The Weinstein Company today announced that it has gathered “a formidable legal team” to challenge the MPAA’s decision — and while they’re about it, they’re contesting that ‘R’ rating for “The King’s Speech” too.
And Weinstein’s lawyers mean business: Bert Fields, the attorney overseeing the “Valentine” appeal, goes so far as to say the extreme age restriction “violates [the company’s] right to freedom of speech under the state and US constitution.” Alongside the legal speak, the press release issued today by TWC also includes this heartfelt, well-reasoned plea from star Michelle Williams:
The MPAA’s decision on Blue Valentine unmasks a taboo in our culture, that an honest portrayal of a relationship is more threatening than a sensationalized one… Mainstream films often depict sex and violence in a manner that is disturbing and very far from reality. Yet, the MPAA regularly awards these films with a more audience friendly rating, enabling our culture’s desensitization to violence, rape, torture and brutality. Our film does not depict any of these attributes. It’s simply a candid look at the difficulties couples face in sustaining their relationships over time. Blue Valentine opens a door for couples to have a dialogue about the everyday realities of many relationships. This film was made in the spirit of love, honesty and intimacy. I hope that the MPAA will hear our pleas and reconsider their decision.
Last week we discussed how a movie’s soundtrack can be immeasurably improved by music. This week, we turn to the sound technicians. While next week will concentrate on sound mixing (the overall mix of effects, recorded sounds, dialogue and music), this week we look at sound editing, the creation of artificial sound effects to enhance a film’s aural impact.
Despite the difference between the two sound categories, the fact remains that usually no more than one or two of the nominees in the Best Sound Editing field are generally snubbed for mixing. And as always, Best Picture contenders do well, suggesting that the branch isn’t the most novel when seeking out nominees.
However, the category has shown a tendency to reward films that do not necessarily score in the major categories; blockbusters, fantasy films and animated films usually do very well here, likely because of the fact that so many sounds in these movies have to be manifested. So let’s start with animated titles.
The press release:
The Palm Springs International Awards Gala and Film Festival has issued a reward of $100,000 for information leading to the arrest and conviction of the person responsible for the murder of Ronni Chasen, who was shot and killed in the early hours on Tuesday, November 16, 2010.
Festival Chairman Harold Matzner issued a statement today regarding her death: “Famed Hollywood publicist, Ronni Chasen, has been my partner in selecting all honorees and presenters for the Palm Springs International Film Festival Awards Gala for the past 10 years. Ronni handled all negotiations with the studios and she and her team made all of the arrangements to bring the celebrity honorees to Palm Springs for the event. The honorees were Ronni’s responsibility until they arrived in Palm Springs. The Awards Gala has the amazing record of having every single honoree appear on stage for the past nine year. A very good lady, a good friend…and a genius at her craft…Her death is very, very sad and mystifying…. Ronni has played the most important part in the Awards Gala’s success. She will be very missed by all in the Festival family…and by me especially ….!”
If you have any information about the death of Ronni Chasen please contact Beverly Hills Police Department Tip Line at (310) 288-2656.
A few weeks back, we debuted the official teaser poster for the Coen brothers’ “True Grit.” Today, IMDb has dibs on a batch of character banners, including the film’s international poster. We’re expecting to finally see the film some time after thanksgiving, so two, three weeks tops. Unfortunately for the film, anticipation is at a fever pitch. Check out the full image after the jump.
• Jennifer Boulden writes a singular piece on Fort Smith, Arkansas, her home and the setting of “True Grit.” [Awards Daily]
• Jeffrey M. Anderson stumps for “Buried” over “127 Hours.” [Cinematical]
• The HFPA gets grabby over a revenue dispute with Dick Clark Productions, vis a vis the Golden Globe awards telecast. [Entertainment Weekly]
You know what to do. PLEASE KEEP IT TO JUST ONE QUESTION, and avoid asking the same thing others have posed in previous weeks. We don’t always get to everything, but let’s keep it fluid, progressive. Give us something to think about. Go!
When it comes to Oscar campaigning, sex can be something of a double-edged sword. We all know that the Academy has often responded well to attractive young actresses baring flesh for their art: Kate Winslet was the most recent beneficiary, but Halle Berry, Charlize Theron, Holly Hunter and Jane Fonda are among the other actresses who spun open onscreen sexuality into Oscar gold.
That said, while raw sex scenes don’t necessarily offend the Academy’s delicate sensibilities, voters can nonetheless shy away from performances that delight in their own kinkiness: recent snubs for the likes of Naomi Watts in “Mulholland Drive” and Maggie Gyllenhaal in “Secretary” suggest that Oscar favors solemnly tasteful kitchen-sink eroticism over more heightened depictions of sexual pleasure. (After all, it wasn’t Diane Lane’s hot love scenes that earned her that unlikely Best Actress nod for “Unfaithful”; it was that guilt-ridden reaction shot on the train ride home.)
Yes, another trailer. I’ve been champing at the bit for “Cowboys & Aliens” since Jon Favreau decided to spring some sweet footage on the crowd at Comic-Con. The teaser poster hit yesterday, and today, we get a trailer (which is largely built around the set piece we saw in San Diego). Check it out via Yahoo! Movies by clicking the image below or watch an embed after the jump.
Pete Hammond got the expected quotes from Disney chairman Rich Ross (in the midst of revealing a very intriguing campaign strategy), but it’s all pretty much the rhetoric we would expect, and stems from the same philosophy on “Toy Story 3” potentially winning the Oscar for Best Picture that you’ve seen here and elsewhere.
The key quote:
The theory is pretty simple for us…It’s thrilling that there is a separate category for animation and that allows animated movies to be recognized but for some reason an animated film has never gotten Best Picture and I always wondered was there not an appetite? We decided this year we have the biggest and best reviewed film of the year. If not this year, and not this movie, when?
The bold is mine. And that, in a nutshell, says it. “What better way to celebrate [Pixar’s] track record than to give cinema’s highest honor to what looks to be the closing installment of the series that started it all,” I asked back in June. It still feels like a valid argument. More on that intriguing campaign strategy after the jump.
Ugh, when is this checkered thing going to go away in movie posters? Can we get someone on the case, find out whether this idea is really all that more impactful (to steal an invented marketing phrase) than something that might actually catch my eye at the theater? Isn’t the bad poster gambit getting completely out of hand? Ah well, check out the “How Do You Know” trailer here and the full poster after the jump.
Hm. Something is bothering me about the trailer for “Green Lantern.” I liked the footage — however brief — at Comic-Con, but, well…the mask stinks. It just does. I like the idea of the suit being fully CG and always have but that damn mask. And there’s something Wishmaster-esque about Abin Sur’s makeup. Hey, I’ll be front row, center. But something’s nagging at me. Check out the trailer via Apple by clicking the image below or watch an embed after the jump.
Holiday parties sure are getting earlier, as the team at Summit Entertainment held theirs last night at BOA Steakhouse on Sunset. The event was held to toast the efforts of cast and crew on the studio’s 2010 films — “Fair Game,” “The Ghost Writer,” “Red” and “The Twilight Saga: Eclipse.”
I ended up chatting with Olivia Williams early in the evening about her experience on Roman Polanski’s film, which she clearly coveted. She noted with candor how positive reinforcement isn’t exactly part of the process, not in any bad way, but just that hearing a “hey, nice job” isn’t the norm on a Polanski set, something she wasn’t expecting. But she relished the experience and her handlers certainly think seeing her vibrant sense of humor on the circuit could make people realize how wonderful she is as a cold character in the film.
Meanwhile, Jerry Zucker was there with his family as producer of “Fair Game.” While there was plenty to talk about regarding that political thriller, how do you engage in conversation with the guy who made “Airplane!” and “The Naked Gun” without going there? We talked potential torch-bearers of the form today, and he made it a point of mentioning how right “The Hangover” got it, that it was a comedy constantly surprising you, and that is key. He’s currently working on a send-up of Broadway musicals tentatively titled “You Are Here,” which should be a hoot.
Christopher Nolan keeps racking up the kudos along the circuit. Here’s the latest, from the press release, in part:
The Visual Effects Society will honor Academy Award® nominated filmmaker Christopher Nolan with the inaugural VES Visionary Award at the 9th Annual VES Awards on Friday, January 28, 2011 at the Hyatt Regency Century Plaza Hotel in Los Angeles , CA . The award is designed to honor an individual who has uniquely and consistently employed the art and science of visual effects to foster imagination and ignite future discoveries by way of artistry, invention and groundbreaking work.
“Christopher Nolan has been at the forefront in using vfx to help tell complex and astonishing stories that change the way we think about the world around us,” said Jeffrey A. Okun, Chair of the Visual Effects Awards Committee. “His body of work inspires and he continues to push the envelope both technically and in storytelling. Given the amazing work he’s already created in such a short span of time, he is absolutely the best person to receive our inaugural Visionary Award.”
[Photo: Warner Bros. Pictures]
• Guest blogging for Nathaniel Rogers, Michael C. writes up the apparent death of “Oscar bait” as it pertains to Best Picture winners. [The Film Experience]
• Steve Pond chats with “The Kids Are All Right” writer/director Lisa Cholodenko. [The Odds]
• James Cameron discusses his inspiration for “Avatar” (it won’t go away) in an extended collector’s edition clip. [MTV Movies Blog]