In Contention

Tag: ASC

  • WEEKLY WRAP: BAFTA ‘Speech’ sweep, ASC upset, Berlinale coverage

    • To the surprise of precisely no one, hometown favorite “The King’s Speech” reigned supreme at the BAFTAs.

    • Before you go basing your Oscar predictions on the BAFTA outcome, Kris pointed out a crucial caveat.

    • “Inception” added another guild award to its mantel, as Wally Pfister beat Roger Deakins to the American Society of Cinematographers’ top prize.

    • Guy hobbled off to the Berlinale, where his festival coverage included an early 2011 Oscar prediction for Vanessa Redgrave in Ralph Fiennes’s “Coriolanus.”

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  • Pfister takes the ASC award for ‘Inception’

    I’ve been on the road most of the day, but happy news for Wally Pfister, who won the ASC award for “Inception.” I wouldn’t look to the Society for much in the way of prognostication.  They’ve already seized the opportunity to award Roger Deakins, after all — twice.  And had I thought about it, I likely would have predicted Pfister here, given the group’s history.  But I don’t want to take anything away from this win, which is well-deserved when considering the work this guy has been knocking out of the park for a decade now.

    I still say “True Grit” takes the Oscar, with “The King’s Speech” still as the spoiler.

    Which reminds me: Don’t forget.

  • THE LONG SHOT: Jawellnofine

    (Updated Oscar predictions here.)

    It’s six years this month since I left Johannesburg for the sodden streets of London, so it could just be that I’m in a commemorative mood, but the endlessly useful South African idiom “jawellnofine” (mostly redundant translation: “yes… well… no… fine”) has been on my mind rather a lot this week. It’s a versatile Frankenstein term that, like a more finely calibrated “whatever,” can express everything from dispassionate approval to passive-aggressive indifference to reluctant acceptance — or any combination of these at once.

    How am I currently feeling about the Oscar season, you ask? Jawellnofine.

    It’d be churlish for me to complain too vigorously about the current state of the race. After all, five of the films currently sitting in the “most likely” pile for a Best Picture nomination — “The Fighter,” “Black Swan,” “The Kids Are All Right,” “The Town” and “Winter’s Bone” — placed in my own Best of 2010 list last week: hardly an unhappy stat, even if my and the Academy’s respective Top Tens will have only a 20% overlap.

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  • ‘King’s Speech,’ ‘Social Network’ among ASC nominees

    Well, I was expecting this to drop tomorrow, but the ASC nominees have been announced (catch them at The Circuit), and there are a couple of surprises.

    Okay, well, Jeff Cronenweth getting in for “The Social Network” isn’t a complete surprise, as I mentioned this morning we should watch out for him here.  But Danny Cohen making the cut for “The King’s Speech,” despite the fact that the film has an intriguing visual quality, is a bit unexpected.

    The rest is as we would have thought, though Robert Richardson missing is less of a shock than Enrique Chediak and Anthony Dod Mantle getting the shaft.  I think Cohen gets bumped in favor of something else, though.

    Though maybe Cronenweth is in a precarious position, seeing as the ASC is quicker to nominate digital work than the Academy.  The rest, I should think, are solid.

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  • Predict the ASC nominees

    Now that the DGA has spoken, something to pass the time.  Tomorrow the crafts guilds continue to roll out the season as the American Society of Cinematographers (ASC) offers its picks for the best work behind the camera in 2010.  This is perhaps my favorite of the below-the-line categories, so I thought I’d offer up a lengthy preview.

    The Society is usually good for 80% when it comes to Academy crossover with its nominees. Sometimes you get a 5/5, sometimes a 3/5, but generally it’s 4/5. The trick is figuring out what the oddball selection will be. But let’s see what’s looking good for a nod, first.

    Leading the way this time around, like most years, would have to be Roger Deakins. His work on “True Grit” will likely win him an Oscar and the road there could very well begin with a win from the Society. He seems to be papa bear these days. Chalk it up.

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  • Lifetime Achievement Awards for Deakins and Freeman

    A pair to report.  First up, Morgan Freeman gets the AFI tribute treatment this year.  I wonder if we’ll get some quality discussion of his work with David Fincher on “Se7en.” The press release, in part:

    Morgan Freeman has been selected by the  American Film Institute’s (AFI) Board of Trustees to receive the 39th AFI Life Achievement Award, the highest honor for a career in film, it was announced today by Sir Howard Stringer, Chair of the AFI Board of Trustees. The award will be presented to Freeman at a gala tribute on Thursday, June 9, 2011 in Los Angeles, CA.  TV Land will broadcast the 39th AFI Life Achievement Award tribute on TV Land PRIME later in June 2011.

    “Morgan Freeman is an American treasure,” said Stringer.  “Across decades, whether playing a prisoner, a president or God, he embodies a calm authority that demands respect for the character and for the art form.  His gifts to the cultural record are also underscored by his   unmistakable voice that echoes through the hearts and minds of movie lovers around the world.  AFI is proud to present him with its 39th Life Achievement Award.”

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  • ‘The White Ribbon’ wins the ASC award

    The White Ribbon

  • 2/23 Oscarweb Round-up

    Jeremy Renner• Peter Knegt chats with Best Actor nominee Jeremy Renner. [indieWIRE]

    • Oscar party kits, anyone? With bingo! [Oscars.org]

    • “The Messenger” writers and Oscar nominees Oren Moverman and Alessandro Camon on their process. [MTV Movies Blog]

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  • WEEKLY WRAP: BFCA awards, Guilds triple, Rohmer passes

    A still from Claire's Knee by Eric Rohmer• As you’ve just heard, “The Hurt Locker” emerged triumphant at the BFCA Critics’ Choice Awards.

    • Earlier this week, Éric Rohmer, sly giant of New Wave intellectualism, passed away at the age of 89.

    • That same day, “Avatar,” “The Hangover” and “Star Trek” were among the films nominated by the WGA.

    • The ASC slate continued the love for “Avatar,” but a semi-surprise nod for “The White Ribbon” got pundits’ attention.

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  • OSCAR TALK: Ep. 18 — WGA, ACE, ASC, parties, awards shows on the way…uh, we forget anything?

    Oscar TalkWelcome to Oscar Talk, a weekly kudocast between yours truly and Anne Thompson of Thompson on Hollywood.

    After a busy week of guild announcements and circuit parties, not to mention plenty of industry news from NBC to Disney and anything in between, Anne and I are beat. And we’re moving into a busy weekend of awards shows and gatherings as well, so there’s no rest for the wicked. That having been said, let’s dive in to today’s topics:

    • The Writers Guild of America announced its slate of contenders Monday, following a rash of ineligibilities that were revealed last week. We discuss the implications, if any.

    • The WGA wasn’t the only guild staking a claim this week. The American Cinema Editors and the American Society of Cinematographers also nominated. We touch on them briefly.

    • We’ve been bouncing all over town this week as studios put their best foot forward on the party and event circuit. We touch on a pair of them celebrating the sound of “Transformers: Revenge of the Fallen” and the principals of Warner’s “The Blind Side.”

    • The Critics’ Choice Movie Awards are tonight, followed by the Golden Globes on Sunday. Oh yeah, and some parties, too. We preview the busy weekend ahead and discuss the three-horse race for Best Picture.

    You can listen to this week’s podcast below, with Patterson’s Hood’s original song “Depression Era” leading the way. It goes a bit long but we had lots to discuss. As always, you can subscribe to Oscar Talk via iTunes here.

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    Subscribe to Oscar Talk

  • ASC nominees

    The White Ribbon“Avatar” continues its guild steamroll with a mention from the ASC today, a mention I frankly didn’t think the film would get.  Then again, the guild is typically kind to digital photography where AMPAS is not (examples are “Collateral” and “Apocalypto”), so I wouldn’t say it’s a slam dunk in this category for Oscar.  Then again, maybe I’m blind to the writing on the wall here.  And “The Curious Case of Benjamin Button” may have gone a long way toward dispelling digital bias in the Academy.

    I don’t get the love for Christian Berger.  I haven’t since day one.  There is nothing appealing to me about the way Michael Haneke visually captures his films.  There’s rarely anything appealing to me about his films period, truth be told.  But somehow going with black and white and employing his usual brand of tracking shots, long takes, etc., rarely with compelling composition (all my opinion, of course), it has managed to bring Berger laurel after laurel.  Critics awards are one thing, but an organization like the ASC, which I trust and respect, I don’t know.  Maybe I just missed the boat completely.

    “Nine” finally gets a guild mention and Robert Richardson, as always, is an ASC favorite once more.

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  • ASC on the way

    Daniel Day-Lewis in NineAlong with the WGA, the American Society of Cinematographers will also be announcing nominees Monday.  Guesses as to which way they’ll go?

    I’d say the safest bet is Robert Richardson and his work on “Inglourious Basterds.” He often gets his due from the guild (eight nominations) even when he doesn’t from the Academy (five nominations).

    After that, it’s likely Barry Ackroyd, the most lauded of the season’s lensers in the critics awards circuit, will be chalked up for “The Hurt Locker.” But I think I have to come clean on something here.

    Due respect to Mr. Ackroyd, who is a considerable talent, his work on the film totally took me out of the narrative.  The slavish devotion to dizzying handheld work lacked the focus of the characters being depicted while attempting to somehow simulate the tension of their profession, and that, I think, was a misstep.

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  • Caleb Deschanel to be feted by ASC

    Caleb DeschanelThe American Society of Cinematographers has announced that veteran lenser Caleb Deschanel will receive the guild’s Lifetime Achievement Award this year. Recent recipients have included Jack N. Green, Stephen H. Burum and Allen Daviau.

    Deschanel won the ASC award for Best Cinematography in 2000 for his work on Roland Emmerich’s “The Patriot.” He has been nominated for the Oscar five times, stretching back to 1983’s “The Right Stuff.” His most recent nod came for Mel Gibson’s “The Passion of the Christ,” but he has yet to win a statuette from the Academy.

    Most recently Deschanel worked on Nick Cassavetes’s “My Sister’s Keeper.”

    “Caleb Deschanel is an extraordinarily talented cinematographer who has played an influential role in cinema history, and driven artistic excellence in contemporary filmmaking,” ASC President Michael Goi says in the press release. “For him to receive this honor while still at the top of his field shows the profound influence and respect he has among his peers. His innovative cinematography is inspiring. We look forward to seeing what is yet to come in his work.”

  • OFF THE CARPET: From the horse’s mouth

    Kate Winslet at the 66th Annual Golden Globe AwardsThe last two weeks have been a leaf blower to the debris an awards season can accumulate.  Individuals with some real say in the ultimate Oscar picture have finally gone on the record, painting a rather clear picture of the industry’s favorite films of 2008.

    But before diving into the realities of the various guild announcements, it is probably worth touching upon the gleeful diversions of the Critics’ Choice Awards and the Hollywood Foreign Press Association’s Golden Globe Awards.

    These are the two culminating critics soirees, capping off the annual critical kudos sprint through December and early January.  Both proudly declare themselves Oscar harbingers but only one seems to find itself decided from a critical mindset (even if that mindset is still warped by pegging a zeitgeist).  The other is, as always, a drunken time amongst industry friends that goes its own way.

    But dare I say it, this year the HFPA may have actually raised the bar for the Academy.  After years of embarrassing nominations announcements and sometimes bewildering winner choices, the group awarded a slate of contenders last night that stuck out as noble and, shockingly, novel.

    Can the Academy’s membership reach out to Mickey Rourke and meet him half way like he has clearly done this season to an industry that has shunned him for so many years?  Can they find a way to spread the kudos love while an inevitable “Slumdog” sweep pushes through the evening of February 22?

    Moreover, can AMPAS have the balls to follow in the HFPA’s footsteps with a double win for Kate Winslet, arguably deserving this year and a move that would be inarguable as a hell of an apology for years of Oscar losses?  The actress joined Sigourney Weaver last night as one of only two actresses to win a pair of Golden Globe awards for film performances in one evening.  Your move, Oscar.

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  • ASC nominees

    Ralph Fiennes in The ReaderThe American Society of Cinematographers have announced their annual list of nominees, which are:

    “The Curious Case of Benjamin Button” (Claudio Miranda)
    “The Dark Knight” (Wally Pfister)
    “The Reader” (Roger Deakins and Chris Menges)
    “Revolutionary Road” (Roger Deakins)
    “Slumdog Millionaire” (Anthony Dod Mantle)

    I’m pleasantly surprised by the “Reader” inclusion.  Though I didn’t care for the film, one of the first things I noted was the sublime photography.  This could carry over to Oscar, but I must say I’m somewhat surprised Eduardo Serra’s beautiful work in “Defiance” was excluded.  Harris Savides, meanwhile, continues to come up short with his peers despite being the best in the game (and many of his peers would say the same thing, which makes it all the more baffling).  And the “Australia” snub is hardly surprising since Mandy Walker’s work never reached the level many anticipated.

    But all this brings me to a question I’ve had racing through my head for some time now: could Claudio Miranda be the one of this lot snubbed of an Oscar nod?  The Academy has shown a bias against digital photography where the guild hasn’t.  “Apocalypto” and “Collateral,” you’ll recall, failed to translate their ASC nomiantions into AMPAS love, so it’s certainly something to consider.

    WGA on the way…