In Contention

Tag: Coen Bros.

  • OSCAR GUIDE: Best Directing

    Coming down to the wire, the race for Best Directing remains a very close one. Earlier in the year the prevailing wisdom was that a split could be in the cards, with the Oscar-bait frontrunner more likely to win Best Picture and the zeitgeisty competition likely to see its talented helmer finally noticed.

    Then things changed a bit, with the zeitgeisty choice pulling ahead as a Best Picture possibility, which left supporters feeling even more strongly that its director would find himself in the winner’s circle. At the end of the season, we’re back to that original thought process in some quarters, while in others, the anticipation of Oscar bait going hand-in-hand is taking hold.

    The nominees are:

    “Black Swan” (Darren Aronofsky)
    “The Fighter” (David O. Russell)
    “The King’s Speech” (Tom Hooper)
    “The Social Network” (David Fincher)
    “True Grit” (Ethan Coen, Joel Coen)

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  • OSCAR GUIDE: Best Writing (Adapted Screenplay)

    This year’s race for Best Adapted Screenplay has seemingly been the most predictable of the year. One script has dominated the precursor circuit and the name behind that script is as worthy as ever given his contributions to the medium over the years.

    I’m not particularly a fan of this slate. One script is an interesting experiment that doesn’t fully land as a piece of screenwriting, another is a near word-for-word adaptation of a novel (which is fine, but credit where it’s due) and another, frankly, made for the most overrated film of the year. But the two that seem to be duking it out for the win are worthy and deserve to be here, in my opinion, so I have little room to complain.

    The nominees are:

    “127 Hours” (Screenplay by Danny Boyle & Simon Beaufoy)
    “The Social Network” (Screenplay by Aaron Sorkin)
    “Toy Story 3” (Screenplay by Michael Arndt; Story by John Lasseter, Andrew Stanton and Lee Unkrich)
    “True Grit” (Written for the screen by Joel Coen & Ethan Coen)
    “Winter’s Bone” (Adapted for the screen by Debra Granik & Anne Rosellini)

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  • 1/28 OSCARWEB ROUND-UP: Puig hearts Bardem, eclectic slate of tune nominees, Bettany’s ‘Speech’ regret

    • Claudia Puig writes a love letter to “Biutiful” star (and Best Actor nominee) Javier Bardem. [USA Today]

    • Geoff Boucher and Rebecca Keegan note the eclectic flair of this year’s Best Original Score nominees. (More on those later). [The Envelope]

    • The Coen brothers: the cartographers of cinema. [The Guardian]

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  • 25+ years, 15 films, 50 actors, 96 characters

    Over at HelloMuller (via /Film), UK graphic artist Tom Muller has put together an info graphic detailing the Coen brothers’ acting stable over the years.  A diversion, but fun.  Check out the ful image after the jump.

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  • The Coens’ ‘True Grit’ a “truly religious movie”

    I gave the Coens’ “True Grit” another look last night with the family.  Hailee Steinfeld’s commanding presence alongside a scenery-chewing Jeff Bridges was as striking as ever.  I’d be lying if I didn’t say my biggest Oscar wish this year is that the Academy’s acting branch sees the performance for what it is: a leading lady showcase.  But we’ll just have to see.

    As for the film, it’s as rich as ever and takes on more textures each time I give it another look.  I can easily see it ultimately being more of a fixture in my DVD player than most other 2010 entries, but it’s really the reverence for Charles Portis that continues to be so rewarding.  There is no question in my mind that the Coens found the thematic pulse of the material more absolutely than Henry Hathaway’s original hokey take.

    Writing in The New York Times, literary theorist and legal scholar Stanley Fish seems to be in total agreement.  And of all the items I’ve come across in response to the film these last few weeks, I’d have to say, for me, it has the most complete understanding of what’s lurking between the lines.

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  • 12/24 OSCARWEB ROUND-UP: Coen mustache history, year’s most overlooked, Cronenweth on ‘Social’

    • The 15 greatest mustaches in Coen brothers history. [Vulture]

    • The Gurus o’ Gold get their last licks in before the new year. [Movie City News]

    • Betsy Sharkey writes up the 10 most overlooked films of 2010, and yes, it’s a valid point to put the nearly $300 million worldwide grosser “Shutter Island” on there. [Los Angeles Times]

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  • WEEKLY WRAP: ‘Network’ sweep, Globes outrage, best of 2010

    • Kris listed his 10 favorite films of 2010 in black-and-white, later adding his dream Oscar ballot and winners list.

    • The critics’ award beat turned into a “Social Network” landslide, as New York, Los Angeles, Boston and many, many other groups lined up behind the film.

    • Away from the critics’ circuit, Team Fincher didn’t have it all their own way, as “The King’s Speech” led a widely derided list of Golden Globe nominees.

    • When it was the Screen Actors’ Guild’s turn to announce their nominees, however, the royal biopic had to settle for sharing the lead with “The Fighter.”

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  • The Coens’ no-frills ‘True Grit’ hearkens to western heyday

    I’ve seen the Coen brothers’ “True Grit” twice now, and it’s not because the film is some “Inception”-like, mind-bending narrative maze. Quite the opposite, actually. I saddled up to it a second time yesterday morning because I wasn’t quite anticipating what I got the first time around and I wanted to consider it further knowing what it was.

    You see, this isn’t really “a Coen brothers film” to me. Outside of an opening act bathed in their usual trappings, the film feels almost anonymous, lacking the fingerprint stirringly present in each and every one of their efforts. And it’s all very much by design, by the way.

    “True Grit,” in its second screen iteration, is a classic western cut from traditional cloth. With its wide vistas, simple narrative and focus on character dynamics (as well as a handful of unrefined horse-back riding effects shots), it’s fair to say it bears more of a resemblance to the work of Anthony Mann, John Ford and Budd Boetticher than it does that of the Coens. The film isn’t focused on being as tight and complete as most of their films, and indeed, inchoate was very much a goal here.

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  • POLL: What is your favorite Coen brothers film?

    This is borderline lazy filler and distraction for the time being as the old poll was uber stale, but it’s worth it to put a query like this out there since the Coens will be fodder for plenty of column inches by week’s end.

    But it’s worth pointing out that the brothers are more prolific than ever.  “True Grit,” opening nationwide December 22, is the duo’s fourth film in as many years, a record streak (though if they had muscled something out in 2002, they would have had a fiver between 2000 and 2004).

    The great thing about Coen cinema is that, as identifiable as it is, each film is wildly different from the last.  Though they have a signature, their work never stagnates and always remains fresh, vital and progressive.  That kind of thing lends itself to favorites so let’s just put the question out there: what is your favorite Coen brothers film to date?  Have your say in the left sidebar poll and come on back to the comments section here to debate and discuss your picks.

    [Photo: Paramount Pictures]

  • INTERVIEW: ‘The Town’ screenwriter, director and star Ben Affleck

    Actor — and as of late, filmmaker — Ben Affleck makes his way to a cozy corner of Santa Monica’s Casa Del Mar hotel restaurant. He’s coming from a “Dad’s event” at his daughter’s school, he says, propping his feet up on a nearby chair.

    Currently shooting Terrence Malick’s latest film in Oklahoma, the multi-hyphenate has a window for awards season publicity and Warner Bros. seized the opportunity. Affleck’s second directorial effort, “The Town,” has kicked up enough buzz to legitimize an all-out Oscar push, and judging by most reactions to the film, it could be an effort well-rewarded.

    I pass along one such reaction — from actor Robert Duvall, who greatly enjoyed the film — and Affleck’s eyes light up. “Wow, really? That’s great to hear.” He playfully riffs on Duvall’s characteristic voice, adding, “He’s a spectacular personality. A genius.”

    That mixture of humility and humor highlights the majority of our conversation. Affleck is as affable as they come. Perhaps it’s years of navigating the game and knowing how to put his best foot forward with a journalist, but it rings through with authenticity. He’s a guy’s guy with a thoughtful charisma that has served him well over the years, but now he finds himself putting it all to use in the director’s chair. And while he is very appreciative of the success his latest film has achieved, he notes that he came to it apprehensively.

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  • Carter Burwell on musical inspiration for ‘True Grit’

    Amid his coverage of the Nashville Film Festival, Nathaniel Rogers at The Film Experience served up a nice little nugget on composer Carter Burwell, the subject of a much-deserved individual tribute at the fest. Naturally, there was much emphasis on his ongoing collaboration with the Brothers Coen, which will continue this year with “True Grit.”

    His score for the film is still in the conceptual stages, but his current source of inspiration suggests something typically singular is in the works:

    “We don’t always see eye to eye.” Burwell noted when discussing his 14th collaboration with Joel and Ethan Coen. But when it came to the conception of the True Grit score “We both had the same idea at the same time: Protestant hymns.” The composer went on to explain that the lead character, Mattie Ross (to be played by Hailee Steinfeld) was so convinced of her own righteousness that they all thought Protestant hymns would be a fine way to play with her misplaced rectitude … He’s currently looking for appropriate hymn recordings but griped that “they all sound too sweet.”

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  • OSCAR GUIDE: Best Writing (Original Screenplay)

    Woody Harrelson in The MessengerBest Original Screenplay: 2009’s most difficult category to predict. Why? Certainly not because of each contender’s merits (when does that ever come into play with the Academy). No, this field is a hair-puller because you have a vibrant, likable personality up against the Best Picture frontrunner, always a recipe for a close race (and, sometimes, a recipe for upset).

    This year’s nominees contain four Best Picture nominees and one surprise (which thankfully ousted the most overrated indie charmer of the year). Atypically, there are as many Best Picture nominees represented here than in the adapted field, which can’t be a bad thing.

    The nominees are:

    “The Hurt Locker” (Mark Boal)
    “Inglourious Basterds” (Quentin Tarantino)
    “The Messenger” (Alessandro Camon & Oren Moverman)
    “A Serious Man” (Joel Coen & Ethan Coen)
    “Up” (Screenplay by Bob Peterson, Pete Docter; Story by Pete Docter, Bob Peterson, Tom McCarthy)

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  • TECH SUPPORT INTERVIEW: The crafts of ‘A Serious Man’

    Aaron Wolff in A Serious ManThe Coen brothers’ latest film “A Serious Man” opens with a quote from French Rabbi Shlomo Yitzhaki (better known as Rashi):  “Accept with simplicity everything that happens to you.”

    It’s obviously quite applicable to the themes of fatalism and inevitability strewn throughout the film.  But that word, “simple,” also comes up over and over again when discussing below-the-line elements with the directors’ collaborators.

    Jess Gonchor is the newest craftsman to join the Coens’ party, having first jumped on board with 2007’s “No Country for Old Men.” When the sibling directors got a look at “Capote” two years earlier, they were quite taken by the stark, understated look of the production design and wanted to meet with Gonchor about potentially designing their Cormac McCarthy adaptation.

    “I guess I just talked about it intelligently enough,” Gonchor remembers, with an air of humility.  “We were on the same page never having met each other.  And also, I come from making movies that are low budget if any budget.  You can do anything with money.”

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  • Best in show: the year in superlatives

    Robert Downey Jr. in Sherlock HolmesWrapping up my perspective on the year today, a personal list of superlatives, Oscar categories and other silly nonsense.

    Swing back around on Monday for the ultimate wrap-up, my list of the best films of the decade.

    Best Picture
    “A Serious Man” (Focus Features)

    Best Director
    Ethan Coen, Joel Coen, “A Serious Man”

    Best Actor
    Sharlto Copley, “District 9”

    Best Actress
    Gabourey Sidibe, “Precious: Based on the Novel ‘Push’ by Sapphire”

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  • INTERVIEW: ‘Terribly Happy’ director Henrik Ruben Genz

    Henrik Ruben GenzTwo striking films in this year’s Best Foreign Language Film Oscar race probe the theme of moral drift, both individual and communal, bred in a rural European community – the very opposite of what Hillary Clinton meant by “It takes a village.”

    One of them, Michael Haneke’s “The White Ribbon,” you’ve probably heard of. The other you’ll hopefully hear much more about in the months to come: Danish entry “Terribly Happy” is a terrific thriller from Oscar-nominated writer-director Henrik Ruben Genz that has taken its homeland by storm and is ripe for a U.S. remake.

    A wickedly comic flipside to Haneke’s solemn social critique, Genz’s film trades in twisty suspense and coal-black humor as it follows the misadventures of Robert (Jakob Cedergren), a mysteriously disgraced Copenhagen cop reassigned to an unwelcoming one-horse town with its own share of nasty secrets.

    As Robert gets drawn into the void by a hesitant relationship with abused housewife Ingerlise (Lene Maria Christensen), the film has drawn comparisons to the Coen Brothers of “Blood Simple” and even the David Lynch of “Twin Peaks” in its cool unveiling of the macabre within the mundane.

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  • Do the Coens have their eyes set on a singing cowboy?

    singing cowboyA few hours ago I sat down with T Bone Burnett and Ryan Bingham to talk about the songs from “Crazy Heart.” I’ll be cooking up that piece as the introductory installment of our Tech Support interview series with below-the-line and craft personnel tomorrow, but Burnett mentioned something that totally caught my attention about a potential Coen brothers film..

    Of course, the Coens have had a number of projects stall out over the years, or more to the point, they’ve managed to leave some things on the back burner.  Everyone is still waiting for stuff like “To the White Sea” and “Hail Caesar,” after all.  But Burnett told me that it was actually the Coens who told him about Ryan Bingham, the singer/co-writer of “The Weary Kind,” who they were exposed to while filming “No Country for Old Men” in Marfa, Texas a few years back.

    “One of the things they have on the horizon includes a singing cowboy and they were thinking Ryan Bingham would be good,” Burnett said.

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  • OFF THE CARPET: Original players

    (from left) Jeremy Renner and Evangeline Lilly in The Hurt LockerWhen I had the unmitigated gall last week to project a set of winners for this year’s Oscar race, I was a bit startled at how easy Mark Boal’s script for “The Hurt Locker” slid into the Best Original Screenplay slot.  Looking over the landscape of contenders in the category, it’s a little obvious why such a somewhat non-traditional entry would be pegged as a frontrunner: this is a pretty thin year for original screenplays.

    That should take nothing away from Boal’s work, which is certainly commendable.  But beyond Pixar’s “Up” (penned by Pete Docter and Bob Peterson) and the Coen brothers’ “A Serious Man” (my pick for best-in-show in the category), there isn’t much competition for Boal’s play at the statuette.  I even find myself struggling with two more solid bets for nods after that trio.

    Fox Searchlight, however, is making some pretty strong moves on behalf of “(500) Days of Summer,” written by Scott Neustadter and Michael H. Weber.  The pair has already been cited by the Hollywood Film Festival as well as the Hamilton Behind the Camera awards.  Given the studio’s campaign prowess (and the undying spirit of the film’s champions), it makes sense to expect a spot to be reserved for the film here.

    To fill out the set, you’ve got a slot that is undeniably up for grabs.  So let’s dig into the field and see what we come up with.

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  • Cormac McCarthy on adaptation and ‘The Road’

    Cormac McCarthyAs much as John Hillcoat’s filmization of Cormac McCarthy’s “The Road” didn’t work for me, I think it remains one title that could spring a surprise or two this awards season. Though the film has some high-profile detractors including Todd McCarthy and Roger Ebert, many have been profoundly affected by the film, while its prestigious cache is beyond dispute.

    Helping the cause is that Cormac McCarthy, the estimable author of the Pulitzer Prize-winning source novel, is fully behind the film.

    Today’s online must-read is an extensive Wall Street Journal interview with McCarthy, in which he discusses his own personal investment in the novel — much of which is directly inspired by his own relationship with his son — and the decade-long relationship between Hollywood and his writing.

    McCarthy has a healthily hands-off approach to adaptations of his work, bluntly stating that once the rights have been sold, “you don’t embroil yourself in somebody else’s project.” Claiming to have had confidence in Hillcoat from the outset, he goes on to say that the filmmakers “absolutely” caught the spirit of his novel.

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