In Contention

Tag: Mark Boal

  • AMPAS welcomes 135 new members

    Well, we already knew Jeremy Renner had got the nod. And no surprise that many of his fellow acting nominees from this year’s Oscar race — Christoph Waltz, Mo’Nique, Carey Mulligan, Vera Farmiga and Anna Kendrick among them — have now been granted Academy membership. (Lest you think that the invitation automatically follows a nomination, Saoirse Ronan only gets in now, two years after her nod.)

    Other inclusions from Oscar’s class of 2009 include directors Lee Daniels and Juan  Jose Campanella, writers Mark Boal, Geoffrey Fletcher, Neill Blomkamp, Nick Hornby and Tom McCarthy, cinematographers Barry Ackroyd and Christian Berger, musician T-Bone Burnett, editors Bob Murawski and Joe Klotz, sound designer Paul N.J. Ottosson and costumer Catherine Leterrier.

    More thoughts, and the full list of 135 invitees, after the cut.

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  • Fletcher rides Oscar momentum to directorial debut

    In retrospect, Geoffrey Fletcher’s Best Adapted Screenplay win for “Precious” at last month’s Academy Awards shouldn’t have come as quite the shock it did. In the last few years, Oscar voters have been especially kind to newcomers in the writing races, with this year’s pair of freshman winners, Fletcher and Mark Boal, coming on the heels of three others who struck gold for their first feature credit: Michael Arndt, Diablo Cody and Dustin Lance Black.

    How do you follow that kind of debut success? In the case of many of those names, we’re on the verge on finding out. Arndt has lain low since striking gold with “Little Miss Sunshine” in 2006, but will be back on the radar this summer with “Toy Story 3” — for which, unusually for a Pixar production, he has sole script credit.

    Cody may have struck out with “Jennifer’s Body” last year, but is having more luck on the small screen with “The United States of Tara.” Boal, meanwhile, is continuing his happy partnership with Kathryn Bigelow, as the two are readying the South American-set thriller “Triple Frontier” for shooting.

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  • Interviews with the winners

    Geoffrey Fletcher at the 82nd annual Academy AwardsBefore we close the book on 2009, here’s one last rundown of our interviews with this year’s Oscar recipients.  It was lovely to meet with them all as this was truly, for the most part, a season of camaraderie.

    “The Cove”
    Louie Psihoyos (Best Documentary Feature)

    “Crazy Heart”
    Jeff Bridges (Best Actor)
    Ryan Bingham and T Bone Burnett (Best Original Song)

    “The Hurt Locker”
    Mark Boal (Best Picture, Best Original Screenplay)
    Chris Innis and Bob Murawski (Best Film Editing)
    Paul Ottosson (Best Sound Editing, Best Sound Mixing)

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  • Oscar day nuggets: Bigelow and Boal

    Kathryn Bigelow and Mark BoalPlenty of interesting Oscar-related floating around the web on the last day for any such discussion, but two pieces related to tonight’s principal “Hurt Locker” hopefuls stand out.

    Kathryn Bigelow’s likely win tonight will probably prompt some over-optimistic speculation in some quarters about the future of female directors in Hollywood. With that in mind, the L.A. Times’s Rachel Abramowitz seeks to keep those hopes in check with some sobering stats of present-day industry inequality that one Oscar can’t fix on its own:

    Although successful female directors appear to have gained higher profiles of late, the actual percentage of top films directed by women has remained static for 25 years at 7% to 9%, according to an annual study of women writers, directors, and producers of the 250 top-grossing films of the year by the Center for the Study of Women in Film and Television at San Diego State University.

    For instance, neither Warner Bros., the world’s largest studio, nor Paramount Pictures hired a single female director last year, while Walt Disney Studios and Universal Studios hired just one apiece. No woman has ever been hired to direct an event picture with a budget of more than $100 million, the kind of film most valued by the Hollywood machine.

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  • OSCAR TALK: Ep. 24 — It’s all done but the cryin’.

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

    This is it. The final installment of Oscar Talk before the 82nd annual Academy Awards go down Sunday evening. Anne and I have our final say this week on the following:

    • We dig through the 24 categories one more time offering our perspectives and respective predictions. The toughest calls are in the cinematography, sound and original screenplay fields, though Best Actress, Best Art Direction and Best Film Editing stir some healthy debate.

    • With 600 ballots having been turned in Tuesday, one can only wonder about the effect of EmailGate (Anne spoke with Nicolas Chartier earlier in the week) and the pending lawsuit against Mark Boal.

    • Speaking of Boal, we debate the idea of whether his script is an adaptation or not, bringing the situation with Jane Campion and “Bright Star” make for comparison.

    • And finally, because I can’t help myself, I bring it back around to Best Original Screenplay one more time, because it’s so damn difficult to decide.

    Have a listen to this week’s podcast below. And as always, you can subscribe to Oscar Talk via iTunes here.

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    Subscribe to Oscar Talk

  • 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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  • Interviews with the nominees

    Jeff BridgesAs we head into the big weekend of this year’s hotly anticipated Academy Awards telecast, I thought I’d toss this list up once more, broken down by film. We’ve added to it a bit since the nominees were announced.

    And if you’d like to re-live the season so far, you can see how things have panned out at The Circuit.

    “Avatar”
    James Horner (Best Original Score)

    “Bright Star”
    Janet Patterson (Best Costume Design)

    “Coraline”
    Henry Selick (Best Animated Feature)

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  • Mark Boal’s ‘The Man in the Bomb Suit’

    The Man in the Bomb Suit by Mark BoalIn this morning’s round-up we mentioned the forthcoming lawsuit against Mark Boal and “The Hurt Locker” that claims the film’s central character, Staff Sergeant William James, is in fact the embodiment of a real soldier named Jeffrey Sarver.  Boal followed Sarver and his team around in the summer of 2004 to observe this new facet of modern warfare, and the result was a Playboy piece titled “The Man in the Bomb Suit,” which ran in the September 2005 issue.

    The takedown of this film is quite hilarious.  First it’s not an accurate depiction of what happened in those trenches.  Now it’s so close to reality that a craven soldier wants his cut.  Only in an Oscar season.

    Anyway, I never actually read Boal’s piece, so I thought I’d do some digging in the Playboy archives to turn it up.  The publication actually republished it online recently (smart move) and as I dug in this morning, I was transported.  As a guy who fancied a career as a magazine journalist once upon a time, I relished in the world Boal painted.  He’s a solid journalist who knows how to put you right smack dab in the middle of the environment he’s describing.

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  • 3/1 Oscarweb Round-up

    Vera Farmiga in Up in the Air• Geoffrey Fletcher writes up what Precious (and “Precious”) means to him. [Huffington Post]

    • Donna Freydkin talks to Vera Farmiga, who, by the way, has a lot of support for her nominated performance in “Up in the Air.”  (Just sayin’…) [USA Today]

    • Maggie Gyllenhaal offers a soundbite concerning the whirlwind campaign behind “Crazy Heart” (the campaign that netted her a nomination, mind you). [Vulture]

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  • “It will put you in the hurt locker.”

    The Hurt LockerI don’t really know why Melena Ryzik is indicating over at The Carpetbagger that the title for “The Hurt Locker” hasn’t been explained.  I feel like that was in the water way back around release and even during the Venice and Toronto screenings of 2008, but nevertheless, if you weren’t aware, she got Mark Boal’s answer at a recent NYC event for the film:

    It’s a quasi-military term that also shows up around football fields and locker rooms — bro slang, essentially, that’s never mentioned in the film. Mr. Boal first heard it in Baghdad. “I was trying to interview a soldier about a bomb that was there, and I was trying to figure out how much explosive charge the bomb carried, how many pounds and how much damage it could do, and he just sort of said, ‘Put it this way; if it goes off, it will put you in the hurt locker,’ ” Mr. Boal told the Bagger. “And I’d never heard that before, and it really sunk in,” partly because Mr. Boal was close enough to be put in the hurt locker himself. Mr. Boal and Ms. Bigelow meant to tell the story in the movie’s marketing but never quite got around to it, possibly because the movie didn’t get much marketing until it began racking up awards.

    As a title, “it appealed to me because it gets to a central theme of the film, which is the cost of war and the brutalizing effects of combat,” Mr. Boal said. “And so more or less, to be really reductive about it, if you’re in Iraq, you’re in the hurt locker.”

    Read the rest, including how Boal’s college major informed Jeremy Renner’s character’s name, at The Carpetbagger.

  • 2/17 Oscarweb Round-up

    • David Poland sits down with Mark Boal and, separately, Paul Ottosson and Ray Beckett to talk “The Hurt Locker.” [The Hot Blog]

    • Saoirse Ronan talks “The Lovely Bones” across the pond. [Daily Telegraph]

    • Chris Jones profiles Roger Ebert, the man and his thumbs. [Esquire]

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  • 2/16 Oscarweb Round-up

    Mark Boal• The same old “keep your speech short” story we get every year.  This time mentioning the backstage “thank you” cam.  [Reuters]

    • Pete Hammond chimes in from the ACE Eddie Awards, including some fiery comments from Mark Boal vis a vis Harvey Weinstein’s bold claims as of late. [Notes on a Season]

    • Donna Freydkin catches up with Jeremy Renner. [USA Today]

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  • SANTA BARBARA: Bridges, Firth, Stone and producers

    Colin Firth at the 25th annual Santa Barbara International Film FestivalThings are winding down in Santa Barbara.  Today is the last day of the fest, an all-day celebration of Jeff Bridges’s work.  Screenings of “Thunderbolt & Lightfoot,” “Starman,” “The Contender” and “Crazy Heart” are lined up.  I’ll be moderating a Q&A with the actor following the “Crazy Heart” screening at the Lobero Theatre.

    Yesterday it was the producers panel early in the afternoon, Patrick Goldstein moderating an enlightening discussion with Lawrence Bender, Mark Boal, Jon Landau, Lori McCreary, Ivan Reitman and Jonas Rivera.  It was a good cross-section of perspectives on the work of a film producer, and certain a diverse mixture of budgets, economics and creative philosophy.

    There was a moment when Landau proposed that it was a filmmaker’s responsibility to tackle gravitas and Bender took umbrage with that, positing that the real responsibility is to entertain.  Obviously it depends on the circumstance and no filmmaker should be beholden to either ideology (as Boal, always the diplomat, shrewdly noted).  But it was still funny watching Bender once again defending the frivolity of “Inglourious Basterds” in the face of loftier examinations from Landau, McCreary, etc.

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  • SANTA BARBARA: ‘Kells’ screens and the writers talk

    The Secret of KellsIt’s been a slow ramping up for me in Santa Barbara, coverage wise.  I’ve had some Wi-Fi difficulties that are being sorted and I’ve posted when I can from where I can, but a couple of notes on the last two days.

    Yesterday I took in a late afternoon screening of Tomm Moore’s “The Secret of Kells,” the film that probably served up the biggest surprise last Tuesday when it slid into the animated feature field over the populist, branch-respected “Cloudy with a Chance of Meatballs” and the less-respected “Ponyo,” which nevertheless comes from a titan of the medium.

    The film is beautiful in so many ways, offering a rich, artistic palette of shapes and color to paint a portrait of a well-circulated Irish story revolving around the non-fictional Book of Kells.  The artwork ultimately mirrors, in some way, the Insular art featured in the book, and the narrative itself, abstract as it feels at times, seems to be about the persistence of art and history.

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  • Four producer nominees for ‘The Hurt Locker’

    Mark Boal and Kathryn BigelowGlad to see this has been sorted out. You might recall that when the Best Picture nominations were read out on Tuesday morning, “The Hurt Locker” and “The Blind Side” were both slapped with the vague “nominees to be determined” tag — a stopgap the Academy issues wen there are admin issues to be ironed out.

    “The Hurt Locker” initially fell foul of the Academy’s arbitrary (and, for my money, rather misguided) recent rule that permits a maximum of three nominated producers per film. Exceptions, however, can be made: as was the case last year, when “The Reader” was allowed four nominees, including the late Anthony Minghella and Sydney Pollack.

    So I’m happy that the powers that be at the Academy have been equally reasonable about “The Hurt Locker,” ruling that its quartet of producers all have a legitimate claim to a nomination.

    Should it win on the big night, then, Kathryn Bigelow, Mark Boal, Nicolas Chartier and Greg Shapiro will go up on stage to claim the statuette. (This, of course, makes both Bigelow and screenwriter Boal double nominees this year.)

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  • The nominees react

    Maggie Gyllenhaal in Crazy HeartThroughout the morning and early afternoon we took statements from or hopped on the phone with 44 of today’s Oscar nominees.  Their reactions…

    Maggie Gyllenhaal, supporting actress, “Crazy Heart”:

    The thing is, you know, I’m so proud of the movie and I always have been, more proud of it than any of the work I’ve done so far.  But because I wasn’t getting nominated for anything, I wasn’t expecting it.  My phone was ringing so early and I thought, “Wait, maybe!”   I was staying at my brother’s in LA.  He said to me, “Your phone is going to be ringing all day.”  He made me a cup of coffee and then we watched the sun rise.  It was pretty mellow.  But this wouldn’t be happening for Jeff [Bridges] or me if it wasn’t for Scott [Cooper].

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  • 1/14 Oscarweb Round-up

    Mark Boal• Buzz Aldrin, Willie Nelson and more comment on the accuracy of a number of the season’s contenders. [Variety]

    • Peter Jackson and Stanley Tucci talk “The Lovely Bones.” [FearNet]

    • Brooks Barnes Q&As “The Hurt Locker” writer Mark Boal. [The Carpetbagger]

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  • TECH SUPPORT INTERVIEW: The crafts of ‘The Hurt Locker’

    Jeremy Renner in The Hurt LockerWhen it comes to extravagant Hollywood blockbusters, we’ve become accustomed to the phrase “the money is up on the screen” – delighting in the filmmakers’ own delight in the tools and tricks at their disposal.

    “The Hurt Locker,” however, invites a very different kind of wonder. An independent with a budget of a mere $11 million, it is nonetheless more kinetic action film than many a title coming in at 10 times the price, immersing the audience in the sights, sounds and sensations of Iraq combat. The money is on the screen, sure, but the screen belies the money.

    For this, the already multi-laurelled Kathryn Bigelow shares the credit with a highly resourceful and imaginative team of craftsmen, variously bringing mainstream studio-picture experience and indie-sector knowhow (or both) to the table.

    I talked to cinematographer Barry Ackroyd, editors Chris Innis and Bob Murawski, sound designer Paul Ottosson and special effects supervisor Richard Stutsman about their contributions to this humble spectacular.

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