In Contention

Tag: Martin Scorsese

  • Emmy goes to the movies

    We don’t normally pay much attention to the Emmy Awards, this being a site primarily devoted to the bigger screen. But when the recently unveiled nomination list contains such film heavyweights as Todd Haynes, Olivier Assayas and (twice) Martin Scorsese, it’d be remiss not to mention it — and the fact that the line between cinema and television is becoming an increasingly pliable one.

    Indeed, there’s still disagreement over which category one of yesterday’s nominees falls into. Assayas’ five-hour stunner “Carlos” may have been produced for French television, but it’s a bit difficult to define a vast work from one of world cinema’s leading auteurs, one that premiered at the Cannes Film Festival and was theatrically released on the arthouse circuit, as merely a TV miniseries.

    Most haven’t — it won a slew of film critics’ awards last year (and indeed made my 2010 Top 10) before more finicky eligibility rules kept it out of the Oscar race (I know, I know, as if) and in the TV races at the Globe and SAG Awards.

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  • ‘Hugo’ trailer

    Annnnddd…another trailer. This one for the hotly anticipated “Hugo,” from Martin Scorsese. And a film that really should have had some sort of presence at Comic-Con, I think, especially with folks like Francis Ford Coppola and Steven Spielberg making the trip. It just would’ve been a treat. In any case, some have awards doubts on this one due to the children’s movie aspect, but I’m not sure that’s real cause to doubt just yet. One thing we can certainly tell by the trailer, which just hit Apple, is that the design elements are off the chain. I can’t wait to see this one in 3D, and I don’t say that often (if ever). Check out the trailer by clicking the image below or watch an embed after the jump.

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  • OFF THE CARPET: The year of The Beard?

    It felt really good to duck out of the looking-ahead business after last year’s fairly contentious (both amongst the films and their supporters) Oscar season. I didn’t saddle up to the upcoming season until a few weeks ago, hammering out preparations for this column, and even this, most would tell you, is too early.

    But at the start of July, in the midst of an interesting (critically speaking) summer movie season, and with half the year behind us, it seems a decent time to take stock of 2011’s Oscar business. And Disney may have gotten the conversation going just in time with last week’s debut of the trailer for Steven Spielberg’s “War Horse.”

    With the influx of film awards coverage this last decade, Oscar strategists have switched gears in how they campaign for the gold. With a cycle that chews and chews and chews on whatever is available to digest, being the early frontrunner has become the kiss of death. Films like “The Aviator,” “Brokeback Mountain,” “Dreamgirls,” “Charlie Wilson’s War,” “The Curious Case of Benjamin Button” and “Up in the Air” failed to reach the winner’s circle in recent years after being hailed as tough cookies early on. Some of them put up better fights than others, some of them didn’t even manage to rise up to a nomination, but all of them looked formidable at one point or another before having their legs knocked out from underneath them.

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  • Nolan’s Hughes biopic: I say go meta

    When I spoke to Christopher Nolan and Emma Thomas earlier this month at the Santa Barbara International Film Festival, the discussion of scaling things back with their next film came up.  After all, when it hits theaters next summer, “The Dark Knight Rises” will mark the third blockbuster in a row for Hollywood’s wunderkind.

    You can stretch it back to “Batman Begins” if you want, seeing as “The Prestige” was hardly a modest independent, given the period trappings.  So call it five in a row.

    Back when Leonardo DiCaprio was developing his Howard Hughes biopic, “The Aviator,” with director Michael Mann, Nolan had his own project in development.  Mann opted out of tackling another biopic after “The Insider” and “Ali” and DiCaprio asked his then recent professional acquaintance, Martin Scorsese, to take over the project.

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  • Tom Hooper wins DGA Award

    Even after “The King’s Speech” surprised at the Producers’ Guild Awards and took a dozen Oscar nominations, I held on to the notion that critical favorite “The Social Network,” a film more in line with the Academy’s recent choices, would emerge victorious on Oscar night.

    However, Kris called it right. When the former film’s comparatively inexperienced director can beat a heavyweight field of Darren Aronofsky, Christopher Nolan and the Davids Fincher and O. Russell to the Directors’ Guild prize — and for a film that’s widely been deemed, rightly or wrongly, an actors’ showcase more than a director’s one — it’s clear the tide has turned. It pains me to say it, folks, but the stammering-royal drama is your Best Picture winner.

    That said, I’m not willing to hand Hooper an accompanying Best Director Oscar just yet. Although the Academy and the Guild have parted ways in this category just six times in 64 years, their last such disagreement strikes me as a pertinent one.

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  • INTERVIEW: ‘Shutter Island’ director Martin Scorsese

    Martin Scorsese’s “Shutter Island” did just fine with audiences this year, bringing in nearly $300 million worldwide and ultimately proving to be the biggest box office hit of his career to date.  However, the film didn’t quite ring the bell of a number of critics who struggled to comprehend its specifically rendered formalism and opted instead to (perhaps hastily) dismiss it as a misstep in an otherwise artistically successful autumn career.

    A few weeks ago I hopped on the phone with the revered filmmaker, largely for the purposes of a two-part profile of actor Leonardo DiCaprio.  Calling from London, where he’s currently taking the 3D dive with “Hugo Cabret,” Scorsese graciously spoke for a half hour at the end of a 16-hour day of shooting.

    Much of the conversation surrounded his work with DiCaprio, but also naturally drifted into the general territory of filming the Dennis Lehane adaptation and, of course, how his famed love of cinema impacted his vision of it as a film.  So I thought it deserved a separate space.  Have a listen to our chat after the jump (and beware of SPOILERS of the film throughout).

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  • WEEKLY WRAP: The circuit takes hold, chatting up DiCaprio and Harris, top 10 lists

    • The week started off with “How to Train Your Dragon” predictably dominating the slate of Annie Award nominations.

    • Kris sat down with Leonardo DiCaprio and got Martin Scorsese on the phone for a large two–part piece on the actor and his impressive year.

    • He also caught up with actor Ed Harris to talk “The Way Back” and director Peter Weir.

    • It was good and bad news for The Weinstein Company as “Blue Valentine” won its ratings appeal with the MPAA, while “The King’s Speech”‘s was shot down.

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  • INTERVIEW: Leonardo DiCaprio on ‘Inception’ and ‘Shutter Island’ parallels and a shifting industry landscape

    *PLEASE NOTE: There will be spoilers of both “Inception” and “Shutter Island” in this two-part interview with actor Leonardo DiCaprio.  For yesterday’s installment, featuring extended conversation with the actor and director Martin Scorsese, click here.

    Leonardo DiCaprio was very aware of the similarities between “Shutter Island” and “Inception” when he was considering starring in the latter. The idea of a man haunted by his past and living in an alternate reality, these are themes that interest him, in particular because he enjoys playing characters which are in some ways unreliable protagonists (to play on the “unreliable narrator” literary device).

    “There’s nothing obvious,” he says. “It forces you to sit with the other characters and be deceitful to yourself and to the people around you. No line is taken for what it is. You can never read a line with either of these characters and say to yourself, ‘He means exactly what he says.’ There’s a hidden agenda there. Both of these characters are lost in the labyrinth of their own mind and living an alternate life completely that they hadn’t come to terms with. And how one lies to oneself is interesting, too, with both of these guys.”

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  • INTERVIEW: Leonardo DiCaprio and Martin Scorsese on building the perfect psychosis in ‘Shutter Island’

    *PLEASE NOTE: There will be spoilers of both “Inception” and “Shutter Island” in this two-part interview with actor Leonardo DiCaprio and director Martin Scorsese.

    Audience members flock the stage of the television Academy’s Leonard H. Goldenson Theatre in North Hollywood, cameras and signables at the ready, as Leonardo DiCaprio patiently weathers the Black Friday-like storm of appreciation.

    They’ve all just seen “Shutter Island,” many for the first time. During a post-screening Q&A they’ve heard him tell stories of an “anxiety-ridden,” “intense” shoot, of playing through multiple versions of his character for the purposes of creative editing and of his perspective on virtually growing up on camera over the last two decades.

    But they want to be closer. They want to be around greatness, talent, fame: that unmistakable glow of movie stardom.  And yet DiCaprio has made a career of translating his celebrity into precious fuel for an insatiable creative fire. Rather than rest on paycheck laurels of notoriety, he consistently places himself at the crossroads of art and commerce, even putting his money where his mouth is as producer if need be. And two financially successful films that embraced creative risks in 2010 prove that the actor shows no signs of changing course.

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  • Robert Duvall takes aim at “actor’s enemy” Stanley Kubrick

    It was interesting this morning to see Robert Duvall’s recent comments on Stanley Kubrick’s process with actors making the rounds.  Duvall chimed in with trademark candor at The Hollywood Reporter’s Actors Round Table when the issue of exhaustive takes came up.  “The Social Network” director David Fincher is known for doing quite a few, and Kubrick was infamous for it.

    The actor called the work of Kubrick actors “the worst performances I’ve ever seen in movies” and even went so far as to call the director an “actor’s enemy.”  I’d maintain that Kubrick’s films have rarely been about performance above formalism, but that’s me.  Though the comments did remind me of a similar aside I had with actor Leonardo DiCaprio.

    I sat down with the “Inception” and “Shutter Island” star over the weekend to discuss, mainly, the latter and his work with director Martin Scorsese over the years.  In the midst of detailing his on-set process with the director, DiCaprio went off on a small tangent about the potential value of exhaustive takes and I thought it would make a nice rebuttal to Duvall’s point of view.  Check out the audio after the jump.

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  • THE LONG SHOT: When you’re strange

    (Updated predictions available here.)

    I shan’t often find room for Gaspar Noé’s name in a space ostensibly dedicated to the Oscar race, so bear with me if this seems an unlikely opening gambit, but inspiration for this week’s column began with a conversation about his fluorescent, drug-addled ghost story “Enter the Void.”

    A friend had recently caught up with it, and found herself disappointed: having been promised a psychotropic headfuck, she instead found something more sentimental and less questioning than his previous work. “At this rate,” she muttered aggrievedly, “he’s about 10 years away from a bloody Oscar nomination.”

    That’s a flip exaggeration, of course, but there’s a kernel of truth in it: the Academy likes its enfants terribles most when they’ve passed the teething stage and begin to play nice — or at least safe. There’s a long and illustrious list of adventurous, iconoclastic directors who scored with AMPAS either by putting a leash on their wilder creative instincts or making sly concessions to the mainstream.

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  • OFF THE CARPET: Giving thanks

    As we move into turkey (or tofurkey, if that happens to be your speed) week 2010, it seems proper, if a tad bit obvious, to take a moment and give thanks. So in lieu of a proper analysis of the season’s progression this week, allow me to express my boundless, breathless appreciation for the following:

    The filmmakers.

    I’m thankful for Mike Leigh’s consistently maturing perspective on life and how he manages to gift that to film audiences each and every time out, for Peter Weir’s tenacity in the face of an unfortunate shift in cinema investment and for Darren Aronofsky’s well-rewarded (in the form of a two-year studio deal) efforts pushing the envelope.

    I’m thankful for Danny Boyle’s energetic perspective on the cinema and his obsession with filling his frame with that passion, as well as for Christopher Nolan’s determination to take studio goodwill and prove that there is an audience and payoff for pricey originality.

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  • Scorsese/DiCaprio retrospective set to kick-start ‘Shutter Island’ campaign

    People have scoffed at the idea of a Martin Scorsese’s “Shutter Island” campaign for months now.  The film didn’t hit with the critics, therefore it must be an also ran, right?  The thing is, it made decent bank and is packed with elements I know for a fact are well-respected from the industry, whether it’s Thelma Schoonmaker’s typically expert film editing, Robert Richardson’s throwback lensing, Dante Ferretti’s creepy production design or, indeed, Leonardo DiCaprio’s fantastic lead performance.

    All of that goodwill can build momentum in a year of 10 Best Picture nominees, and let’s face it, every DiCaprio/Scorsese collaboration has been nominated in the top category, in years of five, no less.  With Halloween right around the corner, now is the perfect time for Paramount Pictures to remind everyone of the film.  The studio is therefore kicking off the season’s festivities with a two-day American Cinemateque retrospective on their eight-year partnership.

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  • LIFE WITHOUT OSCAR: 1983 and 1984

    Catch up with the idea behind this series here.

    1983 was dominated by James L. Brooks and his sentimental weepie, “Terms of Endearment.” I can’t imagine it deserved the award, but I also have no room to complain since this is one of the few Best Picture fields where the winner is the only title I’ve actually seen.

    Linda Hunt won Best Supporting Actress for “The Year of Living Dangerously,” playing a man. Felicity Huffman would come close to doing the same in 2005, while Sarah Jessica Parker sees her efforts continually overlooked film after film (I kid, I kid).

    1984 was a battle royale between “Amadeus” and “A Passage to India,” with Milos Forman’s biopic eventually emerging triumphant. This year also saw Mr. Miyagi from “The Karate Kid” nominated in the same ceremony that awarded the first acting Oscar for an Asian to Haing S. Ngor.

    Take it away, Sally Field- “The first time I didn’t feel it. But this time I feel it! And I can’t deny the fact that you like me! Right now, you like me!”

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  • HBO’s ‘Boardwalk Empire’ quenches thirst for good TV

    Moving away from the big screen for a moment, I’ve been looking for a series to come along and take the place of “Deadwood” (RIP), and I think I may have found it.  It’s not that HBO’s “Boardwalk Empire” is immediately up to the genius level of David Milch’s series, but it absolutely showcases the potential for a world as densely populated, one that I look forward to losing myself in week after week.

    The Martin Scorsese-directed pilot debuted last night, mostly to critical approval.  It was an event to say the least (fit with a pre-show) and Scorsese’s hand behind the camera was welcome on the small screen.  The cinephile’s film-loving little touches here and there (an iris-out and in to open and close the episode, a Fatty Arbuckle silent arbitrarily enjoyed by characters in one scene) were unmistakable, and even though he’ll be a creative force behind the scenes, I can already tell I’ll miss him after this opener.

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  • Fox and PBS open Scorsese’s ‘Letter to Elia’

    Reviewing “A Letter to Elia,” Martin Scorsese and Kent Jones’s loving documentary tribute to Elia Kazan, out of Venice on Sunday, I wrote that the 60-minute film was “clearly designed for a PBS-style TV airing.”

    Lo and behold, it was announced yesterday that the film, having been acquired by 20th Century Fox Home Entertainment, will premiere on PBS on October 4 — after having played the Venice-Telluride-Toronto-New York festival track.

    Furthermore, for those of us without the luxury of American television, the documentary will also feature in Fox’s 15-film DVD box set of Kazan’s work, due to hit shelves on November 9. I don’t know about you, but my Christmas list is being updated as we speak.

    Press release extract after the cut.

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  • VENICE: ‘Potiche,’ ‘A Letter to Elia,’ ‘Robinson in Ruins’

    Hey, did you miss me yesterday? Don’t answer that. Sorry for the radio silence, but Saturday proved to be both my busiest and most rewarding day at Venice, serving up five films — none of them stinkers, and one of them perhaps my favourite of the fest so far.

    After capping the day’s viewing with a delightful pasta dinner in the company of two of Variety’s finest, I took the water-bus back to my San Marco hotel room in a pleasant fog of good feeling and red wine, only to find the wi-fi in my hotel room had taken the night off.

    As it turned out, it was just as well: today’s festival schedule being a lean and mostly unappetizing one, I rewarded myself with my first lie-in of the week (sorry, Tsui Hark) and began afresh in the morning. Late-night reviewing is fraught with hazard, anyway, as I’d learned the night before when I nodded off in the middle of writing up “The Sleeping Beauty.” (Before you say, “How apt,” let me remind you that there is no beauty in waking up at 5 a.m. with keyboard-face.)

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  • LIFE WITHOUT OSCAR: 1969 and 1970

    Catch up with the idea behind this series here.

    As the 60’s came to a close, Oscar decided to embrace its dirty side and give X-rated “Midnight Cowboy” the top prize. Coming a year after “Oliver!” makes it quite a juxtaposition and the film remains one of the most interesting picks by the Academy, particularly as it triumphed in the “Year of the Western.”

    “The Wild Bunch,” “True Grit,” “Paint Your Wagon” and “Butch Cassidy and the Sundance Kid” all found themselves up for top prizes in a year that Tapley would probably have died to cover. Also great to see “Z” become the second foreign language Best Picture nominee in a year that Wikipedia claims is still the highest rated Oscar telecast ever. Take note current producers- there was no host and it lasted 145 minutes.

    The 70’s were introduced with “Patton” earning Best Picture. War, epic, biopic, strong male lead; it completely fits the bill for a Best Picture winner. Of course, George C. Scott would famously become the first actor to refuse his award this year.

    It was also the year The Beatles finally won an Oscar (for “Let it Be”) but had already broken up and failed to appear. Timely as ever, Academy.

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