• Nick Nolte talks “Warrior.” [Making Of]
• A little southern perspective on “The Help.” [Los Angeles Times]
• Greg Wellwood considers who got an Oscar boost at Telluride and who didn’t. [Awards Campaign]
Tag: Vera Farmiga
-
9/6 OSCARWEB ROUND-UP: Nolte on ‘Warrior,’ southern perspective on ‘The Help,’ Oscar plays out of Telluride
-
THE LONG SHOT: Critical mass
Guy’s updated Oscar predictions here.
Just one week on from the first formal awards announcements of the season, the Oscar season may still be taking its first steps, but my personal interest in the precursor trail is nonetheless set to peak this very weekend.
That, of course, is when the New York Film Critics Circle and the Los Angeles Film Critics Association weigh in with their selections of the year’s best, showing up the likes of the nominee-naming Washington group as the pretenders they are, while classing up the season with some unapologetically idiosyncratic film smarts.
Or so we hope – for as much as the major critics’ groups often delight us by throwing caution (and Oscar-soothsaying cred) to the wind with rebellious left-field picks, they are equally capable of falling dully into line behind pre-anointed favourites. I was recently chased by Tom O’Neil’s resurrected Gold Derby site for my NYFCC and LAFCA predictions, and while I’m as game as anyone for a spot of light-hearted, consequence-free punting, the irony of the exercise still nagged away at me: the day I predict either group’s set of winners accurately is the day they’ll cease to matter to me.
-
Paging Rene Russo
Honestly, the last time the name “Rene Russo” crossed my mind, I was still wearing school uniform and Bill Clinton was still president of the United States. Even then, it was only fleetingly: if you want the last time she was in a film that actually merited a second thought, we’re looking more at the year my voice broke. (Yes, that’d be “Tin Cup.”) How time flies.Of course, film history is littered with the swiftly curtailed careers of briefly ubiquitous stars — women in particular, given the regrettable age-40 sell-by date the industry still applies to many actresses. Hey, remember Madeleine Stowe? Andie MacDowell? Penelope Ann Miller? I can’t say Russo’s big-screen absence struck me as especially conspicuous, but Telegraph arts editor Sarah Crompton clearly thinks otherwise.
Crompton takes the casting of Russo in Kenneth Branagh’s Marvel comic adaptation “Thor” — her first film role in over five years — as occasion for a valentine to the actress, holding her up as a 1990s ideal of “the woman every woman wanted to be,” and mourning a larger absence in the process.
-
3/1 Oscarweb Round-up
• 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]
-
SANTA BARBARA: Four Vanguards and a Virtuoso
“Precious” star Gabourey Sidibe couldn’t be here last weekend for the Virtuosos presentation, which recognized her, Carey Mulligan, Saoirse Ronan, Emily Blunt and Michael Stuhlbarg, so she was in town this evening as part of the Vanguard presentation. Stanley Tucci, meanwhile, couldn’t be here this week to accept his Vanguard prize, so he was here last week and filmed a video acceptance.They roll with the punches here in Santa Barbara.
The four Vanguard award winners this year, which is the first year that saw more than one recipient, were Tucci, Christoph Waltz, Peter Sarsgaard and Vera Farmiga. The award recognizes an actor (or actors) who has forged his/her own path, taking artistic risks and making a significant and unique contribution to film.
It fits the quartet. These actors has found their way to this point in their careers in baby steps, Waltz’s career actually the most extensive of the four, ironically enough, regardless of his new appeal in the states.
-
OSCAR GUIDE: Best Supporting Actress
This year’s Best Supporting Actress race made for, in many ways, one of the most wide open categories of the major nominees. While three of the contenders seemed fairly locked in place, the other two slots appeared up for grabs, and there was no shortage of deserving contenders waiting to fill out the field.Contenders such as Samantha Morton and Julianne Moore ultimately missed despite precursor attention, paving the way for last year’s winner in the category (a SAG nominee in a film that found itself floundering by year’s end) and a young actress who found herself opposite the year’s likely lead actor Oscar winner (and landing her first Oscar nomination in the process).
The nominees are:
Penélope Cruz, “Nine”
Vera Farmiga, “Up in the Air”
Maggie Gyllenhaal, “Crazy Heart”
Anna Kendrick, “Up in the Air”
Mo’Nique, “Precious” -
The bright side
Well, I’ll start the good news selfishly, by noting that I didn’t entirely embarrass myself with my predictions: not counting the short categories (which I was too cowardly and uninformed to predict) I nailed 78/106, just two points behind Kris’s round tally of 80.But while I was pleased to see at least one of my out-on-a-limb guesses come good — seriously, why didn’t more people call that Art Direction nod for “The Young Victoria?” — I was better at predicting what wouldn’t get nominated.
So, my season-long hunches that Julianne Moore would be frozen out in the supporting race, that “(500) Days of Summer” would be blanked, that “Up in the Air” would miss that crucial Film Editing nod, and so on, were all on the money. And my increasing sense that nobody really liked “Invictus” enough to put it atop their ballot proved right too.
Now, if I only I’d known what would land in their place. You can’t have it all, I suppose.
-
An evening at the CCMAs
Alright, now that the booze and the hangover have worn off, let’s talk last night’s Critics’ Choice Movie Awards.It was a decently produced evening, the venue having shifted from the Santa Monica Civic Center to the Hollywood Palladium, right in the middle of Tinseltown. The scheme of having 10 tables rounding the stage representing the 10 films nominated for Best Picture was a nice touch. I was fortunate enough to be at the “Up in the Air” table with Jason Reitman, Vera Farmiga (who I was meeting for the first time) and Anna Kendrick.
George Clooney was a no-show (working on his upcoming Haiti telethon), though at least that didn’t make for an awkward moment later when Jeff Bridges won the lead actor prize, the first on his way to an eventual Oscar win.
Anyway, a few notes (since Guy has already given you a thorough rundown of last night’s implications)…
-
1/12 Oscarweb Round-up
• Steve Pond talks “In the Loop” with Armando Ianucci and Peter Capaldi. [The Odds]• Dave Karger makes his Golden Globe picks. [Entertainment Weekly]
• Katey Rich runs down the pros and cons in a four-way race (but it’s actually a three-way race). [Cinema Blend]
-
‘Air,’ ‘Basterds,’ ‘Precious’ lead the way with SAG
There wasn’t much in the way of a surprise with this year’s Screen Actors Guild announcement. The nods that are least likely to translate to Oscar, if I were a betting man, are Diane Kruger’s supporting actress bid for “Inglourious Basterds” and (I guess I just have a feeling) Matt Damon, supporting for “Invictus.” The rest seem like safe bets on down the line.I wouldn’t read too much into the ensemble snub of “Up in the Air,” though it’s curious to nominate three actors from the film and then ignore it in that field. The ensemble category is also where “Nine” got its expected attention, though Penelope Cruz also showed up in supporting for the film. The BFCA, you’ll recall, went for Marion Cotillard instead.
“Precious,” “Inglourious Basterds” and “Up in the Air” had the most nominations, with three apiece. I would have expected “An Education” to have that designation, too, but somehow Alfred Molina was ignored. Maybe that won’t be the case with Oscar, maybe it will.
On to the next thing. Check the full list of nominees after the jump.
-
Quartet tapped for Santa Barbara’s Cinema Vanguard honor
This marks the first time four honorees have been chosen for the Santa Barbara Film Festival’s Cinema Vanguard Award. The press release, in part:The Santa Barbara International Film Festival will honor Vera Farmiga, Peter Sarsgaard, Stanley Tucci and Christoph Waltz with the Cinema Vanguard Award at the 25th edition of the Fest, which runs February 4-February 14, 2010, it was announced today by SBIFF Executive Director Roger Durling. The Tribute will take place on Friday, February 12, 2010.
The Cinema Vanguard Award was created in recognition of an actor who has forged his/her own path – taking artistic risks and making a significant and unique contribution to film. In previous years, this award was first bestowed on Ryan Gosling and last year to Kristin Scott Thomas.
Comments Durling, “This group of supporting actors encompasses the best of the best; their roles have made us love them as well as hate them, sometimes all at the same time. I am so pleased to have all of them together, in one place to celebrate them and thank them for the cinematic treasures they have created.”
-
Someone who actually gets this year’s lead actress field
Leave it to a woman to understand the virtues of leading ladies on screen this year.Yesterday we linked to Steven Zeitchik’s join-the-misguided-masses piece on the “thin” Best Actress race. I just got into this debate Monday night with another proponent of the theory (who has been similarly rebuffed here in the past).
The point I keep coming to is that, yeah, if everything is seen through the prism of what makes an Oscar contender (which is, frankly, such a manipulative pursuit it shouldn’t be the gauge), then yeah, maybe a case can be made for a “weak” year for lead actresses. But that does not necessarily translate to a dearth of quality work that isn’t destined to be recognized during the awards season.
Of course I’ve made this point emphatically and in black and white before. But it’s oh so nice to read Women & Hollywood’s Melissa Silverstein catching the point as well.
-
OFF THE CARPET: Looking at the supporting ladies
A few weeks ago in this space I took a dedicated look at the lead actress category. With little in the way of actual development (this season is curiously divided on the timeline as we’ve got maybe another month before more major titles begin screening), I figured it would be a good idea to keep things going on that front and take a look at the supporting actress race.It’s a little difficult to ignore the fact that Mo’Nique stands way out ahead of the pack in this race for her work in “Precious.” Unless her reported behind-the-scenes drama-queen tactics somehow poison the cause, she should be holding a statue in four months’ time. She is fierce and focused in a monstrous role and when viewers get over the initial “she had this in her?” shock, they’ll also see it for the expert piece of acting that it is.
Mo’Nique is joined in her film, however, by what I’d call an awards-worthy turn from Mariah Carey. The singer-turned-actress has been lurking in Mo’Nique’s shadow throughout the film’s publicity and festival tour this year, and she also lost something of a diva battle with Mary J. Blige to have a featured track in the film. The poor girl can’t catch a break here, but I think she deserves a look from voters and, perhaps, even prognosticators.
A few weeks ago I mentioned in an episode of Oscar Talk that “Up in the Air” star Vera Farmiga would be pushed as a lead actress. Some things have changed.
-
LONDON: ‘In the Air’ tonight
To use the umpteenth bad aviation metaphor in connection with the film, “Up in the Air” landed in London this evening with a gala festival screening — though this time it came unaccompanied by George Clooney, who had skipped off to the Rome fest after doing double-duty at the LFF earlier this week with “Fantastic Mr. Fox” and “The Men Who Stare at Goats.”(Given that “Up in the Air” is plainly his prime 2009 work, I’d have shuffled things around to ensure he could make it, but never mind.)
Given the raft of glowing notices from Telluride and Toronto — not least Kris’s own elated take — my expectations for Jason Reitman’s third film couldn’t have been any higher as I settled into the press screening this morning. And as the lights came up 100 minutes later, they’d been satisfyingly met in one sense — and left frustratingly dangling in another.
-
Category shuffling gets complicated
It’s been interesting to note that many of the conversations concerning the Oscar race that I’ve had with people lately revolves around category placement for a number of the year’s contenders. It was a topic Anne and I addressed directly in Friday’s Oscar Talk, in fact.There tends to be dueling ideologies on this, as well as what makes a performance a lead and what makes it supporting. But purely from a marketing standpoint, it’s understandable that sometimes studios might play the landscape of the picture for an array of acting shots on goal rather than perhaps be true to the realities (that are, again, subjective) of the role within the narrative.
We mentioned the anticipated classification of Marion Cotillard and Vera Farmiga in the lead actress category for “Nine” and “Up in the Air” respectively in the podcast, but as Pete Hammond points out in a recent Notes on a Season item, the category musical chairs are taking place elsewhere, too.
-
INTERVIEW: Jason Reitman
Telluride Film FestivalFour days ago, Jason Reitman finalized his latest film, “Up in the Air,” by making one final song change. Two days ago he unveiled it to its first-ever first audience, his nerves shot. Today, somewhat more relaxed in the wake of a warm reception to the film, he’s sitting outside at a cafe on a sunny day, the famous gondolas of Telluride swinging around and up the hillside to Mountain Village behind him as he thinks back on the experience.
“It felt really good,” he says. “I’ve never had that short a period of time between finishing a film and it showing for the first time. I’m used to having a few weeks to get nervous, but I was really making creative choices up until the last second. It was almost surreal, it’s like, ‘Oh, yeah, I’m watching it with an audience.’ And there’s this moment when you give up the movie. It stops being yours and starts being everyone else’s. It’s unusual. People laugh at a certain point or they’ll find something moving that you didn’t expect. They start telling you what the movie was. I didn’t expect that emotional experience for myself. A lot came together Saturday.”
Reitman began conceiving the story of “Up in the Air” — which strays considerably from the film’s source material, a 2002 Walter Kirn novel — six years ago. (Sheldon Turner, who shares screen credit on the adaptation, penned a draft early on, but Reitman came from his own place on things.) He began turning over its themes in his head, considering them in their barest form.. “They started coalescing further a few years ago,” he says, “and then, really in the year leading up to the movie, right after ‘Juno,’ it suddenly felt like, you know, this was a question I really needed to ask. I go through the same questions that the main character does.”
In the film, George Clooney stars as career transition specialist Ryan Bingham, a hired gun terminator. It’s an element of the film that skims the zeitgeist but its the personal journey of the character that Reitman wanted to dig at, notions of one’s responsibility to engage with the world around you, with one’s family, and the idea that no man is — or at least no man should be — an island unto himself.