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  • Lynn Barber on making ‘An Education’

    An Education by Lynn BarberI’m not sure why the Wall Street Journal is reprinting a preface to a book that his been in print for over nine months — indeed, I quoted the very same piece in Page to Screen back in July — as fresh content. Still, if you haven’t yet read it, Lynn Barber’s reflection on the journey her memoir “An Education” took to screen is worth a look.

    Among other things, Barber picks up on the counter-intuitive choice of Nick Hornby, Britain’s king of “lad-lit,” to adapt this female-focused story:

    I also learned that the scriptwriter [producer Amanda Posey] had in mind was her boyfriend -– now husband –- Nick Hornby. This made the whole idea more plausible, especially when I met Nick. I found it odd (still find it odd) that this preeminently ‘boy’ writer should so completely understand what it felt like to be a 16 year-old schoolgirl who was on the one hand very bright but on the other very ignorant about the world but, miraculously, he did. He even seemed to understand my parents, which is more than I could ever say myself.

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  • Stop the presses: ‘Avatar’ sweeps VES

    ZOMG!  Well, actually, it wasn’t a clean sweep, as “District 9” managed to win in the compositing category (one of many that saw “Avatar” as a multiple nominee).  But it was unsurprisingly dominated by Cameron and company throughout, with six awards going to the blockbuster.  Go to The Circuit to see the damage.

    (from left) Sam Worthington and Zoe Saldana in Avatar

    (Also, while I’m at it, any word out there on the International Film Music Critics Association’s list of winners, which was supposed to have been announced Friday?  That’s literally the last precursor left standing at the moment.)

  • SUNDAY CENTS: Win for ‘Shutter,’ new films stutter

    Cop Out*All historical figures cited are adjusted to today’s dollars.

    Kevin Smith has never had a number one film at the box office and Martin Scorsese has ensured that he won’t buck the trend in 2010. “Shutter Island” is the top box office performer for the second weekend in a row, dropping 46% to $22.2 million. That puts it firmly in the could-have-been worse, could-have-been-better category and with $75.1 million in the bank so far, Paramount can consider their decision to move out of October justified, particularly since I don’t think the Oscars would have touched it with a 10-foot pole, but that’s just me.

    Smith’s “Cop Out” did manage an $18.6 million debut, handily becoming a career-high for its director. For Bruce Willis, on the other hand, it falls somewhere between “The Whole Nine Yards” and “The Kid,” amongst a bevy of forgettable titles. Reviews were scathing and drops should be harsh so it will be a close race with the $46 million of “Dogma” to the title of Smith’s biggest hit. If Warner Bros. was using this as an audition for a bigger franchise, I think Silent Bob has fluffed his chance. It should also be noted that the figure is inflated slightly by the extra seats Smith has to buy for himself when he went.

    Not too far off in third is “The Crazies,” which managed a $16.5 million debut from nearly 700 fewer screens than “Cop Out,” giving it the second-best per theater average in the top 10. Overture did a good job of raising awareness and interest amongst the target audience, which must not include me, because I never saw a single thing about it once, anywhere.

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  • CAS springs for ‘Hurt Locker’

    The Hurt Locker

  • ‘The White Ribbon’ wins the ASC award

    The White Ribbon

  • ‘A Prophet’ takes nine César Awards

    Tahar Rahim in A ProphetI know, I know … quelle surprise. One week after taking the BAFTA, Jacques Audiard’s “A Prophet” obliterated the competition at its home awards ceremony, the Césars. The foreign-language Oscar nominee took a massive nine awards, including honors for Best Film, Director, Screenplay, Actor and Supporting Actor.

    Tahar Rahim was a double winner, in fact, adding a breakthrough award to his Best Actor win. (Well, obviously.) Benefitting from the fact that “A Prophet” had no lead actress was veteran star Isabelle Adjani. It’s nice to see a documentary win for the excellent “Henri-Georges Clouzot’s Inferno,” but a Best Foreign Film win for “Gran Torino” is really pushing the Gallic adoration for Clint Eastwood a bit far.

    “A Prophet,” of course, opened Stateside yesterday — if you haven’t seen it yet, rectify that. Read our interview with Audiard here. Full list of winners after the cut.

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  • Siding with Sandy

    Sandra Bullock at the 2009 SAG AwardsNathaniel Rogers’s annual Oscar Symposium wrapped last night over at the Film Experience, and I must say I had a great time taking part. The final day’s conversation wandered all over the map, taking in the original score race (I’m not alone in my love for “The Hurt Locker” there), the merits of The Ten and visions of Mo’Nique in “Nine.”

    But it had to end with this year’s most discussed Oscar duel: Bullock versus Streep. And between us, support was fairly evenly split. As a taster, here’s Tim Robey’s reluctant case for the “Blind Side” star:

    Don’t we want Meryl to win her third for a truly epochal performance? … (Make no mistake — I’d happily watch Meryl take the garbage out daily, I love her so, but I really want her to win this thing for absolute top-drawer work.) I don’t think Carey Mulligan is ready to be crowned just yet, and I don’t think it would actually do her career any favours if she was. Sandy, on the other hand, has just the one shot at this, and I say why the hell not. I’ve always liked her. I’d have nominated her for The Lake House! (I’m not joking.) And I agree that her Blind Side performance, while entire skyscrapers away from the Brockovich league her spin-meisters would have us believe, is pretty nimble and watchable, and the only thing that got me through that numbskull movie alive.

    Good stuff all round. If you haven’t been keeping up with the Symposium, read the rest here.

  • ‘Precious’ sweeps NAACP Image Awards

    Morgan Freeman also won.  If you’re so inclined, check out The Circuit for more.

  • WEEKLY WRAP: ‘Hurt Locker’ BAFTA sweep, minor fracas

    Best Actress winner Carey Mulligan at the 2009 BAFTA Awards• “The Hurt Locker” continued its cruise through the precursors, taking six awards at the BAFTAS.

    • The pile of guild awards grew as the writers, costume designers and sound editors all picked their winners.

    • In our ongoing Oscar Guide series, we broke down the lead actress, documentary feature, documentary short, original score and original song races.

    • Off the Carpet took stock of a quiet season, mainly just counting down the days.

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  • A.O. Scott celebrates Meryl Streep

    Meryl Streep in Julie & JuliaJust when it seems as if pundits and critics alike have run out of fresh things to say in praise of Meryl Streep, A.O. Scott comes along with this beautifully written valentine to Oscar’s favorite actor.

    The piece essentially amounts to the longest, most eloquent For Your Consideration ad of the season, but even I — a relative agnostic on the merits of the master’s performance in “Julie & Julia” (more on that in the Film Experience’s Oscar Symposium later today) — was given pause by this very intelligent argument in its favor:

    [T]hese days impersonation is the province of every aspiring biopic star. Ms. Streep’s Julia Child is never anything other than a performance, a fusion of two strong personalities rather than the absorption by one into another. You never forget that you are watching Meryl Streep inhabiting a version of Julia Child, and instead of distracting you from the truth of Julia, this awareness is what enables you to understand her. It is our familiarity with Ms. Streep that makes her exploration of a more private Julia Child both credible and exhilarating. Similarly in her frequent forays into the world of cinematic statecraft, she can be an entirely convincing senator or cabinet secretary while still being, in every syllable and flourish, Meryl Streep.

    Plenty of other quotable passages in the article, but the actress’s legions of devotees will be better off reading and savoring every word. Enjoy.

  • The price of Variety

    Roy Scheider in Iron CrossEver heard of “Iron Cross?” Don’t blame yourself if you haven’t: a Nazi revenge drama from freshman director Joshua Newton, opening in theaters next week, it appears to be notable principally for being the last film of the late Roy Scheider.

    Newton, however, had such high hopes for the film that he talked investors into a $400,000 ad campaign in Variety, enough to buy daily For Your Consideration ads in the trade paper from November to the end of nomination voting in January. Following this, Variety itself selected the film for its screening series aimed at Academy members, alongside far more illustrious awards contenders.

    Must be good, right? Well, Variety’s own critic Robert Koehler didn’t think so in his damning review of the film, which he denounced as “preposterous” and “hackneyed,” among other choice adjectives. A slightly embarrassing result for a film the paper had previously boosted, but as Gawker’s John Cook reports, Variety solved the problem quite easily — by removing Koehler’s review from their website altogether, after “Iron Cross”‘s producers complained.

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  • TECH SUPPORT INTERVIEW: Composer symposium, part two

    Michael Giacchino at the 2010 Golden Globe AwardsI think everyone who has seen Pixar’s “Up” was utterly taken by the scene “Married Life,” where emotions ran high and three characters were built between images and music.  As Kris mentioned in this morning’s Oscar Guide, composer Michael Giacchino had the full aural attention of the audience for 10 minutes.

    Speaking to Giacchino, it’s clear he knew it was perhaps the most pivotal moment to get right into a film where music was destined to play a significant role, no matter what. “I remember watching that scene for the first time,” he recalls, “and even watching it without music, it makes you cry. You’re not just looking at what happens on screen, you’re looking at what happens in your life.”

    He found the scene, and indeed, the film itself, to be quite personal. “You end up analyzing yourself,” he says. “It’s an emotional experience and when I’m writing music for any good film, I know I can only do a good job when I’m reflecting what I’m feeling. It’s like a mirror.”

    Giacchino loves being part of what he describes as the “Pixar family” and came aboard the film eight months before it was released. “I’m always at Pixar for something,” he says, adding that he loves doing the music for their short films as well. “Being at Pixar is like being 10 years old and everyone accepts each other for whoever you are.  It’s a wonderful open, honest feeling of being able to say if you don’t like something.”

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  • OSCAR TALK: Ep. 23 — Divebombing the competition, doc and live action shorts, foreign film, etc.

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

    Every week inches us closer to the end of the loudest Oscar season of all time. Today Anne and I sit down and discuss the noise of the week, adding our own noise (we went on a bit long this week):

    • Leading off, Anne has a whole new reason to hate “the 10”: members just aren’t bothering with ranking and the preferential ballot, not to mention the rigging and manipulation that goes into making it an impure process.

    • Things are getting “hairy,” as Anne puts it, with a close race bringing out the worst in people. We talk about “The Hurt Locker” and EmailGate and add some much-needed perspective on the matter.

    • We bounce around ideas for dark horse contenders that could benefit from the preferential ballot (assuming it’s taken seriously).

    • We also discuss the documentary shorts at length (now that I’ve seen them all) as well as the live action short films (now that Anne has seen them all).

    • Finally, we discuss a potential upset lurking in documentary feature nominee “Which Way Home” as well as “A Prophet” in the scheme of the Best Documentary Feature race.

    Have a listen below, with a track from James Horner’s “Avatar” score leading the way. And as always, you can subscribe to Oscar Talk via iTunes here.

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    Subscribe to Oscar Talk

  • OSCAR GUIDE: Best Music (Original Score)

    (from left) Wally Wolodarsky (voice) and George Clooney (voice) in Fantastic Mr. FoxFor years the composers of the music branch tended to be a bit insular. Impressive newcomer talent was often ignored while the usual suspects showed up year after year. Not long ago, there seemed to be a shift, yielding slates much like the one we have for 2009.

    There is one first-timer, but other nominees are only enjoying their second and third nominations, while the true veterans of the category haven’t been to the dance in six and nine years respectively. Usually the Academy at large springs for a Best Picture nominee with overwhelming consistency, most often films with cultural flavor or dramatic, sometimes whimsical heft.

    The nominees are:

    “Avatar” (James Horner)
    “Fantastic Mr. Fox” (Alexandre Desplat)
    “The Hurt Locker” (Marco Beltrami and Buck Sanders)
    “Sherlock Holmes” (Hans Zimmer)
    “Up” (Michael Giacchino)

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  • FRIDAY FORECAST: ‘Cop’ and a laugh

    (from left) Tracy Morgan and Bruce Willis in Cop Out*All historical figures cited are adjusted to today’s dollars.

    It’s the last full weekend before the Oscars. Have you seen all the nominees yet? I sure haven’t. In fact, there isn’t a single category where I’ve seen every film and can have an educated opinion. That’s not likely to change before the big day since I’ve been happy to put the 2009 movie-going year to bed for a while.

    There’s plenty of new joy to be found! Like “Cop Out,” the first big budget studio outing from Kevin Smith. Primarily known as the guy behind a bunch of movies your college roommate likes, he is notably absent from all press materials for the Bruce Willis/Tracy Morgan buddy flick.

    Willis typically can’t open straight-forward action films to very much, unless they have the words “Die” and “Hard” in them. Recent run-of-the-mill efforts include “Surrogates” ($15.2 million), “16 Blocks” ($13.8 million) and “Hostage” ($12.1 million).

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  • 2/26 Oscarweb Round-up

    Cover of Detective Comics #27• Maria Puente on the wide array of villains represented by the year’s Oscar nominations. [USA Today]

    • Bill Mechanic tells Sharon Waxman that the Oscarcast will be “emotional.” [The Wrap]

    • Not movie related, but FYI, Batman’s is still bigger. [Hero Complex]

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  • Better and better

    Two weeks ago, Kris expressed his (and, well, pretty much everyone’s) excitement over Todd Haynes’s HBO reimagining of “Mildred Pierce,” with Kate Winslet stepping into Joan Crawford’s Oscar-winning shoes in the title role.

    Today, The Playlist passes on two further reasons to anticipate the project, namely Guy Pearce and Evan Rachel Wood. The latter, in particular, strikes me as a smart get — assuming, of course, that she’s filling the place of Ann Blyth. The longer I think about it, the more easily I can see Wood as Winslet’s daughter.

    Does this have to be on TV? I’d watch four hours of this in a theater, frankly.

  • Costume Designers Guild winners…

    …have been announced.  Check out The Circuit for more.