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2012 Awards discussion

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Post by Admin on Tue Aug 23, 2011 8:43 pm

Long Overdue

photo Three of my favorite actors are breaking out in 2011. Between Robin Wright, Michael Fassbender and Daniel Craig, there will be 12 movies this year starring one or more of these excellent actors. It’s wonderful to see and it gets me excited that such great talent is finally being recognized by Hollywood.

But the ultimate recognition is, of course, by Oscar, and it gets me to thinking about all the excellent actors out there that have been producing incredible work for years who have yet to win the ultimate prize, including these three incredible actors—none of whom have even been nominated.

So, as we slowly creep towards Oscar season, here is my (very subjective) list of the best actors working today who should have the title “Oscar winner” before their name. I mean, if Cuba Gooding, Jr. can have it… (I’ve listed the number of previous nominations they have received, if any. I think you’ll be surprised.)


Don Cheadle–1 nomination
Jeremy Renner—2 nominations
Michael Fassbender
Robin Wright
Daniel Craig
Leonardo DiCaprio—3 nominations
Gary Oldman
Sam Rockwell
Ewan McGregor
Steve Buscemi
Guy Pearce
Diane Lane—1 nomination
Glenn Close—5 nominations
David Straitharn—1 nomination
Albert Finney—3 nominations
Johnny Depp—3 nominations
Ian McKellen—2 nominations
Robert Downey, Jr.—2 nominations
Peter O’Toole—8 nominations
Ralph Fiennes—2 nominations
Sigourney Weaver—3 nominations
Brad Pitt–2 nominations
Ed Harris—4 nominations
Helena Bonham Carter—2 nominations
Annette Bening—4 nominations
Julianne Moore—4 nominations
John Hurt—2 nominations
Ed Norton—2 nominations
Carey Mulligan—1 nomination
Michelle Williams—2 nominations
Emily Watson—2 nominations
Jake Gyllenhaal—1 nomination
Catherine Keener—2 nominations
Miranda Richardson—2 nominations
Tom Wilkinson—2 nominations
William H. Macy—1 nomination

Is there anyone I missed?
Who’s your favorite?
And who on this list do you think will win Oscar first?
Posted: August 18th, 2011

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Post by Admin on Sun Sep 11, 2011 10:19 pm

Festivals shed light on upcoming awards season

by Rob on September 11, 2011

tree of life awards With fall approaching it is time to start placing our bets on who 2011’s big award winners will be. The first eight months of the year have provided us with very little award-worthy cinema, but that is usually the way of it. The only film with a wide release to gain serious Oscar buzz so far is The Help. Viola Davis, Octavia Spencer, and Jessica Chastain all turned heads with their performances, and the film’s box office success will probably serve to strengthen its awards season bid.

Speaking of Jessica Chastain, I probably shouldn’t write off The Debt or Terrence Malick’s The Tree of Life, which both feature several respectable cast members, including Chastain. The Tree of Life won the Cannes Film Festival top award, the Palm d’Or, but has received very mixed reviews otherwise. It seems that any movie with Helen Mirren in it makes people take notice, so The Debt might get some love in the coming months.

The Venice Film Festival, which held its closing ceremonies this Saturday, offered what might be an early contender for best actor: Michael Fassbender in Shame, a movie detailing the unraveling life of a sex addict, which also stars Carey Mulligan (An Education, Never Let Me Go). Fassbender, who played Magneto in this summer’s X-Men: First Class and Rochester in the recent Jane Eyre, won the top acting prize at the festival. He will also be seen this year in A Dangerous Method playing real life psychiatrist Carl Jung, alongside Viggo Mortensen (The Road, The Lord of the Rings) playing Sigmund Freud, and Keira Knightley (The Duchess, Pirates of the Caribbean). 2011 has certainly been a busy and impressive year for Fassbender.

The Toronto International Film Festival, one of the most influential and prestigious film festivals around, is currently running. Films such as Moneyball, Faust, The Ides of March, The Descendants, Albert Nobbs, The Hunter, We Need to Talk About Kevin, and dozens of others potential winners will be shown there in the next week.

While TIFF doesn’t hand out competitive prizes, it does give the People’s Choice Award for the highest rated movie of the festival. Last year’s Oscar winner, The King’s Speech, took home the People’s Choice Award, so it’s one worth considering if you’re trying to get an early handle on who might woo the academy this year. The People’s Choice Award will be announced on September 18th.

Awards season won’t really get moving until December, but in the meantime autumn’s film festivals ought to offer us some insight into who the heavyweights will be.

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Post by Admin on Sat Sep 17, 2011 10:42 pm

Fall film: Some Oscar hopefuls are worthy 
of praise ... or
 good-natured digs.


Special to the Daily News

Updated: 7:22 p.m. Saturday, Sept. 17, 2011

Posted: 5:07 p.m. Saturday, Sept. 17, 2011

Nice to know Eddie Murphy’s going to host next year’s Academy Awards. Now all we have to do is see the films that will be in the running for Oscar gold and susceptible to ribbing by Murphy.

There’s some buzz that Woody Allen’s Midnight in Paris and the sleeper smash The Help will be in contention. Otherwise, the summer didn’t bring much in the way of Oscar-worthy offerings. But the arrival of fall means that Hollywood’s gearing up for awards season.

Chatter out of the Toronto and Venice film festivals is loud for David Cronenberg’s A Dangerous Method, George Clooney’s The Ides of March, and Alexander Payne’s The Descendants.

Other films with Oscar aspirations are Roman Polanski’s adaptation of Carnage; Clint Eastwood’s 
J. Edgar biography; Angelina Jolie’s directorial debut In the Land of Blood and Honey; Meryl Streep’s Margaret Thatcher bio The Iron Lady; Pedro Almodóvar’s first film in 21 years with Antonio Banderas, The Skin I Live In; Jeff Nichols’ Sundance smash Take Shelter; Tomas Alfredson’s film version of John le Carré’s Tinker, Tailor, Soldier, Spy; Steven Spielberg’s latest epic, War Horse; Cameron Crowe’s first film in six years, We Bought a Zoo; and the next Jason Reitman-Diablo Cody collaboration, Young Adult.

Not everything released in the fall is designed to win awards. Believe it not, some films are purely made to entertain us and reap big bucks. Think Abduction, Taylor Lautner’s first attempt to carry his own action film; The Adventures of Tintin, directed by Spielberg and produced by Peter Jackson; Anonymous, a period piece that questions William Shakespeare’s accomplishments; The Big Year, a comedy about bird watching; Jack and Jill, featuring Adam Sandler in Tyler Perry mode; Killer Elite, pitting Jason Statham and Robert De Niro against Clive Owen; New Year’s Eve, a romance in the vein of Valentine’s Day; Real Steel, with robots throwing punches in the boxing ring; and Tower Heist, Eddie Murphy’s latest comeback attempt.

Prequels and sequels include Alvin and the Chipmunks: Chipwrecked, A Very Harold & Kumar 3D Christmas, Happy Feet Two, Johnny English Reborn, Mission Impossible—Ghost Protocol, The Muppets, Paranormal Activity 3, Piranha 3DD, Puss in Boots, Sherlock Holmes: A Game of Shadows, The Thing, and likely the most anticipated, The Twilight Saga: Breaking Dawn — Part 1.

Hollywood looks back to its past with remakes of Footloose, The Girl with the Dragon Tattoo, Straw Dogs and The Three Musketeers.

We may no longer be willing to spend extra to watch a film in 3D, but that doesn’t mean Hollywood won’t try to squeeze a few more bucks out of us. My money’s going to 3D endeavors by directors with strong artistic vision and integrity, such as Spielberg’s The Adventures of Tintin and Martin Scorsese’s Hugo. Let me know if you get what you pay for from A Very Harold & Kumar 3D Christmas and Piranha 3DD.

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Post by Admin on Sat Sep 17, 2011 10:45 pm

Oscar Futures: Sorry, We Bought a Zoo

9/16/11 at 2:00 PM

Oscar Futures: Sorry, We Bought a Zoo

Every week between now and January 24, when the nominations are announced, movies and stars will help themselves — or sometimes, hurt themselves — in the Oscar race. Vulture's Oscar Futures will listen for insider gossip, comb the blogs, and out-and-out guess when necessary to track who's up, who's down, and who's currently leading the race for a coveted nomination.
Best Picture UP: The Descendants. The George Clooney dramedy got great buzz at Toronto, even as it picked up its first dissenters. DOWN: We Bought a Zoo. The trailer says "Golden Globes," not "Oscar."
CURRENT PREDIX: The Artist, The Descendants, Extremely Loud and Incredibly Close, The Help, J. Edgar, Midnight in Paris, War Horse
Best Director UP: Clint Eastwood (J. Edgar). Eastwood played things a little quiet over the past few months, and then BLAM! Leonardo DiCaprio is on the cover of GQ, Armie Hammer's on the cover of Details, and Clint's gearing up to premiere his highly anticipated movie at the AFI Fest. DOWN: Fernando Meirelles (360). The onetime nominee for City of God won't get asked back to the dance this time, to judge from the withering reviews of 360 out of Toronto.
CURRENT PREDIX: Woody Allen (Midnight in Paris); Stephen Daldry (Extremely Loud and Incredibly Close); David Fincher (The Girl With the Dragon Tattoo); Michael Hazanavicious (The Artist); Steven Spielberg (War Horse)
Best Actor UP: Brad Pitt (Moneyball). THR's Scott Feinberg thinks that Pitt and Leonardo DiCaprio are the category's two front-runners. DOWN: Michael Shannon (Take Shelter). It's a terrific, tough lead performance in an indie that needs support. The problem? Michael Fassbender's working the same angle for Shame (which was just thrown into awards season), and he's got full-frontal nudity and youthful buzz in his favor.
CURRENT PREDIX: George Clooney (The Descendants); Leonardo DiCaprio (J. Edgar); Jean Dujardin (The Artist); Michael Fassbender (Shame); Brad Pitt (Moneyball)
Best Actress UP: Michelle Williams (My Week With Marilyn). That Vogue cover! That heartbreaking backstory! That willingness to work the awards circuit! Could Williams make a lunge for the gold? DOWN: Glenn Close (Albert Nobbs). Pundits were disappointed by Close last week, and it didn't get any better at Toronto: "There has been some Oscar buzz around Glenn Close but frankly, we just don’t see it happening (unless the field is very weak this year)," snapped the Playlist.
CURRENT PREDIX: Glenn Close (Albert Nobbs); Viola Davis (The Help); Meryl Streep (The Iron Lady); Charlize Theron (Young Adult); Rooney Mara (The Girl With the Dragon Tattoo)
Best Supporting Actor UP: Christopher Plummer (Beginners). Plummer's also got a potential Best Actor nod coming if the right distributor picks up his one-man show Barrymore, but Jeff Wells thinks that performance will just add to his odds in the Supporting category: "I'm all but convinced he has the Oscar in the bag." DOWN: Nick Nolte (Warrior). He's still hanging in there, but Warrior's meager box-office take is a significant blow.
CURRENT PREDIX: Kenneth Branagh (My Week With Marilyn); Jim Broadbent (The Iron Lady); Albert Brooks (Drive); Nick Nolte (Warrior); Christopher Plummer (Beginners)
Best Supporting Actress UP: Janet McTeer (Albert Nobbs). Several reviews claim that McTeer's cross-dresser steals the movie from Glenn Close. But can either of them get traction? DOWN: Keira Knightley (A Dangerous Method). Several Oscar pundits are advocating that Knightley — terrific in a divisive performance — should drop down to Supporting. Bull: She's a clear lead.
CURRENT PREDIX: Sandra Bullock (Extremely Loud and Incredibly Close); Jessica Chastain (The Help); Vanessa Redgrave (Coriolanus); Octavia Spencer (The Help); Shailene Woodley (The Descendants)

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Post by Admin on Thu Sep 22, 2011 2:50 am

The Oscars || by S.T. VanAirsdale || 09 21 2011 6:00 PM
Introducing Movieline’s 2011 Oscar Index: Your Weekly, Fool-Proof Awards-Race Breakdown


The Leading 5:
1. Meryl Streep, The Iron Lady
2. Glenn Close, Albert Nobbs
3. Viola Davis, The Help
4. Tilda Swinton, We Need to Talk About Kevin
5. Michelle Williams, My Week With Marilyn

Outsiders: Keira Knightley, A Dangerous Method; Rooney Mara, The Girl With the Dragon Tattoo; Charlize Theron, Young Adult; Emma Stone, The Help, Elizabeth Olsen, Martha Marcy May Marlene; Felicity Jones, Like Crazy; Michelle Yeoh, The Lady

This is already shaping up as the the most cutthroat race of all, if only for the forces at play and politics at hand. Harvey Weinstein has not one but two lead actresses nearly certain to make the top 10; he’ll be pushing to end Streep’s 30-year win drought and get the increasingly beloved Williams her second nomination in as many years. Then there’s Close, who hasn’t even been nominated since the late ’80s and has a shapeshifting, gender-bending role to remind the Academy she’s not just on TV anymore. Davis belongs in the discussion despite protests that The Help is Stone’s movie, if only because regardless of how much The Help makes, one glance at the competition means it’s a veteran’s race. (That’s partly why I don’t even entirely scoff at the suggestion that Yeoh could sneak in, though she seems less in the vein of 2008-era Melissa Leo than, say 2010-era Halle Berry.)

Meanwhile GoldDerby asks the fair (and relevant) question, “Are Marion Cotillard and Tilda Swinton one-time Oscar wonders?” Swinton in particular reiterated recently that she couldn’t care less about her Supporting Actress win in 2007 (“I don’t know what it means. […] I wasn’t brought up on this planet. I never wanted to win anything but the Cheltenham Gold Cup. But I’m not a race horse.”), an attitude that won’t necessarily advance her favor among voters regardless how much the majority of her peers respects her. That’s why I like Mara, Olsen or Jones to vie for either of the last two spots; that would signal the preference toward new, upstart blood that voters showed last year by nominating Jennifer Lawrence over Swinton — who went bilingual and everything for the celebrated I Am Love.

Incidentally, a few weeks ago after publishing Knightley among the preliminary Oscar Index’s possible Supporting Actress candidates, a publicist nagged me within minutes: “Just so you know Keira is a definite co-lead of ADM, she is in it from beginning to end, and definitely NOT a supporting character.” Well, yeah. Tell it to Hailee Steinfeld. And has anyone at Sony Classics seen the wasteland that is Supporting Actress this year? Be smart! Move her!


The Leading 5:
1. Michael Fassbender, Shame
2. George Clooney, The Descendants
3. Gary Oldman, Tinker, Tailor, Soldier, Spy
4. Brad Pitt, Moneyball
5. Leonardo DiCaprio, J. Edgar

Outsiders: Jean Dujardin, The Artist; Woody Harrelson, Rampart; Ryan Gosling, The Ides of March; Tom Hanks, Extremely Loud and Incredibly Close; Tom Hardy, Warrior; Michael Fassbender, A Dangerous Method

Man, oh man, this will be good: Overdue megastars facing off against a cabal of rookie Euros. Even the Clooney factor being what it is can’t hide Fassbender’s surge, already the stuff of award-winning, soul-baring legend, not so far removed from the position that we saw Natalie Portman latch on to last year and never relinquish, even as the Bening campaign snapped ferociously at her ballet slippers.

Of course, Fassbender’s virtually certain nomination isn’t nearly the same thing as Fassbender win. After all, do you really think Fox Searchlight sank money into an NC-17 sex-addict opus because it planned to run Fassbender against Clooney in another Searchlight movie? This is a classic case of buying the competition so you can put it out of business — not box-office business, mind you, or even awards-season business. They want each nominated. But obviously only one can win, and only one has the clear potential to capitalize on that win in a mass-market, take-the-family sort of way. A nomination that will burnish the other’s art-house mythology will do just fine as well. Give this until mid-October, after both have screened at the New York Film Festival, and let’s see where things lie.

Elsewhere, Pitt and Oldman are getting some of the best reviews of their careers for their respective films, while DiCaprio has 4,000 makeup-chair hours invested in what he hopes will be his fourth nomination. Scott Feinberg says that it’s all down to Pitt and DiCaprio in particular, writing of the latter at THR, “I’ve heard from people who have already screened J. Edgar, but are not working on its behalf and have no vested interest in its success, that he will be very hard to beat.” Harrelson is losing TIFF momentum by the day without a U.S. distributor to take up Rampart’s cause, while Dujardin is the ultimate wild-card — not least because of his film’s old-fashioned charm and the types of inspired Weinstein dark arts that lifted Roberto Benigni to a surprising victory back in ‘98.

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Post by Admin on Fri Sep 23, 2011 5:16 pm

Buzz is a Bitch: Best Picture 2011-2012
September 23, 2011
by Daniel N.

As I bought tickets for the Chicago International Film Festival today, I found myself prioritizing films based on their buzz, neglecting smaller pictures that may sound good but won’t be in the awards conversation for the year. It comes to a point where you have to embrace the hysteria around Oscar prognostication and take part in the conversation to the fullest extent possible.

Fortunately for me, the Oscar conversation seems to be taking place outside of the festival realm. It gives me greater reign to actually look at films with little to no shot of entering the conversation due to lack of distribution or obscurity. But for films that have been garnering traction over the past few months at Toronto, Telluride, Cannes, and Venice, there’s a sense that it’s simply not enough. Whereas films like The King’s Speech or Slumdog Millionaire had an irresistible-force aura to their festival runs, no film really stands out over the festival circuit to lay claim to the prior two films’ crown. The Ides of March debuted at the Venice Film Festival and had its fair share of acclaim, but hardly the sort of fanatic diehard reception that a Best Picture nominee typically receives, let alone a potential winner. Steven McQueen’s Shame seems to be an actor’s showcase for Michael Fassbender and Carey Mulligan, but its appeal as a Best Picture contender is strictly contained to the art-house crowd. Madonna’s W.E. was a bust. Roman Polanski’s Carnage has failed to impress.

What were left from the festival rubble are Alexander Payne’s The Descendents, Tomas Alfredson’s Tinker, Tailor, Soldier, Spy, and Michel Hazanaviccius’ The Artist. The three films are anchored by strong leading male performances, and while they are at this point, likely nominees, neither is on solid footing.

The Artist

The Artist debuted at the Cannes Film Festival and has garnered universal praise. The film will undoubtedly garner enough passion votes to secure a nomination come the big day, but I sense a backlash forming. This is largely in part due to where it stands in the minds of the voters – as new films enter the conversation by the week (Moneyball this week, 50/50 next, etc) there seems to be a decline in the film’s staying power with audiences. The fact that it did not win the Audience Award at Toronto (an award that was bestowed on Best Picture nominees and winners like The King’s Speech, Precious, and Slumdog Millionaire) does not bode well for The Artist’s standing. And given that the film may come across as gimmicky for its own sake, it’s positioning is nowhere near as secure as one is led to believe. But then again, The Weinsteins are behind the film, so I’m probably just imagining it all.

The Descendents fits a specific pedigree of indie filmmaking that tend to get nominated once a year (Little Miss Sunshine, Juno, The Kids are All Right), but it has already been acknowledged as a lesser effort from those who saw it at Telluride. It’s still riding a wave, but I have reserved expectations on its potential once it gets a wider release. Its comedic roots aren’t going to do it any favors, nor will the fact that Payne has already been recognized (albeit, in the Adapted Screenplay category). There is typically a time when individuals get recognized for their efforts – this was the case with Jeff Bridges in Crazy Heart, Sandra Bullock in The Blind Side, the Coens for No Country for Old Men – it’s not meant to dismiss the accomplishments of the individual performance or direction, but rather it serves as a lifetime achievement award. Simply put, Alexander Payne’s time doesn’t seem to be just now.

Tinker, Tailor, Soldier, Spy

Tinker, Tailor, Soldier, Spy has the benefit of a British contingent to bolster its chances and has a good awards-story in Gary Oldman getting a role that will finally get him recognized with a nomination. It, for all intensive purposes, achieves a particular role of what to expect in a “Best Picture” nominee, and from there, I’d say it’s in better position than The Descendents. The buzz for the film seems to have run stagnant for the past few weeks since its debut at Venice, which I take as a positive – I doubt Focus Features would to bust their load from the onset. Instead, there seems to be a conscious effort to keep Tinker, Tailor, Soldier, Spy in a quiet buzz period, before releasing it to a wider audience come December.

The Festival Darlings

“The Artist”
“The Descendents”
“Tiinker, Tailor, Soldier Spy”

Alt: “The Ides of March”

Then we have the summer crop. The summer gave us some concrete possibilities of other nominees with Tate Taylor’s The Help, Woody Allen’s Midnight in Paris, and Terrence Malick’s The Tree of Life leading the charge. I’d wager all three movies have the potential to make it to the end of the race, as they all tend to rouse a sort of passion vote that is a requirement in meeting the 5% (of first-place votes) needed for a nomination in the category. This works particularly well for The Tree of Life, as its polarizing status won’t necessarily do it any harm come the end of the race – there are those who love it and hate it, and only those who love it will be acknowledged come nomination time. Amongst outside contenders, the only one that bares any possibility seems to be the final addition to the Harry Potter franchise – given its critical acclaim, there’s a sense that the film could sneak in for a nomination. I think not – unlike The Lord of the Rings franchise, none of the previous Potter incarnations have garnered above-the-line awards recognition. I sincerely doubt that will change.

Summer Hold-Overs

“The Help”
“Midnight in Paris”
“The Tree of Life”

Alt: “Harry Potter and the Deathly Hallows Part 2”

War Horse

So we have six. This leaves us with the possibility of yet another four. Here’s where things get particularly tricky as we explore a great deal of unknowns. The general consensus has placed Steven Spielberg’s War Horse as the one to beat, and quite honestly, it’s not hard to see why. It’s a period piece, set against the backdrop of a war, with Spielberg at its helm. I talked about it being someone’s time earlier in this piece, and if anything, this season seems to be geared toward rewarding Spielberg yet again – his time seems to be here yet again.

Remaining amongst the unknowns include Clint Eastwood’s J. Edgar. I’m hesitant to lobby for Eastwood’s place in the Academy’s circle, particularly given that he has been largely shut out of the larger awards for the past few years with Invictus, Changling, and Gran Torino. But then again, so has Woody Allen, and Midnight in Paris was a return to form, so it’s hard to make such blanket statements with no word on the actual quality of the film.

Jason Reitman’s Young Adult is bypassing the festival circuit entirely, leaving one to question where the film stands at all. It’s written by Diablo Cody, which begs more questions than answers. Reitman’s previous two films have garnered directorial and Best Picture nominations, which lends itself to the same logic that has people believing that Stephen Daldry’s Extremely Loud and Incredibly Close is a lock for a nomination. My take: neither film will make much of an impact come nomination time, but if there’s one that might, I’d go with Reitman’s film.

A big question mark that remains in the Oscar season and one that I sense could truly make a play that pundits are ignoring, is Martin Scorsese’s Hugo. The trailer displays incredible detail in the craft department, though there certainly seems to be a nostalgic essence to the film that could resonate with voters. Again, like with War Horse, J. Edgar, Young Adult, and Extremely Loud and Incredibly Close, we’re in a wait and see mode with these films, but the possibility definitely seems there.

The Unknowns

“War Horse”
“J. Edgar”
“Young Adult”
“Extremely Loud and Incredibly Close”

And that concludes my first column of what I hope will be a weekly column that looks at the Oscar race. In the meantime, the site will be going through periodic updates as I attempt to create a more interactive and in-depth Academy Award interface. The focus of the site will still remain on my reviewing of the films I see (with a new post coming soon) but hopefully I’ll be able to supplement that with my own obsessive thoughts on the Oscar race.

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Post by Admin on Fri Sep 23, 2011 5:39 pm

TIFF 2011 Roundup: Seven films that we think are bound for box office (or critical) success

For the regular folk in Toronto, TIFF is primarily a time for star spotting, catching films that might not be seen otherwise and soaking up a kind of glitz and glamour that is otherwise rarely seen in Hogtown. But for the film industry, TIFF is big business—it’s where movies get big distribution deals and money (lots of it) exchanges hands. Over 30 titles were picked up from this year’s film festival, and more deals are surely on the way. We picked seven that we think are likely to be good investments, after the jump.

1. Shame
Fox Searchlight, an arm of 20th Century Fox, decided that fortune favours the bold, making the graphic tale of a depressed sex addict the first film picked up at TIFF. It was a shrewd buy: Michael Fassbender’s performance has been getting great reviews just about everywhere.

2. Wuthering Heights
Oscilloscope Laboratories has acquired rights to bring the updated version of Emile Brontë’s novel to the silver screen in North America. Sure, there will be groans from English students everywhere, but this latest, raw adaptation has been well received, winning the cinematography award at the Venice Film Festival. The company envisions a 2012 theatrical release.

3. God Bless America
The black comedy sees a middle-aged man and a teenage girl become serial killers, purging the land of morons and vapid pop-culture icons. We’re told that creator Bobcat Goldthwait was extremely daring with the current cut, but that didn’t stop Magnolia Pictures from grabbing worldwide rights. A 2012 theatrical release is in the works through its video-on-demand program.

4. The Hunter
This man-versus-nature story follows a mercenary as he tries to hunt down the last Tasmanian tiger. He’s supposed to soften as a character along the way, but given that the film stars Willem Dafoe, we’re not buying it. While critics have been applauding his performance, the lush environment and thoughtful cinematography are getting most of the praise. Magnolia Pictures owns U.S. rights, and plans to release the film next year through its video-on-demand program. EOne Films is handling the Canadian release.

5. The Oranges
Like several other TIFF films, The Oranges centres on an unorthodox romance that destroys the lives of everyone within its range of influence—thank goodness this one’s a comedy, with a widely lauded cast. ATO Pictures has picked up North American rights.

6. Trishna
This tragic and complicated love story, starring Slumdog Millionaire’s Freida Pino, is an Indian retelling of the Victorian novel Tess of the D’Ubervilles. Unlike, say, Thriller, we’re told Trishna transitions east extremely well. Sundance Selects (a sister division to IFC Films) picked up North American rights, with Bankside Films handling international distribution.

7. The Deep Blue Sea
This English post-war flick focuses on an alienated and neurotic woman as she makes increasingly desperate gambles for love. Critics are calling it tense and immersive, but we’re distraught by the lack of Samuel L. Jackson and mutant sharks. Music Box beat out at least three other bidders for U.S. rights.

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Post by Admin on Tue Sep 27, 2011 3:44 pm

Stars with multiple roles in the Oscar race
Take Shelter, Jessica Chastain, Ralph Fiennes, Michael Fassbender, George Clooney, Shame, Drive, Coriolanus, The Ides of March, The Help, Moneyball, A Dangerous Method, Brad Pitt, The Tree of Life, Kate Winslet, Michael Shannon, Martin Scorsese, Clint Eastwood, Naomi Watts, Nicole Kidman, Sean Penn, Ryan Gosling, Matt Damon, Leonardo DiCaprio, Mark Wahlberg, Academy Awards, Film, Oscars, Oscars 2011 Nominations - Best Actor, Oscars 2011 Nominations - Best Supp. Actor, Oscars 2011 Nominations - Best Supp. Actress
By Daniel Montgomery
Sep 23 2011 | 13:33 pm

Brad Pitt has the potential to be nominated for two Oscars this year: one for his acclaimed starring role in "Moneyball," and another in the supporting race for "The Tree of Life." But Pitt is in an enviable position; his role in "Moneyball" is clearly a leading performance, while in "The Tree of Life" his more limited screentime – the story is divided between him, his wife, his sons, the cosmos, and a couple of dinosaurs – makes a Best Supporting Actor campaign easy to justify.

Can Leo DiCaprio ("J. Edgar") finally win an Oscar? What about directors David Fincher ("Girl with the Dragon Tattoo") or Stephen Daldry ("Extremely Loud and Incredibly Close")? Give us your Oscar predictions now. Make changes later. Win badges and glory!

But what happens when an actor has multiple eligible performances vying in the same category? Academy rules dictate that only one performance may be nominated per category, which means actors and awards campaigners must make difficult decisions, or else do some fancy footwork.

Pitt's wife in "The Tree of Life" is played by Jessica Chastain, who seems to have a major role in every other film being touted in this year's Oscar derby. The 30-year-old actress also appears as an outcast Southern belle in "The Help," Michael Shannon's wife in "Take Shelter," Virgilia in Ralph Fiennes's update of Shakespeare's "Coriolanus," and a Mossad agent in "The Debt." If we rule out her arguably lead performance in "The Debt" – which is probably an Oscar nonstarter anyway – that leaves her with four supporting performances to choose from.

Michael Fassbender has a pair of leading roles competing for awards attention. "A Dangerous Method" looks good on paper; Fassbender plays famed psychologist Carl Jung, and Oscar voters are suckers for actors in biopics (six of the last ten Best Actor winners have played real people). Otherwise, he could be nominated for "Shame," a controversial film whose explicit sexual content may turn off the usually conservative Academy, but it's the kind of audacious performance that could inspire passionate support.

Ryan Gosling earned a Best Actor nomination five years ago for "Half Nelson." This year he could be nominated either for playing a reluctant getaway driver in "Drive" or a conflicted campaign manager in George Clooney's "The Ides of March." The latter film may be his better option; "Ides" is likelier to be nominated for Best Picture, and that is usually the safer bet for an acting nomination.

All three actors would do well to consider the outcomes for other actors who recently faced the same dilemma:

Nicole Kidman, 2001: Many thought she gave the superior performance in the haunted-house thriller "The Others," but "Moulin Rouge" was the film with greater overall support that awards season. She received Golden Globe nominations for both films, but Oscar voters preferred her work in "Moulin Rouge," which earned eight total nominations including Best Picture. Though she lost her Best Actress bid to Halle Berry ("Monster's Ball"), Kidman won the following year for playing author Virginia Woolf in "The Hours."

Billy Bob Thornton, 2001: For a while, it seemed like his stronger film was the Coen Brothers' black-and-white film noir "The Man Who Wasn't There," which won the directing prize at Cannes and earned a Best Picture bid at the Golden Globes, but perhaps his focus should have been "Monster's Ball," which won his co-star Berry an aforementioned Best Actress Oscar. "The Man Who Wasn't There" ended up with only a cinematography nomination, and Thornton was not nominated for either role.

Sean Penn, 2003: That year, he starred in both Alejandro Gonzelez Inarritu's "21 Grams" and Clint Eastwood's "Mystic River," both of which were major Oscar contenders, but Penn fared better than Thornton did two years earlier. "21 Grams" earned acting nominations for Naomi Watts and Benicio Del Toro, while "Mystic River" was nominated for Best Picture and won Penn his first Oscar for Best Actor.

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Jamie Foxx, 2004: He actually played the lead role in Michael Mann's thriller "Collateral," but at the time he lacked the star-power of his co-star Tom Cruise, who gave the showier performance as a psychotic hitman and got top billing. As a result, Foxx earned a Best Supporting Actor nomination for the film, clearing the way for him to win Best Actor for his role as singer Ray Charles in the biopic "Ray."

Leonardo DiCaprio, 2006: He adopted an African accent to play a smuggler in "Blood Diamond," but he also had the lead role in Martin Scorsese's gangster epic "The Departed." Because "The Departed" had a large ensemble cast (including Matt Damon and Jack Nicholson), he gambled on a supporting-actor campaign. He ended up with a Best Actor nod for "Blood Diamond" (which he lost to Forest Whitaker for "The Last King of Scotland"), but not only was he not nominated for "The Departed," neither were Damon or Nicholson. The film's only acting nominee was Mark Wahlberg; did category confusion get in the way?

Kate Winslet, 2008: Like DiCaprio, she tried to campaign one of her lead performances in the supporting category, but Oscar voters didn't take the bait. She aimed for a Best Actress nomination for the domestic drama "Revolutionary Road" and a Best Supporting Actress bid as an illiterate German on trial for war crimes in "The Reader." The strategy worked for a while; she won twice at the Golden Globes and received nominations for both at the SAG Awards (winning for "The Reader"). But at Oscar time the Academy rejected her performance in "Revolutionary Road" altogether and instead gave her a Best Actress nod for "The Reader," and after five previous nominations, she finally won.

Leonardo DiCaprio, 2010: Poor Leo. It happened again to the actor just last year, when he gave strong performances in Martin Scorsese's psychological thriller "Shutter Island" and Christopher Nolan's sci-fi action drama "Inception." But the earlier film was regarded mostly as a genre exercise by Scorsese, and despite its box office success its February release left it a distant memory by the time Academy voters got their ballots. And though "Inception" was nominated for Best Picture, the mind-bending film was considered more an achievement in writing and directing than acting. DiCaprio was snubbed for both films.

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2012 Awards discussion - Page 2 Empty Re: 2012 Awards discussion

Post by Admin on Wed Oct 05, 2011 4:57 pm

Oscarologists sort out a crowded race for Best Actor nominations
Jean Dujardin, Woody Harrelson, Ralph Fiennes, Gary Oldman, Joseph Gordon Levitt, Michael Fassbender, George Clooney, Win Win, Rampart, Tinker Tailor Soldier Spy, The Rum Diary, The Artist, Shame, 50 50, Drive, Coriolanus, The Ides of March, The Descendants, Take Shelter, Moneyball, J. Edgar, A Dangerous Method, Brad Pitt, The Tree of Life, Michael Shannon, Ryan Gosling, Johnny Depp, Leonardo DiCaprio, Paul Giamatti, Academy Awards, Film, Oscars, Oscars 2011 Nominations - Best Actor
By Daniel Montgomery
Oct 01 2011 | 12:47 pm

Best Actor is one of this year's most crowded Oscar races, so much so that just getting nominated may prove as difficult as winning, with upwards of a dozen viable candidates in the running. As reported earlier, three-time nominee Leonardo DiCaprio is the favorite to win for his work in "J. Edgar," which has yet to screen for audiences or the press. He's currently given field-leading 13/8 odds to win.

But Gold Derby's Inside Track measures more than just who will win. It also calculates the likelihood of being nominated, based on how many of our Oscarologists place him in their top-five lists of most probable contenders. By that measure, DiCaprio is still out front. All of Gold Derby's Editors, and the vast majority of Experts and Users expect DiCaprio to make the Best Actor shortlist, giving him overwhelming 1/10 odds of receiving his fourth Academy Award nomination.

Three other major stars currently populate the top five on the Inside Track: George Clooney for "The Descendants" (2/13), Brad Pitt for "Moneyball" (8/11), and Gary Oldman for "Tinker, Tailor, Soldier, Spy" (4/5). Also in the hunt, though, is a relative unknown: French actor Jean Dujardin, who earned raves for "The Artist" when it premiered earlier this year at the Cannes Film Festival, where he won the Best Actor prize. He's given 8/13 odds of being nominated in Oscar's equivalent race.

But several other actors are knocking on the door. Ryan Gosling has a pair of performances in the running. He has distant 33/1 odds of being nominated for "Drive," but Oscarologists give him strong 12/5 odds of making the lineup for "The Ides of March." Michael Fassbender also has a pair of films in contention. He gets 12/1 odds for the historical drama "A Dangerous Method," in which he plays psychologist Carl Jung. But he gets better odds (7/2) for his performance as a sex addict in "Shame."

Woody Harrelson, a previous Best Actor nominee for "The People vs. Larry Flynt" (1996) and a Best Supporting Actor nominee for "The Messenger" (2009), could contend again as a renegade cop in "Rampart," which was recently acquired for distribution by Millennium Entertainment, but he'll have to overcome steep 10/1 odds.

MAKE YOUR OSCAR PREDICTIONS: Will Ryan Gosling be nominated for Best Actor?

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Other actors farther back in the race are Joseph Gordon-Levitt in "50/50" (16/1), Paul Giamatti in "Win Win" (16/1), Ralph Fiennes in "Coriolanus" (25/1), Johnny Depp in "The Rum Diary" (25/1), and Michael Shannon in "Take Shelter" (25/1), but the race is far from over. Expect momentum to shift as the season progresses and additional films are released to the public. You too can affect the race just by making predictions. Is the Inside Track on the right track? Or have we got it all wrong?

For the complete list of contenders, CLICK HERE. The current rankings are as follows:


1.) Leonardo DiCaprio, "J. Edgar" – 1/10
2.) George Clooney, "The Descendants" – 2/13
3.) Jean Dujardin, "The Artist" – 8/13
4.) Brad Pitt, "Moneyball" – 8/11
5.) Gary Oldman, "Tinker, Tailor, Soldier, Spy" – 4/5
6.) Ryan Gosling, "The Ides of March" – 12/5
7.) Michael Fassbender, "Shame" – 7/2
8.) Brad Pitt, "The Tree of Life" – 4/1
9.) Woody Harrelson, "Rampart" – 10/1
10.) Michael Fassbender, "A Dangerous Method" – 12/1

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2012 Awards discussion - Page 2 Empty Re: 2012 Awards discussion

Post by Admin on Sun Oct 09, 2011 8:50 pm

10/7/11 at 2:00 PM

Oscar Futures: Playing Horse and Moneyball

By Kyle Buchanan

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Every week between now and January 24, when the nominations are announced, movies and stars will help themselves — or sometimes, hurt themselves — in the Oscar race. Vulture's Oscar Futures will listen for insider gossip, comb the blogs, and out-and-out guess when necessary to track who's up, who's down, and who's currently leading the race for a coveted nomination.

Best Picture UP: Moneyball. The movie continues to hang on nicely after having all of September virtually to itself in terms of press coverage, critical acclaim, and box office. At this point, it's got the beachhead it needed. DOWN: The Ides of March. Harvey Weinstein raved about it, but the movie isn't considered to be front-runner competition. Even George Clooney seemed skeptical of Harv's hosannas. "He's got a plan, doesn't he?" Clooney fretted to us. "He's trying to set me up somehow."
CURRENT PREDIX: The Artist; The Descendants; Extremely Loud and Incredibly Close; The Help; J. Edgar; Midnight in Paris; Moneyball; Tinker, Tailor, Soldier, Spy; War Horse

Best Director UP: Steven Spielberg (War Horse). The full trailer makes the movie look like a can't-miss cross between E.T. and Saving Private Ryan, as unlikely as that sounds. DOWN: Angelina Jolie (In the Land of Blood and Honey). It's still super under the radar, but Jolie's Bosnian war drama has screened, though it hasn't seemed to move any Oscar prognostication needles yet.
CURRENT PREDIX: Woody Allen (Midnight in Paris); Stephen Daldry (Extremely Loud and Incredibly Close); David Fincher (The Girl With the Dragon Tattoo); Michael Hazanavicious (The Artist); Steven Spielberg (War Horse)
Best Actor UP: Michael Fassbender (Shame). How hot has this rising star been at the New York Film Festival? "Women in lobby stomping feet, screaming after mtg Michael Fassbender just now," tweeted the Film Society, adding, "2 guys escorted out also." DOWN: Leonardo DiCaprio (J. Edgar). Is the new poster actually trying to dampen our interest?
CURRENT PREDIX: George Clooney (The Descendants); Leonardo DiCaprio (J. Edgar); Jean Dujardin (The Artist); Michael Fassbender (Shame); Brad Pitt (Moneyball)
Best Actress UP: Charlize Theron (Young Adult). In this week's trailer battle, Theron's intriguing bad girl came out ahead. DOWN: Michelle Williams (My Week With Marilyn). Meanwhile, Michelle's Marilyn didn't benefit from a two-minute teaser. We'll know more when the movie screens this weekend.
CURRENT PREDIX: Glenn Close (Albert Nobbs); Viola Davis (The Help); Meryl Streep (The Iron Lady); Charlize Theron (Young Adult); Rooney Mara (The Girl With the Dragon Tattoo)
Best Supporting Actor UP: Corey Stoll (Midnight in Paris). This category is crying out for someone under 40, so why not the terrific Stoll, who's been working the awards circuit all week to promote his turn as Ernest Hemingway? DOWN: Nick Nolte (Warrior). If young bucks like Stoll or J. Edgar's Armie Hammer make a late charge for Oscar, Warrior's weak box office may make Nolte the most expendable.
CURRENT PREDIX: Kenneth Branagh (My Week With Marilyn); Albert Brooks (Drive); Nick Nolte (Warrior); Christopher Plummer (Beginners); Max von Sydow (Extremely Loud and Incredibly Close)
Best Supporting Actress UP: Octavia Spencer (The Help). Proving she's no one-hit wonder, Spencer just booked a role in the directorial debut of Oscar winner Diablo Cody. DOWN: Emily Watson (War Horse). Some have speculated that Watson will deliver strong stuff in this movie, but in the new trailer, she's eclipsed by running horses and crying little girls.
CURRENT PREDIX: Sandra Bullock (Extremely Loud and Incredibly Close); Jessica Chastain (The Help); Melissa McCarthy (Bridesmaids); Vanessa Redgrave (Coriolanus); Octavia Spencer (The Help)


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2012 Awards discussion - Page 2 Empty Re: 2012 Awards discussion

Post by Admin on Sat Oct 22, 2011 2:38 am

Nudity, Three-Ways, Hints of Incest: A Studio's Plan to Sell 'Shame' to Oscar
12:06 PM PDT 10/20/2011 by Pamela McClintock

Abbot Genser/Fox Searchlight Pictures
Fox Searchlight's controversial and shocking film, directed by Steve McQueen, reveals its battle to de-stigmatize the NC-17 rating.

This article first appeared in the Oct. 28 issue of The Hollywood Reporter.
our editor recommends
The Dirty Dozen: Films that Narrowly Avoided an NC-17
Michael Fassbender, Carey Mulligan Seduce in 'Shame' International Trailer (Video)
Telluride 2011: Sex and Psychoanalysis in 'Shame' and 'A Dangerous Method'
'Shame' First Look: Teaser Poster for Fox Searchlight's Controversial Film (Exclusive)
Who Will Take a Chance on Michael Fassbender's Sex-Drenched, Gruesome 'Shame'? (Analysis)

When Nancy Utley emerged from a screening of Shame at the recent Telluride Film Festival, she didn't stop shaking for 10 minutes. The president of Fox Searchlight was that affected by British director Steve McQueen's raw portrayal of a sex addict, played by Michael Fassbender.

PHOTOS: The Dirty Dozen: Films That Narrowly Avoided an NC-17

"I thought that we have to be a part of this and make sure this movie gets seen," recalls Utley.

Steve Gilula, Searchlight's other president, saw Shame soon after and agreed. Several days later, Searchlight announced it was acquiring U.S. rights to the movie, sending shock waves through the film industry.

PHOTOS: Telluride Film Festival: 12 Films to Know

Shame is guaranteed to receive an NC-17 rating for its graphic sexual content when it is submitted to the Classification and Rating Administration. And while Searchlight might have one of the best records in the industry in terms of marketing expertise and box-office standing -- last year, the company turned Black Swan into an unlikely commercial hit and awards winner -- it will have to overcome the incredible stigma that still surrounds the NC-17 rating as it sells the film to awards voters and moviegoers.

Set in New York City, Shame chronicles the harrowing desperation of a sex addict. When his sister, played by Carey Mulligan, moves in with him, emotions run even higher because she has sex problems of her own. The movie has frontal nudity, group sex and gay sex, not to mention plenty of straight sex. There are also hints of previous incest between the siblings and a grisly suicide attempt.

PHOTOS: Hollywood's New Leading Ladies

Hollywood is in agreement that Shame, also starring James Badge Dale, represents the most important moment in years for the ghettoized NC-17 rating. Translated, the rating means "patently adult. No children allowed," according to the Motion Picture Association of America, which runs the ratings program with the National Association of Theatre Owners. Technically speaking, the rating means no children under 17 allowed, period.

Shame is destined to push the boundaries of what's acceptable in the eyes of American moviegoers, as well as the willingness of theater owners to carry such fare and advertisers to carry promos for the movie.

"I think NC-17 is a badge of honor, not a scarlet letter. We believe it is time for the rating to become usable in a serious manner," says Gilula. "The sheer talent of the actors and the vision of the filmmaker are extraordinary. It's not a film that everyone will take easily, but it certainly breaks through the clutter and is distinctive and original. It's a game changer."

VIDEO: Michael Fassbender, Carey Mulligan Seduce in 'Shame' Trailer

Distributors are notoriously closemouthed when it comes to revealing their marketing strategies, but Gilula and Utley were willing to disclose certain aspects of their campaign for Shame with THR.

The early push for Shame will rely heavily on glowing reviews and the publicity surrounding its successful festival tour -- including a win at Venice for best actor and buzz-filled stops at San Sebastian, Telluride, Toronto, New York and, most recently, the London Film Festival.

"We don't need a mass-media tool to get the word out on the film, at least not initially," says Utley.


And because Shame will expand slowly after opening in only a few theaters on Dec. 2, most likely in New York and Los Angeles, Searchlight won't have to rely on major newspaper ad buys outside of those cities.

Advertising an NC-17 title on television can be another hurdle, depending on the policy of a particular station. Even if the content of an ad is appropriate for a range of audiences, a station probably won't play it until later in the evening.

In terms of trailers, Searchlight plans to play a Shame trailer rated for all audiences before R-rated films. U.K.-based distributor Momentum released the international trailer for the film Oct. 14, and it highlights Shame's more erotic moments.

STORY: Sex Sells at Toronto Film Festival

Searchlight is also banking on awards-season attention to boost Shame's standing. The company is planning an ambitious campaign for best picture, director, actor, supporting actress, cinematography and original screenplay. But selling the film to Academy, Golden Globe and guild voters could prove tricky.

One veteran awards consultant says keeping older voters in their seats will be a challenge.

"Shame is thought-provoking and incredibly well-acted. It's also littered with the rawest sex you've ever seen in a non-pornographic movie," says the consultant. "But the sex isn't gratuitous and is designed to show the disintegration of the character."

As Focus Features CEO James Schamus puts it: "It gets really bad, and then it starts all over again. I loved it, and a good movie should be able to have these images."

That's exactly the sort of discussion on which Gilula and Utley are counting.

"I know the race is uncertain right now, and a lot of the films haven't been seen, but we certainly think the movie and its performances deserve attention," says Utley. "We hope we build up enough noise about the movie so that people feel it's part of their job to watch it."

Adds Gilula: "I think Shame's profile will pique people's curiosity. I'm optimistic this will be a significant film and change the attitude of people toward this kind of subject matter."

When they shopped Shame to U.S. buyers, producers Iain Canning and Emile Sherman made it clear that they wouldn't allow McQueen's film to be edited to secure an R rating in the U.S. Together, the men run the London- and Sydney-based See-Saw Films, which produced last year's Oscar-winning The King's Speech. They and Speech director Tom Hooper were unhappy when Harvey Weinstein, who was distributing the film in the U.S., insisted on editing out several uses of the F-word after the R-rated film won the Oscar for best picture in order to secure a PG-13 rating. Weinstein hoped to lure families, a ploy that failed to attract significant extra box-office dollars.

Sherman and Canning, who partnered with the U.K.'s Film4 to finance Shame, knew from the start that McQueen's second feature -- his first was the prison drama Hunger, which also starred Fassbender -- would venture into rather adult territory.

Before he began filming, McQueen had the cast watch Bernardo Bertolucci's sexually charged Last Tango in Paris, the famous X-rated film starring Marlon Brando and French actress Maria Schneider. (A little-known fact: McQueen was so swept up by Last Tango that he named Fassbender's character Brandon, a variation on Brando.)

Released in January 1973, Last Tango belongs to a tiny class of titles released before the X rating -- the forerunner of today's NC-17 -- was co-opted by the porn industry.

Last Tango came in the wake of Midnight Cowboy, which opened in May 1969, only six months after then-MPAA president Jack Valenti established the current ratings system. Cowboy remains the only X-rated or NC-17 movie to score at the Oscars, walking away with trophies for best picture, director and adapted screenplay.

The X rating was intended to signal adult content, but the MPAA didn't copyright the rating -- a fact Valenti would come to regret as pornographic films began using the X, then triple X, as a come-on. With the rating tarnished, Hollywood studios and the larger independent distributors began avoiding it at all costs. And if a film did receive an X for sex or violence, distributors made whatever edits were needed to get an R out of fear that theater owners and the public would steer clear of their product.

In 1990, Valenti moved to establish a new adults-only rating by retiring the X and replacing it with NC-17. Two weeks later, Universal's Henry & June opened in theaters with the new classification. But despite great reviews and an eventual Oscar nomination for best cinematography, the film topped out at $11.6 million domestically as the stigma associated with the X rating quickly transferred to NC-17.

Since then, nearly all the big studios have stayed away from NC-17. Just as before, they force filmmakers to make cuts to ensure an R. The one exception was Showgirls, which MGM released in 1995. Although Showgirls is the top-grossing NC-17 rated film of all time at the domestic box office, it earned only $20.4 million.

However, some of the studio specialty divisions have sporadically tried to release an NC-17 film. Searchlight tried it with Bertolucci's The Dreamers, Sony Pictures Classics with Pedro Almodovar's Bad Education and Focus more recently with Ang Lee's 2007 Chinese-language film Lust, Caution. All three received the restrictive rating for their sexual content. Bad Education fared the best, grossing $5.2 million domestically, while Dreamers turned up an even-softer $2.5 million.

Utley says the Internet, still in its infancy when Dreamers was released in the U.S. in February 2004, should make a difference this time. "It will be pretty easy for us to create noise about Shame by releasing materials online," she says. "The communities that would support this type of movie are much more organized than when we released Dreamers."

Getting attention is one thing; getting exhibitors to play an NC-17 title is another. When Lust, Caution was released in 2007, AMC Entertainment and Regal Entertainment both booked it, but Cinemark -- the third-largest circuit in the U.S. behind AMC and Regal -- refused to play it in any of its theaters.

"I didn't feel bold and daring about it, but we did face a very large marketing headwind," recalls Schamus, who is Lee's longtime collaborator and wrote the screenplay for Lust, Caution.

"Lust, Caution was a Chinese-language movie, so it wasn't really for American audiences, but it was a massive hit in Asia," he adds. "To a large extent, the NC-17 rating is untested. It would be nice if the rating meant, 'Hey, there's a certain amount of sexual material, but it's a movie, so go see it if you want.' "

The fact remains that sex -- or at least, a movie with overt sexuality -- plays better abroad than in the U.S. Lust, Caution earned $62.5 million internationally, including $17.1 million in China and $13.1 million in South Korea. It also did relatively well in Europe.

"In the U.K., we don't have the same issues as in the U.S.," says Xavier Marchand, managing director at Momentum, which has a first-look deal with See-Saw and boarded Shame early on.

"Shame will get an 18 rating in the U.K. [no one under 18 allowed], but there's no stigma attached," he adds, noting that Momentum is planning a major BAFTA push. "I'm not sure why Americans are like this. There's nothing mysterious about sex. I think it's great Searchlight is taking on the challenge. From what I hear, certain cinemas won't play a movie in the U.S. because of its sexual nature."

Not true, though, says NATO president John Fithian.

"The myth that we won't play them is wrong. We've surveyed 100 of our leading members, and 97 percent say they will play an NC-17 film if the movie has commercial appeal," he says. "The second myth is that you can't advertise in newspapers. Again, that's not true on a widespread basis, though I think one newspaper in Utah doesn't."

Gilula backs up Fithian, saying Searchlight was able to book all the theaters it needed for Dreamers.

And Fithian in turn applauds Searchlight's acquisition of a title the distributor knows will get an NC-17 rating.

"For the vitality of the ratings system, we want movies to be released as an NC-17," he says. "The other option, which happens all the time, is that companies trim and try to squeeze their film into the R category."

Last year, Weinstein -- in another of his ratings battles --fought the NC-17 rating bestowed on awards contender Blue Valentine for a scene depicting oral sex between Ryan Gosling and Michelle Williams' characters. Weinstein won, in this case without having to make cuts.

Edits or not, there's no going down the same road for Searchlight. "We accepted the fact we would release Shame as is. The truth is, NC-17 is a legitimate rating that tells people it's not a movie for kids under 18. We're fine with that," says Gilula. "The subject matter of Shame is sexual addiction, and it can only be told in this way."

Adds Fox Filmed Entertainment chairman and CEO Jim Gianopulos: "This is a brilliant work by a gifted director with extraordinary and brave acting performances. The rating is both appropriate and necessary given the content."


Showgirls (1995) $20.4 million
Henry & June (1990) $11.6 million
The Cook, The Thief, His Wife her Lover (1990) $7.7 million
Bad Education (2004) $5.2 million
Lust, Caution (2007) $4.6 million
Tie Me Up! Tie Me Down! (1990) $4.1 million
The Dreamers (2004) $2.5 million
Crash (1997) $2.1 million
Bad Lieutenant (1992) $2 million
Wide Sargasso Sea (1993) $1.6 million


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2012 Awards discussion - Page 2 Empty Re: 2012 Awards discussion

Post by Admin on Mon Oct 31, 2011 11:19 pm

1 day
3:38 PM PDT 10/30/2011 by Scott Feinberg

The Artist (The Weinstein Company, 11/23, TBA, trailer)
War Horse (Disney, 12/25, TBA, teaser)
Extremely Loud and Incredibly Close (Warner Brothers, 12/25, TBA, trailer)
The Descendants (Fox Searchlight, 11/23, R, trailer)
Moneyball (Columbia, 9/23, TBA, trailer)
The Help (Disney, 8/12, PG-13, trailer)
Midnight in Paris (Sony Pictures Classics, 5/20, PG-13, trailer)
J. Edgar (Warner Brothers, 11/11, R, trailer)
The Girl With the Dragon Tattoo (Sony, 12/21, TBA, trailer)
Shame (Fox Searchlight, 12/2, NC-17, trailer) ▲
Major Threats
The Tree of Life (Fox Searchlight, 5/27, PG-13, trailer)
The Ides of March (Sony, 10/14, TBA, trailer)
50/50 (Summit, 9/30, R, trailer) ▲
The Iron Lady (The Weinstein Company, 12/21, TBA, teaser)
Harry Potter and the Deathly Hallows -- Part 2 (Warner Brothers, 7/15, PG-13, trailer) ▲
The Adventures of Tintin (Paramount, 12/21, TBA, trailer) ▲
Tinker, Tailor, Soldier, Spy (Focus Features, 12/9, TBA, trailer)
Drive (FilmDistrict, 9/16, R, trailer)
We Bought a Zoo (20th Century Fox, 12/23, TBA, trailer)
Young Adult (Paramount, 12/9, TBA, trailer)
Hugo (Paramount, 11/23, TBA, trailer)
Super 8 (Paramount, 6/10, PG-13, trailer)
My Week With Marilyn (The Weinstein Company, 11/23, R, trailer)
Carnage (Sony Pictures Classics, 12/16, R, trailer)
In the Land of Blood and Honey (FilmDistrict, 12/23, TBA, TBA)

Michel Hazanavicius (The Artist)
Steven Spielberg (War Horse)
Stephen Daldry (Extremely Loud and Incredibly Close)
Alexander Payne (The Descendants)
Woody Allen (Midnight in Paris)
Major Threats
Bennett Miller (Moneyball)
Clint Eastwood (J. Edgar)
David Fincher (The Girl with the Dragon Tattoo)
Terrence Malick (The Tree of Life)
Tate Taylor (The Help)
Steve McQueen (Shame) ▲
George Clooney (The Ides of March) ▼
Phyllida Lloyd (The Iron Lady)
Steven Spielberg (The Adventures of Tintin) ▲
Nicolas Winding Refn (Drive)
Roman Polanski (Carnage)
Jonathan Levine (50/50) ▲
Cameron Crowe (We Bought a Zoo)
Jason Reitman (Young Adult)
Tomas Alfredson (Tinker, Tailor, Soldier, Spy)
Martin Scorsese (Hugo)
David Yates (Harry Potter and the Deathly Hallows -- Part 2) ▲

Brad Pitt (Moneyball)
Jean Dujardin (The Artist)
George Clooney (The Descendants)
Leonardo DiCaprio (J. Edgar)
Michael Fassbender (Shame)
Major Threats
Joseph Gordon-Levitt (50/50) ▲
Owen Wilson (Midnight in Paris)
Daniel Craig (The Girl with the Dragon Tattoo)
Jeremy Irvine (War Horse)
Woody Harrelson (Rampart)
Gary Oldman (Tinker, Tailor, Soldier, Spy)
Ryan Gosling (The Ides of March)
Ryan Gosling (Drive)
Michael Shannon (Take Shelter)
Paul Giamatti (Win Win)
Demian Bichir (A Better Life)
Thomas Horn (Extremely Loud and Incredibly Close)
Anton Yelchin (Like Crazy)
Rhys Ifans (Anonymous)
Matt Damon (We Bought a Zoo)
Michael Fassbender (A Dangerous Method) ▼

Viola Davis (The Help)
Michelle Williams (My Week with Marilyn)
Meryl Streep (The Iron Lady)
Glenn Close (Albert Nobbs)
Rooney Mara (The Girl with the Dragon Tattoo)
Major Threats
Elizabeth Olsen (Martha Marcy May Marlene)
Charlize Theron (Young Adult)
Keira Knightley (A Dangerous Method)
Tilda Swinton (We Need to Talk About Kevin)
Michelle Yeoh (The Lady) ▲
Felicity Jones (Like Crazy)
Mia Wasikowska (Jane Eyre)
Kirsten Dunst (Melancholia)
Ellen Barkin (Another Happy Day)
Rachel Weisz (The Whistleblower)
Vera Farmiga (Higher Ground)
Adepero Oduye (Pariah)

Christopher Plummer (Beginners)
Max von Sydow (Extremely Loud and Incredibly Close)
Jim Broadbent (The Iron Lady)
Kenneth Branagh (My Week with Marilyn)
Tom Hanks (Extremely Loud and Incredibly Close)
Major Threats
Brad Pitt (The Tree of Life)
Albert Brooks (Drive)
Armie Hammer (J. Edgar)
Nick Nolte (Warrior)
Jonah Hill (Moneyball)
Christoph Waltz (Carnage) NEW
John C. Reilly (Carnage) NEW
John Hawkes (Martha Marcy May Marlene)
George Clooney (The Ides of March) ▼
Jeffrey Wright (Extremely Loud and Incredibly Close)
Patton Oswalt (Young Adult)
Viggo Mortensen (A Dangerous Method)
Andy Serkis (Rise of the Planet of the Apes)
Ezra Miller (We Need to Talk About Kevin)

Berenice Bejo (The Artist)
Octavia Spencer (The Help)
Vanessa Redgrave (Coriolanus)
Shailene Woodley (The Descendants)
Carey Mulligan (Shame)
Major Threats
Jessica Chastain (The Help)
Sandra Bullock (Extremely Loud and Incredibly Close)
Judi Dench (J. Edgar)
Judy Greer (The Descendants) ▲
Emily Watson (War Horse)
Jessica Chastain (The Tree of Life)
Melissa McCarthy (Bridesmaids) ▲
Evan Rachel Wood (The Ides of March)
Naomi Watts (J. Edgar)
Janet McTeer (Albert Nobbs)
Jodie Foster (Carnage) NEW
Kate Winslet (Carnage) NEW
Scarlett Johansson (We Bought a Zoo)

Richard Curtis, Lee Hall (War Horse)
Eric Roth (Extremely Loud and Incredibly Close)
Alexander Payne, Nat Faxon, Jim Rash (The Descendants)
Stan Chervin, Aaron Sorkin, Steven Zaillian (Moneyball)
Tate Taylor (The Help)
Major Threats
Steven Zaillian (The Girl with the Dragon Tattoo)
George Clooney, Grant Heslov (The Ides of March)
Hossein Amini (Drive) ▲
Bridget O'Connor, Peter Straughan (Tinker, Tailor, Soldier, Spy)
Roman Polanski (Carnage)
Pedro Almodovar (The Skin I Live In)
Christopher Hampton (A Dangerous Method)
Cameron Crowe, Aline Brosh McKenna (We Bought a Zoo)
James Ellroy, Oren Moverman (Rampart)
John Logan (Coriolanus)

Michel Hazanavicius (The Artist)
Woody Allen (Midnight in Paris)
Dustin Lance Black (J. Edgar)
Abi Morgan, Steve McQueen (Shame) ▲
Terrence Malick (The Tree of Life)
Major Threats
Will Reiser (50/50) ▲
Abi Morgan (The Iron Lady)
Diablo Cody (Young Adult)
Tom McCarthy, Joe Tiboni (Win Win)
James Ward Byrkit, John Logan, Gore Verbinski (Rango)
Annie Mumolo, Kristen Wiig (Bridesmaids)
Asghar Farhadi (A Separation) ▼
Sean Durkin (Martha Marcy Mae Marlene)
Drake Doremus, Ben York Jones (Like Crazy)
Jeff Nichols (Take Shelter)
Mike Mills (Beginners)
Adrian Hodges (My Week with Marilyn)
J.J. Abrams (Super Cool
Dee Rees (Pariah)

The Adventures of Tintin (Paramount, 12/21, TBA, trailer)
Rango (Paramount, 3/4, PG, trailer)
Happy Feet 2 (Warner Brothers, 11/18, TBA, TBA, trailer)
Cars 2 (Disney, 6/24, TBA, trailer)
Arthur Christmas (Sony, 11/23, TBA, trailer)
Major Threats
Puss in Boots (DreamWorks, 11/4, TBA, trailer)
Rio (20th Century Fox, 4/15, G, trailer)
Alvin and the Chipmunks: Chip-Wrecked (20th Century Fox, 12/11, TBA, TBA)
Winnie the Pooh (Disney, 7/15, G, trailer)
Kung Fu Panda 2 (DreamWorks, 5/26, PG, trailer)
The Smurfs (Sony, 7/29, TBA, trailer)
The Lion of Judah (Animated Family Films, 6/3, TBA, trailer)

The Interrupters (The Cinema Guild, 7/29, TBA, trailer)
Project Nim (Roadside Attractions, 7/8, PG-13, trailer)
Buck (IFC Films, 6/17, PG, trailer)
Senna (Producers Distribution Agency, 8/12, PG-13, trailer)
If a Tree Falls (Oscilloscope, 6/22, TBA, trailer)
Major Threats
Into the Abyss (Sundance Selects, 11/11, TBA, TBA) ▲
Koran by Heart (HBO Documentary Films, TBA, TBA, trailer)
Being Elmo: A Puppeteer's Journey (Submarine Deluxe, TBA, trailer) ▲
Bill Cunningham New York (Zeitgeist Films, 3/16, TBA, trailer)
Hell and Back Again (Docurama Films, 10/5, TBA, trailer)
Page One: Inside the New York Times (Magnolia, 6/24, TBA, trailer)
Tabloid (Sundance Selects, 7/15, R, trailer)
Magic Trip (Magnolia, 8/5, TBA, trailer)
Corman's World: Exploits of a Hollywood Rebel (Anchor Bay Films, 10/16, TBA, trailer)
We Were Here (Red Flag Releasing, 9/?, TBA, trailer)
The Rescuers (Menemsha Films, TBA, TBA, trailer)
The Black Power Mixtape 1967-1975 (Sundance Selects, 9/9, TBA, trailer)
Pearl Jam Twenty (Abramorama, 9/20, R, trailer)
Bobby Fischer Against the World (HBO Documentary Films, TBA, TBA, TBA)
The Whale (Paladin, TBA, TBA, TBA)
The Bully Project (The Weinstein Company, TBA, TBA, trailer)
Revenge of the Electric Car (Westmidwest Productions, TBA, TBA, trailer)
The Greatest Movie Ever Sold (Sony Pictures Classics, 4/22, PG-13, trailer)
Still Seeking Domestic Distribution
Better This World
Bombay Beach
The Carrier

A Separation (Iran)
Where Do We Go Now? (Lebanon)
Le Havre (Finland)
A Simple Life (Hong Kong)
In Darkness (Poland)
Major Threats
Monsieur Lazhar (Canada)
Declaration of War (France)
Footnote (Israel)
Pina (Germany)
Terra Firma (Italy)
Happy, Happy (Norway)
Sonny Boy (Netherlands)
The Flowers of War (China)
Black Bread (Spain)
Postcard (Japan)
Omar Killed Me (Morocco)
The Turin Horse (Hungary)
Once Upon a Time in Anatolia (Turkey)
Montevideo: Taste of a Dream (Serbia)
Morgen (Romania)

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Post by Admin on Tue Nov 01, 2011 11:06 pm

2012 Oscar Predictions
by Peter Knegt (October 31, 2011)
2012 Oscar Predictions
Image courtesy of AMPAS.

indieWIRE will provide regular updates of our predictions for the 84th Academy Award nominations between now and late January, when the nominations are announced. Each week, the update will be supplemented by a weekly awards-related column, which will often work to provide context for the list provided below.

At this point, it looks like a pretty impressive group of folks could be making the rounds this season. Meryl Streep, Brad Pitt, George Clooney, Ryan Gosling, Michelle Williams, Tilda Swinton, Keira Knightley, Leonardo diCaprio, Michael Fassbender, Matt Damon, Sandra Bullock and Viggo Mortensen are all potentially in the mix for the acting races, while a who’s who of name directors have films speculated to be in contention: Steven Spielberg, Martin Scorsese, David Fincher, Stephen Daldry, Clint Eastwood, Woody Allen, Terrence Malick and Alexander Payne.

The predictions below currently feature a variety of the more discussed Oscar categories and will be expanded to feature the rest as the weeks go on.

Best Picture*

1. The Artist
2. The Descendants

Seem Very Likely, But No One’s Seen Yet:
3. War Horse
4. Extremely Loud and Incredibly Close

Reasonable Possibilities:
5. The Help
6. Moneyball
7. Tinker, Tailor, Soldier, Spy
8. Midnight in Paris
9. J. Edgar
10. Young Adult
11. We Bought a Zoo
12. The Tree of Life

Darker Horses at This Point But We Definitely Never Know:
13. The Ides of March
14. The Girl With The Dragon Tattoo
15. Hugo
16. The Adventures of Tin Tin: Secret of the Unicorn
17. Shame
18. Martha Marcy May Marlene
19. Drive
20. In The Land of Blood and Honey

*-Note that anywhere from 5-10 films can now be nominated in this category. indieWIRE is currently predicting 7.

Best Director

1. Michel Hazanavicius, The Artist
2. Alexander Payne, The Descendants

Seem Very Likely, But No One’s Seen Yet:
3. Steven Spielberg, War Horse
4. Stephen Daldry, Extremely Loud and Incredibly Close

Reasonable Possibilities:
5. Woody Allen, Midnight in Paris
6. Terrence Malick, The Tree of Life
7. Clint Eastwood, J. Edgar
8. Tomas Alfredson, Tinker, Tailor, Soldier, Spy
9. Bennett Miller, Moneyball
10. George Clooney, The Ides of March

Darker Horses at This Point But We Definitely Never Know:
11. David Fincher, The Girl With The Dragon Tattoo
12. Jason Reitman, Young Adult
13. Steven Spielberg, The Adventures of Tin Tin
14. Martin Scorsese, Hugo
15. Angelina Jolie, In The Land of Blood and Honey

Best Actor

1. Jean Dujardin, The Artist
2. George Clooney, The Descendants

Seems Very Likely, But No One’s Seen Yet:
3. Leonardo diCaprio, J. Edgar

Reasonable Possibilities:
4. Brad Pitt, Moneyball
5. Michael Fassbender, Shame
6. Gary Oldman, Tinker, Tailor, Soldier, Spy
7. Woody Harrelson, Rampart
8. Matt Damon, We Bought a Zoo

Darker Horses at This Point But We Definitely Never Know:
9. Michael Shannon, Take Shelter
10. Joseph Gordon-Levitt, 50/50
11. Ryan Gosling, The Ides of March
12. Christoph Waltz, Carnage
13. Tom Hardy, Warrior

Unknown Young Actors With Lead Roles In The Year’s Two Biggest Oscar Question Marks (Though Will They Actually Campaign Lead?):
14. Thomas Horn, Extremely Loud and Incredibly Close
15. Jeremy Irvine, War Horse

Best Actress

1. Viola Davis, The Help
2. Michelle Williams, My Week With Marilyn

No One’s Seen Yet, But Who Are We Kidding:
3. Meryl Streep, The Iron Lady

Reasonable Possibilities:
4. Glenn Close. Albert Nobbs
5. Charlize Theron, Young Adult
6. Tilda Swinton, We Need To Talk About Kevin
7. Elizabeth Olsen, Martha Marcy May Marlene
8. Rooney Mara, The Girl With The Dragon Tattoo

Dark Horses at This Point But We Definitely Never Know:
9. Keira Knightley, A Dangerous Method
10. Michelle Yeoh, The Lady
11. Olivia Colman, Tyrannosaur
12. Felicity Jones, Like Crazy
13. Kirsten Dunst, Melancholia
14. Kristin Scott Thomas, Sarah’s Key
15. Zana Marjanović, In The Land of Blood and Honey

Best Supporting Actor

1. Christopher Plummer, Beginners
2. Kenneth Branagh, My Week With Marilyn

All Reasonable Possibilities In a Really Tough Category To Predict Right Now:
3. Albert Brooks, Drive
4. Max Von Sydow, Extremely Loud and Incredibly Close
5. Armie Hammer, J. Edgar
6. Brad Pitt, The Tree of Life
7. Patton Oswalt, Young Adult
8. Viggo Mortensen, A Dangerous Method
9. Nick Nolte, Warrior
10. Jim Broadbent, The Iron Lady

Darker Horses at This Point But We Definitely Never Know:
11. Ezra Miller, We Need To Talk About Kevin
12. Jonah Hill, Moneyball
13. Corey Stoll, Midnight in Paris
14. Christoph Waltz, Carnage
15. David Thewlis, The Lady

Best Supporting Actress

1. Octavia Spencer, The Help
2. Vanessa Redgrave, Coriolanus

Reasonable Possibilities From What We’ve Seen:
3. Shailene Woodley, The Descendants
4. Bérénice Bejo, The Artist

Reasonable Possibilities From What We Haven’t Seen:
5. Sandra Bullock, Extremely Loud and Incredibly Close

Reasonable Possibilities From The Oeuvre of Jessica Chastain:
6. Jessica Chastain, The Help
7. Jessica Chastain, The Tree of Life
8. Jessica Chastain, Take Shelter

Darker Horses at This Point But We Definitely Never Know:
9. Judi Dench, J. Edgar
10. Carey Mulligan, Shame
11. Jodie Foster, Carnage
12. Melissa McCarthy, Bridesmaids
13. Evan Rachel Wood, The Ides of March
14. Janet McTeer, Albert Nobbs
15. Emily Watson, War Horse

Best Original Screenplay

1. Woody Allen, Midnight in Paris
2. Michel Hazanvicius, The Artist

Recent Winners Looking Good To Strike Again (But We Haven’t Seen Their Films Yet)
3. Dustin Lance Black, J. Edgar
4. Diablo Cody, Young Adult

Reasonable Possibilities:
5. Steve McQueen & Abi Morgan, Shame
6. Sean Durkin, Martha Marcy May Marlene
7. Kristen Wiig & Annie Mumulo, Bridesmaids
8. Drake Doremus & Ben York Jones, Like Crazy

Darker Horses at This Point But We Definitely Never Know:
9. Will Reiser, 50/50
10. John Logan, Rango
11. Abi Morgan, The Iron Lady
12. Mike Mills, Beginners
13. Thomas McCarthy & Joe Tibani, Win Win
14. Jeff Nichols, Take Shelter
15. Terrence Malick, The Tree of Life

Best Adapted Screenplay

1. Nat Faxon, Alexander Payne & Jim Rash, The Descendants

Seem Very Likely, But No One’s Seen:
2. Eric Roth, Extremely Loud and Incredibly Close
3. Richard Curtis & Lee Hall, War Horse

Reasonable Possibilities:
4. Bridget O’Connor & Peter Straughan, Tinker, Tailor Soldier Spy
5. Aaron Sorkin & Steven Zaillian, Moneyball
6. George Clooney & Grant Heslov, The Ides of March
7. Cameron Crowe & Aline Brosh McKenna, We Bought a Zoo
8. Steven Zaillian, The Girl With The Dragon Tattoo

Darker Horses at This Point But We Definitely Never Know:
9. Tate Taylor, The Help
10. Joe Cornish, Steven Moffat & Edgar Wright, The Adventures of Tintin
11. Christopher Hampton, A Dangerous Method
12. Rory Kinnear & Lynne Ramsay, We Need To Talk About Kevin
13. Roman Polanski & Yasmina Reza, Carnage
14. Adrian Hodges, My Week With Marilyn
15. John Logan, Hugo

Best Animated Feature*
1. The Adventures of Tintin: The Secret of the Unicorn**
2. Rango
3. Arthur Christmas
4. Happy Feet 2
5. Kung Fu Panda 2
6. Puss in Boots
7. Cars
8. Rio
9. Winnie the Pooh
10. Gnomeo & Juliet

*-Category could feature 3-5 nominees depending on amount of animated features that screen theatrically. indieWIRE is currently predicting 5.
**-“The Adventures of Tintin” may or may not be eligible due to being a motion capture animated film. If it is eligible, expect it to win.

Best Foreign Language Film*
1. Where Do We Go Now? (Lebanon)
2. War Is Declared (France)
3. A Separation (Iran)
4. In Darkness (Poland)
5. Miss Bala (Mexico)
6. Le Havre (Finland)
7. Footnote (Israel)
8. Happy Happy (Norway)
9. Pina (Germany)
10. War of Flowers (China)

*-Notoriously difficult to predict category that currently only features announced official submissions. Predictions will be updated as new submissions are announced.

Best Documentary Feature*
1. Senna
2. Project Nim
3. Hell and Back Again
4. The Interrupters
5. Buck
6. Page One: A Year Inside The New York Times
7. Into The Abyss
8. Tabloid
9. Bill Cunningham New York
10. We Were Here

*-Also a notoriously difficult to predict category, and one with dozens of viable contenders not listed here.

Best Cinematography
1. The Artist
2. The Tree of Life
3. War Horse
4. Tinker, Tailor, Soldier, Spy
5. J. Edgar
6. The Girl With The Dragon Tattoo
7. Hugo
8. Extremely Loud and Incredibly Close
9. Harry Potter and the Deathly Hallows, Part II
10. Moneyball

Best Film Editing
1. War Horse
2. The Artist
3. Tinker, Tailor, Soldier, Spy
4. The Girl With The Dragon Tattoo
5. Extremely Loud and Incredibly Close
6. J. Edgar
7. The Descendants
8. Moneyball
9. The Adventures of Tintin: The Secret of the Unicorn
10. The Tree of Life

Best Art Direction
1. War Horse
2. The Artist
3. Hugo
4. Harry Potter and the Deathly Hallows: Part 2
5. J. Edgar
6. Tinker, Tailor, Soldier, Spy
7. My Week With Marilyn
8. Jane Eyre
9. The Help
10. Anonymous

Best Costume Design
1. The Artist
2. Jane Eyre
3. W.E.
4. Hugo
5. War Horse
6. The Help
7. J. Edgar
8. My Week With Marilyn
9. Tinker, Tailor, Soldier, Spy
10. Midnight in Paris

Best Original Score
1. War Horse
2. The Artist
3. The Ides of March
4. Extremely Loud and Incredibly Close
5. Tinker, Tailor, Soldier, Spy
6. The Adventures of Tintin: The Secret of the Unicorn
7. The Help
8. Moneyball
9. Jane Eyre
10. The Girl With The Dragon Tattoo

Check out indieWIRE‘s latest awards-related column here.

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Post by Admin on Sun Nov 13, 2011 6:44 pm

Governors Awards: A Night for Honorary Winners, and Oscar Contenders
Published: November 12, 2011 @ 11:12 am

By Steve Pond

The spotlight at Saturday night's Governors Awards will be on James Earl Jones, Oprah Winfrey and makeup artist Dick Smith, all of whom will be presented with honorary Academy Awards (in Winfrey's case, the Jean Hersholt Humanitarian Award).

But another agenda will be in play inside the Grand Ballroom at Hollywood & Highland, where the black-tie reception, dinner and awards ceremony will be full of folks who hope to win competitve Academy Awards next February.

The Governors Awards was launched two years ago, in part to shorten the running time of the Academy Awards and to give Honorary Oscar winners a fuller, longer and less formal presentation than they'd receive on the big show.

And that first year, AMPAS found out that the Governors Awards was a lot of fun – a lower-key and collegial event at which Quentin Tarantino could ramble on about Roger Corman and onstage tributes could be mixed with less formal toasts.

But Hollywood learned something about the Governors Awards that night, too: When you bring together 500 influential Academy members and a handful of legends, you have a very good campaign opportunity.

So Jeff Bridges, Tom Hanks, Marisa Tomei, Vera Farmiga, Warren Beatty and Annette Bening showed up for the 2009 awards, in which honors went to Corman, Lauren Bacall, Gordon Willis and John Calley.

And then the floodgates opened in 2010, when the governors voted honors to Eli Wallach, Francis Ford Coppola, Kevin Brownlow and the absent Jean-Luc Godard. Representatives showed up from nearly every contending film: Tom Hooper from "The King's Speech," Jesse Eisenberg, Andrew Garfield and Armie Hammer from "The Social Network," Darren Aronofsky and Natalie Portman from "Black Swan," Melissa Leo from "The Fighter," Lee Unkrich from "Toy Story 3," Alejandro Gonzalez Inarritu from "Biutiful," Lisa Cholodenko from "The Kids Are All Right" ….

The third Governors Awards will include a big contingent from the top contender "The Artist," and a slew of acting contenders that is expected to include "Shame" star Michael Fassbender, who otherwise has shown a notable reluctance to do much that might be construed as campaigning.

They'll be mingling with those who've come to honor Jones, Winfrey and Smith for their careers, in an untelevised event that, said Warren Beatty at the first Governors Awards, is "so much better than … worrying if 35.5 million people are watching us, or only 29.2 million."

At the end of the evening that same night, producer and Academy official Kathleen Kennedy summed up the Governors Awards.

“It captured that intimate, elusive feeling that everybody wants the Oscar show to have,” Kennedy said. “I think this will become the fun event that everybody wants to go to.”

It has done exactly that -- especially if that everybody includes Oscar contenders.

TheWrap will have full coverage of the Governors Awards after the event on Saturday.

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Post by Admin on Sun Nov 13, 2011 6:45 pm

With Ratner in Its Rearview Mirror, Academy Honors Oprah, James Earl Jones
Published: November 13, 2011 @ 1:20 am

By Steve Pond

It was a night devoted to James Earl Jones, Dick Smith and Oprah Winfrey, but the Academy couldn't avoid at least one reference to Brett Ratner at the beginning of Saturday's Governors Awards.

"Good evening," said the first speaker to take the stage of the Grand Ballroom at Hollywood & Highland. "I'm Tom Sherak, president of the Academy of Motion Picture Arts and Sciences."

Governors AwardsA pause. "How was your week?"

The audience laughed, knowing that Sherak's week had included Ratner's resignation, host Eddie Murphy's subsequent departure and the quick hirings of producer Brian Grazer and host Billy Crystal.

But after a chuckle at Sherak's joke – which he'd also used the previous night, at an Academy screening of "The Great White Hope" – the 600 assembled Academy members and guests moved on, relieved by the alacrity with which AMPAS had regained its footing and ready to celebrate the three latest recipients of the Academy's honorary awards.

Also read: The Ratner Mess: It's the End of an Oscar Era, But at What Cost?

This was the third year the Academy handed out the awards in a separate ceremony, rather than putting them in the Oscar show. The move enabled the AMPAS board of governors to vote more awards: four in 2009 and 2010 and three this year, as opposed to a maximum of two when the honorary awards were part of the main show.

It also allows for longer, more expansive tributes, with more speeches and longer film clips.

The ceremony differed from the two that preceded it in a few ways -- and not just the fact that Sherak came onstage dressed as Darth Vader in honor of Jones, or that a bevy of stormtroopers swept the ballroom before his entrance.

Last year and the year before, the Academy partitioned off one-third of the ballroom, and used that smaller portion for an hour of cocktails before the main room was opened for dinner and the awards.This year, though, they filled the entire ballroom with tables, forcing cocktail-hour mingling to take place awkwardly in the aisles rather than in a dedicated, open setting.

And since participants in that mingling included actors Glenn Close, Gary Oldman, Michael Fassbender, Woody Harrelson, Viola Davis, Ellen Barkin, Patton Oswalt, Tilda Swinton, Evan Rachel Wood, Shailene Woodley and Jean Dujardin, and directors Steve McQueen, Michel Hazanavicius, Julie Taymor, Drake Doremus and Sean Durkin, the bottleneck-heavy pre-show setup put a crimp in the meeting and greeting that could have been done by some serious Oscar contenders.

Oldman, in the running for his first-ever Oscar nomination for "Tinker, Tailor, Soldier, Spy," was typical of the contenders who appeared at the event: casual, pleased to be included but more interested in chatting with Fassbender and McQueen than in aggressively working the room.

"I've been getting lots of invitations lately," he said agreeably. "I seem to be in this orbit now."

Though the ceremony took up more space, the crowd wasn't appreciably bigger than the 550 who attended in 2009 and 2010.

For the third consecutive year, though, the Governors Awards was a warm, collegial and emotional evening, with the tribute to the least-famous winner – makeup artist Smith – in particular showing why it's a good idea to present the Governors Awards on their own show rather than trying to fit them into the already-long Oscar telecast.

With a deft film package by Jon Bloom (who put together all four of the evening's tribute films) and speeches from Linda Blair, J.J. Abrams and Rick Baker, the presentation made a persuasive case for Smith's award, and painted the 89-year-old makeup artist as a pioneer in the field who also happened to be kind to fans and was always willing to educate and share his secrets with the next generation of artists in his field.

Abrams' recollections were particularly entertaining. As a youngster, he said, he wrote Smith a fan letter in which he described his own filmmaking experiments, and asked about how to achieve certain techniques. In return, he said, Smith sent a box and a note that read, "Here's an old but clean tongue from 'The Exorcist,'" with instructions on how to make the tongue bleed.

Rick Baker and Dick SmithThe actual presentation was made by seven-time winner Baker (right, with his back to the camera, facing Smith), who called Smith "my idol, my mentor and my friend for over 43 years."

Overcome by emotion after receiving a standing ovation, Smith said, "This has been an incredible joy, one of the greatest I've ever had in my whole life … To have so much kindness given to me all in one huge piece is too much."

Smith's segment was in some ways the highlight of the Governors Awards – though James Earl Jones' presentation was a transatlantic treat, and Oprah Winfrey received the most standing ovations as she was awarded the Jean Hersholt Humanitarian Award.

The honors kicked off with Jones' presentation, which went from Mary J. Blige's rendition of "Can You Feel the Love Tonight?" (from "The Lion King," to which Jones lent his voice), to a speech in which Alec Baldwin used the words apotheosis and incalculablein the same sentence (you couldn't get away with that on the big Oscar show), to a film package highlighting Jones' career, to another speech from Glenn Close.

But because he is currently starring in a London stage production of "Driving Miss Daisy," Jones couldn't attend the ceremony. Instead, he received his Honorary Oscar after the Saturday matinee performance of the show, with co-star Vanessa Redgrave telling the audience about the honor and then bringing out a surprise guest, Ben Kingsley, who gave Jones the Oscar that had been carried to London by former Academy president Sid Ganis.

"If an actor's nightmare is being onstage buck naked and not knowing his lines, what the heck do you call this?" said Jones, clearly surprised to find the Oscar-toting Kingsley onstage.

Jones recounted his improbable introduction to movies, which terrified him the first time he saw them. "I said, 'Make 'em stop! Somebody, make 'em stop doing that!'" he said. "Well, I couldn’t make 'em stop, so eventually I joined 'em."

After admitting that he'd appeared in some of the worst movies ever made ("but I will not name them – you'll have to Google me"), he summed up his feelings with a word he said he'd picked up in England: "I stand before you deeply honored, mighty grateful and just plain gobsmacked."

The final award of the night was the Hersholt, with Oprah lauded by everybody from John Travolta and Maria Shriver to a young Harlem student, Ayanna Hall, who received a scholarship to boarding school from the Oprah Winfrey Foundation.

Oprah WinfreyAt first, though, the tribute seemed more about Winfrey's role in "The Color Purple" and her party-animal prowess than her humanitarian work. Producer Larry Gordon told a long story about meeting and sitting next to her at an event in Santa Barbara, where he socked back a double-digit number of shots and Oprah kept pace with him.

Finally, he said, he toasted his new drinking buddy with what he figured was a heartfelt compliment: "Oprah, you're a f#%@#&! moose!" As Gordon recounted the story, Winfrey laughed, though her long-time partner Stedman looked unamused.

John Travolta then added his own stories about drinking shots and partying with Oprah, before Maria Shriver and then Hall turned the focus to the showbiz icon's humanitarian work.

Hall in particular reduced Winfrey to tears before the Hersholt recipient took the stage to deliver what she said were unprepared remarks. And while her speech certainly rambled and stretched the show past the two-and-a-half-hour mark (still the shortest of the three Governors Awards), it was also undeniably heartfelt.

"It's unimaginable that I would be standing before you, voted by the Board of Governors," she said, before breaking down. "And so when I say thank you, the thank you comes from a place even deeper than I know. It's not just for me, it's for everybody who helped make me possible."

The ceremony also included a film montage of previous Honorary Oscar winners, and a touching toast to former Oscar-show producers Laura Ziskin and Gil Cates, both of whom died recently.

(Photos by AMPAS)

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Post by Admin on Sat Nov 19, 2011 9:55 pm

Oscar Patrol: Best Actor, 10 Weeks of Naked Fassbender Left

By Will Leitch

The Projector – Tue, Nov 15, 2011 12:00 PM EST

Fox Searchlight
The 2012 Oscar nominations come out on Tuesday, January 24, exactly 10 weeks from today. Best Actor is already the most fascinating category, if just because, as the outstanding Mark Harris notes on Grantland, there are three major movie stars up for the award: George Clooney, Leonardo DiCaprio and Brad Pitt. That helps with ratings, of course, but, as he also notes, none of them feel like logical, "it's their turn" choices like, say, Al Pacino in "Scent of a Woman." We've done this once before: Let's dig in again, with the "Locks," those "On The Bubble," those "Still Holding Out Hope" and the poor souls who will have to make do with the "For Your Consideration" ads. Today: Best Actor.


George Clooney, "The Descendants." We're far from sold that he'll win, but this is an extremely likable performance in an extremely likable movie. He's the only one of those big stars who seems assured. We wouldn't count on much for "The Ides of March," though.


Jean Dujardin, "The Artist." The ball's clearly already rolling. We'll see how it does when it actually reaches audiences. A feel-good pick across the board.

Leonardo DiCaprio, "J. Edgar." He's sturdy, competent and hard-working. Even though few like the movie. Feels like he'll be the consolation prize.

Michael Fassbender, "Shame." Fine, fine, it's NC-17. He's still amazing, and he even has some Hollywood cred with "X-Men: First Class." We bet he breaks through.


Gary Oldman, "Tinker, Tailor. Soldier, Spy." As Harris points out, he's the closest thing we have to a "it's his turn" guy in the race ... but he's hardly as beloved as a Pacino. Depends on how the movie does.

Brad Pitt, "Moneyball. " Some might have him higher. We just continue to think "Moneyball" the Oscar contender will fade by the time the votes come.

Woody Harrelson, "Rampart." The qualifying run might be too short, and the reviews on the film itself have been mixed. Still, showy role.

Michael Shannon, "Take Shelter." The movie didn't quite become the crossover hit some were hoping for, but he's got the cineaste vote, for sure.


Matt Damon, "We Bought A Zoo."
Michael Fassbender, "A Dangerous Method."
Paul Giamatti, "Win Win."
Ryan Gosling, "Drive."
Ryan Gosling, "The Ides of March."
Joseph Gordon-Levitt, "50-50."
Jeremy Irvine, "War Horse."
Christoph Waltz, "Carnage."
Owen Wilson, "Midnight In Paris."

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Post by Admin on Mon Nov 21, 2011 2:01 pm

Like a sudden change in the weather, actors who have been quietly plying their craft can suddenly appear in view and make a loud impact.
James Stewart had been punching his Hollywood clock reliably until he hit with a flurry in 1938-39 with "You Can't Take It With You," "Destry Rides Again" and "Mr. Smith Goes to Washington." Suddenly, he was everywhere, as was Humphrey Bogart when he finally landed his first starring role in "High Sierra," or Paul Newman with "Hud" or Jessica Lange after "All That Jazz."

It doesn't happen all the time but it is this year, with two actors: Jessica Chastain and Michael Fassbender, starring in or featured in no fewer than nine films. What separates the two (she's American, he's Irish-German; she's a porcelain-skinned beauty; he exudes a just-formed roughness, a swarthy danger) is less interesting than what unites them.

They both take charge of the screen when they enter, drawing the viewer's attention like magnets. They lose themselves in their roles to an uncommon degree. Those who've seen Chastain as concerned wife Elizabeth in Jeff Nichols' "Take Shelter" and then watch "The Help," in which she stands out in a vibrant female ensemble as ditzy blonde Celia, can't believe that it's the same thesp. The actor who starved himself in Steve McQueen's "Hunger" two years ago, that's the same guy looking ripped and Adonis-like in the director's "Shame"?

Range is what serious actors strive for, but they're more likely to get it in the theater than the movies. While both Fassbender and Chastain do legit, their combined roster of extraordinary roles in 2011 would make a repertory theater actor blush.

As a contentious Carl Jung to Viggo Mortensen's Sigmund Freud in David Cronenberg's "A Dangerous Method," Fassbender invests a man better known for his techniques with surprising vulnerability and carnality. In "Jane Eyre," his Rochester registers as more dynamic than previous screen portrayals, while his sexually adventurous and emotionally desperate Brandon in "Shame" is a study of a man caving himself from within, until he has nothing left.

For more proof of range, consider that Fassbender cut quite a figure as Magneto in "X-Men: First Class."

The sheer amount of work is dizzying to contemplate, and Fassbender confirms that his schedule was perhaps enough to wear out Magneto.

"I was incredibly busy to the point of exhaustion," he says. "I worked for 20 months straight pretty much shooting films back to back, so it's nice now to take a break and look for the next thing to do."

Jumping between roles for Fassbender also means experiencing different directors and their methods -- for instance, between Scott and McQueen, whose filmmaking approaches share at least one thing in common: "It was an amazing experience, but the interesting thing is how similar Ridley's working environment is to Steven's. It's a very comfortable environment, and everyone is working hard and you don't also see that on every set."

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Post by Admin on Tue Nov 22, 2011 10:00 pm

Oscarmetrics: Do George Clooney, Leonardo DiCaprio, and Brad Pitt Need an Oscar?
Posted Tuesday, November 15, 2011 8:30 AM Mark Harris

There are many ways of looking at a Best Actor Oscar race. You can ask yourself who gave the year’s strongest performances. You can think about who’s overdue, who’s surprising, who works the circuit effectively, who exceeds expectations, who elevates his movie the most by his presence in it. But ultimately, the question that decides the nominations is always this one: Who do actors want to vote for?

This year, that may be tough to answer, since Best Actor is shaping up to be an extremely unusual race. In Column A, we have three Goliaths: George Clooney for The Descendants, Leonardo DiCaprio for J. Edgar, and Brad Pitt for Moneyball. And in Column B, we have a whole bunch of Davids. The problem for the Davids is that they’re not Goliaths. The problem for the Goliaths is that voting for Davids is usually a lot more fun.

Clooney. Pitt. DiCaprio. If I were an ABC executive hoping to amp the Oscars telecast’s ratings, I would consider this to be three-fifths of a perfect nominee roster and pray that the votership chooses to fill it out with Taylor Lautner and Adam Sandler for their fine, fine work this year in Abduction and Jack and Jill. (Tragically, since both Lautner and Sandler appeared in more than one movie in 2011, their votes will probably be split, destroying their chances.) Still, consider that lineup: Three of the biggest, most successful, most photogenic stars in Hollywood giving three creditable performances in three campaignable films.

And, because Oscar campaigns are always based in part on the terrified certainty that the performance in itself cannot possibly be enough, all three men also come equipped with prepackaged narratives. DiCaprio’s, unveiled in a New York Times "Arts & Leisure" cover story simply headlined “Risk Taker,” is just that: I’m a hard worker who challenges myself with transformative roles for serious directors, and you’re never going to see me sell myself out for Pirates of the Caribbean 5: s---load of Doubloons. Clooney’s narrative goes something like: I use my star power to get small and worthy movies greenlit, the clear implication being that the difference between The Descendants with Clooney and The Descendants with someone else is the difference between a movie you get to see and a movie you don’t. And Pitt’s, tailored to the tortuous history of Moneyball, is: I stick with projects I believe in for years until they get made.

All three of these premises have enough truth in them to be legitimately deployed. But there’s a problem: They all fall into an awards-narrative category that Movieline’s Oscar guy, Stu Van Airsdale, astutely identified a couple of weeks ago as “It’s a nice story. It’s just not … charming.”

Academy voters like to be seduced by a narrative, not simply persuaded by it, and a Clooney vs. Pitt vs. DiCaprio contest has a slight whiff of “Which of the three richest, handsomest, most popular boys in the school are we going to choose as class president?” They are, in short, the 1 percent — and this is not an ideal year to be in that category. At another Oscar moment, the now-widely-reprinted news that DiCaprio took only one-tenth of his usual fee to make J. Edgar might get him some traction. This year, people are more likely to note that one-tenth of his usual fee is $2 million, which means that the notion of personal sacrifice should probably be left out of the argument.

I’m not suggesting that all of these guys don’t have good chances at nominations. In fact, one of them might win. But what’s missing here is, perhaps, the sense of urgency, importance, or sheer pleasure that impels voters to carry an actor all the way to the finish line. Clooney has been nominated for five Oscars already (three of them for acting) and has won once. DiCaprio is going for his fourth nomination, and Pitt for his third. None of them fits comfortably into the “It’s Time” narrative; they did good work this year, but nobody is going to be able to make an effective case that they’re owed. Beyond that, I wonder if voters in the actors’ branch may feel that there is something slightly dull, expected, or rote about writing down all three of those names.

Especially when you consider the alternative — a long list of the kind of performers who make it too easy to shorthand this contest (unfairly) as Actors vs. Movie Stars. The problem for the three gentlemen in Column A is that Column B is not only talent-rich but replete with enough viable and even pleasurable Oscar narratives to render Column A unnecessary. Here’s what a movie-starless Best Actor category could look like this year:
1. Jean Dujardin for The Artist.

The people who like this movie love this movie, and Dujardin — a newcomer, a foreigner, an actor who pulls off the stunt of a silent performance in a movie about movies — comes not only with the backing of Harvey Weinstein but with a narrative that is the definition of charming; everybody always adores the year’s nobody who becomes a somebody. Casting your vote for a French guy you’d never heard of 12 months ago just because you love him in a movie feels like a vote on merit — even if a canny campaign is behind it. And voters love saying, “Who’s that guy?”; it makes them feel discerning.
2. Michael Fassbender for Shame.

I suspect people are going to be sharply divided on the merits of a movie about how getting all the sex you want whenever you want it can make you feel hollow and lonely, but they’re likely to be pretty unified in praise of the commitment and intensity of its star. The German-born Fassbender has blazed into Hollywood’s consciousness in the past three years in arthouse films and comic-book blockbusters, contemporary dramas and period pieces, leads and supporting roles. An acknowledgment for Shame would essentially be a you’ve-arrived nomination (and thus part of a long tradition) — and also an announcement that voters are open-minded enough to look past an NC-17 rating if the performance demands it.
3. Woody Harrelson for Rampart.

Harrelson has been nominated twice already, and if the independently made dirty-cop drama Rampart seems too off-the-radar for the Academy, remember that his most recent nomination came at the hands of Rampart director Oren Moverman for the indie The Messenger; the acting branch is more than willing to throw its weight behind a big performance in a small movie, and Harrelson’s, poised somewhere between the character-study intensity of Harvey Keitel in Bad Lieutenant (a non-nominee) and the bravura flamboyance of Denzel Washington in Training Day (a winner), feels well positioned for recognition.
4. Gary Oldman for Tinker, Tailor, Soldier, Spy.

There is no ancient, teetery lion in winter contending for a Best Actor nomination this year, so while it might seem strange to position Oldman as the éminence grise of the race, if there’s anyone in the field who can benefit from “It’s Time,” he’s the one. It has been 25 years and 47 movies since Oldman failed to get the first Oscar nomination he deserved, for Sid and Nancy. Now, at 53, he’s still waiting to be able to add the words “Oscar nominee” to his c.v., and his underplaying in a role made famous by Alec Guinness might do the trick. Here’s a case where "It’s Time" works, because it really is time.
5. Michael Shannon for Take Shelter.

I’ve already written about how much I love this performance, which combines Shannon’s gentle, laconic, sad-eyed grace with his ability to go hair-raisingly, skin-pricklingly big when the moment demands it (and boy, what a moment it is when it comes). My guess is that the more people see this movie, the more votes he gets. It’s that simple.

I’ve left out a number of talented and impressive contenders who fall lower on the Column B list in terms of their likelihood of receiving nominations: Joseph Gordon-Levitt for 50/50, Demian Bichir for A Better Life, Paul Giamatti for Win Win, Ryan Gosling for Drive, Tom Hardy for Warrior, Ralph Fiennes for Coriolanus. My point is, there’s a deep bench here, deep enough that I think Academy voters may rebel against the notion that Clooney, Pitt, and DiCaprio have somehow all drawn first-round byes. What if voters want to pick more than two from Column B? Who gets left out? DiCaprio, whose movie got the weakest reviews? Pitt, whose film is now winding down its run, always a danger in a contest in which out of sight can equal out of mind? Or Clooney, who “needs” it least of all?

It’s worth bearing in mind that most actors in the Academy don’t live in the very exclusive vicinity of Column A. Big-ticket, prime-of-their-career, top-dollar movie stars are a rare breed who are rewarded by life more often than they are rewarded by Oscars. In fact, I can find only one instance in the past 20 years when the actors’ branch decided to nominate three of them in a single year: 2001, when Russell Crowe, Denzel Washington, and Will Smith were all contenders. That year, however, came with its own separate and compelling narrative — an opportunity to make history by nominating two African-Americans for Best Actor in the same year. In 2011, no similar sense of occasion prevails for Clooney, DiCaprio, and Pitt. And while I wouldn’t count any of them out, I wouldn’t count all of them in.

Mark Harris is the author of Pictures at a Revolution: Five Movies and the Birth of the New Hollywood and is currently at work on his next book. Follow him on Twitter at @MarkHarrisNYC.

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Post by Admin on Wed Nov 30, 2011 6:23 pm

November 29, 2011 | by Peter Knegt and Steve Greene
"Take Shelter" and "The Artist" Lead Spirit Award Nominations

Jeff Nichols' "Take Shelter." Image courtesy of Sony Pictures Classics.

The nominations for the 27th Film Independent's Spirit Awards were announced this morning in Los Angeles, and both Jeff Nichols' "Take Shelter" and Michel Hazanavicius's "The Artist" (which few realized was eligible) led the pack with 5 nominations a piece.

The two films were joined in the best feature category alongside "50/50," "Beginners," "Drive," and "The Descendants." While that was a generally expected lineup (save "The Artist"), the nominations overall were quite surprising.

Beyond the unexpected presence of "The Artist," the Spirits made some major snubs in the acting categories: George Clooney ("The Descendants"), Glenn Close ("Albert Nobbs"), Joseph Gordon-Levitt ("50/50"), Owen Wilson ("Midnight in Paris"), Paul Giamatti ("Win Win"), Kenneth Branagh ("My Week With Marilyn') and Felicity Jones ("Like Crazy") were excluded in favor of a quite a few highly unexpected nominees. Most notably, Lauren Ambrose ("Think of Me") and Rachael Harris ("Natural Selection") were nominated the lead actress category over Close and Jones.

"Like Crazy" was snubbed altogether, while Woody Allen's "Midnight in Paris" - though nominated for supporting actor and cinematography - was completely shut out of the top categories.

"The Artist"
Fox Searchlight was far and away the leader among distributors, taking in 14 nominations. Sony Pictures Classics followed with 9.

At the announcement, co-presenter Anthony Mackie added some levity to the proceedings, giving a tiny fist pump when “Half Nelson” co-star Gosling popped up on the nominee list. Afterwards, extolled the virtues of some of the other nominees.

“This year, I really enjoyed ‘The Artist,” ‘Take Shelter,’ and ‘Pariah,’” Mackie said. “They all have a real focus on storytelling, which is something that gets lost in all of today’s 3-D.”

Mackie’s announcing partner, Kate Beckinsale, was also quick to praise “The Artist,” citing its success as a key part of a varied field. “One of the things that I found great about it was that you couldn’t really generalize these films. We’re seeing these very left-field, high-far-reaching concepts.”

More commentary to come. Full nominations below.

The Nominees for the 2012 Film Independent Spirit Awards:

Best Feature (Award given to the Producer)
50/50 - Ben Karlin, Evan Goldberg, Seth Rogen

Beginners - Miranda de Pencier, Lars Knudsen, Jan Van Hoy, Leslie Urdang, Dean Vanech

Drive - Michel Litvak, John Palermo, Marc Platt, Gigi Pritzker, Adam Siegel

Take Shelter - Tyler Davidson, Sophia Lin

The Artist - Thomas Langmann, Emmanuel Montamat

The Descendants - Jim Burke, Alexander Payne, Jim Taylor

Best Director
Michel Hazanavicius, The Artist

Mike Mills, Beginners

Jeff Nichols, Take Shelter

Alexander Payne, The Descendants

Nicolas Winding Refn, Drive

Best First Feature (Award given to the director and producer)
Another Earth - Director: Mike Cahill; Producers: Mike Cahill, Hunter Gray, Brit Marling, Nicholas Shumaker

In The Family - Director: Patrick Wang; Producers: Robert Tonino, Andrew van den Houten, Patrick Wang

Margin Call - Director: J.C. Chandor; Producers: Robert Ogden Barnum, Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto

Martha Marcy May Marlene - Director: Sean Durkin; Producers: Antonio Campos, Patrick Cunningham, Chris Maybach, Josh Mond

Natural Selection - Director: Robbie Pickering; Producers: Brion, Hambel, Paul Jensen

John Cassavetes Award
(Given to the best feature made for under $500,000; award given to the writer, director, and producer)
Bellflower - Writer/Director: Evan Glodell; Producers: Evan Glodell, Vincent Grashaw

Circumstance - Writer/Director: Maryam Kesahavarz; Producers: Karin Chien, Maryan Keshavarz, Melissa M. Lee

Hello Lonesome - Writer/Director/Producer: Adam Reid

Pariah - Writer/Director: Dee Rees; Producer: Nekisa Cooper

The Dynamiter - Writers: Matthew Gordon, Brad Ingelsby; Director: Matthew Gordon; Producers: Kevin Abrams, Matthew Gordon, Merilee Holt, Nate Tuck, Amile Wilson

Best Screenplay
Mike Mills, Beginners

Alexander Payne, Nat Faxon & Jim Rash, The Descendants

Joseph Cedar, Footnote

Michel Hazanavicius, The Artist

Tom McCarthy, Win Win

Best First Screenplay
Mike Cahill & Brit Marling, Another Earth

Patrick deWitt, Terri

Phil Johnston, Cedar Rapids

Will Reiser, 50/50

J.C. Chandor, Margin Call

Best Female Lead
Elizabeth Olsen, Martha Marcy May Marlene

Michelle Williams, My Week With Marilyn

Rachael Harris, Natural Selection

Adepero Oduye, Pariah

Lauren Ambrose, Think of Me

Best Male Lead
Michael Shannon, Take Shelter

Woody Harrelson, Rampart

Ryan Gosling, Drive

Jean Dujardin, The Artist

Demian Bichir, A Better Life

Best Supporting Female
Jessica Chastain, Take Shelter

Anjelica Huston, 50/50

Janet McTeer, Albert Nobbs

Harmony Santana, Gun Hill Road

Shailenne Woodley, The Descendants

Best Supporting Male
Albert Brooks, Drive

John Hawkes, Martha Marcy May Marlene

Christopher Plummer, Beginners

Corey Stoll, Midnight in Paris

John C. Reilly, Cedar Rapids

Best Cinematography
Joel Hodge, Bellflower

Darius Khondji, Midnight in Paris

Guillaume Schiffman, The Artist

Benjamin Kasulke, The Off-Hours

Jeffrey Waldron, The Dynamiter

Best Documentary (Award given to the director)
Jarreth Merz, An African Election

Richard Press, Bill Cunningham New York

Steve James, The Interrupters

David Weissman, We Were Here

Eric Strauss and Daniele Anastasion, The Redemption of General Butt Naked

Best Foreign Film (Award given to the director)
Asghar Farhadi, Separation

Lars Von Trier, Melancholia

Steve McQueen, Shame

Jean-Pierre and Luc Dardenne, The Kid With a Bike

Paddy Considine, Tyrannosaur

Robert Altman Award
(Given to one film’s director, casting director, and its ensemble cast)
Margin Call - Director: J.C. Chandor; Casting Directors: Tiffany Little Canfield, Bernard Telsey; Cast: Kevin Spacey, Paul Bettany, Jeremy Irons, Zachary Quinto, Penn Badgley, Simon Baker, Mary McDonnell, Demi Moore, Stanley Tucci, Aasif Mandvi, Ashley Williams

Piaget Producers Award
Chad Burris (Mosquito y Mari)

Sophia Lynn (Take Shelter)

Josh Bond (Martha Marcy May Marlene)

Someone to Watch Award
Simon Arthur (Silver Tongues)

Mark Jackson (Without)

Nicholas Ozeki (Mamitas)

Truer Than Fiction Award
Where Soldiers Come From

Hell and Back Again

Bombay Beach
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Post by Admin on Sun Dec 04, 2011 12:55 am

The 2011 WAFCA Awards
Our members vote every December to recognize the very best achievements of the cinematic year. Over the brief history of the association, WAFCA has garnered international attention, respect and credibility for the independent-minded approach that the group has taken in honoring Hollywood's elite, often serving as a bellwether for identifying both Golden Globe and Academy Award winners.

The 2011 WAFCA Award WINNERS will be announced
at 8AM on Monday, December 5, 2010.

Update - Saturday, December 3, 2011 6PM EST
Best Film:
The Artist
The Descendants
Win Win

Best Director:
Woody Allen (Midnight in Paris)
Michel Hazanavicius (The Artist)
Alexander Payne (The Descendants)
Nicolas Winding Refn (Drive)
Martin Scorsese (Hugo)

Best Actor:
George Clooney (The Descendants)
Jean Dujardin (The Artist)
Michael Fassbender (Shame)
Brad Pitt (Moneyball)
Michael Shannon (Take Shelter)

Best Actress:
Viola Davis (The Help)
Elizabeth Olsen (Martha Marcy May Marlene)
Meryl Streep (The Iron Lady)
Tilda Swinton (We Need to Talk About Kevin)
Michelle Williams (My Week with Marilyn)

Best Supporting Actor:
Kenneth Branagh (My Week with Marilyn)
Albert Brooks (Drive)
John Hawkes (Martha Marcy May Marlene)
Christopher Plummer (Beginners)
Andy Serkis (Rise of the Planet of the Apes)

Best Supporting Actress:
Bérénice Bejo (The Artist)
Melissa McCarthy (Bridesmaids)
Carey Mulligan (Shame)
Octavia Spencer (The Help)
Shailene Woodley (The Descendants)

Best Acting Ensemble:
Harry Potter and the Deathly Hallows Part 2
The Help
Margin Call

Best Adapted Screenplay:
Alexander Payne and Nate Faxon & Jim Rash (The Descendants)
Tate Taylor (The Help)
John Logan (Hugo)
Steven Zaillian and Aaron Sorkin (Moneyball)
Bridget O'Connor & Peter Straughan (Tinker, Tailor, Soldier, Spy)
Best Original Screenplay:
Woody Allen (Midnight in Paris)
Michel Hazanavicius (The Artist)
Tom McCarthy (Win Win)
Annie Mumolo & Kristen Wiig (Bridesmaids)
Will Reiser (50/50)

Best Animated Feature:
The Adventures of Tintin
Arthur Christmas
Puss in Boots
Winnie the Pooh

Best Documentary:
Being Elmo: A Puppeteer's Journey
Cave of Forgotten Dreams
Into the Abyss: A Tale of Death, A Tale of Life
Project Nim

Best Foreign Language Film:
13 Assassins
Certified Copy
I Saw the Devil
The Skin I Live In

Best Art Direction:
Lawrence Bennett, Production Designer, and Gregory S. Hooper, Art Director (The Artist)
Stuart Craig, Production Designer, and Stephenie McMillan, Set Decorator (Harry Potter and the Deathly Hallows Part 2)
Dante Ferretti, Production Designer, and Francesca Lo Schiavo, Set Decorator (Hugo)
Jack Fisk, Production Designer, and Jeanette Scott, Set Decorator (The Tree of Life)
Rick Carter, Production Designer, and Lee Sandales, Set Decorator (War Horse)

Best Cinematography:
Guillaume Schiffman (The Artist)
Robert Richardson (Hugo)
Manuel Alberto Claro (Melancholia)
Emmanuel Lubezki (The Tree of Life)
Janusz Kaminski (War Horse)

Best Score:
Ludovic Bource (The Artist)
Cliff Martinez (Drive)
Trent Reznor & Atticus Ross (The Girl with the Dragon Tattoo)
Howard Shore (Hugo)
John Williams (War Horse)

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Post by Admin on Sun Dec 04, 2011 1:02 am

Current Nominees

Watch this page for the early December announcement of the 2011 International Press Academy Satellite Award Nominees
Motion Picture
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Actress in a Motion Picture
Vera Farmiga Higher Ground Sony Pictures Classics
Michelle WIlliams My Week with Marilyn The Weinstein Company
Emily Watson Oranges and Sunshine Cohen Media Group
Charlize Theron Young Adult Paramount Pictures
Glenn Close Albert Nobbs Roadside Attractions
Viola Davis The Help Dreamworks, Touchstone Pictures
Olivia Colman Tyrannosaur Strand Releasing
Michelle Yeoh The Lady Cohen Media Group
Elizabeth Olsen Martha Marcy May Marlene Fox Searchlight Pictures
Meryl Streep The Iron Lady The Weinstein Company
Actor in a Motion Picture
Leonardo DiCaprio J. Edgar Warner Bros.
Ryan Gosling Drive Filmdistrict
Michael Fassbender Shame Fox Searchlight Pictures
George Clooney The Descendants Fox Searchlight Pictures
Brendan Gleeson The Guard Sony Pictures Classics
Michael Shannon Take Shelter Sony Pictures Classics
Tom Hardy Warrior Lionsgate
Woody Harrelson Rampart Millennium Entertainment
Gary Oldman Tinker, Tailor, Soldier, Spy Focus Features
Brad Pitt Moneyball Columbia
Actress in a Supporting Role
Janet McTeer Albert Nobbs Roadside Attractions
Octavia Spencer The Help Dreamworks, Touchstone Pictures
Jessica Chastain The Tree of Life Fox Searchlight Pictures
Vanessa Redgrave Coriolanus The Weinstein Company
Rachel McAdams Midnight in Paris Sony Pictures Classics
Carey Mulligan Shame Fox Searchlight Pictures
Lisa Feret Mozart's Sister Music Box Films
Judy Greer The Descendants Fox Searchlight Pictures
Kate Winslet Carnage Sony Pictures Classics
Elle Fanning Super 8 Amblin, Paramount Pictures
Actor in a Supporting Role
Albert Brooks Drive Filmdistrict
Viggo Mortensen A Dangerous Method Sony Pictures Classics
Hugo Weaving Oranges and Sunshine Cohen Media Group
Kenneth Branagh My Week with Marilyn The Weinstein Company
Colin Farrell Horrible Bosses New Line Cinema, Warner Bros.
Andy Serkis Rise of the Planet of the Apes 20th Century Fox
Nick Nolte Warrior Lionsgate
Jonah Hill Moneyball Columbia
Christopher Plummer Beginners Sony Pictures Classics
Christoph Waltz Carnage Sony Pictures Classics
Foreign Film
Mexico Miss Bala Fox International
Iran A Separation Sony Pictures Classics
Belgium The Kid with a Bike Sundance Selects
Hungary The Turin Horse Cinema Guild
Argentina Las Acacias
Japan 13 Assassins Magnet Releasing
France Mozart's Sister Music Box Films
Portugal Mysteries of Lisbon Music Box Films
Finland Le Havre Janus Films
Russia Faust
Motion Picture, Animated or Mixed Media
Kung Fu Panda 2 Dreamworks, Paramount Pictures
The Muppets Jim Henson Studios, Walt Disney Pictures
Puss in Boots Dreamworks, Paramount Pictures
Rango ILM Animation, Paramount Pictures
Rio 20th Century Fox
The Adventures of Tin Tin: The Secret of the Unicorn Amblin, Columbia, Paramount Pictures
Motion Picture, Documentary
Project Nim Roadside Attractions
The Interrupters Cinema Guild
Senna Universal
American: The Bill Hicks Story Variance Films
My Perestroika International Film Circuit
Cave of Forgotten Dreams IFC Films
Under Fire: Journalists in Combat Mercury Media
One Lucky Elephant Own Documentaries
Pina Sundance Selects
Tabloid IFC Films
Tate Taylor The Help Dreamworks, Touchstone Pictures
Alexander Payne The Descendants Fox Searchlight Pictures
Nicolas Winding Refn Drive Filmdistrict
Steven Spielberg War Horse Dreamworks, Touchstone Pictures
Michel Hazanavicius The Artist The Weinstein Company
Martin Scorsese Hugo Paramount Pictures
John Michael McDonagh The Guard Sony Pictures Classics
Tomas Alfredson Tinker, Tailor, Soldier, Spy Focus Features
Woody Allen Midnight in Paris Sony Pictures Classics
Steve McQueen Shame Fox Searchlight Pictures
Screenplay: Original
Terrence Malick The Tree of Life Fox Searchlight Pictures
John Michael McDonagh The Guard Sony Pictures Classics
Abi Morgan, Steve McQueen Shame Fox Searchlight Pictures
Rene Feret Mozart's Sister Music Box Films
Paddy Considine Tyrannosaur Strand Releasing
Michel Hazanavicius The Artist The Weinstein Company
Screenplay: Adapted
From The Novel By Kathryn Stockett, Tate Taylor The Help Dreamworks, Touchstone Pictures
From The Book By Michael Morpurgo, Lee Hall, Richard Curtis War Horse Dreamworks, Touchstone Pictures
Based On The Story By George Moore, Glenn Close, John Banville, The Play By Gabriella Prekop Albert Nobbs Roadside Attractions
Adapted From The Work Of Herge, Edgar Wright, Joe Cornish, Steven Moffat The Adventures of Tin Tin: The Secret of the Unicorn Amblin, Columbia, Paramount Pictures
Alexander Payne, Based On The Novel By Kaui Hart Hemmings, Jim Rash, Nat Faxon The Descendants Fox Searchlight Pictures
Aaron Sorkin, Steven Zaillian, Story By Stan Chervin Moneyball Columbia
Original Score
Michael Giacchino Super 8 Amblin, Paramount Pictures
Cliff Martinez Drive Filmdistrict
Alexandre Desplat Harry Potter And The Deathly Hallows Part 2 Warner Bros.
John Williams War Horse Dreamworks, Touchstone Pictures
James Newton Howard Water For Elephants 20th Century Fox
Marco Beltrami Soul Surfer Tristar Pictures
Original Song
Lay Your Head Down Albert Nobbs
Man Or Muppet The Muppets
Gathering Stories We Bought A Zoo
Hello Hello Gnomeo & Juliet
Life Is A Happy Song The Muppets
Bridge Of Light Happy Feet 2
Bruno Delbonnel Faust
Janusz Kaminski War Horse Dreamworks, Touchstone Pictures
Emmanuel Lubezki The Tree of Life Fox Searchlight Pictures
Newton Thomas Sigel Drive Filmdistrict
Guillaume Schiffman The Artist The Weinstein Company
Robert Richardson Hugo Paramount Pictures
Visual Effects
Robert Legato Hugo Paramount Pictures
John Frazier, Matthew Butler, Scott Benza, Scott Farrar Transformers 3: Dark of the Moon Dreamworks, Paramount Pictures
Dennis Muren, Kim Libreri, Paul Kavanagh, Russell Earl Super 8 Amblin, Paramount Pictures
David Vickery, Greg Butler, John Richardson, Tim Burke Harry Potter And The Deathly Hallows Part 2 Warner Bros.
Ben Morris War Horse Dreamworks, Touchstone Pictures
Jeff Capogreco, Joe Letteri, R. Christopher White Rise of the Planet of the Apes 20th Century Fox
Film Editing
Michael Kahn War Horse Dreamworks, Touchstone Pictures
Mat Newman Drive Filmdistrict
Joe Walker Shame Fox Searchlight Pictures
Kevin Tent The Descendants Fox Searchlight Pictures
Aaron Marshall, John Gilroy, Matt Chesse, Sean Albertson Warrior Lionsgate
Chris Gill The Guard Sony Pictures Classics
Sound (Editing & Mixing)
Andy Nelson, Anna Behlmer, Ben Burtt, Mark Ulano, Matthew Wood, Tom Johnson Super 8 Amblin, Paramount Pictures
Christopher Scarabosio, Craig Berkey, Erik Aadahl, Jeremy Peirson, John Pritchett, Kirk Francis The Tree of Life Fox Searchlight Pictures
Andy Nelson, Gary Rydstrom, Richard Hymns, Stuart Wilson, Tom Johnson War Horse Dreamworks, Touchstone Pictures
Erik Aadahl, Ethan Van Der Ryn, Gary Summers, Greg P. Russell, Jeffrey J. Haboush, Peter J. Devlin Transformers 3: Dark of the Moon Dreamworks, Paramount Pictures
Dave Patterson, Lon Bender, Robert Fernandez, Victor Ray Ennis Drive Filmdistrict
Dave Patterson, Lon Bender, Robert Fernandez, Victor Ray Ennis Harry Potter And The Deathly Hallows Part 2 Warner Bros.
Art Direction and Production Design
Jack Fisk Water For Elephants 20th Century Fox
Sebastian T. Krawinkel, Stephan O. Gessler Anonymous Sony Pictures Classics
Gregory S. Hooper, Laurence Bennett The Artist The Weinstein Company
Isabel Branco Mysteries of Lisbon Music Box Films
Dante Ferretti, Francesca Lo Schiavo Hugo Paramount Pictures
Jiri Trier, Yelena Zhukova Faust
Costume Design
Lisy Christl Anonymous Sony Pictures Classics
Isabel Branco Mysteries of Lisbon Music Box Films
Michael O’Connor Jane Eyre Focus Features
Mark Bridges The Artist The Weinstein Company
Lidiya Kryukova Faust
Jacqueline West Water For Elephants 20th Century Fox
Motion Picture
Moneyball Columbia
The Descendants Fox Searchlight Pictures
Drive Filmdistrict
The Artist The Weinstein Company
Shame Fox Searchlight Pictures
Tinker, Tailor, Soldier, Spy Focus Features
Hugo Paramount Pictures
War Horse Dreamworks, Touchstone Pictures
The Help Dreamworks, Touchstone Pictures
Midnight in Paris Sony Pictures Classics
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Actress in a Miniseries or a Motion Picture Made for Television
Taraji P. Henson Taken From Me: The Tiffany Rubin Story Lifetime Network
Diane Lane Cinema Verite HBO
Elizabeth McGovern Downton Abbey PBS
Jean Marsh Upstairs Downstairs PBS
Rachel Weisz Page Eight PBS
Kate Winslet Mildred Pierce HBO
Actor in a Miniseries or a Motion Picture Made for Television
William Hurt Too Big To Fail HBO
Laurence Fishburne Thurgood HBO
Bill Nighy Page Eight PBS
Idris Elba Luther BBC
Hugh Bonneville Downton Abbey PBS
Jason Isaacs Case Histories PBS
Actress in a Supporting Role in a Series, Miniseries or Motion Picture Made for Television
Margo Martindale Justified HBO
Maya Rudolph Up All Night NBC
Kelly Macdonald Boardwalk Empire HBO
Sofia Vergara Modern Family ABC
Evan Rachel Wood Mildred Pierce HBO
Michelle Forbes The Killing AMC
Maggie Smith Downton Abbey PBS
Vanessa Williams Desperate Housewives ABC
Actor in a Supporting Role in a Series, Miniseries or Motion Picture Made for Television
Ryan Hurst Sons of Anarchy FX Networks
Walton Goggins Justified FX Networks
Ty Burrell Modern Family ABC
Donald Glover Community NBC
Peter Dinklage Game Of Thrones HBO
James Woods Too Big To Fail HBO
Guy Pearce Mildred Pierce HBO
Neil Patrick Harris How I Met Your Mother CBS
Television Series: Drama
Boardwalk Empire HBO
Treme HBO
Justified FX Networks
Sons of Anarchy FX Networks
Breaking Bad AMC
Friday Night Lights DirecTV, NBC
Actress in a Series: Drama
Connie Britton Friday Night Lights DirecTV, NBC
Claire Danes Homeland Showtime
Mireille Enos The Killing AMC
Julianna Margulies The Good Wife CBS
Katey Sagal Sons of Anarchy FX Networks
Eve Myles Torchwood BBC
Actor in a Series: Drama
Wendell Pierce Treme HBO
Timothy Olyphant Justified FX Networks
Kyle Chandler Friday Night Lights DirecTV, NBC
Bryan Cranston Breaking Bad AMC
Steve Buscemi Boardwalk Empire HBO
William H. Macy Shameless Showtime
Television Series: Comedy or Musical
Episodes Showtime
The Big C Showtime
Modern Family ABC
Louis FX Networks
It’s Always Sunny In Philadelphia FX Networks
Community NBC
Actor in a Series: Comedy or Musical
Elijah Wood Wilfred FX
Charlie Day It’s Always Sunny In Philadelphia FX Networks
Matt LeBlanc Episodes Showtime
Joel McHale Community NBC
Martin Clunes Doc Martin PBS
Louis C.K. Louis FX Networks
Actress in a Series: Comedy or Musical
Felicity Huffman Desperate Housewives ABC
Laura Linney The Big C Showtime
Melissa McCarthy Mike & Molly CBS
Martha Plimpton Raising Hope Fox
Amy Poehler Parks And Recreation NBC
Zooey Deschanel New Girl Fox
Miniseries or Motion Picture Made for Television
Cinema Verite HBO
Page Eight PBS
Mildred Pierce HBO
Thurgood HBO
Too Big To Fail HBO
Downton Abbey PBS
Television Series: Genre
Once Upon A Time ABC
True Blood HBO
American Horror Story FX Networks
Torchwood BBC
Game Of Thrones HBO
The Walking Dead AMC

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2012 Awards discussion - Page 2 Empty Re: 2012 Awards discussion

Post by Admin on Sun Dec 04, 2011 1:03 am


31 October 2011

The nominations and jury members for the 14th annual Moët British Independent Film Awards were announced today, Monday 31October at St Martins Lane, London by Helen McCrory.

Joint Directors, The Moët British Independent Film Awards’ Johanna von Fischer & Tessa Collinson said: “This year’s nominees really highlight the immense wealth of British talent in this country today. We are incredibly proud that the Awards have grown to a level that garners attention worldwide, helping to bring British talent and independent filmmaking to the international stage.”

The highest number of nominations this year goes to three films, Shame, Tinker Tailor Soldier Spy and Tyrannosaur, all with seven nods. All three titles are battling for the coveted Best British Film Award, Best Director, Best Actor and Best Supporting Actor or Actress awards. We Need to Talk About Kevin and Kill List each receive six nominations with Submarine following closely with five.

Nominations for Best Actress go to Rebecca Hall (The Awakening), Mia Wasikowska (Jane Eyre), MyAnna Buring (Kill List), Olivia Colman (Tyrannosaur) and Tilda Swinton (We Need To Talk About Kevin). Leading men hoping to take home the Best Actor award include Brendan Gleeson (The Guard), Neil Maskell (Kill List), Michael Fassbender (Shame), Gary Oldman (Tinker Tailor Soldier Spy) and Peter Mullan (Tyrannosaur).

Directors who have delivered dynamic debuts this year and are fighting for the Douglas Hickox Award are Joe Cornish (Attack The Block), Ralph Fiennes (Coriolanus), John Michael McDonagh (The Guard), Richard Ayoade (Submarine) and Paddy Considine (Tyrannosaur).

Elsa Corbineau, Marketing Director Moët & Chandon commented: “Moët & Chandon is thrilled to continue to support the Awards this year. There are some truly remarkable films in today's nominations which reflect the talent of the British filmmakers. We look forward to celebrating all of the nominees and winners on 4 December."

The Raindance Award nominees for 2011 include: Acts of Godfrey, Black Pond, Hollow, Leaving Baghdad and A Thousand Kisses Deep. This Award honours exceptional achievement for filmmakers working against the odds, often with little or no industry support. Elliot Grove, Founder Raindance Film Festival and Moët British Independent Film Awards added: "Delighted to see that this year's nominations prove that once again British independent filmmakers have risen to the creative challenge of making astounding movies in the midst of economic chaos."

The Pre-Selection Committee of 70 members viewed nearly 200 films, out of which they selected the nominations, which were decided by ballot.

The winners of The Moët British Independent Film Awards are decided by an independent jury comprised of leading professionals and talent from the British film industry.

The Jury for 2011 includes:

Josh Appignanesi (Director / Writer), Lucy Bevan (Casting Director), Edith Bowman (Broadcaster), Mike Goodridge (Editor), Ed Hogg (Actor), Neil Lamont (Art Director), Mary McCartney (Photographer), Molly Nyman (Composer), Debs Paterson (Director / Writer), Tracey Seaward (Producer), Charles Steel (Producer), David Thewlis (Actor), Ruth Wilson (Actress) and Justine Wright (Editor).

The winners will be announced at the much anticipated 14th awards ceremony, which will take place on Sunday 4 December at the impressive Old Billingsgate in London.

The Moët British Independent Film Awards is proud to announce the following nominees for this year’s awards:


Sponsored by Moët & Chandon







Sponsored by The Creative Partnership

Ben Wheatley – KILL LIST

Steve McQueen – SHAME


Paddy Considine – TYRANNOSAUR



Sponsored by 3 Mills Studios


Ralph Fiennes – CORIOLANUS

John Michael McDonagh – THE GUARD

Richard Ayoade – SUBMARINE

Paddy Considine – TYRANNOSAUR


Sponsored by BBC Films

John Michael McDonagh – THE GUARD

Ben Wheatley, Amy Jump – KILL LIST

Abi Morgan, Steve McQueen – SHAME

Richard Ayoade – SUBMARINE

Lynne Ramsay, Rory Kinnear – WE NEED TO TALK ABOUT KEVIN


Sponsored by M.A.C

Rebecca Hall – THE AWAKENING

Mia Wasikowska – JANE EYRE

MyAnna Buring – KILL LIST

Olivia Colman – TYRANNOSAUR



Brendan Gleeson – THE GUARD

Neil Maskell – KILL LIST

Michael Fassbender – SHAME


Peter Mullan – TYRANNOSAUR


Felicity Jones – ALBATROSS

Vanessa Redgrave – CORIOLANUS

Carey Mulligan – SHAME

Sally Hawkins – SUBMARINE



Michael Smiley – KILL LIST


Benedict Cumberbatch – TINKER TAILOR SOLDIER SPY

Eddie Marsan – TYRANNOSAUR



Sponsored by STUDIOCANAL

Jessica Brown Findlay – ALBATROSS


Craig Roberts – SUBMARINE

Yasmin Paige – SUBMARINE

Tom Cullen – WEEKEND


Sponsored by Deluxe142







Chris King, Gregers Sall – Editing – SENNA

Sean Bobbitt – Cinematography – SHAME

Joe Walker – Editing – SHAME

Maria Djurkovic – Production Design – TINKER TAILOR SOLDIER SPY

Seamus McGarvey – Cinematography – WE NEED TO TALK ABOUT KEVIN




















Sponsored by Exile Media






THE RICHARD HARRIS AWARD (for outstanding contribution by an actor to British Film)

Sponsored by Working Title

To Be Announced


To Be Announced


Announced at the Moët British Independent Film Awards on Sunday 4 December.

Proud supporters and patrons of The Moët British Independent Film Awards include Mike Figgis, Tom Hollander, Adrian Lester, Ken Loach, Ewan McGregor, Helen Mirren, Samantha Morton, Michael Sheen, Trudie Styler, Tilda Swinton, Meera Syal, David Thewlis, Ray Winstone and Michael Winterbottom.

The Moët British Independent Film Awards would like to thank all its supporters, especially: Moët & Chandon, The British Film Institute, 3 Mills Studios, BBC Films, Deluxe142, The Creative Partnership, Exile Media, M.A.C, Raindance, Soho House, Studiocanal, Swarovski, Variety, Working Title and Zander Creative.

Created by Raindance

Notes to the editor:

About BIFA

Created in 1998, The British Independent Film Awards set out to celebrate merit and achievement in independently funded British filmmaking, to honour new talent, and to promote British filmmaking and British talent to a wider public.

In recognition of Moët & Chandon’s generous contribution as headline sponsor, the 2011 event is referred to as The MOËT British Independent Film Awards.

For further information on BIFA, visit

For press information regarding The Moët British Independent Film Awards contact Emma McCorkell or Caragh Cook at Organic Marketing: +44 (0) 203 372 0976

For press information regarding Moët & Chandon contact:

Meritaten Mance: +44 (0) 7977 561 837

For further information on Moët & Chandon, visit

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Post by Admin on Sun Dec 04, 2011 1:04 am




2011 Gala to be held on

Tuesday, January 10, 2011
hosted by Natalie Morales

New York, NY – December 1, 2011 – The National Board of Review has named HUGO the 2011 Best Film of the Year. Directed by Martin Scorsese, the film was released on November 23rd by Paramount Pictures.

Below is a full list of the awards given by the National Board of Review:

Best Film: Hugo

Best Director: Martin Scorsese, Hugo

Best Actor: George Clooney, The Descendants
Best Actress: Tilda Swinton, We Need to Talk About Kevin
Best Supporting Actor: Christopher Plummer, Beginners
Best Supporting Actress: Shailene Woodley, The Descendants
Best Original Screenplay: Will Reiser, 50/50
Best Adapted Screenplay: Alexander Payne and Nat Faxon & Jim Rash
Best Animated Feature: Rango
Breakthrough Performance: Felicity Jones, Like Crazy
Breakthrough Performance: Rooney Mara, The Girl with the Dragon Tattoo
Debut Director: J.C. Chandor, Margin Call
Best Ensemble: The Help
Spotlight Award: Michael Fassbender (A Dangerous Method, Jane Eyre, Shame, X-Men: First Class)
NBR Freedom of Expression: Crime After Crime
NBR Freedom of Expression: Pariah
Best Foreign Language Film: A Separation
Best Documentary: Paradise Lost 3: Purgatory
Special Achievement in Filmmaking: The Harry Potter Franchise - A Distinguished Translation from Book to Film

Ten Best Films

(in alphabetical order)

The Artist
The Descendants
The Girl with the Dragon Tattoo
Harry Potter and the Deathly Hallows Part 2
The Ides of March
J. Edgar
Tree of Life
War Horse

Five Best Foreign-Language Films

(in alphabetical order)

13 Assassins
Elite Squad: The Enemy Within
Le Havre
Point Blank

Five Best Documentaries

(in alphabetical order)

Born to be Wild
George Harrison: Living in the Material World
Project Nim

Top Ten Independent Films

(in alphabetical order)

Another Earth
A Better Life
Cedar Rapids
Margin Call
Take Shelter
We Need To Talk About Kevin
Win Win

"HUGO is such a personal film by Martin Scorsese,” said Annie Schulhof, NBR President. “It is a tribute to the early years of cinema that uses today's cutting edge technology to bring the audience into a completely unique and magical world. It is visually stunning and emotionally engaging.”

A select group of knowledgeable film enthusiasts and professionals, academics, young filmmakers and students, the National Board of Review viewed over 250 films this year including studio, independent, foreign-language, animated and documentary selections. These screenings were frequently followed by in-depth discussions with filmmakers, directors, actors, producers, and screenwriters. Voting ballots were tabulated by the accounting firm of Lutz & Carr, LLP.

The National Board of Review honors diverse members of the film community at their annual Awards Gala, which also acts as a fundraiser for student grant philanthropy. Hosted by Natalie Morales, this year’s Gala will take place on January 10, 2012 at Cipriani’s 42nd St. in New York City.



Maggie Kaatz

(212) 373-6146;

George Nicholis

(212) 373-6113;

Lee Meltzer
(212) 373-6142;


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Post by Admin on Sun Dec 04, 2011 1:17 am

Dec 1 2011 03:34 PM ET

'Hugo' wins National Board of Review
by Dave Karger

Martin Scorsese’s 3D family film Hugo has won the National Board of Review’s prize for Best Film of 2011. The Thanksgiving-weekend release also won the Best Director award, while The Descendants also picked up multiple citations, for Best Actor (George Clooney), Best Supporting Actress (Shailene Woodley), and Best Adapted Screenplay. Missing from the largely predictable NBR top 10: The Help (which won an ensemble prize instead), Midnight in Paris, and Moneyball, as well as Extremely Loud and Incredibly Close, which didn’t screen in time. Meanwhile, Tilda Swinton’s victory for Best Actress for We Need to Talk About Kevin is a big help to her chances, although last year’s winner, Another Year‘s Lesley Manville, failed to make the Academy’s cut. Check out the full list of winners below.

Best Film Hugo

Top 10 Films
The Artist
The Descendants
The Girl With the Dragon Tattoo
Harry Potter and the Deathly Hallows Part 2
The Ides of March
J. Edgar
The Tree of Life
War Horse

Best Actor George Clooney, The Descendants

Oscars 2011: Get the latest news, photos, and more

Best Actress Tilda Swinton, We Need to Talk About Kevin

Best Supporting Actor Christopher Plummer, Beginners

Best Supporting Actress Shailene Woodley, The Descendants

Best Director Martin Scorsese, Hugo

Best Original Screenplay Will Reiser, 50/50

Best Adapted Screenplay Alexander Payne, Nat Faxon & Jim Rash, The Descendants

Breakthrough Performance Felicity Jones, Like Crazy and Rooney Mara, The Girl With the Dragon Tattoo

Best Foreign Film A Separation

Top 5 Foreign Films
13 Assassins
Elite Squad: The Enemy Within
Le Havre
Point Blank

Best Documentary Paradise Lost 3: Purgatory

Top 5 Documentaries
Born to Be Wild
George Harrison: Living in the Material World
Project Nim

Best Animated Feature Rango

Best Ensemble Cast The Help

Best Debut Director J.C. Chandor, Margin Call

Spotlight Award Michael Fassbender, A Dangerous Method, Jane Eyre, Shame, X-Men: First Class

NBR Freedom of Expression Crime After Crime and Pariah

Special Achievement in Filmmaking The Harry Potter franchise

Top 10 Independent Films
Another Earth
A Better Life
Cedar Rapids
Margin Call
Take Shelter
We Need to Talk About Kevin
Win Win

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Post by Admin on Thu Dec 08, 2011 7:19 pm

Watch the hour-long Hollywood Reporter’s Actors Roundtable – and ask yourself where is Michael Fassbender?

Posted on Dec 6, 2011 by Ricky in Blog, Video Of The Day

Every year in the month of December, The Hollywood Reporter invites a selection of actors, actresses, writers and directors of the year’s best films to sit down and discuss them. We recently posted the release of the director’s roundtable but now THR has dropped video for the actors roundtable, which features George Clooney of The Descendants, Christopher Plummer of Beginners, Gary Oldman of Tinker, Tailor, Solider, Spy, Christoph Waltz of Carnage, Albert Brooks of Drive and Nick Nolte of Warrior . All the men have a good shot at multiple award nominations, but why is Michael Fassbender (arguably the actor of the year) missing? Here is the video.

Thanks to The Hollywood Reporter for putting this together.

Last edited by Admin on Thu Dec 08, 2011 7:41 pm; edited 1 time in total

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