
By David Poland poland@moviecitynews.com
Not So Indie Spirit
The winners?
Sony Classics

The winners?
Sony Classics
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RT @The_RobertEvans: "Any man that thinks he knows the mind of a women ... Knows nothin" Robert Evans
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“One of the things I wish I could do in my life would be to watch this film through somebody else’s eyes. I just can’t. I still see it as just a giant mess, and other people are seeing that it has a shape. That’s really exciting, because I still have a hard time seeing it clearly.”
~ Sarah Polley’s Greatest Wish About Stories We Tell
“Anyway, Hitchcock eventually saw a rough cut of High Anxiety. He enjoyed it. But he said nothing after it. He just left. I [thought he] wasn’t happy. The next day, about 11 o’clock in the morning, I get this enormous, beautiful case of Chateau Haut-Brion 1961. That was almost 20 years old [at the time]. I mean, it was priceless. And there were magnums six of them, in a wooden case. Haut-Brion. I mean, oh my God. I’ve still got three of them left waiting. I keep all the good wines.”
What kind of occasion is worthy? When will you know it’s time to go into number four?
“A real, real occasion. I won’t drink it just because it’s a family occasion. I’ll drink it with guys that know what a good wine is and care about, you know, exquisite wines. I have a couple of friends that know what a good wine is.”
~ Mel Brooks, Foodie

Can we write the eulogy for Crash yet?
I am very surprised at the lack of best feature or anything else besides actor for Hustle and Flow.
Hustle and Flow. The most overrated movie of the year.
Terence Howard deserves an Oscar nom for that. No doubt in my mind.
I expected at least some nods for Hustle and Flow just based on rep and the fact that it might be the best independent movie of the year. To shut it out almost completely is a big story.
i made my comments over at the awards blog.
Still, these awards are quite possibly some of the most pointless out there. So easy to not give a crap about, to be honest.
pointless to u maybe. but not to the filmmakers and the producers. this is their chance at some glory and maybe at some academy momentum. small yes. inconsequential? no.
Oh, for the films such as You & Me…, Nine Lives, etc I’m sure it is valuable. But a lot of the film’s they are allowing some glory will indeed be finding glory at many other awards shows.
And what about the people who deserve glory in the areas of sound? editing? effects? animation even. they have a cinematography category category for some random reason yet no other technical ones.
well i can’t defend them not having more categories. but awards like this do reward peoples hard work and get the films known. a hot streak and a few wins at shows like this and then some oscar buzz gets started. all part of the game.
Let me guess which films win in the main categories. Capote, Brokeback, GN&GL. Just a hunch on that one.
“Asylum” was good in its way. It came out in August and thus should have been in more theaters, but its US release was by Par Classics, thus no national release.
Par Classics got what it deserved on “Mad Hot Ballroom”: No mainstream bookings, thus little audience, thus no end-of-year attention.
The Weinstein Company must have bought its awards. Looks like they used the money saved by keeping ads out of the Village Voice.