MCN Columnists
David Poland

By David Poland

Best Actress Chart

Actress – Film
Marion Cotillard – La Vie En Rose
Helena Bonham Carter – Sweeney Todd
Laura Linney – The Savages
Keira Knightley – Atonement
Halle Berry – Things We Lost in the Fire
Julie Christie – Away From Her
Cate Blanchett – Elizabeth
Ellen Page – Juno
Angelina Jolie – A Mighty Heart
Nikki Blonsky – Hairspray
Wei Tang – Lust, Caution
Naomi Watts – Eastern Promises
Rachel McAdams – The Lucky Ones
Charlize Theron – In The Valley of Elah

Actress – Film
Julia Roberts – Charlie Wilson’s War
Cate Blanchett – I’m Not There
Tilda Swinton – Michael Clayton
Jennifer Jason Leigh – Margot At The Wedding
Marisa Tomei – Before The Devil Knows You’re Dead
Bianca – Lars & The Real Girl HA! Just kidding.
Ruby Dee – American Gangster
Meryl Streep – Lions For Lambs
Catehrine Keener – Into The Wild
Ashley Judd – Crossing Over
Markéta Irglová – Once
Saoirse Ronan – Atonement

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima