MCN Blogs
Ray Pride

By Ray Pride Pride@moviecitynews.com

Hurt Locker detonates the BAFTAs

bafta-awards_222.jpgBest Film: The Hurt Locker
Best Actress: Carey Mulligan, An Education
Best Actor: Colin Firth, A Single Man
Best Director: Kathryn Bigelow, The Hurt Locker
Best Foreign Language Film: A Prophet
Best Animated Film: Up


Best Adapted Screenplay: Jason Reitman and Sheldon Turner, Up in the Air
Rising Star Award: Kristen Stewart
Best Production Design: Rick Carter, Robert Stromberg and Kim Sinclair, Avatar
Best Original Screenplay: Mark Boal, The Hurt Locker
Best British Film: Fish Tank
Best Supporting Actress: Mo’Nique, Precious
Best Makeup and Hair: Jenny Shircore, The Young Victoria
Best Costume Design: Sandy Powell, The Young Victoria
Best Supporting Actor: Christoph Waltz, Inglourious Basterds
Best Visual Effects: Avatar
Best Cinematography: Barry Ackroyd, The Hurt Locker
Best Film Editing: Bob Murawski and Chris Innis, The Hurt Locker
Best Music: Michael Giacchino, Up
Best Sound: The Hurt Locker
Carl Foreman Award (Best Debut by a British Writer, Director or Producer): Duncan Jones, Moon
Best Short Film: I Do Air
Best Animated Short: Mother of Many
Outstanding Contribution to British Cinema: Joe Dunton

Comments are closed.

Movie City Indie

Quote Unquotesee all »

“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch