By mcneditor editor@moviecitynews.com

The Oscar Sidebar

Best Picture Release Dates:
Midnight in Paris – May 20, 2011
The Tree of Life – May 27, 2011
The Help – August 10, 2011
Moneyball – September 23, 2011
The Descendants – November 16, 2011
Hugo – November 23, 2011
The Artist – November 25, 2011
Extremely Loud & Incredibly Close – December 25, 2011
War Horse – December 25, 2011

• This year’s balloting rules allowed for the possibility of between five and ten Best Picture nominees, and for the first time in Academy history, nine films have been nominated in that category.

• With his two nominations for Original Score this year, John Williams now has a total of 47 nominations. He ranks second to Walt Disney as the most-nominated individual in Oscar® history. Among living persons, Woody Allen, who is also nominated twice this year for a total of 23 nominations, is second only to Williams.

• Meryl Streep extends her lead as the most-nominated performer in Oscar history with her 17th nomination this year.

• In the acting categories, nine individuals are first-time nominees. Two of the nominees (George Clooney, Meryl Streep) are previous acting winners. Only Michelle Williams was also nominated last year, for her leading role in Blue Valentine.

• Kathleen Kennedy and Steven Spielberg, with their nominations for War Horse, now share the record for most Best Picture nominations for individual producers with seven each. Kennedy’s previous nominations were for E.T. The Extra-Terrestrial (1982), The Color Purple (1985), The Sixth Sense (1999), Seabiscuit (2003), Munich (2005) and The Curious Case of Benjamin Button (2008). Spielberg’s other Best Picture nominations were for E.T. The Extra-Terrestrial, The Color Purple, Schindler’s List (1993), for which he won the award, Saving Private Ryan (1998), Munich and Letters from Iwo Jima (2006).

• With his nominations for directing and writing Midnight in Paris, Woody Allen passes Billy Wilder in becoming a seven-time double nominee for Directing and Writing on the same film.

• A Separation is the first screenplay written in Farsi to receive a Writing nomination.

• For the second time, George Clooney has received nominations in two different categories for two different feature films in the same year. He is nominated for his leading role in The Descendants and in the Adapted Screenplay category for The Ides of March. In 2005, he was named Best Supporting Actor for Syriana and was nominated in the Original Screenplay category for Good Night, and Good Luck.

• Pina is the first 3D film nominated in the Documentary Feature category.

• The Artist is the tenth predominantly black-and-white film to be nominated for Cinematography since 1967, when the separate category for black-and-white cinematography was eliminated. Previously nominated films were In Cold Blood (1967), The Last Picture Show (1971), Lenny (1974), Raging Bull (1981), Zelig (1983), Schindler’s List (1993), The Man Who Wasn’t There (2001), Good Night, and Good Luck. (2005) and The White Ribbon (2009).

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“I’m in Locarno, my movie is premiering for 1,000 people, which is nuts. A huge-ass screening, second day of the festival, 7:30pm in the sidebar competition. It’s comparable to Un Certain Regard or Director’s Fortnight. Every movie I saw in that section was fun, brilliant movies from around the world. The main competition was like Aza Jacobs and Mia Hansen-Løve, people who have been around. And I was like, “This is crazy. What am I doing inside the bloodstream of this establishment? I’m 27. I don’t belong here.” Every person I talked to there couldn’t believe what the movie cost, and then couldn’t believe when I told them what other American movies cost. We were the cheapest movie there by 65%. The next cheapest movie cost I think three times as much as we did. And they were just like, “You can’t make movies for what you’re telling us your movie cost.” And I told them, “Well, I can, I’m here, I’m in the same section as you are, so you are wrong. People think I’m lying when I tell them my budget. And also everyone likes it. I’m having a great time and people are being very responsive. Maurice Pialat’s widow was like, “I heard your movie’s good, I want a copy of it.” I’m like, “Well this is f**kin’ crazy.” Pedro Costa saw it there and really liked it and I’m like, What am I doing? I had gone in two months from screening at BAM for a lot of friends to Pedro Costa? This is the exact sentence: “Pedro Costa saw your movie. He’s a huge Jerry Lewis fan. He wants to talk to you about your movie and also Jerry Lewis.” And I thought, “I’m out of my element. I cannot have that conversation because that’s ridiculous.” Because his retrospective was happening at Anthology when I worked at Kim’s, and his Criterion box set came out when I was working at Kim’s. He can’t want to talk to me. That’s not possible. That’s not allowed. There is no world where that makes any sense!”  Or like when you wrote me to say that David Gordon Green wrote you to say, “I’m watching The Color Wheel and then I’m going to see Tree of Life.” There is no world where this is allowed! Again, somebody whose DVDs I was putting on the shelf, as, like, a hero. And it’s just like, “Oh, I’ll watch this movie.” There’s just a very fuzzy area in the middle there and it happened very quickly and I don’t understand why.  I still have a voice-mail from Sean [Price Williams, cinematographer]. I wish he was here to talk about it, but the voice-mail is a long pause and he’s just like, “I don’t want to tell you this, because it’s gonna make you so insufferable. I hate having to tell you this, but Leos Carax watched your movie and he really loves it, and he wants to meet you when he comes to New York.” I can’t live in a world where Leos Carax knows who I am, watches my movie, likes it, and thinks, “I wanna meet that guy.”
~ It’s Alex Ross Perry’s World

“I don’t know. It’s been a lot harder than I thought it was going to be to make the films I really dream of making. I was in Italy a few years ago scouting for this very beautiful film I wanted to make with Richard Linklater. We worked really hard on the script for a couple of years and couldn’t get the money together. It was an expensive idea. It’s heartbreaking when that happens over and over again and then the movies that do get made are ones that have lots of women being beaten up or zombies being killed. It’s all fine, it’s all okay, but it’s hard. I remember when River Phoenix died, he was ahead of me on this curve. He kind of realized how hard it was to make serious movies. People like Sidney Lumet figured out how to walk that line, but it’s hard. And it requires patience. It’s a life’s work and I wonder if I’m up to the task.”
~ Weary, Wary Ethan Hawke

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