20 Weeks to Oscar

10 Weeks To Oscar: Let The Great Settling Begin!

The field has been narrowed, but there is still no clear front-runner. Things should start to settle in, as they do with Oscar every year, in the DVD players over the next 10 days of holiday hanging out. The Voters can influenced by what they see and what they hear from their kids, grandkids, and friends. Ho ho ho!

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Critics Top Ten List 2010: Eric Kohn

Eric Kohn indieWIRE 1.  Dogtooth 2.  Exit Through the Gift Shop 3.  Winter’s Bone 4.  Daddy Longlegs 5.  Another Year 6.  Animal Kingdom 7.  Catfish 8.  Alamar 9.  Prince of Broadway 10.  Enter the Void

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15 Features in Line for 2010 VFX Oscar

15 Features in Line for 2010 VFX Oscar

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13 Weeks To Oscar: Movies and Pundits and Airs, Oh My!

“Have you heard that Mimsie Starr
Just got pinched in the Astor bar?
Well, did you evah?
What a swell party this is!”

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15 Weeks To Oscar: Don’t You Forget About Me

There are a lot of good films in the Oscar race this year… but here is a list of five that feel like their Best Picture hopes may be fading away and not only deserve consideration, but could be an embarrassment to The Academy if not given a full hearing and some nods.

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16 Weeks To Oscar – The Ongoing Story Of 10

The difference between being “in” and being “out” is, in most cases, no less dramatic or emotional for Academy nominees than for Project Runway contestants. A Best Picture nomination would significantly change the financial life of many films, if not in theatrical release, in DVD and other ancillary markets. But even more so, it would elevate the filmmakers and actors involved with those films, even though they all have serious credentials going in.

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17 Weeks To Oscar: It’s Raining Men

There are 7 Undeniable Best Actor performances this year… and only 5 slots. And that doesn’t even touch on another group of performances that will still draw serious attention and could pass up the Undeniables. What’s an Oscar voter to do?

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18 Weeks To Oscar: In The Shadow Of The Hurt Locker

The clearest lesson of last year’s Oscar winner was that you don’t have to kill yourself in September or October or November to win Best Picture. But does that trend-setting experience set the season on a good track or a bad one?

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19 Weeks To Oscar: Looking For A Rush

So far, the season hasn’t sizzled. But new films and the thrill of seeing new faces rise and old faces coming back may turn this into a season of happy fireworks.

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A 20 Weeks Special Edition – Let The Premature Awardulation Begin!!!

Ah, as the temperatures finally drop from the 80s in Los Angeles, it’s time to start giving out year end awards months before the year has ended. Now, there are two classes of premature awardulation. There is the sincere and well-intended. That would be your Gotham Awards. Desperately trying to compete for attention and position…

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10 Reasons Why The Academy Moving To January Makes Perfect Sense

Some people think Oscar will be ruined by moving into January. All I can say is, “What have they been waiting for?”

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22 Weeks To Oscar: The Year Of Good Being Good Enough

This is a very competitive race for a dozen or so movies looking to fit into a few slots. GREAT is not necessary. In fact, GREAT may be a problem for some of these films. This is the Oscar season of Really Good.
(New Charts This Week, Including Acting Races)

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26 Weeks To Oscar: The Year Of… Patience

The awards season has gotten off to a rousing “uh, okay.”

Yeah, the festival season is upon us and there is a lot of drool dripping over some of these films – including my own happy salivations – but festival excitement is not, in and of itself, an answer.

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30 Weeks To Go Yeah… It’s Time To Start Thinking Oscar Again

We’re a few weeks away from Venice/Telluride/Toronto, which kicks off the Oscar season in one 19-day period. What these festivals do is to get a few titles rolling, but mostly, they start eliminating would-be contenders from the race. It’s not just press, fans, and reality in play here … it’s the studios too. Fox Searchlight…

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9 Days To Go, Going Dark

It’s been quite a week. I started this week’s 20 Weeks column a few days ago. Back then, the story was about how the two frontrunners in the race are movies that I have been embedded with – for lack of a better term – from their first public screenings, so I will be happy…

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16 Days To Go, Backing Into The End Zone

It’s fourth down, 16 days to go, and even though one team is poised to score and put the game out of reach, they can’t just kick the field goal… they need to go for it. Because this year, the game seems to be about who has “the ball” last. “The ball,” of course, is…

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23 Days To Go Sit Back, Relax, Enjoy Being The Show

Once again, frontrunners emerge with such force that everyone – except Paramount – is laying down and letting it happen to their movies. Not the least of this are Fox and Summit, who really care… but are just not that interested in spending money on this Best Picture fight… at least, not much money.

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7 Weeks To Go, Ten Is Good

At this quiet moment, between a rock rippling the voting pond and a hard count of nominees, a moment of reflection on the State of The Oscars. I couldn’t be happier with the 10 nominee thing. Sure, it has taken an annual narrow race and made it wider, but still narrow. The group of films…

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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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