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Awards Update

Gurus o’ Gold: The Final Vote – Every Category (2 of 2)

Page 1 Page 1 Pre-Venice/Telluride/Toronto Best Picture Field Post-Venice/Telluride/Toronto Best Picture Field After New York… Just Before Selma & American Sniper Just After Selma & American Sniper Gurus o’ Gold: A Week From Thanksgiving, aka Screener Time Thanksgiving Week The Rise of Selma Gurus o’ Gold-n-Globes) The Top 8 Categories Heading Into The Holiday Break…

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Gurus o’ Gold: The Final Vote – Every Category (1 of 2)

In the final vote of the season, The Gurus project only three changes in category leaders. They also envision The Grand Budapest Hotel winning the most Oscars, but not Best Picture. Boyhood will be the second most awarded with three. And two each for Birdman and American Sniper.

Are they right? The answers are coming on Sunday…

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20 Weeks To Oscar: One Week Left

So the question… is it the failure of the system that there isn’t more clarity… or the genius?

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Gurus o’ Gold: 6 Days Of Voting Left

It’s almost time for the party. The Gurus’ Best Picture chart features just one film moving up.

In addition, The Gurus offer which name they would not be surprised to hear on Oscar night when conventional wisdom says otherwise. And in that category, the is one clear standout.

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20 Weeks To Oscar: What We Talk About When We Talk About Best Picture

The die is likely already cast, even if all the votes are not. My experience of talking to voters is that those who are waiting are trying to see the short film selections and perhaps a doc or foreign language film, not hedging on Best Picture.

But what that answer is… I can make a list… I make a list every week… but do I know? I must admit, I have never felt this far from knowing this far into the season in 17 years of doing this.

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Gurus o’ Gold: Final Voting Starts This Week (2 of 2)

Page 1 of 2 Page 1 of 2 Pre-Venice/Telluride/Toronto Best Picture Field Post-Venice/Telluride/Toronto Best Picture Field After New York… Just Before Selma & American Sniper Just After Selma & American Sniper Gurus o’ Gold: A Week From Thanksgiving, aka Screener Time Thanksgiving Week The Rise of Selma Gurus o’ Gold-n-Globes) The Top 8 Categories Heading…

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Gurus o’ Gold: Final Voting Starts This Week (1 of 2)

The Gurus go the whole 22 (excluding shorts) as The Academy voting is about to begin. There is a lot of movement, though the projected winner has only changed in 2 categories since Nomination Day.

Part 2 is here

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20 Weeks To Oscar: Is The Door Wide Open Again?

Could the Academy’s bizarre preferential balloting system be the defining issue in coming to a Best Picture winner this year?

And let me note again, before going any further, that the existence of the preferential ballot system at The Academy is IDIOTIC and I will forever believe that this was a bad joke foisted on The Academy by an exiting Bruce Davis.

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20 Weeks To Oscar: It’s Gettin’ Hot In Here

There are a lot of theories out there about how to read the tea leaves this season. But for me, the truth is that I have never seen anything quite like it.

PGA and SAG, Birdman. Globes, Boyhood and The Grand Budapest Hotel. LAFCA and NYFCC, Boyhood. Coming up in short order… DGA, BAFTA, WGA.

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Gurus o’ Gold: A Week After Nominations… Any Changes?

The Gurus update their Best Picture picks and answer this question: Has the leader in any of the other categories changed, in your view, over the last week?

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20 Weeks To Oscar: Ragin’

I don’t know that I have seen anything like this before. It’s kind of about Oscar season. It’s mostly not. But Oscar has yelled “pull” and now everyone is shooting at the clay pigeons. And the bullets are flying from every direction.

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Gurus o’ Gold: Nomination Day (1 of 2)

The Gurus have voted on the slotting of 22 categories (no shorts yet) after today’s nominations. And if you listen to the Gurus today, 14 of those awards will be split pretty evenly between Boyhood, Birdman, and The Grand Budapest Hotel.

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Gurus o’ Gold: Nomination Day (2 of 2)

Page 1 of 2 Pre-Venice/Telluride/Toronto Best Picture Field Post-Venice/Telluride/Toronto Best Picture Field After New York… Just Before Selma & American Sniper Just After Selma & American Sniper Gurus o’ Gold: A Week From Thanksgiving, aka Screener Time Thanksgiving Week The Rise of Selma Gurus o’ Gold-n-Globes) The Top 8 Categories Heading Into The Holiday Break…

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20 Weeks To Oscar: The Most Shocking Event Of The Week!!!!

The Answers

Clint Eastwood.
Bradley Cooper.
Alexandre Desplat.
Foxcatcher.
The LEGO Movie.
Life Itself.

The Question…

What are six Oscar occurrences today that are legitimately more surprising than Selma “only” getting a Best Picture nod?

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Oscar Nominations: The Nominee Reactions

“Almost exactly a year ago, we were off to Sundance wondering if people would ever see Whiplash. Today is truly beyond our wildest dreams. As Fletcher would say, holy #@^!#@*$!!!”.” -  Helen Estabrook, Jason Blum & David Lancaster, producers of Whiplash ______________ “Humbled, thankful and more than anything, grateful. So, so happy that Alejandro and…

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20 Weeks To Oscar: Screenermania!

An industry in which a $2.4 million buy-in ($900,000 before you are nominated for anything) just for DVDs—before ads, books, promo items, appearance costs, etc,—to be considered “serious” about receiving awards is a problem.

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20 Weeks To Oscar: The Trouble With Endings (spoilers)

This piece deals with the end of three Oscar Best Picture candidates, reveling the ending of American Sniper, The Imitation Game, and Unbroken. DO NOT PROCEED is you haven’t seen the films or do not want to know the endings… you have been warned!

SPOILER ALERT!!!

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20 Weeks To Oscar: SNUB!

A snub is a smile turned upside down. That’s the First thing that always hits me when people scream, “SNUB!.” In order for some potential nominee who didn’t get nominated to be snubbed, someone who did get nominated has to have been undeserving in the eyes of the screamer(s). Second thing I think of is…

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Quote Unquotesee all »

“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

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