Awards Watch

2019 Governors Awards: Geena Davis, David Lynch, Wes Studi, Lina Wertmüller

THE ACADEMY TO HONOR GEENA DAVIS, DAVID LYNCH, WES STUDI AND LINA WERTMÜLLER AT 2019 GOVERNORS AWARDS LOS ANGELES, CA – The Academy announced today that its Board of Governors voted (Saturday, June 1) to present Honorary Awards to David Lynch, Wes Studi and Lina Wertmüller, and the Jean Hersholt Humanitarian Award to Geena Davis….

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The Gurus o’ Gold Oscar Blowout – Part 1

The Gurus make their final estimations of the field as seen by the Academy… no huge surprises, but Vice tumbled in almost all categories, with a few stray hopes for an editing nod.

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The Gurus o’ Gold Oscar Blowout – Part 2

First (and final) surmises of the shorts categories, and a few familiar crafts staying about the same from recent weeks.

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The Gurus: Ranking Acting, Singing, Writing, Best Picture-ing

Reflecting the Grammys and a few last guild votes before Oscar voting closes, consensus arrives in a few categories under the watching eyes of the Gurus, notably in the acting categories, and a sweep in Best Adapted Screenplay for BlacKkKlansman.

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Gurus Predict, Post-Guilds: Director, Production Design, Film Editing, Animated Feature; As Well As Doc Feature, Cinematography, Costume Design, SFX and of course, BEST PICTURE

The Gurus respond to Oscar chances after multiple guild nods, catching up with Director, Production Design, Film Editing, Animated Feature; As Well As Doc Feature, Cinematography, Costume Design, SFX and not least, Best Picture.

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Gurus o’ Gold On The Oscar Chart No. 1

Weighing in on a first set of Oscar nominations, including acting nods after the Sunday night SAG awards. Harsh weather and (harsher?) Sundance delayed several Gurus, but the roster will be back to full strength in charts leading up to Oscar night.

Love for BlacKkKlansman pushes Spike Lee’s multi-nominated pic atop Green Book for second ranking for Best Pictures. Best Actor and Best Supporting Actor predications offer up a pretty solid consensus

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The Gurus O’ Gold Weigh The Acting Categories And Best Picture

Hello, Glenn Close!

Oscar nominations drop on Tuesday morning, and the Gurus anticipate some shifts in the Academy’s Final Five for acting nominations, plus a few flyaway titles from the Best Picture roster, which could contain as many as ten nominees.

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The Gurus o’ Gold Highlight Best Picture, Best Foreign Language, Best Documentary

Checking in a week before Oscar nomination voting ends: predictions for documentary feature, foreign language film, and of course, best picture, with a good range of wiggling in the rankings after major guilds have announced their nominees.

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2019 Writers Guild Awards Nominees

SCREENPLAY NOMINEES ORIGINAL SCREENPLAY Eighth Grade, Written by Bo Burnham; A24 Green Book, Written by Nick Vallelonga & Brian Currie & Peter Farrelly; Universal Pictures A Quiet Place, Screenplay by Bryan Woods & Scott Beck and John Krasinski, Story by Bryan Woods & Scott Beck; Paramount Pictures Roma, Written by Alfonso Cuarón; Netflix Vice, Written by Adam McKay; Annapurna Pictures ADAPTED SCREENPLAY…

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American Society of Cinematographers Reveals Feature and Television Nominees

Trouble viewing this email? Read it online American Society of Cinematographers Reveals Feature and Television Nominees   LOS ANGELES (January 7, 2019) — The American Society of Cinematographers (ASC) has announced the nominees for all categories of the 33rd Annual ASC Outstanding Achievement Awards. Winners will be named at the awards gala on February 9 at the Ray Dolby…

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NOMINEES ANNOUNCED FOR THE  69TH ANNUAL ACE EDDIE AWARDS  RECOGNIZING BEST EDITING OF 2018  IN FILM, TELEVISION AND DOCUMENTARIES

Winners to be announced at the 69th Annual ACE Eddie Awards presented by American Cinema Editors (ACE) on Feb. 1 at the Beverly Hilton Hotel Los Angeles, Jan. 7, 2019 — American Cinema Editors (ACE), the honorary society of the world’s top film editors, today announced nominations for the 69th Annual ACE Eddie Awards recognizing outstanding editing…

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Gurus Predict Globes Picks And Best Picture

The Gurus weigh in on Best Picture after the PGA nominations and Hollywood Foreign Press best pics before Sunday night gets its Globe on.

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The Gurus o’ Gold On Key Categories

The Gurus let go of multiple outliers and one-vote-wonders for best picture this go-round.

While relatively small fields, there’s movement in the acting categories, including sentiment for Bohemian Rhapsody that elevates Rami Malek. Actresses off the Guru radar include Felicity Jones, Natalie Portman and Saoirse Ronan.

As with the Academy, the Guru screenplay predictions hold surprises, including BlacKkKlansman leading adapted predictions and Roma sandwiched by leader The Favourite and a maybe not-so-surprising showing for First Reformed, for yet-to-be-nominated writer-director Paul Schrader. The Gurus also shine light on recently-prized Ethan Hawke.

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The Gurus Predict Globes for Drama, Musical or Comedy, and Director

The Gurus predict the sentiment of the happy-go-lucky members of the Hollywood Foreign Press Association this week, considering what tickled their fantasy this season: lots of love predicted for A Star Is Born, as well as possible chances for Green Book.

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Gurus o’ Gold Speak Best Picture, Foreign Language, Doc Feature

A Star is Born, Roma, Green Book and The Favourite and Black Panther sentiment shifts slightly, from Guru to Guru. Extra love for Mary Poppins Returns as screenings accelerate, and First Reformed after nods from the New York Film Critics Circle.

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Gurus o’ Gold Go Best Picture, Director, Cinematographer

Post-Thanksgiving, the Gurus shake up the Best Picture field on a couple of pictures that have just opened, reflecting critical and financial reception, as well as bright-and-sunny early previews for Mary Poppins Returns.

The Gurus also look upon best director and best cinematographer for the first time in 2018, with much love for one big black-and-white picture: Alfonso Cuarón’s cinematography on Roma makes a rare Gurus sweep.

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Gurus O’ Gold On Best Picture, Best Supporting Actor, Best Actor

For mid-November, the Gurus update their predictions for Best Picture, and take a first look at best supporting actor and best actor.

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Gurus o’ Gold Take Up Best Picture, Actress and Supporting Actress

The Gurus slide up into your awards season still flushed with post-festival fever, ready with their insight and instinct. There are also impressive movies to praise, with only a few known titles yet to rear their heads.

First up: a shortlist of a dozen features for consideration, and a surprisingly consistent list of five candidates for Best Actress and for Best Supporting Actress.

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Gurus o’ Gold: At The Start of The Season 2018/19

The festival season has started and contenders are getting their first screenings. The Gurus take a close squint and the known-knowns and the maybe-knowns in the first charts of the season. Off to the movies! Let the surprises begin!

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For Oscar 91, Academy Issues More Rules Arcana

AWARDS RULES APPROVED FOR 91ST OSCARS® CAMPAIGN REGULATIONS UPDATED FOR NEW AWARDS SEASON LOS ANGELES, CA — The Academy’s Board of Governors has approved Oscars® rules and campaign regulations for the 91st Academy Awards®. Submission deadlines for awards eligibility have been changed. There is now one submission deadline – Monday, October 1, 2018 – for…

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This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin