Awards Watch Archive for November, 2007

Best Screenplay Chart

BEST ORIGINAL SCREENPLAY Writer(s) – Film Comment Michael Clayton Tony Gilroy Juno Diablo Cody The Savages Tamara Jenkins Before The Devil Knows You’re Dead Kelly Masterson Lars & The Real Girl Nancy Oliver Knocked Up American Gangster I’m Not There Margot At The Wedding In The Valley Of Elah Things We Lost In The Fire…

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Best Actress Chart

BEST ACTRESS Actress – Film Comment Marion Cotillard – La Vie En Rose Julie Christie – Away From Her Laura Linney – The Savages Keira Knightley – Atonement Ellen Page – Juno Angelina Jolie – A Mighty Heart Helena Bonham Carter – Sweeney Todd Nikki Blonsky – Hairspray Halle Berry – Things We Lost in…

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Best Actor Chart

BEST ACTOR Actor – Film Comment Johnny Depp – Sweeney Todd He is amazing… he is pushed… and he is Depp Daniel Day Lewis – There Will Be Blood Technical love George Clooney – Michael Clayton Maybe his best work Phillip Seymour Hoffman – Before The Devil Knows You’re Dead The only character introduction that…

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Best Director Chart

BEST DIRECTOR Director – Film Comment The Best Picture Runners The Coen Bros – No Country For Old Men Tony Gilroy – Michael Clayton Sidney Lumet – Before The Devil Knows You’re Dead The Superstars Of Directing ’07 Julian Schnabel – The Diving Bell & The Butterfly Paul Thomas Anderson – There Will Be Blood…

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Best Picture Chart

BEST PICTURE Release Date Picture Studio Comment Nov 9 No Country For Old Men Miramax The most talked about movie right now Oct 5 Michael Clayton WB The little engine that is 8 Fighting For 3, 4, 5 Dec 7 Atonement Focus Danger, Will Robinson! Frontrunner-itis threatens! Oct 26 Before The Devil Knows You’re Dead…

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14 Weeks To Go All Dressed Up And No Way To Know

So all the horses are in the gate … Big dogs Sweeney Todd and Charlie Wilson’s War landed this week to mixed results.  The Weinstein Co is still rolling out The Great Debaters in hopes that it can argue its way into the race.  And the entire parade of films that are in the chase…

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15 Docs Move Ahead in 2007 Oscar Race®

Beverly Hills, CA — The Academy of Motion Picture Arts and Sciences today announced that 15 films in the Documentary Feature category will advance in the voting process for the 80th Academy Awards®. Seventy pictures had originally qualified in the category. The 15 films are listed below in alphabetical order: “Autism: The Musical” “Body of…

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16 Weeks To Go Slippin’ And Slidin’

It is, for almost everyone I speak to, one of the oddest award seasons ever.  It’s November 15th.  A year ago, Dreamgirls launched and the season started flopping around.  This year, we are still waiting on Sweeney Todd and Charlie Wilson’s War but, really, nothing has cemented a slot as a nominee, much less gained…

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Best Actress Chart

BEST ACTRESS Actress – Film Comment Marion Cotillard – La Vie En Rose Impossible to beat a performace this ambutious and brilliant… unless Ms. C remains a mystery Julie Christie – Away From Her Mystique could also make it hard for a nomination to find her Laura Linney – The Savages A fine, fine performance…

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Best Actor Chart

BEST ACTOR Actor – Film Comment Johnny Depp – Sweeney Todd Like no other performance Daniel Day Lewis – There Will Be Blood Like no other performance not already given by a Huston George Clooney – Michael Clayton Like no other performance by Clooney Phillip Seymour Hoffman – Before The Devil Knows You’re Dead Like…

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Best Director Chart

BEST DIRECTOR Director – Film Comment The Best Picture Runners The Coen Bros – No Country For Old Men Tony Gilroy – Michael Clayton Sidney Lumet – Before The Devil Knows You’re Dead Mike Nichols – Charlie Wilson’s War The Superstars Of Directing ’07, Fighting Without Likely BP Nods Julian Schnabel – The Diving Bell…

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Best Picture Chart

BEST PICTURE Release Date Picture Studio Comment Oct 5 Michael Clayton WB The understated front runner Nov 9 No Country For Old Men Miramax Locking Swinging For The Fences Dec 7 Atonement Focus Becoming the front runner waiting to be torn down Oct 26 Before The Devil Knows You’re Dead Think This year’s pre-nom The…

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Best Screenplay Chart

BEST ORIGINAL SCREENPLAY Writer(s) – Film Comment Michael Clayton Tony Gilroy Juno Diablo Cody The Savages Tamara Jenkins Before The Devil Knows You’re Dead Kelly Masterson Lars & The Real Girl Nancy Oliver American Gangster Knocked Up Margot At The Wedding Crossing Over In The Valley Of Elah Things We Lost In The Fire The…

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Best Actress Chart

BEST ACTRESS Actress – Film Comment Marion Cotillard – La Vie En Rose Julie Christie – Away From Her Laura Linney – The Savages Keira Knightley – Atonement Ellen Page – Juno Angelina Jolie – A Mighty Heart Helena Bonham Carter – Sweeney Todd Nikki Blonsky – Hairspray Halle Berry – Things We Lost in…

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Best Actor Chart

BEST ACTOR Actor – Film Comment Johnny Depp – Sweeney Todd George Clooney – Michael Clayton Phillip Seymour Hoffman – Before The Devil Knows You’re Dead Daniel Day Lewis – There Will Be Blood Denzel Washington – American Gangster James McAvoy – Atonement Tom Hanks – Charlie Wilson’s War Emile Hirsch – Into The Wild…

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Best Director Chart

BEST DIRECTOR Director – Film Comment The Coen Bros – No Country For Old Men Tony Gilroy – Michael Clayton Sidney Lumet – Before The Devil Knows You’re Dead Mike Nichols – Charlie Wilson’s War Julian Schnabel – The Diving Bell & The Butterfly Joe Wright – Atonement Sean Penn – Into The Wild Paul…

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Best Picture Chart

BEST PICTURE Release Date Picture Studio Comment Oct 5 Michael Clayton WB Solid, clean… the morality tale in a suit Nov 9 No Country For Old Men Miramax A movie that sticks to the ribs Dec 7 Atonement Focus The Toronto choice… the media is committed Oct 26 Before The Devil Knows You’re Dead Think…

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17 Weeks To Go Man, Oh Man

I already wrote one “Year Of The… ” column this season, back in September.  But I seem to be having one recurring discussion this season that has become dominant. It’s Oscar’s Year of The Man. So… you say that every frickin’ year is “The Year Of The Man.”  Well, what kind of idiot would argue…

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12 Animated Films Submitted for 2007 Oscar Consideration®

Beverly Hills, CA — Twelve features have been submitted for consideration in the Animated Feature Film category for the 80th Academy Awards®. The 12 submitted features are: “Alvin and the Chipmunks” “Aqua Teen Hunger Force Colon Movie Film for Theaters” “Bee Movie” “Beowulf” “Meet the Robinsons” “Persepolis” “Ratatouille” “Shrek the Third” “The Simpsons Movie” “Surf’s…

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18 Weeks To Go Wicked Wicked Season Picket

This is the nightmare month of the Oscar season on both the publicity and the media side of the aisle.  Los Angeles’ AFI Film Festival launches tonight with Lions for Lambs, which has a pretty strong consensus for it being dead on arrival in terms of award season.  But off we go, Cruise and Streep…

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Awards Watch

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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