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Awards Watch Archive for August, 2010

A Modest Backgrounder On Oscar Honoree Kevin Brownlow

A Modest Backgrounder On Oscar Honoree Kevin Brownlow

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MZS Celebrates Waiting For Godard

MZS Celebrates Waiting For Godard

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Waiting For Godard

Waiting For Godard “If AMPAS is having trouble tracking Godard down, they should probably be relieved. If he does turn up in person, it’s a fair bet that he would give a speech that would provoke far more outrage than anything Vanessa Redgrave or Marlon Brando ever said or did on Oscar night.” Macnab Sez…

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How Godard Reacts To Awards

“I don’t think you should feel about a film. You should feel about a woman, not a movie. You can’t kiss a movie.” A Telegram From Mr. Godard To The National Film Theater Once Upon An Honor And – Brody’s 2000 New Yorker Profile From A Very Brief Swiss Visit Plus – Godard’s Hélas-Pour-Vous 1995…

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Taiwan Sends Monga To Oscars

Taiwan Sends Monga To Oscars

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Where Is Jean-Luc?

Où est Jean-Luc? Un Histoire Du Cinema Academy Cannot Locate Oscar Honoree With – Movieline’s “Missing” Poster For Jean-Luc Godard: Drôle Ou Deguelasse? But – Not As Disgusting As “maybe his cold dead corpse is slowly decomposing on the dirty bathroom floor of a seedy Swiss motel. Tee-hee.”

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Best Picture Chart

BEST PICTURE Picture Studio Director Stars Comment The Films Most Likely (by release date) June 18 Toy Story 3 Disney Unkrich – July 16 Inception WB Nolan DiCaprio July 30 Get Low SPC Schneider Duvall Spacek Murray Oct 22 Hereafter WB Eastwood Damon Dec 25 True Grit Par Coens Bridges Brolin Damon The Next Tier…

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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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Get Low Director’s Prom Date Found Seed Money For Production

Get Low Director’s Prom Date Found Seed Money For Production

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“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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