Awards Watch Archive for February, 2012

DP/30: Oscar Winners 2012

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84th Academy Awards: Full List of Winners

84th Academy Awards: Full List of Winners

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84th Academy Awards: Full List of Winners

Best Picture – The Artist Best Director –  Michel Hazanavicius, The Artist Best Actress –  Meryl Streep, The Iron Lady Best Actor –  Jean Dujardin, The Artist Best Supporting Actress –  Octavia Spencer, The Help Best Supporting Actor –  Christopher Plummer, Beginners Best Original Screenplay –  Woody Allen, Midnight in Paris Best Adapted Screenplay –…

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Emerson On The Artist: “Everybody Loves/Hates A Frontrunner”

Emerson On The Artist: “Everybody Loves/Hates A Frontrunner”

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The 2012 Spirits Winners

Oh, there’s this little film called The Artist?

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Cesars Lip-Read Six For The Artist, Including Picture, Director, Actress

Cesars Lip-Read Six For The Artist, Including Picture, Director, Actress

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Gurus o’ Gold: The Final Complete List Of Predictions

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Etiquette Tips: The Right Way To Hold An Oscar

“Left hand under the base, right hand on the statuette. Below the knees. Oscar does like a banana split, but not with crushed nuts.” Etiquette Tips:  The Right Way To Hold An Oscar

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Gurus o’ Gold: The Last Gasp

The Gurus make their final calls this week in two ways. First, there is a chart of categories that are the most likely to end up in Oscar night upsets.

And then, specific changes in specific races by specific Gurus. Some made as many as four changes, some made none. Many of the changes brought outlying picks into conformity with the rest of the group. A few went against the grain. But all of the categories in which changes have been made are listed.

Here is the full list of the Final Gurus Predictions

Here are last week’s final charts for your perusal as well.

Have a great Oscar night. The Gurus know you will.

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6 Days To Oscar: You Might Be An Asshole If…

YOU MIGHT BE AN OSCAR ASSHOLE IF… you write about how this filmmaker or that filmmaker was too busy chasing Oscar to make the movie they should have made.

As someone who actually has fairly lengthy conversations with almost every filmmaker who has made an Oscar nominated picture in the last five years or more, I am particularly conscious how stupid and self-serving this notion is.

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9 Days to Oscar: In Memoriam

Voting closes Tuesday… but the die is pretty much cast at this point.

In the 9 days to come, there will be plenty of conversation about the nominees and who should or should not win. But at this moment in the season, I find myself thinking about the ones that got left behind.

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Muppeteers Will Present At Oscar As Miss Piggy And Kermit

Muppeteers Will Present At Oscar As Miss Piggy And Kermit

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Gurus o’ Gold: Picking The Winners (Pt 1 of 2)

And now, The Gurus offer their (nearly) final word on the season. One Guru, One Vote.

And for the most part, there is strong consensus or unanimity in almost every category. If you’re looking for the swing vote in your Oscar poll, it’s probably in the 4 seriously contended categories: Sound Mixing, Sound Editing, Costume, and Doc Short.

Part One
Part Two

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Gurus o’ Gold: Picking The Winners (Pt 2 of 2)

Part One

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Gurus o’ Gold: Top 2in’ It (Pt 2 of 2)

The Gurus are now locked into their Top 2 in all Oscar award except for the 3 Shorts categories.

In these 10 categories today, the Gurus have Hugo taking 5 statues home. That would make Hugo the film with the most Oscar wins this season… though with 4 projected wins (Picture, Actor, Director, Score), some would say that The Artist was winning the war.

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17 Days To Oscar: A Thin Line Between Win & Lose

When an Academy member, just like any other kid in high school, tells their friends whom they voted for, they want to feel good about defending their choice. Fair or not, Melissa McCarthy is “the one who shit in the sink” this year. They may have laughed their colostomy bags off when they saw the film and most voters feel good about Ms McCarthy getting nominated. But when it comes down to bestowing the gold, shit in the pie in the name of dignity will win out over shit in the sink caused by bad Mexican food every time.

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Gurus o’ Gold: Top 2in’ It (Pt 1 of 2)

Who/What are the Top Two in each category of the Oscars, now just 18 short days away?

The Gurus are in lockstep on 5 of the winners-to-be right now and in 1 of those categories, there is 100% agreement on the #1 and the #2 candidate. The blurriest categories, based on these votes, are Best Actor and Best Adapted Screenplay.

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Oscar’s A Sellout (So Far As Commercials Go)

Oscar’s A Sellout (So Far As Commercials Go)

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DP/30: New Acting Nominee Interviews

New on DP/30 this week:

Best Actress Nominee
Michelle Williams

Best Actor Nominees
Gary Oldman
Demian Bichir

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“I’m very sporadic, but I think I’ve got some skills now. What I’m lacking is the weight of some of the actors I like and maybe I’ll focus on that. I’m so damn affable, it’s disgusting.”

“I’m very sporadic, but I think I’ve got some skills now. What I’m lacking is the weight of some of the actors I like and maybe I’ll focus on that. I’m so damn affable, it’s disgusting.”

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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