Awards Watch Archive for July, 2014

31 Weeks To Oscar: Telluride, Toronto & New York

I feel like all the pieces are in the right place after announcements from New York (FIRST!) and Toronto, with the Telluride schedule showing itself more clearly than ever because of TIFF’s new rules about opening weekend and North American premieres. I hate the idea of this all being a competition between the festivals. All three are so distinct. They each have a purpose. And for me, the more above board everyone is, the better.

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32 Weeks To Oscar: Toronto, Telluride, and Collateral Damage

Whatever corner was turned by Telluride and by distributors, make no mistake… Telluride is now in the “me-first” Oscar race game. After 33 years of not having a single Oscar nominee for Best Picture, suddenly they were cranking out at least one a year. This kind of thing just doesn’t happen like the breeze shifting directions. But most of these films “officially” premiered at Toronto. So TIFF made claims to being the first stop for Oscar as well. And TIFF’s pedigree in this regard started 7 years earlier than Telluride… 1999… with American Beauty. And they’ve had 8 Oscar winners in 13 years. And 3 Audience Award winners won Best Picture in the last 6 years.

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Louis Zamperini, 97; War Hero.

Inspired upcoming Unbroken Louis Zamperini, War Hero. Only 97 Years Could Take Him Out.

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Awards Watch

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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott