Awards Watch Archive for February, 2018

Oscar Spots More Stars As Presenters

MORE STARS TO PRESENT AT 90TH OSCARS® EMILY BLUNT, SANDRA BULLOCK, DAVE CHAPPELLE, EUGENIO DERBEZ, ANSEL ELGORT, JANE FONDA, JODIE FOSTER, EIZA GONZÁLEZ, ASHLEY JUDD, NICOLE KIDMAN, MATTHEW MCCONAUGHEY, HELEN MIRREN, RITA MORENO, LUPITA NYONG’O AND CHRISTOPHER WALKEN LOS ANGELES, CA – Producers Michael De Luca and Jennifer Todd announced additional presenters for the 90th Oscars telecast. …

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20 Weeks To Oscar: A Week To Go

Every one of the five films that is considered to have a real chance of winning Best Picture has a position of strength and a soft underbelly.

Do you want to go through them all again?

I don’t either.

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Performers for 90th Oscars Announced

 90TH OSCARS® PERFORMERS ANNOUNCED GAEL GARCÍA BERNAL, MARY J. BLIGE, COMMON, ANDRA DAY, NATALIA LAFOURCADE, MIGUEL, KEALA SETTLE AND SUFJAN STEVENS LOS ANGELES, CA – Gael García Bernal, Mary J. Blige, Andra Day, Natalia LaFourcade, Miguel, Keala Settle, Sufjan Stevens and Oscar® winner Common will perform this year’s nominated songs at the 90th Oscars®ceremony, show producers Michael De…

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Gurus o’ Gold: Top 3

As The Gurus count down to Oscar night, they pick their Top 3 in every category (except picture, where it’s still Top 5). The group is unanimous in a surprising nine categories, including all four acting awards, while Editing and Doc Feature are toss-ups. The Gurus see the maximum number of Oscars going to one film being… three.

Next week… Top 2.

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Oscar Names Ten More Diverse Presenters, Including Kelly Marie Tran, Zendaya, Wes Studi, Lin-Manuel Miranda, Armie Hammer

10 MORE PRESENTERS ANNOUNCED FOR 90TH OSCARS® GAL GADOT, MARK HAMILL, ARMIE HAMMER, OSCAR ISAAC, LIN-MANUEL MIRANDA, GINA RODRIGUEZ, EVA MARIE SAINT, WES STUDI, KELLY MARIE TRAN AND ZENDAYA LOS ANGELES, CA – Producers Michael De Luca and Jennifer Todd today announced 10 more presenters for the 90th Oscars® telecast. Hosted by Jimmy Kimmel, the…

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Blade Runner 2049 Wins American Society of Cinematographers Award

Roger Deakins, ASC, BSC claimed the coveted Theatrical Award for best cinematography in a motion picture for his work on “Blade Runner 2049” at the 32nd Annual American Society of Cinematographers (ASC) Awards for Outstanding Achievement. Mart Taniel, ESC was given the Spotlight Award for “November.” In the TV categories, winners included Adriano Goldman, ASC, ABC…

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Oscar 90 Names First Batch Of Diverse Presenters

AHERSHALA ALI, CHADWICK BOSEMAN, VIOLA DAVIS, LAURA DERN, JENNIFER GARNER, GRETA GERWIG, TIFFANY HADDISH,TOM HOLLAND, KUMAIL NANJIANI, MARGOT ROBBIE, EMMA STONE AND DANIELA VEGA LOS ANGELES, CA – Producers Michael De Luca and Jennifer Todd today announced the first slate of presenters for the 90th Oscars® telecast.  Hosted by Jimmy Kimmel, the Oscars will air live Sunday, March…

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Gurus o Gold: Counting Down To Oscar Night

The Gurus are working through this final stage of the Oscar season. This week, The Top 4s. Next week, The Top 3s. Then, The Top 2s. And on show week, Only The Winners. (They’re all winners… it is an honor just to be nominated.)

And as you asked… The Gurus currently thinking no movie wins more than four Oscars. And the second biggest number of Oscars to… Dunkirk.

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33rd Santa Barbara Film Festival Award Winners

Audience Choice Award: Mark Hayes’ SKID ROW MARATHON Best Documentary Short Film Award: Kyle Morrison’s MOTT HAVEN Bruce Corwin Award – Best Live Action Short Film: Richard Van’s AUDITION Bruce Corwin Award – Best Animated Short Film: Randall Christopher’s THE DRIVER IS RED Best Documentary Award: Grant Korgan and Geoff Callan’s THE PUSH Jeffrey C….

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20 Weeks To Oscar: The Big Quiet

Can you hear it?

Listen carefully.

Silence.

We are still a month from The Oscars.

We are still weeks from voting.

And in what has felt like a pretty open season is not accelerating into a passionate discussion of the top movies of 2017. The discussion is about the Solo trailer and Black Panther.

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“Academy Gold” Mentor Program Enters Second Year With 22 Entertainment Industry Partners

ACADEMY GOLD ENTERS SECOND YEAR WITH 22 ENTERTAINMENT INDUSTRY PARTNERS LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is proud to announce the launch of the 2018 Academy Gold internship enhancement and mentorship program for students and young professionals from underrepresented communities.  Currently, there are 22 entertainment industry partners, including Annapurna Pictures, Creative Artists…

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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