Awards Update Archive for October, 2011

19 Weeks To Oscar (20W2O) Charts: October 23, 2011

With 19 weeks to go, the Oscar race has barely moved. The only real event of the last week was the successful release of Tintin in 19 countries overseas.

That’s all about to change. In the next 3 weeks, most of the award season will take root. All but a couple of the contenders will be exposed to the light. Talent will be filling the corridors of LA’s hotels and screening rooms at a nearly insane level. Some will rise. Some will fall.

But for now… animation.

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Brett Ratner Is Amused

Brett Ratner Is Amused

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19 Weeks To Oscar: The Mean Season?

It’s a tough year for Oscar voters. Lots of great movies… but not too many that will leave them walking out of the theater with a smile on their face for the whole human race. Insanity, rape, murder, sex addiction, 9/11, and even one of the “feel goods” is about sacrificing something you love for your country. Fun Fun Fun!

(Charts to come.)

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20 Weeks To Oscar (20W2O) Charts: October 23, 2011

We are now on the 20 week road to Oscar and here, to go with
the first column of this year’s series, are the first set of post-Toronto charts for Best Picture and the four acting categories. Six unseen movies are still major question marks in all of the races, especially Best Picture, which could have anywhere from 5 to 10 nominees this year.

(BP Chart corrected, Monday 11:30a)

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20 Weeks To Oscar: Line Dance

20 years of Oscar consultants, in-house and out, figuring out how to game the system, and a decade of deteriorating media standards has led to an out-of-date response mechanism at The Academy, which just wants to do what it’s been doing all these years and to protect, as best they can, their membership from being prayed upon by the vultures.

But where is the line?

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1 Week To 20 Weeks To Oscar: Counting Best Picture Ballots

So I’m a week from writing the weekly column… but the one issue that seems to keep cropping up is how the change in the Best Picture vote accounting rules really works. Steve Pond did a nice job trying to lay it all out when it happened. But people still seem to be unsure what is really up. So I had a chat with AMPAS’ Ric Robertson and Leslie Unger in the name of clarity. This is where I landed…

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Awards Update

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“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima

“They’re still talking about the ‘cathedral of cinema,’ the ‘communal experience,’ blah blah. The experiences I’ve had recently in the theatre have not been good. There’s commercials, noise, cellphones. I was watching Colette at the Varsity, and halfway through red flashes came up at the bottom of the frame. A woman came out and said, ‘We’re going to have to reboot, so take fifteen minutes and come back.’ Then they rebooted it from the beginning, and she had to ask the audience to tell her how far to go. You tell me, is that a great experience? I generally don’t watch movies in a cinema at all. Netflix is the future. It’s the present. But the whole paradigm of a series, binge-watching, it’s quite different. My first reaction is that it’s more novelistic, because if you have an eight-hour season, you can get into complex, intricate things. You can let it breathe and the audience expectations are such that they will let you, where before they wouldn’t have the patience. I think only the surface has been touched with experimenting with that.”
~ David Cronenberg