Awards Update Archive for October, 2017

20 Weeks To Oscar: The Known Unknown

I see no rhyme nor reason to hang onto trying to figure out which of this group will be The Ones. I think I can guess 6 with pretty high assurance. But others would intensely disagree. It gets more complicated because many people will get excited about more than 10 of these titles. And there aren’t enough slots.

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One-Hundred-Seventy Documentary Features Submitted For Oscar

One hundred seventy features have been submitted for consideration in the Documentary Feature category for the 90th Academy Awards. The submitted features, in alphabetical order: “Abacus: Small Enough to Jail” “Aida’s Secrets” “Al Di Qua” “All the Rage” “All These Sleepless Nights” “AlphaGo” “The American Media and the Second Assassination of President John F. Kennedy”…

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Gurus o’ Gold: Early Line

The Gurus are back a week early this year, launching with Best Picture, Acting categories and Director. If this early look matched nominations exactly (which, of course, it won’t), the only nominated actor of color would be Octavia Spencer for The Shape of Water, and Get Out would get a Best Picture nod. Also of note, a big showing from Call Me By Your Name, as well as a female directing nominee.

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Awards Update

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“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