Gurus o’ Gold Archive for January, 2013

Gurus o’ Gold: 8 Days Before Final Oscar Voting Begins

Lincoln still leads the Best Picture race according to The Gurus, with only one Guru voting Lincoln or Argo as anything other than #1 or #2 in the race.

Otherwise, the races haven’t changed much at all since we last saw you. The biggest move is Tarantino’s screenplay for Django Unchained up from #4 to #2 in that race.

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Gurus o’ Gold: A Month To Go

These votes have been sitting around for almost a week… but here we go with the latest Gurus votes for Picture and Director. Argo is the big mover.

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Gurus o’ Gold: Nominations Morning (Page 2 of 2)

PAGE ONE

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Gurus o’ Gold: Nominations Morning (Page 1 of 2)

NOW With More Gurus!

The Gurus take on all the Oscar categories, except for shorts. This round, The Gurus have Lincoln winning 7 Oscars, including Best Picture, Director, Actor, and Adapted Screenplay. And Skyfall would be win the second most Oscars, with three. The second page of nominations can be found here.

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Gurus o’ Gold: 3 Days From Nominations

Refreshed from the holiday break, the Gurus take one last shot at Picture, Acting, and Directing just hours before the DGA nominations and 55 hours before the Oscar nominations are announced.

Look for charts of all categories (except shorts) by Thursday afternoon.

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Gurus o' Gold

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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