Film Archive for January, 2011

I’d Like to Thank the Academy …

… for announcing its nominations at such a ridiculously early hour during Sundance every year. Everyone in the business who’s already hitting their exhaustion point at the fest really appreciates getting to wake super early so we can hear nominations that rarely offer any huge surprises. But we’ll see.

… Okay, there were a few surprises, pleasant and otherwise:

I’m happy to see Dogtooth get a nomination for Best Foreign; we’ve been talking about that film since Toronto 2009, so it’s nice to see it get some love. But I’ll be rooting for my #1 film of the year, Biutiful, to win the category.

Speaking of Biutiful, how great is it that Javier Bardem got that well-deserved Best Actor nomination? In a perfect world, he would win it, but all things being what they are in Hollywood, you can give the performance of your career as he does here and still be the underdog.

No Ryan Gosling, though, which is too bad. Not sure which Best Actor nominee I would have bumped to make room for him. Bridges, maybe.

And also good to see John Hawkes get the Supporting Actor nom for Winter’s Bone. He’s my pick to win it. Fingers crossed.

On the chick side of things, I’m not unhappy to see any of the actresses who were nominated for Best Actress. It would be easy to get excited about the nominees all being from films with small budgets. Not that there’s anyone from a bigger film I would have liked to have seen nominated, but still.

As for the Supporting Actress noms, nothing shocking there, though it’s probably Hailee Steinfeld’s to lose. Here’s hoping her career survives the dreaded “child nominee” backlash, and that she has someone smart guiding her script choices post-True Grit.

Aronofsky and the Coens got well-deserved director nods. I wish Debra Granik’s name was on that list as well, but at least they tossed her a bone for screenplay. And what? No Christopher Nolan?

Nothing terribly shocking in the docs nominations. Once Exit Through the Gift Shop made the short list, it seemed likely to make the final cut. I hope it wins. And I guess I am going to have to get off my ass and force myself to watch Restrepo.

Good for The Illusionist for at least getting a nomination … maybe that will interest more parents in watching it with their kids. Okay, probably not, but a girl can dare to dream. If it actually beat out Toy Story 3 that would be probably the biggest shocker of the Oscars this year, but I wouldn’t hold my breath for that to happen.

And yay for the Roadside Attractions team for scoring noms for two films, Winter’s Bone and Biutiful. It’s been interesting to watch as Roadside has stepped up into the awards game with some smart acquisitions. Nice guys all around, and I’m happy for them almost as much as for the films, both of which I loved.

Okay, thanks Academy. Back to Sundance.

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Oooh. Ahh. Death Note.

We’re a mix of excited/trepidatious at my house about the news that Shane Black is reportedly on board to direct a live-action adaption of one of our favorite, favorite, FAVORITE manga series, Death Note.
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DGA Docs Noms: Solid … If a Bit Predictable

The DGA announced nominees for Documentary this morning. Nothing terribly surprising about the noms, other than the absence of Exit Through the Gift Shop. Wonder if there’s the feeling that Banksy isn’t a “real” director, or some lingering feeling that the film is a hoax? I can’t really argue against any of the directors who were nominated, though:

LIXIN FAN
Last Train Home

CHARLES FERGUSON
Inside Job

ALEX GIBNEY
Client 9: The Rise and Fall of Eliot Spitzer

DAVIS GUGGENHEIM
Waiting for “Superman”

TIM HETHERINGTON AND SEBASTIAN JUNGER
Restrepo

Looks pretty much like a take on how the final Oscar nominees for doc could turn out. The most interesting thing to me is the presence of both Alex Gibney and Charles Ferguson on the list. Gibney mentored Ferguson through his first doc, the very excellent No End in Sight, and it showed. Now Ferguson hits it out of the park again in a year when Gibney has two docs — Client 9 and Casino Jack and the United States of Money — that could have conceivably been nominated.

I still haven’t seen Last Train Home, which is leading the pack for next week’s Cinema Eye Awards, or Restrepo. The latter, at least, is in my screener box at home and I suppose I should force myself to finally watch it. I know, I know. It’s a great movie. I hear you. I’m just so worn out by war movies, I haven’t had it in me to watch it. But I will.

I would have liked to have seen a little love for Thomas Burstyn, who directed This Way of Life, which is still one of my favorite docs of the year (it has the third slot on my Top Ten Docs list this year). But this isn’t a bad list, overall.

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Sundance, Top Tens and Critics Groups. Oh. My.

2010 is a wrap, 2011 is here, but for most of us who write in this industry, until we get past February it’s all about Sundance and Oscar. The publicist letters about Sundance slates start hitting inboxes during the Winter Break (I send them straight to the “Sundance” file until after the new year, because I am getting old and grumpy and more hardcore about guarding family time these days) and don’t stop coming until about midway through the fest.

And of course, because the Academy has a twisted sense of humor, Oscar nominees are announced at the asscrack of dawn during Sundance, when everyone is running around Park City trying not to slip on the ice and break anything or freeze to death at a shuttle stop. Or both.
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Quote Unquotesee all »

“I always thought that once I had lived in Chicago for a while, it would be interesting to do a portrait of the city – but to do it at a significant time. Figuring out when would be the ideal time to do that was the trick. So when this election came around, coupled with the Laquan McDonald trial, it seemed like the ideal time to do the story. Having lived in Chicagoland for thirty-five-plus years and done a number of films here, I’ve always been struck by the vibrancy of the city and its toughness. Its tenderness too. I’ve always been interested in the people at the center of all the stories. This is a different film in that regard, because we’re not following a couple of individuals over the course of the project in the way that a lot of the films I’ve done have, but I still feel like people’s voices and aspirations and hopes are at the center of this series.

It wasn’t easy. We started back in July 2018, it was actually on the Fourth of July – that was our first shoot. It’s like most documentaries in that the further you go along the more involved and obsessed you get, and you just start shooting more and more and more. We threw ourselves into this crazy year in Chicago. We got up every day and tried to figure out if we should be out shooting or not, and what it is we should shoot. We were trying to balance following this massive political story of the mayor’s race and these significant moments like the Laquan McDonald trial with taking the pulse of people in the city that we encounter along the way and getting a sense of their lives and what it means to live here. By election day, Zak Piper, our producer, had something like six cameras out in the field. You could double-check that, it might have been seven. We had this organized team effort to hit all the candidates as they were voting, if they hadn’t already voted. We hit tons of polling places, were at the Board of Elections and then were at the parties for the candidates that we had been able to follow closely. Then of course, we were trying to make sure we were at the parties of the candidates who made it to the runoff. So, yeah, it was kind of a monster.”
~ Steve James On City So Real

“I really want to see The Irishman. I’ve heard it’s big brother Martin Scorsese’s masterpiece. But I really can’t find the time. The promotion schedule is so tight, there’s no opportunity to see a three and a half-hour movie. But I really want to see it. In 2017, right before Okja’s New York premiere, I had the chance to go to Scorsese’s office, which is in the DGA building. There’s a lovely screening room there, too, with film prints that he’s collected. I talked to him for about an hour. There’s no movie he hasn’t seen, even Korean films. We talked about what he’s seen and his past work. It was a glorious day. I’ve loved his work since I was in college. Who doesn’t? Anyone involved with movies must feel the same way.”
~ Bong Joon-ho