Awards Archive for April, 2006


The Academy announced its dates for 2007 this morning and as disappointed as I am that they haven


The WGA 100

I guess you guys want to discuss it… so here is the list, after the jump…
P.S. If Casablanca is the best screenplay of all time, I am a monkey’s uncle. Do you know that “beautiful friendship” was dubbed in after the film was shown to the execs?
Pulp Fiction and The Shawshank Redemption are ridiculously high… someone wanted to look cool. And Shakespeare In Love, if on this list at all, should be down at the bottom.
I would have lots of arguments with, but the ability to live with, most of the rest. But you get the feeling that they wanted current scripts represented… and current guild leaders represented.

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Is George Clooney Full Of Shit?

So asketh ABC News’ Miquel Marquez in a web entry titled, “Is Clooney Right About Hollywood’s Social Agenda?”
Clooney’s Oscar speech – “We’re the ones who talked about AIDS when it was just being whispered,” the 44-year-old star told the audience. “And we talked about civil rights when it wasn’t really popular. This academy


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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