Awards Archive for February, 2007

The Dominant Festival

In the entry about Johnny Depp, a few discussions have started up that I see as bait for new entries. So, sorry to be talking awards at all right now, but I think these general issues are worth discussion.
One was the question of my description of the race’s markers. I wrote (in a comment):
The end of Cannes marks the end of the first eighth mile. Toronto gets us to the quarter mile. First week of November is the half mile. December 12 or so will be the three-quarter mile marker. Nomination morning is the mile. And the finish line is just a quarter mile from there.
A reader responded that, “The number of Cannes winners to get even a nomination at the Academy Awards in any category was so negligible that I had to also search Toronto and Venice to see how Foreign Language films fared just to make the time I wasted looking at Cannes worth some of the effort.”
This is accurate factually. No film that’s won Sundance has ever even been nominated for Best Picture either. Brokeback Mountain is the first film since Atlantic City to win Venice and get nominated (none has ever won). Berlin has a few more nominated winners, but they also

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Two Times The So What!

You know, I am thrilled for William Monahan and Michael Arndt and Amy Berg. WGA wins couldn

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The So Beautiful Season

Adam Gopnik wrote a piece in January 8, 2007 edition of The New Yorker titled, The Unbeautiful Game. It was about the issue of football stats and why they haven

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The Wednesday Beat

Another day, another awards season gathering. Today was the Publicist

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Quote Unquotesee all »

“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