Awards Archive for October, 2007

An Oscar Lock?

It seems that the smart folks at Fox Searchlight did qualify the short, Hotel Chevalier, for Oscar before releasing the film on iTunes.
And so the question… how could the film not be nominated? And how could it not win? There are often some terrific shorts out there, but Wes Anderson did the best work of his year in this short… and he is one of our most talented, even when at his most self-indulgent.

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Next Academy DVD…

Guess…
Come on…
Guess…
The quote on the letter in the package…
“A cultural event. It feels like one of the key movies of the era…”
Guess…
Okay… you give up…
Find the answer after the jump.

Read the full article »

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Next DVD In The Mailbox

Paramount Vantage follows Searchlight’s early lead (The Namesake, Once, Waitress) with A Mighty Heart, which started landing on Friday.
Next Up… La Vie En Rose? Ratatouille? Hairspray? Resurrecting the Champ?

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Will The Academy Kill Lars

Word is that the AMPAS committee that sets official screenings has taken a pass on Lars & The Real Girl, the Toronto Film Fest phenom starring Oscar nominee Ryan Gosling. This call could well be the beginning of the end for any Best Picture Oscar hopes for this film, which gets a great reaction from audiences who see it and real resistance to the premise from people who have not. A poorly attended official Academy screening can be as bad as none at all… but for a small indie-level release, that foot in the door means a lot.
Of course, good box office momentum, starting with this weekend

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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