Awards Archive for February, 2010

BAFTA

Best Film: The Hurt Locker
Best Actress: Carey Mulligan, An Education
Best Actor: Colin Firth, A Single Man
Best Director: Kathryn Bigelow, The Hurt Locker
Best Foreign Language Film: A Prophet
Best Animated Film: Up
Best Adapted Screenplay: Jason Reitman and Sheldon Turner, Up in the Air
Rising Star Award: Kristen Stewart
Best Production Design: Rick Carter, Robert Stromberg and Kim Sinclair, Avatar
Best Original Screenplay: Mark Boal, The Hurt Locker
Best British Film: Fish Tank
Best Supporting Actress: Mo

16 Comments »

WGA Goes Hurt Locker, Up In the Air and Cove

Anyone surprised?
boalwriter490.jpg

thecove335.jpg

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PRESS RELEASE – The Hurt Locker, Up, The Cove Ace The ACEs

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HAH!

47-year old industryite writes: “At Monkey Bar for Sandy Bullock party– bringing median age down about 30 years.”
Add, Tues, 11:50a – Translation – A Sandy Bullock party at the Monkey Bar means Oscar gladhanding. Oscar gladhanding, even more in NY than LA, means older people.

17 Comments »

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