You're right, Steve and C.C., I should have pointed out my favorite moment of the night. Of course it was Robert Downey, Jr. (my man) and Jude Law (the flop-surviving dynamo: Gigolo Joe).
How on earth could you better present Visual Effects?
Jude Law: "It’s their moment. You know, if it wasn’t for them your closest association with a superhero would have been in 2001. When you got busted in a cheap hotel with a woman dressed as Batgirl."
Robert Downey, Jr. : "Okay, first of all, that cheap hotel room cost $1250 with a corporate discount. Secondly, it was 2000 not 2001. And most importantly, she was dressed as Wonder Woman. And THAT attention to detail is what has won the respect of all the Academy voters for these fine men and women."
Monday, February 28, 2011
The King's Sweep: And So It Is.
First of all -- how'd I do?
Art Direction, Costume Design, Makeup, Sound, Sound Effects Editing, Visual Effects Editing, Score (well, I narrowed it down to two -- but who didn't), Song, Editing, Documentary, Adapted Screenplay, Actor.
So Denmark gets Foreign Film -- fine, it did everywhere else.
So Pfister gets Cinematography -- my apologies to the oft nominated Deakins, but an Inception win is aok with me. Looks like the Nolan pic walked away with the most awards of the night, didn't it?
Annette!
It was clear Natalie Portman had it in the bag -- but as a faithful Annettean, I was not going to put that in writing. Natalie has held my heart for many a moon -- but this is Annette we're talking about. My little four time nominee. Bless her and keep her. Natalie, I salute your work. And man, you were a trooper hauling that bursting belly around. You did not look comfortable on the red carpet.
Supporting...
The Fighter duo really took it to the bank this year -- and I'm a little saddened to see there was no upset in either category. But I've said it before -- and shall again -- I seem in the incredible minority with my lukewarm reaction to Marky Mark's passion project.
So let's talk for a moment about the multiple minutes surrounding Melissa Leo's win. Why was Kirk Douglas sent onto the stage? How did that happen? Will an elder-statesman of a star ever be sent on stage again? What on earth was going on with Melissa Leo's speech? What was with the "I have learned so much about the Academy. It's about selling movies and respecting the work?" What does that mean? Why did she leave with Kirk's cane? Someone please help me understand everything that took place.
Christian Bale is a fantastic actor and thus I salute him. The little boy from Empire of the Sun has come a long way. I, for one, plan to follow his lead by thanking his wife and children somewhat forgetfully without having mentioned a specific name. That speech can be played forever and will never point to a specific relationship. Way to Swank it, Bale.
The Writers...
I would have loved to have seen Nolan get the respect he deserves with an original screenplay Oscar. I wonder when that -- or a directing nomination -- will happen for him. The Seidler win was one of the evening's more touching moments.
Both Mr. Seidler and Mr. Sorkin gave some excellent speeches. Watching Sorkin get up there and rattle off something that polished shows what a remarkable writer the man is -- and how many Emmys he's accepted.
Director AND Picture?!
The Fincher loss was a stunner. An absolute stunner and once again proof of the HW's power. My goodness. Yes, yes, it rarely splits. But I will happily admit that I 100% believed that either the awards were going to split or The Social Network was taking it all. It would be foolish to claim that The King's Speech didn't have steadily building momentum straight through the award season -- making it clear that it was going to take picture. But it sure as hell didn't seem like Tom Hooper was coming along!
After Zodiac, Benjamin Button, and now The Social Network -- one wonders if Fincher will have another crack at the gold, especially now that he's knee-deep in the Millenium Trilogy. What a mind-blower.
How about those hosts?
The show was a complete screwball. There seemed no reason to just stick Anne Hathaway out there alone to sing. But if that's what it takes to put James Franco in a dress -- I'll take it. He really pulled it off!
Whether they pulled off the actual job of hosting is another story. The opening worked for me. I greatly enjoyed traveling through Alec Baldwin's dreams and thought there were some great jokes in there.
But it raises the very simple question: Why not simply hire ONE comedian? It baffles the mind.
I know this seems the job to refuse -- but why? Find someone! SomeONE.
So what happens to this little blog now?
Well, I'm going to keep it up. I plan to review each film I see and roll this sucker right into next year's award season.
By the way, Trent Reznor has an Oscar.
Art Direction, Costume Design, Makeup, Sound, Sound Effects Editing, Visual Effects Editing, Score (well, I narrowed it down to two -- but who didn't), Song, Editing, Documentary, Adapted Screenplay, Actor.
So Denmark gets Foreign Film -- fine, it did everywhere else.
So Pfister gets Cinematography -- my apologies to the oft nominated Deakins, but an Inception win is aok with me. Looks like the Nolan pic walked away with the most awards of the night, didn't it?
Annette!
It was clear Natalie Portman had it in the bag -- but as a faithful Annettean, I was not going to put that in writing. Natalie has held my heart for many a moon -- but this is Annette we're talking about. My little four time nominee. Bless her and keep her. Natalie, I salute your work. And man, you were a trooper hauling that bursting belly around. You did not look comfortable on the red carpet.
Supporting...
The Fighter duo really took it to the bank this year -- and I'm a little saddened to see there was no upset in either category. But I've said it before -- and shall again -- I seem in the incredible minority with my lukewarm reaction to Marky Mark's passion project.
So let's talk for a moment about the multiple minutes surrounding Melissa Leo's win. Why was Kirk Douglas sent onto the stage? How did that happen? Will an elder-statesman of a star ever be sent on stage again? What on earth was going on with Melissa Leo's speech? What was with the "I have learned so much about the Academy. It's about selling movies and respecting the work?" What does that mean? Why did she leave with Kirk's cane? Someone please help me understand everything that took place.
Christian Bale is a fantastic actor and thus I salute him. The little boy from Empire of the Sun has come a long way. I, for one, plan to follow his lead by thanking his wife and children somewhat forgetfully without having mentioned a specific name. That speech can be played forever and will never point to a specific relationship. Way to Swank it, Bale.
The Writers...
I would have loved to have seen Nolan get the respect he deserves with an original screenplay Oscar. I wonder when that -- or a directing nomination -- will happen for him. The Seidler win was one of the evening's more touching moments.
Both Mr. Seidler and Mr. Sorkin gave some excellent speeches. Watching Sorkin get up there and rattle off something that polished shows what a remarkable writer the man is -- and how many Emmys he's accepted.
Director AND Picture?!
The Fincher loss was a stunner. An absolute stunner and once again proof of the HW's power. My goodness. Yes, yes, it rarely splits. But I will happily admit that I 100% believed that either the awards were going to split or The Social Network was taking it all. It would be foolish to claim that The King's Speech didn't have steadily building momentum straight through the award season -- making it clear that it was going to take picture. But it sure as hell didn't seem like Tom Hooper was coming along!
After Zodiac, Benjamin Button, and now The Social Network -- one wonders if Fincher will have another crack at the gold, especially now that he's knee-deep in the Millenium Trilogy. What a mind-blower.
How about those hosts?
The show was a complete screwball. There seemed no reason to just stick Anne Hathaway out there alone to sing. But if that's what it takes to put James Franco in a dress -- I'll take it. He really pulled it off!
Whether they pulled off the actual job of hosting is another story. The opening worked for me. I greatly enjoyed traveling through Alec Baldwin's dreams and thought there were some great jokes in there.
But it raises the very simple question: Why not simply hire ONE comedian? It baffles the mind.
I know this seems the job to refuse -- but why? Find someone! SomeONE.
So what happens to this little blog now?
Well, I'm going to keep it up. I plan to review each film I see and roll this sucker right into next year's award season.
By the way, Trent Reznor has an Oscar.
Sunday, February 27, 2011
It's The Day of the Show Y'all: Heartfelt Predictions
Here we are.
After all the waiting, nominated Angelinos are getting their morning coffee and anti-anxiety pills, swarmed by publicists and stylists, selecting the right outfit, the right quaff.
So how will it all go?
I humbly submit my sentimental predictions where I will -- admittedly -- present a combination of what I both expect and hope will occur this evening -- before we settle into a long March of half-baked movies awaiting the quality only May and beyond can bring.
And the winner is...?
Art Direction: Alice in Wonderland should win -- if The King's Speech takes it -- Christ, it might sweep.
Costume Design: Again, Alice in Wonderland -- again, if The King's Speech takes it -- Messiah, etc.
Makeup: The film only I saw on opening day -- The Wolfman.
Sound Editing, Sound Effects Editing, Visual Effects: All 3 will go to Inception, though True Grit took some sound awards just last week and this is often the haven of the Western or the War pic. But this time it seems the dream agents have it locked away. Any non-Nolan wins in these categories are straight-up snubs.
Original Score: As I said before this is one of "McCue's Telling Categories" -- true, a Trent Reznor Academy Award win is something none of us would have ever foreseen. Yes, we bring him "closer to God" -- but, closer to gold? That question never seemed possible. The fact that he is nominated as the cleaned-up score-ist of a Fincher-flick, all these many years past Se7en seems the only way this could come to pass. However, he did win the Golden Globe. And that often proves the kiss of death for musicians: these awards rarely align and it's highly possible Mr. Reznor and and Co-Scorer Atticus Ross will lose -- despite their excellent work.
Hans Zimmer's score for Inception is inspired and groundbreaking. But that buzz seems long faded.
Much as he would be a deserving winner the race is two-way: The Social Network or King's Speech.
Yes, this award will once again give us viewers an insight into which way this thing's tipping -- but this brings me back to Reznor and his surprising score success. This isn't David Byrne scoring The Last Emperor. This isn't Isham. This isn't Knopfler. And Alexandre Desplat is not some new man on the scene. This is Mr. Desplat's fourth nomination, having scored all of Wes Anderson's pictures, Benjamin Button, The Queen, The Ghost Writer, The Golden Compass (whose music was its lone redeeming quality), let alone New Moon, Julie and Julia, and Harry Potter and the Deathly Hallows.
But will any of that matter? Musicians nominated a zillion times often become musicians who are nominated another zillion times before winning -- just ask Randy Newman or his cousin Thomas Newman, who I think is perhaps the most under-rated under-acknowledged composer out there.
Yes, I just spent that amount of time talking about score -- the fact is, it's a category I love and it's far more essential to the overall film than people credit. I leave it a telling toss-up with hopes of a Zimmer upset.
Original Song: Over the years this has become the most pathetic Oscar category as the movie industry seems to have lost all interest in throwing together "song scores" of significant, original, catchy -- or frankly just plan good songs. The category is basically dead -- which is remarkable considering how most record companies are controlled by the same conglomerates that own the studios. Much as I loved Annie Lennox' "Into the West," the fact of the matter is the last significant song to win was Eminem's "Lose Yourself."
Grasp at all the straws you like, but Hustle and Flow, The Motorcycle Diaries, are far cries from "Let the River Run," "Take My Breath Away," "Streets of Philadelphia" or "My Heart Will Go On." The studios have left this ship to small films like Once and Crazy Heart. Frankly, I do not understand why.
But the question is, who's winning this year -- out of the collection of songs few of us have heard. With the exception of the "Coming Home" from Country Strong, the other three nominees have all won. Newman for Monsters, Inc., Rahman for Slumdog, and Alan Menken has -- that's right -- 8 Oscars.
Folks are talking about Rahman taking it for 127 Hours -- but I think it's Randy Newman's second. "We Belong Together" is no "I Love to See You Smile" or "You Got A Friend In Me" ... but the TS3 love should spill over to its musical maestro.
Cinematography: I firmly think Roger Deakins finally gets his due for True Grit.
Editing: While The Social Network is the odds on favorite -- and I think it will pull it out -- Black Swan could be the upset here. Especially if The Swan also snags Cinematography.
Foreign Film: Though early buzz seems to think there is nothing like a Dane, I'd actually be surprised if Biutiful -- depressant of audiences the world over -- didn't bring Inarritu a golden boy. Oscar already likes him -- this may be a chance to trophy the man.
Documentary Feature: The Inside Job seems to have it -- much as Exit Through the Gift Shop would be a delight.
I'm not even going to pretend to know what's going on in the short categories.
And now the great big biggies...
I'm going out on a limb with a few of these. Go ahead and judge.
Original Screenplay: Christopher Nolan, Inception
Adapted Screenplay: Aaron Sorkin, The Social Network
Supporting Actor: While it looks like Christian Bale has it in the bag for Fighter -- I see a Geoffrey Rush upset as a true possibility -- particular if Harvey has this thing in the bag.
Supporting Actress: I see True Grit's little Hailee Steinfeld as the upset of the evening. Melissa Leo is in the prime position of having previously locked a lead actress nom for a small movie and carefully playing her cards into a stellar supporting role. And perhaps it's my Fighter blindspot combined with my love of a young lady taking home an Oscar -- I'm looking at you, Anna Paquin -- but I smell an upset.
Actor: Is there a question? That reminds me -- I should go buy some Prosecco or something.
Actress: Annette Bening, The Kids Are All Right
Director: David Fincher, The Social Network
Picture: The King's Speech buzz has gone straight on through the roof seemingly having slain The Social Network despite all its early victories. It also softens the blow when both Sorkin and Fincher seemingly have it in the bag. But I still think this is a MAJOR MAJOR MAJOR toss up and we're simply not going to know until the envelope opens.
The King's Speech? The Social Network? True Grit? -- yes, I'm that crazy.
I truly don't know.
My hope -- regardless of The King's majestic simplicity -- is The Net -- since a deserved Inception upset seems impossible.
We'll see in about 12 hours!
- Matthew J. McCue
After all the waiting, nominated Angelinos are getting their morning coffee and anti-anxiety pills, swarmed by publicists and stylists, selecting the right outfit, the right quaff.
So how will it all go?
I humbly submit my sentimental predictions where I will -- admittedly -- present a combination of what I both expect and hope will occur this evening -- before we settle into a long March of half-baked movies awaiting the quality only May and beyond can bring.
And the winner is...?
Art Direction: Alice in Wonderland should win -- if The King's Speech takes it -- Christ, it might sweep.
Costume Design: Again, Alice in Wonderland -- again, if The King's Speech takes it -- Messiah, etc.
Makeup: The film only I saw on opening day -- The Wolfman.
Sound Editing, Sound Effects Editing, Visual Effects: All 3 will go to Inception, though True Grit took some sound awards just last week and this is often the haven of the Western or the War pic. But this time it seems the dream agents have it locked away. Any non-Nolan wins in these categories are straight-up snubs.
Original Score: As I said before this is one of "McCue's Telling Categories" -- true, a Trent Reznor Academy Award win is something none of us would have ever foreseen. Yes, we bring him "closer to God" -- but, closer to gold? That question never seemed possible. The fact that he is nominated as the cleaned-up score-ist of a Fincher-flick, all these many years past Se7en seems the only way this could come to pass. However, he did win the Golden Globe. And that often proves the kiss of death for musicians: these awards rarely align and it's highly possible Mr. Reznor and and Co-Scorer Atticus Ross will lose -- despite their excellent work.
Hans Zimmer's score for Inception is inspired and groundbreaking. But that buzz seems long faded.
Much as he would be a deserving winner the race is two-way: The Social Network or King's Speech.
Yes, this award will once again give us viewers an insight into which way this thing's tipping -- but this brings me back to Reznor and his surprising score success. This isn't David Byrne scoring The Last Emperor. This isn't Isham. This isn't Knopfler. And Alexandre Desplat is not some new man on the scene. This is Mr. Desplat's fourth nomination, having scored all of Wes Anderson's pictures, Benjamin Button, The Queen, The Ghost Writer, The Golden Compass (whose music was its lone redeeming quality), let alone New Moon, Julie and Julia, and Harry Potter and the Deathly Hallows.
But will any of that matter? Musicians nominated a zillion times often become musicians who are nominated another zillion times before winning -- just ask Randy Newman or his cousin Thomas Newman, who I think is perhaps the most under-rated under-acknowledged composer out there.
Yes, I just spent that amount of time talking about score -- the fact is, it's a category I love and it's far more essential to the overall film than people credit. I leave it a telling toss-up with hopes of a Zimmer upset.
Original Song: Over the years this has become the most pathetic Oscar category as the movie industry seems to have lost all interest in throwing together "song scores" of significant, original, catchy -- or frankly just plan good songs. The category is basically dead -- which is remarkable considering how most record companies are controlled by the same conglomerates that own the studios. Much as I loved Annie Lennox' "Into the West," the fact of the matter is the last significant song to win was Eminem's "Lose Yourself."
Grasp at all the straws you like, but Hustle and Flow, The Motorcycle Diaries, are far cries from "Let the River Run," "Take My Breath Away," "Streets of Philadelphia" or "My Heart Will Go On." The studios have left this ship to small films like Once and Crazy Heart. Frankly, I do not understand why.
But the question is, who's winning this year -- out of the collection of songs few of us have heard. With the exception of the "Coming Home" from Country Strong, the other three nominees have all won. Newman for Monsters, Inc., Rahman for Slumdog, and Alan Menken has -- that's right -- 8 Oscars.
Folks are talking about Rahman taking it for 127 Hours -- but I think it's Randy Newman's second. "We Belong Together" is no "I Love to See You Smile" or "You Got A Friend In Me" ... but the TS3 love should spill over to its musical maestro.
Cinematography: I firmly think Roger Deakins finally gets his due for True Grit.
Editing: While The Social Network is the odds on favorite -- and I think it will pull it out -- Black Swan could be the upset here. Especially if The Swan also snags Cinematography.
Foreign Film: Though early buzz seems to think there is nothing like a Dane, I'd actually be surprised if Biutiful -- depressant of audiences the world over -- didn't bring Inarritu a golden boy. Oscar already likes him -- this may be a chance to trophy the man.
Documentary Feature: The Inside Job seems to have it -- much as Exit Through the Gift Shop would be a delight.
I'm not even going to pretend to know what's going on in the short categories.
And now the great big biggies...
I'm going out on a limb with a few of these. Go ahead and judge.
Original Screenplay: Christopher Nolan, Inception
Adapted Screenplay: Aaron Sorkin, The Social Network
Supporting Actor: While it looks like Christian Bale has it in the bag for Fighter -- I see a Geoffrey Rush upset as a true possibility -- particular if Harvey has this thing in the bag.
Supporting Actress: I see True Grit's little Hailee Steinfeld as the upset of the evening. Melissa Leo is in the prime position of having previously locked a lead actress nom for a small movie and carefully playing her cards into a stellar supporting role. And perhaps it's my Fighter blindspot combined with my love of a young lady taking home an Oscar -- I'm looking at you, Anna Paquin -- but I smell an upset.
Actor: Is there a question? That reminds me -- I should go buy some Prosecco or something.
Actress: Annette Bening, The Kids Are All Right
Director: David Fincher, The Social Network
Picture: The King's Speech buzz has gone straight on through the roof seemingly having slain The Social Network despite all its early victories. It also softens the blow when both Sorkin and Fincher seemingly have it in the bag. But I still think this is a MAJOR MAJOR MAJOR toss up and we're simply not going to know until the envelope opens.
The King's Speech? The Social Network? True Grit? -- yes, I'm that crazy.
I truly don't know.
My hope -- regardless of The King's majestic simplicity -- is The Net -- since a deserved Inception upset seems impossible.
We'll see in about 12 hours!
- Matthew J. McCue
Wednesday, February 23, 2011
Adapted Screenplay: Soar, Sorkin, Soar.
For all its split categorizing - Drama and Comedy/Musical - so twice as many folks can go home a winner, the screenplay category is the only Golden Globe category that goes from unicameral to bi when it hits Oscartown. Everyone's in one mix at the HFPA. At the Oscars, not so. Thus, screenplay proves the only category where The Social Network and The King's Speech share a rare, "Reverse Golden Globe". While The King's Speech finds itself in what I hope is a true bout of fisticuffs against Christopher Nolan's masterwork, Inception -- The Social Network stands in the adapted category.
They're not head to head -- each could win.
While I have my doubts about Mr. Seidler snagging screenplay out from under Nolan or Cholodenko -- Mr. Sorkin seems a dead lock. Though Fincher's directing steers The Social Network roller coaster as smoothly as a shark slicing through a currentless sea -- the tracks for the ride were laid by Mr. "West Wing" himself.
I'll wonder for the rest of my days why Mr. Sorkin felt it necessary to use his Golden Globe acceptance speech to simultaneously disavow any criticism of Mark Zuckerberg -- as if that weren't the entire point of the film -- and announce to his daughter that smart girls have more fun. I watched his appearance on Oprah; I heard his explanation; I'm still confused.
But sliding right alongside my wonder shall be my marvel at Aaron Sorkin's crisp, flawless writing.
Forget whether there's an oddball line or a scene that could go. The Social Network is one of those rare cases where there damn well may not be a syllable out of place. From Rooney Mara's character indictment to Rashida Jones' vain "cheer-up" attempt -- this thing's moving as quick and tight as Glengarry Glen Ross, and as timely and witty as Network. It doesn't trump either of those puppies -- certainly not Mamet's stage play -- and you certainly can't trump Finch, Dunaway, Duvall, and Holden. But to mix these two into a drinkable cocktail that goes down smooth despite having some of the best barbs in years -- what else can you expect from Mr. "You Can't Handle The Truth!"
Adapted normally isn't this "in the bag." In hindsight, many of the wins seem perfectly logical -- but only once the film has taken picture. But just take a look at last year: Precious sure as hell didn't walk in there as the odds on favorite. Nor did The Departed, Return of the King, The Pianist, or Traffic -- and if you don't believe me on the last one, do yourself a favor and click on any Harry Potter film's credits: that award was supposed to go another way.
But this year, Sorkin's sitting pretty as a Coen boy -- and oddly enough, they're up against him for a sizable piece of writing. But it just doesn't look like this one is ultimately going Joel and Ethan's way -- they'll have to settle for the hundreds of millions True Grit's raking in -- far more than Social Network, I might add.
127 Hours and Winter's Bone need to rest happily in the fact that they have been nominated. Neither stands a chance. Mr. Beaufoy and Danny Boyle can continue to bask in the glow of their recent Slumdog sweep. Every single person involved with Winter's Bone should consider every bit of attention this tiny film has caught an absolute triumph. There's simply no way a multi-nominated night at the Kodak was how these folks saw this playing out. My hat is off.
And then there's Michael Arndt. Something tells me not to discount Mr. Arndt.
(Free drink to the humanoid who nails that reference).
Perhaps the slickest move I made this summer was sliding off my Real 3D glasses with one hand and sliding on my Wayfarers with the other: I was like a T-1000. I got right out of Murray Hill dignity in hand! Whether I maintained my dignity and how deeply I breathed trying to get oxygen back into my 'til then vice-gripped heart is frankly none of your business.
Arndt nailed Toy Story 3 absolutely remarkably. I've said it before and I shall say it again -- this ten picture nonsense cannot last. We will fall back to the five. When we fall back to the five, the animated pictures will be back out of the race and left to their separate category so actors can rest assured their faces will stay up there on the screen.
Pixar's consistent high-quality must scare the bejesus out of everyone -- but sooner or later, Hollywood's absolute fear and jealousy usually turn into standing ovations of praise. Whether it's waiting until 1993 to give Spielberg an Oscar -- never awarding Hitchcock -- or waiting 'til Return of the King -- Hollywood comes around.
Will they this time? Dubious seems the kindest Tim Gunn word I can use. But if not now, when?
Luckily, Arndt already has an Oscar for Little Miss Sunshine and TS3 is a lock for animated feature.
It's pretty tough to put happy former winners up against a man whose made the room a fortune in television series and what must be the most unpredicted residuals of all time from The American President -- can anyone believe how much play that thing gets?! Sorkin's a star -- A Few Good Men, Charlie Wilson's War -- and it's pretty tough to be a star writer for too long without an Oscar, unless of course you're a woman not named Jhabvala -- but that's an article for a different time.
Thus, I hope Michael Arndt kisses his original screenplay Oscar lightly on the head before limo-ing down Hollywood Boulevard. Stars align now and again -- just ask Julian Fellowes. But Sunday seems set for Sorkin.
- Matthew J. McCue
They're not head to head -- each could win.
While I have my doubts about Mr. Seidler snagging screenplay out from under Nolan or Cholodenko -- Mr. Sorkin seems a dead lock. Though Fincher's directing steers The Social Network roller coaster as smoothly as a shark slicing through a currentless sea -- the tracks for the ride were laid by Mr. "West Wing" himself.
I'll wonder for the rest of my days why Mr. Sorkin felt it necessary to use his Golden Globe acceptance speech to simultaneously disavow any criticism of Mark Zuckerberg -- as if that weren't the entire point of the film -- and announce to his daughter that smart girls have more fun. I watched his appearance on Oprah; I heard his explanation; I'm still confused.
But sliding right alongside my wonder shall be my marvel at Aaron Sorkin's crisp, flawless writing.
Forget whether there's an oddball line or a scene that could go. The Social Network is one of those rare cases where there damn well may not be a syllable out of place. From Rooney Mara's character indictment to Rashida Jones' vain "cheer-up" attempt -- this thing's moving as quick and tight as Glengarry Glen Ross, and as timely and witty as Network. It doesn't trump either of those puppies -- certainly not Mamet's stage play -- and you certainly can't trump Finch, Dunaway, Duvall, and Holden. But to mix these two into a drinkable cocktail that goes down smooth despite having some of the best barbs in years -- what else can you expect from Mr. "You Can't Handle The Truth!"
Adapted normally isn't this "in the bag." In hindsight, many of the wins seem perfectly logical -- but only once the film has taken picture. But just take a look at last year: Precious sure as hell didn't walk in there as the odds on favorite. Nor did The Departed, Return of the King, The Pianist, or Traffic -- and if you don't believe me on the last one, do yourself a favor and click on any Harry Potter film's credits: that award was supposed to go another way.
But this year, Sorkin's sitting pretty as a Coen boy -- and oddly enough, they're up against him for a sizable piece of writing. But it just doesn't look like this one is ultimately going Joel and Ethan's way -- they'll have to settle for the hundreds of millions True Grit's raking in -- far more than Social Network, I might add.
127 Hours and Winter's Bone need to rest happily in the fact that they have been nominated. Neither stands a chance. Mr. Beaufoy and Danny Boyle can continue to bask in the glow of their recent Slumdog sweep. Every single person involved with Winter's Bone should consider every bit of attention this tiny film has caught an absolute triumph. There's simply no way a multi-nominated night at the Kodak was how these folks saw this playing out. My hat is off.
And then there's Michael Arndt. Something tells me not to discount Mr. Arndt.
(Free drink to the humanoid who nails that reference).
Perhaps the slickest move I made this summer was sliding off my Real 3D glasses with one hand and sliding on my Wayfarers with the other: I was like a T-1000. I got right out of Murray Hill dignity in hand! Whether I maintained my dignity and how deeply I breathed trying to get oxygen back into my 'til then vice-gripped heart is frankly none of your business.
Arndt nailed Toy Story 3 absolutely remarkably. I've said it before and I shall say it again -- this ten picture nonsense cannot last. We will fall back to the five. When we fall back to the five, the animated pictures will be back out of the race and left to their separate category so actors can rest assured their faces will stay up there on the screen.
Pixar's consistent high-quality must scare the bejesus out of everyone -- but sooner or later, Hollywood's absolute fear and jealousy usually turn into standing ovations of praise. Whether it's waiting until 1993 to give Spielberg an Oscar -- never awarding Hitchcock -- or waiting 'til Return of the King -- Hollywood comes around.
Will they this time? Dubious seems the kindest Tim Gunn word I can use. But if not now, when?
Luckily, Arndt already has an Oscar for Little Miss Sunshine and TS3 is a lock for animated feature.
It's pretty tough to put happy former winners up against a man whose made the room a fortune in television series and what must be the most unpredicted residuals of all time from The American President -- can anyone believe how much play that thing gets?! Sorkin's a star -- A Few Good Men, Charlie Wilson's War -- and it's pretty tough to be a star writer for too long without an Oscar, unless of course you're a woman not named Jhabvala -- but that's an article for a different time.
Thus, I hope Michael Arndt kisses his original screenplay Oscar lightly on the head before limo-ing down Hollywood Boulevard. Stars align now and again -- just ask Julian Fellowes. But Sunday seems set for Sorkin.
- Matthew J. McCue
Monday, February 21, 2011
Animal Kingdom: Australia, what a blast!
"I been around a long time, sweetie." - Jackie Weaver
One of the recurring phenomena of the Academy Awards is a tip of the hat to one of the tiniest films of the year and an exceptional performance. Most of that hat-tipping seemed aimed at Winter's Bone -- the indie triumph of the year with picture, actress, supporting actor, and screenplay nominations. Somehow, that slew of high ranking noms bumps Winter's Bone from the title of "itsy bitsy with giant success" toward something a little more in the range of The Crying Game. The bars are a little less classy. The men a bit more masculine. The accents a bit more difficult to understand. But it's the film cinephiles saw -- or at least felt they had to see, knowing full well award season was coming.
And then there's Animal Kingdom and its supporting actress nominee Jackie Weaver. Her nomination could be written off by some as "that one they keep nominating" -- as if she somehow gained early critical acclaim and an elite level of movie buffs continually puts her name forth as a given. I even wondered this myself. I wondered it for the first hour of the movie.
Jackie Weaver is no Judi Dench. She's not playing Queen Elizabeth. Tom Stoppard isn't filling her mouth with words. So even an hour in, I got to wondering where's the Outback Steakhouse approved Grade A Angus beef? Would this turn out to be some Beatrice Straight Network performance where it all came down to one big scene of Jackie Weaver screaming through the visiting room glass, during the trial, or back at home once her boys were sent off to prison?
On the contrary.
What's so fascinating about Animal Kingdom -- which is not the easiest film to wade through and certainly takes its sweet meandering time to make it through a relatively contained story -- is that it explores each hunk of plot separately. There's a distinct set of characters and a clear chain of events that takes place between the start and finish of this little Aussie thriller, but that doesn't mean one automatically leads to the next or that the drug dealers and cops playing out this "call and response" crime-flick are always the exact same arrangement of blokes.
For some reels, you spend more time with the cop, the lawyer, this uncle, that uncle, your girlfriend's mom. You wander. And young Jay, the fulcrum of the plot, is not always the guide. The audience is privy to many vitally important scenes and slivers of information Jay finds out far too late -- or never at all. Thus, Jackie Weaver's emergence from the "Gimme a hug" matriarch who lingered in the background to the cold hearted nana who wants her grandson whacked was as surprising as it was thrilling.
The entire film changed when this mama bear stared through glass at her arrested sons -- one a cold hearted murderer, the other a sweeter blond who might not be able to hack it on the inside -- and made her decision. She did it all with one key line. She turned away from the cold calculating son who was asking all the right questions about the trial, bail, how to proceed, etc. Weaver turns to her quiet blond boy and poses a very simple question: "How you keepin', hon?" Like she was visiting him at the hospital, sleepaway camp, or boarding school. And like any mother who cares too much -- she sure as hell ain't leaving him there.
But unlike my mother who allowed me to leave the Montessori education system when I found it undesirable as a kindergardener, Jackie Weaver isn't simply requesting a transfer. She's putting out a hit on the boy who turned state's evidence -- her own grandson.
"We've got to do something about Jay. He's gotta go."
The way Jackie Weaver takes a hard look at the corner her family is in and calculates the best way to keep as many family members alive and landing on "Easy, we kill the youngest one!" is something we haven't seen before. Weaver plays the role with precision and with an air of constant calculation. It's impossible to tell where she'll land or what ultimate outcome will satisfy her -- regardless of her own orders!
Ms. Weaver's nomination is unquestionably deserved despite its possibly having blocked or knocked Ms. Kunis out of the game. A Weaver win is doubtful. But expect to see this Aussie in many a film to come.
- Matthew J. McCue
One of the recurring phenomena of the Academy Awards is a tip of the hat to one of the tiniest films of the year and an exceptional performance. Most of that hat-tipping seemed aimed at Winter's Bone -- the indie triumph of the year with picture, actress, supporting actor, and screenplay nominations. Somehow, that slew of high ranking noms bumps Winter's Bone from the title of "itsy bitsy with giant success" toward something a little more in the range of The Crying Game. The bars are a little less classy. The men a bit more masculine. The accents a bit more difficult to understand. But it's the film cinephiles saw -- or at least felt they had to see, knowing full well award season was coming.
And then there's Animal Kingdom and its supporting actress nominee Jackie Weaver. Her nomination could be written off by some as "that one they keep nominating" -- as if she somehow gained early critical acclaim and an elite level of movie buffs continually puts her name forth as a given. I even wondered this myself. I wondered it for the first hour of the movie.
Jackie Weaver is no Judi Dench. She's not playing Queen Elizabeth. Tom Stoppard isn't filling her mouth with words. So even an hour in, I got to wondering where's the Outback Steakhouse approved Grade A Angus beef? Would this turn out to be some Beatrice Straight Network performance where it all came down to one big scene of Jackie Weaver screaming through the visiting room glass, during the trial, or back at home once her boys were sent off to prison?
On the contrary.
What's so fascinating about Animal Kingdom -- which is not the easiest film to wade through and certainly takes its sweet meandering time to make it through a relatively contained story -- is that it explores each hunk of plot separately. There's a distinct set of characters and a clear chain of events that takes place between the start and finish of this little Aussie thriller, but that doesn't mean one automatically leads to the next or that the drug dealers and cops playing out this "call and response" crime-flick are always the exact same arrangement of blokes.
For some reels, you spend more time with the cop, the lawyer, this uncle, that uncle, your girlfriend's mom. You wander. And young Jay, the fulcrum of the plot, is not always the guide. The audience is privy to many vitally important scenes and slivers of information Jay finds out far too late -- or never at all. Thus, Jackie Weaver's emergence from the "Gimme a hug" matriarch who lingered in the background to the cold hearted nana who wants her grandson whacked was as surprising as it was thrilling.
The entire film changed when this mama bear stared through glass at her arrested sons -- one a cold hearted murderer, the other a sweeter blond who might not be able to hack it on the inside -- and made her decision. She did it all with one key line. She turned away from the cold calculating son who was asking all the right questions about the trial, bail, how to proceed, etc. Weaver turns to her quiet blond boy and poses a very simple question: "How you keepin', hon?" Like she was visiting him at the hospital, sleepaway camp, or boarding school. And like any mother who cares too much -- she sure as hell ain't leaving him there.
But unlike my mother who allowed me to leave the Montessori education system when I found it undesirable as a kindergardener, Jackie Weaver isn't simply requesting a transfer. She's putting out a hit on the boy who turned state's evidence -- her own grandson.
"We've got to do something about Jay. He's gotta go."
The way Jackie Weaver takes a hard look at the corner her family is in and calculates the best way to keep as many family members alive and landing on "Easy, we kill the youngest one!" is something we haven't seen before. Weaver plays the role with precision and with an air of constant calculation. It's impossible to tell where she'll land or what ultimate outcome will satisfy her -- regardless of her own orders!
Ms. Weaver's nomination is unquestionably deserved despite its possibly having blocked or knocked Ms. Kunis out of the game. A Weaver win is doubtful. But expect to see this Aussie in many a film to come.
- Matthew J. McCue
Friday, February 18, 2011
When Picture and Director Split: An Oscar Divided Often Stands
The Graduate won director for Mike Nichols. But picture went to In the Heat of the Night. The Godfather obviously won picture -- but many forget Bob Fosse took director for Cabaret. Then there was a streak of Picture and Director going hand in hand. Right through the entire 70s where American Auteurs seemed at their peak. Every one of those "lunatics running the asylum" took home picture and director.
The next split -- which will obviously get its own paragraph -- was in 1981 when Warren Beatty (ahem) won director and picture went to (the absolutely not boring in the least) Chariots of Fire.
And we seemed to be back in a land of picture and director alignment. But there have been notable splits since -- with increasing frequency.
1989 - Driving Miss Daisy takes picture, Oliver Stone takes director for Born on the Fourth of July.
1998 - Shakespeare in Love shockingly takes picture away from director winner Steven Spielberg
2000 - Ridley Scott's Gladiator wins, but the seasoned Brit remains Oscar-less when Soderbergh wins director for Traffic.
2002 - Chicago is all the rage, but Martin Scorsese isn't the Rob Marshall upset, it's Mr. Exile himself, Roman Polanski who takes the cake for The Pianist.
2006 - Ang Lee's director win for Brokeback Mountain didn't mean there would be a gay best picture, certainly not when there's a Hollywood ensemble piece like Crash in the mix. And it seems Focus can get you a script or directing Oscar. I have much love for this mini-major. But delivering picture seems a game their not willing to play.
And here we are -- Award Year 2010 -- with the King nipping at The Network's heels. So far, no one has called Fincher's directing victory into question. His success seems completely inevitable. He's the Eastwood, he's the Spielberg, he's the Ang Lee in this scenario.
The Social Network's grip on best picture seems to have grown shaky -- at least in the trades and among those of us who like to walk into the 4 hour Oscar telecast pretending something incredibly dramatic is going to happen -- and who walk out of the Oscar telecast completely pissed off when it does. Unless, of course, it's Roman Polanski winning over Gangs of New York -- my apologies to the genius that is Martin Scorsese but that film was a mess and the idea that Miramax would back the director of a flop film over their own director of the film that had a lock on picture made Rob Marshall's chances a non-issue and Polanski's win something that got the room on its feet -- at least the room I was in.
I might add -- this was also presented by Harrison Ford -- the Shakespeare in Lover himself! What gives, Mr. McBeal?!
Miramax is obviously todt, kaput, deadski. But Harvey is up to his old Oscar tricks -- mini-documentaries airing during the day about the joyous journey that is The King's Speech. And have you seen the ad with the blue-collar audience member -- that lunch-bucket Dem -- talking about how he never thought a movie about a king would speak to him, but boy was he wrong? The HW knows no shame. As well he shouldn't. It looks like he's pulling it off.
And yet as much as Messers Firth and Rush gush over director Tom Hooper, as much as Helena Bonham Carter talks about his guiding hand -- how vital it was to have him behind the camera, Hooper doesn't seem to have a Marshall's chance in hell.
Thus, the split question is not from the side Harvey would prefer. It's not "Will The King's Speech sweep?" The question is: will voters vote for King's Speech after having voted for David Fincher?
The odds of split seem pretty dang good, though, don't they?
I'm hoping for a Fincher hold -- and I think that hope is a safe bet.
Frankly, if there's a different film to take it, we know I want it to be Inception -- at this point it seems as out there as my (partially) genuine belief (read: "psychotic break") that The Piano could best Schindler's List.
- Matthew J. McCue
The next split -- which will obviously get its own paragraph -- was in 1981 when Warren Beatty (ahem) won director and picture went to (the absolutely not boring in the least) Chariots of Fire.
And we seemed to be back in a land of picture and director alignment. But there have been notable splits since -- with increasing frequency.
1989 - Driving Miss Daisy takes picture, Oliver Stone takes director for Born on the Fourth of July.
1998 - Shakespeare in Love shockingly takes picture away from director winner Steven Spielberg
2000 - Ridley Scott's Gladiator wins, but the seasoned Brit remains Oscar-less when Soderbergh wins director for Traffic.
2002 - Chicago is all the rage, but Martin Scorsese isn't the Rob Marshall upset, it's Mr. Exile himself, Roman Polanski who takes the cake for The Pianist.
2006 - Ang Lee's director win for Brokeback Mountain didn't mean there would be a gay best picture, certainly not when there's a Hollywood ensemble piece like Crash in the mix. And it seems Focus can get you a script or directing Oscar. I have much love for this mini-major. But delivering picture seems a game their not willing to play.
And here we are -- Award Year 2010 -- with the King nipping at The Network's heels. So far, no one has called Fincher's directing victory into question. His success seems completely inevitable. He's the Eastwood, he's the Spielberg, he's the Ang Lee in this scenario.
The Social Network's grip on best picture seems to have grown shaky -- at least in the trades and among those of us who like to walk into the 4 hour Oscar telecast pretending something incredibly dramatic is going to happen -- and who walk out of the Oscar telecast completely pissed off when it does. Unless, of course, it's Roman Polanski winning over Gangs of New York -- my apologies to the genius that is Martin Scorsese but that film was a mess and the idea that Miramax would back the director of a flop film over their own director of the film that had a lock on picture made Rob Marshall's chances a non-issue and Polanski's win something that got the room on its feet -- at least the room I was in.
I might add -- this was also presented by Harrison Ford -- the Shakespeare in Lover himself! What gives, Mr. McBeal?!
Miramax is obviously todt, kaput, deadski. But Harvey is up to his old Oscar tricks -- mini-documentaries airing during the day about the joyous journey that is The King's Speech. And have you seen the ad with the blue-collar audience member -- that lunch-bucket Dem -- talking about how he never thought a movie about a king would speak to him, but boy was he wrong? The HW knows no shame. As well he shouldn't. It looks like he's pulling it off.
And yet as much as Messers Firth and Rush gush over director Tom Hooper, as much as Helena Bonham Carter talks about his guiding hand -- how vital it was to have him behind the camera, Hooper doesn't seem to have a Marshall's chance in hell.
Thus, the split question is not from the side Harvey would prefer. It's not "Will The King's Speech sweep?" The question is: will voters vote for King's Speech after having voted for David Fincher?
The odds of split seem pretty dang good, though, don't they?
I'm hoping for a Fincher hold -- and I think that hope is a safe bet.
Frankly, if there's a different film to take it, we know I want it to be Inception -- at this point it seems as out there as my (partially) genuine belief (read: "psychotic break") that The Piano could best Schindler's List.
- Matthew J. McCue
Thursday, February 17, 2011
Original Screenplay: The Most Coveted Oscar
A Brief Lesson in Coveting from Dr. Hannibal Lecter:
Dr. Lecter: First principles, Clarice. Simplicity. Read Marcus Aurelius. Of each particular thing ask: what is it in itself? What is its nature? What does he do, this man you seek?
Clarice: He kills women...
Dr. Lecter: No. That is incidental. What is the first and principal thing he does? What needs does he serve by killing?
Clarice: Anger, um, social acceptance, and, huh, sexual frustrations, sir...
Dr. Lecter: No! He covets. That is his nature. And how do we begin to covet, Clarice? Do we seek out things to covet? Make an effort to answer now.
Clarice: No. We just...
Dr. Lecter: No. We begin by coveting what we see every day. Don't you feel eyes moving over your body, Clarice? And don't your eyes seek out the things you want?
Matthew: Yes! Like the Original Screenplay Oscar! Oh how I covet it! And we all know I watched Oscars Greatest Moments nearly every day! What fond memories!
Dr. Lecter: Memory is all I have, Matthew.
Clarice: Sir, this is an official FBI investigation.
Matthew: Oh please. You're just a trainee.
Dr. Lecter: Jack Crawford sent a trainee to me?
Matthew: Truth.
Clarice: Sir, will you please exit the area, this is an adapted screenplay.
Matthew: I'm going, I'm going... you well scrubbed rube.
Who will take Original Screenplay?
And the nominees are...
Another Year
The Fighter
Inception
The Kids Are All Right
The King's Speech
I shan't even try to thinly veil the fact that I think this award belongs -- hands down -- to Christopher Nolan for Inception. As the category is "Original Screenplay" one (meaning I) often hopes the Academy voters will take the time to recognize the most exceptionally thought out screenplay written directly for the screen.
Often, the original screenplay Oscar is given to the smaller film that will not win picture. Picture winners are from predominantly adapted screenplays -- or adapted screenplays masquerading as original work -- such as The Hurt Locker -- an excellent script written by a journalist embedded with bomb squads in the middle east that Mark Boal freely admits is a rearrangements of actual events. No, they were not published or produced in another fashion and that's what the distinction is. But we can see where I'm coming from.
Otherwise -- looking over the past 10 years of pictures...
Gladiator while original lost screenplay to Almost Famous which won nothing else.
A Beautiful Mind - adapted.
Chicago - adapted.
Return of the King - adapted.
Million Dollar Baby - adapted.
Crash - original and perhaps the most disturbing win of the past 20 years despite Mr. Haggis talents as a writer and subject of great New Yorker articles.
The Departed - adapted.
No Country For Old Men - adapted.
Slumdog Millionaire - adapted.
Hurt Locker - original script based on reality.
Original Screenplay has remained the home of the wildly talented and the otherwise overlooked masters, particularly these past 20 years. Neil Jordan, Cameron Crowe, Sofia Coppola, Quentin Tarantino, Jane Campion, Charlie Kaufman, Pedro Almodovar -- and the list goes on.
It is also where some great films have gotten their nod: Fargo, Gosford Park, Little Miss Sunshine, Juno, Almost Famous (why not mention it twice?), The Usual Suspects, Milk.
So here we find ourselves in a year where a master who is the screenplay nominee equivalent of Randy Newman -- Mr. Mike Leigh -- is yet again nominated. Though none of his actors received a nod and the film didn't click with crowds like his pictures from the past Secrets and Lies, Topsy Turvy, Vera Drake. This just doesn't seem like the year Mr. Leigh will win. He'll either finally make a clean sweep or be handed an honorary award soon.
The Fighter looks like it is going to take both supporting statuettes despite fingers (nationwide) being crossed hoping for other victors. No one is talking about The Fighter's writing in the slightest. Sure, they weren't talking about the writing of The Departed that much either -- but that's because Scorsese gets full credit for everything he does. The Departed actually is fantastic and deserved its adapted script award. It also pulled off what history will deem a sweep of the major awards -- though in the midst of that evening it seemed like a good deal of the trophies were up for grabs. The Fighter is out.
And then there were three!
Is it the small indie that tells the touching story of a lesbian couple, their children, and the sperm donor that shook their happy home. It is, after all, written by a seasoned indie veteran. With Black Swan's lack of script nom, will this be the picture of ladies that takes home an Oscar?
Is it the script that moves so crisply across the tongues of top shelf Aussie and British actors in the film that seems to be poised to snag The Social Network's picture win?
Or has the absolute snub of Christopher Nolan's directing prowess landed him in a position where some weirdo Oscar karma will hand this wildly respected director with a script award -- much like Francis Ford Coppola (who didn't win director until Godfather II, but already had two script trophies in the bag), The Coen Brothers (who waited a decade to win director) and Oliver Stone (who bagged a script award eight years before a director win). Is screenplay where Inception gets the Nolan his deserved industry recognition?
Lest we forget -- the very reason this entire 10 best picture nonsense came to pass was because folks were particularly upset about the fact that The Dark Knight not only went without a best picture nomination but that the Oscars had become a place where films like Knight were simply un-nominate-able. Nolan was also a previous odds on favorite for his first film - Memento. Had he won screenplay then a win now would seem less possible -- especially since, much as it pains me, Inception has no chance at picture.
But the world created! The rules constructed! The moments selected to weave such an intricate tapestry of storytelling -- without a play, novel, or graphic novel as its basis -- is simply remarkable.
In a just world, Nolan wins. The writing awards are often just, rarely snubbing the gifted more than once. In fact, the only person besides Nolan who seems monumentally screwed in this new generation of film making is Paul Thomas Anderson. Yes, Wes Anderson has delivered some gems, as well. But there has been meandering. PTA's originality with Boogie Nights and Magnolia followed by the screenplay he bloomed out of a tiny sliver of an Upton Sinclair story is to be reckoned with. PTA remains the only major film maker to sit down in the midst of our mad present and write a story about how oil and religion will both "fuel" and ruin the United States. Yet he waits for recognition.
Nolan is in the same boat. His is a different world of grandiose epics where a bullet wound springs a man to life and where the labyrinth of the mind -- realistic or not -- is more vital than the clash of grand personas -- he saves that for the Batman pictures.
Can the dream world snuff the King and the indie with a heart? I'll go right out on a limb and say, "Yes."
- Matthew J. McCue
Dr. Lecter: First principles, Clarice. Simplicity. Read Marcus Aurelius. Of each particular thing ask: what is it in itself? What is its nature? What does he do, this man you seek?
Clarice: He kills women...
Dr. Lecter: No. That is incidental. What is the first and principal thing he does? What needs does he serve by killing?
Clarice: Anger, um, social acceptance, and, huh, sexual frustrations, sir...
Dr. Lecter: No! He covets. That is his nature. And how do we begin to covet, Clarice? Do we seek out things to covet? Make an effort to answer now.
Clarice: No. We just...
Dr. Lecter: No. We begin by coveting what we see every day. Don't you feel eyes moving over your body, Clarice? And don't your eyes seek out the things you want?
Matthew: Yes! Like the Original Screenplay Oscar! Oh how I covet it! And we all know I watched Oscars Greatest Moments nearly every day! What fond memories!
Dr. Lecter: Memory is all I have, Matthew.
Clarice: Sir, this is an official FBI investigation.
Matthew: Oh please. You're just a trainee.
Dr. Lecter: Jack Crawford sent a trainee to me?
Matthew: Truth.
Clarice: Sir, will you please exit the area, this is an adapted screenplay.
Matthew: I'm going, I'm going... you well scrubbed rube.
Who will take Original Screenplay?
And the nominees are...
Another Year
The Fighter
Inception
The Kids Are All Right
The King's Speech
I shan't even try to thinly veil the fact that I think this award belongs -- hands down -- to Christopher Nolan for Inception. As the category is "Original Screenplay" one (meaning I) often hopes the Academy voters will take the time to recognize the most exceptionally thought out screenplay written directly for the screen.
Often, the original screenplay Oscar is given to the smaller film that will not win picture. Picture winners are from predominantly adapted screenplays -- or adapted screenplays masquerading as original work -- such as The Hurt Locker -- an excellent script written by a journalist embedded with bomb squads in the middle east that Mark Boal freely admits is a rearrangements of actual events. No, they were not published or produced in another fashion and that's what the distinction is. But we can see where I'm coming from.
Otherwise -- looking over the past 10 years of pictures...
Gladiator while original lost screenplay to Almost Famous which won nothing else.
A Beautiful Mind - adapted.
Chicago - adapted.
Return of the King - adapted.
Million Dollar Baby - adapted.
Crash - original and perhaps the most disturbing win of the past 20 years despite Mr. Haggis talents as a writer and subject of great New Yorker articles.
The Departed - adapted.
No Country For Old Men - adapted.
Slumdog Millionaire - adapted.
Hurt Locker - original script based on reality.
Original Screenplay has remained the home of the wildly talented and the otherwise overlooked masters, particularly these past 20 years. Neil Jordan, Cameron Crowe, Sofia Coppola, Quentin Tarantino, Jane Campion, Charlie Kaufman, Pedro Almodovar -- and the list goes on.
It is also where some great films have gotten their nod: Fargo, Gosford Park, Little Miss Sunshine, Juno, Almost Famous (why not mention it twice?), The Usual Suspects, Milk.
So here we find ourselves in a year where a master who is the screenplay nominee equivalent of Randy Newman -- Mr. Mike Leigh -- is yet again nominated. Though none of his actors received a nod and the film didn't click with crowds like his pictures from the past Secrets and Lies, Topsy Turvy, Vera Drake. This just doesn't seem like the year Mr. Leigh will win. He'll either finally make a clean sweep or be handed an honorary award soon.
The Fighter looks like it is going to take both supporting statuettes despite fingers (nationwide) being crossed hoping for other victors. No one is talking about The Fighter's writing in the slightest. Sure, they weren't talking about the writing of The Departed that much either -- but that's because Scorsese gets full credit for everything he does. The Departed actually is fantastic and deserved its adapted script award. It also pulled off what history will deem a sweep of the major awards -- though in the midst of that evening it seemed like a good deal of the trophies were up for grabs. The Fighter is out.
And then there were three!
Is it the small indie that tells the touching story of a lesbian couple, their children, and the sperm donor that shook their happy home. It is, after all, written by a seasoned indie veteran. With Black Swan's lack of script nom, will this be the picture of ladies that takes home an Oscar?
Is it the script that moves so crisply across the tongues of top shelf Aussie and British actors in the film that seems to be poised to snag The Social Network's picture win?
Or has the absolute snub of Christopher Nolan's directing prowess landed him in a position where some weirdo Oscar karma will hand this wildly respected director with a script award -- much like Francis Ford Coppola (who didn't win director until Godfather II, but already had two script trophies in the bag), The Coen Brothers (who waited a decade to win director) and Oliver Stone (who bagged a script award eight years before a director win). Is screenplay where Inception gets the Nolan his deserved industry recognition?
Lest we forget -- the very reason this entire 10 best picture nonsense came to pass was because folks were particularly upset about the fact that The Dark Knight not only went without a best picture nomination but that the Oscars had become a place where films like Knight were simply un-nominate-able. Nolan was also a previous odds on favorite for his first film - Memento. Had he won screenplay then a win now would seem less possible -- especially since, much as it pains me, Inception has no chance at picture.
But the world created! The rules constructed! The moments selected to weave such an intricate tapestry of storytelling -- without a play, novel, or graphic novel as its basis -- is simply remarkable.
In a just world, Nolan wins. The writing awards are often just, rarely snubbing the gifted more than once. In fact, the only person besides Nolan who seems monumentally screwed in this new generation of film making is Paul Thomas Anderson. Yes, Wes Anderson has delivered some gems, as well. But there has been meandering. PTA's originality with Boogie Nights and Magnolia followed by the screenplay he bloomed out of a tiny sliver of an Upton Sinclair story is to be reckoned with. PTA remains the only major film maker to sit down in the midst of our mad present and write a story about how oil and religion will both "fuel" and ruin the United States. Yet he waits for recognition.
Nolan is in the same boat. His is a different world of grandiose epics where a bullet wound springs a man to life and where the labyrinth of the mind -- realistic or not -- is more vital than the clash of grand personas -- he saves that for the Batman pictures.
Can the dream world snuff the King and the indie with a heart? I'll go right out on a limb and say, "Yes."
- Matthew J. McCue
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