'The Curious Case of Benjamin Button' looks like a quantum leap forward in cinematic technological advancement.
Huh? It looks like Pan's Labyrinth with an old-makeuped baby.
Predict! - Come on, it s not too early. :P
It would not surprise me if critic's groups rallied around 'WALL-E'. You really never know. It is getting some of the strongest reviews of any PIXAR film and that's saying something. I could see critics rallying around the film for its ecological statement and daring narrative structure. Will 'WALL-E' be nominated for Best Picture? Probably not, but if it wins the Comedic/Musical Golden Globe, is nominated for a PGA, and picks up a critic's award or two, I can very easily hear this refrain louder than usual come January: "Why can't 'WALL-E' be nominated for Best Picture?"
Way too early, but the movies listed that sound like Oscar material are 'Seven Pounds' (dir. Gabriel Muccino--Columbia, P&D), 'The Reader' (dir. Stephen Daldry--Weinstein Company, P&D), 'The Soloist' (dir. Joe Wright--Dreamworks, P&D), and 'TBA Untitled Vanilla-Fuck Project' (dir. Captain Anonymous). And of course 'The Changeling' and 'Gran Torino' look likely to nab Clint Eastwood his fourth or fifth producing nomination, fourth or fifth directing nomination, and/or third acting nomination. I think the reason that Clint Eastwood is enjoying such an interesting autumnal career renaissance, rooted entirely on story-telling skills and commendable rapport with performances that I don't think anybody could begrudge him or say enough's enough at least in terms of more nominations.
'Revolutionary Road' and 'Frost/Nixon' seem like the kind of movies one looks forward to so much that they can't help but inevitably disappoint.
There seem to be two sure things thus far: 'WALL-E' is guaranteed six nominations: Original Screenplay, Original Score, Terrible Original Song, Animated Feature, Sound Mixing, and Sound Effects, tying it with 'Beauty and the Beast' for most nominated animated film in history. Also, 'The Dark Knight' seems like a likely contender for Best Supporting Actor, Original Score, Cinematography, Art Direction, Sound Mixing, and Sound Effects. I don't think we've seen the majority of Visual Effects contenders. I don't see 'Indiana Jones', 'Iron Man', or 'The Incredible Hulk' making the cut, but 'Hellboy 2' has amazing visuals.
'The Curious Case of Benjamin Button' looks like a quantum leap forward in cinematic technological advancement.
Way too early, but the movies listed that sound like Oscar material are 'Seven Pounds' (dir. Gabriel Muccino--Columbia, P&D), 'The Reader' (dir. Stephen Daldry--Weinstein Company, P&D), 'The Soloist' (dir. Joe Wright--Dreamworks, P&D), and 'TBA Untitled Vanilla-Fuck Project' (dir. Captain Anonymous). And of course 'The Changeling' and 'Gran Torino' look likely to nab Clint Eastwood his fourth or fifth producing nomination, fourth or fifth directing nomination, and/or third acting nomination. I think the reason that Clint Eastwood is enjoying such an interesting autumnal career renaissance, rooted entirely on story-telling skills and commendable rapport with performances that I don't think anybody could begrudge him or say enough's enough at least in terms of more nominations.
'Revolutionary Road' and 'Frost/Nixon' seem like the kind of movies one looks forward to so much that they can't help but inevitably disappoint.
There seem to be two sure things thus far: 'WALL-E' is guaranteed six nominations: Original Screenplay, Original Score, Terrible Original Song, Animated Feature, Sound Mixing, and Sound Effects, tying it with 'Beauty and the Beast' for most nominated animated film in history. Also, 'The Dark Knight' seems like a likely contender for Best Supporting Actor, Original Score, Cinematography, Art Direction, Sound Mixing, and Sound Effects. I don't think we've seen the majority of Visual Effects contenders. I don't see 'Indiana Jones', 'Iron Man', or 'The Incredible Hulk' making the cut, but 'Hellboy 2' has amazing visuals.
'The Curious Case of Benjamin Button' looks like a quantum leap forward in cinematic technological advancement.
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Precious Doll, that article mentions "Revolutionary Road" but it has no mention of another film in which Kate Winslet plays a character that strikes me as big-time Oscar bait, Stephen Daldry's "The Reader." I hope that the recent deaths of two of its executive producers, Sydney Pollack and Anthony Minghella, does not push the film to 2009.
The great thing in the world is not so much where we stand, as in what direction we are moving. It's faith in something and enthusiasm for something that makes a life worth living. Oliver Wendell Holmes
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Here is a recent article that appeared in Variety in relation to the this years Oscar competition.
A couple of my own thoughts are:
Sally Hawkins for Happy Go Lucky, not to mention the films itself, will not be nominated. Leigh & Hawkins create one of the most annoying characters to ever grace the silver screen and her victory at Berlin earlier this year is nothing more then a reflection of the poor quality of the competition.
If Frozen River receives a favorable response from critics and catches on with audiences, Melissa Leo will stand a good chance of being nominated for her performance in the film. Her performance and that of Misty Upmam (possible supporting nod) lift the film above the ordinary. They both give the types of performances that become richer as the film progresses.
I'm afraid that my favorite performance of the year so far, Ann Savage in My Winnipeg, will not be nominated but I can live in hope for a New York or LA supporting actress citation for Savage.
Oscar candidates lagging this year
First half of 2008 comes up short on potential
By TIMOTHY M. GRAY
Posted: Wed., Jul. 2, 2008, 8:00pm PT (Variety)
As of Monday, the year was at the halfway mark, so in theory, the 2008 awards race is half over.
Not a chance. The past six months have offered fewer potential contenders than any January-June period in memory.
At least on paper, this year looks like a return to the old days, when the majors dominated awards and most of the nominees bowed late in the year -- in contrast with recent history, when the Oscar charge was led by specialty divisions and fall launches.
In the last six months, there have been possible nominees in the below-the-line Oscar races ("Iron Man," "Indiana Jones and the Kingdom of the Crystal Skull," "Forbidden Kingdom," "The Incredible Hulk," "The Chronicles of Narnia: Prince Caspian," "Wanted," "Hancock," etc.), and there have been strong toons ("Horton Hears a Who," "Kung Fu Panda," "Wall-E") as well as too many docus to mention.
But as for potential action in the "money" categories, not so much. However, keep an eye on Overture's "The Visitor": Lead actor Richard Jenkins has rightly earned awards buzz, but the film has many other virtues (Thomas McCarthy's script and direction, the other performances, etc.). McCarthy, a talented actor in his own right, has crafted an actors' movie -- a character study with current-event concerns -- that will play well on DVD, so late-year mailings could pay off.
Otherwise, awards prognosticators have to look to the fests. Last year, Cannes boasted a lot of eventual Oscar pics, including "No Country for Old Men." This year's Cannes saw hot prospects in Universal's "Changeling"; the Weinstein Co.'s Woody Allen pic, to be distribbed by MGM, "Vicky Cristina Barcelona" -- particularly for the respective perfs by Angelina Jolie and Penelope Cruz; and Sony Classics' "Waltz With Bashir," all of which will open this year.
The Berlin Film Festival embraced Mike Leigh's "Happy-Go-Lucky," with Sally Hawkins winning the actress prize, while Sundance was bullish on "Frozen River," with Melissa Leo. The pics will be released in the U.S. by Miramax and Sony Pictures Classics, respectively.
Of course, their fate depends on what else opens.
After the specialty divisions dominated the 80th Oscars, the major studios predicted they will return triumphantly this year (Variety, March 3-9), and there are plenty of biggies on the books that make the 2008 lineup sound like the most promising from the majors in several years.
But even at the halfway point, there are questions.
Will the early buzz sustain for Disney-Pixar's "Wall-E" and WB's "The Dark Knight" and Heath Ledger?
What effect will the Clint Eastwood double whammy -- November's "Changeling" and the December bow of Warner Bros.-Village Roadshow's "Gran Torino," in which he stars as well as directs -- have on kudos? Similarly, Scott Rudin, who was in the winner's circle with "No Country," has two December openers -- but will he have a third with "The Reader," whose opening date is not yet set?
Benicio Del Toro won Cannes' actor award for Steven Soderbergh's "Che," but will it find a U.S. distrib this year and, if so, in what form will the two-part film be released?
And then there are ... other questions. In the last few years, the song category has been dominated by tunes that were production numbers (as opposed to those end-credit or background songs). So does this bode well for Disney's "High School Musical 3" and Focus' "Hamlet 2"? (If the song "It's Hard Out Here for a Pimp" can win, there may be hope for the latter pic's "Rock Me Sexy Jesus.")
A few years ago, film-awards shows followed the lead of the Academy of Motion Picture Arts & Sciences and moved their ceremonies a month earlier, but it's clear that the studios are not similarly shifting their release schedules to accommodate the moves. Bottom-line thinking comes first, and release dates are more focused on box office than on awards.
Still, this year will be an interesting one for the majors as they woo Oscar.
For decades, Oscar voters had a reputation for going with more mainstream films, preferring "Ordinary People" to "Raging Bull," to use an often-cited example. But in the last few years, Acad members have embraced darker, arthouse-style films like "No Country for Old Men" and "There Will Be Blood." So it will be interesting to see how the majors' lineup meshes with this growing specialty sensibility among the voters.
Following are the month-by-month releases that sound like awards fodder. Of course there are always disappointments -- there's no point bringing up the many, many painful memories of films whose makers thought they had a shot -- and there are always surprises.
Last year, "Juno" wasn't on anyone's radar because it wasn't skedded for a 2007 release. And the Weinstein Co. has two that may be added to its 2008 slate: "Shanghai," directed by Mikael Hafstrom and starring John Cusack, and "The Reader," directed by Stephen Daldry, scripted by David Hare, produced by Rudin and starring Kate Winslet).
But here's a blueprint for the next six months.
July: It's an f/x extravaganza with New Line's "Journey to the Center of the Earth" (going out through WB); and Universal's "Hellboy II: The Golden Army."
August: DreamWorks' "Tropic Thunder"; U's "The Mummy: Tomb of the Dragon Emperor."
September: Disney's Spike Lee movie "Miracle at St. Anna"; Focus' "Burn After Reading," the follow-up film from this year's triple Oscar winners, Joel and Ethan Coen, that stars George Clooney and Tilda Swinton; Miramax's Fernando Meirelles pic "Blindness"; "The Appaloosa," directed by and starring Ed Harris (New Line, via WB); Paramount Vantage's "The Duchess," with Keira Knightley.
October: Lionsgate's Oliver Stone bio-politico-comedy-drama "W." starring Josh Brolin; WB's Ridley Scott film "Body of Lies," written by William Monahan ("The Departed") and starring Russell Crowe and Leonardo DiCaprio; Fox Searchlight's "The Secret Life of Bees" (Dakota Fanning, Queen Latifah); Universal-Spyglass' Greg Kinnear film "Flash of Genius," with Marc Abraham making his directing debut; and Sony Pictures Classics' "I've Loved You So Long," with Kristin Scott Thomas, and Jonathan Demme's "Rachel Getting Married," with Anne Hathaway.
November: Paramount-DreamWorks' "The Soloist" (Joe Wright directing Jamie Foxx and Robert Downey Jr.); Focus' "Milk" (Gus Van Sant, Sean Penn); Fox's "Australia," from Baz Luhrmann and starring Nicole Kidman and Hugh Jackman; MGM-Sony's "Quantum of Solace," with Daniel Craig returning as 007; WB's "Harry Potter and the Half-Blood Prince"; and the Weinstein Co./Dimension's "The Road," an adaptation of the book by Cormac McCarthy (who penned the novel "No Country") that's going out via MGM and stars Charlize Theron and Viggo Mortensen.
December: Miramax's "Doubt" (starring Meryl Streep and Philip Seymour Hoffman and produced by Rudin); Paramount's "The Curious Case of Benjamin Button," starring Brad Pitt and Cate Blanchett under helmer David Fincher (Warner Bros. has the pic overseas); Paramount Vantage-DreamWorks' "Revolutionary Road" (Sam Mendes, DiCaprio, Winslet and Rudin again); Par Vantage's "Defiance" (Ed Zwick, with Craig); Disney's Adam Shankman-helmed "Bedtime Stories" with Adam Sandler; Lionsgate's Frank Miller-directed "The Spirit"; Sony's "Seven Pounds," reuniting Will Smith with Gabriele Muccino (who directed "The Pursuit of Happyness"); Universal-Imagine-Working Title's Ron Howard-helmed "Frost/Nixon."
A couple of my own thoughts are:
Sally Hawkins for Happy Go Lucky, not to mention the films itself, will not be nominated. Leigh & Hawkins create one of the most annoying characters to ever grace the silver screen and her victory at Berlin earlier this year is nothing more then a reflection of the poor quality of the competition.
If Frozen River receives a favorable response from critics and catches on with audiences, Melissa Leo will stand a good chance of being nominated for her performance in the film. Her performance and that of Misty Upmam (possible supporting nod) lift the film above the ordinary. They both give the types of performances that become richer as the film progresses.
I'm afraid that my favorite performance of the year so far, Ann Savage in My Winnipeg, will not be nominated but I can live in hope for a New York or LA supporting actress citation for Savage.
Oscar candidates lagging this year
First half of 2008 comes up short on potential
By TIMOTHY M. GRAY
Posted: Wed., Jul. 2, 2008, 8:00pm PT (Variety)
As of Monday, the year was at the halfway mark, so in theory, the 2008 awards race is half over.
Not a chance. The past six months have offered fewer potential contenders than any January-June period in memory.
At least on paper, this year looks like a return to the old days, when the majors dominated awards and most of the nominees bowed late in the year -- in contrast with recent history, when the Oscar charge was led by specialty divisions and fall launches.
In the last six months, there have been possible nominees in the below-the-line Oscar races ("Iron Man," "Indiana Jones and the Kingdom of the Crystal Skull," "Forbidden Kingdom," "The Incredible Hulk," "The Chronicles of Narnia: Prince Caspian," "Wanted," "Hancock," etc.), and there have been strong toons ("Horton Hears a Who," "Kung Fu Panda," "Wall-E") as well as too many docus to mention.
But as for potential action in the "money" categories, not so much. However, keep an eye on Overture's "The Visitor": Lead actor Richard Jenkins has rightly earned awards buzz, but the film has many other virtues (Thomas McCarthy's script and direction, the other performances, etc.). McCarthy, a talented actor in his own right, has crafted an actors' movie -- a character study with current-event concerns -- that will play well on DVD, so late-year mailings could pay off.
Otherwise, awards prognosticators have to look to the fests. Last year, Cannes boasted a lot of eventual Oscar pics, including "No Country for Old Men." This year's Cannes saw hot prospects in Universal's "Changeling"; the Weinstein Co.'s Woody Allen pic, to be distribbed by MGM, "Vicky Cristina Barcelona" -- particularly for the respective perfs by Angelina Jolie and Penelope Cruz; and Sony Classics' "Waltz With Bashir," all of which will open this year.
The Berlin Film Festival embraced Mike Leigh's "Happy-Go-Lucky," with Sally Hawkins winning the actress prize, while Sundance was bullish on "Frozen River," with Melissa Leo. The pics will be released in the U.S. by Miramax and Sony Pictures Classics, respectively.
Of course, their fate depends on what else opens.
After the specialty divisions dominated the 80th Oscars, the major studios predicted they will return triumphantly this year (Variety, March 3-9), and there are plenty of biggies on the books that make the 2008 lineup sound like the most promising from the majors in several years.
But even at the halfway point, there are questions.
Will the early buzz sustain for Disney-Pixar's "Wall-E" and WB's "The Dark Knight" and Heath Ledger?
What effect will the Clint Eastwood double whammy -- November's "Changeling" and the December bow of Warner Bros.-Village Roadshow's "Gran Torino," in which he stars as well as directs -- have on kudos? Similarly, Scott Rudin, who was in the winner's circle with "No Country," has two December openers -- but will he have a third with "The Reader," whose opening date is not yet set?
Benicio Del Toro won Cannes' actor award for Steven Soderbergh's "Che," but will it find a U.S. distrib this year and, if so, in what form will the two-part film be released?
And then there are ... other questions. In the last few years, the song category has been dominated by tunes that were production numbers (as opposed to those end-credit or background songs). So does this bode well for Disney's "High School Musical 3" and Focus' "Hamlet 2"? (If the song "It's Hard Out Here for a Pimp" can win, there may be hope for the latter pic's "Rock Me Sexy Jesus.")
A few years ago, film-awards shows followed the lead of the Academy of Motion Picture Arts & Sciences and moved their ceremonies a month earlier, but it's clear that the studios are not similarly shifting their release schedules to accommodate the moves. Bottom-line thinking comes first, and release dates are more focused on box office than on awards.
Still, this year will be an interesting one for the majors as they woo Oscar.
For decades, Oscar voters had a reputation for going with more mainstream films, preferring "Ordinary People" to "Raging Bull," to use an often-cited example. But in the last few years, Acad members have embraced darker, arthouse-style films like "No Country for Old Men" and "There Will Be Blood." So it will be interesting to see how the majors' lineup meshes with this growing specialty sensibility among the voters.
Following are the month-by-month releases that sound like awards fodder. Of course there are always disappointments -- there's no point bringing up the many, many painful memories of films whose makers thought they had a shot -- and there are always surprises.
Last year, "Juno" wasn't on anyone's radar because it wasn't skedded for a 2007 release. And the Weinstein Co. has two that may be added to its 2008 slate: "Shanghai," directed by Mikael Hafstrom and starring John Cusack, and "The Reader," directed by Stephen Daldry, scripted by David Hare, produced by Rudin and starring Kate Winslet).
But here's a blueprint for the next six months.
July: It's an f/x extravaganza with New Line's "Journey to the Center of the Earth" (going out through WB); and Universal's "Hellboy II: The Golden Army."
August: DreamWorks' "Tropic Thunder"; U's "The Mummy: Tomb of the Dragon Emperor."
September: Disney's Spike Lee movie "Miracle at St. Anna"; Focus' "Burn After Reading," the follow-up film from this year's triple Oscar winners, Joel and Ethan Coen, that stars George Clooney and Tilda Swinton; Miramax's Fernando Meirelles pic "Blindness"; "The Appaloosa," directed by and starring Ed Harris (New Line, via WB); Paramount Vantage's "The Duchess," with Keira Knightley.
October: Lionsgate's Oliver Stone bio-politico-comedy-drama "W." starring Josh Brolin; WB's Ridley Scott film "Body of Lies," written by William Monahan ("The Departed") and starring Russell Crowe and Leonardo DiCaprio; Fox Searchlight's "The Secret Life of Bees" (Dakota Fanning, Queen Latifah); Universal-Spyglass' Greg Kinnear film "Flash of Genius," with Marc Abraham making his directing debut; and Sony Pictures Classics' "I've Loved You So Long," with Kristin Scott Thomas, and Jonathan Demme's "Rachel Getting Married," with Anne Hathaway.
November: Paramount-DreamWorks' "The Soloist" (Joe Wright directing Jamie Foxx and Robert Downey Jr.); Focus' "Milk" (Gus Van Sant, Sean Penn); Fox's "Australia," from Baz Luhrmann and starring Nicole Kidman and Hugh Jackman; MGM-Sony's "Quantum of Solace," with Daniel Craig returning as 007; WB's "Harry Potter and the Half-Blood Prince"; and the Weinstein Co./Dimension's "The Road," an adaptation of the book by Cormac McCarthy (who penned the novel "No Country") that's going out via MGM and stars Charlize Theron and Viggo Mortensen.
December: Miramax's "Doubt" (starring Meryl Streep and Philip Seymour Hoffman and produced by Rudin); Paramount's "The Curious Case of Benjamin Button," starring Brad Pitt and Cate Blanchett under helmer David Fincher (Warner Bros. has the pic overseas); Paramount Vantage-DreamWorks' "Revolutionary Road" (Sam Mendes, DiCaprio, Winslet and Rudin again); Par Vantage's "Defiance" (Ed Zwick, with Craig); Disney's Adam Shankman-helmed "Bedtime Stories" with Adam Sandler; Lionsgate's Frank Miller-directed "The Spirit"; Sony's "Seven Pounds," reuniting Will Smith with Gabriele Muccino (who directed "The Pursuit of Happyness"); Universal-Imagine-Working Title's Ron Howard-helmed "Frost/Nixon."
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
jack wrote:I think Julianne Moore has a better shot with Savage Grace for a Best Actress nomination. From the trailer alone I think she has a very good shot.
Poor Julianne. I have read several reviews of both Blindness and Savage Grace and while she has gotten good reviews for both films the films themselves have not fared so well with the critics. This is especially true for Savage Grace. I clicked on the external reviews link on imdb (it has apparently been playing outside the U.S. since the Fall of 2007) and all the ones I read were very negative.
Too bad. Blindness was a great novel and a great story. And the Baekeland family and Barbara's murder make for a fascinating true story that should make a compelling film. Based on the reviews, it seems the directors and writers of both films made unfortunate creative decisions that may hurt the box office on what I would think would be promising projects. And we all know how negative reviews and bad box office often hurt good performances during awards season.
Edited By kaytodd on 1211502418
The great thing in the world is not so much where we stand, as in what direction we are moving. It's faith in something and enthusiasm for something that makes a life worth living. Oliver Wendell Holmes
Angelina Jolie, Changeling
Julianne Moore, Blindness
Meryl Streep, Doubt
Hilary Swank, Amelia
Kate Winslet, Revolutionary Road or The Reader
My girlfriend and I came up with this shortlist on the Metro as we were on our way to the Nats game on Tuesday night. Doesn't this seem like a fairly reliable line-up for Best Actress 2009 at the moment? Jolie and Streep are presumably golden for spots at the moment. Does Winslet go support (if anywhere) for either Revolutionary Road or The Reader? Does the ill-reception of Blindness hamper Julianne's chances or could her performance as the Doctor's Wife be strong enough to overcome bad reviews? Does Amelia get released in time for awards consideration?
Edited By flipp525 on 1211483795
Julianne Moore, Blindness
Meryl Streep, Doubt
Hilary Swank, Amelia
Kate Winslet, Revolutionary Road or The Reader
My girlfriend and I came up with this shortlist on the Metro as we were on our way to the Nats game on Tuesday night. Doesn't this seem like a fairly reliable line-up for Best Actress 2009 at the moment? Jolie and Streep are presumably golden for spots at the moment. Does Winslet go support (if anywhere) for either Revolutionary Road or The Reader? Does the ill-reception of Blindness hamper Julianne's chances or could her performance as the Doctor's Wife be strong enough to overcome bad reviews? Does Amelia get released in time for awards consideration?
Edited By flipp525 on 1211483795
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
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Hollywood Z
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Did not know that about Star Trek. Guess take it off the list. As for the others, I was just throwing out what could be possibilities. Remember, we had the finalists of the finalists last year where there were 15 movies listed.OscarGuy wrote:Star Trek was pushed to May 2009.
You also have too many finalists listed. They usually only list 7 films.
"You are what you love, not what loves you." - Nicholas Cage; Adaptation
in Visual Effects I'm going with:
Iron Man
Speed Racer
Indiana Jones and the Kingdom of the Crystal Skull
I don't know if you can consider the technology used in The Curious Case of Benjamin Button to be in VE or Cinematography. If it is VE then I'll switch out Indy.
Iron Man
Speed Racer
Indiana Jones and the Kingdom of the Crystal Skull
I don't know if you can consider the technology used in The Curious Case of Benjamin Button to be in VE or Cinematography. If it is VE then I'll switch out Indy.
"It's the least most of us can do, but less of us will do more."
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At this point, all I can predict are the technical catagories, namely sound effects and visual effects. Sound effects I think is locked up with Wall-E for now, so come Oscar night, it will at least be a nominee. As for visual effects, as far as finalists are concerned, I think they'd look something like this:
10,000 BC
Iron Man
Speed Racer
Indiana Jones and the Kingdom of the Crystal Skull
The Chronicles of Narnia: Prince Caspian
The Incredible Hulk
Hancock
The Dark Knight
The X-Files: I Want to Believe
Quantum of Solace
Harry Potter and the Half Blood Prince
Star Trek
With the nominees being:
The Chronicles of Narnia: Prince Caspian
Iron Man
Star Trek
And Iron Man winning (seeing as how the effects team from Caspian already won last year for Golden Compass), but, it's still early in the year.
10,000 BC
Iron Man
Speed Racer
Indiana Jones and the Kingdom of the Crystal Skull
The Chronicles of Narnia: Prince Caspian
The Incredible Hulk
Hancock
The Dark Knight
The X-Files: I Want to Believe
Quantum of Solace
Harry Potter and the Half Blood Prince
Star Trek
With the nominees being:
The Chronicles of Narnia: Prince Caspian
Iron Man
Star Trek
And Iron Man winning (seeing as how the effects team from Caspian already won last year for Golden Compass), but, it's still early in the year.
"You are what you love, not what loves you." - Nicholas Cage; Adaptation
It s not yet decided about the composer. Iglesisas is not certain.. There are two more names.Sabin wrote:Ugh. Well, Stephen Daldry has a new one coming out. It's called 'The Reader' --
In postwar Germany, a young man’s decades-long obsession with an older woman runs headlong into a war crimes trial, where he learns an awful truth.
Starring Kate Winslet & Ralph Fiennes.
Produced by Anthony Minghella, Sydney Pollack, and Scott Rudin.
Executive Produced by The Weinsteins.
Adapted by David Hare.
Shot by Chris Menges.
Scored by Alberto Iglesias.
...so that's going to happen.
I am in the middle of Jose Saramago's novel Blindness which I understand is due on the big screen this fall. If the film is any good Julianne Moore has a good shot at finally winning her Oscar.
MINOR SPOILERS BELOW
Her husband is stricken blind during an epidemic that strikes a large city. She pretends to be blind herself so she can remain with and care for him when the government quarantines the victims in an abandoned mental hospital. I have a long way to go in the book but it seems that Julianne's character will be a leader in helping rescue a large number of victims from deplorable and dangerous situations in the mental hospital.
What a heroic and selfless character. Add to that the fact that her role is a twist on what Jane Wyman, Dustin Hoffman, Al Pacino, Arthur Kennedy, Daniel Day-Lewis, Marlee Matlin, etc. did when they won their Oscars. She has to play a person without a handicap pretending to have one and she has to be convincing or she will be taken from her husband.
Julianne certainly has the chops to pull it off. And Meirelles directed Rachel Weisz to an Oscar a few years ago filming an adaptation of an acclaimed novel. Unless the film sucks I think Julianne makes the top five this year.
MINOR SPOILERS BELOW
Her husband is stricken blind during an epidemic that strikes a large city. She pretends to be blind herself so she can remain with and care for him when the government quarantines the victims in an abandoned mental hospital. I have a long way to go in the book but it seems that Julianne's character will be a leader in helping rescue a large number of victims from deplorable and dangerous situations in the mental hospital.
What a heroic and selfless character. Add to that the fact that her role is a twist on what Jane Wyman, Dustin Hoffman, Al Pacino, Arthur Kennedy, Daniel Day-Lewis, Marlee Matlin, etc. did when they won their Oscars. She has to play a person without a handicap pretending to have one and she has to be convincing or she will be taken from her husband.
Julianne certainly has the chops to pull it off. And Meirelles directed Rachel Weisz to an Oscar a few years ago filming an adaptation of an acclaimed novel. Unless the film sucks I think Julianne makes the top five this year.
The great thing in the world is not so much where we stand, as in what direction we are moving. It's faith in something and enthusiasm for something that makes a life worth living. Oliver Wendell Holmes
Ugh. Well, Stephen Daldry has a new one coming out. It's called 'The Reader' --
In postwar Germany, a young man’s decades-long obsession with an older woman runs headlong into a war crimes trial, where he learns an awful truth.
Starring Kate Winslet & Ralph Fiennes.
Produced by Anthony Minghella, Sydney Pollack, and Scott Rudin.
Executive Produced by The Weinsteins.
Adapted by David Hare.
Shot by Chris Menges.
Scored by Alberto Iglesias.
...so that's going to happen.
In postwar Germany, a young man’s decades-long obsession with an older woman runs headlong into a war crimes trial, where he learns an awful truth.
Starring Kate Winslet & Ralph Fiennes.
Produced by Anthony Minghella, Sydney Pollack, and Scott Rudin.
Executive Produced by The Weinsteins.
Adapted by David Hare.
Shot by Chris Menges.
Scored by Alberto Iglesias.
...so that's going to happen.
"How's the despair?"