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Posts Tagged ‘127 Hours’

Thursday January 6th, 2011

YOUR DAILY FIX OF OSCAR: 1/6/11

  • Entertainment Weekly: Dave Karger speaks with Julia Roberts after a special screening of “Biutiful” at CAA that she hosted for industry insiders to help call attention to the performance of her “Eat Pray Love” co-star Javier Bardem. (Robert Forster, Kyle MacLachlan, and Bardem’s pregnant wife Penelope Cruz were among the attendees.) Roberts explains, “I think the movie hasn’t gotten the exposure. You don’t know where it is. It’s like this hidden little jewel… I just have a great appreciation for what he went through to show us all this.”
  • Deadline Hollywood: Mike Fleming interviews producer-extraordinaire Scott Rudin, who this week became the first producer to receive PGA Award nominations for two features in the same year (for “The Social Network” and “True Grit”), and who will also be receiving the David O. Selznick Achievement Award at the PGA Awards ceremony. Rudin credits his “great [producing] partners on both” and emphasizes that while “the Oscar stuff is fantastic, rewarding and in some ways exciting… it’s not why you do it. You do it because you want to hold your own work to a standard of excellence.” He also notes that while he was heavily involved with the pre-production of both films (he worked closely with the screenwriters, for instance, while they formulated their scripts), he stayed out of the way of the directors during the filmmaking process itself.
  • Awards Tracker: Tom O’Neil advises those who believe that “True Grit” is now the best picture favorite just because it has done well at the box-office ($91.5 million and counting) to “hold your horses.” He submits that “financial success isn’t as important as it used to be to Oscar victory,” citing the fact the best picture Oscar winner went to films that earned at least $100 million domestically 75% of the time between 1986 and 2005, but that 60% of those since have gone to films that did not, including “Crash” ($54 million), “No Country for Old Men” ($74 million), and “The Hurt Locker” ($14 million, or $746 million less than it’s fellow nominee “Avatar”).
  • Hollywood-Elsewhere: Jeff Wells passes along an andorsement of the work of the cinematographer Hoyt Van Hoytema on “The Fighter” from legendary cinematographer Michael Chapman, who lensed perhaps the greatest boxing movie of all-time, “Raging Bull” (1980), among other classics. Chapman writes, “The movie struck me as doing the basic thing that cinematography does when it’s done well, which is to present a three-dimensional stage in which the actors can move.”
  • The Carpetbagger: Larry Rother mourns the fact that the French film “Carlos,” one of the most critically-beloved movies of 2010, is ineligible for Oscar consideration in any category this year “because of a quirk in the rules set by the Academy of Motion Pictures Arts & Sciences.” The film “was initially broadcast on French television before it was packaged and sold abroad for distribution, in two different versions, one long and one short, as a feature film,” which constitutes a violation of an Academy rule that states, “Films that, in any version, receive their first public exhibition or distribution in any manner other than as a theatrical motion picture release will not be eligible for Academy Awards in any category.”
  • Vulture: Jordana Horn asks Quentin Tarantino why he omitted Sofia Coppola’s “Somewhere” — the film to which the Venice Film Festival jury, over which he presided, awarded the Golden Lion back in September — from his year-end top 20 film list. “I’m a little embarrassed by it, actually,” Tarantino says, explaining, “It was never meant to be a dig against ‘Somewhere,’ or Sofia. I simply didn’t consider any of the films I’d seen in Venice for the list.” I put them in a separate box — I was on official duty at that time, not seeing the films theatrically, independently… Now I wish I’d put it on there — I didn’t think anyone would pay attention.” He adds, “I’d have put it in my top 10.”

Photo: Javier Bardem and Julia Roberts. Credit: Entertainment Weekly.

Thursday December 30th, 2010

YOUR DAILY FIX OF OSCAR: 12/30/10

  • The Hot Blog: David Poland claims that “True Grit,” the Coen brothers Western, “has muscled its way into the frontrunner slot to win best picture” as a result of its solid box-office performance over the long Christmas weekend. (It generated $36.1 million, good enough for second place behind “Little Fockers,” which brought in only $9 million more.) Methinks Poland is too smart to actually believe that and is just hoping to generate some late phase one traffic to his site and/or be the one guy who made a crazy pick that somehow came true (as Tom O’Neil attempted last year with “Inglourious Basterds”). Jeff Wells (here) and Sasha Stone (here) seem to concur.
  • Entertainment Weekly: Dave Karger obtains a strange letter sent by “Buried” screenwriter Chris Sparling to members of the Academy’s writing branch urging them to honor his script with a best original screenplay nomination. Karger calls it “one of the more brazen Oscar campaign tactics I’ve ever seen,” and I would have to agree — in fact, the only precedent for it that I can think of is the newspaper ad that Chill Wills took out pleading for a best supporting actor Oscar for his performance in “The Alamo” (1960).
  • The Odds: Steve Pond learns that several of “the most acclaimed film scripts of the year” — including “Another Year,” “Blue Valentine,” “The King’s Speech,” “Toy Story 3,” “Winter’s Bone” — have been left off the Writers Guild of America’s list of films eligible for WGA Awards “because of guild rules that restrict nominations to films that are written for productions that are signatories to the guild’s Minimum Basic Agreement, or the agreements of several affiliated international guilds.” He adds, “In other words, the Writers Guild Awards are not set up to indiscriminately honor the best films of the year — their purpose is to honor the best films produced by WGA members, or under WGA guidelines.”
  • Deadline Hollywood: Pete Hammond breaks down Newmarket’s unconventional awards strategy for “The Way Back,” which is “aiming not to be first, but dead last” — not when it comes to voting, of course, but in terms of when its screeners land in the mailboxes of voters. Hammond, based on his conversations with publicists working on the film, writes, “The thinking was that, rather than getting lost in the pile of hopeful discs, it would be fresh in mind just as members start thinking seriously about filling out their ballot.” He also notes that “Oscar voters who would prefer to see the film in a commercial theatre this week… will have to trek to Covina, on the outskirts of L.A. County, for the one-week Academy qualifying run… the distrib didn’t want to blow its marketing wad on a December 29th qualifying release date but to save its money for the true rollout scheduled for January 21st when [the film] will open on several hundred screens, including those probably a bit closer for Acad members… The thinking is also that Academy voters are realistically more likely to watch the film on DVD than in a theatre.”
  • Gold Derby: Tom O’Neil passes along Tuesday’s announcement from the United States Postal Service that it will be unveiling, on August 19, 2011, a series of stamps featuring the Pixar characters Remy the rat and Linguini from “Ratatouille” (2007); the robot WALL-E from “WALL-E” (2008); Carl Fredricksen and Dug from “Up” (2009); Lightning McQueen and Mater from “Cars” (2006); and Buzz Lightyear and two of the green, three-eyed aliens from “Toy Story” (1995), “Toy Story 2” (1999), and “Toy Story 3” (2010).
  • HitFix: Greg Ellwood recalls that “there used to be a time when getting your Academy Award contending star or film on the cover of Entertainment Weekly‘s annual first ‘Oscar issue’ was a big deal,” but notes that today “you hardly hear anyone talking about who made the front page of [the] New York Times.” Still, there’s no denying that it’s a big deal that Fox Searchlight managed to land not one but both of its top acting contenders — best actor hopeful James Franco (“127 Hours”) and best actress hopeful Natalie Portman (“Black Swan”) — on the cover(s) of this year’s edition(s).
  • Los Angeles Times: Amy Kaufman reports that the 23-year-old actor Miles Teller, who portrays a teenager who accidentally kills a boy with his car in “Rabbit Hole,” was himself almost killed in a car accident a few years ago. Kaufman writes, “After spending a few days at a Connecticut music festival, he and two buddies were road tripping home to Florida. Cruising down the highway at 75 mph, Teller’s friend tried to switch lanes and nearly hit another vehicle. He jerked the steering wheel back but lost control of the car, which went across three lanes of traffic, into a grass median, and flipped seven times.”
  • Vulture: Kyle Buchanan teases New York Press critic Armond White, a notorious contrarian, by sharing excerpts of his reviews of several of the year’s most widely admired films, noting that “sure enough, White is a hard man to please.” Among his targets: “The Social Network” (“simply Hollywood’s way, post-Obama, of sanctioning Harvard’s ‘masters of the universe’ mystique”); “The King’s Speech” (“so poorly staged that its ineptitude sometimes borders on the avant-garde”); “The Kids Are All Right” (“a sitcom primed to flatter mainstream sensibility”); and “Toy Story 3” (“essentially a bored game that only the brainwashed will buy into… ‘Transformers 2’ already explored the same plot to greater thrill and opulence”).
  • The Playlist: Chris Bell, Kevin Jagernauth, Oliver Lyttleton, Drew Taylor, and Gabe Toro compile a list of what they regard as “27 of the most underrated and underappreciated films of 2010.” Among their selections: “The American” (see: George Clooney’s “startlingly rich internal performance”), “Please Give” (see: “Nicole Holofcener’s whipsmart screenplay”), “Ondine” (see: “Christopher Doyle’s gorgeous cinematography and Sigur Ros members’ elegiac score”), and “Stone” (see: “Milla Jovovich, who turns in a performance as sexy as it is powerful”).
  • BoxOffice.com: Phil Contrino conducts the debut BoxOffice.com podcast with guests Jeff Wells and yours truly. Over the course of about 30 minutes, we discuss “Biutiful” and “Blue Valentine,” which both opened in limited release yesterday; the astonishing performance of “True Grit” at the box-office over the long Christmas weekend; and the historic relevance — or lack thereof — of commercial performance when it comes to the Academy’s selection of the best documentary (feature) nominees, in connection with the performance of some of this year’s short-listed contenders (“Waiting for ‘Superman’,” “Inside Job,” and “Exit Through the Gift Shop” have done quite well, whereas “Waste Land” is struggling).

Photo: Jeff Bridges and Hailee Steinfeld in “True Grit.” Credit: Paramount.

Monday December 27th, 2010

YOUR DAILY FIX OF OSCAR: 12/27/10

  • People: Julie Jordan exclusively reports that actress Natalie Portman has become engaged to and pregnant with the child of Benjamin Millepied, who served as her off-screen choreographer/on-screen dance partner during the making of “Black Swan.” Portman is the favorite to win the best actress Oscar for her performance in the film.
  • Hollywood-Elsewhere: Jeff Wells passes along a recently-posted YouTube video that is just about the last thing that the “Toy Story 3” awards campaign needs right now. Running for more than two minutes, it features longtime, low-level Disneyland employees claiming that Disney is reneging on a promise (or at least an understanding) to cover their health care costs (in exchange for lower wages), and closes with several of the employees — and their young children — urging, “Academy members, vote your conscience… don’t reward Disney for being hypocritical… don’t vote for ‘Toy Story 3′ for best picture.”
  • Gold Derby: Chris Beachum argues that “Inception” — which most people expect to be a best picture also-ran to “The Social Network,” “The King’s Speech,” or “The Fighter” — could still win the top Oscar. His reasoning? It “may well be the most nominated film which is often a telling sign towards the big winner… will receive major guild support, including the DGA, WGA and PGA… and [is boosted by its] staggering box office success ($292 million in the U.S.).” All true… but if the Academy didn’t like the even more critically-acclaimed, commercially-success, and easy-to-follow “The Dark Knight” (2008) enough to even nominate it, is it really that realistic to think that “Inception” can win?
  • Funny or Die: Actor James Franco and his grandma take a break from their holiday festivities to tape a hilarious short video about people who are too scared to see “127 Hours,” the film for which he is a best actor contender. Not to be missed.
  • The Odds: Steve Pond, a former music critic, listens to all 41 of the songs that have been short-listed for the best original song Oscar and concludes that it has been “a bad year for film songs — a year full of competent but hardly distinctive pop songs, with nothing having anywhere near the emotional impact of 2007′s ‘Falling Slowly’ from ‘Once’ or last year’s ‘The Weary Kind’ from ‘Crazy Heart,’ to name two recent winners.” He calls them “a pallid bunch, reeking of professionalism but showing little beyond that.” His personal favorites are A.R. Rahman and Dido’s “If I Rise” from “127 Hours” (an “atmospheric reverie” with “a ghostly resonance”) and Randy Newman’s “We Belong Together” from “Toy Story 3” (“a Pixar-perfect melody” and “an exemplary toe-tapper”).
  • The Guardian: Philip French screens “The King’s Speech” and reflects on his own lifelong battle with a stammer. French writes, “I can recall no social experience prior to the king at Christmas 1937 and thus I can’t remember a time when I too didn’t stammer… [The film] brought back memories of a lifetime, some amusing, some excruciating, some instructive, all contributing to the warp and weft of my character.”
  • 24 Frames: Steven Zeitchik shares a list of much-hyped 2010 movies that he and/or his colleagues found to be overrated, including “Black Swan” (“As subtle as a pit bull, it’s camp disguised as art.”), “The Town” (“We’ve seen the working-class Boston setting before. The chase scenes are tired. And accents and outfits can’t substitute for character depth.”), “Winter’s Bone” (“Slow pacing, a contrived world and unearned bleakness make this the emperor’s new clothes of the indie world.”).

Photo: Natalie Portman and Benjamin Millepied during the making of “Black Swan.” Credit: Niko Tavernise (New York Times).

Sunday December 26th, 2010

SCOTT FEINBERG’S TOP 10 FILMS OF ’10

PLEASE NOTE: The following rankings and remarks reflect my personal opinions and do/will not in any way impact my projections or analysis on this site, wherein I strive above all else to correctly forecast what will happen, not what I believe should happen. My demonstrated ability to do that over the years is what has led most of you to my site, and any failure to do that will undoubtedly lead you away from it, so you can rest assured that I mean it when I say that one has/will have no bearing on the other.

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Thursday December 16th, 2010

YOUR DAILY FIX OF OSCAR: 12/16/10

  • Sports Illustrated: The most popular sports publication in America has released the cover of its 2010 “Year in Sports Media” edition, and the stars of the boxing drama “The Fighter” — best actor hopeful Mark Wahlberg and best supporting actor hopeful Christian Bale — grace the cover. Inside the magazine, coverage is also devoted to the horse-racing thriller “Secretariat,” the soccer doc “After the Cup,” and the mountain-climbing saga “127 Hours.”
  • Time: Lev Grossman reports that Facebook CEO Mark Zuckerberg, the 26-year-old billionaire who is portrayed in “The Social Network” by Jesse Eisenberg, has been named Time’s 2010 “Person of the Year.” This only reinforces the narrative that the film’s backers are trying to push for the film — namely, that it is “the movie of the moment,” a timely, relevant reflection of the current zeitgeist and world in which we live today, unlike, say, “The King’s Speech,” which has little connection to the present.
  • Awards Campaign: Greg Ellwood reports that Fox Searchlight — the same studio that famously hired a Volkswagen minibus to drive around Hollywood to promote “Little Miss Sunshine” (2006) and mailed hamburger phones to journalists to promote “Juno” (2007) — has come up with yet another crafty marketing tactic to promote its 2010 hopeful “127 Hours.” This week, industry insiders were sent a T-shirt reading, “I KEPT MY EYES OPEN FOR 127 HOURS” — the film’s subject Aron Ralston did that literally; the studio would be thrilled if you would do that figuratively.
  • Los Angeles Times: Betsy Sharkey questions the sanity of the Hollywood Foreign Press Association in light of the group’s many questionable selections for the upcoming Golden Globes. Among them: best actor and best actress nominations for Johnny Depp and Angelina Jolie, respectively, for laughable performances in “The Tourist,” but nary a mention in those same categories for Robert Duvall for “Get Low” or Tilda Swinton for “I Am Love.” As Sharkey puts it, in light of Depp’s second nomination for “Alice in Wonderland,” “If this is Wonderland, even Alice wouldn’t want to live here any more.”

Photo: Mark Wahlberg and Christian Bale, the stars of “The Fighter.” Credit: Sports Illustrated.

Monday December 13th, 2010

YOUR DAILY FIX OF OSCAR: 12/13/10

  • Wall Street Journal: Roger Ebert writes — less than a week after the MPAA overturned the NC-17 rating that it had initially bestowed upon “Blue Valentine” for a sex scene — that “The MPAA should have changed its standards long ago, taking into account the context and tone of a movie instead of holding fast to rigid checklists.” He notes, “In the 42 years since Jack Valenti proudly unveiled his new [MPAA] ratings system, our national standards of taste have changed. Some might say they’ve become more vulgar, others might say more relaxed, but grade school students now talk like truck drivers did in 1970… The rise of cable TV, home video and the Internet also means that many American children have pragmatic knowledge of what the human body looks like unclothed and what it can do while in that state. This may be unfortunate, but it is a fact.” He suggests, “Only three categories are needed: “G,” for young audiences, “T” for teenagers, and “A” for adults. These categories would be not be keyed to specific content but would reflect the board’s considered advice about a film’s gestalt and intended audience… It’s time to admit we’ve lost our innocence.”
  • Showbiz411: Roger Friedman reports that Sofia Coppola features seven members of the “notoriously unprofessional” Hollywood Foreign Press Assocation, the organization which determines the winners of the Golden Globe Awards, in her new film “Somewhere.” (They make cameos as journalists asking foolish questions of a movie star during a film press conference.) Friedman believes that this is an “unethical and laughable” conflict of interest, whether or not they were compensated, which remains unclear. The HFPA will announce this year’s Golden Globe nominations tomorrow morning.
  • New York Times Magazine: Frank Bruni explores the impressive resume of 12-year-old best supporting actress hopeful Elle Fanning (“Somewhere”), who already has “more than 15 movies behind her and a few prominent, career-accelerating roles straight ahead.” Elle, the younger sister of the 16-year-old actress Dakota Fanning, already has friends in high places: former child star Jodie Foster saw her in “Phoebe in Wonderland” (2008) and says, “I was blown away by that performance — blown away. She should have been nominated for an Oscar. I think Elle Fanning is just so amazing.”
  • New York Times: Carlo Rotella profiles Charles Portis, the author from Arkansas “who politely declines to promote himself or his work,” and whose 1968 work “True Grit” — which Rotella calls “the great comic Western novel” — inspired this year’s Ethan Coen and Joel Coen film of the same title. According to Rotella, “Portis’s characters have a self-conscious manner, a homespun formality of speech, that comes from the effort to inhabit grandiose roles: lone avenger on a quest; nefarious outlaw; besieged moral exemplar. If that sounds like a description of Cormac McCarthy’s characters, the great difference is that Portis finds comedy in the aspiration to heroism, and his characters are forever plagued by a suspicion of their own ridiculousness.”
  • National Public Radio: Bob Mondello analyzes “The Company Men,” a film which stars Ben Affleck, Chris Cooper, and Tommy Lee Jones as white-collar workers who lose their jobs as a result of the recent economic downturn. Mondello correctly notes that people usually try “to get away from real-world concerns” when they go to the movies, and that “Up in the Air” “plumbed this same well” last awards season, but he feels that this one is worth a look nonetheless. “Yes, the film’s a little didactic as it lays out the issues,” he writes, “But when it comes to the emotional state of those being laid off, of their families and even of those doing the laying off, it gets things right enough to make audiences squirm.”

Photo: Leonardo DiCaprio and Ellen Page in “Inception.” Credit: Warner Brothers.

Monday December 13th, 2010

“BLACK SWAN” EARNS RECORD NUMBER OF BFCA CRITICS’ CHOICE AWARD NODS

The Broadcast Film Critics Association, of which I am a voting member, released its 2010 nominations for its 16th annual Critics’ Choice Movie Awards this morning. “Black Swan” earned a record 12 nods (picture, director, actress, supporting actress, original screenplay, art direction, costume design, cinematography, editing, makeup, sound, and score), while 11 were bestowed upon “The King’s Speech” and “True Grit,” 10 upon “Inception,” and 9 upon “The Social Network.” Nicole Kidman, meanwhile, became the most nominated actor in the organization’s history when she received her seventh career nod (for best actress in “Rabbit Hole”).

Noteworthy inclusions: Noomi Rapace (“The Girl with the Dragon Tattoo”) for best actress; Jeremy Renner (“The Town”) for best supporting actor; Mila Kunis (“Black Swan”) for best supporting actress; “The Town” for best adapted screenplay; “The Fighter” for best ensemble; 13-year-old Chloe Moretz was nominated twice in the best young actor category (“Kick-Ass” and “Let Me In”); “I Love You Phillip Morris” for best comedy; “Joan Rivers: A Piece of Work” for best documentary; and “127 Hours” for best editing

Noteworthy snubs:Blue Valentine” and “The Kids Are All Right” for best picture; Alejandro Gonzalez Inarritu (“Biutiful”) for best director; Javier Bardem (“Biutiful”) and Mark Wahlberg (“The Fighter”) for best actor; Julianne Moore (“The Kids Are All Right”) and Tilda Swinton (“I Am Love”) for best actress; Justin Timberlake (“The Social Network”) for best supporting actor; “Black Swan” for best ensemble; “Hot Tub Time Machine” for best comedy; “Shutter Island” for best art direction; “The Social Network” for best cinematography; “Shutter Island” for best costume design; “The King’s Speech” for best editing; and “Iron Man 2” for best visual effects

The BFCA’s picks — which have correlated with the Academy’s picks as often as any awards group’s in recent years — will be announced at the Critics’ Choice Movie Awards ceremony at the Hollywood Palladium on Friday, January 14, 2011 at 9pm EST/PST. VH1 will broadcast the gala live around the world.

The full list of nominees follows…

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Monday December 6th, 2010

BOX OFFICE BREAKDOWN: “TANGLED” TOPS “POTTER” TO WIN SLOW WEEKEND

Brandon Gray of BoxOfficeMojo.com reports that “post-Thanksgiving doldrums were in full effect over the weekend,” as is always the case after a big holiday weekend — but this year’s was down 14 percent from last year’s. Last week’s #1 “Harry Potter and the Deathly Hallows: Part 1” and #2 “Tangled” swapped places, but receipts for both were off more than 50% from last weekend. “The Warrior’s Way” was the sole nationwide debut last weekend (“a weak one at that”), but “Black Swan” opened in limited release on just 18 screens and took in nearly $1.4 million (its $77,000 per screen average is the highest ever for a Fox Searchlight film and the second highest of 2010 after last weekend’s showing by “The King’s Speech”).

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Friday December 3rd, 2010

“DEEP VOTE” ON “127 HOURS,” “BIUTIFUL,” AND “SHUTTER ISLAND”

Deep Vote,” an Oscar winning screenwriter and a member of the Academy, will write this column — exclusively for ScottFeinberg.com — every week until the Academy Awards. He will help to peel back the curtain on the Oscar voting process by sharing his thoughts about the films he sees and, ultimately, his nomination and final ballots, as well. His identity must be protected in order to spare him from repercussions for disclosing the aforementioned information.

Thus far, he has shared his thoughts in column one about his general preferences; column two about Winter’s Bone” (Roadside Attractions, 6/11, R, trailer) and Solitary Man” (Anchor Bay Films, 5/21, R, trailer); column three about Alice in Wonderland” (Disney, 3/5, PG, trailer), “Toy Story 3” (Disney, 6/18, G, trailer), and “Mother and Child” (Sony Pictures Classics, 5/7, R, trailer); and column four about Get Low” (Sony Pictures Classics, 7/30, PG-13, trailer), “The Kids Are All Right” (Focus Features, 7/9, R, trailer), and “The Social Network” (Columbia, 10/1, PG-13, trailer).

This week, he assesses three more awards hopefuls: “127 Hours” (Fox Searchlight, 11/5, R, trailer), “Biutiful” (Roadside Attractions, 12/17, R, trailer), and “Shutter Island” (Paramount, 2/19, R, trailer)

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Wednesday December 1st, 2010

YOUR DAILY FIX OF OSCAR: 12/1/10

  • Los Angeles Times: An unattributed report filed late tonight states, “A man believed to be connected to the slaying of veteran Hollywood publicist Ronni Chasen fatally shot himself at a Hollywood hotel Wednesday evening as Beverly Hills police were serving a search warrant there.” It continues, “The name of the man was not released, and his exact connection to the Chasen murder case was not immediately known. The shooting occurred after 6 p.m., according to two law enforcement sources who spoke on the condition that they not be named.”
  • The Odds: Steve Pond reports that some people close to the Academy are concerned about the implications of the recently-announced decision that actors James Franco and Anne Hathaway will be hosting the 2011 Academy Awards. Both are Oscar contenders this year — Franco is “all-but-certain” to get a best actor nod for “127 Hours” and Hathaway is a “long-shot” possibility for a best actress nod for ““Love and Other Drugs” — and these people believe that the selection of them is akin to “giving the Academy’s seal of approval to those two performers, and by extension their performances.” Academy president Tom Sherak, though, pointed out that nominees have hosted seven times in the past, most recently in 1987, and insists “it makes no difference to us.” (Nevertheless, one consultant insisted, “I don’t work with Colin Firth [the best actor favorite for “The King's Speech”], but if I did, I would be worried that Franco is going to get a lot of goodwill out of this.”)
  • Screen Junkies: An unattributed interview with “The Fighter” director David O. Russell sheds light on some of the drama that unfolded during the making of the film courtesy of the colorful Wards/Eklunds of Lowell, Massachusetts, whose unusual family dynamics are largely its subject. “I thought they might be some very harsh people that I wouldn’t want to spend ten minutes with,” Russell confessed, but notes, “The fact is, the people are so unbelievably lovable. I still hang out with them.” (Still, Christian Bale, who plays Dickie Eklund in the film, notes, “There were a couple of times I had to physically restrain Dickie from going and landing one right on David… There were some script changes going on, and Dickie wasn’t initially totally understanding that sometimes in putting a whole life into two hours, a little bit of license has to be taken and mixing things up. He wanted everything initially to be absolutely how it was portrayed. And if it wasn’t, there was a couple of times he would say, ‘I’m gonna go and I’m gonna get him.’ So there’s a couple of times I’d be going, ‘No, no, no.’ Then we’d talk and David would talk with him.”)
    • Wax Word: Sharon Waxman reports that former United States Congressman Tom Davis (R-VA) is “the front-runner candidate” for the MPAA chairman position that was vacated in January by former Secretary of Agriculture Daniel Glickman. Davis, who is known for his expertise in the field of intellectual property, has reportedly “met most of the heads of the six major movie companies in the MPAA… [but] one individual knowledgable about the moguls’ views said that, ‘There are still question marks’ about Davis.”

    Photo: Ronni Chasen. Credit: Getty Images.