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Posts Tagged ‘Danny Boyle’

Thursday January 29th, 2015

Damien Chazelle or Paul Thomas Anderson Could Become Fifth Adapted Screenplay Winner to Also Direct the Film

By Anjelica Oswald
Managing Editor 

Adapted screenplay nominees Damien Chazelle and Paul Thomas Anderson have been nominated for films that they also directed.

Chazelle’s Whiplash, about an aspiring jazz drummer and his sadistic instructor, is his second feature film and is adapted from a short film of the same name that he also wrote and directed. The short won the jury award for short films at the 2013 Sundance Film Festival. Whiplash was nominated for four other awards, including best picture.

Anderson received his second adapted screenplay nomination for Inherent Vice, based on Thomas Pynchon’s novel of the same name. The film was also nominated for costume design. Anderson previously received an adapted screenplay nomination for 2007’s There Will Be Blood, which he also directed. He received a best director nomination, and the film was nominated for best picture.

If either wins, they will become the fifth adapted screenplay winner in the 21st century to also direct the film, joining Joel and Ethan CoenPeter Jackson and Alexander Payne, who won twice.

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Wednesday September 19th, 2012

Hollywood Film Awards to Honor Producers of ‘Les Miserables,’ ‘Anna Karenina’

By Scott Feinberg
The Hollywood Reporter


The Hollywood Reporter has learned that Tim Bevan and Eric Fellner, the Brits who co-run Working Title Films and are the producers of the upcoming awards contenders Anna Karenina and Les Miserables, will receive the Hollywood Producers Award at the 16th annual Hollywood Film Awards — the first awards show of the 2012 Oscar season — when its gala ceremony is held Oct. 22 at the Beverly Hilton.

The Hollywood Awards, which are determined by Hollywood Film Festival founder and executive director Carlos de Abreu and his advisory team, recognize individuals for both career achievement and work released within the calendar year. Previous recipients of the Hollywood Producers Award include Mel GibsonMike MedavoyRyan KavanaughChristian Colson and Danny Boyle, and, last year, Letty Aronson.

Of Bevan and Fellner, de Abreu tells THR, “It will be our great pleasure to recognize these two talented and prolific producers at this year’s event.”

Sunday September 9th, 2012

Summer Recap: From Olympics To ‘Newsroom,’ The Season’s Highs and Lows

By Rachel Bennett
Television Editor & Columnist


A week ago, Breaking Bad finished the first half of its fifth and final season. In other words, summer TV has ended.

Although some shows, such as FX’s Louie and AMC’s Hell on Wheels, still have more episodes to go before their seasons conclude, NBC will be unveiling some of its new fall series this week — and the other networks won’t be too far behind.

To be honest, summer TV isn’t my favorite. I use the season to catch up on TV I’ve missed more than I do to watch such new offerings as TBS’s Men at Work and E!’s Married to Jonas.

However, this doesn’t mean all of summer TV is a bust.

Here are the choices for the brightest and darkest spots of summer TV 2012:

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Wednesday October 5th, 2011

Hollywood Film Festival Announces Producer, Screenwriter, Breakthrough Director and Composer Honorees (Exclusive)

The 15th annual Hollywood Film Festival and Hollywood Film Awards, presented by Starz Entertainment, will honor Golden Globe winner Letty Aronson with its Hollywood Producer Award for Midnight in Paris, Michel Hazanavicius with its Hollywood Breakthrough Director Award for The Artist, Oscar winner Diablo Cody with its Hollywood Screenwriter Award for Young Adult and two-time Oscar nominee Alberto Iglesias with its Hollywood Film Composer Award for both Tinker Tailor Soldier Spy and The Skin I Live In. All four individuals will collect their statuettes at the Hollywood Awards Gala Ceremony, which will take place at the Beverly Hilton on Oct. 24.

Click to read more…

Monday January 10th, 2011


Tomorrow, the Directors Guild of America will announce its five nominees for the 2010 DGA Award for Outstanding Directorial Achievement in Feature Film. I believe that they will be (in alphabetical order)…

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Thursday January 6th, 2011


  • 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.

Sunday December 26th, 2010


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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Friday December 3rd, 2010


Deep Vote,” an Oscar winning screenwriter and a member of the Academy, will write this column — exclusively for — 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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Tuesday November 16th, 2010


  • Hollywood-Elsewhere and Awards Daily: Jeff Wells and Sasha Stone post the latest edition of their podcast “Oscar Poker,” and their guests this week are box office analyst Phil Contrino and our very own Scott Feinberg. The quartet discuss possibilities for the “tenth slot” in the best picture race; the tight race for best actress and the wide open race for best supporting actress; and the prospects for performances that have not been widely seen but have passionate supporters, like Tilda Swinton in “I Am Love,” who Sasha and Scott believe should be talking up her explicit sex scenes in the film in order to court attention (as has been done already by the folks behind “Blue Valentine”).
  • Deadline New York: Mike Fleming confirms reports that producer Scott Rudin — whose 2010 credits includes “The Social Network,” “True Grit,” and “The Way Back” — will receive the Producers Guild of America’s 2011 David O. Selznick Achievement Award, which seeks to recognize the producer for his “outstanding body of work in motion pictures,” which includes “The Firm” (1993), “Nobody’s Fool” (1994), “The Truman Show” (1998), “Wonder Boys” (2000), “The Royal Tenenbaums” (2001), “The Hours” (2002), “Closer” (2004), “Notes on a Scandal” (2006), “The Queen” (2006), “No Country for Old Men” (2007), “There Will Be Blood” (2007), “Doubt” (2008), and “Julie & Julia” (2009), among many others. The 22nd annual Producers Guild of America Awards will take place on January 22nd.
  • indieWIRE: Peter Knegt passes along the Independent Filmmaker Project’s announcement that actor Stanley Tucci (“Easy A”) and actress Patricia Clarkson (“Cairo Time”) will host the 20th anniversary Gotham Independent Film Awards on on November 29th. The two thespians, who worked together in Tucci’s directorial debut “Blind Date” (2007), said in a joint-statement, “We took the job with the understanding that every time either of us says the word ‘independent,’ everyone at home watching or attending the awards themselves must take a shot. Here’s to a fun evening for all.”
  • Awards Tracker: Nicole Sperling points out several parallels between Danny Boyle’s “127 Hours” and Julian Schnabel’s “The Diving Bell and the Butterfly” (2007), most notably that both recount the true life struggles of men after sudden tragedies forever change their lives. These types of struggles, she explains, often turn off moviegoers: “It’s just fascinating to watch these two incredibly visual directors tackle subject matter that most perceive as completely lacking in both color and life.” (One noteworthy difference between the two films: “Diving Bell” earned only $6 million domestically and $20 million worldwide, whereas Fox Searchlight expects “127 Hours” to generate much bigger numbers.)
  • The Guardian: Charlotte Higgins writes about Mary (best actress contender Lesley Manville), the central character in Mike Leigh’s “Another Year,” whom she describes as “a bogeywoman for middle-aged females.” She goes on to describe her as, “a spectre of wine-soaked, self-regarding, middle-aged femininity that is all the more horrendous for its recognisability,” asking, “Who among us hasn’t known a Mary weeping into the lees of her wine, bemoaning singledom/heartbreak/bad luck? Who among us hasn’t — at one point or another — been dangerously close to being Mary? My most fervent atheistic prayer on watching ‘Another Year’ was ‘Don’t let me ever, ever become like her (again).'”
  • Coming Soon: Ed Douglas offers his annual comprehensive preview of the Oscar race, noting that there are three films “that are pretty much on everyone’s top 10 list already and therefore fairly guaranteed to end up in the ten nominations for best picture,” while cautioning that there is still a “small list of movies that no one has seen yet” that could make a splash, namely “True Grit” and “How Do You Know.”
  • Movieline: Chris Rosen writes up another edition of Movieline’s “patented Screen Time Check,” this time tallying the screen time of the “veritable cavalcade of recognizable actresses” who can be seen opposite James Franco in “127 Hours” — if you’re careful not to blink too often. They include Kate Mara (12 minutes), Amber Tamblyn (11 minutes), Clemence Poesy (9 minutes), Kate Burton (5 minutes), Lizzy Caplan (30 seconds), and Jessica Ralston (12 seconds), the real-life wife of Aron Ralston, whose story inspired the film.
  • From the Front Row: Matthew Lucas reprints the Academy’s just-released list of the 15 films that will be eligible for this year’s best animated feature Oscar. As Matthew explains, “Since there are only 15 eligible films, only 3 can be nominated, lessening the chances of a ‘Secret of Kells’ type surprise nominee.” He expects the final three to be “How to Train Your Dragon,” “The Illusionist,” and “Toy Story 3.”

Photo: Tilda Swinton in “I Am Love.” Credit: Magnolia.

Monday November 8th, 2010


  • indieWIRE: Peter Knegt reports that Roman Polanski’s dramatic thriller “The Ghost Writer” garnered a field-leading seven nominations for the 2010 European Film Awards including one for best film. “The most notable aspect of the nominations,” he writes, “was the fairly remarkable batch of films absent from the awards’ top category,” including Mike Leigh’s “Another Year,” Luca Guadagnino’s “I Am Love,” Olivier Assayas’s “Carlos,” Abbas Kiarostami’s “Certified Copy,” and Sylvain Chomet’s “The Illusionist.” Knegt adds, though, that “some of those films picked up nominations in other categories.” Winners will be announced at a ceremony on December 4 in Tallinn, Estonia.
  • New York Times: A.O. Scott visits with his great uncle, the legendary character actor Eli Wallach, less than a week before the Academy presents the 94-year-old with an honorary Oscar at its second annual Governors Awards ceremony.
  • Virgin Media: An unattributed report features quotes from the actress Mila Kunis about her portrayal of Natalie Portman’s nemesis in the soon-to-be-released thriller “Black Swan.” Regarding her lesbian sex scene with Portman, Kunis acknowledged, “It is slightly uncomfortable to have to be intimate with a good friend. The scene’s important for the character, but we went in going, ‘This is going to be a little different,’ yeah.” Kunis added, “She’s the strangest character I’ve ever played.”
  • New York Times: Manohla Dargis dissects director Tyler Perry (“For Colored Girls”), a film industry phenomenon who “has been led out to critical slaughter so many times, it might seem a wonder that he continues to make movies,” but who has found “enormous commercial success with a mainly black audience.” As Dargis puts it, “Whether you like Mr. Perry’s work may depend on your color or sex or love of boiling melodrama, ribald comedy, abrupt tonal shifts, blunt social messages, unforced talk about God, and flourishes of camp, sometimes whipped together in one scene.”
  • indieWIRE: Peter Knegt breaks down the impressive box-office numbers generated this weekend by “127 Hours,” which played in just four theaters in New York and Los Angeles but raked in $265,925 revenue from — or, in other words, “a whopping $66,481 per-theater-average.” That number comes close to but does not surpass 2010’s record, which is held by “The Kids Are All Right,” which brought in $70,282-per-seven screens this past July, but it is “now the clear runner-up, beating out ‘The Ghost Writer‘ and ‘Cyrus,’ which each had debut averages around $45,000.”
  • The Observer: Sean O’Hagan chats about cinema’s “digital revolution” with Hussain Currimbhoy, curator of Britain’s Sheffield Doc/Fest. The duo specifically focus on the unprecedented access to “affordable high-end digital camera and laptop technology,” and Lucy Walker, the young director of two of this year’s top docs — “Countdown to Zero” and “Waste Land” — insists that this low-budget technologyis responsible for “a golden age of documentary filmmaking” that is now upon us.
  • 24 Frames: Amy Kaufman sits down with three of Hollywood’s hottest young stars — Jesse Eisenberg, 27, Andrew Garfield, 27, and Carey Mulligan, 25 — to discuss the ways in which they handle “the challenges of global stardom as twentysomethings,” as well the perks of the job (including private jets, which Eisenberg tells her he enjoys because they are bigger than his New York City apartment.) This year, Eisenberg and Garfield co-starred in “The Social Network” and Garfield and Mulligan co-starred in “Never Let Me Go.”
  • Vanity Fair: Kate Reardon profiles the up-and-coming French actress Clemence Poesy, who American audiences will soon come to know as the ex-girlfriend of Aron Ralston (James Franco) in Danny Boyle’s heart-pounding “127 Hours.” The 27-year-old, described as “polite, enthusiastic, and well educated,” will subsequently star in the title role of a new adaptation of the Joan of Arc story.
  • 24 Frames: Steven Zeitchik wonders what exactly propelled Bruce Beresford’s “Mao’s Last Dancer,” an Australian-produced film that “features no big-name stars, drew mediocre reviews, and traffics in the esoterica of Chinese ballet,” to become one of the most acclaimed art-house hits of the year. “Despite a tough climate for specialty films,” Zeitchik writes, “the largely English-language movie is nearing the $5 million mark in U.S. box office ($4.5 million coming into this weekend) — an impressive run that’s lasted nearly three months.”
  • New York Times: Margalit Fox mourns the passing of actress Jill Clayburgh, who died on Friday at the age of 66 following a 21-year battle with chronic leukemia. Clayburgh, who was best known for her strong feminist roles — especially those in “An Unmarried Woman” (1978) and “Starting Over” (1979), both of which brought her best actress Oscar nods — and whose final performance can be seen in the upcoming “Love and Other Drugs,” in which she portrays the mother of Jake Gyllenhaal’s character.
  • Movieline: Dixon Gaines reports that Oscar show producers Bruce Cohen and Don Mischer asked Hugh Jackman, who hosted the 81st Academy Awards in 2009, to host the 83rd Academy Awards on February 27, 2011, but were turned down by the actor. Gaines, therefore, offers a few “humble suggestions” for others to whom the producers could turn: among them, Neil Patrick Harris, Steve Martin, Ricky Gervais, Tina Fey, and Joan Rivers. (Other reports suggest that 88-year-old Betty White is being seriously considered for the job!)

Photo: Ewan McGregor in “The Ghost Writer.” Credit: Summit.