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Posts Tagged ‘David Fincher’

Friday September 25th, 2015

‘The Walk’ Hopes to Follow in Oscar Footsteps of Past NYFF Opening Night Films

By Patrick Shanley
Managing Editor

The 53rd New York Film Festival will begin this Saturday (postponed from today due to Pope Francis‘ visit) with Robert Zemeckis‘ high-wire biopic The Walk opening the event.

The Joseph Gordon-Levitt-starring picture, in which he plays French high-wire artist Philippe Petit, is Zemeckis’ first film since 2012’s Flight which earned two Oscar nominations, but none for Zemeckis himself.

Premiering on opening night in New York has led to Oscar success for films in past years, and with a season that has so far not seen a frontrunner, The Walk is hoping to capitalize.

Here’s a look at films that have premiered on New York Film Festival’s opening night and gone on to receive recognition from the Academy:

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Monday January 12th, 2015

Can Divisive Responses Lead Directors to Oscar Noms?

By Anjelica Oswald
Managing Editor 

With a number of critically and commercially successful films to their names, Christopher Nolan, David Fincher and Paul Thomas Anderson have their admirers, those who assume they could do no wrong. But there are those who are divided in their opinions. Nolan’s Interstellar and Fincher’s Gone Girl topped the domestic box office when they were released and currently hold the No. 15 and No. 17 spots, respectively, for the highest-grossing films in the domestic box office for 2014; however, the films received mixed reviews from Academy members and critics. Anderson’s Inherent Vice expanded nationwide Jan. 9, and while some loved the drug-fueled dark comedy, others were lost in the haze.

 The question surrounding these three directors is can these men land Oscar nominations Thursday despite the divisive response their films collected?

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Wednesday December 17th, 2014

Oscars: ‘Gone Girl’ Composer Trent Reznor Reveals How He Gets Into David Fincher’s Head

By Scott Feinberg
The Hollywood Reporter

A version of this story first appeared in the Jan. 9 issue of The Hollywood Reporter.

“Is it good? I’m not sure, but I know I worked my ass off,” Trent Reznor, the Nine Inch Nails frontman/Oscar-winning film composer told me of his latest score — the one that he and Atticus Ross put together for David Fincher’s smash-hit Gone Girl — when we sat down for an hour-long conversation a few weeks ago in Beverly Hills.

It took a while for me to accept that the person sitting across from me — a clean-cut, soft-spoken and polite family man just months shy of his 50th birthday — is the same one behind NIN, the post-punk “industrial rock” band that he founded in 1988. Ever since, the band has churned out a constant flow of hit songs like “Closer” and “Something I Can Never Have” — the sort of music that my generation grew up listening to when we were brooding or wanted to piss off our parents — en route to more than 20 million album sales worldwide, two Grammys and coming very close, this year, to earning an induction into the Rock & Roll Hall of Fame.

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Friday September 20th, 2013

The Great Migration of Movie Stars… to Television?!

By Doreen Alexander Child

* * *

Just a generation ago it would have been unimaginable, but the fact of the matter is this: since the arrival of premium cable and the rise of HBO about 30 years ago, television has provided quality entertainment on a more consistent basis than movies. This has never been more true than it is today, with the movies dominated by mindless remakes, sequels and adaptations, while TV offers the likes of not only HBO but also AMC, Showtime and now even streaming alternatives like Netflix, all of which proudly air original and edgy content of the sort that one used to find at the cineplex before the studios were swallowed by profit-obsessed conglomerates. Now, not only viewers look at TV differently — but so, too, do talent.

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Thursday February 7th, 2013

‘House of Cards’ Merciless In Development And Bold In Delivery (Review)

By Rachel Bennett
Television Editor & Columnist


Promises, promises, promises.

Throughout the first season of Netflix’s political drama House of Cards, characters make promises without hesitation, from offering jobs to declaring sobriety to staying faithful. You’d think these people were the nicest to grace TV, but House of Cards isn’t about making promises — it’s about breaking them.

This is Washington D.C., after all, and no one gets ahead by playing nice.

Much like its characters, House of Cards came filled with promises, including that it would be a great series, establish Netflix as a major network and change how we watch TV.

However, unlike its players, House of Cards fulfilled expectations and could join the ranks of AMC’s Mad Men, AMC’s Breaking Bad and HBO’s The Sopranos as one of the best dramas in this golden age of television.

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Thursday January 3rd, 2013

The Top 13 Most Anticipated TV Series of 2013

By Rachel Bennett
Television Editor & Columnist


Now that 2012 is behind us, it’s time to look forward to what 2013 has to offer.

Specifically, what TV should we check out this year? When taking into account new and returning shows, there’s a lot to choose from — and it’s a little overwhelming.

After careful consideration, I’ve chosen 13 series, new and old, that I can’t wait to check out. Take a look below that the top 13 most anticipated TV series of 2013, and let me know what you think!

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Monday October 1st, 2012

Are TV’s American Remakes Of Foreign Series Getting Excessive?

By Rachel Bennett
Television Editor & Columnist


Sunday night was the season two premiere of Showtime’s Homeland, and among my 12 reasons why you should tune in to the political drama, one is because it’s a foreign remake that works.

In case you missed it, Homeland is an American adaptation of the 2010 Israeli series Hatufim (Prisoners of War). “Both shows are very similar in the fact that they raise very relevant and timely questions in their societies,” says Homeland executive producer Gideon Raff, who also created Prisoners of WarPrisoners of War is a drama that follows soldiers as they readjust to their society in addition to the people who question the truth of their service.

However, Homeland is not an exact copy of Prisoners of War. The Showtime series features the overhanging threat of terrorism after 9/11, personified in character Sgt. Nicholas Brody (Damian Lewis). This change in crafting Homeland has made the drama relevant to the American audience, making for a better and more significant series.

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Monday August 13th, 2012

SVOD Networks Netflix, Hulu, and Amazon Dive Into Original Programming, Threaten Networks

By Rachel Bennett
Television Editor & Columnist

I’ve watched a lot of television shows this summer: The Vampire Diaries, How I Met Your Mother, and The Wonder Years, to name just a few.

What’s more, I didn’t even have access to a TV.

Netflix, Amazon, Hulu, and other online streaming outlets have changed the way we watch our favorite shows — and, now that they are diving into the world of original programming, are about to change it even more.

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Tuesday February 14th, 2012

Oscars: David Fincher’s “Dragon Tattoo” Reveals DVD Release Date

By Sean O’Connell

Details on the DVD release of David Fincher’s “The Girl With the Dragon Tattoo” are starting to emerge, just as Rooney Mara prepares to represent the dark thriller at the Academy Awards.

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Friday February 10th, 2012

‘The Artist’ Made Possible Through Emotional Bond Tracing Back to WWII

This week, the Simon Wiesenthal Center partnered with The Weinstein Company to host two screenings of The Artist at its Museum of Tolerance outposts in Los Angeles and New York. Both were to be followed by Q&As with the Oscar-nominated film’s producer, Thomas Langmann, who was ultimately unable to participate due to the death of a close family friend.

What does a movie about the movies have to do with Judaism, Nazi-hunting, or tolerance, you ask?

Nothing — at least directly. But, it turns out, Langmann and the film’s Oscar-nominated writer/director/editor Michel Hazanavicius are both children of Jewish parents who grew up in hiding during the Nazi occupation of France, which led them to share an “emotional connection,” Langmann has said. Their shared bond was instrumental in his decision to take a tremendous gamble by financing a black-and-white silent in the 21st century.

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