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Posts Tagged ‘Warren Beatty’

Monday February 27th, 2017

Oscars: A Closer Look at the Results That Were Overshadowed By the Chaos

By: Scott Feinberg
The Hollywood Reporter

It’s early Monday morning, and I’m finally back at my desk and starting to process what I witnessed only a few hours ago. One thing’s for sure: Bonnie and Clyde ended better for Warren Beatty and Faye Dunaway than the 89th Oscars did.

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Thursday February 16th, 2017

Oscars: Warren Beatty and Faye Dunaway Planning ‘Bonnie and Clyde’ Reunion (Exclusive)

Faye Dunaway and Warren Beatty in 'Bonnie and Clyde' (Courtesy: Photofest)

Faye Dunaway and Warren Beatty in ‘Bonnie and Clyde’ (Courtesy: Photofest)

By: Scott Feinberg
The Hollywood Reporter

Warren Beatty and Faye Dunaway, who co-starred in 1967’s classic Bonnie and Clyde, have agreed to mark the 50th anniversary of the film’s release by co-presenting the best picture Oscar at the 89th Academy Awards on Feb. 26, The Hollywood Reporter has learned.

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Friday November 11th, 2016

AFI Fest: Warren Beatty’s ‘Rules Don’t Apply’ Stakes Claim in Awards Race

(Courtesy: Francois Duhamel/Twentieth Century Fox)

(Courtesy: Francois Duhamel/Twentieth Century Fox)

By: Scott Feinberg
The Hollywood Reporter

Rules Don’t Apply, which opened the 30th AFI Fest tonight at the TCL Chinese Theatre and received voluminous applause, marks a major comeback for the legendary filmmaker Warren Beatty. No, not only as a writer/director/producer (his last such credits came 18 years ago on Bulworth), nor as an actor (his last on-screen work was in Town & Country 15 years ago), but as an Oscar force to be reckoned with.

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Thursday November 3rd, 2016

‘Awards Chatter’ Podcast’s 100th Episode Special — Warren Beatty (‘Rules Don’t Apply’)

Warren Beatty (Courtesy: Getty Images)

Warren Beatty (Courtesy: Getty Images)

By: Scott Feinberg
The Hollywood Reporter

“I felt, ‘Let’s do a movie about the little I know about Howard Hughes and see where it takes me, and also cover what it was like to come to Hollywood in 1958,” says the legendary producer, director, writer and actor Warren Beatty of Rules Don’t Apply as we sit down at his home in Beverly Hills to record the 100th episode of The Hollywood Reporter‘s “Awards Chatter” podcast. Rules is the first film in which Beatty’s acted in 15 years and the first he’s directed in 18 years, and it will open AFI Fest on Nov. 10 before hitting theaters on Nov. 23. “It’s very important to realize that this movie is not a biopic of Howard Hughes,” he emphasizes. “It’s a story more of two young people, very religious, who come to Hollywood in 1958, at the threshold of a revolution in feminism and sexual mores.” In those respects, if not all others, it’s also Beatty’s story.

(Click below to listen to this episode now or here to access all of our 90+ episodes via iTunes. Past guests include Steven Spielberg, Meryl Streep, Eddie Murphy, Lady Gaga, Will Smith, Jennifer Lopez, Louis C.K., Kristen Stewart, Harvey WeinsteinAmy Schumer, Jerry Seinfeld, Jane Fonda, J.J. AbramsKate Winslet and Michael Moore.)

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Thursday October 13th, 2016

Is Warren Beatty Still an Oscar Darling After All These Years?

Warren Beatty (Courtesy: Jeff Vespa/Getty Images for ELLE)

Warren Beatty (Courtesy: Jeff Vespa/Getty Images for ELLE)

By: Carson Blackwelder
Managing Editor

Oscar darlings are those who garner the attention of the Academy of Motion Picture Arts and Sciences many times throughout their career, making Warren Beatty a prime example. The multihyphenate has amassed their respect in many capacities — from acting, directing, writing, and producing — and he’s back this year with his latest work: Rules Don’t Apply, out Nov. 23.

With this film, in which the 79-year-old plays successful American entrepreneur Howard Hughes alongside the likes of young talent such as Lily Collins and Alden Ehrenreich, the Hollywood legend is poised to make a big return after 15 away from the silver screen. But will his good luck streak continue?

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Monday January 28th, 2013

With Affleck A New Example, How Does The Academy Treat Films Directed By Actors?

By Joey Magidson
Film Contributor

***

No matter how we talk about the Oscar race right now, the discussion is fed through the prism of both the Best Picture candidacy of Argo and the Best Director snub of Ben Affleck. Especially now that the Producers Guild crowned Argo with their top prize over the weekend and the Screen Actors Guild did the same just hours ago, all roads of discussion go through that flick and Affleck.

One angle that I haven’t really discussed much yet is the fact that Affleck is still primarily an actor transitioning to being a director as well. This is only his third film, and while he’s seen Oscar nominations for supporting roles in both of his films (Amy Ryan for Gone Baby Gone and Jeremy Renner for The Town), no wins have come for any of his directorial outings.

This time around, Argo was supposed to be the movie that got him over the hump. In one regard, it did, since the film is nominated for seven Academy Awards and is in serious contention to win at least three or four of them. Obviously, the one place it’s notoriously not competing in is the Best Director category. Affleck was looked at as perhaps the leader of the pack for much of the season, but he wound up out in the cold on nomination morning.

The snub begs the question of whether the Academy truly has the soft spot for films directed by actors that some presume exists. Did Argo get the love it did because of — or in spite of — the admiration voters had for Affleck’s efforts?

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Thursday January 5th, 2012

How Two Oscar Op-Eds Rocked the Academy Years Ago and Still Impact Campaigning Today (Analysis)

Nine awards seasons ago, two op-eds — both involving the Miramax film Gangs of New York (2002) — motivated the Academy to begin cracking down on “distasteful” Oscar campaigning, an effort that continues to this day.

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Monday October 25th, 2010

THE BENING-MOORE SAGA CONTINUES

Jeffrey Wells (of Hollywood-Elsewhere.com) and I have been trading passionate but respectful emails for quite a while about the possibility of both Annette Bening and Julianne Moore earning best actress nominations for “The Kids Are All Right” (Focus Features, 7/9, trailer), as opposed to just Bening. I’m a believer and Jeff’s not, but he was nice enough to solicit my latest thoughts on the matter for a post that he wrote last night. Here’s what I wrote him:

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Tuesday October 5th, 2010

ARE BENING *AND* MOORE ALL RIGHT?

Some people are adamant that Annette Bening and Julianne Moore, the co-leads of “The Kids Are All Right” (Focus Features, 7/9, trailer), cannot both be nominated for the best actress Oscar this year. That’s a bunch of malarkey. Not only can they, and not only should they, but — if Focus genuinely fights the good fight for both of them, as studio insiders emphatically insist to me that they will — they will be.

Those who say that it cannot happen point to the large number of quality contenders in the category this year and insist that there isn’t room for two people from the same film. I disagree. Bening and Moore are together in virtually every scene of the film (Moore actually has a few more scenes, alongside Mark Ruffalo). Both actresses have some terrific moments in the film (especially Bening’s return to the dinner table after discovering Moore was having an affair and Moore’s subsequent soliloquoy on the challenges of marriage). And both are highly-respected by their peers, who have never been shy about nominating them before (the Academy has recognized Bening with three nods and Moore with four, but neither has won yet). Some people are pushing the line that Bening has a leg up on Moore because she’s “Hollywood royalty” (as if people are going to vote for her because she married Warren Beatty) and because she’s made the right friends (she’s a longtime member of the Academy’s Board of Governors), but for all of the aforementioned reasons I simply cannot see a voter sitting down and voting to nominate one but not the other.

As I first wrote back on July 25, the Academy has nominated two best actress nominees from the same film in five of the 82 years (6% of the time) in which the category has existed:

  • Anne Baxter and Bette Davis for “All About Eve” (1950)
  • Katharine Hepburn and Elizabeth Taylor for “Suddenly, Last Summer” (1959)
  • Anne Bancroft and Shirley MacLaine for “The Turning Point” (1977)
  • Shirley MacLaine WON and Debra Winger for “Terms of Endearment” (1983)
  • Geena Davis and Susan Sarandon for “Thelma and Louise” (1991)

Some people have looked at that stat and said that it illustrates how rare it is for such a thing to occur. I beg to differ. How many quality movies, other than those listed above, have ever revolved around two women? Not many.* The problem is not the Academy failing to recognize co-leading ladies, but the fact that so few movies feature them. It seems to me that if ever a movie could produce two best actress nominees, “The Kids Are All Right” — the story of two women struggling through problems in their marriage — would be it.

Some people are privately suggesting that Focus intends to seriously push only push one of the two actresses (Bening) because having both of them nominated would probably result in neither of them winning (due to a splitting of the vote). I believe that this logic is preposterous — it’s far from a sure thing that Bening or Moore would win even if the other was not nominated — and Focus agrees. A studio insider told me, “Focus is supporting and pushing both actresses equally. Focus would love nothing more than if they both got nominated.

In the meantime, Bening, who has done virtually no press for “The Kids Are All Right” (or for Sony Pictures Classics’ “Mother and Child,” which is also pushing her for best actress) other than attending its Sundance premiere back in January, will be making her first public appearance of the awards season on October 25th at the Hollywood Film Festival’s awards gala, where she will be presented with the best actress award. Moore will be representing the film at its London Film Festival gala premiere that same night, and subsequently on the covers of November’s Allure and December’s Out.

*Arguments could be made for “A Place in the Sun” (1951, for which Shelley Winters was nominated but Elizabeth Taylor was snubbed), “What Ever Happened to Baby Jane?” (1962, for which Bette Davis was nominated but Joan Crawford was snubbed), “The Accused” (1988, for which Jodie Foster was nominated but Kelly McGillis was snubbed), “One True Thing” (1998, for which Meryl Streep was nominated but Renee Zellweger was not), “The Devil Wears Prada” (2006, for which Streep was nominated but Anne Hathaway was snubbed), and “Julie & Julia” (2009, for which Streep was nominated but Amy Adams was snubbed). Thanks to Melissa Silverstein for helping me to come up with this list.

Photo: Annette Bening and Julianne Moore in “The Kids Are All Right.” Credit: Focus Features.

Wednesday September 1st, 2010

THE FATE OF THE MULTI-HYPHENATE

Michael Cieply‘s profile of Ben Affleck in yesterday’s New York Times notes that an unusually high number of films directed by actors will be playing at next weeks’s Toronto International Film Festival:

  • Ben Affleck‘s “The Town” (Warner Brothers, 9/17, trailer)
  • Clint Eastwood‘s “Hereafter” (Warner Brothers, 10/22, no trailer yet)
  • Emilio Estevez‘s “The Way” (still seeking domestic distribution)
  • Tony Goldwyn‘s “Conviction” (Fox Searchlight, 10/15, trailer)
  • Philip Seymour Hoffman‘s “Jack Goes Boating” (Overture, 9/17, trailer)
  • Robert Redford‘s “The Conspirator” (still seeking domestic distribution)
  • David Schwimmer‘s “Trust” (still seeking domestic distribution)

This, naturally, got me thinking about the Oscar track record of films directed by actors in the best picture race and actors directing films in the best director race…

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