Backstage At The Oscars: Ben Affleck On ‘Argo’, Daniel Day-Lewis, Jennifer Lawrence, Anne Hathaway, Christoph Waltz, Quentin Tarantino & More

By THE DEADLINE TEAM | Sunday February 24, 2013 @ 5:30pm PST

Diane Haithman, Ray Richmond and Anthony D’Alessandro are contributing to Deadline’s Oscar coverage.

Related: Nikki Finke’s Oscar Live-Snark

Ben Affleck was asked at what point he realized that Argo was gaining enough momentum to win the Best Picture Oscar. “When they gave us the trophies, I was confident that we would win,” joked Affleck, flanked by producers George Clooney and Grant Heslov. He added that throughout awards season he has not been into “Oscarology” and trying to predict the future. Affleck also joked that now that Argo has won Best Picture, “no more humility.” He followed this, of course, with humility. He acknowledged disappointment when he was not nominated for Best Director but said he was honored to “sit on the bench” with the likes of Quentin Tarantino, Kathryn Bigelow and Paul Thomas Anderson. “You are not entitled to anything,” he said to applause. “I’m honored to be here, honored to be among these extraordinary movies and honored to have won an Academy Award.” Affleck added that he was “sort of hallucinating” already when the audience was surprised by Michelle Obama announcing the award, so he wouldn’t have been surprised by anything: “Oh look, a purple elephant!” But he added that, once he realized what was happening, it was “very cool.” “And I’m a big fan of the bangs,” Heslov joked. Affleck also responded to a question about recent criticism that elements of Argo diverge from reality. “You walk a fine line,” he said, in honoring the basic truth and trying also to honor the three-act structure of a feature film. He praised screenwriter Chris Terrio for achieving that balance.

Related: Oscars 2013 Winners List

As the first actor to win three Oscars in the lead actor category, Daniel Day-Lewis wasn’t nearly as deadpan and jokey backstage as he was onstage while receiving his honor for Lincoln. The biggest challenge in the role, he admitted, was the fear that if he screwed up playing an iconic American President he “might never be able to show my face in this country again…It certainly had a paralyzing quality.” One reporter wanted to know if it was annoying having to “wear that beard,” apparently unaware that the beard was Day-Lewis’ own and not a fake. “Do you wear your hair?” he asked. “It was a little bit scratchy now and then, but that was all.” He has no plans at present to play any other legendary historical figures, and in fact, he stressed that he was pretty exhausted after playing the role and enduring awards season. “I want to have a lie-down for a couple of years. It’s really hard to imagine doing anything after this.” Read More »

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OSCARS: This Year Has Much In Common With 1962 Race

By PETE HAMMOND | Saturday February 23, 2013 @ 8:00am PST
Pete Hammond

Many have said 2012 has been the most remarkable year for movies in the Oscar race in a very long time. The dense list of quality contenders makes for quite a race, and it’s somewhat reminiscent of another legendary year for cinema a half-century ago.

The year 1962 was an embarrassment of riches, and in many ways, just an embarrassment for the Academy. Yes, they did include the year’s two best films, To Kill A Mockingbird and (eventual winner) Lawrence of Arabia, in the best picture lineup and both have endured as certified classics. Both were worthy. But then the Academy padded out the remaining three spots with popular studio offerings like The Longest Day, The Music Man, and most egregiously, the bloated Marlon Brando remake of Mutiny On The Bounty. OK, these films might have been decent entertainment, but were they the best the Academy could do 50 years ago? Hardly.

Related: OSCARS: Hammond’s Final Down-To-The-Wire Predictions For 2013 Winners & Losers

Just consider the films that didn’t make the cut: Blake Edwards’ Days of Wine and Roses; John Frankenheimer’s The Manchurian Candidate, Birdman Of Alcatraz, And All Fall Down; Arthur Penn’s The Miracle Worker; Robert Aldrich’s What Ever Happened To Baby Jane?; Otto Preminger’s Advise & Consent; Stanley … Read More »

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OSCARS: Hammond’s Down-To-The-Wire Predictions For 2013 Winners & Losers

By PETE HAMMOND | Monday February 18, 2013 @ 7:45pm PST
Pete Hammond

Can’t we just end all this suspense about winners or losers and call it one massive tie this year? The 2012 crop of Oscar nominees, and films in general, is so impressively dense with quality it seems a shame the Academy has to pick just one winner in each category. But that’s the name of the game we play this time of year, and with ballots going out just as I had to turn this piece in, it is still a fluid situation as to just what the final results will be. With so many movies spread across many categories that are genuine contenders, a split vote resulting in some surprising twists and turns is possible, even though the various guild awards give strong clues about industry sentiment. If the past is any indication, I am aware some readers might take these predictions as gospel and bet the farm on it in their Oscar pools, so I offer a disclaimer before we begin. I am not responsible for any monetary loss you might incur, nor do I expect 10% of any winnings. I am just trying to read the winds of Oscar after several months of analyzing every tea leaf. Here is where I have a hunch it stands, but please note I have made a few tweaks since the original version of these predictions were published in last week’s print edition of AwardsLine (I switched in production design and makeup/hairstyling). Results at BAFTA, WGA, and several other guild award shows have now been taken into account since then, but it is all still a crap shoot in one of the craziest Oscar years in memory.

BEST PICTURE

All season long, this has been about as wide open a race, and as competitive a field of contenders, as we have seen in many years. With nine nominees, the same number as last year, it has taken a while to figure out a surefire winner. But with key awards from the PGA, DGA, WGA, BAFTA and SAG, in addition to best picture honors at the Golden Globes and Critics Choice Movie Awards, Argo has clearly emerged as the frontrunner, a remarkable turn of events considering its director, Ben Affleck, was snubbed by the Academy’s directing branch Jan. 10. Oh, what a difference a few weeks makes. The big question is, can the Warner Bros. juggernaut maintain momentum and win Oscar’s top prize, even without that directing nomination? If so, it would be only the second film to win without a directing nom, following Driving Miss Daisy’s feat at the 1990 ceremony. With the best picture category holding the strongest possibility for success among Argo’s seven nominations, could it actually win here and nowhere else? Not likely, but it’s possible, especially in a year in which I think the Academy will be spreading the wealth. Lincoln, with a leading 12 nominations (a good, if not always correct, indicator), Silver Linings Playbook, and Life of Pi are probably still in the mix here as well but…

The Winner: Argo

The Competition: Amour, Beasts of the Southern Wild, Django Unchained, Les Misérables, Life of Pi, Lincoln, Silver Linings Playbook, Zero Dark Thirty

RELATED: OSCARS: Best Picture Nominees Had Uphill Production Battles

BEST DIRECTOR

With the quirky director’s branch going out of their way to snub DGA nominees Kathryn Bigelow, Tom Hooper, and DGA winner Ben Affleck, we know for sure we can’t count on the usual spot-on correlation between the DGA winner and the eventual victor in this category. Affleck actually would have been my prediction to win here, but, alas, he’s not even nominated, which means voters might very well be splitting their vote for director and picture this year — certainly not unheard of in recent years but increasingly rare. As directors of the two films with the most nominations, Steven Spielberg for Lincoln and Ang Lee for Life of Pi, are the likely frontrunners, with Silver Linings Playbook’s David O. Russell coming up on the outside. If initial frontrunner Lincoln has been eclipsed in the Best Picture race, this is the place voters could come to kneel at the Spielberg-ian altar. Or not. Lee’s triumph in even managing to bring the “unfilmable” Pi to the screen just screams “directing”, and that could play very well here.

The Winner: Ang Lee, Life of Pi

The Competition: Michael Haneke, Amour; Benh Zeitlin, Beasts of the Southern Wild; Steven Spielberg, Lincoln; David O. Russell, Silver Linings Playbook

BEST ACTOR

This is Daniel Day-Lewis’ to lose at this point. Playing such a well-known biographical figure is, of course, a big plus. But Day-Lewis brought a lot to the table and remains the guy to beat in an impossibly fine field of contenders. Day-Lewis’ biggest drawback is that he has already won this prize twice, and a third would be unprecedented for lead actors in Oscar history. Also no actor has ever won an Oscar for playing a U.S. president, another potential first. The Academy might want to reward equally deserving newcomers to the category like Hugh Jackman or Bradley Cooper instead, but judging from the pile of precursor awards Day-Lewis has already won, it looks like you can bet a very large pile of $5 bills that he will make Oscar history with honest Abe.

The Winner: Daniel Day-Lewis, Lincoln

The Competition: Bradley Cooper, Silver Linings Playbook; Hugh Jackman, Les Misérables; Joaquin Phoenix, The Master; Denzel Washington, Flight

RELATED: OSCARS: Best Actor/Best Actress Race Handicap

BEST ACTRESS

I got this one wrong last year when Meryl Streep (The Iron Lady) beat Viola Davis (The Help), and this is another tough one. The race for lead actress is hotly competitive, with both Silver Linings Playbook’s Jennifer Lawrence and Zero Dark Thirty’s Jessica Chastain claiming other early awards and also impressing with strong performances (Naomi Watts is magnificent in The Impossible, but that film got no other nominations, putting it at a disadvantage here against four other actress nominees from Best Picture contenders). Plus, never underestimate the so-called “babe factor” (thanks to the Academy’s dominant male membership) that this category often, but not always, favors. A win here for either one could be a chance to give either of their movies an important award, while shutting them out elsewhere. The real wild card in this race is 85-year-old Emmanuelle Riva, whose performance in the foreign language film Amour has been widely praised and admired, particularly by her fellow actors, who comprise the Academy’s largest voting block. As the oldest Best Actress nominee ever (she actually turns 86 on Oscar Sunday), she could trigger a sentimental factor and a feeling that the others will have another shot someday. SAG champ Lawrence probably has the edge and is where the smart money’s going, but a split in this very fluid category could provide one of the evening’s most interesting stories. So going way out on a limb…

The Winner: Emmanuelle Riva, Amour

The Competition: Jessica Chastain, Zero Dark Thirty; Jennifer Lawrence, Silver Linings Playbook; Quvenzhané Wallis, Beasts of the Southern Wild; Naomi Watts, The Impossible
Read More »

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OSCARS: The Original Screenplay Nominees

By THE DEADLINE TEAM | Monday February 18, 2013 @ 6:31pm PST

Anthony D’Alessandro is Managing Editor of AwardsLine. Paul Brownfield and David Mermelstein are AwardsLine contributors.

Amour

Auteurs wouldn’t be auteurs if they weren’t enigmatic, especially when it comes to deconstructing details of their oeuvre. “Let the film speak for itself” is often the motto, and for Amour director and screenwriter Michael Haneke, that’s not too far from his own credo. However, he’s not completely inaccessible when responding to the audience’s fervor for his work.

“It’s very difficult for me to say, it was so long ago, I can’t remember”, Haneke told AwardsLine when asked if there were one particularly challenging scene to write for Amour. “Generally, when it comes to screenwriting, I can say that if it’s flowing, you enjoy it. If not, it’s far less pleasant. But there’s always ambivalence—the struggle to put something there on a blank page when there was nothing there before. If it’s successful, you’re happy; if not, you’re depressed”.

In writing the story of 80-year-old husband Georges who contends with his dying wife Anne’s debilitated state, Haneke was spurred by a beloved aunt’s long and painful battle with a degenerative condition. For the director, the story of the elderly couple’s struggle was a universal tragedy versus a tragic drama “about a 40-year-old couple who is coping with a child dying of cancer”.

In researching the script, Haneke met extensively with medical specialists who work with stroke victims. … Read More »

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OSCARS: Best Picture Nominees Had Uphill Production Battles

Pete Hammond

As the industry kicks into full awards mode, with one guild after another handing out trophies to whomever they consider the year’s best in any given field, it’s become increasingly clear this is a year like we have not seen in a while. Certainly every season we go through this ritual of watching the crème de la crème of the industry line up to get awards, but rarely have we seen as dense a field of top contenders, and especially deserving ones, as we have this year. The common denominator among most, if not all, of the contenders in Oscar’s 24 categories is how difficult it was in the first place to get any of these films made in a sequel-happy, franchise-loving, play-it-safe motion picture industry.

RELATED: OSCARS: Best Picture Contenders Part 1

For example, Steven Spielberg began talking about Lincoln with Doris Kearns Goodwin before she started writing the book and struggled for well over a decade to bring it to the screen, getting turned down by three studios in the process. And first-time feature filmmaker Benh Zeitlin went against all industry norms to make the unique and hard-to-define Beasts Of The Southern Wild come to life. But no matter who the filmmaker is, the most often-heard mantra is stick to your core beliefs and vision and somehow an Oscar-worthy film can be willed into being. Even James Bond ran into trouble when MGM went bankrupt and a normal 2½-year process turned into twice that for Skyfall, which went on to win five Oscar nominations. It also got recognition as one of the year’s best pictures from the Producers Guild, as well it should, considering what its veteran producers went through to just to make it. Read More »

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OSCARS: Moments In Oscar History, Part 2: Actors & Actresses

By THE DEADLINE TEAM | Wednesday February 13, 2013 @ 9:00pm PST

In honor of the 85th Academy Awards, AwardsLine is spotlighting memorable moments and winners from the last eight decades. Part 1 was The Producers. This is Part 2: Actors & Actresses. Part 3 will be The Directors.

Sidney Poitier, 1964: Academy Award winner Jack Lemmon hosted the 36th Academy Awards, which took place April 13, 1964, at the Santa Monica Civic Auditorium. Though the Academy still rarely awards comedies, best picture and director honors went to Tony Richardson’s Tom Jones. Hud claimed two of the acting trophies, for lead actress Patricia Neal and supporting actor Melvyn Douglas, while Sidney Poitier was best actor for Lilies of the Field and Margaret Rutherford was supporting actress for The V.I.P.s. Among the acting winners, only Poitier was on hand to accept his statuette at the ceremony.

“Because it is a long journey to this moment, I am naturally indebted to countless numbers of people, principally among whom are Ralph Nelson, James Poe, William Barrett, Martin Baum, and of course, the members of the Academy. For all of them, all I can say is a very special thank you.”—Sidney Poitier (pictured with Sidney Skolsky) accepting his first Oscar for Lilies of the Field. He won a second honorary Oscar in 2001.

Barbra Streisand, 1969: The 41st Academy Awards took place April 14, 1969, at the Dorothy Chandler Pavilion, with a group of 10 hosts that included Ingrid Bergman, Sidney Poitier, and Burt Lancaster. The best picture Oscar went to Oliver!, and its director Carol Reed also took home a statuette. Cliff Robertson won the lead actor trophy for Charly, but the actress category was a tie—the second in Oscar history—between Katharine Hepburn for Lion in Winter and Barbra Streisand for Funny Girl. It was the first Oscar for Streisand, and Hepburn’s third— director Anthony Harvey accepted for Hepburn, who was not in attendance.
Read More »

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OSCARS: The Supporting Actor/Actress Races

Pete Hammond

This season’s supporting actor and actress Oscar races can be summed up in one word: Winners! A remarkable seven of the 10 nominees actually already have at least one Oscar on their mantel, and all of them have been previously nominated. Unlike the marquee lead races, not a single newcomer has been invited to the supporting party. In fact, all five supporting actor nominees are past winners, a rare occurrence that proves Feb. 24 will indeed be veterans’ day at the Dolby Theater. And though there is a strong frontrunner emerging for the women, the male race is one of the most wide open in years, with no one taking the lead to date and the outcome a real question mark. So how did they all get here? Here’s the rundown.

SUPPORTING ACTOR

Alan Arkin | Argo

This veteran actor got his first lead actor Oscar nomination in 1966 for his film debut in The Russians Are Coming, The Russians Are Coming. And then a second just two years later for The Heart Is A Lonely Hunter. But it was a near-record 38 years before Arkin returned to Oscar’s inner circle, finally winning a supporting actor prize for Little Miss Sunshine. Now, six years later, he is back in contention as the Hollywood film producer in Argo, and the reason is simple: He not only gets the best lines, he’s playing … Read More »

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OSCARS Q&A: Michael Haneke

By THE DEADLINE TEAM | Saturday February 9, 2013 @ 8:00pm PST

David Mermelstein is an AwardsLine contributor

Though his films might lead you to believe otherwise, Michael Haneke is surprisingly good-humored in conversation. His latest film, Amour, is nominated for five Oscars: best picture, foreign-language film, director, original screenplay, and actress. It soberly and precisely charts the decline of an aged French couple, played to a fare-thee-well by Jean-Louis Trintignant and Emmanuelle Riva. The film might be the writer-director’s most personal to date, for though it retains the intense focus and absence of sentimentality present in his other work, its plainly expressed—and inevitably touching—humanity was inspired by a chapter from Haneke’s own life. Until Amour, Haneke was best known in America for the Oscar-nominated The White Ribbon (2009), which chillingly depicts village life in pre-World War I Germany and hints at the foundations of Nazism, and Cache (2005), which plumbs issues of memory, guilt, and identity. Speaking from Madrid, during rehearsals for a production of Mozart’s Cosi fan Tutte, the filmmaker discussed with AwardsLine various issues connected with his recent film work.

AwardsLine: What compelled you to make Amour?
Michael Haneke: Nothing forced me [to make the film], but what motivated me was a case in my family. I was forced to look on as someone very close to me suffered—but not specifically as depicted in the film—someone for whom I cared for very much. And that led me to make … Read More »

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OSCARS: Best Actor/Best Actress Race Handicap

Pete Hammond

In a race as tight as the one this year for Best Actress and particularly Best Actor, there were many deserving performances that might have made the cut in any other year but were overlooked because of intense competition. As far as lead acting categories go, this year is one of the most fiercely fought in recent Oscar history. So what was it about the 10 nominated performances in the top two acting categories that sealed the deal with Academy voters? Here’s a look at why they made it to the golden circle.

Best Actor

Bradley Cooper | Silver Linings Playbook

Coming into the project just shortly before production began, Cooper proves a shrewd choice to play Pat Jr., a volatile man just released from an institution, in denial about his dead marriage, and just trying to put his life back together. Mark Wahlberg was cast in the part originally, but after he dropped out, Cooper got the role and ran with it. It’s a delicate balance of comedy and drama that Cooper must navigate, and he creates a wholly original and likable character, a neat trick considering Pat Jr. isn’t always sympathetic. Coming off popcorn movies like The Hangover and The A Team, Cooper finally shows his true acting chops, and his scenes opposite Robert De Niro and Jennifer Lawrence prove he is a talent to be reckoned with. Watching … Read More »

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OSCARS: Best Picture Contenders Part 3

The last in a three-part series in which AwardsLine breaks down all nine of the best picture contenders.

Django Unchained

What the Academy says:  5 nominations (Picture: Stacey Sher, Reginald Hudlin, Pilar Savone; Supporting Actor: Christoph Waltz; Original Screenplay: Quentin Tarantino; Cinematography: Robert Richardson; Sound Editing: Wylie Stateman)

What the public says: $147.5M domestic boxoffice; $111.5M international (as of Feb. 1)

What Pete Hammond says: Quentin Tarantino’s spaghetti-western homage was a Christmas Day release and struggled just to meet its late-year release date. That means its five nominations including best picture are an impressive feat considering many members probably didn’t get a chance to see it because of the earlier voting schedule. It just shows the love for all things Tarantino, as this is the third film for which the director has seen a best picture nom. Although unlike Inglourious Basterds and Pulp Fiction, Tarantino didn’t earn a best director nomination this year. Read More »

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OSCARS: Best Picture Contenders Part 2

By THE DEADLINE TEAM | Saturday February 2, 2013 @ 2:00pm PST

The second in a three-part series in which AwardsLine breaks down all nine of the best picture contenders.

Silver Linings Playbook

What the Academy says:  8 nominations (Picture: Donna Gigliotti, Bruce Cohen, Jonathan Gordon; Directing: David O. Russell; Lead Actor: Bradley Cooper; Lead Actress: Jennifer Lawrence; Supporting Actor: Robert De Niro; Supporting Actress: Jacki Weaver; Film Editing: Jay Cassidy, Crispin Struthers; Adapted Screenplay: David O. Russell)

What the public says: $71.4M domestic boxoffice; $19.8M international (as of Feb. 1)

What Pete Hammond says: Because it is a comedy, albeit one laced with drama, Silver Linings Playbook is at a disadvantage right out of the starting gate because comedies don’t traditionally win best picture Oscars. But this critically acclaimed story about two broken people who are trying to get their lives back together benefits from a passionate base of admirers, and that’s key Read More »

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OSCARS: Best Picture Contenders Part 1

By THE DEADLINE TEAM | Friday February 1, 2013 @ 9:00pm PST

The first in a three-part series in which AwardsLine breaks down all nine of the best picture contenders.

Lincoln

What the Academy says: 12 nominations (Picture: Kathleen Kennedy, Steven Spielberg; Directing: Steven Spielberg; Lead Actor: Daniel LincolnDay-Lewis; Supporting Actor: Tommy Lee Jones; Supporting Actress: Sally Field; Adapted Screenplay: Tony Kushner; Cinematography: Janusz Kaminski; Original Score: John Williams; Film Editing: Michael Kahn; Production Design: Rick Carter, Jim Erickson; Costume Design: Joanna Johnston; Sound Mixing: Andy Nelson, Gary Rydstrom, Ronald Judkins)

What the public says: $168.0M domestic boxoffice; $14.5M international (as of Feb. 1)

What Pete Hammond says: From the announcement that Steven Spielberg was going to direct Lincoln, this one had the hallmarks of a film that defines what the Oscars are all about. The fact that it was not an easy road for the iconic director and his screenwriter, Tony Kushner, only adds to the gravitas of the whole project. And with Daniel Day-Lewis scooping up best actor awards left and right—plus a sterling cast of supporting players led by nominees Tommy Lee Jones and Sally Field—this one smells like a winner. With a leading Read More »

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OSCARS: Anything Goes In This Year’s Race

Pete Hammond

With less than a month to go, the stage is set for one of the strangest Oscar showdowns in memory. Certainly the season started with some clear favorites emerging, like Argo at Telluride, Silver Linings Playbook at Toronto, then Lincoln just after the election, followed by Life Of Pi. I thought Paramount’s Flight also might emerge as a major best picture contender around this time, but when critics awards and early nominations for Globes and CCMAs started coming in, it was clear this was mainly just a play for Denzel Washington and John Gatins’ original screenplay. At Christmas time, we got Zero Dark Thirty, Django Unchained, and the hotly anticipated Les Misérables to complete our seven-pack of best picture contenders. What many weren’t anticipating was that two small indie films that made a splash earlier in the year were also going to come in. Beasts Of The Southern Wild managed to hold on to all that momentum from its Sundance debut a year ago, and then Read More »

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OSCARS: Jennifer Lawrence And Jessica Chastain Stir Things Up In Tight Best Actress Race, But Does It Matter?

Pete Hammond

The tight Oscar race for Best Actress between the presumed co-frontrunners, Silver Linings Playbook’s Jennifer Lawrence and Zero Dark Thirty’s Jessica Chastain, took a few twists and turns this weekend. But will any of it affect the outcome one way or another? Momentum is a fickle thing — you can win it or lose it  in an instant.

Related: Jennifer Lawrence Monologue On ‘SNL’

Both young stars are coming off a stellar week where they won Golden Globe and Critics Choice Movie Awards for their performances. And now, just 2 1/2 weeks before Oscar voting begins and smack in the middle of SAG balloting, Chastain pulled off the neat trick of starring in the No. 1 and No. 2 films at the box office (#1 Mama and #2 Zero Dark Thirty). Before Mama opened, some pundits observed that starring in a standard horror film in the midst of Oscar crunch time could hurt Chastain the same way Norbit’s Oscar-time release was perceived to hurt Eddie Murphy when he lost for Dreamgirls. But in fact Mama received generally good reviews (62% fresh at Rotten Tomatoes) and way overperformed at the box office, helping to make the emerging Chastain an even bigger star. And the fact that she simultaneously continues in her Broadway run in The Heiress (a film based on the play won Olivia DeHavilland an Oscar) also helps as voters love actors who move between theatre and movies with ease.

Related: Golden Globes Movies: Does Winning Really Affect Oscar Chances? Read More »

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OSCARS: Reactions To Academy’s Nominations

By THE DEADLINE TEAM | Thursday January 10, 2013 @ 7:36am PST

Related:
OSCARS: 85th Academy Award Nominations
OSCARS: Nominations By Studio & Distributor
OSCARS: Nominations By Picture

Refresh for latest…

Picture
Argo
“We would like to thank the Academy for acknowledging Argo in this extraordinary way. This is a great tribute to everyone who worked on the film — from our incredible cast to our tremendous crew. We are honored to have made a film that tells the story of these unsung heroes and it’s so terrific that it’s getting this kind of recognition.”– producers Grant Heslov, Ben Affleck and George Clooney

Beasts Of The Southern Wild
“Never in a million years would I have imagined this! It was a long, long time ago that we began, and weren’t even thinking about stuff like this, not only to be nominated, but to have four nominations, we’re just freaking out over here. This film has been one moment of joy after another. We made this film so far outside of the normal system of making films, we weren’t backed by a major studio, but made it with Cinereach, a nonprofit that is changing the world with movies they’re putting out. We said, We want to make a movie with 6 year old who’s never acted before…that’s the miracle of the movie. We are also so proud that Quvenzhané Wallis is taking us into the history books [as the youngest nominee for Best Actress].” — producer Michael Gottwald

Django Unchained
“The controversy surrounding our film has created a dialogue about something that hasn’t been talked about in a long time. It’s an interesting dialogue and if you go online, you’ll read that one person loves Django Unchained and another one has a problem with it. Instead of everyone going out and getting grilled up and getting crazy, they’re talking about it. That’s what is most important…This was an incredibly challenging movie for everyone. We worked very hard shooting and editing to get it out for our release date and we’re happy that everybody was able to see the movie in time.” — producer Pilar Savone
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Django Unchained, Silver Linings Playbook
“I am blown away! I can’t say thank you enough to the Academy for their support of our films. We have a tremendous group of actors and filmmakers who we had the pleasure of working with this year and I am so happy that their achievements are being recognized.” — Harvey Weinstein

Les Miserables
“What a wonderful year for movies when nine films with this kind of diversity get acknowledged for the industry’s highest honor. I am so proud that Les Miserables joins them and that the Academy noted the magnificent work from Hugh, Annie, our legendary song writers and the superlative crafts experts whose work made our film what it was.” — director Tom Hooper
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“This was one of the hardest films we’ve done. It’s a genre that’s challenging by its very nature — people aren’t used to going to see a musical in a movie theater. Also, no one has ever done a live musical from beginning to end with no prerecorded music. We also had to make sure that in adapting Les Miserables, we didn’t alienate fans, and having the original team of Claude-Michel Schonberg, Herbie Kretzmer and Cameron Mackintosh, we were able to keep all the original DNA intact. Then, shooting a film with an appetite of 100 million for 60 million was an interesting challenge. I do feel sad for Ben Affleck, Kathryn Bigelow and Tom Hooper, they did a stunning job all three of them and it’s a shame they weren’t nominated. You have to respect the vote, but it is a shame.” — Working Title’s Eric Fellner
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“I am proud and thrilled to be nominated for Les Mis and grateful to the team of people who made this film possible who are amongst the most talented in the world. To get to work with visionary director, Tom Hooper, Working Title and the original team who created this beloved musical, has been an incredible honor. For it to be my first movie as producer in my own right, is the stuff of dreams. I am still pinching myself.” — producer Debra Hayward

Life Of Pi
“This has been a 10-year life-changing experience for me. Over 2600 crew members representing 23 different countries have contributed to the making of this movie. Hopefully these nominations help to honor all their very hard work. It truly takes a village. I am forever grateful.” — producer Gil Netter
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“I am honored to be included with Ang Lee and Gil Netter as this year’s nominee for Best Picture. Thank you to the Academy for recognizing all the talented people, in front and behind the camera, that contributed to Life Of Pi‘s multiple nominations. A special thank you to Tom Rothman and Elizabeth Gabler and everyone at Fox for having the incredible courage, vision and tenacity in making Ang Lee’s Life of Pi. It’s an exciting day… when the journey of faith of a small Indian boy lost at sea… is celebrated. Thank you Ang for making a film ‘we can all believe in.’ ” — producer David Womark
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“We couldn’t be more thrilled to have such a diverse range of films recognized by the Academy. And it’s been equally gratifying to see how audiences throughout the world have embraced these pictures. We congratulate all involved for their magnificent work and well-deserved accolades.” — 20th Century Fox Film president Jim Gianopulos, whose company also co-produced Lincoln

Tony KushnerLincoln
“This nomination is really special because I have been working with Steven Spielberg in excess of 30 years. Not only do I get to go through this experience with him, but every single person that’s been nominated for this film in each category are people I’ve worked with for years. For all of us to get recognized is really gratifying. What’s wonderful about Lincoln is that it’s a reflection of the political process and it’s not an attempt to show which political party is better, rather recognize the scene of the political process. Nowadays, ‘Politician’ has become a bad word, and politicians should be lauded because our political process works. You can see that the process is working. (In Lincoln) you recognize what the founding principles are behind this political process and how it defines us and how we get things done or shouldn’t get things done. That’s why politicians on either side, Democrats and Republicans, are going to see themselves in this — by talking to one another, stepping across the party lines and identifying what’s good for the country; that’s why they’re engaged in what this movie is about.” — producer Kathleen Kennedy

Silver Linings Playbook
“What’s special about this nomination is that it’s been (achieved) in a nail-biting year. It’s been an amazing year and that’s what makes this race more exciting. So many of the different guild votes go in one direction or the other. We believed with American Beauty and Milk we would get a number of nominations, but this year it was less clear. (In regards to losing the DGA nom), there are different voting constituencies. DGA is comprised of all these different members in jobs around the world, while the Academy is a much smaller voting group in the directors’ branch. They rarely match and we kept giving ourselves these statistics.” — producer Bruce Cohen

Zero Dark Thirty
“Thank you to the Academy for these incredible honors. And thank you to the writers who have honored me today with their generosity and to the Academy for the Best Picture nomination. None of us would be so honored today without the genius and remarkable talent of Kathryn Bigelow, and to her we are forever grateful.” — producer Mark Boal, also nominated for Original Screenplay

Lead Actor
Bradley Cooper, Silver Linings Playbook
“To be a part of this group of actors who have put forth incredible performances this year, and for the movie to be recognized by the Academy the way it has been this morning with nominations for Bob, Jen, Jacki and David O!!!. It’s a moment I’ll cherish and never forget.” — Cooper

Hugh Jackman, Les Miserables
“I hadn’t planned to listen live to the announcements, but when I got into the car this morning to go to work, the driver had the nominations streaming as they were being broadcast. To be honest, it’s very exciting but all a bit surreal, and it hasn’t fully sunk in yet. This is a brilliant awards year that has been defined by an eclectic list of stories that have been told by incredibly talented and courageous filmmakers, and it’s an honor to be mentioned in the same sentence as the other nominees in the Best Actor category. Having hosted the show, I have seen so many different sides of the Oscars, but to be an actual nominee is something I never would have dreamed possible.” — Jackman

Denzel Washington, Flight
Flight was one of the most challenging roles I’ve ever had in my career, and it was an honor to be directed by Robert Zemeckis. It’s always nice to be asked back to the show, and it will be fun to share the evening with our nominated screenwriter John Gatins.” — Washington

Lead Actress
Jessica Chastain, Zero Dark Thirty
“I’m on cloud nine. It’s incredible. I always wanted to be an actress since I was 7 and I didn’t go the fast route. I studied a lot in college, did a lot of TV guest spots and then finally got a  break in films. My films were delayed and not coming out. Now, I receive two Oscar nominations in a row and I can’t believe this is my life. I’m shocked I even get paid for it. (In regard to the controversy over Zero Dark Thirty), Kathryn Bigelow said something beautiful at the New York Critics that ‘Depiction doesn’t mean endorsement’…I found that really strong. When a filmmaker makes a film and doesn’t say if the outcome is right or wrong, they merely present what they discovered by looking at our history and saying, ‘This is where I’ve been,’ that for me is a brave filmmaker. I’ve now been recognized in two films that have been powerful for women and I’m like wow — that’s something to talk about.” — Chastain

Jennifer Lawrence, Silver Linings Playbook
“I’m so honored and grateful for this nomination and to be in the company of such talented actresses. Having the fortunate opportunity to work with David O. Russell was an extraordinary gift and I am so thrilled for my fellow cast members Bradley Cooper, Robert De Niro and Jacki Weaver who are all nothing short of amazing. This was a labor of love that we all poured our hearts into and could not be more thankful to The Weinstein Company and Harvey Weinstein for their unyielding support of the film.” — Jennifer Lawrence

Emmanuelle Riva, Amour
“I am truly happy, touched, and honored to receive, today in New York, a nomination for the role of Anne in Amour by Michael Haneke. For me, it is an immense gift, at this stage of my life, to be chosen by my sisters and brothers, for what I do as an actress. I never thought, while working throughout the years in Europe and France, that one day, I would cross the Atlantic Ocean, come to the United States, and be nominated. It is quite surreal for me. Shooting Amour with Michael Haneke was a complete joy for me, as I felt an absolute trust in him and we were in complete synch. Michael is the very music of his own film.” — Riva

Quvenzhané Wallis, Beasts Of The Southern Wild
“Everyone who made Beasts happen is so happy! Thank you to all you Oscar folks, from me, my mom and my dad. I am so happy for Benh and Lucy and the gang in Louisiana. Meeting all these great new people is one of the best parts for me. I want to thank my family, friends, fans and everyone so much. Beast it!” — Wallis

Director
Michael Haneke, Amour
“I am very happy and gratified by the Oscar nominations that Amour has received today, and that the voting members of the Academy have taken the film so strongly to their hearts. It is fulfilling to discover that a film has found the audience and critical acclaim that Amour has garnered. I have been very fortunate on both those fronts, but it is especially rewarding to discover that a film has found favor among one’s industry peers who know, in particular, the effort that goes into getting a film — any film –- made. I am also especially happy for all the people who made Amour with me. It is a joyous occasion for us all. Many thanks.” — Haneke

Benh Zeitlin, Beasts Of The Southern Wild
“This was my first feature film and the only way that we got this film made was to charge ahead and believe in destiny and believe that somehow things would all work out. We’ve never been the type of filmmakers who will wait around years for someone to come along and finance things. We just put everything we had into it and moved forward. I’m feeling unbelievably grateful to all the people who’ve championed this film and took the time to look at movie with no stars and barely a budget, and somehow I’m now on the same stage with some of the greatest filmmakers of all time.” — Zeitlin, also nominated for co-writing the adapted screenplay

Ang Lee, Life Of Pi
“I am deeply honored and frankly a little overwhelmed by all of the nominations that Life Of Pi has received this morning. So many talented people gave everything they had to this film, both in front of and behind the camera, and to see all of them receive this kind of recognition is something I am incredibly grateful for.” — Lee

Steven Spielberg, Lincoln
“Every time a nomination like this happens, it’s like starting over again. I have no perspective of what has happened before (in my career Oscar-wise). I feel grateful, the fact that Lincoln was nominated 12 times. There are so many great films this year that have been critically acclaimed and audiences have put their stamp of approval on, they’re so different from one to the next and it shows an incredible amount of bravery that indie and movie studios are letting filmmakers be unique in the ways that they tell stories.…The founding fathers wrote the principles that our film argues; principles which the Civil War put in grave jeopardy. Breaking the idea of the democratic union; the crisis of the country being split in half and a single individual taking the counsel of his cabinet and his family, and people like Frederick Douglass finally coming down on the side of justice — this was a a great story. And the man behind the story is the most fascinating figure on the political landscape and has been a historical figure I’ve been fascinated with since childhood.” — Spielberg

David O. Russell, Silver Linings Playbook
“There are many ways to answer (why this nomination) is so special to me. This is a film I’ve been trying to make for five years and it’s very personal to me and my family. And for (Silver Linings Playbook) to find audiences, this will help it. Oscars make cinema live with bigger audiences, that’s why it matters. The heart and the emotion of this film will reach people and that’s the biggest reason. The Fighter inspired me to do better work. All four of my actors got nominated this time around, which is what I wanted last time. I always want my actors to get what they deserve. Life sometimes isn’t fair and I’m very grateful that my four actors are getting recognized….There are a lot of different films this year and I’m very respectful of the other films. Every organization is different; BAFTA is different, there are many things that are different. I didn’t give up believing in this film even after the DGA nominations. I believe in our film’s emotional life.” — Russell, also nominated for Adapted Screenplay Read More »

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OSCARS: How Reliable Are Precursor Awards In Predicting Oscar Noms?

By PETE HAMMOND | Wednesday January 9, 2013 @ 9:00pm PST
Pete Hammond

When Oscar voting came to a close Jan. 4 , 9 days earlier than last year, the dynamic of phase one of the awards race was thrown into uncharted territory. Because of the new timing crunch, previous harbingers of Oscar gold like the Hollywood Foreign Press Association’s Golden Globe Awards, the Broadcast Critics Association’s Critics Choice Movie Awards, the American Film Institute’s annual list of 10 Movies of the Year, and the Screen Actors Guild’s Awards could have more influence than ever—or perhaps less, depending how you look at it.

Related: Nominations Voting Ends Even As Online Ballot Confusion Persists Among Some Academy Members

In conversations with many potential Academy voters, one thing is clear: The late-breaking contenders of November and December turn out to be the most likely recipients of Oscar attention and therefore the “must sees” for any serious member that planned to cast their ballot over the already über-busy holiday period. November’s Flight, Lincoln, Life Of Pi, Hitchcock, Silver Linings Playbook, and Skyfall together with December’s late-breaking Zero Dark Thirty, Les Misérables, Django Unchained, The Impossible, The Hobbit, and Amour all struggled to get Academy eyeballs before the nomination deadline. With so many year-enders, it positively makes an October contender like Warner Bros.’ Argo seem like a film for which voters will need a long memory. Nearly everything that is being talked about or anticipated is being packed into a two-month corridor. And it doesn’t help matters that many of those titles have running times well over two and a half hours. Read More »

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OSCARS Q&A: Ann Dowd

By THE DEADLINE TEAM | Friday December 28, 2012 @ 9:38am PST

Christy Grosz is Editor of AwardsLine.

Although Ann Dowd has been working regularly in theater, film, and TV for more than two decades, this year marks a decided breakthrough for the actress. Her role in Magnolia Pictures’ Sundance pickup Compliance as Sandra, a malleable fast-food restaurant manager who falls victim to a prank phone call, has earned her a National Board of Review award, as well as supporting actress nominations from the Independent Spirit Awards and the Critics Choice Movie Awards—despite the fact that the film earned just $319,285 in its domestic theatrical run. She also earned the somewhat illustrious distinction of organizing her own informal grassroots Oscar campaign. Nevertheless, Dowd says making the decision was relatively easy, albeit expensive for a working-class actor. “I don’t think I don’t even needed anyone to tell me,” says Dowd, who has appeared in The Informant!, Marley and Me, and ABC’s Pan Am. “When I saw the phrase ‘Oscar-worthy performance,’ I almost fell down. Then I thought, ‘What am I waiting for?’ ” Read More »

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OSCARS Q&A: Amy Adams

By THE DEADLINE TEAM | Thursday December 13, 2012 @ 12:01am PST

Anthony D’Alessandro is Managing Editor of AwardsLine.

When it comes to straddling comedy and drama, few performers possess range and commercial longevity. Count Amy Adams as one of those few. In the afterglow of her Oscar-nominated turn as the filter-less Southern-fried Ashley in 2005’s Junebug, Adams continues to rally Academy voters for her somber roles (her suspicious nun in 2008’s Doubt and her Gaelic gal in 2010’s The Fighter) as well as families for her Disney films (last winter’s The Muppets and 2007’s Enchanted). In her latest role as Peggy Dodd, the woman behind Philip Seymour Hoffman’s philosophical cult leader Lancaster Dodd in Paul Thomas Anderson’s The Master, Adams brings a fierce gravitas to every scene she’s in, even when she isn’t speaking. When deconstructing her process, Adams is literally speechless: “The mystery of working with Paul is part of the wonderful experience. You have to invest in the moment and invest in the experience. Of course, you can ask questions. But I always find that living the experience is the answer.”

AwardsLine: You can play comedy and serious drama equally. Was achieving this dynamic something you and your talent reps planned or was it serendipity?
Amy Adams: It wasn’t so much that we sat there and had a strategy meeting. I finished The Muppets and was looking for what I would be doing next, and The Master presented itself. I do like to challenge myself and have it feel like different experiences in developing characters. Then I went from The Master to Superman. So it’s something I’m looking for from project to project rather than an overall strategy.
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OSCARS Q&A: Matthew McConaughey

By PETE HAMMOND | Thursday December 13, 2012 @ 12:01am PST
Pete Hammond

After being stuck in the rut of doing a series of high-paying major studio romantic comedies, Matthew McConaughey made a smart career switch and has been winning acclaim for one risky role after another in the last year. Beginning with his successful turn as The Lincoln Lawyer, the actor whose most significant recent awards talk had been as People Magazine’s Sexiest Man Alive suddenly turned out a surprising run of varied roles in disparate, edgy indie movies. There was his prosecutor in Bernie. Then there was a well-received pair of performances in Lee Daniels’ Southern potboiler The Paperboy and Jeff Nichols’ Mud that were both in the official competition in Cannes in May. Now he’s been nominated for two Independent Spirit Awards for his leading role in William Friedkin’s NC-17 Killer Joe and supporting turn as the veteran male stripper in Steven Soderbergh’s Magic Mike, a summertime hit that is also getting lots of Oscar buzz. When I talked to him recently, he looked gaunt and pale after losing 38 pounds to play an AIDS victim in his next project, The Dallas Buyers Club. McConaughey has clearly taken his career in fascinating new directions.

AwardsLine: You have been having a hell of a year. Really, one movie after another, and I don’t think you’ve stopped working. Have you had a day off?
McConaughey: Not many. I did five (films) in a row—the most I’ve ever done in a year were three. I remember telling my now wife, then girlfriend, that I’ve never had less than a month and a half to prepare. It scares the hell out of me. And she was like, “We’ll work it out.” I only had two weeks between a couple of them, and it (worked) out really well. Your mechanics are lubricated, you’re kind of flowing. The hard part is just dismissing the last character and moving into the next one. Each one scared me in a different way, and I hadn’t been scared in a while. But it’s that good kind of fear.  Read More »

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