At the Golden Globes nomination press conference at the Beverly Hilton this morning, a lot of the talk wasn’t so much about who got nominated but who didn’t. I’m talking about you, Oprah! The star of stars didn’t make the cut and won’t be walking that red carpet (at least as a supporting actress nominee). I thought she was powerful enough just to call in and order one of these things. But Winfrey, along with everyone else associated with Lee Daniels’ The Butler, was snubbed big time. Yesterday, the Weinstein Company’s late summer hit had scored big at the SAG awards with three nominations, including one for Winfrey, and appeared to be on the rebound after being left off the AFI top 10 list Monday. But the awards-season gods giveth and then they taketh away. Conversely, yesterday’s big snubee at SAG, The Wolf Of Wall Street, saw its fortunes improve with the Hollywood Foreign Press Association naming it a nominee for Best Motion Picture – Comedy or Musical and one for Leonardo DiCaprio, a perennial Globe favorite gaining his 10th nomination (he won in 2004 for The Aviator).
Related: Golden Globe Awards Nominations: ‘12 Years A Slave’ & ‘American Hustle’ Lead Pack
Other than Oprah (unfairly in my opinion) missing out in supporting (Jennifer Lawrence, Julia Roberts, Lupita Nyong’o, June Squibb and a surprise nod for Blue Jasmine’s Sally Hawkins made the grade there), there weren’t many jaw-dropping surprises in film (TV was another matter entirely – sorry Claire Danes). That is unless you think Ron Howard’s Rush getting a Best Motion Picture Drama slot over the likes of Butler and Saving Mr. Banks (which, as at SAG, received only one nod for star Emma Thompson) is a stunner. Hate to say I TOLDJA , but I predicted that in this column yesterday. I have spoken to several HFPA members over the past few weeks and nearly every one of them brought up that film’s name as a favorite. Although the independently-produced Universal release didn’t do well at the box office in the U.S., it has great international appeal being a European-set film about the 1970′s rivalry between Britain’s James Hunt and Austrian Niki Lauda (played by Daniel Bruhl who grabbed a supporting actor nod today). The HFPA is an organization made up of international journalists, and the film held a special appeal for them. READ MORE »
Without question the biggest surprise coming out of this morning’s all important announcement of the Screen Actors Guild Award nominations in film was the absence of Robert Redford‘s tour de force one-man show in All Is Lost in the Best Actor category. The New York Film Critics Circle Best Actor winner was shut out and that could have an effect on shaking up what is an extremely competitive category. Redford was widely expected to be a major factor here — he has only been Oscar-nominated as an actor once, for 1973′s The Sting, and never in the 20-year history of the SAG Awards — and since SAG is one of the most reliable precursors of Oscar noms, his omission is a troubling sign. Adding insult to injury SAG did nominate the “stunt ensemble” of All Is Lost (is that just one guy?) even though when I interviewed him Redford told me he did most of his own stunts in the movie. Go figure.Then again, last year SAG and Oscar disagreed at least once in every category and matched in just 14 of 20 main acting nominees, so although this is a setback for Redford, it’s not a knockout. In the last two decades it’s been highly unusual for an actor not at least nominated by SAG to go on and actually win at the Oscars. But it actually happened last year when Christoph Waltz took the Best Supporting Actor Oscar for Django Unchained after being the only one of the field who was not also a SAG nominee.
Related: SAG Awards Nominations Announced
The Django factor could also be comforting to the Christmas Day release The Wolf Of Wall Street, another film completely shut out this morning. Like Django it came to the game extremely late with its first SAG screenings only 10 days ago, and Paramount sent out no DVD screeners to the SAG Nominating Committee of 2000 randomly chosen members from around the country. That is why its absence from the list of Outstanding Cast, as well as for its most talked-about performances from Leonardo DiCaprio and Jonah Hill, is not really surprising. It’s a good bet to say a great number of voters just didn’t see the film in time. That won’t be a factor with the Academy, which doesn’t even get its ballots until the end of the month. Read More »
Deadline’s International Editor Nancy Tartaglione talks in this week’s podcast with host David Bloom about winnin’ time on the Continent, as the prizes are handed out in the British Independent Film Awards and the European Film Awards, including wins for Oscar contenders The Act Of Killing, The Great Beauty, Pussy Riot: A Punk Prayer, The Broken Circle Breakdown and Metro Manila.
Separately, David and Nancy take a look at just-unveiled British tax credits that should be a boon to film projects of all budget sizes and also may entice more overseas visual effects work to the country’s post-production houses. They also applaud the innovative new interactive trailer the BBC has trotted out to tout the imminent return to air of Sherlock, with Benedict Cumberbatch and Martin Freeman, two years after its last episode aired.
Global Showbiz Watch episode 18 (.MP3 version)
Global Showbiz Watch episode 18 (.M4A version) Read More »
After earlier premieres at the London Film Festival in October and the AFI Film Fest at the Chinese Theatre in November where the original Mary Poppins premiered in 1964, Saving Mr. Banks, Walt Disney Studio’s big awards contender, finally had its official Los Angeles premiere on a cool December Monday night. It took place on the very Disney studio lot where much of the movie about the making of the 1964 classic was filmed (as well as Poppins itself). And just to add a touch of nostalgia and class itself the stars of Mary Poppins Julie Andrews and Dick Van Dyke joined the cast of Banks including Tom Hanks who plays Walt Disney and Emma Thompson who plays the cantankerous author of Poppins P.L. Travers. At a photo opp before the film the Banks cast members along with Andrews and Van Dyke and studio execs Bob Iger and Alan Horn all joined in a spontaneous rendition of the catchy tune from Poppins, “Let’s Go Fly A Kite” (watch here). Those singing along included the indefatiguable two-time Oscar winning co-writer of that song and the entire score, Richard M. Sherman.
At the post party in a completely made-over studio commissary Horn told me how pleased they were that Saving Mr. Banks had made the AFI Top Ten Movies Of The Year list released earlier Monday. When I asked how he felt about singing with all those iconic stars he said he can’t sing and in fact was banned from trying to carry a tune in church and everywhere else. Iger also marveled at the idea he was actually singing along with everyone and modestly just said ” let’s not count the eggs before they are hatched” when I suggested that the movie was a cinch to become the Disney studio’s first home grown live action Best Picture nominee since the original Mary Poppins 49 years ago, the one and only other time the studio had such a distinction.
The 85-year-old Sherman, who has been on cloud nine since this whole ride began, said it was completely “surreal” to be back on the Disney lot with Andrews and Van Dyke celebrating this whole experience. Only in Hollywood. There’s something about the movie that really has created a team spirit. At a Saturday night cast Q&A with Hanks, Thompson, Colin Farrell, Jason Schwartzman and Bradley Whitford I moderated after a SAG screening of the film, Hanks also led everyone in a rendition of “Let’s Go Fly A Kite”. Guess it is just a movie that makes people want to sing. Hanks and Thompson had also been doing Q&As earlier that day at BAFTA and for the Academy where I am told 700 members showed up for a 3 PM Saturday matinee. Certainly Disney, which has been having a great holiday season already with Thor and Frozen, is hoping they will be singing about Banks which opens nationwide on December 20th. I am told it is tracking well. Banks opens Friday with a special engagement at the Walt Disney Studio Theatre that includes a special studio tour of spots of where the films were made. Read More »
Merry Clayton, Lisa Fischer, Judith Hill and Darlene Love, the backup singers who get the spotlight in RADiUS-TWC‘s Oscar documentary 20 Feet From Stardom, will sing the National Anthem at the 100th … Read More »
When Sandra Bullock won the best actress Oscar for The Blind Side three years ago, her position as the number-one female movie star on the planet was secure. But after all the box office and awards success, Bullock was very careful about what projects she chose to do next. Eschewing the easy route of another romantic comedy after her supporting role in 2011’s Extremely Loud & Incredibly Close, Bullock took on the role of Dr. Ryan Stone, a novice astronaut stranded in space and struggling to survive in Alfonso Cuaron’s Gravity. At its core, the film is not your average sci-fi blockbuster, but rather an intimate look at summoning the will to go on.
AwardsLine: They created something called the light box for this, a really isolating contraption. What was it like in there?
Sandra Bullock: It was literally a 9- by 9-foot box that was elevated on a platform. On one side, there were black curtains where all the technical geniuses were sitting, and there was a long track in the center. You know the (robot) arms that make the cars in Detroit? They were these massive things with the camera on them. There was a metal harness that I had to get up through that clamped around my waist. It was timed mechanically with the camera, so it would turn my body, and the camera was then spinning, and I had to figure out, “Am I upside down? Or am I right side up?”
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With box office momentum behind their wintry animated hit Frozen, Disney has released a clip featuring Best Song Oscar hopeful “Let It Go,” by songwriting team Robert Lopez and Kristen Anderson-Lopez. Idina Menzel belts the number voicing Elsa, the Snow Queen whose … Read More »
She’s a triple threat. She writes. She directs. And of course she acts. But as she explained to a packed audience of AMPAS and Guild members on the Sony Pictures Classics panel at Deadline’s THE CONTENDERS event Julie Delpy has never quite done … Read More »
Specialty distributor Drafthouse Films opened shop in 2010 and scored a surprise Oscar nomination with its third release, the Belgian Best Foreign Pic contender Bullhead. Now Drafthouse is back in the awards game with Joshua Oppenheimer’s startling Indonesian genocide documentary The Act Of Killing, a provocative pic backed by Werner Herzog and Errol Morris that has already racked up dozens of awards and made the Oscar documentary shortlist in a notably competitive year for nonfiction. Oppenheimer’s film profiles the celebrated death squad leaders responsible for mass murders in 1960s Indonesia as they flamboyantly re-stage their crimes for the camera in Hollywood-style re-enactments — and, in one killer’s case, start to grasp the severity of their actions. The film’s brutal themes required such a careful touch that Drafthouse’s considered awards approach began the moment they won a hard-fought bidding war for the film. But how do you market a film with protagonists like these and win over traditional-minded Academy voters with such a non-traditional message?
Related: Specialty B.O.: ‘Act Of Killing’ Is Year’s Top Documentary Debut
Oppenheimer’s film leaves the moralizing to the audience, but it has not for nothing earned a rep as one of the more unsettling Oscar hopefuls in recent memory. Read More »
Listen to (and share) episode 53 of our audio podcast Deadline Awards Watch, With Pete Hammond.
Deadline’s awards columnist talks with host David Bloom about this week’s first batch of year-end film kudos, from the National Board of Review, New York Film Critics Circle and Film Independent’s Gotham Awards, as well as the Annie Award nominations for animation and the Oscar short list of candidates for documentary feature, and see if we can tease out trends or favorites that might impact the rest of awards season.
Pete also talks about the “rapturous” initial response at SAG screenings for The Wolf Of Wall Street, the on-again, off-again excessive tale of high-finance excess from Martin Scorsese that finally made it on screen this weekend for some awards voters.
Finally, we’ll get Pete’s take on Out Of The Furnace, Scott Cooper’s latest intense drama with a glittering cast chock full of prominent actors, and the only film debut opening wide in U.S. theaters this weekend.
Deadline Awards Watch episode 53 (.MP3 version)
Deadline Awards Watch episode 53 (.M4A version)
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It seems Cate Blanchett can do it all. She has played the Queen of England (Elizabeth I in Elizabeth) as well as the Queen of Hollywood (Katharine Hepburn in The Aviator), for which she earned a supporting actress Oscar. But it wasn’t until this year that a cinematic match made in heaven occurred when Woody Allen rang her up and asked her to be in one of his films. Their pairing in Blue Jasmine does not disappoint. As a tragic victim of her own excessive lifestyle, Blanchett is heartbreakingly real and complex, a modern-day Blanche DuBois, but so much more. The role has won her critical raves and she has remained at the top of every Oscar pundit’s best actress list since the movie was released in July. In fact today she won the New York Film Critics Circles Best Actress award for the role. With Allen’s record of directing actors to Oscars and Blanchett’s fiercely sad and funny performance, it’s a good bet she will stay on top on those lists all the way through March.
Related: New York Film Critics Circle Awards Winners
AwardsLine: What was it about the role in Blue Jasmine that clicked for you?
Cate Blanchett: Where to start? When you get the call, you’ve already said yes before you’ve even read the script because of (Woody Allen’s) body of work and his sensibility, the opportunities he provides for actors and ensembles. I was won over by the absurdity and the tragedy that exists in pretty much every scene. It’s a portrait of a breakdown in many ways, but it’s also a story (about) people having relationships based on exteriors rather than what’s going on internally.
Related: Santa Barbara To Honor Cate Blanchett As Performer Of The Year
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EXCLUSIVE: When Mandela: Long Walk To Freedom had its World Premiere in early September at the Toronto International Film Festival, the critical reaction and audience buzz wasn’t exactly all what distributor The Weinstein Company was hoping for. The … Read More »
The actual “awards” part of awards season is finally off and running with first results out of the East Coast with today’s New York Film Critics Circle choices and last night’s Gotham Awards. And the Academy Of Motion Picture Arts and Sciences even got into the act earlier today narrowing the intense Documentary Feature competition from 151 entries to a shortlist of 15 finalists. Stuff is happening.
The NYFCC went whole hog for David O. Russell’s American Hustle (Best Picture, Screenplay, Supporting Actress) today, while Gotham unexpectedly crowned The Coen Brothers’ Inside Llewyn Davis over heavy favorite 12 Years A Slave. Those results are an early indication (or even confirmation) that this could turn out to be an extremely unpredictable year — one with no frontrunner. The fact that the powerful critical favorite 12 Years, an early favorite to sweep the critics awards and use that to begin its march to Oscar (it leads most pundit polls), was shut out at the Gothams and only took Best Director for Steve McQueen at the NYFCC perhaps means this year won’t turn into a repeat of 2010. That’s when The Social Network swept the numerous critics groups Best Picture honors (and even the Globes) only to be upended by The King’s Speech when the Producers Guild turned the race. The King’s Speech became the industry favorite all the way to the Best Picture Oscar. I think dominance among the critics is important for a picture like 12 Years. That kind of awards pedigree could force reluctant Academy voters (and I know of a few resisting it because they fear it’s too brutal) to see the film and give it a shot. A lack of that kind of consensus could just bust this race wide open and turn it into a free-for-all. Of course there are many, many more of these groups to go, and 12 Years could still dominate, but the initial picture is cloudy. It’s an extremely competitive year and likely to continue to be if today’s results are an indication.
As for American Hustle‘s triumph at the NYFCC, it’s a bit unexpected but completely deserving. Sony Pictures , which releases the film December 13, has had a very good run with the NY Critics Circle — winning Best Pic in 2010 with Social Network and again last year with Zero Dark Thirty only to be stopped cold at the Oscars. Will Hustle be able to ride farther this early wave for the studio? Time will tell. With more Academy friendly-type films like Saving Mr. Banks, Gravity, Nebraska, Philomena and others going unmentioned, there are plenty of places for Oscar voters to drift including the wild card of Martin Scorsese’s The Wolf Of Wall Street, which was a last-minute screening for NYFCC.
Related: OSCARS: ‘Wolf Of Wall Street’ Makes A Raucous Debut Read More »
Over the last two years, Matthew McConaughey has transformed from simply being a bankable romantic-comedy lead to a gritty performer who doesn’t hesitate to roll up his sleeves and plumb emotional depths. In the same year he showed his flashy, exhibitionist side in Steven Soderbergh’s Magic Mike, McConaughey demonstrated exceptional range in a trio of smaller films with distinctive directors: Richard Linklater’s Bernie, William Friedkin’s Killer Joe and Lee Daniels’ The Paperboy. This year’s slate, which includes Dallas Buyers Club and Mud, shows that the actor isn’t finished taking risks. He lost 47 pounds to play AIDS activist Ron Woodroof in Dallas Buyers Club and was a major force in getting the film into production; he’s working with Martin Scorsese in The Wolf Of Wall Street; and he’s shooting a sci-fi film, Interstellar. All that, and he still finds time to helm his nonprofit JKL Foundation, which focuses on the health and wellness of high-school students.
AwardsLine: What compelled you to help get Dallas Buyers Club produced?
Matthew McConaughey: It was something that I had on my desk that I was trying to do for a while, but it wasn’t popular enough for anyone to come up with the money. So we were like, “Let’s find the right team.” The more pieces you put in place, the more you show somebody that you’ve got a full package, then it becomes a more viable situation to get the money. And (director) Jean-Marc (Vallee) and I were locked, and we’re like, “Let’s set a date and do this thing this year.” We had Jared (Leto) and Jennifer (Garner) cast, and we budgeted for a lot less than Jean-Marc thought he could make it for. A week before the shoot, Jean-Marc calls me and says, “This is just not enough money to make this. We don’t have it, and we shoot in a week. (But) I’ll be there if you’ll be there.” I was like, “Yeah.” I had been losing the weight, and then I kept hearing “This is not happening.” And I was like, “This is happening.” Then that last bit of money came like a wave.
AwardsLine: What kind of feedback did you get from financiers as to why they didn’t want to come onboard?
McConaughey: (Laughs.) Well, Hollywood’s not quick to really expound on the “why not?” Usually the message that gets to me is, it’s not for them. Period piece, AIDS drama? That one line hurt. I’m sure there were many desks where that one-liner was all they read. Read More »
The last shoe to drop in the 2013 awards race hit Saturday as Martin Scorsese‘s much-awaited The Wolf Of Wall Street was unveiled to SAG voters at a couple of screenings at the WGA theatre in Beverly Hills. I caught the film earlier at a small 10 AM screening for some of the cast members on the Paramount lot and then moderated the Q&A following the 6:30 PM screening of the 3 hour film. To say it was rapturously received would be an understatement. Leonardo DiCaprio received a standing ovation when I introduced him, and co-star Jonah Hill also won huge applause from the packed-to-the-rafters house who also enthusiastically cheered co-stars Rob Reiner (who plays DiCaprio’s dad and stole the show at the Q&A), Jon Favreau, P.J. Byrne, Ken Choi and Cristin Milioti. I heard the film also received the same kind of enthusiastic response at the earlier screening too. Paramount also threw a party to kick things off in style. Celebration was in order since Paramount at one time wasn’t even sure the film would be ready as Scorsese has been editing to make a 2013 date. Originally it was scheduled for a November 15 release but moved to Christmas bumping Jack Ryan: Shadow Recruit into January to make room for Wolf‘s wide release awards run.
Formal reviews are embargoed but as an initial observation I would label the movie ”Scorsese’s Satyricon,” a wild ride full of contemporary debauchery to say the least (DiCaprio compared some of it to Caligula), with a fine ensemble and a frenetic pace that belies its three hour running time. Even at that length it never lags. It is the perfect companion piece to Goodfellas and puts Scorsese right back in the thick of the Oscar race, if Academy members, particularly older ones, can deal with the almost non-stop parade of sex, drugs, nudity and rock and roll. Violence, a Scorsese staple in this type of film, is missing but there are a number of remarkable set pieces including a storm-driven yacht voyage that has to be seen to be believed (Rob Legato supervised the special effects team). An NC-17 was avoided by some reported judicious cutting but it’s hard to imagine the stuff that didn’t make it in considering the edgy material that did. Read More »
For more than 50 years, Robert Redford has been at the top of his game, whether as an actor, Oscar-winning director (Ordinary People), producer or at Sundance, the festival and institute he founded. He won an honorary Oscar for his work with Sundance in promoting independent film, and that is where he met director J.C. Chandor, whose first film, Margin Call, premiered at the festival. But none of the many young directors whose films got big breaks at Sundance actually ever dared to ask Redford to be in a movie. That is, until Chandor brought him All Is Lost. The result is an extraordinary tour de force performance in which Redford is the only actor on screen, playing a man trying to survive after his sailboat springs a leak. Incredibly, Redford has only been nominated for an acting Oscar once in his career, 40 years ago for the lighthearted The Sting. Betting odds are that All Is Lost is going to bring him his second best actor nom.
AwardsLine: What attracted you to such a physically and mentally challenging role?
Robert Redford: It was an opportunity for me to go back to my roots as an actor. That was how I began in this business, and it brought me great joy. As you move through your life, you create opportunities, and if you see new opportunities, you take them. Directing and producing, or creating opportunities for other filmmakers, feels great, but you’re not aware of how it’s taking you further and further away from what your basic joy is—to act. This gave me that in a very big way because of the kind of role it was. Then there is that other thing that happens when you just go in—and it’s impulse—where you say, “I’m going to trust this.” That happened for me with J.C. We met, and very quickly, I thought, “Let’s just do it.” Read More »