Before I focus on last night’s 83rd Academy Award winners, let me describe my conversations with the “losers”, only some of whom seemed to take the news in stride. Clearly, The Social Network filmmakers were licking their wounds. To the point that hands-on producer Scott Rudin didn’t even make the trip west for the awards. Clearly, they think they were robbed. In fact, as I traversed the Grand Ballroom of the Governor’s Ball, I kept hearing that precise phrase — “You were robbed” — said a few times to everyone involved. Executive Producer Kevin Spacey told me with bitterness, “Yes, I am very disappointed about Best Picture. But I am just stunned that David Fincher didn’t win, just absolutely stunned. This just proves it is all about campaigning and nothing else. It’s just a popularity contest.” He used some other language, too, that could give Melissa Leo a run for her money. Sony Pictures chairman Amy Pascal, who really invested herself in Oscar season this year, hugged Best Picture presenter Steven Spielberg and thanked him profusely for the consoling words he said before announcing The King’s Speech as the winner. (“If you are one of the other nine movies that don’t win, you will be in the company of The Grapes of Wrath, Citizen Kane, The Graduate, and Raging Bull”, Spielberg reminded everyone.) To add insult to injury, Social Network producer Dana Brunetti told me that the Governors Ball …
Deadline’s awards columnist Pete Hammond led all of The Gold Derby’s awards experts with 19 of 24 correct Oscars predictions for the highest score. Gold Derby founder Tom O’Neil congratulated Hammond “for kicking all of our Oscars pundits’ butts”. Over the past several months, Gold Derby has been polling top awards experts for their predictions in all 24 categories at this year’s Oscars. Of the 28 pundits, Hammond was the clear winner thanks to his dead-on predictions in many of the technical categories.
There’s no question this was Hollywood’s biggest week of the year. But now it’s all coming to a close tonight — and not a moment too soon for a lot of nominees at the end of a looooong campaign trail. “Thank God,” said The King’s Speech’s 73-year-old screenwriter David Seidler when I asked him Saturday night at The Weinstein Co bash at Soho House how he felt about nearing the end. After tonight, he plans to spend a month fishing. At the same party I caught up with the ultimate class act, Colin Firth, who between last year’s A Single Man and this year’s The King’s Speech has been on the awards circuit for the better part of two seasons. I asked him about being heavily favored to take Best Actor, and he replied, “I’m told I am”. He’s next making lighter fare: a Coen Brothers-penned version of the 1966 movie Gambit that starred Michael Caine and Shirley MacLaine. He said the film, to be directed by Michael Hoffman (The Last Station), is not a remake and that there’s barely a line of dialogue in common between the two films. Cameron Diaz will co-star. The Weinstein party filled up fast and brought out the entire King’s Speech crowd except for Geoffrey Rush who was on stage in New York for Diary Of A Madman but will be at tonight’s Oscars.
At a Society Of Lyricists And Composers reception Saturday afternoon, many-times nominated and Inception Best Music Score nominee Hans Zimmer told me he’s been too …
EXCLUSIVE: I’ve learned 2-time Oscar winner and Academy favorite Tom Hanks will be the first presenter and name winners in both the Art Direction and Cinematography categories right off the bat. Best Picture frontrunner The King’s Speech is up for both, so the world will quickly get an idea whether that Best Picture nominee is able to mount a sweep right in the first few minutes of Sunday’s Oscar show. Two other Best Picture pics are also nominated in both categories, True Grit and Inception, with the Christopher Nolan written and directed movie having taken awards at both the Art Directors and Cinematographer Guild awards earlier this month. The King’s Speech also won at Art Directors. The show’s theme exploring the past, present and future of movies will start right here and then wend its way throughout the evening. The producers wanted to have a big star kick it off and set the tone.
Ever since the British Academy of Film and Television Arts several years ago moved their honors ceremony to coincide with Hollywood’s awards season, it’s been hit and miss as a predictor of the Oscars. Even though there is probably a crossover of about 600 members in both organizations. This year’s results giving a near-sweep, but very significantly not complete sweep, to hometown favorite The King’s Speech did little to change the status of that film’s Oscar chances in certain key categories. It already is the frontrunner for Best Picture, and for Colin Firth as Best Actor, and for David Seidler’s Best Original Screenplay. So tonight’s BAFTA wins just add to the pile of its big Hollywood Guild wins here.
In the Supporting categories winner, Helena Bonham Carter did not have to contend with Oscar frontrunners Melissa Leo and Hailee Steinfeld who weren’t nominated by BAFTA. (Steinfeld was competing in lead while Leo was snubbed.) And the absent Geoffrey Rush’s triumph over Oscar frontrunner Christian Bale also was not surprising since The Fighter found little support in overall BAFTA nominations.
But DGA winner Tom Hooper’s loss here to The Social Network’s David Fincher is intriguing. It could mean voters may be thinking about a split ballot. The facebook origins film also won Adapted Screenplay for Aaron Sorkin as well as defeated The King’s Speech in the ever-significant Film Editing category, too. That means both films collected exactly half of their BAFTA nomination total with TKS garnering 7 out …
Javier Bardem’s first acting job was at the age of six, but his career has heated up since the mid-1980s not only in a number of notable films in his native Spain for such directors as Pedro Almodovar but now as a full-fledged international star. Nominated twice for Oscars, first in 2000 for Before Night Falls and then winning Best Supporting Actor in 2007 for No Country For Old Men, Bardem has an impressive list of credits including The Sea Inside, Vicky Christina Barcelona, and earlier this year in Eat Pray Love. But his most challenging role to date is as a man whose life is in freefall in Alejandro Gonzalez Inarritu’s Biutiful and now has earned him Best Actor nominations for Spain’s Goya, England’s BAFTA, and his third nod for an Oscar. It returns him to Spanish languageIt returns him to Spanish language filmmaking and won him Best Actor at the Cannes Film Festival. Although the film’s uncompromisingly depressing subject matter scared off potential distributors at first, Roadside Attractions eventually picked up the movie for the U.S. market and released it on January 29:
DEADLINE: This is the first time you worked with Alejandro and it is a challenging role in every way imaginable. What was it that made you want to get involved?
JAVIER BARDEM: First of all, I am a very huge fan of his prior films. But I read it like three times in a row before I said yes. …
As he walked into the International Ballroom of the Beverly Hilton hotel earlier this afternoon, The King’s Speech director Tom Hooper looked around and said, “Now I guess it’s really happening. I really am a nominee.” This was a sentiment shared by more than a few who may have thought Oscar night came three weeks early as the Academy of Motion Picture Arts & Sciences hauled out the giant Oscar statues and threw their 30th Annual Oscar Nominees Luncheon today. Clearly proud of the turnout (some nominees came from around the world to be there), Academy President Tom Sherak said a record 151 out of the 190 favored few showed up to lunch with fellow awardees and Academy officials as well as to receive their official certificate of nomination and the traditional sweatshirt with an Oscar logo on it. Sherak told the crowd that, after enduring months of pre-Oscar events and other awards shows, “the hardest thing you will have to do here is step on a riser and have your picture taken.” It’s definitely the feel-good event of the awards season. Everyone leaves still a winner with none of the tension of Oscar night.
Shortly after the lunch started, the Academy’s Ric Robertson called on every nominee to go to the risers at the side of the room and line up for the class photo. Then he called out each one’s name to receive their certificate and take another photo with Sherak. Christopher Nolan interrupted his day of …
You know the oft-repeated phrase heard this time of year, “It’s an honor just to be nominated”? That was never more true for some who might have actually won the Academy Award but tripped on their way to the Kodak stage by failing to get to first base with a nomination this past Tuesday. This year, presumed frontrunners in different categories weren’t moved forward in the Oscar race because of their own peer group. In case you’re not aware, peer groups pick the individual nominees in their categories. In the final vote, the entire Academy votes for the winners. The membership at large, thought not to be as technically judgmental as the formidable peer groups (or, in some situations, as swayed by petty jealousies), usually tend to select the more obvious choices. But what should be an anomaly happens a lot when it comes to Oscar. In 1989, Driving Miss Daisy was the big winner with four Oscars including Best Picture. Its director Bruce Beresford almost certainly would have made it five except for one small thing: the Director’s branch didn’t nominate him so the Academy at large couldn’t vote for him. It was the first time since Grand Hotel (1931-1932) that a director was not nommed for a movie that won Best Picture. (Instead, Oliver Stone won for Born On The Fouth Of July.) Most famously, Hollywood was shocked when the actors branch didn’t nominate Bette Davis for 1934’s Of Human Bondage even though it was considered one of the greatest female performances ever and its omission caused such a stir that the Academy augmented their rules to allow a write-in vote. (The write-in didn’t work, and Claudette Colbert triumphed.) Out of embarrassment, the Academy tried to make amends and gave Davis the Oscar the next year for the much-lesser Dangerous.
For instance, this year in the Best Make Up category, Alice In Wonderland was considered the frontrunner among the seven finalists – but shockingly failed to even be nominated. Instead, the final three nominees were Barney’s Version, The Way Back, and Universal’s early 2010 dud The Wolfman, forcing Academy voters to choose from these far more obscure entries. Which is why I have to ask: Was Paul Giamatti’s disheveled hair in Barney’s Version really better than the Make Up artistry on the Red Queen or the Mad Hatter? It’s all a very closed club, and the answer may not lie in the work itself but in who did the work and who is a member of the club.
For instance, the critically drubbed The Tempest‘s Sandy Powell, a 3-time winner in Oscar’s Costumes category, can get nominated for just about anything she does because she is one of Costume branch’s inner circle. The same is true for the Music branch and John Williams who doesn’t score for movies as much anymore. But any time he does, he’s likely to get a nomination because he’s an icon among musicians.
Regarding the Best Documentary nominations this year, I heard that one Governor of the Academy’s Documentary branch told a consultant that if Waiting For ‘Superman’, Davis Guggenheim’s widely favored education doc from Paramount, received a nomination it would win Best Feature Documentary with the membership at large. But he wasn’t voting for it and neither were some other branch members he knew due to questions they had about the way some of the documentary was conducted. Specifically, objections were raised about one scene recreated for the camera after it happened in real life. The result is that Guggenheim won’t be getting that second Oscar this time around (he won for An Inconvenient Truth) since his documentary didn’t make the cut with his branch.
Christopher Nolan was now infamously passed over in the Best Director category, first for The Dark Knight and this time for Inception. Would he have won this time out for staying true to his passion project? We’ll never know. My guess is there’s a certain level of jealousy because he pretty much can do whatever he wants and wherever he wants. (I often say he could go in and pitch a remake of Howard The Duck and studios would say yes.) Steven Speilberg was famously not nominated as Best Director for the Best Picture nominee Jaws. (Worse, a TV show following around Spielberg that day the Oscar nods were announced showed him anxiously anticipating a nomination that never came.)
Lee Smith’s dazzling Editing for Inception was thought to be an easy winner in that category once it got to the general vote. Problem is, the editors themselves dissed it. No Oscar for Lee this year.
Diane Warren won a Golden Globe this month for the anthem she wrote for Cher in Burlesque called “You Haven’t Seen The Last Of Me”. And she was considered a likely Academy Award winner this time after 6 previous Oscar nominations. Plus, Cher was expected to perform it on the telecast. Unfortunately, the Academy’s grumpy Music branch decided we had seen the last of Warren this awards season and nominated only four tunes, none of them from the critically reviled Burlesque. Talk about a backlash. (A publicist connected with Warren’s campaign even wanted to ask for a recount but knew the Academy would never allow it.) The same Music branch disqualified Clint Mansell’s soaring blend of original music and Tchaikovsky in Black Swan which almost certainly could have triumphed with the general Academy membership when voting starts on February 2nd.
Category placement is always a delicate dance come Oscar time. In 1966, Walter Matthau won the Supporting Actor Oscar for The Fortune Cookie even though he was on equal footing with co-star Jack Lemmon. In 1981, Susan Sarandon admitted to voting for herself in Supporting for Atlantic City only to surprisingly land in lead. Patricia Neal took Best Actress for Hud in 1963 even though she was really playing a supporting role. Anthony Hopkins could have gone for support in 1991’s Silence Of The Lambs but was campaigned instead for lead and won. George Clooney was originally going for lead in 2005’s Syriana, where he almost certainly would have lost to Philip Seymour Hoffman’s Capote, but strategically dropped to support where he also became an Oscar winner. And, in the most complex of scenarios possible, Catherine Zeta Jones went strategically for support in Chicago while her equal co-star Renee Zellweger had Best Actress to herself but lost to Nicole Kidman, who won for The Hours in a role that could have been classified as supporting but that’s where her co-star Julianne Moore competed so as to avoid cannibalizing her own chances for lead actress in Far From Heaven.
Get the picture?
Until 1936 in Academy Awards history, featured actors either competed alongside stars or not at all. Since then, the Supporting actor and actress categories have tried to make distinctions between themselves and lead, although it seems every year the line gets blurred. It was no exception in 2010 with so-called leading roles being campaigned for Supporting in some instances to give them a better shot at a nomination or avoid competing with co-stars. Which is perefectly acceptable since the Academy actors branch leaves it up to voting members to determine the appropriate category for each performance. Sometimes this results in split votes. Often in surprises. So here are this year’s prime contenders by alphabetical order:
BEST SUPPORTING ACTOR
Christian Bale, The Fighter (Relativity/Paramount) – Bale’s dynamic turn as crack addicted Dicky Ward has drawn top reviews and made him a heavyweight contender not just for a nomination, but also the win. His dramatic weight loss and surprising performance is just the kind that attracts Oscar.
Jim Broadbent, Another Year (Sony Pictures Classics) – This previous Supporting Actor winner (Iris) retains his usual class and dignity, delivering another quietly effective performance for frequent director Mike Leigh. But that may not be enough to overcome flashier competition.
Pierce Brosnan, The Ghost Writer (Summit Entertainment) – Brosnan gets a real chance to stretch his image and show his chops under the direction of Roman Polanski. The film’s February release doesn’t help being remembered against a tough field of contenders.
Vincent Cassel, Black Swan (Fox Searchlight) – This French star gets a juicy, hard-edged role in an American film and runs with it. The fact that he is also being campaigned in the lead category for his mesmerizing two-part Cesar award -inning portrayal in Mesrine won’t hurt his chances.
Matt Damon, True Grit (Paramount) – Damon is an Academy favorite. Under the guidance of the Coen Brothers, he gets right the role singer Glen Campbell screwed up in the 1969 version. But he’s playing second fiddle to Hailee Steinfeld and Jeff Bridges more likely to earn nods.
Michael Douglas, Wall Street Money Never Sleeps (20th Century Fox) – Douglas revisits the Gordon Gekko role 23 years later and has the industry rooting for him to overcome his bout with cancer. He could become the first actor to win two Oscars for playing the same character.
Andrew Garfield, The Social Network (Sony Pictures) – Garfield was impressive in two distinct dramas this fall, the other being the little-seen Never Let Me Go. Plus he’s the new Spider-Man. But his role here is earning Oscar talk with Golden Globe and CCMA nominations.
Ed Harris, The Way Back (Newmarket) – A four-time Oscar nominee, this well-liked veteran is overdue, and his physically challenging role is first-rate work which his peers expect from him. But the film’s year-end qualifying run and lack of marketing funds may dim his chances.
John Hawkes, Winter’s Bone (Roadside Attractions) – Although Jennifer Lawrence seems to get all the attention, nominations for this journeyman actor’s authentic backwoods portrayal from the Spirit Awards and SAG are beginning to make a longshot Oscar nod far more realistic.
Bill Murray, Get Low (Sony Pictures Classics) – Many feel Murray was robbed of the Best Actor Oscar for Lost in Translation and the actors branch might just want to make it up to him by recognizing this nicely-etched performance which scored an Indie Spirit nomination.
Sean Penn, Fair Game (Summit Entertainment) – Penn steals this entertaining true-life political thriller. The role would seem to belong in lead but Summit is hoping the two-time Best Actor might stand a better chance in supporting. Though the movie has faded without much buzz.
Jeremy Renner, The Town (Warner Bros) – With a triple-play of supporting nods from SAG, Golden Globes and CCMAs, Renner has emerged as a very good bet to grab his second consecutive Oscar nomination after first being named last year in the leading actor category.
Sam Rockwell, Conviction (Fox Searchlight) – Rockwell is popular with his fellow actors and long underrated. He won early buzz for his performance but has so far not shown up in many pre-Oscar contests. With lack of recognition by SAG, he is suddenly in an uphill climb.
Mark Ruffalo, The Kids Are All Right (Focus Features) – Ruffalo worked just six days on this indie dramedy but he obviously did something right to earn SAG, CCMA, and New York Film Critics attention. This lively supporting turn should result in his first career Oscar nomination.
Geoffrey Rush, The King’s Speech (The Weinstein Co) – Rush hits it out of the park and gives this very accessible period drama its heart and soul. A former lead actor winner for Shine, Rush is one of the frontrunners to hold Oscars for both lead and supporting roles.
Justin Timberlake, The Social Network (Sony Pictures) – Pop star Justin Timberlake has displayed acting talent before in films like Alpha Dog and his SNL hosting gigs but he is suddenly in the Oscar conversation despite fierce competition from even his own movie.
BEST SUPPORTING ACTRESS
Amy Adams, The Fighter (Relativity/Paramount) – Adams has already landed two Oscar nominations and seems certain for a third in this change-of-pace role as the expletive spewing, tough-as-nails bartender girlfriend of Micky Ward. Voters love to see actors go against type and expertly so.
UPDATE: PETE HAMMOND RESPONDS — Some commenters to my post seem to believe it was written with an anti-WGA agenda on my part. I didn’t point out in the story – and perhaps I should have – that I am a longtime and proud WGA member and also represented the interests of writers, rather vehemently at times, as one of two TV Academy writing Governors for four years. I would hope my reporting on this particular story is not taken as any personal position on my part against the Writers Guild as some commenters seem to think. I do however find it sad that some of the best screenplays, year in and year out, are ruled ineligible by the WGA. Awards should honor the absolute best, not an incomplete list, but that’s the Guild’s prerogative to protect their interests as a union and their right to conduct the contest the way they see fit.
Realistically, however, the media are going to view the WGA awards — just as with SAG, DGA, PGA, and even the Oscars – as being a significant part of the season because, it is peer group voting. That’s a fact, no matter which scripts turn out to be eligible or not.
PREVIOUS 8:30 AM: Here they go again. Every year the disconnect between the Writers Guild of America and the Academy of Motion Picture Arts & Sciences seem to grow wider in the movie script categories. This year looks no different. …
The controversial 38th International Animated Film Society’s Annie Awards announced their nominees for Best Animated Feature today: Universal/Illumination Entertainment’s Despicable Me, DreamWorks Animation’s How To Train Your Dragon, Sony Pictures Classics’ The Illusionist, and Disney’s Tangled and Toy Story 3. What the official press release didn’t mention is that Disney/Pixar is boycotting the awards and refusing to participate due to complaints they have about the voting process among other things. Though the Annies nominated two Disney films in the top category as well as directing and writing for Toy Story 3 (how could they avoid it and maintain cred?), the group gave Disney and Pixar only 7 mentions. But the Annies showered 15 nominations on DWA’s Dragon and 39 nods overall that included films like Megamind and Shrek Forever After. It’s interesting that there was no mention of vote totals in the ASIFA-Hollywood release. Hmm. Something’s wrong in Toonville, and both Disney/Pixar and the Annies have some explaining to do.
“Hosted” screenings by notables not directly connected to the movies in contention for awards seem to be rampant these days. For instance, at the DGA in Hollywood, Sean Penn moderated a Q&A Sunday with his 21 Grams director Alejandro Gonzalez Inarritu and Javier Bardem (who received a standing ovation) after a screening of Biutiful. Similar screenings for that film have been moderated by the likes of Werner Herzog and Robert Benton with upcoming unspoolings hosted by Michael Mann and Alfonso Cuaron. The DGA has a long tradition of inviting other directors to interview contenders. Joel Coen recently talked up Sofia Coppola after Somewhere screened in NYC while Alexander …