Middleburg Day 3: Presidents, Production Designers, and Girl Power

Photo by Mara RoszakSaturday, my final full day at the fest, was a chilly windy day in Middleburg - horseback ride thwarted again! The unplanned theme of the day was girl power. The day began with a lively keynote conversation with AMPAS President Cheryl Boone-Isaacs. The moderator kept mentioning that she was the perfect person to be leading the Academy in these tough times and after listening to her for an hour, we can't disagree! It's quite obvious why they keep electing her. She's extroverted, quite funny, movie-loving, and knowledgeable about Hollywood with quite an interesting storied career behind her in film publicity. After that rousing breakfast conversation, the day ended with a standing ovation for Emma Stone and the dazzling La La Land (it's even better the second time!).

Inbetween those events a 13 year old Kazakh girl inspires in the documentary The Eagle Huntress, a very crowded panel on Presidents in the movies, and a conversation with four time Oscar nominated Production Designer Jeannine Oppenwall...

Click to read more ...

APSA Nominations: Lion, Cold of Kalandar, and More

The Asia Pacific Screen Awards has announced its nominations for the film year. The organization is in its 10th year -- and we should note that our own Glenn Dunks works for them behind the scenes. They basically cover the whole continent so that includes Asian countries, Australia, Russia, you name it. Their definition is loose enough that it even covers films with creative teams that qualify even if the film is a co-production made elsewhere. Their nomination procedure is elaborate -- 303 films from 43 countries were in the mix this year -- and whittled down throughout the year. The results are certainly a unique barometer of the region.

Cold of Kalandar, Turkey's Oscar submission, has 3 nominations

The nominations with commentary are after the jump...

Click to read more ...

The Furniture: Designing Dignity in "How Green Was My Valley"

"The Furniture" our weekly series on Production Design. Here's Daniel Walber

Filmmaking is often an art borne of flexibility. Tim Burton built Sleepy Hollow from scratch when he couldn’t find just the right town in the real world. Vincente Minnelli was forced to make Brigadoon indoors in Hollywood, because the studio wouldn’t pay for an expensive production in Scotland. Both films are likely better for it, too.

The same is perhaps true for How Green Was My Valley, which premiered 75 years ago this week. John Ford wanted to make shoot it on location in Wales, but World War II intervened. Instead, the production team built an entire mining town in the Santa Monica Mountains. This condensed and idealized version of the setting of Richard Llewellyn’s 1939 novel is among the most emotionally resonant sets of its era.

The film won five Academy Awards, including Best Picture and Best Art Direction.

The design team consisted of Richard Day, Nathan H. Juran and Thomas Little, no stranger to Oscar success. They based their village on Gilfach Goch, a quintessential Welsh mining town, but they dramatically reduced the size and jammed the houses much closer to the colliery...

Click to read more ...

A Wrinkle In Time's Casting Is A+

Manuel here catching us up with some casting news about an upcoming Disney tentpole film we should all be getting more and more excited about. Earlier this year it was announced that Ava DuVernay would direct the big screen adaptation of A Wrinkle in Time. That the beloved children's book would be a Disney film surprised no one but DuVernay's involvement piqued our interests...

Click to read more ...

NewFest: "Don't Call Me Son", "Esteros", and "Paris 05:59"

NewFest, New York's LGBT Festival, runs through Tuesday. Here's Chris on three of the festival's foreign selections...

Don't Call Me Son
Anna Muylaert continues to explore complex family dynamics in Don't Call Me Son, her follow-up to last year's Brazilian Oscar submission The Second Mother. Teenage Pierre (Naomi Nero) and his younger sister have their lives upended when their mother is jailed for stealing them at birth, thrusting them apart and into the homes of their birth parents. Further complicating the film's identity politics is Pierre's burgeoning gender dysphoria...

Click to read more ...