SAG & Globe Reader Questions. Podcast Answers!

Last week's tidal wave of precursor buzz - most notably the Screen Actors Guild and Golden Globe nominations have everyone talking possible Oscar nominations. Those nominations are still one month away if you can believe it which gives us plenty of time to keep theorizing.

You asked a lot of questions. So Nathaniel, Nick and Katey answered them in this week's podcast!

How this one goes...
00:01 BFCA Ballot Buyer's Remorse. How many times did Katey vote for The Hundred-Foot Journey?
03:00 Is Jennifer Aniston going to happen?
05:15 Robert Duvall and/or Selma's Supporting Bids 
10:00 Humble Brag Jake Gyllenhaal Party
15:15 "What were they thinking?" & potential surprises
22:00 Julianne Moore's frontrunner status  
27:45 Boyhood's performances & Budapest's momentum
32:25 Rewatchability. Does it matter? Should it?
37:00 Miscellaneous Last thoughts
40:10 Julianne Moore Stinger 

You can listen at the bottom of the post or download from iTunes tomorrow. Continue the conversation in the comments. Hopefully though we answered your initial questions we raised even more talking points... 

Precursor Questions. Podcast Answer

Oscars Songs & Scores. Plus: Chart Updates

Each year the list of eligible ORIGINAL SONGS that will vy for Oscar nominations holds numerous surprises. These surprises almost invariably fall under the question heading:

That movie had a song in it?"

Apart from song showcases that are an important part of the narrative - remember that sweet tense reunion between Hiccup's father and mother in How To Train your Dragon 2? - many songs are buried in their movies by way of incomplete airings or end credit positioning when people are exiting the theater  -- you have to be the first music in the end credits to be eligible at all. Come second and you're outta there as Madonna learned the hard way for her end credits "Masterpiece" in W.E. (that's the name of the song, not a qualitative judgement). The other annual head-scratcher question about this category is not the mean-spirited "Why does it exist?" but the far less frequently asked "Why is it afforded more nominees than the Makeup & Hairstyling category since literally all live action films require makeup & hairstyling and only a teeny-tiny portion of films have a composer on their payroll writing original songs. Indeed that question is only ever asked by The Film Experience though we think it a good one.

Makeup & Hairstyling is now the only Oscar category still considered unworthy of 5 nominations annually despite being a craft that's used in 100% of live-action movies which a few other categories cannot claim. But that's a topic for when the Makeup Branch finalist list is announced. Why am I talking about it now? My brain, inside a head that requires no hairstyling, hops track is all. Sorry bout it.

ORIGINAL SCORE
The annual list of eligible Original Scores for Oscar's music branch to consider holds a different kind of surprise altogether. Those surprises are about what's not listed. They fall under the question heading:

They disqualified that one? Why???"

This year apparently the music for Foxcatcher and The Two Faces of January -- to name two examples from famous composers (Danna & Iglesias respectively) -- wasn't "original" enough or something for Oscar. But the headline snub is Antonio Sanchez's work on Birdman. It's won much (rightful) attention for its unique percussive approach.

With Birdman out of the way, expect the five nominees to be: Alexandre Desplat (Unbroken), Alexandre Desplat (The Imitation Game) Alexandre Desplat (Godzilla) Alexandre Desplat (Grand Budapest Hotel) and Alexandre Desplat (The Monuments Men). I'm joking but there is no rule against it in the craft categories! You know if John Williams wrote five new scores in a year he'd win all five nominations. Somebody give Desplat a sedative before he burns himself out. He's so brilliant but do you think he'll stop working himself into an early grave once they give him the statue? He's won six nominations in the past decade, most of them from Best Pictures nominees or winners no less, but he has still yet to win the gold.

ELIGIBILITY LISTS AND A FEW MORE NOTES AFTER DESPLAT...

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Team FYC: A Most Wanted Man for Best Adapted Screenplay

Editor's Note: We're nearing the end of our individually chosen FYC's for various longshots in the Oscar race. Here's Amir on "A Most Wanted Man".

Anton Corbijn’s latest film, A Most Wanted Man, is one of the year’s best American films. It’s the type of work that is elevated above the trappings of its overly familiar genre with superb performances and intelligent observations on the real world conditions that give birth to its story. It is arguably the smartest film made about America’s increasingly troubled relationship with, and its definition of, terrorism. Yet, it is surprising to compare the film's screenplay, penned by Andrew Bovell, to its original source, the 2008 novel of the same name by John le Carré, and notice the dramatic improvement that the adaptation has made to the text. 

With densely plotted novels, particularly in the espionage genre, one of the biggest challenges of adaptation is the careful omission of narrative threads without disrupting the harmony or logic of the story. Le Carré’s book is one of his lesser works, a straightforward piece about Issa (Gregoriy Dobrygin), a Chechen fugitive in Hamburg, whose history of being tortured in his homeland is sufficient cause for authorities (German and American) to assume ties with terrorist organizations. Issa’s story is intertwined to three other protagonists who are afforded equal attention in the novel: a banker named Tommy Brue (Willem Defoe), a lawyer named Annabel Richter (Rachel McAdams) and a spy named Gunther Bachmann (Philip Seymour Hoffman)...

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Missi Meets Nancy - A "Gone Girl" Mirror

Editor's Note: As previously noted, The Film Experience is proud to hand over the blogging reigns to the actress MISSI PYLE from Sunday afternoon to Monday afternoon. But here's an early bit from the woman herself before she seizes full control!

I just interviewed Nancy Grace for The Hollywood Reporter.  It came out yesterday. I was so nervous. What if she thought I was a dick. You know? For lampooning her. But she was totally flattered and really charming. 

This is that interview.

How I got into character for Gone Girl? I googled Nancy Grace. (I don't know how any of us did any research without the internet. Its crazy.) I only really knew her as a caricature. This is the first video I watched to do research. It's Nancy interviewing Elizabeth Smart. Elizabeth gently lays into her for bringing up painful things from her past and Nancy dodges it pretty well...

And I thought. Yeah. That is her. She is a master and getting you right to that point where you might explode. Thats what I tried to do in the film. That and wear a LOT of leather.

More on Gone Girl. Missi returns tomorrow through Monday to talk Oscars, her favorite movie of all time, and life as a working actor. Don't miss it.

Meet the Contenders: Katherine Waterston "Inherent Vice"

Each weekend abstew profiles a just-opened Oscar contender whether they're sure things or longshots to keep us in the know. 

Katherine Waterston as Shasta Fay Hepworth in Inherent Vice
Best Supporting Actress

Born: Katherine Boyer Waterston was born March 3, 1980 in London, England. Her American parents were working in the country at the time.

The Role: Adapted from Thomas Pynchon's 2009 novel (and the first film version of the celebrated author's work), Oscar nominated writer/director Paul Thomas Anderson wrangles this twisty, drug-fueled haze of a story involving a weed-smoking, hippie, private detective named Doc Sportello (Joaquin Phoenix). The film's plot begins to unfold when Doc's ex-old lady, Shasta, shows up one night concerned about the safety of her wealthy, married boyfriend. Both Shasta and her paramour go missing and it's up to Doc to make sense of it all. [more...]

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