Say What Winner

On the last Say What we featured this image of Jessica Chastain and Tom Hiddleston on the set of the new Guillermo del Toro thriller Crimson Peak and asked you to add dialogue.

The winner is... CAROLINE.

Think it's a bit awkward to be doing a Burton-Bonham-Depp biopic while they're still alive?"

Caroline wins her choice of banner theme for a week!

(Hopefully she'll choose one. "therealmike" never collected his prize last time)

Oscar Quandaries: Original OR Adapted?

The Screenplay categories were not always as fluid as they are now and once adhered to very strict rules about a script's prior existence. Now, they let you get away with a little fudging which started in force a dozen years ago when Gangs of New York and My Big Fat Greek Wedding, which had spent all of their pre-release hype talking about being adapted from [insert fabulous thing here] were suddenly "originals" through complicated explanations once awards season was in sway and it became clear that the original category was infinitely less competitive. Since then much has changed and now previously established characters is a thing everyone does to fight for adapted (when it suits them) and the lines are really blurry.

ADAPTED OR ORIGINAL. EITHER COULD HAPPEN...

So here are four plus movies that seem like they're balancing on a wire between original and adapted. Which way will they fall? 

Bruce Wagner's Maps to the Stars screenplay was a screenplay first, then it became a novel ("Dead Stars") when the movie plans fell through. It's now a screenplay again for a David Cronenberg movie. So if the movie picks up steam once it's released and not just as a curio given Julianne Moore's Cannes win, who knows? In ye olden times this would clearly be Adapted because the old hard line was once 'Previously Published or Produced Material'... but now I'm not sure.

Wes Anderson's Grand Budapest Hotel is "inspired by" the writings of Stefan Zweig ... which might mean adapted but "inspired by" is also the excuse Gangs of New York used to change its campaign from adapted to original. So I'm guessing this is up in the air until Fox Searchlight really starts campaigning (and they should).

Werner Herzog's Queen of the Desert is based on the life story of Gertrud Bell but so far there are no books credited on IMDb or in articles about the film. Several books have been written about her. Is this a Milk situation where it will claim "original" despite vast reams of information to draw from written by others? And if so, is there anything wrong with that? Perhaps we need a third screenplay category for true stories that are adapted from a wide variety of sources. Other True Story This Might Apply To: Pawn Sacrifice another film about chess prodigy Bobby Fischer)

Damien Chazelle's music drama Whiplash, which has been very well received in the festival circuit, seems like the type of indie that could make waves in Original Screenplay. Only problem is it's technically adapted. It's based on Chazelle's own short film of the same name. This same situation occurred last year with Short Term 12. To date I'm not aware of anyone who tried to argue that adapting yourself is not a thing -- even Nia Vardalos, when Greek Wedding changed course argued that she'd written her comedy hit as a screenplay first before adapting it into a play so therefore it was an original (Bruce Wagner could argue the same this year for Maps to the Stars if he wants).

Under the old clear rules of "previously published or produced" you couldn't get around this even if you absolutely wrote the thing as a screenplay first but for the past 12 years these categories are more fluid and I wouldn't put it past some savvy strategist to claim original and basically negate the hypothetical 'can you adapt your own movie into a new movie?' question when it comes to these categories. 

SCREENPLAY CHARTS

Cannes Diary Day 3: Mr Turner & Timbuktu

Diana Drumm is reporting from Cannes for The Film Experience on two new films that have won strong reviews.

Timothy Spall as Mr. Turner

Mr. Turner
Mike Leigh’s latest (and the current Palme d’Or frontrunner though we're only a few days into the festival) opens on a pastoral landscape of seemingly neverending fields. A windmill in the middle-ground and sunlight speckling through the vastness give hints of perspective. As the camera lingers, two women ease their way into frame and jolt the viewer into the 19th century. Chatting back and forth and carrying their errands’ loads, they breathe human life into the painterly image (lensed by Leigh's regular cinematographer, Oscar nominee Dick Pope). The camera follows this humble pair until it spots a graying stout figure staring off into the field and sketching near-furiously. Sticking out like a sore crooked-toothed thumb in this panorama, this is J.M.W. Turner (Timothy Spall), the controversial but influential British painter best remembered for his Romantic oil painting landscape and seascapes though he also worked in watercolor.

Spanning the final quarter decade of the artist's life, Mr. Turner eases through the artist’s autumn loves, losses and disappointments. The film opens with Turner leading the life of a discontented bachelor. His ex (Ruth Sheen who led Leigh's last, Another Year) and two daughters live elsewhere, though they call on him regularly enough to nag and harbinger guilt about his lack of involvement in their lives. His two main companions are his father (Paul Jesson), who acts as his studio assistant buying paints and hosting potential clients, and his housekeeper (Dorothy Atkinson), who he occasionally rogers from behind. Their relationship resembles a bizarrely reticent S&M relationship more than institutionalized employer-employee rape.  

More after the jump...

Click to read more ...

Cannes Diary Day 2: Or, How I'm Still Grappling With 'Grace of Monaco'

Diana Drumm is reporting for The Film Experience from Cannes

As you should know by now, thanks to mid-screening tweets, prompt reviews and Nathaniel being awesome as always, Grace of Monaco is bad. So bad that Cannes critics are being divided into indifference, dislike and rollicking hate. I, for one, fall into a fourth category, that of the now-jaded hopeful still grappling with how it all could have gone so horribly wrong. It’s from the director behind La Vie En Rose and... NICOLE KIDMAN. And I do mean grappling, I’ve barely eaten since that lovely sandwich or slept since nodding off on the Nice-Cannes commuter and my attempts at writing an actual review have gone the way of nonsensical jibberish with many ‘rather’s, ‘while’s and ‘thereby’s. Plus I’ve missed multiple opportunities to stow-away on champagne and celebrity-laden yachts. (Well, maybe not, but you get the gist – me, bedraggled by disappointment.) It could be the jet lag typing, but I wish I could go back to the before time, before I knew for certain that Grace of Monaco was a bad film. 

For weeks, I’ve been hushing naysayers, lah-lah-lahing the latest Weinstein cut rumors and ignoring the strawberry blonde Nicole Kidman as Grace press photos. With its synopsis reading like My Week with Marilyn meeting Evita for cucumber sandwiches to discuss an upcoming charity event and swap stories about who was handsier, Ari Onassis or Alfred Hitchcock, I kept telling myself that whether Grace was good or bad, it would be nice to see Grace Kelly’s story onscreen. I was wrong, so wrong. This isn’t to say that the film’s downright awful, or even amongst Cannes’ worst (Splitting Heirs, anyone?), but as someone with only love in her heart would say, it’s not that I’m angry, it’s that I’m hurt and disappointed. 

Princess Grace and Old Hollywood fairy tales after the jump...

Click to read more ...

Oscar Bait 2015 Alert: "Genius" With Kidman, Firth, and Law

Yes, dear concerned reader, I know I know. I'm supposed to be thinking about 2014 and who might be Oscar nominated 9 months from now. I'll get there. I will. But I can't let this latest dazzling dangling carrot of 2015 cinematic possibility pass without mention. Because a curious trend continues...

Thomas Wolfe, Aline Bernstein, and Max Perkins to be played by Law, Kidman, and Firth

We've already noted, with raised eyebrow, the shocking rapidity of Nicole Kidman and Colin Firth veritable obsession with working together. As previously mentioned they have THREE films together coming out this year. Add a fourth to the pipeline. They will co-star again in Genius which is based on the super acclaimed biography "Max Perkins: Editor Of Genius," by A Scott Berg.

The screenplay is by three time Oscar nominee John Logan (Gladiator, The Aviator, Hugo) and the cast is similarly Oscar-favored. Two time nominee Jude Law, Kidman's Cold Mountain "husband" (I will marry yoooo) has taken over the incredibly juicy role of the novelist Thomas Wolfe (which means a viable shot at a Supporting Actor trophy for Jude Law even though the best guess is that he's actually co-lead) which was once to be played by Michael Fassbender. Oscar winner Colin Firth headlines playing the influential book editor Max Perkins and Oscar winning Kidman plays Wolfe's lover, the multihyphenate writer/costume/set designer Aline Bernstein. The film takes place in the 1920s/1930s literary scene so stay tuned. Who will they cast as F. Scott Fitzgerald and Ernest Hemingway? Both of those legends also have major roles in the book.

The big obvious question mark here is budget (can it get the lush period treatment it deserves?) and Michael Grandage in the director's chair. This is the 52 year old stage director's first feature gig behind the camera though he's acted in front of it before. 

Wanna read the book?