Wednesday, March 20, 2019 at 11:34AM by Nathaniel R
After two absolutely hideous photoshopped posters (we can't even post them they're so ugly) we were beginning to worry about Quentin Tarantino's Manson-era Hollywood tale starring Leonardo DiCaprio and Brad Pitt (as a famous actor and his stunt double) and Margot Robbie as Roman Polanski's late wife Sharon Tate. But the teaser has restored hope...
Sunday, February 24, 2019 at 9:43AM A big thank you to Dancin Dan, Chris Feil, Eurocheese, and Ben Miller who shared favourite acceptance speeches with us as we got hyped up for Oscar. There are so many more speeches we could have highlighted if we have more time or a bigger team, but well wrap up th speech appreciation with something that seems totally appropriate for a number of reasons: Stanley Donen's Honorary Oscar acceptance speech for, and we'll quote the Oscars here:
in appreciation of a body of work marked by grace, elegance, wit and visual innovation.
The speech is a thing of complete and utter beauty and wit and gratitude and every time we see it we're reminded of how much Oscar night lost when it opted to no longer included the Honoraries on the broadcast. (Honestly we wouldn't mind half as much if they also televised those on a different night, but alas, they don't.)
As you may have heard cinema lost Donen this week at age 94. He was one of Hollywood's purest pleasure-makers, directing or co-directing musical classics like Singin' in the Rain, On the Town, Seven Brides for Seven Brothers, and Funny Face. But that's not all! He also made beloved non-musicals with Audrey Hepburn like Charade and Two for the Road among other films. Donen is survived by his also brilliant partner of the past 20 years, the actress/director Elaine May (who just completed a much-raved Broadway run in the play Waverly Gallery so you might see her at the Tonys this year) so our condolecences go out to her this week.
Saturday, February 23, 2019 at 11:10AM by Nathaniel R
Marielle Heller is, we suspect, a real deal cinematic treasure. Her debut film, the sexually charged, inventively imagined Diary of a Teenage Girl (2015) showed a ton of promise. Her second feature Can You Ever Forgive Me? (2018), while more modest at first glance, was yet more complex and successful.
We think she ought to have been one of the Best Director nominees with Oscar this year, which is why she's in our Film Bitch Awards Best Director lineup...
Thursday, February 14, 2019 at 12:20PM by Nathaniel R
Rachel with her BAFTAWhen we sat down with Rachel Weisz to discuss The Favourite, she was as intimidating as the Lady Sarah Marlborough. Not, we think, on purpose. Sometimes an actor so slays a role that, if you've never met them before and have a tendency to live for the movies, it's like looking straight into the character's eyes. Weisz, cool and measured, impeccably dressed, offered tea. Remembering Lady Sarah's own downfall, I chose water.
We'd both seen The Favourite just once at the time but were eager for round two. "I'm so glad you liked it," she cooed, if somewhat cooly. All business, and why not, ready for questions but not any question. Taking the hint I steered clear of the past though I couldn't resist a brief question about one early role (The Shape of Things), since it had been a rare chance and my first to ever see an actor do a role on stage and then watch them repeat it on film. She found it, "a bit hard, that particular one" citing the need for freshness and spontanity in filmmaking and "...we'd said the words so many times before." But we were there to discuss The Favourite, and spontaneity and freshness are in no short supply in that electric movie. She even shared how they managed to get them.
She hadn't yet been nominated when we spoke but the honors would soon, quite obviously, pile up including a BAFTA win for Best Supporting Actress and the Oscar nomination. Our interview, edited for length, follows:
NATHANIEL R: You've had such a strong handful of years now: The Deep Blue Sea, The Lobster, Disobedience, The Favourite. But you won an Oscar 14 years back or so and I wonder if at that point, before these recent peaks, you thought 'well, what now?'
RACHEL WEISZ: I mean, it’s a thing [The Oscar] that you never think will happen to you. I don’t really feel like I can rest on my laurels and it’s all over now. I just don’t feel like that. There’s so much to explore. Hopefully I get better at my job. I think the more work you do… well, for me, the more I've done, the more I’ve figured out what kind of work I want to do...
Friday, February 8, 2019 at 9:27AM by Ben Miller
Adam Driver (BlacKkKlansman) is the third actor Spike Lee has a directed to a nomination after Danny Aiello (Do the Right Thing) and Denzel Washington (Malcolm X)
With the upcoming Academy Awards celebrating their 91st year, the Oscars have plenty of history to obsess over. One of the less-discussed pieces of history is which directors have the most pull with the Academy's acting branch. Today's topic: directors who have guided multiple actors and actresses to nominations and/or wins.
With this season's nominations, directors Bradley Cooper (3), Yorgos Lanthimos (3), Peter Farrelly (2), and Marielle Heller (2) all join a group of directors who've guided multiple actors to Oscar nominations. In this season's crop of films Vice's Adam McKay (4), Roma's Alfonso Cuaron (3), If Beale Street's Barry Jenkins (3), BlacKkKlansman's Spike Lee (3), Bohemian Rhapsody's Bryan Singer (2) and At Eternity's Gate's Julian Schnabel (2) all add to their previous tallies since each had previously directed either one or two actors to a nomination.
In the 91 year history of the Academy Awards, 1757 performances were directed to an Oscar nomination. I tracked every single one of them to come up with these numbers. More notes after the jump...
