May Carrie Fisher's Brilliance Be With You

Instant gratification takes too long."

Meryl Streep popularized that brilliant one-liner in the essential showbiz comedy Postcards from the Edge (1990) but the line pre-dates the film, having emerged from the actress/writer Carrie Fisher's sharp pen (or was it tongue?) some time earlier. The line is so good it ended up on t-shirts. Fisher's best lines in print (multiple books, my personal favorite being "Surrender the Pink") or on the screen (Postcards from the Edge plus much script-doctoring) often sound exactly like things she may have uttered spontaneously in real life first with that unmistakably frank, darting, and mischievous wit. The showbiz icon passed away this morning after a heart attack aboard a plane this past Friday but her work and her influence will live on.

The irony of her delicious and beloved quip above isn't hard to miss...

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Podcast: Manchester by the Sea & Reader Questions

Katey, Nick, Joe and Nathaniel answer reader questions and discuss the new Kenneth Lonergan weepie

Index (43 minutes)
00:01 Manchester by the Sea
12:30 Separating art from artists
24:00 Director nominations and Ruth Negga in Loving
26:28 Things you should see that won't be nominated
31:00 Almodóvar's Julieta which we'll discuss later
34:30 Nomination Announcement Memories
37:20 Did we see these movies or not? 
39:00 How did Nick, Nathaniel, Joe, and Katey meet?

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments. Next podcast: La La Land and Lion

Manchester by the Sea

Screenplay Shake Up Means New Predictions

We warned everyone to not "lock" up any screenplay predictions too early, especially when the provenance of a screenplay is confusing, and our warnings were not in vain. The Academy has rejected the campaigns of Loving and Moonlight as "Originals" and they have been moved to the "Adapted" category. Both had made no secret that they were inspired by other works, despite their Original campaigns. Loving is partially based on the documentary The Loving Story (2011) and Moonlight on an unproduced play (of sorts -- though now the playwright is saying it never was intended as a play... which makes the situation yet more confusing) called "In Moonlight Black Boys Look Blue". Regardless, the murkiness was enough for the Academy to cry foul on their preferred Original designations.  (If only the Academy's acting branch would play this kind of interference when obviously lead acting roles like Rooney Mara in Carol or Hugh Grant in Florence Foster Jenkins or dozens of others in recent years claimed "supporting" designation.)

Prior to this Academy ruling, the Original Screenplay competition looked enormously competitive with a nail-biting battle between Manchester by the Sea and Moonlight for the gold. Now both movies -- arguably the two biggest critical darlings of the year -- have a clearer shot at a win but it does make the competition for the other four nominations in each category more exciting and open. Both charts have been updated accordingly. Which screenplays do you think benefit from this ruling? 

Interview: Oscar-Winner Asghar Farhadi Returns with "The Salesman"

by Nathaniel R

Two award winners: Asghar Farhadi with his star Shahab Hosseni

Asghar Farhadi's fame is finally catching up to his talent. After his international breakthrough with A Separation (2011) which won the Oscar and the Globe Globe for Best Foreign Language Film and became a significant arthouse hit internationally, the Iranian auteur has had three other movies travel to cinemas abroad. The acclaimed About Elly (2009) found renewed life and finally a US release, and his two follow up pictures The Past (2013) and The Salesman (2016) both took home coveted acting prizes from Cannes.

The Salesman, which will begin its US release in January after an Oscar-qualifying week recently in Los Angeles, is Farhadi's fourth consecutive film to be chosen by Iran to represent the country at the Academy Awards. Like A Separation, it's a stunner which begins simply before a fraught incident sends out large ripples complicating the story and the characterizations. We talked to Farhadi about the pressure of representing Iran, his Oscar night journey, and his creative process. The interview is after the jump...

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Noirvember: L.A. Confidential (1997)

It's Noirvember. Here's Lynn Lee...

For a film set in the ’50s, L.A. Confidential (1997) looks and feels surprisingly contemporary.  Maybe it’s because so many of its themes still resonate today: police brutality (especially against racial minorities), broken Hollywood dreams, and the addictiveness of celebrity and power.  Maybe it’s because so much of the film is shot and lit in a more naturalistic, less stylized manner than your typical hardboiled crime movie, which makes the more obviously noir-ish sequences really pop by contrast.  But I think what distinguishes it most from its classic forbears is that it ends up being less memorable for its atmosphere or its plot twists than its character development of not one detective-protagonist but three, whose parallel narrative lines end up converging over the course of the film.

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