Screenplays of '12. Page 12. "Zero Dark Thirty"

New daily! I'll be sharing page 12 of every screenplay I've received for 2012 Films. With commentary!

The following scene stars Jason Clarke as "bad news" Daniel who has surprisingly not been getting much Supporting Actor buzz despite shooting off unmissable 'next big thing' vibes and Reda Kateb* as his tortured prisoner Ammar. I've drawn a little storyboard for you since the studio hasn't released any stills from this particular scene.  

INT. MAYA'S APARTMENT - ISLAMABAD

The loud WAILING of the early morning call to prayer from the loudspeakers of a nearby mosque wakes Maya on the couch.

CUT TO:

INT. BLACK SITE - AFTERNOON

Daniel and the guards enter Ammar's cel with Maya. Daniel switches on the floodlights, awakening Ammar.

                    DANIEL
Let's take it easy today, huh?

Daniel hands Ammar a bottle of orange juice and a bag of falalfel.

                    DANIEL (CONT'D)
Hungry? The food in here sucks so I
got you some of this.

* more scene and commentary after the jump...

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Beasts of the Precursor Wild

New Podcast ~ Part 2 of 2 
[Part 1 Here]
When we left off we were talking about the Globe Comedy and SAG Ensemble nods specifically and now the conversation continues. We turn to two films which could receive several nominations or none: The Master and Beasts of The Southern Wild and explore other Oscar mysteries too. [With Nathaniel, Nick, Katey, and Joe.]

Topics include:

• The Master and P.T. Anderson's shift from ensemble to two-man dramas
• Beasts of the Southern Wild, the outsider film
• Globe categorizations. Why wasn't The Sessions a comedy?
• Marion Cotillard is so Hollywood
• Screenplays, Original and Adapted
• Cinematography is neither Art Direction nor Visual Effects. Discuss
• Oscar Stats. Will Supporting Actor be the only acting lineup ever that goes in with all previous winners? 
• Screener piles. Are AMPAS voters more likely to watch The Paperboy or Compliance?

You can download the podcast on iTunes or listen right here at the bottom of the post. But, as always, the podcast isn't complete without you. Join in the conversation by commenting!

Beasts of the Precursor Wild

Life of Link

GQ John Smedley's Ian McLean has really good taste. Check out his shoutouts to Michael Fassbender and Cate Blanchett
Stale Popcorn Jean Valjean and Fantine strike a pose 
In Contention on the various screenplays that are ineligible for the WGA and can't therefore get the Oscar bump. As usual there are a lot of them rendering the WGA fairly ineffective as both a predictive precursor and as a competitive prize since it's dealing with so few of the year's movies!

Cinema Blend Alicia Vikander (A Royal Affair, Anna Karenina) is a starlet in demand now. Once you've seen both of those movies, you'll demand her too!
Jean-Pierre Jeunet shares his storyboards from Life of Pi back when Fox was considering him to direct it years and years ago. Interesting inside glimpse of filmmakers grappling with movies they didn't make.
NPR on the hunt for Bin Laden and the accuracy of Zero Dark Thirty. Was it really a woman at the center?

"I think it's a literary device. It's not inaccurate, but it's not wholly accurate," says writer Peter Bergen, who himself has spent many years tracking bin Laden. 

Movie|Line turns out that a very disturbing NC-17ish scene towards the end of Django Unchained (MILD SPOILER: Django is hung upside down completely naked and receives two malevolent visitors) was even more cruel in an earlier cut --  Samuel L Jackson says his character burned Foxx's nipples off.
Celebuzz celebrates the shortest male stars from Jason Statham to Daniel Radcliffe in an infographic
Fox Searchlight you can pretend you're an awards voter by downloading FYC booklets! 

The Lady or The Tiger: Ambiguity and Life of Pi

Michael C. here. I hope everyone has had a chance to see Ang Lee’s adaptation of Yann Martel’s Life of Pi. I’ve been dying to dive into spoiler territory since the film’s premiere at the New York Film Festival. 

If you haven’t seen the film I recommend you do. Lee has created a visually magnificent fable that transfers the book’s expansive imagination to the screen better than I thought possible. It’s a terrific return to form for Lee following the face plant that was Taking Woodstock. 

But then there’s that nagging problem of that ending. I’ve struggled with it in the book and now I struggle with it in the film. Try as I might, I just can’t get behind it. 

Detailed SPOILERS follow… 

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Remember Moonrise

Michael C here to make sure memory one of 2012's masterpieces isn't washed away in a flood of Oscar bait. 

The more I think about the final moments of Moonrise Kingdom the more it feels like the saddest thing I’ve seen at the movies all year.

At first glance it feels like the ending couldn’t be much happier. The young lovers are reunited, the storm has passed, and even if things aren’t perfect life is left in greater balance than when the story began. Yet on repeat viewings a nagging feeling of loss rises to the surface. Sam and Suzy are together but it’s not accidental that the last thing we see them do is say goodbye to each other. We first meet Suzy as a raven and now the soundtrack sings of birds flying away in the changing seasons. In film’s closing moments we see Suzy pause to acknowledge Sam’s painting of their beachfront camp. Their stolen adventure sits there, already frozen in the past.

This For Your Consideration reminder continues after the jump...

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