With ballots in Academy members hands as of yesterday, the great settling is off and running. Various critics groups and top 10 lists have narrowed the pile enough that voters have a pretty good idea of the landscape in each category. More than that, "frontrunners" have staked their claim on the race, leaving precious little space for dark horses to maneuver.
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When you're winning, you're winning. Daniel Day-Lewis hasn't missed a stop on the awards circuit so far this season, and the Santa Barbara International Film Festival wasn't about to be the first. It was announced today that the two-time Oscar champ will receive one of the festival's loftiest honors, the Montecito Award, both in recognition of his work in "Lincoln" and his career as a whole.
The award, which will be presented to Day-Lewis at a tribute evening on January 26, recognizes "a performer who has given a series of classic and standout performances throughout his/her career," and has been presented to Annette Bening, Naomi Watts, Javier Bardem, Kate Winslet, Julianne Moore and Geoffrey Rush since its instatement in 2005. I don't think many would deny that Day-Lewis meets the criteria.
Music video shoots are often fraught with drama, but rarely so much so as Imagine Dragons’ shoot for “Radioactive.” While the Las Vegas rock band was filming the clip in New York, the quartet came face to face with Superstorm Sandy.
In this exclusive behind-the-scenes footage below, lead singer Dan Reynolds talks about how the wacky concept for the video came about. As you know, the music video, which came out last week, features stuffed animals and puppets fighting it out in a “puppet octagon.” The losers who survive are sent to a prison, where the members of the band are being held. The clip also stars Lou “Diamond” Phillips as the evil overlord and Alexandra Daddario as a force for good. Director James Larese calls it “‘Fight Club for puppets.’”
Not only do the band members, Daddario and Phillips talk about making the clip in this exclusive footage, the victorious Pink Bear, whom Phillips refers to as “The Jackie Chan of the bear world,” also does his share of interviewing. Turns out shooting lasers out of his eyes isn’t his only talent.
About half-way through the the shoot, Sandy closed production down and after being evacuated, the band hightailed it to London to complete the shoot. Appropriately, the band realizes its trials are nothing in the grand scheme of things. “We all got stuck [In New York] for a few days, but we made it out with our health, so we count ourselves as lucky for that,” Reynolds says.
“Radioactive,” the band’s follow up to its breakthrough hit, “It’s Time,” is No. 8 with a bullet on Billboard’s Rock Songs chart. The group’s new album, “Night Visions,” bowed at No. 2 on the Billboard Hot 100 in September. The band will embark on its first headlining tour this spring. For more tour info, go here.
NEW YORK -- As the stage lights dim at the Walter Kerr Theatre, signaling an act break for "The Heiress," actress Jessica Chastain gets up off the floor and exits stage left. She sniffles back the tears she effortlessly manifested for the previous scene, preparing for the next act. Her character, Catherine, is frail, emotional, precious, and at the end of this act, burdened by the unloving eye of her father and twisted-up passion for a would-be beau. One can't help but think, "Maya would never be in this position."
Maya is Chastain's character in Kathryn Bigelow's "Zero Dark Thirty," a dense and principled account of the hunt for Osama bin Laden. She's driven, single-minded, seemingly without emotion, save for the tears she can finally shed when her mission is over. It's a fascinating foil to Catherine, who spends the entirety of "The Heiress" moving to a place of rigid, emotionless resolve. And so while on the stage Chastain is performing a fragile character's journey of clenching up, strengthening and hardening, on the screen she's performing a hardened character's journey of releasing, letting go and softening.
Dido has a voice that seems to float ethereally above the notes. It works best when it’s tethered to the ground by an opposing vocals such as on Eminem’s “Stan,” which used her song “Thank You.” *
Here, on Dido’s new song “Let Us Move On,” Kendrick Lamar’s gruff rap fills that role.
[More after the jump...]
It was strange being in New York this weekend doing back to back to back junkets and talking about fictional bloodbaths and violence while everyone at the event was also trying to absorb the real-life news about Newtown and the elementary school shootings. And I'll be clear… it wasn't uncomfortable because I think there is a correlation between violence in art and violence in real life. I don't. It was uncomfortable because we were all processing something real, and that makes it hard to be invested in the pretend.
I've chatted with Christoph Waltz a few times now, and I think he's a really sharp, well-spoken performer who doesn't really like digging too deep into his own process or going over projects other than the one that he's currently discussing. I think he had a long professional career before "Inglourious Basterds," and he got used to doing things a certain way, and just because more people are paying attention to the work on an international scale, that doesn't mean Waltz has any obligation to change the way he works.
"Zero Dark Thirty" remains on top of the critics awards haul today with another Best Picture nod, this time from the Austin Film Critics Association. Oddly, though, the film won nothing else. "The Master" seemed to be more of a favorite, taking Best Director, Best Actor and Best Cinematography. Check out the full list of winners below and, well, you know -- The Circuit.
After sitting idly by and watching films like "Zero Dark Thirty" and "Argo" reap most of the critics' Best Picture awards, Steven Spielberg's "Lincoln" finally has one of its own, from the Dallas-Ft. Worth Film Critics Association. The film won Best Actor, Best Supporting Actor and Best Supporting Actress in addition to Best Picture, but fell to Kathryn Bigelow in the Best Director category. Check out the full list (ranked through runners-up) below, and keep track of the season via The Circuit.
The Florida Film Critics Circle has joined a recent build for Ben Affleck's "Argo" in the critics awards circuit, handing the film Best Picture, Best Director and Best Adapted Screenplay honors. Daniel Day-Lewis and Jessica Chastain added to their lead actor and actress haul, while Philip Seymour Hoffman and Anne Hathaway were singled out in the supporting ranks. Check out the full list of winners below, and keep track of the season via The Circuit.
The London Film Critics' Circle joined their American counterparts today in announcing their nominations, and I think they did rather a good job. Then again, I would say that: I'm one of the voters. And it's pretty clear which films we responded to most as a collective: Paul Thomas Anderson's "The Master" and Michael Haneke's "Amour" handily lead the field with seven nominations each, including a trio of acting nods apiece.
A number of US critics' favorites, however, fell short: "Lincoln" was confined to the acting categories alone, while "Zero Dark Thirty" managed nods for Best Director, Screenplay and Actress, but just missed out in the Film of the Year category, which was filled out with "Argo," "Beasts of the Southern Wild" and "Life of Pi." (It's perhaps coincidental but nonetheless interesting that both are dramas centered very much on US political concerns -- are Brits simply less invested? It'll be interesting to see how BAFTA respond.)
A review of last night's "How I Met Your Mother" coming up just as soon as I have dance-based revenge fantasies...