Oscarweb Round-up: The discreet charm of the writers' branch
Also: An early 'Extremely Close' reaction and a 'Deathly Hallows' duel
Could "Take Shelter," starring Jessica Chastain, find Oscar love in the indie-friendly writing race?
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Today's must-read piece comes from that most reliable source of must-read pieces, Mark Harris, who this time digs deep into the whats, hows and whys of Oscar's screenplay awards. As he so snappily puts it, the Academy's writers' branch has "much the same taste as Academy members overall -- only better." It's certainly the area where challenging indie and foreign-language films stand the greatest chance of recognition, and where sweeping juggernauts like "Avatar" (and to go further back in time, "The Sound of Music") are most likely to come a cropper. As the high-gloss prestige films fight for their attention, will the writers once more stick up for the likes of "Take Shelter" and "A Separation?" [Grantland]
Nathaniel Rogers gives me premature Christmas panic by predicting the Golden Globe musical/comedy nods. [The Film Experience]
Anne Thompson rounds up the scattered early reactions to the long-delayed "The Rum Diary." [Thompson on Hollywood]
Tim Robey on our exciting, if curiously scrambled, introduction this year to Jessica Chastain. [The Telegraph]
The Playlist's Gabe Toro tells Jeff Wells that "Extremely Loud and Incredibly Close" isn't half bad. [Hollywood Elsewhere]
You know what deserves awards recognition in the sound categories? "We Need To Talk About Kevin." Here's why. [Framescourer]
Because I know Potter-heads appreciate every bit of recognition, the "Deathly Hallows" twins are going head-to-head at the BAFTA Children's Awards. [BAFTA]
In a neat bit of thematic circularity, 1998 Best Picture champ "Shakespeare in Love" is heading to the London stage. [The Guardian]
The Academy won't reveal the number of Best Picture nominees before announcing them. Well, why would they? [Awards Daily]
Will Ferrell wins the Mark Twain Prize for American Humor. I've always thought of Twain and Ferrell as spiritual cousins. [New York Times]
2012-2013 OSCAR PREDICTIONS
Best Picture
Best Director
Best Actor
Best Actress
Best Supporting Actor
Best Supporting Actress
Best Adapted Screenplay
Best Original Screenplay
Best Cinematography
Best Costume Design
Best Film Editing
Best Makeup And Hairstyling
Best Original Score
Best Original Song
Best Production Design
Best Sound Editing
Best Sound Mixing
Best Visual Effects
Best Animated Feature Film
Best Documentary Feature
Best Foreign Language Film
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October 24, 2011 at 5:53PM EST Reply to CommentI really liked Harris' article, and it partly articulates the reason why I'm predicting things like A Separation and We Need To Talk About Kevin in the screenplay categories.
One thing he didn't touch upon as much was the actual art that goes into adapting something, and in the case of something rather than just how strong its screenplay is alone, which also goes into why I think writers will respond positively to Kevin (how Ramsay maintained the spirit of the book while completely abandoning its structure and any semblance of voiceover narration).
Guy Lodge I agree -- "Kevin" is an absolutely ingenious feat of adaptation, hollowing out the entire novel and rethinking the filling in visual and sonic terms. If that's not what adapted screenplay awards are for, I don't know what is. Sadly, I fear many won't see things our way.
October 24, 2011 at 6:40PM ESTDaniel Nava If there's just ONE category to give "Kevin" notice, it's probably Best Sound Mixing for the opening scene alone
October 24, 2011 at 8:55PM ESTJack I didn't even realize when I left the comment that Guy put up a link also pointing out Kevin's sound work...also very under appreciated at this point, and even less likely than screenplay. :(
October 24, 2011 at 9:46PM ESTJCS
October 24, 2011 at 6:23PM EST Reply to CommentNot really anywhere else, but congrats on your new gig, Guy. Variety scored a boffo critic... yeah, this Varietese is going to take a while to get used to!
Guy Lodge Thanks very much. For those who don't know what JCS is referring to, I've joined Variety as a freelance critic -- but don't worry, my work here will carry on uninterrupted.
October 24, 2011 at 6:42PM ESTred_wine Congrats Guy! Do link some of your Variety Reviews here when you have written them.
October 25, 2011 at 1:25AM ESTLaura Stewart
October 24, 2011 at 6:46PM EST Reply to CommentI really wanted to like The Rum Diary, but alas, it just didn't live up to its potential.
Oh and hey congrats on your new gig Guy!
Anonymous
October 24, 2011 at 7:12PM EST Reply to CommentThe adaptation award must be the most random of all. How many voters do you think carefully compare the original source material with the screenplay to evaluate the precise contributions made by the adapter? The vast majority, I suspect, simply vote for the film they thought had the best script -- oblivious to the fact that the literary-cinematic impact they want to laud was provided by the original source author, not the adapter.
Lucky Well, I believe that's not what the award stands for. Although I do think that's important, I simply think that "Best Adapted Screenplay" means "Best Screenplay which happens to be adapted", not "Best Adaptation". They should be only judging the final script.
October 25, 2011 at 2:38AM ESTsfasfsf Actually, Lucky brings up an interesting point there. Which is it, "Best Screenplay which happens to be adapted" or the "Best Adaptation"?
October 25, 2011 at 11:55AM ESTSometimes I wonder if it's really the latter.
Anonymous The name of the award has changed over time. Now I believe it is called "Outstanding Achievement in Writing -- Original [or Adapted] Screenplay." It appears pretty clearly to be intended to focus on the actual writing done by the screenwriter (the adapter in the case of adaptations).
October 25, 2011 at 2:14PM ESTI'm just suggesting that, when voting on such an award, it would be appropriate to do something that very few voters probably do -- figure out and evaluate what the adapter actually contributed. A great screenplay may be based on splendid source material that already contains the literary elements (concept, scope, characters, originality, dialogue, juxtaposition of events, irony, humor, etc.) that make the screenplay great. In such a case, the adapter's actual work may have contributed relatively little to the work's distinguished qualities -- and thus be less worthy of an award for outstanding writing. On the other hand, a great screenplay may be based on material that is quite difficult to cinema-tize (very lengthy, obscure, abstract, complex, non-visual, non-"dramatic," etc.). In such a case, the adapter's work probably represents immense skill and effort -- thus making it more award-worthy.
In any event, it seems impossible to make a legitimate choice in the adaptation category without knowing what was contributed by the original source author and what was contributed by the adapter. (There have been famous cases of adapters being nominated even though the finished screenplay was largely identical to the original source material. Controversy ensued for obvious reasons.)
tintin
October 25, 2011 at 2:15AM EST Reply to CommentOff topic: Did you see In the land of blood and honey? I would like to read a review, the trailer was amazing! Thanks!
Rashad
October 25, 2011 at 5:49AM EST Reply to CommentGuy, could Tintin get a screenplay nomination?
Guy Lodge Not that there's anything really wrong with the screenplay, but no way.
October 25, 2011 at 7:07AM EST