No one needs awards coverage this deep
'It’s the richest and best creative relationship I’ve ever had.'
Filmmaker/editor relationships may not have the iconic status of relationships between directors and certain actors or producers or even cinematographers, but there are exceptions to this. For instance, no one has been as integral to Martin Scorsese's career as Thelma Schoonmaker. Much of Steven Spielberg's work has been shaped by the great Michael Kahn.
Usually these sorts of collaborations are marked by something special at the core of the relationship, and over the past decade, a similar one has begun to blossom in this light: Paul Greengrass and Christopher Rouse. Rouse has worked on nearly all of Greengrass' films, dating back to 2004's "The Bourne Supremacy," and even though their collaborations number just five, to think of one artist without the other is now a bit difficult.
Will this end anytime soon?
To say this awards season has not gone as expected is something of an understatement. No one could have anticipated that perhaps the closest best picture race this century would be overshadowed by twenty one year-old allegations surrounding Woody Allen and his adoptive daughter Dylan Farrow. After almost two decades of silence, a series of tweets during the Golden Globes from Mia Farrow, Dylan's adoptive mother, and her brother, Ronan Farrow, has snowballed into a dramatic series of statements that has once again dragged these unproven allegations into something of a public spectacle.
Also: Channing Tatum's Team Oscar, and clothing 'The Grandmaster'
Not everyone was expecting "Captain Phillips" writer Billy Ray to take the WGA Award last weekend -- though Kris, I believe, called it. Anyway, it seems to have been a popular win, and while he seems unlikely to repeat that triumph on Oscar night, it's nice to see one of the season's most formidable also-ran films get a moment in the sun. Ray himself has now written a good piece about his experience of writing the film -- in which he refuses to claim much credit: "I like the feeling I get when I'm working on a true story — a sense of authenticity, that I'm really reporting and not just writing ... [Phillips], like the movie itself, is real and unvarnished, imperfect but thoroughly human. I always felt there was a real nobility in that; my job was simply to capture it. In that sense, it's really Captain Phillips who wrote this movie — I just wrote it down." [LA Times]
The director and actor received Santa Barbara's Cinema Vanguard Award Thursday
SANTA BARBARA, Calif. — Martin Scorsese and Leonardo DiCaprio hit the stage at the Arlington Theatre Thursday night as co-recipients of the Santa Barbara International Film Festival's Cinema Vanguard Award. A two-hour discussion, moderated by The Hollywood Reporter's Todd McCarthy, covered all bases of their 12-year pas de deux, including, of course, their introduction to each other's work.
The balance between sincerity and sentiment
The unexpected love thrown to "Dallas Buyers Club" by the Academy was on of the best surprises when the Oscar nominations were announced last month. The film's 6 nods are a testament to the moving direction of Jean-Marc Valle (he earned an editing nod), the smart script by Craig Borten and Melisa Wallack and, obviously, the career best performances from stars Matthew McConaughey, Jared Leto, Jennifer Garner and other unheralded members of the film's ensemble. McConaughey and Leto are the frontrunners in the best actor and best supporting actor categories respectively and have deservedly swept the equivalent Golden Globe and SAG Awards honors.
It may be the best thing Ralph Fiennes has ever done
It's taken five weeks, but 2014 finally has a great movie on its hands. No, it's not "Boyhood," any other selection from the Sundance Film Festival last month or Lars Von Trier's slightly overrated "Nymphomaniac." It's Wes Anderson's "Grand Budapest Hotel." That's no disrespect to Richard Linklater's buzzed drama, it's no doubt great. "Grand Budapest" is very different from "Boyhoood" or any other film that screened in Park City. Simply, Anderson's latest is an example of an auteur at the peak of his cinematic powers.
Ralph Fiennes is wonderful in dizzy but unexpectedly touching caper
BERLIN - At no point in its fleet runtime does anyone break into an actual dance routine -- and honestly, someone probably should -- yet the average Busby Berkeley musical barely contains as much regimented choreography as Wes Anderson's dizzy, chintzy and improbably touching "The Grand Budapest Hotel." Cast members don't walk; they glide, skip and occasionally pop into the frame as if released by a lever. The camera doesn't pan or track; it whirls and soars. The mise-en-scene is pulled into shape via an intricate operation of cogs and pulleys -- some of them visible. All moving parts -- cars, trains, bobsleds, even actors -- run like artisan-built clockwork toys.
Also: Perils of talking movies on Twitter, and is 'Labor Day' a victim of 'urban critics?'
Last I heard, Pope Francis is not an Academy voter, though at a time in the season where every headline opportunity counts, an appointment with him can't hurt. Oscar-nominated "Philomena" star/writer Steve Coogan and the film's real-life subject, Philomena Lee, met with His Holiness yesterday -- obviously not to promote the film (though there are reports of a screening being scheduled at the Vatican), but to campaign for the release of 60,000 adoption files held by the state and Church in Ireland. Lee says, "As the film portrays, I have always put great faith in the church and the good will to put the wrongs of the past right. I hope and believe that his Holiness Pope Francis joins me in the fight to help the thousands of mothers and children who need closure on their own stories." [BBC News]
The Montecito resident picks up SBIFF's Montecito Award
SANTA BARBARA, Calif. — After dancing across the stage at the Arlington Theatre to start a two-hour salute to her work on the big screen, Oprah Winfrey sat down across from moderator John Horn of the LA Times and made it clear from the outset that she was under "no illusion" about her "body of work," as she playfully referred to her scant work as a film actress throughout the evening. "God bless the editor who put that together," she said of the typical introductory clip package that kicked off the Montecito Award tribute off.
'It's a great adventure today to be a working cinematographer.'
Wong Kar-wai's "The Grandmaster" is just the latest stylish entry in the filmography of a revered auteur. Yet remarkably, none of his films had been nominated for the Oscar for Best Cinematography until two weeks ago when his latest broke that unusual streak with a nomination for Philippe Le Sourd.