NEW YORK — It's fitting that Nora Ephron's swan song, the play "Lucky Guy," calls the Broadhurst Theatre on West 44th Street home. The venue, which has played host to productions of Agatha Christie's "Ten Little Indians," Neil Simon's "The Sunshine Boys," Peter Shaffer's "Amadeus" and Arthur Miller's "Death of a Salesman" over its century-long history, sits around the corner from the old New York Times Building that housed the operations of the Gray Lady for 94 years. And Ephron's play, while an account of the rise, fall and vindication of New York journalist Mike McAlary, is just as much a celebration of the profession the author, filmmaker and playwright once called her own.
Comedian Jerrod Carmichael hosted the 2013 South by Southwest (SXSW) Film Conference and Festival's jury and special awards ceremony tonight in Austin, Texas. Desin Daniel Cretton's "Short Term 12" and Ben Nabors's "William and the Windmill" took top honors in the narrative and documentary feature fields respectively.
Audience awards will be presented Saturday, March 16. The fest runs through Sunday, March 17.
Check out the full list of winners below.
A collective sigh may have been heard at many a viewing party a couple of weekends ago, when the Academy handed the Best Animated Feature Oscar to the conventional comforts of Pixar's "Brave" over the zappy multimedia invention of "Wreck-It Ralph," or the scrappy postmodernism of Tim Burton's "Frankenweenie." But it was easy enough to see what voters were going for: in a field thick with bristly new textures, the gentle, old-fashioned storytelling and comparative visual serenity of the Highland fairytale was that much more reassuring an option.
Not among the nominees, though it was on the category's shortlist, was "From Up on Poppy Hill" -- the latest from animation stalwarts Studio Ghibli. Only twice in the 12-year history of the animated feature Oscar has one of their films made the cut, yet Ghibli occupies a comparably elevated position to Pixar in the imaginations of animation enthusiasts. In an age where crude computer-animated money-grabbers are a dime a dozen, they're a trusted brand that stands for wholesome, attentive storytelling, meticulous artistry and genuine wonder.
When we laid out a slew of contenders for next year's Oscar season recently, we left off David O. Russell's currently untitled project revolving around the FBI's ABSCAM public corruption investigation of the 1970s and early 1980s. The reason was we weren't quite sure the film would make it out in time. Turns out, at least for now, that it will.
When Warner Bros' announced last year that they were shifting Baz Luhrmann's lavish 3D interpretation of "The Great Gatsby" from Christmas 2012 to an early summer release date, my first thought was that a Cannes date had to be on the cards. Then, when the film's US release date was nailed down as May 10, five days before the festival begins, I was both puzzled and doubtful: with US projects of that magnitude, Cannes tends to secure the world premiere.
Turns out I overthought things, and that my initial instinct was correct. "The Great Gatsby" has been selected as the curtain-raiser for this year's Cannes Film Festival, 12 years after Luhrmann's "Moulin Rouge!" performed the same duty.
MIAMI - Whether it's the brisk climes of his native Sweden or the lush comforts of rural New England, there are any number of landscapes one might associate more immediately with director Lasse Hallström than the balmy shores of Miami. Yet when I meet him, looking suitably relaxed in the retro-chic breakfast room of my hotel, he's quick to say it's not just Florida hospitality making him feel at home: Miami, or more specifically the Miami International Film Festival, is where the Oscar-nominated Swede, director of such films as “What's Eating Gilbert Grape,” “Chocolat” and “Salmon Fishing in the Yemen” believes his Hollywood career actually began.
Only last week, we listed Danny Boyle and Ewan McGregor as one of several actor-director teams we'd like to see reunited, with a prospective "Trainspotting" sequel the ideal outcome. Well, if Boyle himself is to be believed, it looks as if we've got our wish.
Speaking at the SXSW fest over the weekend, where Boyle unveiled some footage from his new thriller "Trance" -- already being press-screened, and due out in a couple of weeks -- the Oscar-winning director claimed that "Porno," the long-mooted follow-up to his hit 1996 junkie drama, is back on his agenda and set to roll in 2016.
Perhaps even more so than his last couple of films, Martin Scorsese's contributions to film preservation and education in recent years have marked him as one of the medium's greatest guardians. From his "A Personal Journey Through American Movies" to the cineaste evangelising of "Hugo," he's taken on the status of a vastly informed, infectiously enthusiastic film history professor -- sometimes those who can do indeed teach.
Scorsese's most heartfelt, engaged tributes tend to be of the American films of his youth, so you know to expect a treat from his lengthy Hollywood Reporter guest piece on John Ford's "The Searchers," in which he discusses both the film itself and Glenn Frankel's new book on it.
One of the films I'm most looking forward to this summer is "The Bling Ring" -- partly because I'm intrigued by the true-life story of teen burglars preying on celebrity homes in the Hollywood Hills, but mostly because Sofia Coppola is a filmmaker I'm still happy to follow anywhere.
I know a lot of viewers haven't been on board with her since "Lost in Translation," for which she won an Oscar almost 10 years ago, but I maintain that "Marie Antoinette" is a pretty rapturous remix of the historical biopic template, while the beguilingly low-key "Somewhere" was worthy of its much-questioned Golden Lion at Venice in 2010. Her privileged background and high-fashion aesthetic may make her an easy target, but she has yet to put a foot wrong in my book.
If you've been following Christopher Nolan's post-'Dark Knight' trilogy moves, then you know he has a lot going on. In addition to producing Zack Snyder's "Man of Steel" for Warner Bros., it has also been reported that he will be brought into the fold to help spearhead the DC Universe on film as the studio tries to figure out how to get a "Justice League" film off the ground and compete with Marvel's "The Avengers."
Meanwhile, he jumped on board "Interstellar," which was written by his brother Jonathan for Steven Spielberg to direct. But like so many Spielberg projects, it was back-burnered, and now with Nolan at the helm, merging one of his own ideas with his brother's ambitious project, "Intersteller" will be a blend and a new production entirely. Today, Paramount Pictures and Warner Bros. announced that it will be a co-production jointly distributed by the two entities. Paramount will handle domestic, Warner Bros. the surely more lucrative international.