One of the reasons I get more bothered than some over the admittedly nebulous issue of so-called category fraud is that for every Christoph Waltz or Helen Hunt who gets slotted into the supporting race for a major role, it's harder for lesser-known actors who stand out in far smaller parts to get the recognition they deserve. If Hunt is supporting in "The Sessions," for example, then what is the superb Moon Bloodgood? So I'm glad Lisa Rosen has written this LA Times piece celebrating a number of uncelebrated faces from assorted awards contenders, including Bloodgood, Sheila Vand in "Argo" (not included in SAG's ensemble listing, by the way) and Gina Montana in "Beasts of the Southern Wild." I'd add Jesse Plemons in "The Master" and Corinne Masiero in "Rust and Bone," among others. What lesser-spotted supporting stars stood out to you? [LA Times]
Believe it or not, there's a bit of an Oscar angle to today's big game. This year's Super Bowl pits the San Francisco 49ers against the Baltimore Ravens, and on the offensive line of the latter, defending Joe Flacco's blind side throughout the game, will be Michael Oher, subject of the 2009 Oscar-winning film "The Blind Side."
The film came on strong at the end of the year that season, crossing $250 million at the domestic box office and landing a surprising Best Picture nomination in the first year that allowed 10 nominees. It also quickly became Sandra Bullock's victory march as the actress charged on through Oscar night to the Best Actress prize for her portrayal of Leigh Anne Tuohy, the Memphis socialite who took Oher in when he had nowhere to turn.
The Tuohys, of course, will be attending the big game in New Orleans this year. Not only that, but Bullock, who has kept in touch with the family ever since her experience working on the film, will be there as well, rooting for the purple and black.
Check off one more box on the "Argo" industry tour of awards season goodies. The Directors Guild of America (DGA) has crowned Ben Affleck with the award for Outstanding Directorial Achievement in Feature Film, this just a week removed from big wins from the Producers and Screen Actors Guilds. Is it really clear sailing to a Best Picture win at the Oscars from here? Or will the fact that Academy members won't even have ballots in hand until Friday mean there's too much time for "them" to second guess the guild circuit?
This year's Annie Awards did a nice job of spreading out the wealth. "Brave," "ParaNorman" and "Rise of the Guardians" all won multiple prizes. Indeed, the one film that seemed snubbed throughout was Tim Burton's "Frankenweenie." But it was "Wreck-It Ralph" that ended up with the most prizes (five), including the award for Best Animated Feature.
Elsewhere, "The Avengers" and "Life of Pi" predictably won awards in the live action races, while both "Head Over Heels" (student film) and "Paperman" (short subject) were recognized as well. On the latter, that certainly does little to clear up their odds of picking up the Best Animated Short Oscar. But more on those when we profile the category in the Oscar Guide next week.
Check out the full list of film winners below, and as always, keep up with all the ups and downs of the 2012-2013 film awards season via The Circuit.
And stick around. There are two other awards shows going on as you read, with more winners to come. Crazy day for the season.
Just a note that last week's examination of the Best Documentary Short Subject category indeed represented the beginning of this year's Oscar Guide, our annual analysis of each category's nominees with an eye toward guessing the outcome of the Academy Awards. As always, it's possible that we could go back to earlier installments and update this or that prediction, which we'll make note of, but Monday the daily stuff starts in earnest. We'll have at least one per day, sometimes two. So check back for that then.
I suppose it's a bit of a surprise that the George Lucas-produced "Red Tails" beat out some stiff Oscar competition in Benh Zeitlin's "Beasts of the Southern Wild," Quentin Tarantino's "Django Unchained" and Robert Zemeckis's "Flight," so there it is. But the wealth was spread, as Benh Zeitlin, Denzel Washington, Samuel L. Jackson and Kerry Washington all received prizes. In fact, Washington won three awards on the night, taking Best Actress in a Drama Series ("Scandal") and the President's Award for public service in addition to her supporting prize for "Django." Check out the full list of motion picture winners below, and as always, keep track of the season via The Circuit.
Welcome to Oscar Talk.
In case you're new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar's stage and we're here to address it all as it unfolds.
The shortlisting and ensuing "bakeoff" that results in the Oscar nominees for Best Visual Effects is a notably imperfect process -- all the more so when the Academy compressed its voting calendar by a couple of weeks. David S. Cohen looks into this year's race, and finds that "The Hobbit" made the Academy's 10-film shortlist despite the fact that most of the VFX committee hadn't seen it by November 28, the day they met to draw up the list. Chairman Craig Barron describes the sight-unseen inclusion as a no-brainer, but other members were less happy: "One interest is concerned with having an awards process that is conducted as promptly as possible, and that of course has to vie with the interest that is mainly preoccupied with ensuring the process maintains its integrity," says Jonathan Erland. "It's self-evident that there's a problem." What do you think? [Variety]
To say that comedies find difficulty being nominated for Best Film Editing would be quite the understatement. So the nomination of Jay Cassidy and Crispin Struthers for David O. Russell’s “Silver Linings Playbook” is a testament to the esteem in which their colleagues hold them and their film.
The editing of "Silver Linings Playbook" is not as showy as some of the work from the duo's fellow nominees, such as “Argo" or "Zero Dark Thirty,” but they never felt the need to be excessively flashy with their craft. “The first obligation is to tell the story,” Cassidy says. “We have to just to go with the material and tell the story as [director] David [O. Russell] has conceived it.”
But there were still challenges. In particular, Cassidy notes the difficulty in balancing the comic and serious tones of the film. Even so, they knew what they were getting into. “The bipolar shifting back and forth was in the script," he says. "That part of the road map was very clearly articulated by David before we got involved.”