In celebration of the 30th anniversary of Film Independent's Spirit Awards, the 2015 edition of the awards show will be broadcast live for the first time in years.
The Independent Filmmaker Project officially fired the starting gun on the film awards season as always this morning with the announcement of this year's Gotham Awards nominees. Unsurprisingly, the most high-profile indie in the race — "Boyhood" — drew the most nominations with a whopping four mentions, including Best Feature. That's extremely high for the Gotham Awards and it sends IFC's campaign sailing into the season with a huge burst of wind.
Greg. P Russell and Scott Millan are masters of an art that can be difficult to appreciate. Great sound mixers take essential tracks — dialogue, score, and effects, all crafted and fighting for ear space — and meld them together to match, or enhance, the visuals on screen. In a film like “Transformers: Age of Extinction,” the balancing act is like a Philippe Petit tightrope walk, one rogue robo-BRAAM tipping the controlled chaos soundscape into cacophony. In a new installment of Variety’s Artisans series, senior VP Tim Grey talks to Russell and Millan about the fourth “Transformers” and Michael Bay’s increasingly difficult audio challenge.
Somehow I haven't gotten around to talking to legendary costume designer Albert Wolsky in my time, but "Birdman" presented the opportunity and here we are. With seven Oscar nominations and two wins, Wolsky is one of the titans, with a legacy on both stage and screen. Alejandro González Iñárritu's latest, then, was a fascinating project for him in that it bridged the gap between those two disciplines.
Legendary costume designer Albert Wolsky was tasked with outfitting Alejandro González Iñárritu's latest film, "Birdman." But perhaps the film's most stand-out piece of wardrobe ended up landing in a different industry realm: special effects.
Karel Reisz’s 1974 drama “The Gambler,” an autobiographical drama by James Toback, is a slow burn portrait of addiction. Every little bit literature professor Axel Freed (James Caan) makes on the Blackjack table, he sinks a few steps lower until he drowns in his melancholy reality. “Rise of the Planet of the Apes” director Rupert Wyatt’s remake, swinging into the Oscar race at the tail end of the year, has a bit more bounce, channeling the Scorsese crime drama spirit with Mark Wahlberg as its troubled keystone. A totally different movie — and an intriguing departure (with plenty of cussin’ so you know it means business).
YouTube is a procrastinator’s dream, a narcissist’s platform, an entertainer’s rocket, and a dumping ground for the mesmerizingly mundane. Snowballed together, it’s the perfect screenwriting tool, a breadth of humanity’s successes and failures available to stream. As Ruben Östlund pieced together “Force Majeure,” his new comedy and Sweden’s entry into the Best Foreign Film Oscar race, the writer-director turned to YouTube for doses of reality. If someone captured an event or action or pang of emotion on camera and uploaded to the Internet, then it happened in real life. And it could happen in “Force Majeure.”
The genial, Instagram-loving Sir Patrick Stewart isn’t the first actor one might think of for a “ murderous skinhead” part, but his cranium does come fit for the job.
Broad Green Pictures (BGP) announced late Tuesday that the “X-Men” and “Star Trek” actor has joined the cast of “Green Room,” the next thriller from “Blue Ruin” writer-director Jeremy Sauliner (there’s a pattern there, I just can’t put my finger on it…).
BEVERLY HILLS — It was time for a victory lap for last year's Best Actor Oscar winner Matthew McConaughey as the "Interstellar" star was honored by the American Cinematheque at the Beverly Hilton's famed International Ballroom Tuesday night. A roll call of the star's leading ladies was on hand to take part in the tribute, which closed with "Interstellar" director Christopher Nolan doing the honors of presenting the hardware.
Florence Foster Jenkins was the William Hung of the early 1900s. An objectively awful opera singer convinced of her own melodious quality, Jenkins concertized across New York City at her wealthy family’s expense. People couldn’t look away. Staging elaborate shows in opulent costumes, Jenkins sang Vivaldi and Strauss for audiences keeling over from disbelief. Her earnest brand of cacophony became so revered, she was invited to perform at Carnegie Hall in 1944, at the age of 76.
Sound like the makings for a biopic? Well, get ready for Meryl Streep as Florence Foster Jenkins.