|The Birdman screenwriters at the Oscars|
And that’s the problem. Critics, studio reps, and sales agents can only earmark so many festivals each year. Without the prestige of Cannes, bustling market of Berlin, caché of Venice, or discovery-factor of Sundance, you have always struggled to find a true identity. So you’ve opted for size and spectacle, becoming “the people’s festival” where the city’s diverse population stands in for the tastes of the world. But in that big, generic label, you’re getting lost in the shuffle—especially when so many other festivals are doing a better job of launching big films into the marketplace.
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One of the big takeaways from this season is that releasing an awards contender in mid- to late December — especially one that engenders controversy and debate, as did Christmas releases Sniper and Selma — is something to be avoided, at least as long as the major guilds insist on beginning their nomination voting periods in the first week of the month. Why? Because it causes a distributor to spend its entire campaign trying to dig itself out of a hole.
As he did with "Swoon," which focused on the same Leopold and Loeb murders that inspired Alfred Hitchcock's "Rope," Kalin took an irresistably [sic] lurid story and approached it with heady aesthetic distance. But where "Swoon" treated its subject with a dreamy remove, "Savage Grace" adopted a visual style that was more overtly naturalistic, the unfiltered light of Mediterranean villas contrasting pointedly with Redmayne's and especially Moore's stylized performances.
How the ranks were determined. Number of nominations determines general placement. Once that's established wins are most important. In the event that someone has the same exact stats in nominations and wins, the tiebreaker factor in rank is that lead counts more than supporting. If the tie stubbornly remains the tie is broken by endurance
But it’s also not that bad to be the underdog. Especially when you respect, admire and genuinely like your co-nominees. It’s still an honour to be nominated. I can forever write “CSA-nominated actress” on my Twitter account or résumé – or when I’m going through customs and have to write down my occupation and am suddenly struck with shame and fear when I scribble “actor”.
Last week we celebrated CanadianScreen Week. This included events from industry networking sessions to FanZone at the Eaton Centre. And then there are two industry galas where they hand out the majority of the 120+ awards. With over seven hours of handing out awards, the Oscars have nothing on us.
Long unavailable on home video formats due to legal tussles, "Chimes at Midnight" was found tucked among tens of thousands of pounds of film elements owned by Morowitz, who evidently had been sitting on the print for 20-plus years. "One thing is for sure and that is that the world wants a gorgeous and definitive release of Falstaff," he co-wrote on his blog with Bender. DCPs have floated around various retrospectives, and Bay Area cinephiles have caught a 16mm print of the film at the Pacific Film Archive.
Double Indemnity was trotted out as one of the catalysts for saucier 1980s neo-noir, eschewing creative verbal foreplay for the down and dirty deed. But no amount of sex can make up for how sexy Stanwyck and MacMurray are as they dance around each other with their cunning linguistics. MacMurray’s Walter Neff has obviously run into several bored housewives looking for a little male attention while their husband’s out, but he meets his match with Stanwyck’s Phyllis. She doesn’t give him an inch as he starts flirting with her.
But after re-running our best of the 00s series, we began to wonder: what were the very best of the films of the last five years? And so a weeks-long process of arguing began— at first, we narrowed down a long list of hundreds of films, then our final list of 50 (going by U.S. release year, which in some cases followed a 2009 release elsewhere, just so you know), which we’ve ranked by the highly unscientific process of shouting at each other until everyone was happy/equally miserable.
As most of the world watched the World Cup finals from the comfort of their homes, bars and restaurants in cities and towns across the globe, we should not forget the financial and social costs of creating this spectacle. Brazilians will be coping with the legacy of this event for years to come. While it’s easy to dismiss my experience as an unfortunate incident perpetrated by a handful of “bad apples,” we should take pause and consider the systemic context wherein the police are themselves victims of Brazil’s oppressive political system under global capitalism.
Watch Director Sam Mendes discuss #SPECTRE in new behind-the-scenes footage #BTS https://t.co/iUMdDlLc7w
— James Bond (@007) February 26, 2015