The above six-word statement is not one of my wish-upon-a-star fantasies. It’s a direct headline quote from the latest Movieline “Oscar Index” chart, presumably written by Stu Van Airsdale. I’m finally not the only guy standing against the headwind of sight-unseen War Horse praisings. If War Horse surges after it screens, fine. If it wins Best Picture, fine. But at least handicappers have stopped sipping the preliminary Kool-Aid, which is due in part to the sudden surge of Alexander Payne‘s The Descendants.
Carey Mulligan‘s sleek frosty-blonde look, seen at Monday night’s Hollywood Awards, is basically a Baz Luhrman creation as she’s currently playing Daisy Buchanan in Baz’s 3D version of The Great Gatsby. But she’s been looking fairly glammy for a while now, and I was struck this morning by the contrast between these two photos. The left-side shot was snapped by yours truly at Park City’s Egyptian Theatre in January 2009 just after the first screening of An Education; the other was taken the night before last.
Share your impressions by all means, but it seems as if the slightly overwhelmed, vaguely anxious 23 year-old I spoke to in Park City some 32 months ago is…well, we all grow up and become wise to the world, don’t we? It’s just that that this inevitable process has happened very quickly to Mulligan. I’m supposed to do a phoner with her tomorrow or the day after about her crazy-sister role in Shame and other current matters.
Tower Heist star Eddie Murphy has told an anonymous Rolling Stone writer that he didn’t angrily storm out of the 2007 Oscars after losing the Best Supporting Actor trophy to Alan Arkin. A Huffington Post account of the RS interview claims Murphy is saying that it’s “not so” that he left the Oscars. But it sounds to me like Murphy isn’t denying that he walked out — he’s saying he didn’t leave in a pissed-off mood.
If Murphy is claiming he didn’t actually leave the show then his driver, Karlo Ateinza , doesn’t share this recollection. Just after the 2007 Oscars L.A. Times columnist Joel Stein reported that he spent Oscar night hanging at the Hollywood Bowl parking lot with Ateinza and other top celebrity limo drivers, and that at 6:52 pm Karlo’s cellphone rang and he said the following after hanging up: “I have to go right now…I have to pick him up.”
Here‘s what Murphy has told Rolling Stone:
“Alan Arkin‘s performance in Little Miss Sunshine is Oscar-worthy, it’s a great performance. That’s just the way the shit went. He’s been gigging for years and years, the guy’s in his seventies. I totally understood and was totally cool. I wasn’t like, ‘What the fuck?’ Afterward, people were like, ‘He’s upset,’ and I’m like, ‘I wasn’t upset!’
“What happened was after I lost, I’m just chilling, and I was sitting next to Beyonce’s pops, and he leans over and grabs me and is like, [solemn voice] ‘There will be other times.’ And then you feel Spielberg on your shoulder going, ‘It’s all right, man.’ Then Clint Eastwood walks by: ‘Hey, guy… ‘ So I was like, ‘It’s not going to be this night!’ [Mimes getting up] I didn’t have sour grapes at all. That’s another reason I wanted to host the show…to show them that I’m down with it.”
So Murphy left the show early in a really positive mood, feeling great about Arkin’s triumph and just, you know, exuding alpha vibes about everything. Whoo-hoo, this is cool, good for Alan…I’m outta here!
The link to Stein’s story has disappeared off the L.A. Times website, but here’s how the story went:
“A perfect confirmation about Eddie Murphy having left the Kodak auditorium after he didn’t win the Best Supporting Actor Oscar has arrived by way of L.A. Times columnist Joel Stein, who spent last Sunday night hanging at the Hollywood Bowl parking lot with all the top celebrity limo drivers, one of them being Murphy’s driver, Karlo Ateinza, who’s been hauling Murphy around for the last seven years.
“Karlo wasn’t having a great night because Murphy lost early,” writes Stein. “I”m really sad. I feel sorry. He should have won it,’ Karlo said. ‘But Alan Arkin is good.’
“Karlo, who drives Murphy only when he isn’t needed by Keanu Reeves, Sandra Bullock or Colin Farrell (Reeves and Bullock both needed him last year, so they rode together), said he figured he’d be home by midnight. ‘He’s not a party animal,’ Karlo said. ‘Last night, he went to two parties, stayed for 45 minutes and went back home.’ After the Golden Globes, Murphy went straight home. Even though he won.
“Though he was worried about Murphy’s mood, Karlo tried to convince himself that the boss wouldn’t be ornery. ‘When he got the Golden Globe, he just put it in the car and he was the same Eddie Murphy. So maybe he won’t care.’
“Right then, at 6:52 p.m., long before Jennifer Hudson would win her Oscar, Karlo’s cellphone rang. ‘I have to go right now,’ he said. ‘I have to pick him up.'”
Here’s another story about the event.
Warner Bros. and the producers of the currently-filming The Dark Knight Rises have all earned major pussy points for deciding against filming a scene that would have used the Occupy Wall Street encampment in Manhattan’s Zuccotti Park as a backdrop. Because of this one presumably brief scene TDKR would have been more than just another corporate-money-grab-on-the-back-of-a-comic-book-franchise, but now it’s back to square one.
If director Chris Nolan was more of a man, he would have stood up to his producers and said “no, no…this is important…we have to shoot there.”
A Dark Knight Rises insider has told me that a Zuccotti Park shot was being planned for next week, but
Entertainment Weekly’s Aly Semigran reports as follows: “While Christopher Nolan will begin filming portions of The Dark Knight Rises in New York City over the span of the next two weeks, a Warner Bros., rep tells EW that there are no plans to shoot in Zuccotti Park, the home base for the OWS movement.
“After an open casting call for NYC extras for the project hit the web, rumors swirled that the project could be filming very close to, if not directly in, Zuccotti Park. Last week an anonymous source told the LA Times, ‘Cast members have been told the shoot could include scenes shot at the Occupy Wall Street protests’ and that Nolan could be using ‘the protests as a backdrop or a stand-in for something that already exists in the film,’ but that simply doesn’t seem to be the case.”
I can’t help being impressed by the visual qualities in this video from last night’s tear-gas police attack on Oakland Occupy-ers. It’s all “natural,” so to speak, and it looks like something lighted by Vittorio Storaro in Apocalypse Now. Politically and historically speaking, whatever happened to the basic First Amendment right to peaceably assemble?