Among the just-announced Sundance ’21 awards: (a) US Dramatic Audience Award: Coda (d: Sian Heder); (b) Special Jury Award for Best Ensemble: Coda; (c) Directing Award: Sian Heder, Coda; (d) Grand Jury Prize: Coda (d: Sian Heder)
Variety‘s Steven Gaydos: “Congrats to Variety Director to Watch Sian Heder!”
Hollywood Elsewhere: “All hail Sian Heder!”
Even Ethan Hawke, author of “A Bright Ray of Darkness”, is concerned about Khmer Rouge terror. So I guess it’s not just me and my paranoid imaginings…whadaya think?
I was friendly with Julia Phillips starting around ’94 or thereabouts. Friendly in a certain sense, I mean. I loved her caustic wit and candor and big blue eyes, but I didn’t much care for Julia discharging me from time to time, depending on whatever shortcoming I’d been accused of (or was admittedly guilty of).
I’ve never written this or even admitted it privately but the first stage of our relationship was about Julia having a certain romantic interest and my not being as receptive as she would’ve preferred. Okay, not receptive at all. That resulted in all kinds of bile and battery acid. I tried to be cool and mellow and easy about it, but rejection is rejection.
We gradually became friendly on a mutually respectful palsy-walsy basis. I gave her a lot of notes about her 1995 novel, Driving Under The Affluence, which was more or less a sequel to You’ll Never Eat Lunch In This Town Again (’91). We were reasonably good friends for a couple of years (she was living in a cool Benedict Canyon bungalow at the time), and then we were friendly off and on until…oh, roughly a year before she passed in ’02.
I remember her telling me over the phone one day that she’d been diagnosed with terminal cancer, and my not knowing what to say or feel…I tried weeping but it didn’t come. I was stunned. I’d never known anyone who’d been handed a death sentence.
Julia passed on January 1, 2002. I attended her memorial on the roof of the Empire West condos (1100 Alta Loma Road) and found out that she’d occasionally “fired” other friends from time to time, so I felt a little better in retrospect.
Julia’s hair was dark and smooth and tomboy-ish when The Sting won the Best Picture Oscar in the spring of ’74. Her hair was silvery and glistening and closely cropped when I knew her.
Vogue has published a big cover story and photo spread about Angelina Jolie and her six kids living in their big century-old home (formerly owned by Cecil B. DeMille) in Los Feliz.** Jolie’s sit-down with Vogue editor Edward Enninful actually happened three months ago. Long lead times, etc.
At one point Jolie is asked if she’s “at a happy stage in your life.” First of all, nobody is in a happy stage right now…nobody. Not with a gray pandemic cloud hanging over everything. But that aside….
Jolie: “I don’t know. [Translation: No.] The past few years have been pretty hard. I’ve been focusing on healing our family. It’s slowly coming back, like the ice melting and the blood returning to my body. But I’m not there. I’m not there yet. But I hope to be. I’m planning on it.”
After frolicking, cohabiting, birthing and adopting for several years Jolie and Brad Pitt got married in 2014. She filed for divorce in 2016. They’ve been arguing about custody arrangements and whatnot for four and a half, going on five years. Anyone who can’t settle up and come to some kind of equitable arrangement with an ex-husband or ex-wife is not a stable, centered, fair-minded person. Not by my understanding of the term. And you know who pays the price when mommy and daddy fight? The kids do. Any parent who’d rather win the fight against an ex than make things cool for the kids is an ego monster.
It’s always been my suspicion that Angie is the neurotic hard case and that Brad is the comme ci comme ca cool cat. But what do I know?
** Tatiana and I visited and took snaps in August 2018.
Here are Hollywood Elsewhere’s suggested nominations for the 26th annual Critics Choice Awards. All nominating ballots are due no later than 6 pm Pacific on Friday, February 5th. The awards telecast (CW Network) will happen on Sunday, 3.7.21. Taye Diggs will once again host. Film and television awards will be covered.
I decided upon these nominees because they struck me as the best efforts in their respective categories. I don’t judge creative efforts in a political light. Or because this or that artist has never won before. Or because someone’s life came to a sudden and tragic end. You vote for the work, period.
I wish the CCA organizers had asked for five nominees in the major acting categories, instead of just three. For the Best Supporting Actress category, I could and would have included Candice Bergen‘s performance in Steven Soderbergh‘s Let Them All Talk.
BEST PICTURE
1. Nomadland
2. Judas and the Black Messiah (excellent ’70s Lumet film, great LaKeith Stanfield performance)
3. The Trial of the Chicago 7
4. The King of Staten Island
5. The Father
BEST ACTOR
1. Anthony Hopkins, The Father
2. Riz Ahmed, Sound of Metal
3. LaKeith Stanfield, Judas and the Black Messiah
BEST ACTRESS
1. Carey Mulligan, Promising Young Woman
2. Andra Day, United States vs. Billie Holiday
3. Michelle Pfeiffer, French Exit
BEST SUPPORTING ACTOR
1. Sacha Baron Cohen, Trial of the Chicago 7
2. Paul Raci, Sound of Metal
3. Frank Langella, Trial of the Chicago 7
BEST SUPPORTING ACTRESS
1. Amanda Seyfried, Mank
2. Olivia Colman, The Father
3. Ellen Burstyn, Pieces of a Woman
BEST YOUNG ACTOR/ACTRESS (Under 21)
1. Idrahima Gueye, The Life Ahead
2. Helena Zengel, News of the World
3. Drawing a blank
BEST ACTING ENSEMBLE
1. Trial of the Chicago 7
2. King of Staten Island
2. Ma Rainey’s Black Bottom
BEST DIRECTING
1. Chloe Zhao, Nomadland
2. Emerald Fennell, Promising Young Woman
3. Aaron Sorkin, Trial of the Chicago 7
BEST SCREENWRITING (Original Screenplay)
1. The King of Staten Island
2. The Trial of Chicago 7
3. Sound of Metal
BEST SCREENWRITING (Adapted Screenplay)
1. The Father
2. I’m Thinking of Ending Things
3. French Exit
BEST CINEMATOGRAPHY
1. Mank
2. Tenet
3. Nomadland
BEST PRODUCTION DESIGN
1. Mank
2. News of the World
3. Midnight Sky
BEST EDITING
1. Trial of the Chicago 7
2. Nomadland
3. The Father
BEST COSTUME DESIGN
1. Ma Rainey’s Black Bottom
2. Mank
3. United States vs. Billie Holiday
BEST HAIR & MAKEUP
1. Ma Rainey’s Black Bottom
2. United States vs. Billie Holiday
3. Promising Young Woman
BEST VISUAL EFFECTS
1. Tenet
2. Greyhound
3. Midnight Sky
BEST COMEDY
1. King of Staten Island
2. Borat 2
3. On The Rocks
BEST FOREIGN LANGUAGE FILM
1. The Life Ahead
2. Another Round
3. La Llorona
BEST SONG
1. “Everybody Cries” / The Outpost
1. “Io Is (Seen)” / The Life Ahead
3. “Fight For You” / Judas and the Black Messiah
BEST SCORE
1. News of the World
2. Mank
3. Minari
YOUR NAME AND OUTLET: Jeffrey Wells, Hollywood Elsewhere
There’s nothing sad, much less tragic, about a great actor‘s life ending after 95 years.
Hal Holbrook didn’t really get going as an actor until the early 1950s, when he was in his mid to late 20s. His first performance as Mark Twain happened at age 29. His film debut was in Sidney Lumet‘s The Group (’66), when he was 41 or 42. Holbrook had just turned 50 when he played Deep Throat in All The President’s Men. He played Abraham Lincoln twice, and delivered stand-out supporting performances in Julia (’77), The Fog (’80), Creepshow (‘82), Wall Street (’87), The Firm (’93), Hercules (’97) and Men of Honor (’00). His kindly older guy in Sean Penn‘s Into the Wild (’07) resulted in Oscar and SAG noms for Best Supporting Actor. His performance in That Evening Sun (’09), playing what Variety‘s Joe Leydon called “an irascible octogenarian farmer who will not go gentle into that good night”, was a milestone.
95 robust years, and roughly 70 of them as an actor in good standing.
When I think of Holbrook do I hear the twangy, crackling, sandpaper voice of Samuel Clemens? No, I hear the vaguely testy, whispery voice of Deep Throat. Less was more.
…begins with a single sentence, the first Kindle page, the first whiff. Or, speaking practically, with a careful scanning of the chapters to come. I’ve walked this path and merged with this man many times before…different forms, different narrators…so I feel free to hop around and parachute into this or that chapter at will. Call it a Citizen Nichols approach, co-written in a sense by Mark Harris and Herman J. Mankiewicz.
