Hubba Hubba

“I asked Anne Hathaway about the Judy Garland biopic (based on Gerald Clarke’s 2000 biography “Get Happy“) that she and the Weinstein Co. have been developing for…what, three or four years? In 2010 she told a BBC interviewer that ‘it’s a very sensitive project…we’re really trying to get it right so we’re taking our time with it…very, very slow incremental steps.’ Hathaway told me that last August Harvey Weinstein told President Obama that the film would happen ‘within a couple of years.’ Hathaway is tallish (5′ 8″ but nearly my height with three-inch heels) and Garland, she said, was not quite five feet. So she’ll have to do a Marion Cotillard-in-La Vie In Rose (i.e., acting on large-scale sets with large-scale props).” — from a 12.15.12 post about a Les Miserables party at Spago.

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SBIFF Arrival, Party, Etc.


Following the Santa Barbara Film Festival’s opening-night screening of Mission Blue, director Fisher Stevens (r.) festival director Roger Durling (l.). I arrived a half-hour after film began, and they wouldn’t let me in — sold out. Mission Blue will also play at the Berlin Film Festival.

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Gray’s Compassion

In a 1.30 piece about ways to avoid a repeat of the “Alone Yet Not Alone” slapdown (i.e., the Academy’s board of governors recently voting to rescind the Best Song Oscar nomination because of online campaigning by co-composer Bruce Broughton), Variety‘s Tim Gray has suggested something a little bit bizarre. Gray thinks the Academy should invite “Alone” singer Joni Eareckson Tada to perform on the Oscar telecast as a kind of makeup gesture (i.e., “we’re sorry for traumatizing you and your ‘Alone’ colleagues”). But considering Tada’s strongly Christian beliefs, Gray is also suggesting that inviting the quadriplegic performer would rebuff a notion that Hollywood rank-and-filers have an “anti-religious bias.”

That’s a red herring. Gray knows that religion and spirituality have been strong currents in the Hollywood community for decades. The “bias” he alludes to is not anti-religious — it’s anti-rightwing Christian. Which I think makes basic sense if you’re any kind of liberal. Or a genuine Christian, for that matter.

Hollywood has always been a lefty town, and most of us understand…okay, believe that Christianity, conservative values and rightwing political agendas have been more or less synonymous in this country for many decades. Gray knows all about this equation, and yet he’s suggesting that the film industry needs to turn the other cheek and perhaps atone on some level for not feeling a profound bond with conservative Christians. Good God! They might be nice people to chat with at a backyard barbecue in Lake Forest, but the rigid attitudes, political causes and cultural crusades of rightwing Christians have as much connection with the sermons of Yeshua of Nazareth as Edward G. Robinson‘s Golden Calf has to the stone tablets carried down from Mount Sinai by Charlton Heston.

“Junior” Oscars: A Revolutionary Idea

Imagine if the Academy of Motion Picture Arts & Sciences was to announce a three-season award calendar — January 1st to April 30th, May 1st to August 31st, and September 1st to December 31st. And then require members to fill out sudden-death online ballots for the best achievements of season #1 (winter/spring) and season #2 (late spring & summer)? No nominations, no campaigning — just a simple popularity ballot. This would be coupled with two Junior Oscar ceremonies to announce and celebrate the winners of season #1 and #2.

I know the Academy would never go for this in a million years, but be honest — wouldn’t this approach encourage distributors to release better films between January and August? Wouldn’t this result in a richer, more nutritious film year with the “wealth” spread around more evenly? The winners of these seasonal award ballots would obviously derive some commercial benefit. Season #1 and #2 winners wouldn’t be eligible for the third and final season (Labor Day to New Year’s Eve), so this wouldn’t change award season as now know it. Everything would still start at Telluride/Venice/Toronto/New York. It would obviously make things better all around. I’m fairly certain this has been suggested before so I’m not claiming this as my idea. But it’s a good one.

If I were an Academy Napoleon I would push this plan through along with my reduce-the-influence-of-Deadwood-voters suggestion.

Update: The Hollywood Reporter‘s Scott Feinberg suggested a variant of the “Junior Oscars” in late 2012.

“I’m Just Here For The Gasoline”

The post-apocalyptic wasteland scenarios in George Kennedy‘s Mad Max and The Road Warrior were fresh and wowser thirty-plus years ago, but they’ve been done to death. Animal Kingdom taught me to respect Aussie helmer David Michod, but what could The Rover possibly bring to the table? The trailer suggests it’s the same old dystopian sludge. Boilerplate synopsis: “In a world depleted of its food sources since the collapse of civilization ten years prior, two worn-out survivors (Guy Pearce, Robert Pattinson) try to stay alive in the Australian outback” blah blah.

Only in America

Are you going to tell me that most American righties are not largely xenophobic (a polite term for racist) when it comes to emerging multicultural trends, the biggest metaphor for which is President Barack Obama? Are you going to tell me that righties are not about trying to defend, preserve and advance white Christian culture? That a lot of them don’t long for a return to the rule of white men, and to the white-bread Wonder Years / Happy Days culture that boomer-aged righties grew up with? Obviously it’s completely reasonable to suggest that a Cheerios ad featuring an inter-racial family will probably freak some righties out. And yet MSNBC felt obliged to apologize for a tweet that said this. Because there a lot of belligerent rightwing bigmouths on Twitter who screamed bloody murder. Rightie mouthpieces know what to say. They have their uniform scripts. They’re full of shit but when has that ever stopped them?

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Santa Barbara Abbreviated

Starting this afternoon and for the subsequent five days I’ll be based at the Santa Barbara Film Festival (1.30 thru 2.9). But I’ll only be covering about 40% of Roger Durling‘s Oscar-angled shindig due to an overlap with the Berlin Film Festival, which I’ll be attending for the first time, largely due to an invitation from Fox Searchlight to cover the world premiere of Wes Anderson‘s Grand Budapest Hotel (which opens stateside on 3.7). The price is that I’ll be missing most of the good Santa Barbara tributes — Leonardo DiCaprio and Martin Scorsese, Robert Redford, Bruce Dern, the Before trilogy guys (Richard Linklater, Ethan Hawke, Julie Delpy). But I’ll catch Mission Blue, the SBIFF’s opening night film, and the David O. Russell and Cate Blanchett tributes and the Producers and Womens’ panels on Saturday.

Demon Horns

Cinerama, an independent movie theater in Rotterdam, asked me to make a poster for the upcoming [booking of] The Wolf Of Wall Street, directed by Martin Scorsese.” — Clemens Den Exter, who invites all interested parties to write him at clemensdenexter@gmail.com “for questions about ordering one of these posters.”

Approved by Rick Santorum!

Before the Academy’s board of governors voted to rescind the original song nomination for “Alone Yet Not Alone,” (music by Bruce Broughton, lyric by Dennis Spiegel), I had paid no attention to the same-titled film that the song is attached to. That’s mostly because it isn’t slated to formally “open” until June 14, and yet it had a half-ass opening in nine cities last September. (Which is how the song qualified for Oscar contention.) And yet Rotten Tomatoes and Metacritic haven’t acknowledged its existence.


I haven’t seen Alone Yet Not Alone, but this still appears to depict young white girls being carried away by the wily pathan.

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2014’s First Heartbreak

It pains me to say this but George Clooney‘s The Monuments Men (Sony, 2.7) is a write-down. It doesn’t work. It ambles and rambles and tries for a mixture of soft-shoe charm and solemn pathos, but it never lights the oven or lifts off the ground or whatever creative-engagement metaphor you prefer. It breaks my heart to say this. I went into yesterday morning’s screening with an attitude of “if this thing works even a little bit, I’m going to try to give it a pass or at least be as kind as possible.” I feel emotionally bonded with this film, you see, because of my visit to the set last May and that loose-shoe piece that I posted about it on 7.1. Clooney approved the visit and was gracious and cool during my four-hour hang-out, and I feel like I owe him a little kindness. But I can’t cut Monuments Men a break. I’d like to but I can’t.

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