Australian artist-hustler Vincent Fantauzzo has gotten PageSix.com to help raise the value of a just-completed Heath Ledger painting. Fatauzzo persuaded Ledger to pose not long before the 28 year-old actor accidentally died last month. (People sit for paintings these days? What for?) Ledger’s hair is black because that was part of his appearance in Terry Gilliam‘s Dr. Parnassus, but why does he seem to be wearing dark body makeup, like he’s playing a Sicilian gigolo in an early ’60s film?
“Right now, at this point in history, it is more important to have our first black president than our first woman president,” director Rod Lurie (Nothing But The Truth, Resurrecting The Champ) has written in a 2.22 Huffington Post opinion piece.
Kate Beckinsale, Rod Lurie during filming of Nothing But The Truth
“There have been many nations that have had female leaders. But there are very few, if any, that have elected a member of their ethnic minority to lead them,” Lurie states. “Were we to put Hillary in office, the world would shrug their shoulders and say ‘finally.’ Put in Obama, and we lead by example.
“We are viewed by the world as a quasi-racist state in which we allow natural disasters to obliterate our minority community, in which our penal system is designed to treat blacks unfairly, and in which we let the medical and educational systems in our ghettos fester to the level of some third-world countries.
“The election of Obama will say as much about the American people as it does about Obama himself — that our Declaration of Independence means what it says in its opening lines, that being the world’s greatest nation means that we offer the world’s greatest opportunities.
“It is no shock that, with the exception of Great Britain, polls in every European nation favor Obama over Clinton. And don’t tell me that what the world thinks doesn’t matter. Because how the dollar performs overseas matters. Our ability to form military alliances matters. How we team up economically and scientifically with China matters.
“Simply put, the issues that afflict blacks are in more urgent need of our attention than those (very real) issues that matter to women.”
“The problem was he hired a bunch of art house executives, and now he’s tired of making money-losing films,” a source told Nikki Finke yesterday about Sidney Kimmel, whose production and distribution company has reigned supreme at the art of losing tens of millions at the box office. A lot of people lose money or have bad luck, but the guys at Sidney Kimmel Entertainment have shown a special gift.
The biggest Sidney Kimmel wipeouts have been Talk To Me (which I knew would be dead meat the moment I heard the synopsis and that Don Cheadle would star), Death At A Funeral (instant small potatoes), Lars And The Real Girl (nobody’s going to pay to see a movie about a pudgy, flannel-shirt-wearing dweeb from the hinterlands who falls for a love doll…forget it!) and The Kite Runner (a respectable, well acted, very decently made film that everyone knew would tank due to the story being set in Afghanistan, which Average Joe moviegoers seem averse to in any way, shape or form).
If Sidney Kimmel had come to me and asked whether he should fund or distribute the films listed above, I almost certainly would have told him, depending on the investment levels and other particulars, to put his money in real estate. I’m not saying I could have found the right scripts or selected guaranteed money-makers for distribution, but I definitely could have saved him from the agonies above.
Anyway, the poor guy is “cutting back, changing his bank terms, and probably allowing his distribution deal with MGM to expire,” Finke reported, but is “not planning on shuttering his film company, Kimmel insists he’ll go to Cannes with Charlie Kaufman‘s Synecdoche, New York (which is in post) and go forward with the Jennifer Aniston starrer Management (which opens in September). And he maintains he won’t be shuttering Sidney Kimmel Entertainment or even changing execs. But he does say he will become more integral in selecting the movies financed though ‘not playing god.'”
He’s staying with the same team? Forget it. Kimmel is done.
“The Anti-Lobbyist, Advised by Lobbyists” — a seemingly well-reported, fair-minded article about John McCain by the Washington Post‘s Michael Shear and Jeff Birnbaum. It essentially backs up the underlying point of yesterday’s highly controversial N.Y. Times piece without mentioning Vicky Iseman.
Very early in the presidential race (sometime in winter months of ’07), I finally decided I wasn’t going to be cheering on Hillary Clinton‘s campaign because of a gut instinct call. I remember reading a piece about the all-time favorite films of the candidates, and Hillary was quoted as saying (or so I recall) that hers was Gone With The Wind. Another article said her choice was Casablanca.
That tore it for me. I love both Casablanca and Gone With the Wind for the usual reasons. I relate to Rick Blaine’s feelings of bitterness and cynicism in the beginning, and I admire his selfless heroism at the finale. And I fully agree with GWTW‘s theme about how brass and gumption gets you through life’s gulleys and thunderstorms better than goodness and generosity.
If I’m right about Clinton having chosen GWTW, it’s not hard to figure why. She obviously sees herself as a tough operator who’s taken the hits and soldiered through. But GWTW isn’t a hip enough selection. It’s a chump call. So is Casablanca.
If Clinton had said, say, that Jules Dassin‘s Rififi was her all-time fave, I would have melted on the spot. Or if she’d chosen a 1950s Douglas Sirk film — I would have at least respected that. (And so would Dave Kehr!) But choosing Gone With the Wind or Casablanca told me she either had timid taste or no taste at all, and had just gone with a politically safe choice because it’s been the lazy choice of millions of MOR film lovers for decades.
My ideal presidential candidate would choose…I don’t know, Juggernaut? Duck Soup? Anything by Michael Mann? The Professionals? La Strada? Tom Jones? Dr. Strangelove? Au Hasard Balthazar? The Apartment? The Hospital? The Bad and the Beautiful? The Train?
And by the way, CNN’s Wolf Blitzer saying that his all-time fave was Ferris Bueller’s Day Off was a bad call. I’ll never look at Blitzer the same way again.
I got started on this jag after reading a Reuters story that just went up about how Gone With the Wind is still the #1 all-time favorite. The story doesn’t give age groups or income levels or anything specific, but what a bummer — what an affirmation of mediocrity in the American soul.
I’ve read this 2.22 Jessica Barbanel/Fox News story twice and I’m still not understanding how the Best Picture ascension of No Country for Old Men was primarily due to marketing. I mean, I don’t buy this line for a second.
NCFOM was well promoted, yes, by producer Scott Rudin, 42 West Oscar strategist Cynthia Swartz and Miramax publicity, but nothing would have happened if it didn’t have the soul and the pedigree of a major art film that also worked as a first-rate thriller/suspenser/chaser. (Until the last 20 or 25 minutes, that is, which is when the thrills stopped and thematic payoff kicked in.)
If the press hasn’t pointed this out over and over, and if audiences hadn’t continued to see NCFOM and make it into a bona fide hit, Rudin and Schwartz and Miramax publicity could have marketed the film until they were blue in the face and nothing — repeat, nothing — would have happened.
HE final, final Oscar predictions: BEST PICTURE: No Country for Old Men, although I’d like credit for saying it’s vaguely possible that Michael Clayton or Juno could sneak a win. (Although it probably won’t happen.) BEST DIRECTOR: No Country‘s Joel and Ethan Coen — no question, no discussion.
BEST ACTOR: Blood‘s Daniel Day-Lewis…a lock. BEST ACTRESS: Probably Away From Her‘s Julie Christie, although I personally prefer La Vie en Rose‘s Marion Cotillard. (I’ll personally be shattered if Juno‘s Ellen Page wins for the mere feat of giving good spunk.) BEST SUPPORTING ACTOR: No Country‘s Javier Bardem. BEST SUPPORTING ACTRESS: Michael Clayton‘s Tilda Swinton, although my personal choice is I’m Not There‘s Cate Blanchett.
BEST ORIGINAL SCREENPLAY: Diablo Cody for Juno, but it’ll be cool if Tony Gilroy wins for Michael Clayton. BEST ADAPTED SCREENPLAY: The Coens, No Country. BEST ANIMATED FEATURE: Ratatouille. BEST CINEMATOGRAPHY: Roger Deakins, The Assassination of Jesse James by the Coward Robert Ford. BEST ART DIRECTION: Jack FIsk, There Will Be Blood. BEST SONG: “Falling Slowly”, Once, Glenn Hansard and Marketa Irglova. BEST DOCUMENTARY: No End in Sight.
I’ll tap out the small stuff sometime tomorrow.
Vantage Point is a hound dog, but it’s going to be the weekend’s #1 film. The tracking is 71, 40 and 19, which means a weekend gross in the high teens, possibly crestng $20 million. Unless, of course, it tanks so badly with audiences that the word spreads like nerve gas.
“Can an implausible set piece offer up fresh thrills and insights if replayed ad infinitum from different perspectives?,” Justin Chang‘s 2.21 Variety review begins. “Not according to Vantage Point, a 23-minute movie dragged out, via some narrative gimmickry, to a punishing hour and a half.
Dennis Quaid as a poor man’s Clint Eastwood/In The Line of Fire character in Vantage Point.
“Circling endlessly around a political assassination attempt and its violently contrived aftermath, the film proves every bit as crude, nerve-grinding and finally unsalvageable as the car accidents it keeps inflicting on its characters. Originally slated for a 2007 release, Sony holdover is unlikely to stop traffic around multiplexes despite its attention-getting cast, especially when poor word-of-mouth takes hold.”
MSNBC’s Alonso Duralde asks what the Oscar nominees for Best Picture say about who and what we are today. A decently written piece that brings in Mark Harris‘s Pictures at a Revolution for perspective.
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