Alright, you know the drill. Rifle off your need-to-knows and Anne and I will address as many as possible. Make ’em good!
Do you think foreign film contenders who might be aiming for nominations in other categories would have benefitted from earlier release dates to build on their buzz?
I’m talking about In Darkness (Dec. 9th) and particularly A Separation (Dec. 30th). Wouldn’t a screenplay nomination for the latter be an easier get if it was released a month earlier?
Harvey Weinstein recently was very vocal about Ides of March and how much he loves it. Do you think this is a tactic to draw attention away from the Descendants, which he may view as his biggest rival, and thus splitting the Clooney vote?
I actually read another interesting take on this by Stu Van Airsdale who said Harvey was being vocal about Ides to build it up to a point where when people don’t see it they are disappointed.
I meant when people see it they are disappointed. We really need a feature here to edit our own comments after they are posted.
Or we really need to proof-read before we post.
Best animated feature could cause a lot of debate this year for multiple reasons – eliglibility of films that blend animation and live-action like Tintin, and number of nominees being determined by total eliblile features. The latter in particular could take a lot of heat if there are five nominees in what is widely considered a weak year for the category. While acclaimed titles like Waltz with Bashir and Tangled missed the cut in recent years with three.
My question is – what changes, if any, should be made to the animated feature category?
Almost every year at this time, we feel that there are some acting contenders that are very strong to win an Oscar. Like Monique, Penèlope Cruz, Christoph Waltz, Reese Witherspoon and Charlize Theron, just to name a few. Do you feel something similar this year?
Im curious to hear your views on the Jeff Wells Tyrannosaur campaign. Also what’s your general philosophy on advocating in what you do and could you ever see yourself actually going out on a limb like that for something you believe in?
What, if anything, do the Gotham Awards mean in the Oscar race? Noting the absence of Jessica Chastain, do you think her massive number of Oscar roles this year will simply spread her votes too thin to actually break in?
In the spirit NYFCC’s announcement, can you and Ann be the first out of the gate and announce your top ten of the year!? In all seriousness, what are some of your favorites of the year so far? oscar-bound or not.
Also while you’re at it, please announce your top ten films of 2012. Thanks.
I don’t think they have seen everything yet, so it wouldn’t be fair, right?
so many films this year (Young Adult, War Horse, et. al) are waiting later to be seen, which makes it hard to predict early(ier) in the season
Why so much buzz for Pitt to get a Lead nom for Moneyball, and so little talk about him getting Supporting for The Tree of Life, when it should (IMO) be the other way around?
What do you think are the ramifications of Jessica Chastain not getting a Gotham nomination as Breakthrough Actress when the film was nominated as Best Feature? Also, was her snub due to her overexposure and gradual loss of hot-new-thing appeal?
I don’t think she’s enough of a house hold name to garner fatigue. I feel like people are impressed with her varied body of work this year.
The Gotham Awards don’t like making sense. Take for instance last years breakthrough winner. The obvious choice was Lawrence but nooo, they surprised us!
Do you think the British monarchy might back The Artist since instead of TTSS? If so, what movie do you think has the best chance of sneaking into the Picture race?
Obviously there’s only one question worth asking today: Who should play Moammar Gadhafi in the inevitable biopic?
Philip Seymour Hoffman.
Whatever happened to J.Edgar? I know the trailer’s not the best thing around but it wasn’t terrible either, yet the conversation around it seemed to have died down considerably lately.
I second this. Plus, those not-so-successful screenings in Carmel didn’t help the cause.
I think at this point it would be shocking if Eastwood actually were to deliver a quality film.
It seems every year there are at least a couple films where the initial critical response or even a response or blurb from a single critic completely defines (often unfairly) the way all film journalists and many cinephiles talk about the film. The initial Venice response to Ides of March as “good, but not telling us anything new” has completely consumed the critical consensus, and even the defenders of the film are compelled to address this claim by saying “it may not be full of revelations, but…” Similarly, a blurb from Peter Travers calling The Social Network generation defining singularly defined the way (both proponents and detractors of the film) we all talked about the film. It seems to be the groupthink that surrounds many of these films (especially those on the festival circuit) is quite unhealthy and creates unfair and unrealizable expectations, when viewers have a narrative in place even before many of them see the film. Any thoughts from you and Anne on this?
Could Win Win get in the Best Picture race if Fox Searchlight campaigns for it?
Just looking over your Contender’s side-bar, I noticed Midnight in Paris isn’t really in the discussion (besides original screenplay), what do you guys think about its chances BP-wise? Also, do you think there is any chance of Tate Taylor sneaking in the Best Director category? Long shot, but just wondering.
Will Jeff Wells’ having raised funds for a “Tyrannosaur” screening actually help Olivia Colman get an Oscar nom? If so, who does she bump out?
This year feels so wide open right now. I know Anne is loathe to make predictions on things yet unseen, but do you think it will remain a contested year or do you think that as we get closer to nomination day, there will be a virtual coronation as in most other years? (As an aside, what situations make for a down-to-the-wire year?) How, if at all, will the NYFCC’s date change affect the early Oscar season?
BTW, in the Contenders sidebar you show pics of movies that aren’t listed as the projected nominees (under Director, Actor, Actress, Costume, Editing and Sound Editing). Is that intentional, and if, why?
OK. I think I see the reasons now that I’ve looked at the full contenders section. Still, it comes across as odd in the sidebar.
Can you explain all this talk of The Artist “fading” and “dying down” and its ‘good bet’ status being “over-estimated”? Is it just on this site or it this a widespread opinion? I have little doubt that once its campaign starts proper and once it has actually been seen by the general public, its buzz will be as loud as ever. Just because there isn’t a new trailer or poster for it every week doesn’t mean people have forgotten about it. Right? (And I know you’re not too hot on it, Kris, but I appreciate that you still include it as a big player in many categories).
I think it’s general consensus that we currently lack a definitive front-runner at this stage in the game, whereas in recent years we have had one (though the front-runner may have changed over the course the season) by this time. How do you think this may effect the overall shape of the BP field at the end of the day?