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Taylor Swift has dropped four songs from her new album, “Red.” Today we get “ I Knew You Were Trouble,” which combines the stutter step of Rihanna’s “Umbrella” and the pop/dubstep of Alex Clare’s "Too Close."
[More after the jump...]
I'm a bit behind the curve on this news, but since it was rather buried beneath the surge of autumn Oscar-contender updates, I thought it worth flagging up anyway. I've recently been combing the US release calendar for possibilities in the Best Documentary Feature race, looking in particular for the slightly left-of-center contenders that routinely pop up in the branch's shortlist -- the eligibility rules may have changed this year, but we have no reason to think voters will suddenly start focusing more intently on much-hyped frontrunners.
In doing so, I found myself wondering what became of "Stories We Tell," Sarah Polley's lovely non-fiction debut -- a critical hit at the Venice and Toronto festivals that did rather well for itself by scoring a US distribution deal with a relatively high-profile indie outfit, Roadside Attractions. In recent years, Roadside has been a tidy little player in the Oscar race, scoring major nominations for "Winter's Bone," "Biutiful," "Albert Nobbs" and "Margin Call," in all cases against significant odds. However, they made their name with the Academy in the documentary race: founded in 2003, they landed their first nod less than two years later with "Super Size Me," and took the win five years later with "The Cove."
For the second day in a row, the return of a critically-adored comedy has been delayed. But where NBC decided to shelve "Community" for now, Louis C.K. was the man who decided that "Louie" won't be returning until the spring of 2014, rather than the summer 2013 schedule we all assumed.
C.K. has always made "Louie" his own way. He takes a much smaller production budget than an average cable scripted half-hour, and in exchange, FX mostly leaves him alone to make the exact show he wants to make. And he's decided that, in order to keep making exactly what he wants, he needs some extra time to do it.
Five years ago Alan Arkin won the Academy Award for Best Supporting Actor for his work in "Little Miss Sunshine," an award many thought would end up going to "Dreamgirls" star Eddie Murphy. He's back knocking on the door of another tip of the Academy's hat with his work as a cranky, seen-it-all film producer in Ben Affleck's "Argo." But he probably couldn't care less.
"To me that's a euphemism for saying, 'I liked your work,'" he says of awards speculation by telephone. "I'm just as happy with people saying that."
Nevertheless, as short-answered and moderately cantankerous as Arkin can be in an interview situation, there's something lovable there. He's not the sort who has to work the circuit hard to get kudos because, after all, we're talking about someone whose first nomination was 45 years ago (for "The Russians are Coming the Russians are Coming"). He's been there. Done that. So the terse replies to queries become a bit of a warm blanket that lets you admit, yes, this is all rather silly.
Pete Hammond reports that the Weinsteins have won yet another Oscar race: the annual scramble to see who can get the first formal For Your Consideration screener mailed out to voters -- an early-bird strategy that has previously paid off for under-the-radar contenders like "A Better Life" and "Frozen River." (Millennium sent out "Bernie" a while back, but it was a commercial disc that didn't comply with official Academy regulations.) The lucky beneficiary? French Oscar submission "The Intouchables" -- an obvious contender for Best Foreign Language Film, but a crowdpleaser that I think most pundits are underestimating in other categories. Omar Sy is an outside shot who shouldn't be discounted in the Best Actor race, while I recently added the film to my Best Original Screenplay predictions. [Deadline]
A review of last night's "How I Met Your Mother" coming up just as soon as I spend 7 grand on merch...
NEW YORK - On Monday night, the New York Film Festival held their second (apparently now annual) 'Secret Screening.' Last year, at the first such screening, audiences were treated to Martin Scorsese's then merely award contender "Hugo," this year they got a look at Steven Spielberg's upcoming "Lincoln."
This week, the "creative director" role falls onto the already overburdened shoulders of the celebrities, who are already having a hard time doing things like moving in synch to music, wearing silly dance shoes and getting used to mesh panels in places where they may not really want mesh panels. Really, I'm hoping this creative director thing is just a chance for them to say stuff like, "Please God, don't make me wear spangles and booty shorts this week" or "I don't want to pretend I'm a super hero/lame movie character/furry."
But wait! The producers couldn't possibly let the celebrities have too much control! That's what leads to vanity projects and horrible children's books! So, they have complete control… to the extent they get to re-do an iconic dance from the show. So, um, maybe they can suggest some arm flapping and a favorite color.
When I posted the story earlier today about Kelly Marcel being hired to write Universal's upcoming adaptation of "Fifty Shades Of Grey," the last thing I imagined would be that Marcel would end up as the controversial part of the story.
Within a half-hour, though, some woman on Twitter was happy to tell me why I am wrong about Marcel as a writer to the point where she eventually started calling me names because I dared to like Marcel's work, and no less than Bret Easton Ellis weighed in on his Twitter feed, which has proven to be reliably insane ever since he signed on. He was obsessed with "Fifty Shades Of Grey," and he basically used Twitter to pitch his approach to the adaptation for what seemed like months on end. I guess we shouldn't be surprised, then, that he is outraged and infuriated that he is not the man doing the job. Here's what he had to say.
"Kelly Marcel?!? KELLY MARCEL?!? Kelly Marcel is WRITING the script for 'Fifty Shades Of Grey'?!? THIS is the movie they want to make? ARGH."
He followed that about ten minutes later with this one:
"Kelly Marcel: the creator of (gulp) 'Terra Nova' and a Mary Poppins bio-pic has been blessed by EL James and no one can stop her. Dear God."
First, I'd like to point out that it is incredibly poor form for any writer to crap all over another writer when they got the job that you wanted. Ellis doesn't seem to understand even the basics of professional decorum, though. His tantrum would maybe carry a bit more weight if he had not also just posted the first trailer for "The Canyons," the movie that he wrote for Paul Schrader to direct with Lindsay Lohan and James Deen starring.