There may still be a question mark over how well "The Master" goes over with the Academy, but there's little doubt that Joaquin Phoenix is primed for a nomination (at least) for his blazing performance in it. When he gets it, however, it'll be without any help from the actor himself, who has made it quite clear he has no interest in the whole ritual of awards season whatsoever. His interview with Elvis Mitchell touches on many interesting areas, but here are his thoughts on the Oscar-chasing business: "I think it's total, utter bullshit, and I don't want to be a part of it. I don't believe in it... Pitting people against each other . . . It's the stupidest thing in the whole world. It was one of the most uncomfortable periods of my life when 'Walk the Line' was going through all the awards stuff and all that. I never want to have that experience again." Guess he won't be coming to the ceremony, then. [Interview]
Latest Blog Posts
BEVERLY HILLS - Helen Hunt may be incredibly nervous on the inside, but she projected an unexpected regal confidence during our short interview for her work in "The Sessions" last week. Obviously, playing a real life character is always daunting. Playing a real life person who was a sexual surrogate to a disabled poet hoping to have his first sexual experience in his late 30's is something else.
Yes, sometimes it sucks to be the Queen of Country, at least when you're Rayna James (Connie Britton). Even her own kids freak out at the prospect of seeing Juliette Barnes (Hayden Panettiere) shooting a video outside their car. Rayna has no choice but to bang down the door locks, but that isn't going to keep Juliette out of her life for long. Juliette, of course, has her heart set on being taken seriously as an artiste, and that means stealing away Rayna's righthand man, Deacon Clayborne (Charles Esten). While Juliette is clearly a pouty little brat through most of this episode, when she looks at Deacon and whispers, "I think something about you makes me want to grow up," I wonder if she just might be tougher for Rayna to run off than I'd hoped.
Like a lot of people, I have mixed feelings about the whole Murphy/Falchuk oeuvre. Loved "Glee" for a while before losing interest, thought "Nip/Tuck" became too silly, can't stand "The New Normal." But I've got to say, one thing these guys pulled off that will always impress me is the game-changing idea of rebooting "American Horror Story" (second season premiere Wed. Oct. 17 at 10 p.m.) at the end of its first season. It's a move that could only happen on cable (or maybe the Internet, if you want to include Web series), but there are plenty of shows I wish had made the same decision. If this is ultimately the only lasting impact (and I hope it's lasting) the show has on the television landscape, I'll gladly call it an epic win. Whether or not the reboot is a success on its own terms, of course, remains to be seen.
JAMES BOND 007 DECLASSIFIED
FILE #11: "Moonraker"
This series will trace the cinema history of James Bond, while also examining Ian Fleming's original novels as source material and examining how faithful (or not) the films have been to his work.
Directed by Lewis Gilbert
Screenplay by Christopher Wood
Produced by Albert R. Broccoli and William P. Cartlidge and Michael G. Wilson
CHARACTERS / CAST
James Bond / Roger Moore
Dr. Holly Goodhead / Lois Chiles
Hugo Drax / Michael Lonsdale
Jaws / Richard Kiel
Corrine Dufour / Corinne Clery
Sir Frederick Gray / Geoffrey Keen
Chang / Toshiro Suga
Manuela / Emily Bolton
Dolly / Blanche Ravalec
Col. Scott / Mike Marshall
M / Bernard Lee
Q / Desmond Llewelyn
Miss Moneypenny / Lois Maxwell
I get such a particular emotional surge seeing the Space Shuttle piggybacked on a plane. The recent flybys here in LA were major events in my household, the slow drive across LA was reason enough to leave the house at a preposterously early hour on a Sunday morning, and if you get me started talking about the space program, it's hard to get me to shut up. It is one of my favorite things, so imagine how space-crazy "Star Wars" fan me reacted when the sequel to "The Spy Who Loved Me" opened with the theft of the Space Shuttle, which hadn't actually launched yet. Pretty much the perfect set-up for a Bond film for me, right?
Nine year old me would say yes. Forty-two year old me, who just rewatched the movie, would not concur.
"Suburgatory" is back for a second season, and I have a quick review coming up just as soon as I delete all your "Californication"s off the DVR...
Due to a rain delay at the National League Championship Series, tonight's "X Factor" was delayed indefinitely and I used the extra time to watch "Survivor: Philippines" (but not to write my recap) just yet.
The episode, which inexplicably is being simulcast on the West Coast, started at 8:40 ET and 5:40 Pacific as I was still finishing watching "Survivor."
Now, I'm gonna do a semi-live-blog and see how fast I can catch up to actual (canned) live. This should be fun!
Click through to see who made it to the Top 16 and will get to compete in the live shows...
Sean Lennon exhibited near superhuman strength when it came to composing the score to “Alter Egos,” writer/director Jordan Galland’s new indie film.
The comedy, which opens at New York’s Cinema Village on Thursday, is about superheroes who fall from grace with ordinary citizens. The plot revolves around a superhero who puts a mission in peril when he finds out his girlfriend is cheating on him with his own Alter Ego.
[More after the jump...]
"Project Runway" fixtures Nina Garcia and Tim Gunn have wrapped up the show's tenth season (the finale on Lifetime airs Thurs. Oct. 18 at 9 p.m. ET), and the good news? While neither will give away any secrets about what happens, Gunn will only say he's "enormously happy with the outcome of this season," which I have to hope means Fabio threw out his pastel beachwear and started over. In any case, both Gunn and Garcia spoke to reporters in a conference call, revealing what the designers did after last week's disastrous Fashion Week preview, the winning designer Gunn didn't like and what they believe makes a "Project Runway" winner.
While Guy is shrewdly noting the potential for British voting contingents to rally behind this or that (particularly "Les Misérables") in this year's Oscar race, I've just emerged from what is undeniably one of the most quintessentially American efforts of the year: Steven Spielberg's "Lincoln." Though the irony of the fact that the titular Commander-in-Chief and the leader of the Union army are portrayed by Brits in the film is not lost on me, I assure you.
Nevertheless, the film -- which has seen a staggered press screening roll-out since its "surprise" New York Film Festival bow last week -- pumps with the blood of a nation and one of its darkest chapters. It's Spielberg's most performance-heavy work to date, and indeed, features a cross-section of character actors and star-caliber players all spouting off dialogue thick with the drama of the moment. Every inch of the frame feels heavy with Importance (with a capital "I"), and for good reason. It's a crucial moment and the need to emboss that fact is never lost on Spielberg and screenwriter Tony Kushner.