In March, we talked about some of the rule changes the Academy is making to the short film categories -- one of which is that Student Academy Award winners will qualify for Oscar consideration. So it's worth keeping an eye on this year's Student Academy Award competition; some of the films selected could pop up at the big show next year.
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At this point in my career, I like to think that I'm a pretty good interviewer. The more time you give me with someone, the better the conversation will be, and the deeper we'll get into certain ideas.
The real frustration of on-camera interviews is that they are, by their very nature, short. If you get five full minutes with someone, it's a luxury. And those aren't what I would call conversations. They are rapid-fire exchanges where you're trying to get one great answer out of it, and that's if you're lucky.
It becomes even more complicated in a case like my recent conversation with Michael Shannon for the new film "The Iceman," where he stars as Richard Kuklinski, a real-life Mafia hitman. It's a solid film and a great performance, and I wanted to talk to him about the work he did in the film and the research he did on the real guy.
Tomorrow Robert Downey Jr. suits up once again as Marvel's keystone in Shane Black's "Iron Man 3." It's expected to be the end of a trilogy, though we'll surely see Tony Stark again (as the film's closing credits promise). It's also a bit of a door closed on the actor's rebirth which began, in no uncertain terms, with his return to insurability in the 2008 original. What better time, then, than to look back on his finest work over the last three decades?
There was a moment in a Saturday Night Live sketch a few years back, around the time of "The Social Network," between Justin Timberlake and Andy Samberg. Samberg jokingly said to his buddy, "Why can't you just make more music?" Timberlake stood and, as he turned to leave, exclaimed, "I'm trying to take this seriously, okay?!"
Indeed, the Mouseketeer-turned-boy-band-member-turned-solo-artist-turned-actor (whew) has been making a strong go of the silver screen over the last decade. In my opinion, he's found fertile ground. I know it was a little difficult to take at first for a lot of people, but I've been a fan of his work since "Alpha Dog."
Timberlake has worked with filmmakers like David Fincher, Clint Eastwood and the Coens as of late, making all the right movies. And now he's poised to take on a big leading role in a biopic of 1970s record icon Neil Bogart.
When I sat down to talk to Sir Ben Kingsley, the first thing I told him was that I would hold the interview until after the release of the film if we ventured too far into spoiler territory. It's one of the first times I've ever said anything like that to an actor, but then again, not everyone plays a role like the one that Sir Kingsley plays in "Iron Man 3."
In the end, I think we were careful enough that you can watch and we don't give the game away. If you've seen the film, though, I think you'll appreciate how we talked about the film and his role in it. He doesn't dodge the questions, and he's not playing coy. He's just very careful about how he says things.
By far, the most controversial part of "Iron Man 3" fans is going to end up being The Mandarin and the choices that Shane Black made about how to depict the character. One of the reasons I think the movie works so well is because Shane Black and Drew Pearce took some chances in the script and they made some big choices about how to portray certain events and certain characters.
It looks like "Orphan Black" is getting cloned for a second season. BBC America has renewed the series to return as part of Supernatural Saturday in 2014. The conspiracy clone thriller starring Tatiana Maslany has been re-commissioned with a 10-episode order from Temple Street Productions, ahead of its season one finale on Saturday, June 1.
The collective mind of the film world may be squarely on Cannes right now, but the Venice Film Festival -- which runs this year from August 28 to 7 September -- has taken this moment to remind us of its existence by announcing the winner of its annual Golden Lion for Lifetime Achievement: Oscar-winning director William Friedkin.
"Louie" didn't invent the idea of building a TV show around a comedian, nor sitcom-as-autobiography. ("The Dick Van Dyke Show" was drawn from Carl Reiner's experiences writing for Sid Caesar, for instance, while the Huxtable kids were modeled after Bill Cosby's own children.) What the FX series has done is to expand the limits of what that kind of show can be (it's simultaneously more expansive and more intimate than anything to precede it) and made comparisons inevitably unflattering to any show that tries to enter the same territory.
With "Maron," the new IFC series that debuts Friday night at 10, comparisons become even harder to avoid. Not only is it another confessional sitcom built around a self-loathing middle-aged comic, but the comic in question is Marc Maron, who's had a long, complicated, up-and-down friendship with Louis C.K., as dramatized briefly on a season 3 episode of "Louie" and as discussed in greater depth on a sprawling installment of Maron's essential interview podcast "WTF."
(Welcome to Cannes Check, your annual guide through the 20 films in Competition at next month's Cannes Film Festival, which kicks off on May 15. Taking on a different selection every day, we'll be examining what they're about, who's involved and what their chances are of snagging an award from Steven Spielberg's jury. We're going through the list by director and in alphabetical order -- next up, Asghar Farhadi with "The Past.")
Although I guess it could be said (or at least the promos could infer, which they most certainly did) that tonight's "Nashville" was a night of high drama and big surprises, it was more like a very long episode of "told-ya-so." A few characters revealed themselves to be exactly what we thought they were, while others did exactly what we were pretty sure they'd been wanting to do for a while anyway. In some cases, this was satisfying albeit predictable; in others, it was just predictable.
There are a number of outlets that I would argue do a good job covering the oh-so-broad world of entertainment, and I certainly hope HitFix is one of those sites. But for some writers, having a much more narrow focus allows them to do one thing very, very well, and a great example of that would be Red Vines & Cigarettes, a website devoted to the work of Paul Thomas Anderson.
It should surprise no one that the first firm word of what's going on with "Inherent Vice," the next film from the writer/director of "The Master," "There Will Be Blood," and "Boogie Nights," would come from this particular source, but the news itself is somewhat surprising, if only because it looks like a very different process for the filmmaker this time.
Anderson has always been independent-minded, even if he did make "Punch-Drunk Love" for Revolution and even if he had the support of New Line as they were trying to make the jump from mini-major to major-major. His first film, "Hard Eight," was something he put together himself, and on his last movie, he had Megan Ellison and the very deep pockets of her Anapurna Pictures to help him realize his vision.