When the news landed two days ago that a meeting of the entire AMPAS membership had been scheduled in May, with "the future of the Academy" as its theme, Kris speculated that it likely wasn't as dramatic as it sounds. "One should not expect major issues like the number of Best Picture nominees or the Academy's calendar to be on the table in any significant way," he reminded us. "Those decisions are left to the elected Board of Governors."
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After threatening to pull out of Indio last year over raised fees, Coachella promoters Golden Voice have now agreed to a deal with the California city that could keep both Coachella and its sister festival Stagecoach on Indio’s Empire Polo Grounds through 2030.
As part of the deal, according to the Los Angeles Times, AEG subsidiary Golden Voice will more than double the city’s share of per-ticket revenue starting next year, when it will leap from $2.33 per ticket to $5.01 per ticket.
Goldenvoice’s proposal, which was unanimously accepted by Indio’s Planning Commission, includes the plan to expand the current three weekends of festivals (two Coachella and one for Stagecoach) to five if Goldenvoice wishes to. If they are added, the two additional festivals would happen in the fall.
Coachella has been held on the Empire Polo Grounds since it started in 1999. It expanded to two weekends last year. Stagecoach rolled into town in 2007.
The three festivals brought in $89.1 million in 2012 to the local economy according to the Direct Management Group,
Was it really eleven years ago?
I don't spend much time on jealousy when it comes to the world of film-related events because I am aware that I have been blessed with dozens of amazing experiences that other people would want to have. There's one particular experience that I have kept as a personal memory until now, and I feel like if there's ever going to be a "right" moment to share it, this is it.
I'm sure you'll read many pieces today about Roger Ebert and what he meant to film criticism. I know that he was one of the first two people who helped me understand that films were more than just stories but actual art worth engaging on a deeper level. I first saw "Sneak Previews," his old-school PBS show, when I was seven, and I remember watching clips from John Carpenter's "Halloween" as Gene and Roger discussed the film and being positively terrified just at that glimpse of Michael Myers. While Roger and Gene remained part of my critical diet as I grew more and more interested in film, they were not the only critics I listened to or liked, and as time passed and their show continued to change, it became less essential to me as a viewer. Part of that was because I started to realize how often I disagreed with the two of them, and at a certain point in my younger life, I thought you were supposed to read critics you agreed with, a belief I thankfully no longer hold.
Cliches are generally born of a truth that gets repeated over and over until everyone tires of it. A cliche you will be reading and hearing a lot today — and that is true in every case, including mine — is that Roger Ebert, who died today at 70 after a long battle with cancer, was the direct inspiration for people to get into the criticism game.
Legendary Chicago Sun-Times film critic Roger Ebert stepped away from his perch but two days ago. Calling it a "leave of presence," he wrote that he was taking time away from the usual to work on a number of projects, and also noted a recurrence of the cancer that he had already fought off once (which silenced his voice in speech, but certainly not in print). It was as if it was the job that was keeping him here, the work at hand. And so today comes the news: Roger Ebert is dead.
We're back at it again for CulturePop, and this week there was a lot to talk about -- some of which happened right before our podcast. How exciting is that? Here's the line-up of the many things we discussed:
I was already eager to see Baz Luhrmann's take on "The Great Gatsby" when it was scheduled for a December release last year, so at this point my impatience could hardly be greater. As a die-hard Baz Luhrmann defender -- yes, I liked "Australia" -- I remain more curious about this 3D spectacle than any other summer release, which is not to say I'm necessarily expecting an unqualified success.
Baz Luhrmann's forthcoming "Great Gatsby" film adaptation will boast some of the A-list-iest of A-lister actors, and the same goes for its soundtrack. Jay-Z was roped in as executive producer and supervisor on the film's soundtrack, so as you can imagine, he showed up, his wife Beyonce showed up and new songs from big names like Florence + The Machine made the cut.
A new trailer for the film dropped this morning, and it includes Beyonce and Andre 3000 previously confirmed cover of Amy Winehouse's "Back to Black"; a fresh track from Lana Del Rey called "Young and Beautiful"; and Florence's new "Over the Love." "Will you still love me when I'm no longer young and beautiful," she sings. (Ugh, Lana.)
Bryan Ferry and his Orchestra show up twice, including for one take on Bey and Hov's "Crazy in Love" with Immaculate Noise favorite Emeli Sande taking the lead.
Rihanna gives fans a very short (17 seconds’ worth) teaser of what to expect from her upcoming “Rihanna 777” tour TV special, which airs on Fox on May 6.
The show chronicles her November promotional tour for "Unapologetic," during which she performed seven shows in seven countries in seven days, and was, indeed, very unapologetic for keeping folks waiting for hours time and time again.
[More after the jump...]
Beyonce is confronted with the ghosts of Beyonce past in a new spot for Pepsi Max. The clip— which previews a new song, “Grown Woman”— could also be a hint at what’s to come on the Mrs. Carter Show world tour.
[More after the jump...]
The salvia-smoking, blunt-toking Miley Cyrus is leaving her teen queen image even further in the dust on “Ashtrays and Heartbreaks,” a new song on Snoop Lion’s (aka Snoop Dogg) new album, “Reincarnated.”
The hazy, reggae-influenced track opens with Snoop Lion declared “tonight there’s going to be a lot of smoke in the air,” as he lifts a blunt for those no longer with us. Shortly thereafter, Cyrus comes in with refrain, “Now my buzz is gone/I need to re-up on reality.” She also sings the majority of the chorus (with some vocal assistance from Angela Hunte, according to Billboard).
[More after the jump...]
I confess I haven't thought much about Robert Redford's "The Company You Keep" -- which finally opens in theaters tomorrow -- since reviewing it at the Venice Film Festival seven months ago. Though it takes on the potentially incendiary subject matter of the Weather Underground, the film's political ideas are handled as softly as the lighting on its veteran stars' faces -- but as an old-school Hollywood entertainment with a classy, cannily cast ensemble, it mostly delivers the goods. I'd call it Redford's strongest directorial effort since 1994's Oscar-nominated "Quiz Show," though films like "Lions for Lambs" and "The Conspirator" have admittedly set the bar pretty low.