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Oscar 2009: Previsões

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thalesgn Newbie

thalesgn

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Mesmo caso do Fiennes, concorrência muito pesada para ele ser indicado como protagonista. Fica como coadjuvante, como é tradição para os atores novatos (Tatum O'Neal, Timothy Hutton, Haley Joel Osment, Abigail Breslin), fazendo compania pro Dev Patel do Slumdog Millionaire.

 

Não é como se a campanha de The Reader fizesse o menor sentido.

 

A dúvida é: Kate Winslet no Globo de Ouro fica como? Indicada duas vezes como  principal como o DiCaprio anos atrás?

 

 

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Tiago Ribeiro Newbie

Tiago Ribeiro

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No caso do DiCaprio em 2007, se não me falha a memória, ele foi promovido como protagonista em Os Infiltrados e em Diamante de Sangue. Tanto que muitos se impressionaram ao vê-lo indicado por Diamante de Sangue no Oscar. O negócio é que no SAG, indicaram-no como coadjuvante por Os Infiltrados, aí então no Oscar os votos provavelmente se dividiram entre as duas categorias.

 

Sobre The Reader, a notícia sobre o Fiennes é oficial? Se for, fico muito feliz e aposto nele sem pensar duas vezes. E acho que não tem perigo de dar vote-split (é assim?) com seu papel em A Duquesa, já que é um filme que não terá tanta visibilidade na Academia quanto The Reader.

 

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thalesgn Newbie

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Fiennes moved to supporting for 'The Reader'

Oct 31, 2008, 12:44 AM | by Dave Karger

Categories: Best Actor, Best Supporting Actor

Fiennesdutchess_l_2Big

movie stars are fleeing the Best Actor race in droves these days. Now

comes word that Ralph Fiennes' camp has decided to place him in the

Best Supporting Actor category for The Reader. (Astute EW

readers will notice that I put Fiennes in the lead-actor column in my

Oscar Race feature in this week's issue, out today; I was merely

following the Weinstein Co.'s directives, which apparently have been

overruled.) Certainly the swap now means Fiennes has a better shot at

scoring a nomination: He's said to be excellent in the film, but since

he shares his role with newcomer David Kross, he probably lacks the

sufficient screen time to make the Best Actor cut.

 

But moving Fiennes out of lead for The Reader does have a few strange results. For starters, it pretty much renders his fine supporting performance in The Duchess

(pictured above) obsolete as far as the Oscar season is concerned,

since Academy rules dictate that actors may only receive one nomination

per category. And with his costar Kate Winslet currently set to be

campaigned as Best Supporting Actress for the film, the movie now has

no lead-acting contenders at all. The Academy usually lets that fly for

an ensemble film like Babel or Crash; will they accept it for a three-hander like The Reader?

 

What do you all think of this? Is Fiennes shooting himself in the

foot by competing against himself? Or is he making the smart move by

banking on his Holocaust-themed movie for an Oscar nod?

http://oscar-watch.ew.com/2008/10/fiennes-moved-t.html

 

 

 

 

Pensei que DiCaprio tivesse sido promovido como coadjuvante. No meio da temporada de premiações (acho que já tinha sido indicado ao Globo de Ouro) tomaram essa decisão e ele acabou dividindo seus votos por Os infiltrados entre as duas categorias.

 

Em tempo: Ok, graças ao Google, achei uma explicação pro caso do DiCaprio:

http://www.washingtonpost.com/wp-dyn/content/article/2007/01/23/AR2007012301447.html

 

thalesgn2008-11-02 22:06:19

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MacGruber Newbie

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Talvez. 17

Five Attention-Getting Turns

Michael Shannon, 'Revolutionary Road'

THE sardonically titled “Revolutionary Road” (Dec. 26) is based on Richard Yates’s acclaimed 1961 novel about the hollowness of the postwar American dream. Directed by Sam Mendes, the movie has the star power of Leonardo DiCaprio and Kate Winslet (Mr. Mendes’s wife) reunited for the first time since “Titanic.” Now they are the miserably married Frank and April Wheeler, with Kathy Bates as the relentlessly chipper real-estate broker who sold them the house on the suburban street of the title. But it’s the 34-year-old character actor Michael Shannon who provides some of the movie’s most thrilling fireworks.

Mr. Shannon plays the broker’s son, John Givings, who has been hospitalized for paranoid schizophrenia and, by his own account, given 37 shock treatments. Looking ahead to a weekend furlough, his mother asks the couple if she and her husband might bring by their son for drinks. The Wheelers and his parents watch John apprehensively, as if he might do something dangerously, or just embarrassingly, abnormal. Mr. Shannon, acclaimed as another paranoid in William Friedkin’s movie “Bug,” certainly doesn’t look normal here. Neatly dressed in jacket and tie and standing very straight, he seems painfully self-conscious; at times a tense misery glitters in his eyes. But there’s a hawkishness about him too and a touch of barely suppressed aggression. When Frank makes a glib reference to “the hopeless emptiness” of the country, John vigorously agrees, then pounces on the phrase and what it means to acknowledge its reality. He’s taking Frank far more seriously than he deserves.

This is only the first of John’s visits to the Wheelers, and, as it turns out, it’s not his actions they need to fear, but, as he starts to parse their marriage, his words. Playing a man who is mentally ill is an opportunity to chew the scenery, but Mr. Shannon does something else, infusing John with such tormented authority that the character becomes classical: he’s the movie’s Cassandra and Greek chorus at once.

Although John exists outside the rules, he doesn’t ignore them so much as subject them and those who play by them to scrutiny. The effect is electric. Uncertain of his grip on reality, he is the only honest person in the room.

 

 

 
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D4rk-Schn31d3r Newbie

D4rk-Schn31d3r

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21434447_4.jpg

1616161616161616161616161616

 

grande capa, grande filme, go to the oscars! 16

 

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e como o filme tem um fantástico elenco, não existe nenhuma possibilidade p/ oldman ou até mesmo eckhart conseguirem beliscar alguma coisa aí? tendo em vista q brolin e franco por milk são 2 nomes bem cotados nessa categoria, certo?

 

e fiennes promovido p/ coadjuvante? f***u pro ledger! 06 um grande ator ainda não premiado e parece estar muito bem no trailer de the reader, é, podemos ter aí, uma possível mudança no favoritismo p/ essa categoria

 

ressuscitaram frost/nixon? vai ser o michael clayton do ano? noooooooooo 06 ... milk não estava melhor cotado p/ tal? 17

 

ninguém falava das atuações de shannon e bates nos test screenings de RR, será q só no corte final resolveram colocar as cenas dele? 06
D4rk Schn31d3r2008-11-03 01:31:01
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carina Newbie

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mesmo torcendo para Kate levar o Oscar o problema da dupla indicação se acontecer com Winslet ,ela pode sair de mãos vazias igual a Cate Blanchet e outra coisa irritante  é a Globo exibir Big Brother quando os atores condjuvantes já receberam seus prêmios

e pelos test screeming do filme The Reader  disseram que David Kross rouba as cenas do filme

Benicio Del Toro tem chances de levar o Oscar pelo filme Che ,a caracterização do personagem ficou idêntica e lembrou o caso da  Marion Cotillard ( Piaf) Nicole Kidman(As horas) Jamie Foxx( Ray) Hellen Mirren ( A rainha)

apesar que Leonardo Dicaprio foi muito elogiado por Revolutionary Road

alias eu não gostei  (Apenas um sonho) deveria ser mesmo

 Estrada Revolucionaria
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Ronny Newbie

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Kate Winslet discussing Revolutionary Road & The Reader

 

 

141ee8.jpg
Entertainment Weekly


November 7, 2008


Kate Winslet could be an animated Disney heroine. Sitting on a bench in a lush Greenwich Village garden on a warm October day, she is surrounded by butterflies and chirping birds that complete for her attention. The 33 year-old-actress interrupts herself to point out the most flamboyant of her winged friends, and you half expect her to break into a song. Maybe next time. Today the five-time Oscar nominee has a more solemn mission: talking about her two December releases, in which she plays emotionally complex characters of the sort has become her trademark. In The Reader, she portrays an ex-Nazi accused of war time while harboring a personal secret. In Revolutionary Road, she and Titanic costar Leonardo DiCaprio reunited as an unhappily married 1950s couple. Don’t expect fairy-tale endings.

EW: Revolutionary Road is about a crumbling marriage, and The Reader is about the Holocaust. Do you find some catharsis is playing such dark characters?

KW: I still feel like I’m recovering from The Reader, to be honest. God, it’s pathetic, isn’t it? Really, I should be done with it, but it does take me quite a long time to just feel like I’m back in my own skin again. It’s really weird. I still find myself flicking through the novel. Even now, I can tell you what’s on page 109 on the book.

EW: It can’t be easy to play an SS guard accused of letting hundreds of women and children burn to death.

KW: Hanna Schmitz…[exhales deeply]…I mean, boy, oh, boy. I had to find things within myself that I just never explored before. To say I completely understood Hanna wouldn’t be entirely true, but I was able to come to terms with her actions, and to understand, on some level, why she did the things she did. And it was the most awful feeling in many ways because I didn’t really want to sympathize with her. I didn’t really want to have to understand what goes on in the mind of an SS guard. But I did. That’s the truth of it. I did. It’s kind of a confession when I say that, because feel like I shouldn’t have misunderstood.

EW: Your have a unique ability to transmit your own intelligence into your characters…

KW: I’m so not intelligent, but I love you for saying that.

EW: … but Hanna is clearly less sophisticated that most of your characters. Does that make playing her more challenging?

KW: Absolutely, because there is so much that she is lacking. We made Hanna’s dialect a little rougher around the edges because of her social status and because she was a peasant. I didn’t want it to sound quite as clean as all the other characters. But when you’re a person who has to develop so many strategies to just get through life existing with a lie, you become such a good liar that actually you become quite smart.

EW: Did that accent follow you home?

KW: Oh, my kids got so sick me trying to read them bedtime stories in German accents. My son would say, “Don’t do that funny German.” They’ve had bedtime stories read to them in American, in German, in upper-class English, Boston, Long Island. [Mimicking her son] “Mommy, just do it in a plain voice. Just be plain.”

EW: You practically produced Revolutionary Road, recruiting Leonardo DiCaprio to costar and Sam Mendes to direct. It must have been surreal to interpret a marriage-gone-wrong on film with your husband directing.

KW: We did discover early on that once I’ve started to work, I really don’t let it go. As soon as we got the kids to bed, I’d be thinking, “Oh goody, I can pick his brains about those things we discussed today.” Some mornings, I would be wide awake at five, literally propped up on my elbow watching him sleeping, waiting for him to wake up, and he’s opening his eyes and I’m going, “Good morning. Now about April Wheeler…”[laughs]

EW: You and Leo have been stubbornly eclectic in your film roles after Titanic. Do you ever consult with each other about your careers and the business?

KW: We do. Leo and I are very similar in the way we go about the decision-making process. When you say I’ve being stubbornly eclectic, the funny thing is that I haven’t. I’m not retaliating against what you said, but it’s just be instinctive.

EW: I intended it as a compliment.

KW: I don’t take it as criticism, but just to clarify that a bit: I think it would be fair to say that after Titanic, I definitely felt extremely overwhelmed at being thrust into this, how do I even put it…

EW: Machine?

KW: Yeah. Well, not even the machine of it, but just to suddenly be a famous person. I was a little bit known before Titanic. But then suddenly, it was just whhooosshh! And the truth is, and this is all in hindsight, I just wasn’t really ready. And I was also frightened I was going to lose a sense of myself. But the most important thing is to follow your heart, really, and so that’s what I’ve just always done. For better or worse.

EW: Was it easy to reestablish your rapport with Leo?

KW: No one makes me laugh like Leo. No one. And the same back. There were a couple of crew members on the film who have worked with Leo on various Scorsese projects, and they would sidle up to me and say, “You know, you really bring out another side of him that we haven’t seen before.” Of course, we were serious, but we could also be found absolutely crackling in the corner sharing some ridiculous private joke that nobody else would find funny. The great thing was that we were able to hang on to this sense of physical and emotional ease with each other. There was nothing we were afraid to try—not afraid to look stupid, not afraid to yell at each other, not afraid to, as characters, beat each other up.

EW: After earning five Oscar nominations and starring in the biggest movie in history, do you find that the process ever gets easier?

KW: No actually, it probably gets harder. The stakes get higher. You can’t become complacent. I walk through the dark tunnel completely by myself, you know? And more often than not, I pretty well collapse when I get to light at the end.

EW: There’s still fear?

KW: The fear of fucking up: Believe me, baby. It’s there all the time.

EW: Were you surprised when The Reader’s December release date was made official, placing it in competition with Revolutionary Road for Oscars?

KW: You probably know more that I do. On the whole, the politics of moviemaking is something that actors are kind of blissfully ignorant of. The fact that I’ve been given the opportunity to play these two incredible roles in less than a year that might not happen again. The determination to really make the most of both those opportunities was huge. So I’m knackered. But It’s the best type of knackered in the world.
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Ronny Newbie

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Fartos elogios a MILK

francopenn.jpg


¨Hollywood Reporter: http://www.hollywoodreporter.com/hr/film/reviews/article_display.jsp?&rid=11906

¨Variety: http://www.variety.com/review/VE1117938895.html?categoryid=3266&cs=1

¨Screen Daily: http://www.screendaily.com/ScreenDailyArticle.aspx?intStoryID=41714

¨Emanuel Levy: http://www.emanuellevy.com/article.php?articleID=11695



> Surgem comparações com Brokeback Mountain.
Sean Penn ganha contornos de superlativa unanimidade. "Sua melhor performance desde Sobre Meninos e Lobos".
Elogia-se também Josh Brolin, James Franco e Emile Hirsch, a reconstituição de época... E finalmente constatam o que todos nos esperávamos: O filme é convencional sim, mas a marca de Van Sant está impressa como nunca antes em seus filmes do gênero.

Que assim seja. Amém!
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