Usually I’ve focus on more “talky” types of screenplays, from ‘Charlie Wilson’s War’ and ‘Margot at the Wedding’ years back, to ‘Funny People’, ‘The Social Network’, and ‘The Beaver’ more recently, not to mention of course last week’s piece on ‘This is 40′. Well, this time around I’m tackling a horse of a different color in Quentin Tarantino’s hybrid action film ‘Django Unchained‘. His script is very cinematic, down to him actually writing how he wants the scenes to play out, including the references you’re supposed to get, including one he expects you only to get on a second viewing. I think it’s actually better than what people were expecting, though certain aspects of it (hint, Leonardo DiCaprio, hint) aren’t quite what they may seem. This is pretty vintage Tarantino, if potentially a little more old-fashioned than usual for him. Certain similarities to ‘Inglourious Basterds’ will be noticed, but overall QT is doing less revisionist history and more just a bloody good revenge thriller set in the American South during the time of slavery.
The staff and I discuss several topics this week but focus a bit on the theater going experience that often gets overlooked. The best part about going to the movies is embracing the traditions each of us have on the occasion. We talk about it all.
Bill Murray, Laura Linney, and Olivia Williams in "Hyde Park on Hudson"
“Lincoln” is the still frontrunner in many categories as these predictions are updated. With that status, it also has the most potential to crash and burn. All eyes will be on Daniel Day-Lewis but outside of the lead performance, will the story be strong enough to pull the audience through? Time will tell.
In the Original Screenplay category, you must go with the more original concepts for capturing critical attention. Quentin Tarantino is a favorite in this category and is fresh off a big loss for “Inglourious Basterds.” Perhaps with “Django Unchained,” a second chance at redemption can find himself with his second writing Oscar. Read more on Oscar Predictions Continue……
I’ve started to delve down the road for Original and Adapted Screenplays, Animated Feature, Art Direction, and Cinematography. An Oscar Circuit will be coming mid-week with a complete analysis of the Oscar Predictions and a look at the contenders for 2012. What we have so far? What can we expect coming? Is this going to be a great year based on the information thus far?
Check out the predictions on the sidebar or on the menu up top.
Welcome back to the Awards Circuit Power Hour. I’m joined by Staff Writers Joey Magidson and Robert Hamer and we’re speaking about the Picture, Director, Screenplay categories. I also reveal the Academy Idol Top 3 Results!!!!
Here’s the agenda:
News (Cinema Audio Society, USC Scripter, ACE)
Talk a little about the Awards Circuit Community Awards 2011.
Adapted Screenplay (The Descendants vs. Moneyball)
Original Screenplay (Midnight in Paris vs. The Artist)
Hardest Categories to Predict
Taking Questions from the Awards Circuit Readers!
Director (Is it Hazanavicius’ to lose?)
What film can upset “The Artist?”
Best Picture
We talk about Billy Crystal hosting
Should Oscar do away with the Best Song category?
2013 Oscar Contenders and when we will reveal the year-in-advance predictions
Another year, another crop of well deserving scripts that the Writer’s Guild deems to not be eligible for their awards. This year, there are 55 original screenplays in the mix and 33 adapted ones, and while that sounds like a large group of contenders (especially considering my recent Sizing Up articles on the categories), hold your horses. The missing originals include The Artist, Beginners, The Iron Lady, The Lady, Like Crazy, Margin Call, Martha Marcy May Marlene, Melancholia, Rango, Shame, and Take Shelter. As for adapted ones, the exclusions include Albert Nobbs, Carnage, Drive, “Jane Eyre, My Week with Marilyn, Sarah’s Key, The Skin I Live In, and Tinker, Tailor, Soldier, Spy. What does that mean for the group’s impending nominations? Well, I’ll get to that in a second…
Usually I’ve focus on more “talky” types of screenplays, from ‘Charlie Wilson’s War’ and ‘Margot at the Wedding’ years back, to ‘Funny People’, ‘The Social Network’, and ‘The Beaver’ more recently, not to mention of course last week’s piece on ‘This is 40′. Well, this time around I’m tackling a horse of a different color in Quentin Tarantino’s hybrid action film ‘Django Unchained‘. His script is very cinematic, down to him actually writing how he wants the scenes to play out, including the references you’re supposed to get, including one he expects you only to get on a second viewing. I think it’s actually better than what people were expecting, though certain aspects of it (hint, Leonardo DiCaprio, hint) aren’t quite what they may seem. This is pretty vintage Tarantino, if potentially a little more old-fashioned than usual for him. Certain similarities to ‘Inglourious Basterds’ will be noticed, but overall QT is doing less revisionist history and more just a bloody good revenge thriller set in the American South during the time of slavery.
