That Is So Meta!!

First, and (really) most importantly, we must discuss the latest James Franco stunt-extraordinaire. My very close friend, who is hard at work on her PHD, happened to be watching General Hospital the other day (I know, I know, I had the same question) wherein the illustrious Mr. Franco appeared in full tux regalia, reprising his role of "Franco" the serial killer. He sat alone in an office, surrounded by semi-nude "self-portraits", talking on the phone to a friend (lover?) and fellow serial-killer, Jason Morgan. He mentions that he has to go to an "important event"... hmmmm. Because that's what he gets for spending his spring between a "rock and a hard place"... hmmmm. But he does "hate cliches". Wow. I mean WOW. Does it get more meta than that? Can we count the layers?

So, let's move on to meta-data... 

I realize that not many peeps will be peeping this before tuning in to the Oscars(TM) on ABC(TM) at 8pm EST / 5pm PST. Therefore, I find it a perfect time to discuss one of my favorite film subjects and Oscar categories... Editing.

I went to grad school for editing, it's my secret love that is not so secret. It is kinda what I do. So I obsess over this category. It's not like the main ones in which you can sort of predict what's going to happen and occasionally there are shockers. It is completely without context. Maybe one day, I'll be in the ACE and I'll get it. But I don't so I have nothing but experience and instinct to go on. So let's have at it...

(Except, I must ask... where is Inception's nomination? That is so clearly the best edited film of the year, it's like these dudes, and dudette, are competing for second place.)

Andrew Weisblum - Black Swan

I saw Andrew speak a couple years back at a screening for The Wrestler (LOVE that movie) and was fascinating and vastly articulate. I'd love to give this to him and he did a fantastic job, for sure. That's the incredibly hard thing about this category. Just to be in it proves so much about your abilities that it's like you have to pull some new trick out of your sleeve to win it. Oh look - he did that! Blah, blah. He may very well win, because this is a super big fave of the year. But this, as far as this little editor is concerned, is no stretch. And I hate the film. So, I can't go out on a ledge and tell you all that above it's flaws this really is the movie that should win. And yet, I won't be disappointed if it does... because this guy knows how to cut the shit out of dance, fake-dance, psycho-sex shit, horror and just plain nut ball-ness.

Pamela Martin - The Fighter

Phenomenal film, phenomenal editing. A perfect match. This woman, and thank god there a few woman out there that are doing the old snip snip, she did an amazing job (and she's hot, too - always a nice addition). This is a great example of a perfect pairing of director and editor - as it always should be, but often fails to be because of lame studio constraints or some other bullshit. She won't win. But for pure academia, she should.

Tariq Anwar - The King's Speech

This guy's career is so cool I could hunt him down and make him my mentor at the edge of a razor. He happened upon everything (so he says) that he's done in his life. He's worked with amazing people and always done an amazing job. No one ever really knows what happens behind the curtain between the editor and the director and since this movie was just a "movie" to me and I can't jump all over myself with praise. But I envy the hell of Tariq for the way he's lived his life. Please call me. I'll listen to you all night long.

Jon Harris - 127 Hours

I mean, come on. This category's winner comes down to this movie and the next one or the world must have started spinning backwards Superman-style. This movie should reap so many awards that General Hospital would feel the effect. BUT it won't. And I doubt it even will in this, it's second most deserved, category (behind best director). Godspeed, Jon Harris. You're a genius.

Angus Wall & Kurt Baxter - The Social Network

As for my opinion, and I KNOW that I am biased, these two should win the golden paperweight. Maybe because I know what goes into editing a feature film, maybe because I know what D. Fincher shoots and therefore puts his editors (and his utterly phenomenal sound editor, Ren Klyce) through, but Angus and Kurt can make some goddamn magic. As I've said earlier, watch the opening scene of this movie alone and you'll see. I dare you. I'll fight anyone that wins over them... and I'm a tough old broad.

And the Best Actor, Excluding Ryan Gosling, (or If Your Name Does Not Start With The Letter "J" You Will Probably Win) category ...

Javier Bardem - Biutiful

Javier B. is absolutely always remarkable. Always. Someone please tell me when he's less than stellar. But this movie irks me, as do all of A.G.I.'s movies (except Amores Perros) do. As the despicable, yet inimitable, George Lucas said, "it's easy to make an audience cry, just throw a kitten off a cliff". Alejandro knows how to pull those goddamn strings. And that just bores me to death and makes feel manipulated and want to throw tomatoes at the screen. As much as I want to place a wreath of laurels around Bardem's head, I can't for this film because it's just too obvious. Everything is thrown at us. Cancer! Children! Repentant Hitman! Puhleeze. 

Jeff Bridges - True Grit

Can't we just realize by now that, post Lebowski, this guy does no wrong? He won the award last year, he ain't gonna win it this year... but he deserves an award almost every time he bursts from the gate. He's mutable, malleable, and a revelation each time on the track. Proof that we don't reach our peak until we've, um, reached our "peak". 

Jesse Eisenberg - The Social Network

If mumbling and being angry get you nominated, then I know a lot of people that have been overlooked for this award over the years. I'm sure Jesse will be a force in years to come but this is most certainly not his moment. His performance owes EVERYTHING to Fincher's direction.... and I sort of want the actor to bring something of their own if they're nominated. Of course, this isn't always the case - so be it. A brilliant performance is a brilliant performance. But this is pretty much one note. Albeit, a great note.

Colin Firth - The King's Speech

Yeah, yeah, yeah.... we all know he wins. 'Nuf said.

James Franco - 127 Hours

Now THIS is some serious acting. THIS is some amazing shit. I can not say enough goodness and delight about this performance. If we lived in my world, he'd take home ten Oscars. I could wax on about all he had to accomplish in the face of this sort of story telling, but the truth is that it doesn't matter. All we see is a brilliant film with an absolutely incredible performance by a man too handsome to be this talented. I mean, Brad Pitt? Handsome, yes - but only shines forth when man-handled by the proper director (um, Fincher). I could go on. But Franco, he can do anything, from soap operas, to David Gordon Green's first foray into comedy ("Don't fucking get on my case, all right? Look, only reason I started selling pot is so I could put my bubbeh in a nice retirement home.") Need I say more? Danny Boyle, casting genius. Danny Boyle, sorrowfully overlooked this year. Danny Boyle, you deserve it for this flick far more than for that pandering Slumdog Millionaire... Franco, keep it up. MFA's, PHD's, shorts, etc... you da man.

Ladies first.... So on to the Best Actress in a Leading Role category.

Annette Bening - The Kids Are All Right

 What can really be said about her. She's rather wooden, which works out great for her in most films. She can be quite sprightly which works out even better, think Bugsy. Her deployment here, albeit a little William Hurt-ish, works to utter perfection... but in my opinion, she does not deserve the Oscar (TM). But I'm not the one to look to for your betting pools... I'm just telling the "truf". And the "truf" is that she can be shrill. But in her shrillness lies a truth that belies anything we've faced before in the filmic world. Something that speaks honestly and with value, regardless of it's sexual orientation. Part of me wants to just give her all the gold in Hollywood for being brave. But then I'm reminded that she's married to Warren Beatty and she really has nothing to lose. She could play whatever she damn well pleases and still come home, cook up some fixins' (or order in, or drive down Coldwater) and be one of the sexiest things around. The bottom line is, she can do whatever the damn well she pleases, and that's the tits. So go win some shit, bitch. Because you are a goddamn gem, on a lot of levels. Just turn down the vocals.

Nicole Kidman - Rabbit Hole

 Shut up. Stop getting injections of any sort. Stop trying to prove yourself. We KNOW you can do anything. Why don't you go out on a limb. I, and every intelligent person in the filmmaking universe is tired of this crap. Either be a Chanel icon or just make more movies like To Die For. That's the best shit you ever did. And you were a goddamn genius in Moulin Rouge, too. And a lot of other things. Just stop with the injections.


Jennifer Lawrence - Winter's Bone

 This is always a strange thing. An out-of-nowhere lovely gets nominated for a performance that no one knows if it came from the heart, the soul or a beating from the director. Usually, if it were in the Supporting Actress category, we'd all say Done Deal - bitch has it. I mean who'd have known, that despite her Vampiric success, Anna Paquin, who was so wondrous and deserving in The Piano would turn out to be such an utterly REPULSIVE actress. Sorry, just an example, by no means a comparison to Miss Lawrence. It's just that Jennifer's performance requires more than hardness, brutality and a modicum of hard brutal sweetness to her younger siblings - but, whoa does she succeed, wherever it comes from. This just has that Oscar stench of... "we love your little movie, we love your work... but really we all know who this award is going to..."

Umm..


Natalie Portman - Black Swan

Which leads me to the lovely N.P. And I can only imagine the brutality she was put through in the face of this particular director and the requirements of this film. All I can really say is... as much as I deplore the film, I admire N. Portman's work. She put every ounce of being into it. And as I once sat in that mid-town Manhattan (gross) theatre, lo so many years ago, watching The Professional thinking that this little bitch has TRULY got something... now, please reward her. Because she's worked every which way in the scale of this industry and always done an inarguably solid job. But Nina Sayers will go down in the books as a true work of conviction. Undergraduates from here to eternity will struggle to make their own versions. But it will all be for naught. The utterly exquisite Miss Portman has transcended a film not worthy of her performance, but entirely retrieved by it. And if this little pregnant nymph doesn't leave with that leaden crack pipe of a trophy, I'll throw my body on the Gold Line (but it doesn't run that often).


Michelle Williams - Blue Valentine

 Once again I'm forced to bring up the nature of the Oscars and the desire, if not need, to showcase truly brilliant performances. And if not those, then at least performances done by actors who are so long over due that it's utterly shameful that they do not leave with gold in their paws. So, I'm sorry Miss Williams, Sunday will not be your night. But think of yourself as Meryl, gather many noms... keep doing the work you are so good at. So valiant and brave with. And your day will come. Soon, H.L. will be forgotten, and B.M. will be but a memory... and you will be considered the actress you truly are. This film is phenomenal. Because this performance is phenomenal. No doubt partly owed to R.G., the give and go you were so tightly wound up in, and the rigor that Derek Cianfrance put everyone through. So.... please, may more films be made like this. With convicted talent signing on (way early) and seeing through the development process. Because if Blue Valentine is the result - I want to go to that island.

Further Bond Losses Push Dow Down 7.15 ... I see Connery as Bond.

And with this quote I must begin my inaugural blog (a word, a notion, I detest).

The Oscars (TM) are a week away. And each morning that I wake here, in the City of Angels - awash in useless celebrity and ridiculous excuses for fame - I'm not really affected by that world. I work on the outskirts of Independent Film (note the capital letters, such deference - right?), a collar I hold snuggly around my shoulders like a moth eaten fur from a relative... But I've worked many hours, many lifetimes, in service to the Great Industry, the Studio System (as it may still slightly exist) that keeps the town afloat, or viable - if not relevant. I've done studio time, I've done keeping-a-celebrity-at-bay-on-a-private-jet time... I've had the horrible job of telling truly gifted screenwriters (please forgive me, Scott Frank) that this-and-such needed work. So be it, I'm ashamed.

So here, in the black-hole of the blogosphere, I put myself out there. Say what you will, argue (oh please argue!) but I'm making an effort at starting a dialogue. One that can exist from being, perhaps, slightly overly academic but equally interested in being asked to see a different light, listening and working and creating here in Hollywoodland.

So, the Oscar noms...

First and, most profoundly, foremost, I must react as I'm sure you did, with WHERE THE FUCK IS RYAN GOSLING'S nomination. The morning of the nominations, when I came upon this with quite serious thoughts that my server was profoundly out of date, I was sincerely without words. I mean, Michelle Williams most certainly deserves her nomination, but did R. Gosling choke an Academy member's daughter to death (he is quite comely, and known for his craftiness with the ladies)? While Michelle was absolutely wonderful, Ryan was transcendental. And I mean that with a capital T.

As a filmgoer, and avid proponent of truth in performance and non-manipulation in editing, I've been a fan of that ersatz Mickey-house celebu-crack baby since The Believer, (where in that film, RG's kinetic performance was so impressive that the wonderfully talented Ben Foster felt he needed to rip it off in Alpha Dog - why, Foster, why? You are so gifted). None the less, so on and so forth. And, please don't disregard The Notebook, while Ryan was wondrous and Rachel McAdams was delightful - the film is not what we "aficionados" thirst for. But the Notebook is the flip side of the male/female coin to Shawshank Redemption... By that, I mean no man, boy or male-ish child should ever feel ashamed for being rendered deeply emotional over watching Shawshank. Just as the same should be said for the females and The Notebook. It's in our bones.

Okay. Back to Blue Valentine for a brief spell...

This is, as most of you know by now, a film about the wondrous, lustful, irrepressible joys of falling in love. And the pain, rigor and heartlessness of being shaken out of that comfort on to the hard concrete. And not since some of my favorite films of the early '70's has such truth been honored on screen. Think of Scarecrow. Think of moments of Cuckoo's Nest. And the sweet honesty of when Warren Beatty's George Roundy says to Goldie Hawn in Shampoo, "Oh... I fucked 'em all". Because aren't we all just looking for honesty?

So let's move on to the Best Picture Oscar noms...

"Black Swan"

I love me some D. Aronofsky... But that should be for a post all it's own. In the case of this film, I'm utterly offended. This is the story of a heterosexual male's misogynistic fantasy about a young woman who will do anything (DIE!!!) to please her teacher/father/lover. The ultimate desire of a narcissistic director/choreographer to see his progeny suffer for his cause. And, ooh, (lest the young ballet-inspired be disinterested) HORROR! Isn't a real life klepto/psycho Winona enough to induce horror?

"The Fighter"

This is a giddy film, not surprisingly from the dude who brought us Spanking the Monkey and Flirting with Disaster...even Three Kings. While David O. Russell, has proved himself an ebullient filmmaker, fuck - I love I Heart Huckabees. This is quite a departure, and you can feel the struggle between he and the producers over the level of reverence vs. humor that should be deployed. But D. O'R wins, as he should in this case. I've read the stories of the making of this movie.... blah blah blah. The bottom line is that there are few better foils for each other than Christian Bale's grandstanding, delightful, grave, effusive characterization and Marky Mark's subdued and honored reverence to all that his character owes. Ultimately, this is a phenomenal film, with flaws. But that better than most. And a lovely, soft and curvy and snake-biting Amy Adams, to boot.

"Inception"

Shear lunacy on the most intelligent scale. Christopher Nolan has never proven himself better than The Dark Knight, how could one (I dare you to look WAY beyond it as a comic book movie). But Inception is as fantastic as it is incomprehensible. As all viable directors must face, he will not be given his deserved accolades by the Academy until he does something more sophomoric. But, I beg of you C Nolan.... Don't cave.

"The Kids Are All Right"

By all my personal inclinations, this IS the best picture of the year. Lisa Cholodenko has proven, 3 times now, that she can tell a complex story about complex lives (albeit, coastal and lovingly Liberal) with conviction, originality and humor. This film just happens to hit a LOT of political buttons, and Mark Ruffalo is at his most wonderful as the straight father/lover. Regardless, this is a movie about a serious subject, but is most certainly not dressed up in serious clothes. It's delightful, and yet deeply affecting. For those of you not in the Tea Party.

"The King's Speech"

What can be said, other than (as my close friend, Elliott, coined this yearly Academy fixture) it's "the cute foreign film of the year"... Stuffed with reputable actors, writers and a solid director. About a subject, we erudite Americans all love - The Monarchy!!! Especially a tarnished one. I, no doubt, expect it to win every award in the book. The cloying little bastard of a movie.... But I must ask, when oh when will there be a Wallis Simpson bio-pic?

"127 Hours"

As far as the sheer art of filmmaking... Thereby turning something static into something liquid, vivacious and utterly transfixing, this Danny Boyle film is phenomenal. I challenge any filmmaker to make a movie about a dude who gets stuck between a rock and harder place to make a more vital and vibrant film. Seriously, I'm a producer... come at me.

"The Social Network"
I'm a Fincher fan, I've been fascinated by his desire to wrestle with the art of storytelling and the arts & crafts of filmmaking since I first heard him give what-for to an aimless ad exec who did not know her boundaries. And The Social Network is the closest he's come, so far, to riding his personal philosophical line and that of the Industry. He's a far more gifted storyteller than I think he's even willing to account for, preferring to bury himself in the tech. But Angus, Cean, etc are there to guide him so I'm not sending my sirens out to worry over his cause.

All that really needs to be said about this movie is watch the first scene. Rarely has a single scene been so insightful and prurient about the coming two hours. And rarely has that time been spent in such dialogical and filmic delight. Bless Fincher for delivering on the promise he has always shown. And that is by no means to diminish the effect he has had on advertising, uber- advertising, film etc... But for allowing what seems like a true, personal editorial to come forth through the often disingenuous river of film.

"Toy Story 3"

What can I say, you laugh, you cry (in my case like a goddamn baby).

"True Grit"

This is a Coen Brothers movie for the masses. Not to discredit it, under any circumstances, but so much of what makes a Coen Bros. movie a Coen Bros. movie is its laissez-faire attitude about what Hollywood wants, or needs. Hailee Steinfeld has a lot more to say with her lovely face and obstinate braids than anything she could utter with her weird accent and inability to hit the right word. Nonetheless, this is an exquisite movie. Owing as much to "Roderick James" as it does (perhaps more) to the ever impenetrable Roger Deakins.

"Winter's Bone"

This is the unlikely candidate filled usually only by the "cute foreign film of the year". But this is a far better piece of filmmaking than The King's Speech. This movie is raw and alive and full of contextual duplicity. While struggling at the edge if what New Filmmaking refers to as Regional Filmmaking, this little, almost precious film moves well beyond the constructs of the need to survive in the world of rural Appalachia, a world of abuse, meth and the negligence of hope, to show not just a will to survive but a preternatural need to survive, without the desire to rise above "a station". A simple hope to do better for the younger then we might have done for ourselves. And what it more basic and natural than that?

So, bring forth the commentary. I look forward to it all... And let's just see what happens on Oscar night. But, please forego any fashion commentary - unless something falls off and reveals a breast. Cause that would be delightful.