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.