Milk: The Best Movie of 2008

It's possible I might see a better movie in the next two weeks, but I doubt it.

When history is known (like, say, with the upcoming WWII movie Valkyrie about a plot to assassinate Hitler), a movie can loose its dramatic tension since "we know what happens." A good director, screenwriter and cast can compensate by dynamic direction, an intelligent script and spot-on acting. Milk succeeds on all points. Director Gus Van Sant and screenwriter Dustin Lance Black have created a compelling movie. And Sean Penn gives the most joyful, winning performance I've ever seen from him.

Milk is the story of an unlikely political activist. Harvey Milk was a closeted gay guy in New York City until his very late 30s. The early scenes of Milk remind you what a bad old time the '50s and '60s were for gay men, with old footage of police raids on gay bars.

By the early '70s, Harvey had met Scott, a much younger man. They ran off to San Francisco together where they opened a camera store. They had a very affectionate relationship. If this movie had been about a heterosexual couple and not a homosexual couple, it would have been rated PG-13 instead of R. Still, I've heard reports of some audience members leaving during the early kissing scenes (there are some sex scenes, but they are extremely discreet). Why would you go to a movie about a gay man coming out of the closet if watching two men kissing was going to upset you? I didn't leave when the hate-mongers in the movie spewed homophobia; this is truly disgusting compared to two men (or two women) kissing.

As a business owner, Harvey understood the importance of being out and being organized. He became a frequently unsuccessful candidate for local office, while becoming more politically able and building a network of young men to support neighborhood causes. In these scenes, some of the actors are actually old friends of Harvey's from the '70s. In at least five different scenes, you see the writer Frank Robinson, a man who was Harvey's contemporary. While I wish they'd mentioned who Frank was, it was nice to see he was involved in the movie.

Harvey became an expert at working the crowd and working the press. While Scott had served as Harvey's campaign manager, he was disillusioned by politics and the pair split up. Harvey went on to win the 1977 election for city supervisor. Harvey became involved with a volatile Hispanic man named Jack, and became close friends with Cleve Jones.

Even though Harvey had a local victory, he got very involved fighting California's Proposition 6, a measure to fire gay teachers and their supporters. It was promoted by Anita Bryant (who only appears in this movie in old clips - a nice touch to reinforce how passe she should be) and John Briggs, a California state senator. After months of pushing, Harvey got to debate John several times. In the run-up to the statewide vote on Prop 6, Jack committed suicide which left Harvey fairly depressed. However, after pollsters and early results made it look like Prop 6 would pass, it wound up failing by a large margin.

While he was fighting against Prop 6, Harvey tried to cultivate positive relationships with the other city supervisors. The relationship between he and newly-elected conservative supervisor Dan White was fairly contentious. After months of not getting any legislation passed, Dan resigned from the city supervisors and tried to get his job back. When he didn't get it, he smuggled himself in the city office building, and assassinated both Mayor Moscone and Harvey Milk.

The movie certainly captured the grief of San Francisco following these assassinations. But these impact of these murders went way beyond San Francisco. I was 21, married, and living in Pittsburgh when I heard about them. To this day, I can't watch that famous tape of Diane Feinstein informing the public of the murders without weeping. And I had the same reaction today, at the beginning and ending of Milk. But most of Milk is one of the most vivid recreations of the '70s I've ever seen, with a performance that should win Sean Penn his second Oscar (and, maybe an supporting actor Oscar nomination for James Franco's fine performance as Scott). Emile Hirsch was good as Cleve Jones, who later went on to be an AIDS activist and create the Names Project (the AIDS Quilt).

This movie must be seen by the people least likely to see it - the people who think things like Proposition 8 are a good idea. Consenting adults deserve to live their lives as they choose, without fear of retribution.

30th Anniversaries

Jim and I just celebrated our 30th wedding anniversary with friends at a very nice dinner at the Inn at Little Washington.

Back in 1977, a few days after our wedding, we were back in Pittsburgh and attended Star Wars on opening day. Yes, I can prove we were there - we got the original May the Force be With You buttons.

So, in honor of our anniversary and Star Wars', you might want to take a look at:



Honeymooning with Wookiees

Oscars 2007: Predictions & Commentary

While there were a few good movies in 2006, the overall quality of theatrical movies continues to sink. I've been finding television (with things like Rome and Battlestar Galactica) to be much more interesting and challenging than movies.

For the first time in many years, I've only seen two of the nominees for Best Picture: Little Miss Sunshine and The Queen. I liked both of these movies very much, but The Queen is way too subtle and quiet to win a Best Picture award and Little Miss Sunshine is a comedy, which means it has almost no chance to take Best Picture. I don't like graphic violence so I haven't seen Babel or The Departed. I'm usually not overly fond of war movies, so I haven't seen Letters from Iwo Jima. I regret not having seen Dreamgirls or Venus. The movie that impressed me the most last year, Children of Men only got some technical nominations.

I will note what I haven't seen and will go ahead with my predictions anyway. For the last few years, I've been hedging my bets with a "will win" (WW) and "should win" (SW) before each predicted winner.

Best Picture

• Babel
• The Departed
• (WW) Letters From Iwo Jima
• (SW) Little Miss Sunshine
• The Queen

A really uninspiring year. Of the five, I liked The Queen the best, but it's way too quiet and subtle for
a Best Picture win. Little Miss Sunshine was probably the quirkiest and most original in the bunch, so
that's the movie I'll support.

Best Director

• Clint Eastwood, Letters From Iwo Jima
• Stephen Frears, The Queen
• Paul Greengrass, United 93
• Alejandro Gonzales Inarritu, Babel
• (SW, WW) Martin Scorsese, The Departed

Scorsese is so owed... I'd rather see Stephen Frears win this year because The Departed doesn't sound
like Scorsese's best work and The Queen is a quiet little masterpiece. Still, I'm a realist, and I can't
complain too much if Scorsese wins.

Best Actor

• Leonardo DiCaprio, Blood Diamond
• Ryan Gosling, Half Nelson
• (SW) Peter O'Toole, Venus
• Will Smith, The Pursuit of Happyness
• (WW) Forest Whitaker, The Last King of Scotland

I have always had a soft spot for Peter O'Toole, another person who is so owed. But I would certainly have no objection is Forest Whitaker wins, who probably gave the strongest performance of the year. Still...O'Toole's of an age
where he may have given one of his last performances.

Best Actress

• Penelope Cruz, Volver
• Judi Dench, Notes on a Scandal
• (SW, WW) Helen Mirren, The Queen
• Meryl Streep, The Devil Wears Prada
• Kate Winslet, Little Children

There usually aren't too many locks, but this is certainly one of them. Helen Mirren has had such a brilliant
year. She is completely magnificent in The Queen. Judi Dench appears to give a great performance in
Notes on a Scandal, but the movie just seems oh so stupid - I hate it when the trailer gives away
every twist of the movie. Meryl Streep was terrific in The Devil Wears Prada, too.

Best Supporting Actress

• Adriana Barraza, Babel
• Cate Blanchett, Notes on a Scandal
• Abigail Breslin, Little Miss Sunshine
• (SW, WW) Jennifer Hudson, Dreamgirls
• Rinko Kikuchi, Babel

This isn't quite the lock it appeared to be a few weeks ago. I think Abigail Breslin could win. But the other
newcomer, Jennifer Hudson, is more likely.

Best Supporting Actor

• (SW) Alan Arkin, Little Miss Sunshine
• Jackie Earle Haley, Little Children
• (WW) Eddie Murphy, Dreamgirls
• Mark Wahlberg, The Departed

This is another category that might not be quite the lock it once appeared to be. Alan Arkin has had a great career, and, like Peter O'Toole, never won an Oscar. Eddie Murphy is a wildly erratic actor, who keeps keeps making brain-dead movies for the money. It's of course a wonderful thing that Eddie apparently has given a fine performance in Dreamgirls. But, for the Oscar voters to be voting at the same time that they're seeing constant ads for Norbit, one of the most awful movies I've ever seen ads for...gaak. So I hope Murphy might have gotten enough backlash for the award to go to Arkin.

Best Foreign Language Film

• Efter Brylluppet (aka After the Wedding), Denmark
• Indigenes (aka Days of Glory), Algeria
• (SW, WW) El Laberinto del Fauno (aka Pan's Labyrinth), Mexico
• Das Leben der Anderen (aka The Lives of Others), Germany
• Water, Canada

While a bit too violent for my taste, Pan's Labyrinth was an incredible visual feast of a movie, with great performances
all the way around (especially from the young Ivana Baquero as Ofelia). There might be a chance that The Lives of Others could sneak in, but I doubt it.

Best Animated Feature Film

• (SW, WW) Cars
• Happy Feet
• Monster House

I don't have really strong feelings about any of these movies. I've only seen Happy Feet, and while it
was a charming little movie, it didn't quite work for me. Cars looks silly, but it keeps winning awards, so it will
probably take the award.

Best Adapted Screenplay

• (WW) Borat
• (SW) Children of Men
• The Departed
• Little Children
• Notes on a Scandal

Children of Men was the best movie of last year. Clive Owen deserved an Oscar nomination. I'd like to see
it win this Oscar, but I have the bad feeling that Borat (which was simultaneously clever and stupid) will win.

Best Original Screenplay

• Babel
• Letters From Iwo Jima
• (WW) Little Miss Sunshine
• (SW) The Queen
• Pan's Labyrinth

This may be the trickiest category of them all. While last year was a rather weak year for movies, the scripts for Sunshine, Queen and Pan were all quite good, and I've heard interesting things about Iwo Jima.
So while I think Sunshine was a little more original (and gleefully subversive), the script for The Queen was
an amazingly restrained exercise in showing and not telling.

Best Music (Score)

• Babel
• The Good German
• Notes on a Scandal
• (SW, WW) Pan's Labyrinth
• The Queen

Best Music (Song)

• "I Need to Wake Up" - An Inconvenient Truth (performed by Melissa Etheridge)
• "Listen" - Dreamgirls (performed by Beyonce Knowles)
• (SW, WW) "Love You I Do" - Dreamgirls (performed by Jennifer Hudson)
• "Our Town" - Cars (performed by James Taylor)
• "Patience" - Dreamgirls (performed by Eddie Murphy, Keith Robinson, Anika Noni Rose)

I haven't even heard any of these songs, except for, maybe, Love You I Do. So I'll select that one.

Best Documentary Feature

• Deliver Us From Evil
• (SW, WW) An Inconvenient Truth
• Iraq In Fragments
• Jesus Camp
• My Country, My Country

So what will Al Gore do with his minute on international television?

Best Documentary Short Subject

• The Blood of Yingzhou District
• (SW, WW) Recycled Life
• Rehearsing A Dream
• Two Hands

I also have no idea about this one.

Best Visual Effects

• Pirates of the Caribbean: Dead Man's Chest
• Poseidon
• (SW, WW) Superman Returns

It's rather appalling that Pan's Labyrinth is not in this category. The effects in Pirates, like the rest of
that movie - are a bit of a joke. Superman Returns is probably a less objectionable choice.

Best Cinematography

• The Black Dahlia
• (SW, WW) Children of Men
• The Illusionist
• Pan's Labyrinth
• The Prestige

People are still talking about some of the amazing shots in Children of Men. Pan's Labyrinth probably had
a little more "stylish" photography, but it just wasn't quite as interesting as the photography in Children of Men.

Best Art Direction

• Dreamgirls
• The Good Shepherd
• (SW, WW) Pan's Labyrinth
• Pirates of the Caribbean: Dead Man's Chest
• The Prestige

I'm sorry to see that The Illusionist, which I felt had a better look than The Prestige wasn't up
for Best Art Direction. However, this award should go to Pan's Labyrinth.

Best Animated Short Film

• The Danish Poet
• Lifted
• The Little Matchgirl
• Maestro
• (SW, WW) No Time for Nuts

No Time for Nuts is the only one of these I've seen, and it's quite clever.

Best Short Film

• Binta and the Great Idea
• Eramos Pocos (One Too Many)
• Helmer & Son
• The Saviour
• (SW, WW)West Bank Story

Best Costume Design

• Curse of the Golden Flower
• The Devil Wears Prada
• (SW, WW) Dreamgirls
• Marie Antoinette
• The Queen

Dreamgirls did the best job at showing the fashions of the time.

Best Make-up

• (SW, WW) Apocalypto
• Click
• Pan's Labyrinth

Apocalypto's make-up is so good that it's painful to watch and convinced me not to see the movie.

Best Sound Mixing

• (SW, WW) Apocalypto
• Blood Diamond
• Dreamgirls
• Flags of our Fathers
• Pirates of the Caribbean: Dead Man's Chest

Sound Engineer Kevin O'Connell is the Susan Lucci of the Oscars. He has now been nominated for the Best Sound Mixing Oscar an incredible 19 times over the last 23 years. He was part of the Sound Mixing team for Apocalypto, and I think his team may walk away with one this year.

Sound Editing

• Apocalypto
• Blood Diamond
• (SW, WW) Letters From Iwo Jima
• Flags of our Fathers
• Pirates of the Caribbean: Dead Man's Chest

War movies or big action/adventure movies tend to take the sound awards. I expect one of Clint Eastwood's two war
movies to win this one.

Best Film Editing

• Babel
• Blood Diamond
• (SW) Children of Men
• The Departed
• (WW) United 93

People consistently praised the editing and direction of United 93, which was probably one of the most claustrophobic
movies of last year. Since Greenglass is unlikely to win Best Director, perhaps the movie will take Film Editing. Still,
I think I'd rather see Children of Men win.

With Dick Cheney as Angela Lansbury....

I'd never seen either version of The Manchurian Candidate. Until tonight. Throughout the movie, all I could think was:

Angela Lansbury is really Dick Cheney (Mrs. Islen)
James Gregory is really George W. Bush (Senator Islen)

I hope I don't need to explain why!

The 1962 edition is a surprisingly sophisticated movie. Other than To Kill a Mockingbird, I always felt that most movies made before about 1967 were quite simple. But the original Manchurian Candidate is a movie fighting both McCarthyism ("I have before me a list of 254 Communists...") and Nixon (notice the fop-sweat when Harvey and Sinatra got nervous?). It's a surprisingly good movie, and I regret not having seen it before.

It's probably too late, but I urge anyone planning to see the 2004 remake of The Manchurian Candidate to see the 1962 version first. Remember, this movie was shot about two years before Kennedy was assasinated, and only seven years after the McCarthy hearings were considered more dangerous than Communism itself.

And Now That I've Seen Fahrenheit 911...

*Sigh*

I have a review of it here.

I've had a weird few days. I've had bronchitis, on and off, for over a month. I keep almost getting over it, but then I'll do something (like walk a lot or swim or hang out in a smokey bar) and I'll get sick again. Wednesday night, I felt really strange, then felt wiped on Thursday. Usually, when I have bronchitis, I don't feel all that bad, I just cough an awful lot. I got to the doctor's on Frday morning and they gave me a bunch of new medications (luckily a bunch of samples for a change!). That reduced my coughing, but I was still very tired. Today, when I was at the movies, I had a really bad coughing fit and have returned to feeling rotten.

An Unexpected Response to The Passion of the Christ

I've read many reviews of The Passion of the Christ. I decided I just couldn't see it due to its violence and historical revisionism. Many reviewers have been apologetic about the violence and completely ignored its intellectual dishonesty. The movie threw out both history and the Bible, and used the writings of a 19th century German mystic as its screenplay, presenting this one view as "fact." As a result, the fact that hundreds of thousands of Jews, slaves and political prisoners were crucified by the Romans was completely ignored. Jesus was one man in a large and non-exclusive club.

I was stunned to find a fairly negative commentary on the movie in, of all places, the National Catholic Reporter. Tom Beaudoin's "The anti-Christian Passion of the Christ" is a very eloquent look the anti-Semitism of this movie. I highly recommend it. Beaudoin is a writer and lecturer at Boston College.

Finally, Return of the King

We went to see Trilogy Tuesday last week, seeing two extended edition LOTR movies followed by the premiere of ROTK.



Line for Trilogy Tuesday in Pittsburgh

There were already about 200 people in line before we got there, so we wound up on the floor but in the center. While, at first we hated the seats, they turned out to be fortuitous. Before the movie started, we realized the folks sitting in front of us were people we'd known back in college, from the old Western Pennsylvania Science Fiction Association (WPSFA)



Lori and Tom Lane

It was neat to catch up with them after all this time.

Back to the movies, the extended editions both looked phenomenal on the big screen.



The Audience Just Before The Return of the King (remember, just about everyone in there had been in the theater for over 10 hours...)

But, after a long day of movie watching, my brain was completely fried by the time ROTK finally started at just after 10. While the movie looked absolutely phenomenal, I was having a terrible time related to the characters. And the movie seemed structurally very off. So I got a little snarky in my online comments on the movie.

However...

I did go see the movie again at a time when I'd had a little more sleep and hadn't been watching movies all day. That made an enormous difference. Instead of focusing on the problems (which exist but are fairly small by comparison), I got even more caught up by the sheer audaciousness of the undertaking. Minis Tirith is one of the most remarkable combinations of set/bigature/special effect that I have ever seen. The Nazgul attacking Minis Tirith have a huge "gosh wow" factor, reminiscent of the asteroid sequence from The Empire Strikes Back or the scene of the Mother Ship flying over Devil's Tower in Close Encounters of the Third Kind. We have been watching a classic unfold over the last two years.

Despite the spectacle, the human story is rarely overshadowed. The whole cast (except for John Noble as Denethor, but the problems with Denethor weren't all his fault) give one of the finest ensemble performances ever. Ian McKellan, Billy Boyd, Viggo Mortenson, Sean Astin and Elijah Wood deserve special commendation as "first among equals," but no one really steals the show. The movies would not have worked had the casting not been as perfect as the special effects.
It's instructive to go back into the casting archives in TheOneRing.Net and the casting discussions in AintItCoolNews to read some of the jaw-dropping rumors that went around. Keanu Reeves as Aragorn? Uma Thurman as Eowyn? The mind boggles.

There are a few continuity and editing problems in the movie. The whole Pyre of Denethor sequence is just badly handled, and the cuts between Eowyn and the Witch King confrontation and the arrival of Aragorn and company are very distracting. And the endings could have been shortened slightly. Still, the movies are just a phenomenal achievement, and I'm delighted that Peter Jackson et. al. have pulled it off.

Oscar 2003 Predictions and Commentary

OK, for the second time in 34 years, I'm missing part of the Oscars on Sunday. Thank goodness for recorders! But, it will be weird to walk in late (for the second year in a row).

I've seen most of the major movies, will note what I haven't seen and will go ahead with my predictions anyway. For the last few years, I've been hedging my bets with a "will win (WW)" and "should win (SW)."

I'm an avid LOTR fan, though I liked Fellowship a little more than Two Towers, TTT is still a wonderful flick. And it did get somewhat robbed already - it did have the best score, costuming, cinemetography, and make-up of last year. However, in their "infinite wisdom," Oscar people who apparently didn't see both movies decided that these categories were "too similar" to LOTR. I'm not convinced that Peter Jackson himself was robbed, however, at least not for this year.

The acting categories have been quite strong over the last few years. There's only one mild embarassment in the bunch.

Performance by an actor in a leading role
Adrien Brody in THE PIANIST (Focus Features)
Nicolas Cage in ADAPTATION (Sony Pictures Releasing)
(SW) Michael Caine in THE QUIET AMERICAN (Miramax and Intermedia)
(WW) Daniel Day-Lewis in GANGS OF NEW YORK (Miramax)
Jack Nicholson in ABOUT SCHMIDT (New Line)

I haven't seen The Pianist, but I suspect I might be giving Adrien Brody a "may win" if I had. Cage's performance was the one "mild embarassment" - Adaptation is a wildly erratic flick and Cage's performance is part of the problem. Nicholson's performance in About Schmidt was certainly different but it bordered on posturing rather than performing. Michael Caine's performance in The Quiet American was quite extraordinary and very moving. Few people have seen this movie, which was supposed to have been released in the fall of '01 but was held back as it was perceived as being "anti-patriotic." The Americans, then as, unfortunately, right now, were not "the good guys." I would like to see Caine win, but it will probably be Daniel Day-Lewis for his bravura performance in the flawed Gangs of New York.

Performance by an actor in a supporting role
(WON,WW) Chris Cooper in ADAPTATION (Sony Pictures Releasing)
(SW)Ed Harris in THE HOURS (Paramount and Miramax)
Paul Newman in ROAD TO PERDITION (DreamWorks and 20th Century Fox)
John C. Reilly in CHICAGO (Miramax)
Christopher Walken in CATCH ME IF YOU CAN (DreamWorks)

I avoid ties, but, gee, this is a really tough category. Anyone could win here and I'd be happy (kind of like last year when Broadbent won). Reilly was the Broadbent of this year, giving very good performances in several different movies. Newman and Walken were also wonderful. But Cooper and Harris both went well beyond wonderful. Harris's performance was heartbreaking and Cooper's was just plain hysterical. (As much as I would like to have seen Viggo Mortensen in this category, he was probably not quite up to the rest of the supporting actors.)

Performance by an actress in a leading role
Salma Hayek in FRIDA (Miramax)
Nicole Kidman in THE HOURS (Paramount and Miramax)
Diane Lane in UNFAITHFUL (20th Century Fox)
Julianne Moore in FAR FROM HEAVEN (Focus Features)
(SW, WW) Renée Zellweger in CHICAGO (Miramax)

Another tough, tough category. I've gone back and forth on the
issue "should Nicole win best actress for a supporting role?"
because she absolutely should have walked away with that Oscar.
Her Virginia Woolf was magnificent. I didn't see Diane Lane,
but have the impression she was good. Julianne Moore was subtly
different in her two '50s housewife roles. Salma Hayek was quite
good in Frida. But I have to go with Renee because she's grown
so much as an actress over the last few years and was perfect
in Chicago.


Performance by an actress in a supporting role
(SW,WW) Kathy Bates in ABOUT SCHMIDT (New Line)
Julianne Moore in THE HOURS (Paramount and Miramax)
Queen Latifah in CHICAGO (Miramax)
Meryl Streep in ADAPTATION (Sony Pictures Releasing)
Catherine Zeta-Jones in CHICAGO (Miramax)

Another tough category, but I'd give the edge to Bates
(and not just because of the hot tub scene).


Best animated feature film of the year
ICE AGE (20th Century Fox) Chris Wedge
(WW) LILO & STITCH (Buena Vista) Chris Sanders
SPIRIT: STALLION OF THE CIMARRON (DreamWorks) Jeffrey Katzenberg
(SW) SPIRITED AWAY (Buena Vista) Hayao Miyazaki
TREASURE PLANET (Buena Vista) Ron Clements

Sprited Away is the best animated feature I've ever seen. If there
was any justice, it would win. But Disney has gone out of its way
to not distribute this flick, and probably isn't promoting for an
Osacar, either. Lilo & Stitch, while fun, wasn't special.
Ditto Ice Age. Treasure Planet stole ruthlessly from the
artist Dean Morrissey without giving him any credit (yes, even
worse than Lucas stole from Jim Gurney for some of the
Alderan city scenes). And Spirit looked dumb. So while
Spirited Away deserves to win, it probably won't.
(on the other hand, I said the same about Halle Berry
and Denzel Washington last year and I was wrong, so maybe...)


Achievement in costume design
CHICAGO (Miramax) Colleen Atwood
FRIDA (Miramax) Julie Weiss
(SW,WW) GANGS OF NEW YORK (Miramax) Sandy Powell
THE HOURS (Paramount and Miramax) Ann Roth
THE PIANIST (Focus Features) Anna Sheppard

Achievement in art direction
CHICAGO (Miramax) Art Direction: John Myhre
Set Decoration: Gordon Sim
FRIDA (Miramax) Art Direction: Felipe Fernandez del Paso
Set Decoration: Hania Robledo
(WW)GANGS OF NEW YORK (Miramax) Art Direction: Dante Ferretti
Set Decoration: Francesca Lo Schiavo
(SW)THE LORD OF THE RINGS: THE TWO TOWERS (New Line) Art Direction: Grant Major
Set Decoration: Dan Hennah and Alan Lee
ROAD TO PERDITION (DreamWorks and 20th Century Fox) Art Direction: Dennis Gassner
Set Decoration: Nancy Haigh

These are the two Oscars that Gangs could legitimately win, and
it probably will. Frida has a slight chance because it becomes
very operatic in design in places. But TTT continues with its
fascinating world building, and ought to win the art direction award.


Achievement in cinematography
(WW) CHICAGO (Miramax) Dion Beebe
(SW)FAR FROM HEAVEN (Focus Features) Edward Lachman
GANGS OF NEW YORK (Miramax) Michael Ballhaus
THE PIANIST (Focus Features) Pawel Edelman
ROAD TO PERDITION (DreamWorks and 20th Century Fox) Conrad L. Hall

The photography in Far From Heaven was an amazing tribute to the
Technicolor domestic flicks of the '50s and early '60s. However,
I suspect Chicago will sweep a bunch of tech and major awards,
and this may be one of them.


Achievement in directing
(SW, WW) CHICAGO (Miramax) Rob Marshall
GANGS OF NEW YORK (Miramax) Martin Scorsese
THE HOURS (Paramount and Miramax) Stephen Daldry
THE PIANIST (Focus Features) Roman Polanski
TALK TO HER (Sony Pictures Classics) Pedro Almodóvar

Yes, Scorsese is owed. But he keeps getting overwhelmed by
a lucky first-timer. Rob Marshall probably can't loose. Gangs
is too flawed, the Hours and the Pianist too dark and Almodovar
too non-English. Marshall may be the only lock, though I sometimes
wonder if Polanski might win for the career he almost had.


Best documentary feature
(SW, WW) BOWLING FOR COLUMBINE (United Artists and Alliance Atlantis)
A Salter Street Films/VIF 2/Dog Eat Dog Films Production
Michael Moore and Michael Donovan
DAUGHTER FROM DANANG (Balcony Releasing in association with Cowboy Pictures)
An Interfaze Educational Production
Gail Dolgin and Vincente Franco
PRISONER OF PARADISE (Alliance Atlantis)
A Média Vérité/Café Production
Malcolm Clarke and Stuart Sender
SPELLBOUND (THINKFilm)
A Blitz/Welch Production
Jeffrey Blitz and Sean Welch
WINGED MIGRATION (Sony Pictures Classics)
A Galatée Films/France 2 Cinéma/France 3 Cinéma/Les Productions de la Guéville/Bac Films/Pandora Film/Les Productions JMH/Wanda Vision/Eyescreen Production
Jacques Perrin

Michael Moore will probably win...


Achievement in film editing
(WW) CHICAGO (Miramax) Martin Walsh
GANGS OF NEW YORK (Miramax) Thelma Schoonmaker
THE HOURS (Paramount and Miramax) Peter Boyle
(SW) THE LORD OF THE RINGS: THE TWO TOWERS (New Line) Michael Horton
THE PIANIST (Focus Features) Hervé de Luze

The extraordinary thing about TTT is how well-constructed it is.
I hate war movies, and nearly 1/3rd of the movie is one long battle
scene that I can't take my eyes off of. But Chicago will probably win.


Achievement in makeup
FRIDA (Miramax) John Jackson and Beatrice De Alba
THE TIME MACHINE (DreamWorks and Warner Bros.) John M. Elliott, Jr. and Barbara Lorenz

No Award. The make-up in Time Machine sucked and while it was
certainly good in Frida, it was too subtle to be particularly
award-worthy.

Oh, right, these are the Oscars. Give something to Frida!

Achievement in music written for motion pictures (Original score)
CATCH ME IF YOU CAN (DreamWorks) John Williams
FAR FROM HEAVEN (Focus Features) Elmer Bernstein
FRIDA (Miramax) Elliot Goldenthal
(SW, WW) THE HOURS (Paramount and Miramax) Philip Glass
ROAD TO PERDITION (DreamWorks and 20th Century Fox) Thomas Newman

The nominated music was pretty unmemorable last year, but since Howard
Shore wasn't nominated, probably Philip Glass should win for
his interesting score.

Achievement in music written for motion pictures (Original song)
Burn It Blue from FRIDA (Miramax)
Music by Elliot Goldenthal
Lyric by Julie Taymor
Father and Daughter from THE WILD THORNBERRYS MOVIE (Paramount and Nickelodeon Movies)
Music and Lyric by Paul Simon
The Hands That Built America from GANGS OF NEW YORK (Miramax)
Music and Lyric by Bono, The Edge, Adam Clayton and Larry Mullen
(SW, WW) I Move On from CHICAGO (Miramax)
Music by John Kander
Lyric by Fred Ebb
Lose Yourself from 8 MILE (Universal)
Music by Eminem, Jeff Bass and Luis Resto
Lyric by Eminem

This one is pretty much of a no-brainer.


Best motion picture of the year
(WW)CHICAGO (Miramax)
A Producer Circle Co., Zadan/Meron Production
Martin Richards, Producer
GANGS OF NEW YORK (Miramax)
An Alberto Grimaldi Production
Alberto Grimaldi and Harvey Weinstein, Producers
(SW)THE HOURS (Paramount and Miramax)
A Scott Rudin/Robert Fox Production
Scott Rudin and Robert Fox, Producers
THE LORD OF THE RINGS: THE TWO TOWERS (New Line)
A New Line Cinema and Wingnut Films Production
Barrie M. Osborne, Fran Walsh and Peter Jackson, Producers
THE PIANIST (Focus Features)
An R.P. Productions, Heritage Films, Studio Babelsberg, Runtime LTD. Production
Roman Polanski, Robert Benmussa and Alain Sarde, Producers

I'm nothing if not a realist. I liked Chicago, it was fun,
well-cast and it was great to see a real musical on the big screen
again (I don't think Moulin Rouge quite counted). But The Hours
was a very well-cast, well directed and it would be nice if it
got some notice.


Achievement in sound
CHICAGO (Miramax) Michael Minkler, Dominick Tavella and David Lee
GANGS OF NEW YORK (Miramax) Tom Fleischman, Eugene Gearty and Ivan Sharrock
(SW,WW) THE LORD OF THE RINGS: THE TWO TOWERS (New Line) Christopher Boyes, Michael Semanick, Michael Hedges and Hammond Peek
ROAD TO PERDITION (DreamWorks and 20th Century Fox) Scott Millan, Bob Beemer and John Patrick Pritchett
SPIDER-MAN (Sony Pictures Releasing) Kevin O'Connell, Greg P. Russell and Ed Novick

Achievement in sound editing
(SW, WW) THE LORD OF THE RINGS: THE TWO TOWERS (New Line) Ethan Van der Ryn and Michael Hopkins
MINORITY REPORT (20th Century Fox and DreamWorks) Richard Hymns and Gary Rydstrom
ROAD TO PERDITION (DreamWorks and 20th Century Fox) Scott A. Hecker

Achievement in visual effects
(SW,WW) THE LORD OF THE RINGS: THE TWO TOWERS (New Line) Jim Rygiel, Joe Letteri, Randall William Cook and Alex Funke
SPIDER-MAN (Sony Pictures Releasing) John Dykstra, Scott Stokdyk, Anthony LaMolinara and John Frazier
STAR WARS EPISODE II ATTACK OF THE CLONES (20th Century Fox) Rob Coleman, Pablo Helman, John Knoll and Ben Snow

If Gollum was the only effect in the movie, it still should win.


Adapted screenplay
ABOUT A BOY (Universal) Screenplay by Peter Hedges and Chris Weitz & Paul Weitz
ADAPTATION (Sony Pictures Releasing) Screenplay by Charlie Kaufman and Donald Kaufman
CHICAGO (Miramax) Screenplay by Bill Condon
(SW,WW) THE HOURS (Paramount and Miramax) Screenplay by David Hare
THE PIANIST (Focus Features) Screenplay by Ronald Harwood

This may go to Chicago, but...
Adaptation was certainly interesting, but it was just such a departure
from The Orchid Thief that it really isn't much of a adaptation.


Original screenplay
(SW,WW) FAR FROM HEAVEN (Focus Features) Written by Todd Haynes
GANGS OF NEW YORK (Miramax) Screenplay by Jay Cocks and Steve Zaillian and Kenneth Lonergan
Story by Jay Cocks
MY BIG FAT GREEK WEDDING (IFC/Gold Circle Films) Written by Nia Vardalos
TALK TO HER (Sony Pictures Classics) Written by Pedro Almodóvar
Y TU MAMÁ TAMBIÉN (IFC Films) Written by Carlos Cuarón and Alfonso Cuarón

I enjoyed My Big Fat Greek Wedding, it was a fun movie, but seeing it
nominated just because it made a pile of money unexpectedly was silly.
But Far from Heaven was an interesting, adult movie, and I hope it wins.

Fact Checking (This Time - NPR and Scott Simon's Weekend Edition)

I am a big believer in fact-checking, particularly in public forums, like Web sites, radio shows, TV shows, newspapers...Heck, even in blogs.

This morning I heard bits and pieces of NPR's Weekend Edition while I was running errands, and heard a surprising number of errors. So here's the letter I've written to Scott Simon to complain:

---

Dear Scott,

I'm a big fan of your show, but I was dismayed by the number of errors you made in passing on this morning's show (7/13/02).

First John F. Kennedy was born in May of 1917, meaning he was 43 when he was nominated for president in July of 1960. Second, he had one child when he was nominated, though Jacqueline Kennedy was pregnant at the time of his nomination and
gave birth to their second child, John Jr., after his election in November 1960. An
almanac or encyclopedia would have helped you out here, or a Web site such as
Encyclopedia Americana:

http://gi.grolier.com/presidents/ea/bios/35pkenn.html

There were similar types of errors during your lead-in to the talk on summer blockbusters. From 1965 to 1975, I'm pretty sure the top moneymaker was The Sound of Music, not Gone with the Wind. (However, I don't have an almanac from the early '70s so I can't confirm this.)

However, where absolutely missed the mark was both you and your guest calling Close Encounters of the Third Kind a summer blockbuster. It was released in November 1977
and was not a summer blockbuster at all (though it mailed a pile of money. Check the Internet Movie Database at http://us.imdb.com).

You and your guest also missed the opportunity to discuss how movie promotion changed in the mid-'70s. There were an enormous number of television commercials for Jaws before Jaws came out - it was the first time I remember ad saturation in advance of a movie. Same thing for both Star Wars and Close Encounters.

I enjoy you and your show, but fact-checking is being increasingly ignored in the media. If you can't get simple facts right, how can we rely on you for getting the facts right about more complicated stories?

Sincerely,

Laurie D. T. Mann
http://www.dpsinfo.com