by Amos Semien
In a year of ties, The Los Angeles Film Critics Association named the films, Gravity and Her, as "Best Picture" of 2013. However, when it came to "Best Director," Gravity's Alfonso Curon did not have to share with runner-up Spike Jonze of Her. Other ties include "Best Actress," Cate Blanchett and Adèle Exarchopoulos; and "Best Supporting Actor," James Franco and Jared Leto.
The Los Angeles Film Critics Association (LAFCA) is a professional organization of Los Angeles-based, professional film critics working in the Los Angeles print and electronic media. Since 1975, LAFCA members vote on the year's Achievement Awards each December, honoring screen excellence on both sides of the camera.
39th Annual (2013) Los Angeles Film Critics Association Awards:
BEST PICTURE: "Gravity" and "Her" (TIE)
BEST DIRECTOR: Alfonso Cuarón, "Gravity"
Runner-up: Spike Jonze ("Her")
BEST ACTOR: Bruce Dern "Nebraska"
Runner-up: Chiwetel Ejiofor ("12 Years a Slave")
BEST ACTRESS: Cate Blanchett, "Blue Jasmine" and Adèle Exarchopoulos, "Blue Is the Warmest Color" (TIE)
BEST SUPPORTING ACTOR: James Franco, "Spring Breakers," and Jared Leto, "Dallas Buyers Club" (TIE)
BEST SUPPORTING ACTRESS: Lupita Nyong'o, "12 Years a Slave"
Runner-up: June Squibb ("Nebraska")
BEST SCREENPLAY: Richard Linklater, Julie Delpy, and Ethan Hawke, “Before Midnight"
Runner-up: Spike Jonze ("Her")
BEST CINEMATOGRAPHY: Emmanuel Lubezki, "Gravity"
Runner-up: Bruno Delbonnel ("Inside Llewyn Davis")
BEST PRODCUTION DESIGN: K.K. Barrett, "Her"
Runner-up: Jess Gonchor ("Inside Llewyn Davis")
BEST EDITING: Alfonso Cuarón and Mark Sanger, "Gravity"
Runner-up: Shane Carruth and David Lowery ("upstream color")
BEST MUSIC SCORE: T Bone Burnett, "Inside Llewyn Davis"
Runner-up: Arcade Fire and Owen Pallett ("HER")
BEST FOREIGN-LANGUAGE FILM: "Blue Is the Warmest Color" - Directed by Abdellatif Kechiche
Runner-up: "The Great Beauty" directed by Paolo Sorrentino
BEST DOCUMENTARY/NON-FICTION FILM: "Stories We Tell" - Directed by Sarah Polley
Runner-up: "The Act of Killing" by Joshua Oppenheimer, Anonymous, and Christine Cynn
BEST ANIMATION: "Ernest & Celestine" – Directed by Stéphane Aubier, Vincent Patar, and Benjamin Renner
Runner-up: "The Wind Rises" directed by Hayao Miyazaki
New Generation: Megan Ellison
Legacy of Cinema: Criterion Collection
The Douglas Edwards Experimental/Independent Film/Video Award: "Cabinets Of Wonder: Films and a Performance by Charlotte Pryce"
Special Citation: The creative team of "12 Years a Slave"
http://www.lafca.net/
END
Showing posts with label Spike Jonze. Show all posts
Showing posts with label Spike Jonze. Show all posts
Monday, December 9, 2013
Wednesday, December 4, 2013
National Board of Review Names "Her" Best Film of 2013
by Amos Semien
The National Board of Review of Motion Pictures named Spike Jonze's film, Her, the "Best Film" of 2013, with Jonze also receiving the "Best Director" award. Fruitvale Station received more notices for Michael B. Jordan and Ryan Coogler as breakthrough actor and for directorial debut respectively.
The National Board of Review of Motion Pictures, which is made up of film enthusiasts, academics, students, and filmmakers, historically launches the movie awards season.
The group named the winners for the year 2013, today Wednesday, December 4, 2013. The NBR’s awards gala will be held Tuesday, January 7, 2014 and will be hosted by Lara Spencer.
Below is a full list of the awards given by the National Board of Review for 2013:
Best Film: HER
Best Director: Spike Jonze, HER
Best Actor: Bruce Dern, NEBRASKA
Best Actress: Emma Thompson, SAVING MR. BANKS
Best Supporting Actor: Will Forte, NEBRASKA
Best Supporting Actress: Octavia Spencer, FRUITVALE STATION
Best Original Screenplay: Joel and Ethan Coen, INSIDE LLEWYN DAVIS
Best Adapted Screenplay: Terence Winter, THE WOLF OF WALL STREET
Best Animated Feature: THE WIND RISES
Breakthrough Performance: Michael B. Jordan, FRUITVALE STATION
Breakthrough Performance: Adèle Exarchopoulos, BLUE IS THE WARMEST COLOR
Best Directorial Debut: Ryan Coogler, FRUITVALE STATION
Best Foreign Language Film: THE PAST
Best Documentary: STORIES WE TELL
William K. Everson Film History Award: George Stevens, Jr.
Best Ensemble: PRISONERS
Spotlight Award: Career Collaboration of Martin Scorsese and Leonardo DiCaprio
NBR Freedom of Expression Award: WADJDA
Creative Innovation in Filmmaking Award: GRAVITY
Top Films (in alphabetical order):
12 YEARS A SLAVE
FRUITVALE STATION
GRAVITY
INSIDE LLEWYN DAVIS
LONE SURVIVOR
NEBRASKA
PRISONERS
SAVING MR. BANKS
THE SECRET LIFE OF MITTY
THE WOLF OF WALL STREET
Top 5 Foreign Language Films: (In Alphabetical Order):
BEYOND THE HILLS
GLORIA
THE GRANDMASTER
A HIJACKING
THE HUNT
Top 5 Documentaries (In Alphabetical Order):
20 FEET FROM STARDOM
THE ACT OF KILLING
AFTER TILLER
CASTING BY
THE SQUARE
Top 10 Independent Films: (In Alphabetical Order):
AIN’T THEM BODIES SAINTS
DALLAS BUYERS CLUB
IN A WORLD . . .
MOTHER OF GEORGE
MUCH ADO ABOUT NOTHING
MUD
THE PLACE BEYOND THE PINES
SHORT TERM 12
SIGHTSEERS
THE SPECTACULAR NOW
END
The National Board of Review of Motion Pictures named Spike Jonze's film, Her, the "Best Film" of 2013, with Jonze also receiving the "Best Director" award. Fruitvale Station received more notices for Michael B. Jordan and Ryan Coogler as breakthrough actor and for directorial debut respectively.
The National Board of Review of Motion Pictures, which is made up of film enthusiasts, academics, students, and filmmakers, historically launches the movie awards season.
The group named the winners for the year 2013, today Wednesday, December 4, 2013. The NBR’s awards gala will be held Tuesday, January 7, 2014 and will be hosted by Lara Spencer.
Below is a full list of the awards given by the National Board of Review for 2013:
Best Film: HER
Best Director: Spike Jonze, HER
Best Actor: Bruce Dern, NEBRASKA
Best Actress: Emma Thompson, SAVING MR. BANKS
Best Supporting Actor: Will Forte, NEBRASKA
Best Supporting Actress: Octavia Spencer, FRUITVALE STATION
Best Original Screenplay: Joel and Ethan Coen, INSIDE LLEWYN DAVIS
Best Adapted Screenplay: Terence Winter, THE WOLF OF WALL STREET
Best Animated Feature: THE WIND RISES
Breakthrough Performance: Michael B. Jordan, FRUITVALE STATION
Breakthrough Performance: Adèle Exarchopoulos, BLUE IS THE WARMEST COLOR
Best Directorial Debut: Ryan Coogler, FRUITVALE STATION
Best Foreign Language Film: THE PAST
Best Documentary: STORIES WE TELL
William K. Everson Film History Award: George Stevens, Jr.
Best Ensemble: PRISONERS
Spotlight Award: Career Collaboration of Martin Scorsese and Leonardo DiCaprio
NBR Freedom of Expression Award: WADJDA
Creative Innovation in Filmmaking Award: GRAVITY
Top Films (in alphabetical order):
12 YEARS A SLAVE
FRUITVALE STATION
GRAVITY
INSIDE LLEWYN DAVIS
LONE SURVIVOR
NEBRASKA
PRISONERS
SAVING MR. BANKS
THE SECRET LIFE OF MITTY
THE WOLF OF WALL STREET
Top 5 Foreign Language Films: (In Alphabetical Order):
BEYOND THE HILLS
GLORIA
THE GRANDMASTER
A HIJACKING
THE HUNT
Top 5 Documentaries (In Alphabetical Order):
20 FEET FROM STARDOM
THE ACT OF KILLING
AFTER TILLER
CASTING BY
THE SQUARE
Top 10 Independent Films: (In Alphabetical Order):
AIN’T THEM BODIES SAINTS
DALLAS BUYERS CLUB
IN A WORLD . . .
MOTHER OF GEORGE
MUCH ADO ABOUT NOTHING
MUD
THE PLACE BEYOND THE PINES
SHORT TERM 12
SIGHTSEERS
THE SPECTACULAR NOW
END
Thursday, August 15, 2013
Spike Jonze's "Her" Goes Nationwide January 10, 2014
Warner Bros. Pictures Shifts Release for Spike Jonze’s “Her”
“Her” to open in limited release on December 18, 2013 in New York, Los Angeles and Toronto, and wide on January 10, 2014
BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures has moved the release date of Spike Jonze’s already much anticipated romantic drama “Her.” The film will now open in limited release in New York, Los Angeles and Toronto on December 18, 2013, and wide on January 10, 2014. The announcement was made today by Dan Fellman, President, Domestic Distribution, Warner Bros. Pictures.
The move comes on the heels of strong positive reactions coming out of early screenings. “Her” has also just been announced by the New York Film Festival as its selection for the prestigious Closing Night Gala slot. The date change allows the studio to take full advantage of word of mouth resulting from the Festival screening, placing the film in the key awards consideration corridor and positioning it for its December opening and wider launch in January.
In making the announcement, Fellman stated, “Spike Jonze has created an unconventional love story that is thought-provoking and reflective of our modern age. Based on the responses we’ve seen thus far, we have confidence that ‘Her’ will be embraced by both critics and audiences and look forward to sharing it with them, beginning in the holiday season.”
Set in Los Angeles, in the near future, “Her” follows Theodore Twombly (Joaquin Phoenix), a complex, soulful man who makes his living writing touching, personal letters for other people. Heartbroken after the end of a long relationship, he becomes intrigued with a new, advanced operating system, which promises to be an intuitive and unique entity in its own right. Upon initiating it, he is delighted to meet “Samantha,” a bright, female voice (Scarlett Johansson) who is insightful, sensitive and surprisingly funny. As her needs and desires grow in tandem with his own, their friendship deepens into an eventual love for each other.
From the singular perspective of Oscar®-nominated filmmaker Spike Jonze (“Being John Malkovich”) comes “Her,” an original love story that explores the evolving nature—and the risks—of intimacy in the modern world.
Written and directed by Jonze, the romantic drama stars Oscar® nominees Joaquin Phoenix (“The Master,” “Walk the Line”), Amy Adams (“The Master,” “Doubt”) and Rooney Mara (“The Girl With the Dragon Tattoo”); Olivia Wilde (upcoming “Rush”); and Scarlett Johansson (“Lost in Translation”).
“Her” is produced by Megan Ellison, Spike Jonze and Vincent Landay. Daniel Lupi, Natalie Farrey and Chelsea Barnard served as executive producers.
The film reunites many of Jonze’s longtime creative collaborators, including production designer KK Barrett, editor Eric Zumbrunnen and costume designer Casey Storm, who worked together on “Where the Wild Things Are,” “Adaptation.” and “Being John Malkovich.” Joining them is director of photography Hoyte Van Hoytema (“Tinker Tailor Soldier Spy”), and editor Jeff Buchanan (HBO’s “Tell Them Anything You Want: A Portrait of Maurice Sendak,” which Jonze co-directed). The music is composed by Arcade Fire.
A Warner Bros. Pictures presentation of an Annapurna Pictures Production, “Her” will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
herthemovie.com
“Her” to open in limited release on December 18, 2013 in New York, Los Angeles and Toronto, and wide on January 10, 2014
BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures has moved the release date of Spike Jonze’s already much anticipated romantic drama “Her.” The film will now open in limited release in New York, Los Angeles and Toronto on December 18, 2013, and wide on January 10, 2014. The announcement was made today by Dan Fellman, President, Domestic Distribution, Warner Bros. Pictures.
The move comes on the heels of strong positive reactions coming out of early screenings. “Her” has also just been announced by the New York Film Festival as its selection for the prestigious Closing Night Gala slot. The date change allows the studio to take full advantage of word of mouth resulting from the Festival screening, placing the film in the key awards consideration corridor and positioning it for its December opening and wider launch in January.
In making the announcement, Fellman stated, “Spike Jonze has created an unconventional love story that is thought-provoking and reflective of our modern age. Based on the responses we’ve seen thus far, we have confidence that ‘Her’ will be embraced by both critics and audiences and look forward to sharing it with them, beginning in the holiday season.”
Set in Los Angeles, in the near future, “Her” follows Theodore Twombly (Joaquin Phoenix), a complex, soulful man who makes his living writing touching, personal letters for other people. Heartbroken after the end of a long relationship, he becomes intrigued with a new, advanced operating system, which promises to be an intuitive and unique entity in its own right. Upon initiating it, he is delighted to meet “Samantha,” a bright, female voice (Scarlett Johansson) who is insightful, sensitive and surprisingly funny. As her needs and desires grow in tandem with his own, their friendship deepens into an eventual love for each other.
From the singular perspective of Oscar®-nominated filmmaker Spike Jonze (“Being John Malkovich”) comes “Her,” an original love story that explores the evolving nature—and the risks—of intimacy in the modern world.
Written and directed by Jonze, the romantic drama stars Oscar® nominees Joaquin Phoenix (“The Master,” “Walk the Line”), Amy Adams (“The Master,” “Doubt”) and Rooney Mara (“The Girl With the Dragon Tattoo”); Olivia Wilde (upcoming “Rush”); and Scarlett Johansson (“Lost in Translation”).
“Her” is produced by Megan Ellison, Spike Jonze and Vincent Landay. Daniel Lupi, Natalie Farrey and Chelsea Barnard served as executive producers.
The film reunites many of Jonze’s longtime creative collaborators, including production designer KK Barrett, editor Eric Zumbrunnen and costume designer Casey Storm, who worked together on “Where the Wild Things Are,” “Adaptation.” and “Being John Malkovich.” Joining them is director of photography Hoyte Van Hoytema (“Tinker Tailor Soldier Spy”), and editor Jeff Buchanan (HBO’s “Tell Them Anything You Want: A Portrait of Maurice Sendak,” which Jonze co-directed). The music is composed by Arcade Fire.
A Warner Bros. Pictures presentation of an Annapurna Pictures Production, “Her” will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
herthemovie.com
Thursday, May 23, 2013
Spike Jonze's "Her" Due November 2013
Warner Bros. Pictures Slates Spike Jonze’s “Her” for November 20, 2013
Film to open in limited release in New York, Los Angeles and Toronto
BURBANK, Calif.--(BUSINESS WIRE)--“Her,” the new modern-day love story from Oscar®-nominated filmmaker Spike Jonze (“Being John Malkovich”) and Annapurna Pictures, will open in limited release on November 20, 2013, it was announced today by Dan Fellman, President, Domestic Distribution, Warner Bros. Pictures.
The film will be released initially in New York, Los Angeles and Toronto, with future cities and dates to be announced.
Written, directed and produced by Jonze, “Her” stars Joaquin Phoenix (“The Master”), Amy Adams (“The Master”), Scarlett Johansson (“Hitchcock”), Rooney Mara (“The Girl with the Dragon Tattoo”), Chris Pratt (“Moneyball”) and Olivia Wilde (“People Like Us”).
In making the announcement, Fellman stated, “Spike Jonze is known as a filmmaker who breaks the mold, and ‘Her’ continues in that tradition. It’s a thought-provoking love story that speaks to the impact of ever-evolving technology on our personal lives. We love the film, and we are very excited to be able to share it with audiences on November 20th.”
Joining Jonze as producers on the film are Vincent Landay and Megan Ellison. Daniel Lupi and Ted Schipper will serve as executive producers, with Natalie Farrey and Chelsea Barnard as co-producers.
The behind-the-scenes creative team includes director of photography Hoyte Van Hoytema (“Tinker Tailor Soldier Spy”), production designer KK Barrett (“Where the Wild Things Are”), costume designer Casey Storm (“Where the Wild Things Are”) and editors Eric Zumbrunnen (“Where the Wild Things Are”) and Jeff Buchanan (“Be Kind Rewind”).
An Annapurna Pictures Production, a Film by Spike Jonze, “Her” will be distributed domestically by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
Film to open in limited release in New York, Los Angeles and Toronto
BURBANK, Calif.--(BUSINESS WIRE)--“Her,” the new modern-day love story from Oscar®-nominated filmmaker Spike Jonze (“Being John Malkovich”) and Annapurna Pictures, will open in limited release on November 20, 2013, it was announced today by Dan Fellman, President, Domestic Distribution, Warner Bros. Pictures.
The film will be released initially in New York, Los Angeles and Toronto, with future cities and dates to be announced.
Written, directed and produced by Jonze, “Her” stars Joaquin Phoenix (“The Master”), Amy Adams (“The Master”), Scarlett Johansson (“Hitchcock”), Rooney Mara (“The Girl with the Dragon Tattoo”), Chris Pratt (“Moneyball”) and Olivia Wilde (“People Like Us”).
In making the announcement, Fellman stated, “Spike Jonze is known as a filmmaker who breaks the mold, and ‘Her’ continues in that tradition. It’s a thought-provoking love story that speaks to the impact of ever-evolving technology on our personal lives. We love the film, and we are very excited to be able to share it with audiences on November 20th.”
Joining Jonze as producers on the film are Vincent Landay and Megan Ellison. Daniel Lupi and Ted Schipper will serve as executive producers, with Natalie Farrey and Chelsea Barnard as co-producers.
The behind-the-scenes creative team includes director of photography Hoyte Van Hoytema (“Tinker Tailor Soldier Spy”), production designer KK Barrett (“Where the Wild Things Are”), costume designer Casey Storm (“Where the Wild Things Are”) and editors Eric Zumbrunnen (“Where the Wild Things Are”) and Jeff Buchanan (“Be Kind Rewind”).
An Annapurna Pictures Production, a Film by Spike Jonze, “Her” will be distributed domestically by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
Thursday, January 13, 2011
Museum of The Moving Image Honors David O. Russell
Press release:
FILM DIRECTOR DAVID O. RUSSELL TO RECEIVE RETROSPECTIVE AT MUSEUM OF THE MOVING IMAGE
FILMMAKER TO BE JOINED BY SPIKE JONZE FOR SPECIAL SCREENING OF THE FIGHTER
ASTORIA, NY, January 11, 2011 – David O. Russell will be the subject of the first director retrospective at the newly expanded Museum of the Moving Image. From January 19 through February 6, 2011, Moving Image will screen all five of Russell’s feature films, from his audacious 1994 comedy Spanking the Monkey to his new film, The Fighter, which is a critical and popular success. The retrospective opens on Wednesday, January 19, with a special screening of The Fighter in the Museum’s magnificent new 267-seat Moving Image Theater. Russell will discuss the film in a post-screening conversation moderated by his friend, director Spike Jonze (Being John Malkovich, Where the Wild Things Are).
Teeming with life, Russell’s acclaimed film The Fighter is at once assured and powerful, a cinematic experience that doesn’t fit neatly into any one genre. His debut, Spanking the Monkey, is a coming-of-age story that ventures into mother-son incest without sacrificing emotional honesty or comedy. Flirting with Disaster is a screwball family comedy that cheerfully explores adoption, adultery, and many other loaded subjects. Three Kings uses wild humor to attack the absurdity of modern warfare. And I Heart Huckabees is a playful, irreverent comedy that is completely serious in its exploration of profound existential questions. “In short, Russell has firmly established himself as one of the most consistently original and inventive contemporary filmmakers. With all the attention surrounding his latest film, this is a good time to take a look at his remarkable and unconventional career,” said David Schwartz, the Museum’s chief curator, who organized the retrospective.
The Films of David O. Russell
January 15–February 20, 2011
Special screening: The Fighter
Wednesday, January 19, 7:00 p.m.
A CONVERSATION WITH DAVID O. RUSSELL AND SPIKE JONZE
2010, 115 mins. Paramount Pictures. With Mark Wahlberg, Christian Bale, Melissa Leo, Amy Adams. Russell’s vibrant new film is a true-life boxing drama and a family drama about the rivalry between two brothers and between a controlling mother-manager and her son’s girlfriend. Gaining atmosphere from its Lowell, Massachusetts setting, this film features four of the year’s most indelible performances. A labor of love for producer/star Wahlberg, the film is also a dazzling comeback of sorts for Russell, making his first feature film in six years.
TICKETS: $15 public / $10 Museum members / Free for Silver Screen members and above. Order online at movingimage.us or call 718 777 6800.
Spanking the Monkey
Friday, January 21, 7:30 p.m.
1994, 100 mins. With Jeremy Davies. In his impressive debut, which won the Audience Award at Sundance, Russell brings deadpan humor and emotional complexity to what could have been very lurid subject matter: the improper relationship that develops over a summer between a housebound mother and her college-age son.
Flirting with Disaster
Saturday, January 29, 6:00 p.m.
1996, 92 mins. With Ben Stiller, Tea Leoni. Madcap road movie meets screwball romance meets dysfunctional family comedy in Russell’s wild and assured film about an adopted man who decides to track down his biological father. Russell’s sophomore film is filled with surprises and great acting from an ensemble that includes George Segal, Lily Tomlin, Patricia Arquette, Richard Jenkins, and Josh Brolin.
Three Kings
Saturday , February 5, 6:00 p.m.
1999, 114 mins. With George Clooney, Mark Wahlberg, Ice Cube. An audacious, satirical movie and one of the few Hollywood films set during the first Gulf War, Three
Kings, about a group of cynical American soldiers tracking down a pile of gold stolen by Saddam Hussein, was described by Roger Ebert as “some kind of weird masterpiece, a screw-loose war picture that sends action and humor crashing head-on into each other and spinning off into political anger.”
I Heart Huckabees
Sunday , February 6, 5:30 p.m.
2004, 107 mins. With Dustin Hoffman, Lily Tomlin, Jason Schwartzman. A down-on-his-luck poet/activist enlists the help of an existential detective agency to help solve some cosmic questions in Russell’s brilliant one-of-a-kind philosophical comedy about nothing less than the meaning of life and the nature of reality. Russell’s most provocative and unpredictable movie is also his most personal.
MUSEUM INFORMATION
Hours (beginning January 15, 2011): Tuesday-Thursday, 10:30 a.m. to 5:00 p.m. Friday, 10:30 to 8:00 p.m. Saturday-Sunday, 10:30 a.m. to 7:00 p.m. Holiday Openings: Monday, January 17 (Martin Luther King, Jr. Day, and Monday, February 21 (Washington’s Birthday), 10:30 a.m. to 5:00 p.m. (Closed on Monday except for holiday openings).
Film Screenings: See schedule above for schedule.
Museum Admission: $10.00 for adults; $7.50 for persons over 65 and for students with ID; $5.00 for children ages 5-18. Children under 5 and Museum members are admitted free. Admission to the galleries is free on Fridays, 4:00 to 8:00 p.m. Paid admission includes film screenings (except for special ticketed events and Friday evenings) Tickets for special screenings and events may be purchased in advance online at movingimage.us or by phone at 718.777.6800.
Location: 35 Avenue at 37 Street in Astoria.
Subway: R or M trains (R on weekends) to Steinway Street. N or Q trains to 36 Avenue.
Program Information: Telephone: 718.777.6888; Website: http://movingimage.us
The Museum is housed in a building owned by the City of New York and its operations are made possible in part by public funds provided through the New York City Department of Cultural Affairs, the New York City Economic Development Corporation, the New York State Council on the Arts, the National Endowment for the Arts, the National Endowment for the Humanities, the Institute of Museum and Library Services, and the Natural Heritage Trust (administered by the New York State Office of Parks, Recreation, and Historic Preservation). The Museum also receives generous support from numerous corporations, foundations, and individuals. For more information, please visit http://movingimage.us/.
FILM DIRECTOR DAVID O. RUSSELL TO RECEIVE RETROSPECTIVE AT MUSEUM OF THE MOVING IMAGE
FILMMAKER TO BE JOINED BY SPIKE JONZE FOR SPECIAL SCREENING OF THE FIGHTER
ASTORIA, NY, January 11, 2011 – David O. Russell will be the subject of the first director retrospective at the newly expanded Museum of the Moving Image. From January 19 through February 6, 2011, Moving Image will screen all five of Russell’s feature films, from his audacious 1994 comedy Spanking the Monkey to his new film, The Fighter, which is a critical and popular success. The retrospective opens on Wednesday, January 19, with a special screening of The Fighter in the Museum’s magnificent new 267-seat Moving Image Theater. Russell will discuss the film in a post-screening conversation moderated by his friend, director Spike Jonze (Being John Malkovich, Where the Wild Things Are).
Teeming with life, Russell’s acclaimed film The Fighter is at once assured and powerful, a cinematic experience that doesn’t fit neatly into any one genre. His debut, Spanking the Monkey, is a coming-of-age story that ventures into mother-son incest without sacrificing emotional honesty or comedy. Flirting with Disaster is a screwball family comedy that cheerfully explores adoption, adultery, and many other loaded subjects. Three Kings uses wild humor to attack the absurdity of modern warfare. And I Heart Huckabees is a playful, irreverent comedy that is completely serious in its exploration of profound existential questions. “In short, Russell has firmly established himself as one of the most consistently original and inventive contemporary filmmakers. With all the attention surrounding his latest film, this is a good time to take a look at his remarkable and unconventional career,” said David Schwartz, the Museum’s chief curator, who organized the retrospective.
The Films of David O. Russell
January 15–February 20, 2011
Special screening: The Fighter
Wednesday, January 19, 7:00 p.m.
A CONVERSATION WITH DAVID O. RUSSELL AND SPIKE JONZE
2010, 115 mins. Paramount Pictures. With Mark Wahlberg, Christian Bale, Melissa Leo, Amy Adams. Russell’s vibrant new film is a true-life boxing drama and a family drama about the rivalry between two brothers and between a controlling mother-manager and her son’s girlfriend. Gaining atmosphere from its Lowell, Massachusetts setting, this film features four of the year’s most indelible performances. A labor of love for producer/star Wahlberg, the film is also a dazzling comeback of sorts for Russell, making his first feature film in six years.
TICKETS: $15 public / $10 Museum members / Free for Silver Screen members and above. Order online at movingimage.us or call 718 777 6800.
Spanking the Monkey
Friday, January 21, 7:30 p.m.
1994, 100 mins. With Jeremy Davies. In his impressive debut, which won the Audience Award at Sundance, Russell brings deadpan humor and emotional complexity to what could have been very lurid subject matter: the improper relationship that develops over a summer between a housebound mother and her college-age son.
Flirting with Disaster
Saturday, January 29, 6:00 p.m.
1996, 92 mins. With Ben Stiller, Tea Leoni. Madcap road movie meets screwball romance meets dysfunctional family comedy in Russell’s wild and assured film about an adopted man who decides to track down his biological father. Russell’s sophomore film is filled with surprises and great acting from an ensemble that includes George Segal, Lily Tomlin, Patricia Arquette, Richard Jenkins, and Josh Brolin.
Three Kings
Saturday , February 5, 6:00 p.m.
1999, 114 mins. With George Clooney, Mark Wahlberg, Ice Cube. An audacious, satirical movie and one of the few Hollywood films set during the first Gulf War, Three
Kings, about a group of cynical American soldiers tracking down a pile of gold stolen by Saddam Hussein, was described by Roger Ebert as “some kind of weird masterpiece, a screw-loose war picture that sends action and humor crashing head-on into each other and spinning off into political anger.”
I Heart Huckabees
Sunday , February 6, 5:30 p.m.
2004, 107 mins. With Dustin Hoffman, Lily Tomlin, Jason Schwartzman. A down-on-his-luck poet/activist enlists the help of an existential detective agency to help solve some cosmic questions in Russell’s brilliant one-of-a-kind philosophical comedy about nothing less than the meaning of life and the nature of reality. Russell’s most provocative and unpredictable movie is also his most personal.
MUSEUM INFORMATION
Hours (beginning January 15, 2011): Tuesday-Thursday, 10:30 a.m. to 5:00 p.m. Friday, 10:30 to 8:00 p.m. Saturday-Sunday, 10:30 a.m. to 7:00 p.m. Holiday Openings: Monday, January 17 (Martin Luther King, Jr. Day, and Monday, February 21 (Washington’s Birthday), 10:30 a.m. to 5:00 p.m. (Closed on Monday except for holiday openings).
Film Screenings: See schedule above for schedule.
Museum Admission: $10.00 for adults; $7.50 for persons over 65 and for students with ID; $5.00 for children ages 5-18. Children under 5 and Museum members are admitted free. Admission to the galleries is free on Fridays, 4:00 to 8:00 p.m. Paid admission includes film screenings (except for special ticketed events and Friday evenings) Tickets for special screenings and events may be purchased in advance online at movingimage.us or by phone at 718.777.6800.
Location: 35 Avenue at 37 Street in Astoria.
Subway: R or M trains (R on weekends) to Steinway Street. N or Q trains to 36 Avenue.
Program Information: Telephone: 718.777.6888; Website: http://movingimage.us
The Museum is housed in a building owned by the City of New York and its operations are made possible in part by public funds provided through the New York City Department of Cultural Affairs, the New York City Economic Development Corporation, the New York State Council on the Arts, the National Endowment for the Arts, the National Endowment for the Humanities, the Institute of Museum and Library Services, and the Natural Heritage Trust (administered by the New York State Office of Parks, Recreation, and Historic Preservation). The Museum also receives generous support from numerous corporations, foundations, and individuals. For more information, please visit http://movingimage.us/.
Wednesday, January 12, 2011
Review: "Three Kings" Prophetic, Timeless, and Timely
TRASH IN MY EYE No. 102 (of 2003) by Leroy Douresseaux
Three Kings (1999)
Running time: 114 minutes (1 hour, 54 minutes)
MPAA – R for graphic war violence, language and some sexuality
DIRECTOR: David O. Russell
WRITERS: David O. Russell, story by John Ridley
PRODUCERS: Paul Junger Witt, Edward L. McDonnell, and Charles Roven
CINEMATOGRAPHER: Newton Thomas Sigel
EDITOR: Robert K. Lambert
COMPOSER: Carter Burwell
ACTION/COMEDY/DRAMA/WAR
Starring: George Clooney, Mark Wahlberg, Ice Cube, Spike Jonze, Cliff Curtis, Nora Dunn, Jamie Kennedy, Mykelti Washington, Judy Greer, and Liz Stauber
David O. Russell’s (Flirting with Disaster) film Three Kings is set in the aftermath of the Gulf War (Operation Desert Storm). Four soldiers set out to recover Iraqi gold that Saddam Hussein stole from Kuwait. Somewhere along the way, they discover that the people, the ordinary citizens caught between the United Nations (i.e. American) juggernaut and Saddam’s brutality, need the soldiers more than the soldiers need the gold.
This is obviously an anti-war picture, but that term is rather broad, as it is for many films that are war movies or take a hard look at war and strife. Shot in a palette of shifting and unusual colors, the film is as surrealistic as the experience of sudden and massive violence can be. In the end, it’s “anti-war” in the sense that it shows how the individual must confront his part in large scale violence, in which he exists as a servant and when the warlords are faceless bureaucrats and manic officers far away from the ground level violence. It’s also about how the little people, the one’s who have no say in how things are run, take the sucker punches. If this movie does one thing well, it is how it portrays the plight of the powerless.
The elements of the film: setting, story, and characters have a hard, visceral feel. The brutal edge bites deep into the soul and makes the viewer feel for the players. On the other hand, the film feels out of control and overly earnest, as if it’s screaming its message at you. That’s not off-putting, but the film often feels hollow because the chain of events are so predictable. From the first time the soldiers (ably played by George Clooney, Mark Wahlberg, Ice Cube, and Spike Jonze) encounter some Iraqi civilians getting beat up and shot, you know what’s coming. Clooney’s Maj. Archie Gates can’t leave them behind, and while Wahlberg’s Sfc. Troy Barlow first resists getting involved, he predictably relents. From that point, the Three Kings (Ice Cube’s SSgt. Chief Elgin is the third) are on an earnest holy mission; even Cube’s Elgin is made to play a pious man calling on a high authority to guide them.
Though it is well meaning and flashy, I do give Russell and story writer John Ridley credit for bluntly confronting the hypocrisy of the U.N.’s (once again, U.S.’s) public stance on why they were in Iraq the first time. Three Kings says a lot of things that needed to be said back then and are as relevant today as they were then. It’s a gut check to for a lethargic audience fat on the film treats that will inevitably lead them to tire of SFX tricks. To hear not one, but several characters, both military and civilian, in a film, confront war with such sarcasm, disdain, and sorrow is refreshing.
7 of 10
B+
NOTES:
2000 Black Reel Awards: 1 nomination: “Theatrical - Best Supporting Actor” (Ice Cube)
Three Kings (1999)
Running time: 114 minutes (1 hour, 54 minutes)
MPAA – R for graphic war violence, language and some sexuality
DIRECTOR: David O. Russell
WRITERS: David O. Russell, story by John Ridley
PRODUCERS: Paul Junger Witt, Edward L. McDonnell, and Charles Roven
CINEMATOGRAPHER: Newton Thomas Sigel
EDITOR: Robert K. Lambert
COMPOSER: Carter Burwell
ACTION/COMEDY/DRAMA/WAR
Starring: George Clooney, Mark Wahlberg, Ice Cube, Spike Jonze, Cliff Curtis, Nora Dunn, Jamie Kennedy, Mykelti Washington, Judy Greer, and Liz Stauber
David O. Russell’s (Flirting with Disaster) film Three Kings is set in the aftermath of the Gulf War (Operation Desert Storm). Four soldiers set out to recover Iraqi gold that Saddam Hussein stole from Kuwait. Somewhere along the way, they discover that the people, the ordinary citizens caught between the United Nations (i.e. American) juggernaut and Saddam’s brutality, need the soldiers more than the soldiers need the gold.
This is obviously an anti-war picture, but that term is rather broad, as it is for many films that are war movies or take a hard look at war and strife. Shot in a palette of shifting and unusual colors, the film is as surrealistic as the experience of sudden and massive violence can be. In the end, it’s “anti-war” in the sense that it shows how the individual must confront his part in large scale violence, in which he exists as a servant and when the warlords are faceless bureaucrats and manic officers far away from the ground level violence. It’s also about how the little people, the one’s who have no say in how things are run, take the sucker punches. If this movie does one thing well, it is how it portrays the plight of the powerless.
The elements of the film: setting, story, and characters have a hard, visceral feel. The brutal edge bites deep into the soul and makes the viewer feel for the players. On the other hand, the film feels out of control and overly earnest, as if it’s screaming its message at you. That’s not off-putting, but the film often feels hollow because the chain of events are so predictable. From the first time the soldiers (ably played by George Clooney, Mark Wahlberg, Ice Cube, and Spike Jonze) encounter some Iraqi civilians getting beat up and shot, you know what’s coming. Clooney’s Maj. Archie Gates can’t leave them behind, and while Wahlberg’s Sfc. Troy Barlow first resists getting involved, he predictably relents. From that point, the Three Kings (Ice Cube’s SSgt. Chief Elgin is the third) are on an earnest holy mission; even Cube’s Elgin is made to play a pious man calling on a high authority to guide them.
Though it is well meaning and flashy, I do give Russell and story writer John Ridley credit for bluntly confronting the hypocrisy of the U.N.’s (once again, U.S.’s) public stance on why they were in Iraq the first time. Three Kings says a lot of things that needed to be said back then and are as relevant today as they were then. It’s a gut check to for a lethargic audience fat on the film treats that will inevitably lead them to tire of SFX tricks. To hear not one, but several characters, both military and civilian, in a film, confront war with such sarcasm, disdain, and sorrow is refreshing.
7 of 10
B+
NOTES:
2000 Black Reel Awards: 1 nomination: “Theatrical - Best Supporting Actor” (Ice Cube)
---------------------
Thursday, December 9, 2010
Review: "Being John Malkovich" is Wildly Original (Happy B'day, John Malkovich)
TRASH IN MY EYE No. 9 (of 2003) by Leroy Douresseaux
Being John Malkovich (1999)
Running time: 112 minutes (1 hour, 52 minutes)
MPAA – R for language and sexuality
DIRECTOR: Spike Jonze
WRITER: Charlie Kaufman
PRODUCERS: Steve Golin, Vincent Landay, Sandy Stern, and Michael Stipe
CINEMATOGRAPHER: Lance Acord
EDITOR: Eric Zumbrunnen
COMPOSER: Carter Burwell
Academy Award nominee
FANTASY/COMEDY/DRAMA
Starring: John Cusack, Cameron Diaz, Ned Bellamy, Catherine Keener, Reggie Hayes, Orson Bean, and John Malkovich
We’ve all read the reviews that describe particular movies as inventive, witty, original, unique, or some other hyperbole used to describe cinematic “brilliance.” Whether many of those movies deserved such praise is debatable, but Being John Malkovich is the real deal – original and stunningly, painfully unique. It’s not perfect, but it is so mind-numbingly brilliant: I’m not sure if I even know how to watch it again. I’m afraid to think what this film would be like if it were perfect.
Craig Schwartz (John Cusack) is a talented puppeteer with a failed career and an (seemingly) unhappy marriage to a frumpy animal lover (Cameron Diaz). When finances finally get too tight, Craig gets a job sorting files for the peculiar Dr. Lester (Orson Bean). He becomes hopelessly infatuated with Maxine (Catherine Keener), a sharp-tongued woman who works on the same floor. On one particular day of drudgery, Craig accidentally discovers a door to a portal that leads literally into the head of John Malkovich (John Malkovich). After Craig shares the secret with his wife Lottie, she can’t get enough of being John Malkovich, which, of course, leads to a maze of confusion and conflicting desires that both destroys and redefines relationships and creates new pairings.
Directed by award-winning and acclaimed music video director Spike Jonze, Malkovich defies an accurate description. It is alternately a fantasy, a comedy, a romance, and a drama; it is a story that both crosses and breaks genres. The film derives its brilliance from writer Charlie Kaufman; the script is a masterwork and one of the finest original screenplays of the last few decades. That Jonze could make a coherent and entertaining film of a story that it so philosophical, surrealistic, avant garde, and abstract foretells that the creativity seen in his music videos, he will carry over to film – lucky, lucky us.
The performances are all very good; everyone seemed more than up to the task of translating Kaufman’s eccentricity and brilliance to drama. Cusack once again affirms both his coolness and his talent. It’s pointless to praise Malkovich, and Ms. Keener only showed a more attentive audience the skill she’d already showed in films with smaller audiences. If no one will, I will toot Ms. Diaz’s talent. Her beauty merely accentuates her talent. She buried herself in this role as the frumpy lovelorn Lottie; she can do the method thing, so where’s the props?
Brilliant, smashing, exhilarating, ingenious, hilarious, hysterical, and wildly original – all have been said before, but these praises were made whole with Being John Malkovich. The film does seem to run out of energy late in the story, and the sci-fi/fantasy element seems to go overboard. Still, it is a film that has to be seen, if for no other reason than because Being John Malkovich is a fresh look at individuals and their need for and of other people. Run see this thing.
9 of 10
A+
NOTES:
2000 Academy Awards: 3 nominations: “Best Actress in a Supporting Role” (Catherine Keener), “Best Director” (Spike Jonze), and “Best Writing, Screenplay Written Directly for the Screen” (Charlie Kaufman)
2000 BAFTA Awards: 1 win: “Best Screenplay – Original” (Charlie Kaufman); 2 nominations: “Best Editing” (Eric Zumbrunnen) and “Best Performance by an Actress in a Supporting Role” (Cameron Diaz)
2000 Golden Globes: 4 nominations: “Best Motion Picture - Comedy/Musical,” “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Cameron Diaz), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Catherine Keener), and “Best Screenplay - Motion Picture” (Charlie Kaufman)
Being John Malkovich (1999)
Running time: 112 minutes (1 hour, 52 minutes)
MPAA – R for language and sexuality
DIRECTOR: Spike Jonze
WRITER: Charlie Kaufman
PRODUCERS: Steve Golin, Vincent Landay, Sandy Stern, and Michael Stipe
CINEMATOGRAPHER: Lance Acord
EDITOR: Eric Zumbrunnen
COMPOSER: Carter Burwell
Academy Award nominee
FANTASY/COMEDY/DRAMA
Starring: John Cusack, Cameron Diaz, Ned Bellamy, Catherine Keener, Reggie Hayes, Orson Bean, and John Malkovich
We’ve all read the reviews that describe particular movies as inventive, witty, original, unique, or some other hyperbole used to describe cinematic “brilliance.” Whether many of those movies deserved such praise is debatable, but Being John Malkovich is the real deal – original and stunningly, painfully unique. It’s not perfect, but it is so mind-numbingly brilliant: I’m not sure if I even know how to watch it again. I’m afraid to think what this film would be like if it were perfect.
Craig Schwartz (John Cusack) is a talented puppeteer with a failed career and an (seemingly) unhappy marriage to a frumpy animal lover (Cameron Diaz). When finances finally get too tight, Craig gets a job sorting files for the peculiar Dr. Lester (Orson Bean). He becomes hopelessly infatuated with Maxine (Catherine Keener), a sharp-tongued woman who works on the same floor. On one particular day of drudgery, Craig accidentally discovers a door to a portal that leads literally into the head of John Malkovich (John Malkovich). After Craig shares the secret with his wife Lottie, she can’t get enough of being John Malkovich, which, of course, leads to a maze of confusion and conflicting desires that both destroys and redefines relationships and creates new pairings.
Directed by award-winning and acclaimed music video director Spike Jonze, Malkovich defies an accurate description. It is alternately a fantasy, a comedy, a romance, and a drama; it is a story that both crosses and breaks genres. The film derives its brilliance from writer Charlie Kaufman; the script is a masterwork and one of the finest original screenplays of the last few decades. That Jonze could make a coherent and entertaining film of a story that it so philosophical, surrealistic, avant garde, and abstract foretells that the creativity seen in his music videos, he will carry over to film – lucky, lucky us.
The performances are all very good; everyone seemed more than up to the task of translating Kaufman’s eccentricity and brilliance to drama. Cusack once again affirms both his coolness and his talent. It’s pointless to praise Malkovich, and Ms. Keener only showed a more attentive audience the skill she’d already showed in films with smaller audiences. If no one will, I will toot Ms. Diaz’s talent. Her beauty merely accentuates her talent. She buried herself in this role as the frumpy lovelorn Lottie; she can do the method thing, so where’s the props?
Brilliant, smashing, exhilarating, ingenious, hilarious, hysterical, and wildly original – all have been said before, but these praises were made whole with Being John Malkovich. The film does seem to run out of energy late in the story, and the sci-fi/fantasy element seems to go overboard. Still, it is a film that has to be seen, if for no other reason than because Being John Malkovich is a fresh look at individuals and their need for and of other people. Run see this thing.
9 of 10
A+
NOTES:
2000 Academy Awards: 3 nominations: “Best Actress in a Supporting Role” (Catherine Keener), “Best Director” (Spike Jonze), and “Best Writing, Screenplay Written Directly for the Screen” (Charlie Kaufman)
2000 BAFTA Awards: 1 win: “Best Screenplay – Original” (Charlie Kaufman); 2 nominations: “Best Editing” (Eric Zumbrunnen) and “Best Performance by an Actress in a Supporting Role” (Cameron Diaz)
2000 Golden Globes: 4 nominations: “Best Motion Picture - Comedy/Musical,” “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Cameron Diaz), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Catherine Keener), and “Best Screenplay - Motion Picture” (Charlie Kaufman)
------------------------
Thursday, February 25, 2010
Review: "Adaptation" is a Film That Boggles the Mind
Adaptation (2002)
Running time: 114 minutes (1 hour, 54 minutes)
MPAA – R for language, sexuality, some drug use and violent images
DIRECTOR: Spike Jonze
WRITERS: Charlie Kaufman and Donald Kaufman (based upon the novel by Susan Orlean)
PRODUCERS: Jonathan Demme, Vincent Landay, and Edward Saxon
CINEMATOGRAPHER: Lance Acord (D.o.P.)
EDITOR: Eric Zumbrunnen
COMPOSER: Carter Burwell
COMEDY/DRAMA
Starring: Nicolas Cage, Meryl Streep, Chris Cooper, Cara Seymour, Tilda Swinton, Ron Livingston, Brian Cox, Maggie Gyllenhaal, Jim Beaver, Judy Greer, and Litefoot
Charlie Kaufman, a real, living, breathing person, is a well-known screenwriter. You absolutely must see the film made from his most famous script, Being John Malkovich
. A few years ago, he struggled with writing a script adaptation of Susan Orlean’s best-selling novel, The Orchid Thief
. He met with Ms. Orlean, and explained his troubles. They apparently came to an agreement that Kaufman would write a screenplay that would be in part about him wrestling with the adaptation of the novel and in part about the story in the book. That screenplay became the movie, Adaptation.So here’s the plot of the film Adaptation: Charlie Kaufman (Nicolas Cage) is struggling in an attempt to write a screenplay based upon Susan Orlean’s (Meryl Streep) best-selling non-fiction book, The Orchid Thief. His twin brother Donald (Cage, again) moves in with Charlie, and Donald decides to write his own original script. With wild and joyful abandon, Donald takes a seminar and leaps into writing a typical Hollywood thriller about a serial killer, while The Orchid Thief slowly drives Charlie to madness.
Meanwhile, in a subplot, the film carries on and we meet Susan who goes to Florida to write an article for the New Yorker about an orchid thief named John Laroche (Chris Cooper), who’s been recently arresting for poaching plants on a federal reserve. Ms. Orlean is simultaneously fascinated with and repulsed by Laroche, a divorced and lonely man who lost his mother and uncle in an auto accident for which he blames himself.
In the other major subplot: as the film goes on, Donald convinces Charlie that Susan is hiding something, so they track her to Florida to learn the dark secret she shares with Laroche. It mostly ends tragically in a typically Hollywood fashion.
The amazing thing about this film is that it is so good, yet it seems to have almost nothing to do with the director, Spike Jonze, who collaborated with Kaufman on Being John Malkovich. But never doubt Jonze’s prodigious talents, especially if you’ve seen even one of his visionary music videos for acts like Beck or Fatboy Slim. Here he’s almost invisible as he navigates the eccentricities, shifting points of view, and multiple story threads that is Kaufman’s sexy script.
Of course, Kaufman turns out another outstanding script. The film credits list the screenwriters as Charlie Kaufman and Donald Kaufman, but Charlie really doesn’t have a twin brother named Donald. Charlie’s attempt was to write a script about script writing, but he also covered such fertile territory as the necessity of change, human isolation and loneliness, writer’s bloc, the treacherous path that is adapting other people’s work, professional jealousy, sibling relationships, guilt, loss, etc. It’s all wonderfully done, but the part of his story that’s supposed to be the typical Hollywood film adaptation is kinda dull and uninteresting. That’s the joke. For the film’s closing segment, Charlie was able to turn Ms. Orlean’s novel into a conventional thriller, and he shows that that can be simultaneously intriguing and dull. The conventional can often seem exciting, but so often it ends in predictability. Thus, Kaufman does get to make his point about cookie cutter film shockers, but the irony is that even his satire of formula writing and filmmaking seems listless. Am I missing the point? I can go on all day, but the best way to tell you about this film would be to share it with you visually, like telepathy, sending sensory images of Adaptation
into your mind. That ain’t gonna happen, and I can almost forgive the filmmakers for an ending that was too smart for its own good.The performances are excellent, and two of them are spectacular. Cage’s Kaufman is his most inspired, witty, and imaginative performance in almost a decade. It the kind of work where he digs deep into himself to find the character the way he did in Leaving Las Vegas
, for which he won an Academy Award. His performance as Charlie Kaufman earned his an Academy Award nomination. The second excellent performance was Chris Cooper’s turn as the flower thief Laroche. The lead in two John Sayles films, Matewan
and Lone Star
, Cooper won an Oscar for his role as Laroche. He earned it with his ability to show that the character was not only stunningly eccentric, but was also mostly just another guy bummed out by life who is doing his best to roll with the punches. It’s enough to inspire even the most blue of us.7 of 10
A-
NOTES:
2003 Academy Awards: 1 win: “Best Actor in a Supporting Role” (Chris Cooper); 3 nominations: “Best Actor in a Leading Role” (Nicolas Cage), “Best Actress in a Supporting Role” (Meryl Streep), “Best Writing, Adapted Screenplay” (Charlie Kaufman Donald Kaufman)
2003 BAFTA Awards: 1 win: “Best Screenplay – Adapted” (Charlie Kaufman, Donald Kaufman); 3 nominations “Best Performance by an Actor in a Leading Role” (Nicolas Cage); “Best Performance by an Actor in a Supporting Role” (Chris Cooper), and “Best Performance by an Actress in a Supporting Role” (Meryl Streep)
2003 Golden Globes: 2 wins: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Chris Cooper) and “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Meryl Streep); 4 nominations: “Best Director - Motion Picture” (Spike Jonze), “Best Motion Picture - Musical or Comedy” “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Nicolas Cage), and “Best Screenplay - Motion Picture” (Charlie Kaufman, Donald Kaufman)
------------------------
Subscribe to:
Posts (Atom)