Twitter: Brie Larson or Saoirse Ronan? Vera Farmiga doing her best Tom Hanks.

Hellow it's time for a weekly quite random round up of tweets that amused us. This week's edition features Star Wars (always those wars in the stars), Leonardo DiCaprio and his bear, and a return to Room which just keeps giving us more... both from multiple viewings and Brie & Jacob on the campaign trail.

But first let's begin by noting that this tweet is exactly what I've been saying about Saoirse Ronan and the Oscar race. I've long thought she could actually win the Oscar (though the internet keeps telling me it's Brie Larson locked up). But this... this is FYC gold. (more after the jump) 

"I am from the Bronx, as I'm sure you can tell... Saoirse from the Block, they call me." This is how Oscar campaigns are won. #NYFCC

— kateyrich (@kateyrich) January 5, 2016

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Link Linker Linkiest Linking Links

New York Post has wise words for Netflix on their strange feet dragging for Season 2 of Jessica Jones
Slate Movie Club 2015 closes I'm assuming you read all 18 entries. They were A-MA-ZING. My favorite Movie Club by Slate ever I think. Mark Harris, Dana Stevens, Amy Nicholson, David Ehrlich, and Dan Kois outdid themselves. 
Decider great piece by Joe on the rise of the bad seen as villain in Star Wars: The Force Awakens and other blockbusters 
Decider Joe also counts down the 10 times Globes were more fun than Oscars (10? This list could go to 1000) but there's a massive typo in his post because it says "7." [sic] by the part about Elizabeth Taylor slurring "GLADIAAAAATOR"  

 

THR excerpt of a new interesting book  "Starflacker" from a longtime PR pro Dick Guttman
The Guardian Anthony Hopkins and Sir Ian McKellen remade the Oscar nominated film The Dresser (1983) for the BBC in 2015- how did I miss this news? 
The Wrap Annihilation, a female led sci-fi picture from Alex Garland (Ex Machina) may star Tessa Thompson and Gina Rodriguez
Variety 33 people will be honored at the Academy's annual Scientific and Technical Awards

Towleroad So John Boyega is just a wee bit shy of how fun he seems so far in public. He's already put the kabosh on the gay Star Wars rumor saying that it's all in Oscar Isaac's head  
The Envelope a video chat with Michael B Jordan about Creed. 
Vanity Fair Ryan Coogler would be just the guy to direct the Hamilton movie adaptation. Make it happen world.
Tracking Board looks at series orders from various TV distributors (we don't call them networks anymore, right, since they're are so many ways to get tv?). Netflix has a series called Gypsy. Unfortunately it's not a musical about the stripper. 
Pajiba pays tribute to Brie Larson's social media game  

#tbt to when all I listened to was the Cats the Musical soundtrack while writing my first feature screenplay. Yes, I am wearing this to the golden globes - thanks for asking!

A photo posted by Brie (@brielarson) on Jan 7, 2016 at 2:07pm PST

Top Tens & Best Of Lists
Yes, they're still going on. Check out: John Oursler's which has Phoenix and Tangerine and The Tribe; Kyle Turner takes a more holistic 'best of' approach of with all sorts of personal notes and thus personal obsessions like Noah Baumbach, Spectre, and such; David Poland published his but without commentary of any kind. I don't even know if they're in order

Oscar Confusions
Voting has closed. I love how utterly perplexed almost every professional and amateur pundit is this year. The guilds and precursors have been all over the place. Kris Tapley tracks the events that happened while balloting was going on. This is an absolute joy if you like the unpredictable AND you don't have a particular film you can't live wihtout. Unfortunately I have two masterpieces to worry (which is more than usual!) so I'm having trouble enjoying the will they or won't they nerves.  But I'll start doing final predictions this very weekend so bear with me! If you need to think about this RIGHT NOW though check out Fisti's thoughts (he predicts that both my masterpieces will be shut out. Thanks, man. Argh). Glenn Whipp still thinks that Mad Max Fury Road will lead nominations. I've never been that bullish on it but still crossing my fingers. There's also a Gurus of Gold update. Though honestly I think some of my numbers are from the previous week because I definitely haven't been confident in Redmayne or Mara lately.Hmmm

Video of the Week
It's beautiful that the week Anne Marie began her Judy Garland series another Judy Garland spectacle made the rounds. Obsessed with this Wizard of Oz video am I. It recuts the film to be in alphabetical order by word (post credits though the credits themselves per title card are also quite a trip). I've only watched through to the "home" which took 45 minutes lol... the time flew by. But only two moments I was expecting to be favorites were "because" and "Dorothy." The other best parts aren't at all the parts you'd be expecting. I'm especially fond of "arf" and "back" and "dead" and "doing" and "frightened" and "ha". It really is mesmerizing how the video just naturally gives you these weirdly gorgeous breathing moments between its hyper edited assaults as with "Boo!" and "bye" or even "hhh" -- Judy Garland is a heavy breather, don'cha know!  Or how words that are only used once feel weirdly crystalline in this new context like "billowing" and "delicately" or how some super fast strings of words appear to be in conversation with each other like "heroes" "heroine" "herself" 

Of Oz the Wizard from Matt Bucy on Vimeo.

I'll stop talking now and leave you with a song, in this format...

a a And are blue come do dream dreams heard high.
I in land lullaby of Once
Over over rainbow rainbow Really skies
Somewhere Somewhere that that the the the
there's true up way you 

Interview: Nathan Nugent on Cutting those Beautiful Performances in "Room"

Nathan Nugent won an Irish Film & Television Academy statue for his first collaboration with Lenny Abrahamson. "Room" is their third film together.Editing is often referred to as "cutting," arguably a holdover word from the days where film edictors actually had to slice frames apart and then tape them back together. But cutting, figuratively, remains one their undeniable jobs, pruning away at hours and hour of footage for a given movie. It's a puzzle and a discovery as they work at assembling a single identity for a movie that has so many different identities in its unfinished form. Though the days of film editors hunched over their moviolas is over, the job's creative challenge is the same when hunched over the computer.

Moviegoers are probably quickest to note film editing in the action genre, where the speed of cutting tends to make the "invisible art" ever so slightly more visible. But it's a complicated art regardless of genre to create cohesive and rhythmic visual and narrative and performative throughlines with a series of spliced together images and multiple takes.

So we were excited to sit down with rising film editor Nathan Nugent, who has been making a name for himself in films that you might safely call 'actor's pictures.' Room is Nugent's third consecutive film with Lenny Abrahamson who he met through a film producer with whom Abrahamson went to college. As with the birth of many classic collaborations in any industry it was a matter of networking, opportunity and good timing. Or as Nathan humorously puts it.

"He had said to Lenny, 'Oh, you know, you should try Nathan. And I was available and very cheap.'"

What Richard Did (2012), Frank (2014), and Room (2015) followed in close succession. 

NATHANIEL: You've been working with Lenny Abrahamson a lot but you didn't start out in dramas. You started in documentaries. 

NATHAN NUGENT: My wish in film school was always to work in drama. But looking back, I’m glad of that -- that I took that documentary route --  because it certainly had an effect on how I see footage.

NATHANIEL: In what sense?

Nugent's answer and more on Room's beautiful acting after the jump...

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Red Carpet: Palm Springs Film Festival

Jose here with great news. Apparently Cate Blanchett decided to listen to my prayers (yes, I pray to her) and - after a good, but slightly underwhelming fashion run - finally went back to wowing us. She is the epitome of Kate Hepburn-effortless-glamour in a sky-hued Marc Jacobs gown, with a stunning gold applique-Rorschach-test that screams "Awards season Queen is here, biatches" (And screams it right in other celebrities ears. See tweets from Carol's genius screenwriter Phyllis Nagy, Cate's Best Actress competition Brie Larson and images of Rooney Mara, too.)

Cate was benevolent enough to also let Alicia Vikander out of her leathery/earthy Louis Vuitton curse, and allow her to wear a delicious Erdem gown that's the most playful we've seen her yet. My usual quandary with Vikander comes in her usually meh choice of footwear, which always seem to be inspired by Charlotte York. Ooh, interesting game here, which of these ladies whould be which Sex and the City character? Dame Helen is of course the Samantha, in yet another elegantly sexy design by Alberta Ferreti. The lovely Saoirse Ronan in a multicolored/multipattern Duro Olowu is all kinds of perfect and age appropriate.

Less impressive, yawn inducing even, are potential Oscar winners Rooney Mara and Brie Larson, both of whom exist only within the confinements of an "if it ain't broken" universe. They're both beautiful, but I bet I could have found any picture of any other ceremony they've attended, inserted it here, and fooled everyone. Mara is in Lanvin, Larson in Jason Wu. Just a thought, would their styles become slightly more exciting if we Freaky Friday-ed them? It's about time Rooney did some more color, and Larson put her hair in a bun, or anything other than her usual pulled back, wet look

How would you improve these two soon-to-be awards season fixtures? 

"Room" and The Case for Jacob Tremblay

Kieran, here with a second look at SAG nominee Jacob Tremblay's work in Room.

My antennae were attuned for several things this past weekend while watching Lenny Abrahamson’s Room for the second time. I’ll say up front that searching for the power of Brie Larson’s accomplished, already heralded performance as Ma was not one of them. That was received on first watch and, frankly hadn’t faded from memory even a little. A rewatch only confirmed the potent emotionality of Larson’s work and it’s fortunate that work this exemplary is being so universally recognized as such—that isn’t always the case. Among other things, I was watching for Jacob Tremblay’s performance as Jack, Ma’s doting and mystified son.

Full disclosure: I often find praise heaped upon juvenile performances incredulous. Like many, I found myself fighting tears (and losing that fight) several times throughout my first viewing, most often during Tremblay’s scenes. The grimness of the initial scenario and the bond between Ma and Jack on the script level had my suspicions raised. Was Tremblay’s performance itself eliciting the emotional response or is it solely because of what’s already built in to the architecture of the piece?

This was my question going into Room for the second time. [More...]

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