ACE Eddie Nominations. Will They Transfer to Oscar?

The editors have spoken. Though editing is an artform that greatly fascinates me I nearly always take issue with the ACE nominations. More than most craftsmen, the editors in the guild and in Oscar's editing branch seem to just pick their favorite Best Picture contenders every year even in cases where the editing might not be anywhere close to its strongest element. I understand why people love Hugo for example -- I really do despite my protestations -- but even though I think Thelma Schoonmaker is one of the most gifted editors who ever walked the earth, her work on Hugo is not up to her general (very high) standards. I've discussed this with Nick several times so I know I wasn't imagining it. We were both flabbergasted at the amount of shot / reverse shots where the children just sort of stare at each other blankly in scene after scene.

There is so much dead space in that picture weighing it down. Not trying to pick on Thelma but their choices across the board just look like they were trying to catch up on the Oscar buzz.

COMEDY or MUSICAL Nominees

• The Artist - Anne-Sophie Bion & Michel Hazanavicius
• Bridesmaids - William Kerr & Michael L Sale
• Midnight in Paris - Alisa Lepselter
• My Week With Marilyn - Adam Recht
• Young Adult - Dana E Glauberman

Another interesting point of discussion is Bridesmaids. Given the improvisational nature of the performances, it must have been hell to edit (a very enjoyable kind of hell) so points for managing and it definitely takes great editing skill to make that many jokes land. So props to Kerr & Sale (who are far from the least worthy nominee in this lineup). But, with the compliments out of the way, isn't one of the main criticisms of Bridesmaids that it feels shapeless, haphazard and that it's way too long? And isn't editing a great factor in whether or not movies feel that way?

Dana Glauberman at the Hollywood Awards last yearMy favorite nomination here might be Dana Glauberman's (pictured left)  for Young Adult. I think she's really special as editors go (see also: Up in the Air for which she was absurdly not Oscar nominated). Her work for Reitman tends to have great rhythm, the cut choices are smart and it's just tight tight tight. There is no fat on that picture whatsoever.

Will any of the comedy nominees make it to Oscar? The Artist might. You could also argue that editing is even slightly more crucial to the success of comedy (it's all in the timing) and action (it's all in the rhythms and sustained tension) than to dramatic pictures. And yet with Oscar you'll find that mostly drama is honored... because that's where the "best pictures" are located. In short, I'd like the editors to think a little harder on their selections from year to year. 

DRAMA Nominees

• The Descendants -Kevin Tent
• The Girl with the Dragon Tattoo - Angus Wall & Kirk Baxter
• Hugo - Thelma Schoonmaker
• Moneyball - Christopher Tellefsen
• War Horse - Michael Kahn

Christopher Tellefsen in the editing bayMy vote -- if only I had one -- would go to Christopher Tellefsen in a split second. Moneyball had such great easy flow, consistently engaging whether it was cutting from footage to flashback to the linear story being told, and really attuned to the nuances of Brad Pitt's star turn.

Will all of these make it to Oscar?
I truly think Tellefsen is deserving, which is why I worry he's the most likely to be dropped when Oscar nominations roll in. Argh!

ANIMATED FEATURE Nominees

• The Adventures of Tintin - Michael Kahn
• Puss in Boots -Eric Dapkewicz
• Rango - Craig Wood

More nominations for television over at the American Cinema Editors official site. 

A Raggedy Oscar Podcast Reunion

Surprise! The old team is back together momentarily. Clearly we need more time than 40 minutes to get into everything that's going on in the Oscar race so this one is a totally raggedy conversation... a la Margaret and Rampart, two films that are discussed.

So welcome back to Katey, Joe, Nick from Nathaniel, your host here at The Film Experience.

UPDATE: The entire podcast is embedded below but it is having some trouble playing all the way through with Google Chrome. Works perfectly in Firefox or download from iTunes. 

Topics include but are not limited to:
• Cooking tips from The Help
• The Iron Lady and Streep's hard sell for the third Oscar
• Team Margaret and Team Rampart, two wildly underseen movies that share some intuitive storytelling and vivid ensemble work.
• Critical advocacy in the age of consensus
• The silly battle lines drawn between Hugo & The Artist
• Shailene Woodley and Nick's Descendants agnosticism.

A Raggedy Oscar Reunion

Papa Linkes

AV Club Excellent "Why don't you like this?" argument over Hugo. I liked Hugo more than Tasha does but significantly less than Scott but I found the Moulin Rouge! comparisons especially fascinating.
Movies.com crunches the numbers on Best Director, with 15 directors already honored somewhere or somehow.
Vulture who had the bluest eyes in War Horse? Not Joey, the humans. 

Roger Ebert on why movie theater audience is down. Normally I think this topic is overworked but he gets a few really succinct points in and I had no idea that Netflix's instant watch streaming numbers show a preference for art film fare!
First Showing David Fincher on why he made each of his pictures. That people are still wondering why he felt he needed to make Dragon Tattoo even after seeing it, is maybe a problem. :)
Movie|Line I lol'ed heartily reading this calendar of dates to watch in 2012
Movies.com David Ehrlich's writes a quite funny piece on the "Overrated" titles of 2011

What are you doing New Year's Eve? ♫

Ahhhhh (500) Days of Summer reunion for Winter!

Indiewire the top ten box office hits, subtitled division. France rules as per usual.
Anne Thompson on why The Girl With the Dragon Tattoo is struggling at the box office. 
Cinema Blend on disappointing films of the year. Death to hype!

Finally... I wanted to take this moment to say goodbye to Cheetah from the Tarzan movies who supposedly died this past weekend. A lot of chimps played Cheetah of course as there are a ton of Tarzan movies and The Wall Street Journal claims this could not have actually been the one from the Weismuller/O'Sullivan movies. Supposedly Cheetah was 80 but life expectancies for his species is like 35 so that's baffling. Human life expectancy is like 67 years and how many 140somethings do you know? It seems weird to say "favorite thing!" about obituary madness but I was delighted to see Mia Farrow tweeting about it.

I'd been debating whether or not to make a big to do of Tarzan's centennial in 2012 (October to be exact) though I suspect most readers aren't into that particular swinger since comments tend to be lowsville on Tarzan moments here. That's one franchise that really seems dead. RIP. 

Curio: 2011's Most Inspirational

Alexa here with a year in review request straight from Nathaniel. Certain types of films seem to inspire visual artists more than others.  And it isn't as simple as gorgeous cinematography or art direction; anything from a note of eccentricity, an atmospheric soundtrack, or a well-held cigarette can create an indie poster storm. (Or anything directed by Wes Anderson.) With that in mind, here are my picks for the five films of 2011 that are most likely to send future artists into fits of creation.  Or, at the very least, the films that I would love to see artists of all stripes take on, so I can continue to write about them next year.

5. The Future 

With a talking cat, time travel, and through-the-roof indie cred, Miranda July's second film is rife with elements that make you want to see the world through a new lens. As always, she comes close to being too cute, but the film's understanding of our collective urge to disconnect from the world, and even stop time, is enough to leave it in our minds for some time.

4. Hugo

With his glorious 3D version of Paris in the '30s, filled with enough gears, springs and levers to fill a steampunk festival, Scorsese manages to celebrate the early days of film without eulogizing. He made a Melies for the 21st Century.

3. The Artist

Similar to Hugo in successfully making something new from a foundation of nostalgia. Its black and white photography, 1.33 aspect ratio and glowing performances take the 20s and make them sharp, clear and fresh.  And hopefully it will get more art students to watch the likes of Man with a Movie Camera, The Passion of Joan of Arc and Sherlock Jr.

2. The Tree of Life

Terrence Malick's films have always been the stuff of still photographer's wet dreams, and this one is no less, with images of the sun, trees, and cosmos that make you want to point your camera to the heavens. And float like Jessica Chastain.

1. Drive

The most singularly cool movie of the year, with style in spades, 80s-infused titles and a soundtrack to drive to.  The eruptions of violence beneath its smooth candy surface made for one terrific ride. And I live in hope that it will make scorpions eclipse owls and birds as a craft favorite.

Honorable Mention: The Muppets

Here's hoping that the return of Kermit, Gonzo and Animal inspire more felting and designing to come. But please, next time, more Miss Piggy.

If you were to pick up a paintbrush or craft box which 2011 films would most inspire you?

DC Critics Love Movies About Movies... And Dogs

This year marked the 10th anniversary for the Washington DC Area Film Critics Association. What a mouthful their name is. Henceforth WAFCA which omits the DC part but they like it that way.  In their very first year they picked an odd duck for Best Picture by way of the Stiff With Prestige Adaptation Road to Perdition but since then they've hewed much closer to Oscar, only giving two top prizes to films that weren't eventually Best Picture nominees or winners (Eternal Sunshine and United 93). This year they went crazy for movies about movies... with dogs.

DC Film Critics are Dog People. The Artist and Hugo win big.

Let me be clear... In no way does my happy photoshopping imply that President Obama is a member of WAFCA though the Obamas are dog friendly. It's just me thinking 'bout DC and the movies.

Here are the WAFCA prizes...

Film The Artist
Director Martin Scorsese, Hugo
Actress Michelle Williams, My Week With Marilyn
Actor George Clooney, The Descendants
Supporting Actress Octavia Spencer, The Help
Supporting Actor Albert Brooks, Drive

Acting Ensemble Bridesmaids
Adapted Screenplay Alexander Payne, Nat Faxon and Jim Rash  The Descendants
Original Screenplay Will Reiser for 50/50
Animated Feature Rango
Documentary Werner Herzog's Cave of Forgotten Dreams 

"Skeletor" is a real healer in Original Screenplay winner 50/50

Foreign Language Film Pedro Almodovar's The Skin I Live In
Art Direction Dante Ferretti and Francesca LoSchiavo for Hugo 
Cinemagotraphy Emmanuel Lubeszki for The Tree of Life
Score Ludovic Bource for The Artist  

The Artist and Hugo are certainly starting the awards season off well. Given that they both opened for the Thanksgiving Holiday does this mean next Thanksgiving we'll see an even larger clusterfuck than this year's insanity?

How long do you think it'll be before one of the critics groups gives the Supporting Actress prize to one or all of the Bridesmaids? Monty didn't totally go for Bridesmaids but then he's not a dog person... er, cat.