If I were feeling less generous and more cynical on this holiest of all Oscar-calendar mornings, I might say that to decipher this year’s Academy Awards contest, we need only look for inspiration to the GOP presidential race. The Artist is Mitt Romney — desperate to please, doesn’t stand for anything in particular, not especially popular with the general public, will eventually keep most of its money offshore, and, though dinged up and trash-talked, will probably cross the finish line first by default. The Descendants is Newt Gingrich (emotionally unsteady, hard on wives, doing better than expected, but probably can’t go all the way). Hugo is Rick Santorum (a little slow, doesn’t really like anything that changed in the culture in the last 80 years). And The Tree of Life is Jon Huntsman (believes in evolution, probably a little too classy for this field).
Two new projects from Terrence Malick now have confirmed titles and casts, but still no plot descriptions. First up will be Lawless, starring Ryan Gosling, Christian Bale, Cate Blanchett, and Rooney Mara; second is Knight of Cups, which brings back Bale and Blanchett, and adds Isabel Lucas. And that’s on top of his next film, which is still untitled and stars Ben Affleck, Rachel McAdams, Javier Bardem and Rachel Weisz. One quick theory as to why Malick, who’d made five films since 1973, is now popping ‘em out: he’s finally bored with daytime TV makeover shows? Grade: A [Deadline]
There may be no Oscar category more maddening to try to handicap than writing. When it comes to editing or sound, at least we all know that we’re clueless — film editing, after all, is called “the invisible art” by the very people who do it, and if you’re aurally sophisticated enough to judge the difference between sound mixing and sound editing, you’re probably either a sound mixer or a sound editor. Good screenwriting, by contrast, is supposed to be self-evident. But everything that can make a screenplay praiseworthy — dialogue, character development, story structure, gracefulness of adaptation, or originality of concept — can play as shoddy or hackneyed when a filmmaker mishandles it. And if you think the blame is always fairly apportioned, consider how many reviews make the claim, “The talented cast and director do their best with a weak script,” and how few say, “A fine piece of writing has been undermined by haphazard directing and tepid performances.” Critics never go there, because they don’t have access to the material — the script itself — that would support that argument.
The truth is, it’s virtually impossible to separate your judgment of a screenplay from your judgment of a completed movie — even if you’re one of the screenwriters who does the nominating. During campaign season, many studios send voters printed copies or flash drives of screenplays they want considered. But those versions have been retrofitted to match the finished films; they don’t contain any scenes or constructions that you didn’t see on screen. Unless you’re a big fan of stage directions and character descriptions, they’re not exactly essential reading.
So let’s start from the premise that Best Original Screenplay and Best Adapted Screenplay should probably be called Movie That Suggests Most Strongly That It Was Based On A Really Good Piece Of Writing. What do we know about the predilections of the Academy’s writers’ branch?
Terrence Malick is planning on following up his next movie — not May's Tree of Life, which took him 30 years to make, but the Ben Affleck/Rachel McAdams one that’s already in post-production — with another mysterious, untitled feature that’ll will pair him with Christian Bale (with whom he worked on The New World). Also in contention for the project, which is said to feature a small cast dominated by its two leads, are Rooney Mara, Haley Bennet, Clemence Poesy, and Mia Wasikowska. Serious question: is Malick on that drug from Limitless? Grade: A [Twitch]
Showtime has orders in for three pilots: Gurland on Gurland, a “first-person documentary” from writer/director Andrew Gurland (Cheaters, The Virginity Hit); Masters of Sex, about sex researchers William Masters and Virginia Johnson; and Ray Donovan, a family dramedy about a "fixer" for L.A. power players with a troubled home life. Can’t wait for the crossover episodes! Grade: C+ [Variety]
What do auteurs Michael Bay and Terrence Malick have in common — other than that they’ve both made Megan Fox wash their cars in a bikini in lieu of auditioning for a role? (Fox got the part in Bay’s Transformers but her performance as "Celestial Dinosaur No. 3" was sadly cut from Malick's of Tree of Life.) They’ve both written letters to projectionists, advising them on how best to present their 2011 films! While the letters themselves strike differing tones (Malick terms his a "fraternal salute" to a "forgotten art" while Bay, unsurprisingly, uses capitalist logic – "your theaters invested a lot of money in this equipment" — in his plea for 3-D perfection), they are the latest missives in a trend that stretches at least as far back as noted control freak Stanley Kubrick, whose own letter re: Barry Lyndon also recently surfaced.
But this epistolary practice goes deeper than most cinephiles realize. Grantland gained access to some other recently-penned letters to projectionists from the directors of a few of summer 2011’s other prominent releases. We are proud to share excerpts of them with you now.
