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Does “The Social Network” Still Have a Chance?
I recently read an article written by Steve Pond over at The Wrap, who is in the same boat as 95% of awards pundits in believing that this race is pretty much called for “The King’s Speech.” However, he outlines that there still are some outs left for “The Social Network,” particularly if it changes and ups its campaign in these last few weeks.
The film is having a great weekend, having won the USC Scripter Award last night and all but locked to win the WGA award for Best Adapted Screenplay tonight. What’s better for it is that since “The King’s Speech” wasn’t eligible for the WGA awards (even though its the best bet to win the Oscar for Best Original Screenplay), it will be a weekend in which “The King’s Speech” will actually be out of the news.
Pond’s article makes some good points. I’ve highlighted a small section of it below where he discusses how “The Social Network” might have a shot in the balloting:
“The question that’ll face “The Social Network” on Sunday morning is whether it can capitalize on the small shot of momentum that comes from a pair of expected victories – and if so, how.
Columnists have been offering scenarios in recent days, ranging from S.T. Van Airsdale’s suggestion that David Fincher show that he actually wants the award to John Lopez’s theorythat the preferential system of ballot-counting – in which a film can win if it picks up enough number two and three votes from movies that are eliminated from contention – will help a critical favorite like “TSN.”
In fact, I’d guess that the preferential count will help “TKS” or even “The Fighter” or “Toy Story 3” more than “TSN.” The question to ask: among voters whose first choices are “Winter’s Bone,” “127 Hours,” “The Kids Are All Right,” “Inception” and “True Grit,” which film is likely to be ranked second? If the majority of those voters go for “Social Network,” it can pull off an upset; if they split their votes or rally behind something else, the Facebook flick is in trouble.”
You can read the full article here. And here’s to holding out hope:
FYC Roger Deakins – “True Grit”
So, I’m not the biggest fan of this film. I’m not even sure if Roger Deakins will top my list of Best Cinematography of 2010. One thing’s for sure, however. Roger Deakins is probably one of the top five greatest cinematographers of all time and easily the best DP to never win an Oscar. His career first took off after shooting the independent feature “Sid and Nancy” which also launched Gary Oldman’s career. After taking the role of the Coen Brothers’ official DP, his talents went straight to the top of the list.
On top of his NINE Oscar nominations, including “The Shawshank Redemption,” “Fargo,” “O Brother Where Art Thou,” “No Country for Old Men,” and “The Assassination of Jesse James by the Coward Robert Ford” (the first three of which earned him wins from my personal awards), Deakins also did phenomenal work on “Revolutionary Road” “Dead Man Walking” and the visually astounding “Jarhead.” His work has had a truly lasting impact on the contemporary world of cinema, and from a film student’s perspective, there are not many people in today’s film industry who are more admired and revered.
When asked how he felt about receiving the American Society of Cinematographers’ Lifetime Achievement Award this month, he said he was slightly disappointed. He states that he likes to think of his career only halfway over and hopes to still do better work in the future. One can only hope that Roger keeps creating incredible visuals until the day he dies. But in the meantime, can we please just give the man an Oscar, already?
Check out this short video showing Roger Deakins work on the film “True Grit,” for which, if there’s any justice in the world, he will finally bring home a statue for:
Listen to the Best Original Score Nominees
One of the better categories among this year’s Oscar nominees has to be that of Best Original Score. Sometimes, the composers are a bit finicky with their nominations, usually going the safer route and not expanding out of their comfort zones. However, there’s some truly astounding work on display in this particular crop.
If I was to do any voting in this category, I would definitely have to go with “The Social Network.” Reznor and Finch’s score is truly sublime, incorporating experimental electronic elements with traditional themes and modern beats. The music is innovative, pleasing and ultimately game-changing, much like the movie itself.
After that, my runners-up would be a close call between “How to Train Your Dragon” and “Inception.” Both films contain music that open your eyes and raise your heartbeat. I actually don’t think that there is an element of “HTTYD” that comes close to staying with me as strongly as the score. “Inception” gets a lot of bad word-of-mouth that Hans Zimmer simply recycled music from “The Dark Knight,” but I never thought of it that way. Zimmer’s music always follows similar tones and rhythms, but his work on “Inception” has the ability to stand on its own as a work of power and beauty.
As far as the Oscar goes, this is how I would rank the films’ chances of winning this particular award:
1. “The Social Network” – Trent Reznor and Atticus Ross
2. “The King’s Speech” – Alexandre Desplat
3. “Inception” – Hans Zimmer
4. “127 Hours” – A.R. Rahman
5. “How to Train Your Dragon” – John Powell
Ryan Adams at Awardsdaily has dug up this showcase of all five nominees. Check it out below and see for yourself.
Pete Postlethwaite Dies at 64 (1946 – 2011)
Some of the most tragic news I’ve read in a while when I got on my computer this morning, one of my favorite actors who never really got enough credit for his extraordinary career. He is always referred to in passing, “that bald guy with a British accent.” And yet, through the years, he has remained one of the most recognizable actors in cinema. That’s not just because he’s always there, but because he’s always good.
He got his first real commercial success in David Fincher’s “Alien 3” opposite Sigourney Weaver and, ironically, a bunch of other bald guys with British accents. After that, he had a small supporting role in “The Last of the Mohicans,” before receiving his first and only Academy Award nomination for “In the Name of the Father.” In both films he starred alongside Daniel Day Lewis.
Since then, the man has had memorable performances in “The Usual Suspects,” “Dragonheart,” “James and the Giant Peach,” “Amistad,” “The Lost World: Jurassic Park,” “Among Giants,” “The Shipping News,” “The Constant Gardener” and “The Omen.”
A story I always enjoyed hearing was of how after working on two projects in one year with Pete, director Steven Spielberg called him the best actor working in the world. In response, Postlethwaite laughed the compliment off, saying, “Steven probably said that ‘Pete thinks he’s the best actor in the world.'”
In 2010, Pete had roles in three American films: “Clash of the Titans,” “Inception,” and “The Town.” Perhaps, as a fitting end to his career, its joyous to think that two of those three films are very likely contenders to be nominated for the Best Picture Academy Award. No other actor or actress will have pulled off this feat during 2006.
I leave you with a video that actually does not promo Postlethwaite’s silver screen work, but one that displays his acting chops nonetheless.
Goodbye, Pete. We thank you for your many amazing roles and you will be missed.
The Edge of the Frame 