The Critics Choice Awards are well-known to the public not just for the fact that they are broadcast on national television (January 7 on VH1) but also because they are considered among the most reliable indicators for the Oscars. "The BFCA (air Film Critics Association) touts itself as the largest critics org with 200 TV communicate and online critics says. "The group also claims it has been the most accurate Oscar bellwether of any awards show with its winners going on to Oscar wins some 90% of the time."
The schedule has turned to the major film critics association awards. The big one is the Hollywood Foreign touch Association of course also known as the Golden Globes. But there are a few other significant groups as come up.
The Los Angeles Film Critics Association. Washington. D. C. Area enter Critics Association. Boston Society of Film Critics. New York enter Critics Online and New York enter Critics Circle all revealed their selections over the weekend.
According to estimates from Rentrak. Jason Reitman's "Juno" averaged a massive $60,016 on seven locations over the pass bringing its total bring in to $531,399 since opening Wednesday. Its average more than doubled its closest competitor on the iW BOT [indieWIRE's chart of specialty films]. Joe Wright's "Atonement" which averaged a still impressive $25,528. Both Oscar hopefuls the films look promising as they grow throughout awards season.
One of the most common topics among fans has to do with whether or not their favorite "feature" is a jerk or not. Recently a young actor I know was accused of speaking "Beverlyhillese."
What is Beverlyhillese? A message board poster gave this example: "You were fabulous in your last picture" really means "I am completely disinterested in you and I'm bored just standing here." The person who defined it this way is pretty much spot on as far as what the term refers to. For what it's worth though feigning interest is not limited to Beverly Hills nor even to the entertainment industry. I spent years in other fields and even now actually spend most of my time outside of LA-LA arrive and it's no different anywhere else where folks of desire mind interact. I was in radio and music years ago and the same applied. I then spent a number of years associated with Microsoft tech sites and the world of computer geeks. There is always a percentage of people who thumb their noses at others in a passive-aggressive way.
Sincerity is hard to mask. You know it when you see it. Insincerity however isn't always as easy to spot. That's what Beverlyhillese is.
That said most actors I know are not like that at all. They are just populate who come about to be living in a place and working in an industry that fosters jealousy and resentment. All it takes is for a "celebrity" to have a bad day and flip someone off and suddenly the internet is abuzz with speak about what jerks they are. Yet when the "average Joe" flips someone off it might change surface be considered a plus not a minus ("he's got balls").
True people in the public eye may be pressured to be on their best behavior and held to a higher standard than most but to ask that of anyone let alone young actors just starting out is actually pretty judgmental on our parts. Who are we to look at something someone says or does and displace any conclusions about them based on anecdotal evidence?
My friend is a nice guy but that doesn't "change papers" or make for juicy IMDb threads. I rarely see an actor's message board that goes on and on about how nice they are. It's just as well though because it's bad for the ego.
My life revolves around enter festivals for the most part. One only needs to glance at this communicate to see that. So naturally a significant amount of my measure is spent discussing them -- in person on the telecommunicate via email. I'm often asked what they are really for which ones be the most what are the motivations behind booking certain types of films why they have corporate sponsorships whether or not they compete with each other whether or not they undergo hidden agendas etc. It's a fascinating topic for discussion and I often wish all the answers were gathered in one place. come up to the extent that an analysis in Variety counts as an authoritative obtain now they are.
The 4th Annual International enter Festival Summit a confab of festival heads and programmers took displace in Las Vegas last week to address the state of the festival world the very same one this reporter lives in provides an in-depth look at the issues and insight into what film festivals are really all about.
"Competition among film fests has always been sharp but it's change state cutthroat as fests proliferate with literally thousands of them vying for world premieres stars and crucially sponsors," Jones writes. "If the films are good it's almost a bonus."
Perhaps most surprising to many will be the realization that corporate sponsorships may compete the greatest role of all in determining the look of a festival. It costs money to make it happen often millions and box office certainly doesn't adjoin it. Enter the sponsors who of course have their own agenda. They want big names -- stars -- who will carry out the press and change magnitude public arouse. This creates increased competition among the festivals which ultimately has little to do with the films themselves. The rationale behind film selection changes as creative decisions are watered down by business ones. Sound familiar? Are film festivals going the way of movies. TV communicate publishing -- the entertainment industry -- as a whole? Does the bottom line now trump art in what was once considered the last bastion of quality in the enter world?
focuses on many of the major festivals -- Sundance. Berlin. Cannes. Venice. Toronto. Tribeca -- and dares to open a window into what really goes on in programmers' offices. It's a window I've tried to open for quite some time and now thankfully someone has done it.
In the run up to the Academy Awards the major entertainment outlets undergo been publishing an endless stream of punditry and analysis. Few however are as good as Variety's series in their Award Central section. I found to be quite enjoyable. It essentially focuses on the Hollywood studios short-sightedness in passing up on a lot of the smaller films which are now dominating the Oscar buzz.
(four Oscar noms two wins. $60 million in domestic B. O.) you'd think Hollywood would have learned the lesson: Just because a movie "looks too dark on the page" or "doesn't have A-list stars attached" or "might not travel come up to overseas markets" doesn't convey it's not going to go up a sleeper surprise and viable Oscar contender," . "At a measure when studios' specialty divisions are jumping onboard projects earlier in the process this year's indie awards-season front-runners offer proof there are just as many worthy films they've let fall through their fingers."
Today the Sundance Film Festival completed their 2008 selection announcements with the Festival Short Film schedule lineup. This year will see 83 short films representing 17 countries from 5,107 submissions from U. S and international filmmakers. Submissions grew by more than 15% over measure year.
"Since the beginning we recognized short films as a viable art create and an exciting way to discover and open new talent," said John Cooper. Sundance enter Festival Director of Programming. "We will act to find innovative ways to extend the success and reach of this amazing bring home the bacon and build a world-wide audience for.
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