All of Hollywood came out in their best last night for the 2016 Oscars, held at The Dolby Theatre. The night had several surprise moments, from Mark Rylance’s win over odds on favorite Sylvester Stallone and that really freaking weird Stacey Dash bit, but also had incredible ones from Leonardo DiCaprio’s triumphant win after seven nominations and incredible performances from Lady Gaga and The Weeknd. With all of that, we also have the fashion, which made quite the statement last night. So who did we think hit the top in terms of overall look? Let’s run down our top five, all of whom have fab stores right here in the heart of Manhattan.
[Read more…] about Manhattan Digest’s List of The Best Dressed at The 2016 Oscars
Oscars
VIP Oscar Viewing Party at The Manhattan Cricket Club
The 88th annual Academy Awards will be taking place live this coming Sunday night on ABC. Will this finally be the year that Leonardo DiCaprio wins an Oscar for his role in “The Revenant”? Will Lady Gaga steal the show again with her Oscar nominated song “Til It Happens To You”? One thing is for certain, around the country and in NYC there will be several parties being thrown for this once a year soiree. So what is a good example of a great place to view this event? Why not try the beautiful Manhattan Cricket Club, which is nestled in the heart of the Upper West Side on W. 79th Street between Broadway and Amsterdam.
[Read more…] about VIP Oscar Viewing Party at The Manhattan Cricket Club
Iconic New York City Locations Used in Box Office Blockbusters
The 88th Academy Awards are a mere ten days away, with host Chris Rock sure to bring the laughs and fun throughout the night. Movies and television alike have a great tradition of using New York City as the backdrop to whatever story they are telling (Hello, Sex And The City), and in that backdrop you will find some iconic locations that helped mold the story that turned these movies into the blockbusters that they are known today. So which locations made the cut? You probably know many of them already. From iconic restaurants to hotels, these are the ones that made their debuts on the silver screen.
[Read more…] about Iconic New York City Locations Used in Box Office Blockbusters
D. Woods on “Blackbird”, music, acting… and more!
It is rare in this day and age, to find someone talented enough to be considered to be a triple threat. D. Woods is someone who is a strong contender to be that particular kind of entertainer. Already known for her musical prowess and dancing ability, the talented Massachusetts native is keeping her buzz loud and strong by starring in the new feature film “Blackbird”. Alongside Academy Award winning actress Mo’Nique, D. Woods shines in a breakthrough role about acceptance in yourself and others that will no doubt put her on the forefront of who is next in the acting community.
Beautiful, humble and sweet, D. Woods sat down with me recently to discuss her involvement in “Blackbird”, as well as her beginnings in the theater, influences that she has gotten to know and worked with, and what her future plans are outside of all the fab things she is doing right now. Take a look.
A lot of people know you from music obviously, but you are now dabbling in acting. Do you have a particular preference?
Well, I grew up in the theater actually. It was dancing first, then musical theater came after that, and finally it was the music industry. I have never really separated the art forms, especially with musical theater you do all at the same time and that is how I was trained to do it all- dancing forms, singing, acting, delivery, musicality etc. It all comes together for me, I am just now able to do projects that are more visible and show my acting talents but I’ve been on the stage doing acting throughout my life. Now I’m on screen so you are being introduced to a whole other side of me!
It is safe to say that your background in music that we have come to know is R&B based. A lot of people feel as if that particular genre has been dead for quite some time, what is your take on it?
I think because of the way records are selling or not selling, and everyone is trying to appeal to as many people as possible and want the largest demographic, that is where a lot of artist get into this EDM/Euro or Pop N’ B type feel to wherever they think is going to sell. I do believe that there are a lot of artists that are true to R&B, I just don’t put myself in a box however. I do whatever the music tells me to do, so it might be rock influenced or feel more cinematic, you know what I mean? It might be trap or ratchet, but then I might do R&B harmonies and vocals, its whatever I want to play with. I think there are a lot of audiences out there that want a true musical experience whether they are going to an R&B show and they are getting a little gospel thrown at them, or maybe some rock as well in the way that the band switches up the track that people know and love from their recording into the live show. I think the live performance is the best and a lot of R&B singers are the ones that can give you a true live performance as opposed to some overdubbed, autotuned track where they just hit play and walk out.
Growing up, you had to have influences that got you into the entertainment field that you are in today. Do you have any in particular that standout?
Yes, of course! I’ve met a lot of people that I didn’t expect to meet, or that I watched and know so much about their work and having a conversation with them is weird because I don’t want to have a fan moment or weird them out. I got to work with actress Lynn Whitfield on a musical called “Rebirth” and being in rehearsal with her everyday made me think of “The Josephine Baker Story”, which would just freak me out. I thought she was Josephine Baker when I was little! She comes from a generation that had that triple threat feel to it, so that was definitely a great experience working with her.
Working with Mo’Nique was big, because we saw her evolution from a comedienne to a comedic actress to working her way up to winning an Oscar and now she is an executive producer on top of all of that. So working with her was just fantastic. I watched a lot of fantasy movies growing up, so whenever they redo “The Wiz” I definitely want to partake in that on some sort of level. I met Quincy Jones a while back and pretty much told him, “I LOVE the soundtrack to The Wiz”. I mean, this guy has worked with everyone from Duke Ellington & Michael Jackson, the soundtrack to “The Color Purple” and so much more… but that is what I saw when I met him. The Wiz.
So the movie “Blackbird” just got released to stellar reviews. What is your involvement in it?
“Blackbird” is a coming of age story, centered around a character named Randy Rousseau who is played by Julian Walker. He is our breakout star. He is straight up novice, like Julian is still in college right now. I remember he was doing homework while on set! When I read this script, I found out the character finding himself and coming to terms with his sexuality but at the same time trying to live up to the expectations of his family, community and church. I play one of his friends in high school named Leslie Crandall whom he also feels like he has to live up to in his group of people around him. I feel with “Blackbird” at the base of it, it is all about acceptance and love. Loving yourself, accepting yourself, hopefully the people around you love you and accept your choices and are supportive but its trusting that voice inside in being who you want to be.
Following up on that, what would you say if someone was reading this article and having a hard time coming out to their loved ones or had something they want to share with people around them but fear backlash?
I would say, just be who you are. You will be so much happier at the end of the day. If the people around you don’t accept you, there is a pool of people that you can find who can become your family, circle of friends and ultimately your support system. I have a non-profit mentorship program called “Foolish Dreamers” and one of the main things that I tell the high school students is “You have to get the squares out your circle”. I can’t take credit for that, it was Future, but I thought it was so real because the people around you have to support your dream and choices so that you can be the best person that you are. If you are trying to be somebody that you are not, you are not being true to yourself, fair to yourself, and ultimately what you can bring to the world.
I recently saw you on an episode of Bravo’s hit show “The Real Housewives Of Atlanta” where you and her went to back to your old high school. A lot of people know you from the reality world already, so would you consider going back to it?
I’ve been asked many, many times but it has to be under the right circumstances. I’m still trying to get that dark cloud from over me as it is hard to make a first impression for the second time. If you are introduced the wrong way to the general public you have to re-educate them so that gives them the opportunity to throw away the perception they may had of you and what you had presented at that point. At the end of the day- the networks and everyone else has their own agenda, question is- can I get mine? I haven’t felt comfortable with doing it yet so as of now no.
Besides “Blackbird”, what other fabulous projects doing you have coming up in the future?
I’ve partnered up with Patrick Ian-Polt & Tall Skinny Black Boy Productions and my independent label to produce the soundtrack to “Blackbird”. The first single came out Tuesday, shortly after the movie’s release, called “Find Your Way”. It is written by myself and produced by Simon Illa, another long time collaborator of mine. It was a song inspired by the film, and then we have the songs in the film that will all be on the soundtrack.
Anything else you want to add Miss Woods?
You can follow me on social media at YaGirlDWoods on everything! My main site is missdwoods.com and I have a single out right now called “Ur Tattoo” featuring Paul Wall. Paul is seriously president of Texas after all this time. We performed at SXSW and couldn’t even walk down the street, it was crazy.
Thanks so much for sitting down with me!
You are very welcome!
Check out D. Woods on Facebook, Twitter & Instagram!
Road To The Oscars- GQ’s “Style Guy” Glenn O’Brien
Oscar Season is in full swing! The nominees have been announced, the fashions are being critiqued and gagged over on a weekly basis now (SAG’s, Golden Globes, Critics Choice) all leading up to the big night in February when The 2015 Oscars are held live.
When it comes to mens styling in all forms of the word, trust no other than the GQ “Style Guy” himself- Glenn O’Brien. A writer of not only fashion but art and culture, he even wrote a book about style with the name nickname, “Style Guy”. Glenn was nice enough to sit down with Manhattan Digest to discuss all the hooplah around award season, who his best dressed has been so far, and why Dove Men + Care is a great solution for the everyday man to feel like a star. Take a look.
Hey Glenn, thanks for stopping by! So with award season in full effect, have you noticed a trend with the male stars on the carpet?
So far into this season the men seem to be going for a more traditional tux look and less of the lone wolf experimental fashion trend. We’ve seen mostly black and midnight blue traditional tuxes, and the bow tie seems to have taken some ground back from the long tie—and it really does look a lot better. We
also see that beards have gone mainstream, but men on the whole seem better groomed—even allowing for the fact that these are actors who may be in the middle of playing a mountain man or
medieval king.
You are known as the “Style Guy” at GQ. What 4 keywords would you use to describe a guy having really great style and why?
Great style is about individuality, a personal taste (not a hired stylist’s taste,) a relaxed attitude and attention to detail (in dressing and grooming.)
In terms of styling who has gotten it right so far this year and who do you think needs some improvement?
I would give the men from whole awards season so far a B plus for looking formal and proper, for dressing for the occasion and not maximum media exposure. For some reason some of the older guys really get it right—Michael Keaton looks incredible fit, wears his clothes perfectly and his grooming minimizes his age and his, well, dearth of hair. Jeff Goldblum looked better than anyone—elegant and fit with old Hollywood level elegance. I think the super-skinny suit and thin tie sometimes backfires. It made Justin Theroux look a bit Pee Wee Herman. Ty Burrell wore a vest with his tux, avoiding the white shirt showing under the jacket button like Jim Parsons and so many others. Look at Zach
Galifianakis—he looked so good he could turn into a romantic leading man.
Do you think men should go outside the grain and try some pops of color on the red carpet, like Jared Leto just did at the Critics Choice Awards a little while back?
It’s risky. Adrian Brody in all that silver and black looked like he was at a Long Island wedding. Matthew McConaughey was handsome and well groomed, but his medium blue jacket had a pattern that strobed, and if you’re going to wear a vest which is fine, I prefer a jacket that’s buttoned.
What advice do you give to men who aspire to look like their favorite male celebrity?
The man walking these red carpets range from teenagers to real veterans like Robert Duvall, but they all owe a lot of their success to the ability to look good at all times. If you’re not acting, you’re up for casting. You have to always be on, always be ready. That means cleansing your face properly. Dove Men+Care Clean + Face Scrub cleans deep, it exfoliates with pumice, and it moisturizes—leaving the skin not only clean and lively but natural looking.
Any products you recommend them trying?
I would recommend Dove Men+Care Fortifying Styling Gel—which helps achieve a defined, strong hold—for quite a few of these guys. James Righton’s hair shot straight up in the air. He definitely looked taller than Keira Knightly, his gal, but I would have liked to see a more polished style. Ed Norton could have used a bit more hair control. Eddie Redmayne also has a slightly complex hairstyle, but his looked right because it was artfully tousled and stayed in place, which is why men use a good styling product. For texture and volume I like the Dove Men+Care Fortifying Styling Paste. It gives structure without being shiny. And the Dove Thickening Spray Gel gives you shape without stiffness or stickiness.
For Dove Men + Care are there products you recommend men trying during the harsh winter season?
Winter is all about moisturizing, so I like a rich cream. Dove Men+Care has a new Ultra-Hydrating Cream, which keeps skin moisturized for 24 hours.
Anything else to add?
The men are lucky they don’t get asked to go on the “shoe cam” or the “mani-cam.”
For more on Glenn, check out his official site. For more on Dove Men + Care, check out theirs.
Road To The Oscars: Birdman’s Alex Dinelaris
Birdman has become one of the most unexpected successes of this awards season. The highly original film about a washed-up superhero actor’s attempt at making a play has been called a visual feast, a poetic contemporary fable, and a great comeback film for star Michael Keaton. One of the lesser said things about Birdman, however, is that it marks the cinematic breakthrough for Alex Dinelaris, one of the film’s four screenplay writers.
The New York-based playwright has had some acclaimed stage-plays over the last few years (including a musical version of the film The Bodyguard), and now is the proud owner of a Golden Globe for Birdman. He’s now taking on numerous projects over several different mediums, and is now an Oscar nominee for Birman. He took some time out of his day to speak with Manhattan Digest, about the film’s unexpected response, his future prospects, and his admiration for those he works with.
How did you become involved with this project?
I’m a playwright here in New York. Alejandro González Iñárritu (the director) had read my play Still Life, and asked me to work with him on his film Biutiful. I helped out with the first few drafts for the film, but the final script was eventually written by my future friends, and Birdman cohorts, Nicolás Giacobone and Armando Bo. Then, three years ago Alejandro called me and said he wanted to get working on Birdman which he called a “one-take dark comedy”, and asked me to work on the script with him. I immediately said yes.
Yeah, one of the most discussed aspects of Birdman is how the film is edited/shot to look like it was all done it one take. Did the film look as you envisioned it would when you were writing the screenplay?
It looked exactly as we imagined. Alejandro had a specific vision right from the start, it was just a matter of writing a script that fit the form. We were then blessed to work with one of the very best directors of photography in the business, Emmanuel (Chivo) Lubezki. He and Alejandro brought the film to life.
Getting more into your expectations for Birdman, did you expect to see the movie gain as much success as it did?
(Laughs) Not in the very slightest. We knew it was experimental, and we doubted that it would appeal to a broad commercial audience. I told a friend days before the film’s premiere at the Venice Film Festival that if we got booed off stage, I wouldn’t be surprised. Instead we got a standing ovation and glowing reviews, and we were all genuinely shocked.
Four people are credited on this screenplay. What areas of the script do you feel you were most responsible for?
Alejandro had the vision and a specific idea of what he wanted to do, Armando is very visual and this was going to be a visual film, Nico and I put all of our collective thoughts into script form. We all live in different locations, with me in New York, Alejandro in L.A, and Nico and Armando Bo in Buenos Aires. We would all Skype, and sometimes Nico and I would meet in person for a few days. Then when we solidified scenes we would bring them to Alejandro, he’d give notes, and then we’d argue it out, in the best sense. I was the one writer with a theater background, so I suppose you could say I brought my personal experience to that arena, if anything. And, as I am the one of us who is English, first language, perhaps more of the final dialogue fell on me. But, really it was a group effort from the start.
What future projects can we expect from you now ?
The whole Birdman gang is creating a TV series for Starz called The One Percent, which is a one-hour drama. It will star Ed Helms, Hilary Swank, and Ed Harris, and will premiere next year. Other than that, we’re all talking about what’s next for us to do film-wise. Next year I’ll be working on a film with Guillermo del Toro which is currently untitled. I also wrote a script entitled The Year of the Monarchs and it looks like we’ll be producing it next year. In the world of theater, I wrote the book for a Musical called On Your Feet, which is about Emilio and Gloria Estefan, and will be directed by Jerry Mitchell (Kinky Boots, Hairspray). That is set to open on Broadway in October.
You mentioned working with Guillermo del Toro on a project, which is interesting as he’s basically considered part of the same league that Alejandro is in, as a renowned Mexican film director working in Hollywood. Do you think this trend of Mexican filmmakers is going to continue?
I think we just came upon this whole class of filmmakers and Mexican artists that are thriving at the same time. They all have their own style and vision, but they are each brilliant in their own way, and have a strong passion for film itself.
Any closing words you’d like to make?
I feel blessed to work with these people, and I couldn’t be happier with the response and praise this film has received. The real win was getting an impossible film made with great cast members, crew and producers, but I never expected it to be such an awards contender.
Want to know more about Alex Dinelaris? Follow him on Twitter @alexdinelaris.
Jason Schneidman- The Men’s Groomer on Dove & More!
Jason Schneidman on The Oscars, Superbowl and Dove!
Nothing gets bigger for someone when they are invited to work on two of the biggest events of the year- The Superbowl and The Oscars. For Jason Schneidman, this is just another day in the life of one of the top men’s hairstylists in the world. Jason has had quite the year in 2014, from styling Oscar nominee Jonah Hill (Wolf Of Wall Street) to Superbowl show stopper Bruno Mars and so much more. Now he sits down with Manhattan Digest to discuss his crazy year that he has had and also his involvement in my personal favorite for men’s haircare and grooming Dove Men + Care. Take a look!
So how have things been since I spoke to you last, what have you been up to in 2014?
Everything has been great – can’t complain! 2014 started off with a bang between styling Bruno Mars for the Superbowl and Jonah Hill for the Oscars. It has been a real blessing.
You did Jonah Hill at the Oscars this year, which is huge seeing as he was Oscar nominated for “Wolf of Wall Street”. How was that experience?
It was a great experience. Jonah is an awesome dude, and a pleasure to work with. It was just so exciting to be a part of the journey with him.
On top of the Oscars, you did Bruno Mars at the Superbowl, which is gigantic beyond anything. How did you get that gig and what was the experience like? Was it hectic?
Bruno Mars is one of my frequent clients. I am so grateful to work with such talent. He is so down to earth and cool. I was honored he asked me to go out to New York with him. It was a once in a lifetime experience that I will never forget. The energy was just high and it was such a rush being backstage. My main concern was to make sure every hair on his head laid perfectly to last the whole performance.
What is your favorite style for men this coming summer?
I am a huge fan of guys growing out their hair for the summer. Men with long hair are finally starting to stand out and I love it. I have always had long hair and felt different, but it is starting to trend. I think it creates some mystery and a little bit of edge. Shoulder length or longer hair is amazing on guys right now because it allows you to put your hair up in a top knot or a man bun. I wear the man bun myself and get a lot of compliments from both men and women. My celebrity inspiration is Jared Leto. One of my homies, Chase Kusero gave Jared his fresh summer look with the ombre.
What do you think men do wrong when it comes to style that you think could be improved?
I think one of the biggest things men are doing wrong when it comes to styling their hair, is using products that makes their hair look stiff. I recommend style pastes instead of hard gels to avoid this look. Personally, I love pastes because they’re versatile—and they can make a cut look edgy and nonchalant or cool and sophisticated. They’re perfect for the messy look, such as the style I did for Rob Lowe at the Golden Globes this year, but can also be used to create a very sleek style, like the style I did for Hugh Jackman at the Academy Awards last year. Plus, you can easily re-apply the product to refresh your look, which is crucial for the guy on the go. Gels and sprays, become crispy and flakey when re-applied, which is definitely a “don’t”.
Why is Dove Men+Care the best of all the products out there?
I recommend Dove Men+Care to my clients because I use it, it’s proven to make hair 3X stronger…and it’s made specifically for men. That means it is really effective at combatting common hair concerns from dandruff or oily hair—and adds moisture but doesn’t way the hair down. The product formulas are infused with caffeine, too, to help make men’s hair thicker looking—which pretty much every guy benefits from. My favorite is the new Aqua Impact Fortifying Shampoo. It’s enriched with ocean minerals and it makes every shower feel like a day at the beach, which keeps me centered even when I travel.
What are you hopeful for in the future?
Such a difficult question! I have so many exciting moving pieces in my life with my clients that I wish I could share. I am hopeful for new opportunities and look forward to continued collaboration with Dove Men+Care.
Want to know more about Jason and his fantastic business? Log on to his official site & twitter for more info.
Manhattan Digest’s 2014 Oscar Chat
Manhattan Digest film reviewers Peter Foy and Dane Benko discuss the major categories of this year’s Oscar nominations.
BEST ANIMATED FEATURE
PF: Well, the Best Animated Feature Film category has always interested me, as some of my picks for best film of the year were actually the winners in that category
DB: And this year has surprising selections.
PF: Yeah, no Pixar!
DB: And The Croods, for some reason. Frankly three of them only have a chance, Miyazaki’s The Wind Rises, Frozen, and Ernest & Celestine.
PF: Yeah, and I regret to say I had not heard of Ernest & Celestine till the announcement.
DB: Right, me either… I don’t think it’s going to win, but the nomination itself is a huge honor for it.
PF: Still, it seems to be that Miyazaki is an almost sure-bet.
DB: Yeah, Frozen has perhaps a chance because of the surprising amount of audience fondness of it, but frankly Miyazaki is too big of a name, regardless of the fact he’s won before (for Spirited Away).
PF: Yeah, it’s just the film is being hyped as his “farewell masterpiece,” so that alone should edge it towards the Academy’s favor. I wanted to see Frozen, but somehow it eluded me amidst the bustle of Oscar Season.
DB: Yeah, my Facebook feed is alive with talk about how awesome the songs are, and I was surprisingly engaged by the trailer, but this is the only time I’ve looked at the Animated section and felt at a loss as to where my year of movie watching went, precisely. And why the Croods?
PF: Yeah, that does seem an odd choice. Especially as Monsters University did receive decent critical recognition for a sequel, while it seemed like both audiences and critics were lukewarm towards The Croods. Hey, maybe they were persuaded to nominate it just to have a dark horse in there.
DB: In the end, last year’s Oscar win for Pixar seemed a little shoed in, so all in all I’m glad to see different options this year (even though I’m a die-hard Pixar fanboy), but I don’t think Despicable Me 2 or The Croods really replace that slot. Ernest & Celestine would be the most interesting win, but it’s already reaped a major award just by being featured. Frozen could be a surprise hit but only because audiences were surprisingly keen on it. But this year goes to Miyazaki
PF: I would agree, and I’m also totally for it. I feel that Miyazaki really has earned his coveted title as being perhaps the most celebrated animator of our generation, and has really made the medium an art form
Not only has he used animation to tell fantasy stories that appeal to all ages, but does them with a sense for wonderment and joy that most directors (including live-action ones) couldn’t even hope to capture.
I would call him the Walt Disney of Japan, but in all honesty I think he’s even greater than that.
DB: I still am not 100% sure he’s finished in the world of animation, the last few movies he’s made grumblings about being his last, but since he seems to want this one to underline his ouevre, I respect that.
PF: Yeah, I don’t know if this will really be his last film. He had said that about Princess Mononoke and Spirited Away also. But giving his age, and the acclaim and anticipation that this film is already receiving, then I feel it only builds to it’s stature for us to envision this as being his last work. Kind of like with Jay-z’s The Black Album! Same standard!
DB: But why The Croods?
BEST ACTRESS IN A SUPPORTING ROLE:
DB: Scrolling up, how do you feel about the Supporting Actress nominees? I always have a difficult time with the actors segments., but it’s the actors that bring in the viewers, as the Oscars is really a celebrity showcase.
PF: Yes, very much so. I’m happy with the Supporting Actress nominations for the most part. I’m glad that they nominated Sally Hawkins, as I felt she gave a really strong and careful performance in Blue Jasmine, and I felt that some people didn’t acknowledge it due to Cate Blanchett’s lead.
DB: Sally Hawkins and June Squibb are the interesting ones. I… don’t see Jennifer Lawrence winning again. I love Jennifer Lawrence. She’s awesome. And she won last year. And I think the Academy thinks the same way I think about that.
PF: Yeah, Jennifer Lawrence was great though… and if the Academy wants to make history they may let her win as if she did win the best supporting role again this year, she would be the youngest actress to do so
DB: If the Academy Awards wants to make history (more on this when we discuss Best Picture), they’ll pick Lupita Nyong’o, which I wouldn’t be surprised to see. She did an amazing job in 12 Years a Slave, and 12 Years a Slave is pretty much a showcase of Oscar-quality talent. She may even be my pick.
PF: Yes, that’s true. She gave a very gripping performance, and her performances in the film’s most harrowing scenes were simply astonishing. She might be my pick as well, as any actress would need to go to intense places to deliver in a movie like that. I can’t comment on Julia Roberts as I haven’t seen August: Osage County
DB: I haven’t either. Fact is I’d be surprised if it wins many, or any, awards. I actually have the suspicion that the movie itself is different from the trailer, as the trailer seemed to highlight the reprehensible character Meryl Streep plays.
PF: Yeah, it’s not uncommon for trailers to be misleading these days.
DB: The movie clearly operates on that basis of ensemble performance. This is one reason why it would be sort of interesting to have an ensemble cast section for Oscars. But people’s reactions to it seem to be along the lines of, “I’m jealous of the dead character.”
PF: Ha, well if one film legitimizes the necessity for an inclusion of that category then it’s American Hustle, a film I think we will be discussing quite a bit of…
BEST ACTOR IN A SUPPORTING ROLE:
DB: I sort of want to head this one off by saying, I like Jonah Hill and all, and I loved This is the End, but his performance in The Wolf of Wall Street seemed more like he was acting out a sketch about being in a Martin Scorsese movie, than him actually acting in a movie directed by Scorsese. I’d even, in this list, eagerly give him the award for This is the End, because he played off himself perfectly, really subverting his own celebrity. I think Barkhad Abdi and Jared Leto seem like good contenders to add diversity to the list, but this really seems to be a showdown between Cooper and Fassbender.
PF: Yeah, I don’t think Jonah Hill has a chance. Barkhad Abdi is a fantastic actor though, and was just as strong a screen presence in Captain Phillips as Tom Hanks. Jared Leto might also get my honor for “best comeback performance” of the year, but yeah, it looks like it’s a showdown between Cooper and Fassbender, and I think the Academy is likely to tip in Fassbender’s favor.
BEST ACTOR IN A LEAD ROLE:
PF: I actually was having a conversation with someone that Tom Hanks was snubbed a leading actor nomination the other day.
DB: Oh? I don’t know, hasn’t Tom Hanks sort of proven his Academy chops?
PF: Yeah, and in actuality I don’t think his performance was quite as remarkable as the other 5 gents that the Academy nominated this year. Although the climax to Captain Philips shows that there’s still plenty of range for the veteran actor
DB: The Best Actor category seems like one of the most competitive. It’s not surprising that many good roles were lost in the shuffle. I honestly have about as good a chance predicting this one as a Magic 8 Ball.
PF: Yeah, I know that feeling. I can tell you I’m rooting for Matthew McConaughey though. In fact I wanted to see him nominated for Killer Joe last year
DB: Yeah, I can see that. The Academy has this really bad habit of awarding talent the year after the movie they deserved to win for. It seems a lot of people feel Leonardo DiCaprio is overdue for an Oscar. I throw my support behind Chiwetel Ejiofor.
PF: Yeah, as 12 Years a Slave really is a star making performance for him. Getting back to snubs… I still think they could of fit Joaquin Phoenix in there…
DB: Oh man…
PF: …as I felt he deserved to win last year for his incredibly unique and volcanic performance in The Master.
DB: It was ridiculous. I didn’t even see Phoenix the person in Her. I certainly saw Phoenix in The Master, and still thought he was powerful. Oh and by the way, as a terrible Pynchon fan, I can’t wait to see him in Inherent Vice. He’ll rock Doc Sportello. But believe me, we’ll get to discussing Her in a bit!
PF: Ha! I can’t wait to see Inherent Vice!
DB: Maybe that’s why Phoenix wasn’t put up for this year. Next year is being prepped for a long anticipated Pynchon adaptation Oscar streak.
PF: If he wins next year, then I’ll be completely ecstatic about it! Back to the best acting nominees though…What do you think about Christian Bale getting another nod? I feel he might have another good chance to win, just cause it’s a role so different from what he’s played before, and he once again perfects it
DB: My opinion on Bale is best described by the scene in Rescue Dawn where he eats maggots with a …. maggot-eating grin: Dude chews scenery in a way I adore, but I wouldn’t give him an award. I feel like I’m more on a rollercoaster than watching a performance. I’d almost feel like giving him the golden man for American Hustle would be more boring than his performance deserves. But I’m not one of the voters, so what do I know?
PF: Bruce Dern is another likely contender. Either for an Oscar, or a lifetime achievement award. As you said all five of the nominees gave career highlights this year, but, who knows, maybe the average age of academy voters will dictate them voting for the oldest nominee in the bunch.
BEST ACTRESS IN A LEADING ROLE:
DB: Let’s start talking about Best Actress! No in all seriousness, this is one of the better line-ups of actresses in my memory, being that women are finally not always secondary characters in their own stories anymore.
PF: Yes, very much, although I feel that Brie Larsson was snubbed for her performance in Short Term 12
DB: Oh really? I… I don’t know what that is.
PF: It’s just it was a little-seen independent film with an arthouse veneer. So yeah, it’s not exactly the type of movie that would attract Oscar voters. I felt she just gave such a complex and hard-edged performance for that film.
DB: Well, you certainly caught me off-guard. I was gonna mention that Melissa McCarthy should have been nominated for The Heat. I am absolutely serious, she’s the Lou Costello of our generation.
PF: Yeah I didn’t see The Heat, but I thought she should have been nominated for Bridesmaids.
DB: But since Sandra Bullock got nominated instead for Gravity, that’s about the only segue I had to this otherwise eclectic mix of characters. Like Best Actor, I don’t even know where to start here.
PF: I feel Cate Blanchett might be the most likely contender
DB: Yeah Blue Jasmine was something else. I never thought Blanchett would top her performance in Coffee and Cigarettes. And of course there she only had a segment. Now she had to hold up a movie.
PF: Yeah, she gets serious props from me as she was able to balance the humor of her character against the distraught nature of her as well. What an ending too? It was rather disturbing I found.
DB: Actually now that you use that word, pretty much all the actresses this year had disturbing roles.
Bullock’s was the most lighthearted, and it was about the grief of losing a child! Or maybe Meryl Streep’s because we were supposed to laugh at her character?
PF: Yeah, that’s true. Although there aren’t many years when an actress gets nominated cause of how “happy” their performance was. Well for me Brie Larsson’s performance outshone the rest.
DB: Right. So we’re agreed. Brie Larsson should have won, and, uh… we have no clue who will win. But we can agree that all of these actresses do a fine job at making you feel sad.
PF: Yep! Exactly!
BEST PICTURE:
PF: Moving onto best picture now!
DB: Well alright then. To cut to the chase, I can’t help but feel this comes down to 12 Years a Slave versus Her. The rest of the movies are great.
PF: Really, I don’t think Her has much of a chance of winning. To be honest I wouldn’t have been surprised had it not even been nominated
DB: It’s been pretty much universally embraced by critics and audiences alike. And as a separate, specific feature, it’s good up and down and through and through. Good design, good performance, good acting, good editing, and a story that seems to be hitting close to an area big on people’s minds.
Plus Megan Ellison is about as celebrity as producers get.
PF: Yeah, but it’s not exactly an Oscar-type of movie. While it is a film about contemporary relationships, it’s also a high-concept sci-fi film that also seems aimed at indie-rock fans.
I think the two most likely picks for best picture are American Hustle and 12 Years a Slave. The former just comes off to me as this year’s Argo
DB: Yeah but that might be why it loses…
PF: Yeah, I thought about that as well, but it also seems hard for The Academy to resist it.
DB: 12 Years a Slave seems like a good pick because in a weird way we’re overdue for the sober social consciousness film. It also fits the Academy’s MO.
PF: Yeah, although I do notice that the Academy does still tend to like film’s that have a little bit of levity to them. Which 12 Years a Slave certainly does not have
DB: Well in theory, the purpose of these awards are to argue for artfulness of film. 12 Years a Slave is an important film whether you enjoyed it or not. So that sort of sets it to demand people’s, including Academy voters’, attentions.
PF: Yeah, and if we’re talking about craft, then the film is a shoe-in for best picture. I absolutely feel that 12 Years a Slave will win for best director. Steve McQueen really has established himself as such a visionary with only just three films.
DB: I feel like Gravity is misplaced in these two departments. Strictly speaking Cuaron is worthy of being considered for Best Director and the movie is astounding, but it is a technical showcase that should sweep whatever technical awards its up for. But it’s kind of the odd-man-out of the rest of the titles in the Best Picture category.
PF: Yeah, well they have one of those every year (i.e. Inception)
DB: I feel like American Hustle and The Wolf of Wall Street will cannibalize each-others votes as historical looks at decadence and power. 12 Years a Slave has the biggest chops and Her has the feverish word-of-mouth. Which makes them create an interesting sort of unintentional narrative about whether the award will go to the mistakes of our past, or the hopes of our future.
PF: I don’t think Wolf of Wall Street has much a chance of winning. But that’s fine, you can tell Scorsese didn’t make it to win an award
DB: I don’t think Scorsese made The Departed to win an award.
PF: Yeah, but he did make The Aviator to win one. I personally think he wouldn’t have done that movie had he won an Oscar at that point, and I do feel it’s one of his weakest films because of that
DB: I wouldn’t want to answer for him. My feeling is that Scorsese is a case in point that the Academy tends to award a filmmaker about a year or two after the point when people feel the filmmaker deserves it most. Which is why Leonardo DiCaprio is either getting an award this year or next.
PF: A very solid accusation. In fact bearing that in mind, then maybe Leo will indeed win this year as the he has said he’s going on hiatus from acting, so the academy may want to award him now before he takes off for a bit.
DB: I trust his hiatus about as much as I trust Soderbergh’s various retirements. Film people seem to be like that one guy on message forums that’s always announcing his departure from the community. The ones that make the loudest announcements are typically the ones that can’t quit. Heck, Phoenix’s hiatus was a performance in and of itself. Anyway, perhaps I am being too confident in Her. I just strongly feel it is the title that SHOULD win, though 12 Years a Slave is the title to beat.
PF: Yeah, well I didn’t mention it earlier, but I would of liked to see my favorite film of the year nominated (Before Midnight). Her and 12 Years a Slave are my favorites of the batch nominated and Her is what I feel should win, but 12 Years a Slave seems the more probable outcome.
MINOR AWARDS AND ERRATA:
PF: What do you think about how Inside Llewyn Davis didn’t receive any major nominations?
DB: Don’t feel it should have. Loved the movie, isn’t as caustic and daring as A Serious Man and the Coens already settled their score with No Country for Old Men. It still got cinematography award nomination, and it looks friggin’ beautiful. I actually really hope it wins that category.
PF: Yeah, I liked how the film looked like the cover of a folk album. Really evoked The Freewheelin’ Bob Dylan’s, but it wasn’t surprising to see it wasn’t nominated for best picture. But, I don’t think the Coens really care either way.
DB: It’s also up for sound mixing but that should go to Gravity. Full dynamic atmospheric subjective sound. Llewyn Davis’ audio award should be for Music. But those categories have to be original song or original score.
PF: Well, it will be interesting to see which movies win in the screenplay categories, as once again, this year saw so many great scripts. Although I’m not exactly sure why Before Midnight is up for best adapted screenplay…
DB: Yeah I was wondering that as well. I guess “Adapted from the characters by Linklater.”
PF: Yeah, probably just an excuse to put the film in that category, but hey, you hardly see sequels nominated for Oscars also.
DB: It would be kind of funny if the Adapted Screenplay went to 12 Years a Slave and the Original Screenplay went to Her. “We’ve adapted to the past, and now we’re originating the future!”
PF: Yeah I was thinking that myself. It could very well happen too, as Her demonstrated that Spike Jonze is a talented screenplay writer, in addition to being a fantastic director, and as you said, The Academy seems due to acknowledge a somber film about America’s darkest past.