Jean Dujardin, Darren Criss, and Chord Overstreet greeted fans as they left The Weinstein Company and Dewars “Celebrate at A Private Party At The Chateau Marmont Hotel.” “The Artist” and “Glee” stars greeting fans… only in Hollywood! “Like” us on Facebook @ facebook.com
We’re a little more than half a day away from learning who and what will compete for the 84th annual Academy Awards — an elite class through which Movieline’s Institute for the Advanced Study of Kudos Forensics had combed for four months in its fail-safe, fool-proof and bracingly handsome Oscar Index . This calls for one last sweep through each of the Academy’s categories (with the exception of live-action, animated and documentary short, about which even our pointiest-headed Oscar wonk cannot speak yet with authority); check our team’s work against your own, and drop back by Movieline tomorrow morning at 8:30 a.m. ET/5:30 a.m. PT as we deliver nominations, reactions, analysis and more. [Nominees listed alphabetically by film] BEST PICTURE The Artist The Descendants The Girl with the Dragon Tattoo The Help Hugo Midnight in Paris Moneyball War Horse BEST DIRECTOR Michel Hazanavicius, The Artist Alexander Payne The Descendants David Fincher, The Girl With the Dragon Tattoo Martin Scorsese Hugo Woody Allen Midnight in Paris BEST ACTRESS Rooney Mara, The Girl With the Dragon Tattoo Viola Davis, The Help Meryl Streep, The Iron Lady Michelle Williams, My Week With Marilyn Tilda Swinton, We Need to Talk About Kevin BEST ACTOR Jean Dujardin, The Artist George Clooney, The Descendants Brad Pitt, Moneyball Michael Fassbender, Shame Gary Oldman, Tinker Tailor Soldier Spy BEST SUPPORTING ACTRESS Berenice Bejo, The Artist Shailene Woodley, The Descendants Jessica Chastain, The Help Octavia Spencer, The Help Melissa McCarthy, Bridesmaids BEST SUPPORTING ACTOR Christopher Plummer, Beginners Albert Brooks, Drive Jonah Hill, Moneyball Kenneth Branagh, My Week with Marilyn Nick Nolte, Warrior BEST ORIGINAL SCREENPLAY Will Reiser, 50/50 Michel Hazanavicius, The Artist Annie Mumolo and Kristen Wiig, Bridesmaids Woody Allen, Midnight in Paris Tom McCarthy and Joe Tiboni, Win Win BEST ADAPTED SCREENPLAY Alexander Payne, Nat Faxon and Jim Rash, The Descendants Steven Zaillian, The Girl with the Dragon Tattoo Tate Taylor, The Help John Logan, Hugo Stan Chervin, Aaron Sorkin and Steven Zaillian, Moneyball BEST ART DIRECTION Laurence Bennett, The Artist Donald Graham Burt, The Girl with the Dragon Tattoo Stuart Craig, Harry Potter and the Deathly Hallows: Part 2 Dante Ferretti, Hugo Maria Djurkovic, Tinker Tailor Soldier Spy BEST CINEMATOGRAPHY Guillaume Schiffman, The Artist Jeff Cronenweth, The Girl with the Dragon Tattoo Robert Richardson, Hugo Emmanuel Lubezki, The Tree of Life Janusz Kaminski, War Horse BEST COSTUME DESIGN Mark Bridges, The Artist Michael O’Connor, Jane Eyre Sandy Powell, Hugo Jill Taylor, My Week with Marilyn Jacqueline Durran, Tinker Tailor Soldier Spy BEST FILM EDITING Michel Hazanavicius and Anne-Sophie Bion, The Artist Thelma Schoonmaker, Hugo Kirk Baxter and Angus Wall, The Girl with the Dragon Tattoo Christopher Tellefsen, Moneyball Michael Kahn, War Horse BEST MAKEUP Albert Nobbs Harry Potter and the Deathly Hallows: Part 2 The Iron Lady BEST ORIGINAL SCORE The Artist The Girl with the Dragon Tattoo Hugo Tinker Tailor Soldier Spy War Horse BEST ORIGINAL SONG “Lay Your Head Down,” Albert Nobbs “Hello Hello” Gnomeo & Juliet “The Living Proof,” The Help “Life’s a Happy Song,” The Muppets “Man or Muppet,” The Muppets BEST SOUND EDITING The Adventures of Tintin The Girl with the Dragon Tattoo Harry Potter and the Deathly Hallows: Part 2 Hugo Transformers: Dark of the Moon BEST SOUND MIXING Harry Potter and the Deathly Hallows: Part 2 Hugo Pirates of the Caribbean: On Stranger Tides Transformers: Dark of the Moon War Horse BEST VISUAL EFFECTS Harry Potter and the Deathly Hallows: Part 2 Hugo Pirates of the Caribbean: On Stranger Tides Rise of the Planet of the Apes Transformers: Dark of the Moon BEST ANIMATED FILM FEATURE Rango Puss in Boots The Adventures of Tintin Kung Fu Panda 2 Rio BEST DOCUMENTARY FEATURE Bill Cunningham New York Buck If a Tree Falls: A Story of the Earth Liberation Front Paradise Lost 3: Purgatory Project Nim BEST FOREIGN-LANGUAGE FEATURE Bullhead , Belgium Footnote , Israel In Darkness , Poland Monsieur Lazhar , Canada A Separation , Iran [Top photo via Shutterstock ] Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .
Here is a video featuring Artist wonder dog and awards-season gadabout Uggie telling viewers what movie made him cry and offering some insights on his Oscar chances. Some guy named George Clooney is in it, too. Did I mention that it’s Friday ? [ W Magazine via PeoplePets ]
You might have heard there was a big awards show last night? And as usual, the 69th Golden Globes delivered their standard array of highlights, lowlights and headscratching curios over three hours at the Beverly Hilton. Let’s revisit the ups and downs in words and pictures, shall we? Check out the full gallery here .
“I think that we have an opportunity with the third Iron Man to make the best of the three, and maybe one of the better superhero movies that’s ever been made. But I think we have to remember what made the first one good. It was very character-driven. It was very odd. It was kind of outrageous. And so I think we have to have the courage to trust that the audience is really kind of cool, and smart.” Ah yes, Robert Downey Jr. , “cool audiences” — the elusive fifth quadrant. Here’s to hoping Iron Man 3 doesn’t repeat the series sophomore slump . [ Omelete via Collider ]
In spite of the role he played in bringing the movie musical back into prominence, Rob Marshall has been, shall we say, a bit inconsistent over the years. This goes for his work within the musical genre, from the Oscar winning Chicago to the messy Nine , as much as his direction of non-musical films ( Memoirs of a Geisha , I’m looking at you). Just look to his most recent effort, Pirates of the Caribbean: On Stranger Tides ; commonly accepted as the weakest entry in the series, a sequel that hardly justifies its own existence, it’s nevertheless brought in $1 billion for Disney to date. And so, let’s discuss: Can Rob Marshall be trusted to adapt Broadway’s Into the Woods ? On the one hand, musicals are right in Marshall’s wheelhouse. With a background in theater and six Tony nominations under his belt, he transitioned from stage to screen with 1999’s telefilm Annie , followed by Chicago in 2002, which won the Oscar for Best Picture and reignited Hollywood’s interest in the genre. When Marshall stepped out of that comfort zone in 2005, the result was the woefully misguided adaptation Memoirs of a Geisha , a film that demonstrated an undeniably gorgeous visual flair but little grasp of anything else. Even when he returned to musical source material in 2009 with another Broadway adaptation, Nine , mixed reviews pointed to Marshall’s directorial weaknesses rather than the cast or script. Then came Pirates of the Caribbean: On Stranger Tides , a blockbuster sequel whose enormous success belies the overwhelmingly negative critical reaction it garnered upon release. Not particularly well shot or edited, with star Johnny Depp running away with the picture while simultaneously appearing to phone it in, Pirates 4 isn’t an encouraging barometer for judging what Marshall can do with copious resources at hand. So how might he handle Into the Woods? Into the Woods hit Broadway in 1987 with music by Steven Sondheim and book by James Lapine (who will also pen the film adaptation), a worlds-colliding fantasy merging some of the best known fairytales into the story of a Baker, his wife, and their myth-bending quest to start a family, a post-modern exploration of when fairytales stop being cutesy and start getting real. Best known with Bernadette Peters and Joanna Gleason headlining its original run, the musical went on to win multiple Tony and Drama Desk awards. In a post- Shrek age of renewed interest in fairytale films — especially those that, like last year’s Red Riding Hood or the upcoming Snow White and the Huntsman , tweak the legends in fresh, often subversive ways — it’s no surprise that Disney’s interested in bringing the long-gestating Into the Woods film to fruition. And given Marshall’s track record of commercial success with the studio and his experience in the musical genre, it’s a fit that makes total sense. (Marshall’s production company with John DeLuca, LUCAMAR Productions, signed a “multi-year, first-look deal” with Disney to commemorate the milestone.) The question is, how will Marshall handle Into the Woods ? (For what it’s worth, he’s also attached to a Thin Man remake with Johnny Depp to star.) He seems a safe enough choice when there’s a strong, established sense for the material; with Lapine onboard to translate the stage-y work for the screen medium, it should remain conceivably faithful enough for fans, as long as it doesn’t feel ’80s-dated. Take a trip down memory lane to the 1988 Tony Awards for a taste of the magic in Into the Woods (with Phylicia Rashad subbing in for Peters!) and tell me how you see this adaptation working out. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
“I’ve done nothing wrong,” director Michel Hazanavicius told CNN when asked his reaction to Kim Novak’s recent comments lambasting The Artist for using the Vertigo love theme. “I used music from another movie, but it’s not illegal. We paid for that, we asked for that and we had the permission to do it. For me there is no real controversy…I feel sorry for her, but there’s a lot of movies with music from other movies, directors do that all the time and I’m not sure it’s a big deal.” [ CNN ]
So much awards news! And it’s not all good for J. Edgar , the latest high-profile Oscar hopeful to see its balloon deflate as the Academy rolled out its Best Makeup short list. High-fives are in order, meanwhile, for the teams behind Albert Nobbs , Hugo , Harry Potter and the Deathly Hallows – Part 2 and four other awards contenders. Read on for the complete list. The group below will be pared to three when the Academy announces its nominations on Jan. 24. Good luck to all! Albert Nobbs Anonymous The Artist Gainsbourg: A Heroic Life Harry Potter and the Deathly Hallows – Part 2 Hugo The Iron Lady [ AMPAS ]
This just in: Kim Novak, star of Alfred Hitchcock ‘s Vertigo , has a beef with Oscar front-runner The Artist and its use of Bernard Herrmann’s iconic love theme from the 1958 classic. Let’s just cut to the chase and let Novak’s words speak for themselves: “I want to report a rape… my body of work has been violated by The Artist .” Say what, Ms. Novak? Rape? Director Michel Hazanavicius might prefer the term “homage,” but potato, po-tah-to… perhaps some elaboration is in order. Novak’s personal missive, for which she composed a press release and took out a full-page trade ad, continues via Deadline : “This film took the Love Theme music from Vertigo and used the emotions it engenders as its own. Alfred Hitchcock and Jimmy Stewart can’t speak for themselves, but I can. It was our work that unconsciously or consciously evoked the memories and feelings to the audience that were used for the climax of The Artist .” “There was no reason for them to depend on Bernard Herrmann’s score from Vertigo to provide more drama. Vertigo ’s music was written during the filming. Hitchcock wanted the theme woven musically in the puzzle pieces of the storyline. Even though they did given Bernard Herrmann a small credit at the end, I believe this kind of filmmaking trick to be cheating. Shame on them!” “It is morally wrong of people in our industry to use and abuse famous pieces of work to gain attention and applause for other than what the original work was intended. It is essential that all artists safeguard our special bodies of work for posterity, with their individual identities intact and protected.” Novak has a point, to a point: Using a well-known piece from a beloved classic can, consciously or subconsciously, evoke the emotion earned by that reference film. But does that mean The Artist cheated by borrowing on the emotional associations its audience had for Vertigo ? And, as personally as that citation hit Novak, is it fair to reduce the cinematic equivalent of sampling in hip-hop to such a gross violation? And if Bing Crosby was still around, would he make the same claim for the use of “Pennies from Heaven?” Chime in, Movieliners. • Not Everyone Loves ‘The Artist’: Kim Novak Feels Violated By Use Of ‘Vertigo’ Score [Deadline]
The first Oscar Index entry of 2012 finds Movieline’s Institute for the Advanced Study of Kudos Forensics a little hungover from the holidays and lot bored from the protracted inertia of awards season. Not even this week’s Producers Guild Award nominations could do much to shake up a contest that appears to be both wide open and solidifying into place at the same time. Let’s investigate… The Leading 10: 1. The Artist 2. War Horse 3. The Help 4. The Descendants 5. Hugo 6. Midnight in Paris 7. Moneyball 8. The Tree of Life 9. Bridesmaids 10. The Girl With the Dragon Tattoo Outsiders: The Ides of March ; Extremely Loud and Incredibly Close ; Tinker, Tailor, Soldier, Spy ; Drive The awards cognoscenti weighed in where they could after Tuesday’s PGA nomination announcement, but on the whole it came down to a few routine observations: