The DGA Nominees…
By Craig Kennedy - January 8th, 2008; 10:40 am
Paul Thomas Anderson - There Will Be Blood
Joel & Ethan Coen - No Country for Old Men
Tony Gilroy - Michael Clayton
Sean Penn - Into the Wild
Julian Schnabel - The Diving Bell and the Butterfly
Winners to be announced January 26, 2008.
Filed under: Awards
Related Posts: - Film Critics Ring In: LA, NY Online, Boston, and D.C.
- Name Those Nominees: How You Voted
- And the Nominees are…
- Elswit wins ASC for ‘Blood’, Coens Grab DGA for ‘Country’
- National Society of Film Critics Honors ‘Blood’
Bad news for Atonement, bad news for Sweeney Todd.
Great news for Michael Clayton, Into the Wild and The Diving Bell and the Butterfly.
I knew Anderson was in, so that’s no surprise. His There Will Be Blood work is just too exact and impactful to miss.
The Coens? *Yawn.* I feel like I haven’t seen a name more associated with a particular awards season as “Coen.”
Of course, I felt that way about Mirren and Whitaker last year. There’s always one or two, or even more people who just have to keep popping up over and over.
Seriously, though. I suspect it’s the Coens vs. Anderson. This is shaping up to be a real fight to the finish. “Call it, friendo.”
Can the Coens keep their milkshake out of Anderson’s reach?
I agree Alex. I underestimated Tony Gilroy and picked Joe Wright for the fifth spot on my predix, but I predicted the toher 4 nominees.
Burton and Joe Wright’s Oscar hopes are fading, fast.
A little bummed there was no Fincher, but only a little. I can’t argue with Schnabel or Penn as choices.
The Coen pick would be a lot more snoozeworthy to me if I didn’t agree with it.
I’m not shocked that Joe Wright was overlooked. For some reason I always had that one pegged as a BP nominee that wouldn’t get a director nod also. Why, I don’t know.
A little surprised Burton was overlooked, though not exactly disappointed.
Nick you made it through!!
Yes I did! Lol:)
I am also surprised but not disappointed with these nominations.
OK, I’m just going to come out and say it: Right on that the Coens got nominated. It’s a fucking good movie.
I haven’t seen Atonement nor Pride and Prejudice but I did see Sweeney Todd. I think Burton merits more consideration than Gilroy but honestly, I’m not surprised. Sweeney has as many detractors as supporters where as Micheal Clayton has an overall good response, just not overwhelming. I don’t really think Gilroy directed the movie as well as he wrote it, but whatever.
But goddamn it, the Coens directed a great movie, probably the best of the year, and they deserve to get nominated. If nothing else, pound for pound No Country is a much stronger directorial effort than Into the Wild or Michael Clayton.
Don’t you think also Joel that No Country, besides being among the best of the year, also represents a career peak in an already great career?
That’s worth something, right?
I’d say the same for PTA. Of course I’d also say the same for Fincher, but sadly there are only 5 slots. Maybe Fincher needs to direct a movie with Clooney…
Fincher would have been a good choice. But then there are a number of good choices this year. A lot of good choices, probably a lot of good choices for movies I didn’t see.
And if we’re talking about “DIRECTORIAL EFFORT” then where the hell is Todd Haynes? I may not have fully gotten I’m Not There but I think it’s a worthy effort.
I feel a little silly for getting all defensive over No Country, but my ire was raised.
Yeah Todd Haynes is an unfortunate oversight.
Regardless of how you feel about the movie, you do have to admire it I think.
I suppose NCfOM isn’t exactly a damsel in distress, but I know where you’re coming from.
Ooh, Craig, way to get in a Clooney jab. ;-)
I haven’t seen Sweeney Todd yet, but Pierre de Plume actually made an interesting point. He felt that though Depp and Bonham-Carter turned in great acting performances (they’re both fantastic actors) neither of them were strong enough singers to do justice to the music. In that way, he suggests that Burton made bad casting choices and for this reason doesn’t deserve a nomination.
A friend of mine who is a huge Johnny Depp fan and a fan of the show was quite disappointed in the film. She felt that though the acting was great, the music was disappointing. Except for Toby, the actors can carry a tune and that wasn’t enough for her. I’m planning to see the movie this week, so I’ll make my own judgment. Just point out some of the cons against Burton, that may or may not explain the snubs.
That said, I think Burton probably deserves more recognition than Gilroy. Gilroy was a real shocker to me.
Then again, supposedly the DGA’s are good indicators but not perfect. I figure that Gilroy will be knocked out by someone in the Oscar nominations. My guess right now is Joe Wright, but it could be Burton.
Oh, and just in case I haven’t said it before, I’m thrilled with the Coen, Schnabel and PTA nominations. Three fantastic movies that deserve recogntion.
Truth be told A, it was more of a Gilroy jab than a Clooney jab. My enthusiasm for Clooney is a little creepy if you ask around…
I’d be curious to hear Pierre’s (or anyone’s) suggestions for mainstream actors who would’ve been better than the ones Depp chose. I limit it to mainstream because I’m sure the studio wouldn’t have paid for it otherwise.
And jeez, enough with Diving Bell this and Diving Bell that! That’s all you ever talk about. There were other movies released this year you know. (I’m pretty sure I don’t have to add this bit about me kidding, but just in case, here it is)
Yay for Anderson, Coens, and Schnabel! I’m pleased for Penn too. Into the Wild’s direction was at times slightly unfocused and unnecessarily artsy for me. But Penn was ambitious, showed artistic growth, and did particularly great work with his actors. Y’all know what I think of Gilroy and MC. I feel for Joe Wright and David Fincher in particular.
I’d be happy with a Diving Bell best picture nomination. One of the incidental things I like about the film is how reading its title often cues my inner soundtrack to play Radiohead’s Morning Bell (The Amnesiac version).
Kind of ironic not a single comment tear was shed for Ridley Scott, who many people thought would be nominated for American Gangster. I didn’t, but I’m not in the know.
Makes sense…the DGA tends to be a little wiser than the Academy.
So the big question is…do these five choices accurately reflect the Oscar pool for Best Picture? I’d say no. Close, but no.
Craig, I think you mean who else would have Burton chosen? Depp didn’t do any choosing, except to play the role. But it’s okay, I knew what you meant. ;-)
Truth be told, the film NEEDED a big name star to get it made, which limits the choices right there. Depp was perfect as far as being a match with Burton’s style and also character-wise. And he was the box office draw that ensured that the studio would give it the go-ahead.
As we all know, Depp is great at playing quirky (or plain crazy) yet oddly sympathetic characters. And if this was a non-musical Burton film, or a film where the music didn’t have to be carried by the leads it would be a different story.
Since I haven’t seen it I’m not saying one way or the other which way Burton should have gone. I’m merely pointing out a possible reason why it’s not doing as well as people had hoped with awards. I’m sure Pierre de Plume and my friend weren’t the only two viewers who felt that it wasn’t enough for the actors to merely be able to carry a tune.
I never got that excited about AG. I liked it better than Sartre liked Clayton, but not much.
Word from people that know better than me is that the DGA noms usually don’t completely match the Oscar noms. The trick now is to figure out who on this list isn’t going to make it and who will instead.
Diving Bell might have a real crack at a slot…subtitles or not. I’m having a hard time feeling Into the Wild, but then that movie didn’t quite hit me the way it hit a lot of other people.
The only one on this list I’m really sure of is No Country. I’m almost sure about TWBB, but I don’t know. Some say the lack of a SAG ensemble nomination is a bad sign, but apparently these people don’t realize there wasn’t an ensemble to nominate. This was Day-Lewis’ show, though the little kid was good and some people even liked Paul Dano.
It’s an excellent question, Craig, for which I have no answers. Depp was the obvious choice in many respects. Anyone else seems like a stretch to me.
Joel, although I would like to see Ridley honored, I wasn’t particularly impressed with American Gangster. Unfortunate, but that’s the way it is.
The one that really makes me weep is Lumet. I really wanted to see him get recognized.
Thank you for translating my babble Alison.
I was more posing an open question than making an argument. Knowing the musical as you do, is there anyone you can think of who would’ve been great who is also a box office draw? Ignore for a minute Burton’s particular vision.
My guess Alison is that any lack of awards heat about Sweeney isn’t down to Depp’s singing performance. For me, and I suspect most punters, holding down a tune is plenty enough, so long as it’s coupled with fine acting. I think the mistake, if any was made, was to go so gory given its overall solemn tone. That was always going to be a less accessible mix. The musical film genre is no longer as consistently popular as it once was, and most people probably have never encountered a horror musical hybrid before and may find it too dissonant.
Some people have suggested Hugh Jackman, who is a singer and has worked with Burton, but I don’t think it would have worked at all with him. Ewan McGregor also did a great job in Moulin Rouge but again, it would have been dreadful miscasting to put him in as Sweeney. These guys are popular but neither of them are A-list the way Johnny Depp is. At one point Sam Mendes was slated to direct this film, with Russell Crowe as Sweeney. I think it’s for the best that THAT didn’t happen.
Without an A-list male star who would fit the bill, they could have gone with the alternative route of casting an A-list female star as Mrs. Lovett and then casting a lesser-known male lead opposite her. After all, the original show revolved around Angela Lansbury and she was billed first. Same with the revival, where Lupone was billed first. This MIGHT have worked with the film as well.
Hmmm…Jackman not dark enough?
Dry sarcasm never translates on the Internet. My faux jab at the Coens was purely in jest and not meant to be taken seriously. (Hence the “Seriously, though”)
Last year I found the attack by some (Jeffrey Wells for starters) against people who are always winning these things (like Helen Mirren last year) boring. Is it really such an affront that all of the awards go to a certain person or group of persons for a few months at the end of the year? It’s dumb.
The Coens deserve every nomination and award they receive, even from my cat’s fledgling awards ceremony held underneath my bed for Outstanding Achievement in the Killing of at Least One Dog or More in a Motion Picture, a category in which No Country for Old Men is competing heavily with American Gangster with Josh Brolin being double-nominated for his respective Best Canine-Slaying Roles.
Wow, Alison, I never knew that about Sam Mendes and Russll Crowe being lined up to make Sweeney Todd.
What the…?
Seriously Alexander, when I put the finishing touches on my patented Sarcasm Font for Internet Use, I will be rich. RICH, I TELL YOU. RICH!!!
Ahahahha “Outstanding Achievement in the Killing of at Least One Dog or More in a Motion Picture”
ROFL, Alexander. Josh Brolin being double-nominated for his respective Best Canine-Slaying Roles.
Per Michael Clayton, I remember reading somewhere that Clooney had wanted to direct it, but after meeting with Gilroy and talking for hours about all the movies of the 70s they loved, he became convinced that he and Gilroy were on the same page and that Gilroy might be a better director of the material than he was. The movies they were discussing as its inspiration were the character-driven dramas of the 70s like The Conversation, The Parallax View, et al.
Those aren’t bad movies to be inspired by, and they certainly brought more to the table than the average legal thriller nowadays. I think there’s enormous warmth and appreciation in the Guilds and probably especially in the Academy for a refreshing return to kind of filmmaking. Even The Departed has a little of that, though it’s by nature a more explosive kind of film. Whether it’s executed as well in Michael Clayton as those films were, well, that’s subjective.
I felt that the film was imperfect, but very, very well done. I know sartre has some professional quibbles with Wilkinson’s portrayal of a dubiously functional bipolar patient. I’m not a psychologist or psychiatrist, so I don’t know if his portrayal stretches the diagnostic boundaries of the DSM-IV. I do have a bipolar psychologist parent, though, and from my very subjective perspective, it *felt* dead on.
As far as Sweeney, I’m a fan of the movie. It won’t get a BP nom, probably not Burton either, but that’s OK. Depp’s singing was serviceable, even if he didn’t lift it to the operatic heights of Sondheim’s music. Helena Bonham Carter is the one who should have been otherwise cast. Her acting is fine, but the character felt too much like a Helena Bonham Carter crazy-haired, cockneyed-accent character. It didn’t feel fresh. Her singing was the biggest problem, though. Not powerful, edgy, playful or scene-stealing enough. But after you’ve seen Angela Lansbury in that role (albeit on the DVD of the stage production), there’s just no other Mrs. Lovett that will do.
Me, I’m pretty happy with the DGA noms. Not a huge Into the Wild fan, but I get it, and don’t begrudge Penn the nom. Haven’t seen Atonement yet, so I can’t judge that.
That’s the thing Jennybee, when I start thinking about who I’d leave out so I could squeeze in Fincher or Haynes or someone like that…I’m not ready to do it.
I’m pretty comfortable with the picks and I’d certainly defer to the opinions of actual directors…you know, the folks who do this sort of thing for a living.
I can think of plenty of directors I’m glad they didn’t nominate.
Regarding Sweeney, I think I like the “Helena Bonham Carter crazy-haired, cockneyed-accent character” so much that I’m willing to overlook the fact that she was the weakest singer. But that’s just me.
Jennybee, I respect your judgment of the Wilkinson character’s bipolar behavior based on intimate first-hand experience. I’m sure some psychologists and psychiatrists would disagree with me as well. There was plenty in how his character behaved when experiencing acute symptoms that seemed spot-on to me too. What I found less plausible was the extent to which he retained such constructive, consistent, and lucid thoughts with regards his legal goals for the case when still seeming more extremely delusional and manic. And how at such a time he was able to act on them in a reasonably organized way. I know people experiencing more acute bipolar symptoms can certainly throw themselves with enormous energy into purposeful tasks. But in my experience of clients so acutely manic with delusional features they’d struggle to behave this way to their normal professional and personal standards. And we’re talking legal work here which requires careful attention to detail and procedure. The character also had to think strategically.
Doesn’t mean I’m right no matter what my professional background. I liked Wilkinson’s performance and at first thought the concept of his character’s turn around threatening his employers was intriguing and original. I would have been more forgiving of what I personally felt was less plausible in his behavior if I felt the film worked in other ways. My views reflect my own taste and subjectivity and I certainly have no problem with others greatly appreciating MC. I try not to take every opportunity clobber the film.
Yeah, well Alexander, coming from a guy that’s full of dry sarcasm and constantly being misunderstood for it…sorry to be so defensive.
You got me.
Well, I think it’s a disaster of titanic proportions. *Note the hyperbole*.
I can’t imagine how they left Joe Wright & Sidney Lumet out. Brilliant work that was unfortunately overlooked.
Have no opinion on PTA as of yet. Julian Schnabel, however, is a head scratcher to me. As far as Tony Gilroy is concerned, I’m happy he made the cut but there were much better choices over all. I am ecstatic for Sean Penn. But that’s about it.
I guess it’s gonna be a LONG awards season for some of us….
Hang in there Serena, not all hope is lost.
Oh lord, sartre. I hope not…LOL
But I must say. Today is an exceptional day for TWBB fans.
Though my hopes are dashed (at this juncture), I’m very happy for you…
Who knows, in a short few days you might be one of us - ‘join us, join us’. I’ve got no idea whether this will be for you or not. Chances are you’ll go strongly one way or the other. Though don’t be surprised if you feel more stunned than anything else at the end. It took me a day or two to think through my reactions to the film. And it’ll likely resonant for a few days in your head, for good or bad.
It certainly isn’t over for Atonement and Joe Wright yet. I’m sorry to see the film’s lack of recognition - it’s baffling on many fronts - the artistry on display is so great and it really seems like something the Academy would eat up. Sadly GG success no matter how plentiful and major isn”t going to impact on Academy voting which will be over by then.
The absence of SAG love in some ways is the biggest worry. Although the DGA often matches 4/5 so Atonement could still be the one to sneak in. I suspect the Academy directors unlike the DGA will be more likely to reward Wright or Burton.
And the film does generate passionate support so the Academy’s single BP choice per voter method might favor it.
I agree that it isn’t over for Atonement and Joe Wright yet. Despite the absence of SAG love. This is a film that could easily be embraced by the Academy and I still think it will be. And if we take Mark Harris’ words to heart, then: knock out one American director from the list of five and substitute a British director.
We’ll see if that formula works come the morning that the nominations are announced.
Like many, I’m now feeling more confident about TWbB and Into the Wild joining No Country. My guess is that Juno will take Michael Clayton’s place and Diving Bell and Atonement will fight it out for remaining place. If Sweeney was somehow to surge late then it would likely take Juno’s place.
sartre, there is a fairly large group of British voters within the Academy. If they love something (or someone) from the UK they’ll vote for it in large numbers. That COULD conceivably put Atonement over the top. But it’s very hard to say.
As for TWBB…
I’m trying to keep an open mind. But there are an awful lot of people that I respect that LOVE this film. I have heard that it’s strictly a love it or hate it proposition.
I’ve enjoyed most of PT’s work (& adored Boogie Nights). DDL is pretty much a god in my view. There has been very little that has let me down this year. If I were to hazard a guess, I’ll probably be on the adoring end. (Despite the ending. LOL I’m spoiler free so I know what the last line is…& THAT’S ALL.)
So we’ll see very soon. You can’t stop what’s coming…
Great point about the British members of the Academy!
Thank you, kind sir…
Looks like I’m being paged for comment on Sweeney. Actually, I liked Bonham Carter’s acting better than Depp’s, but he was better with the vocals. My problem with them musically doesn’t have much to do with carrying a tune (though that would’ve helped Bonham Carter). It’s a matter of delivering the emotion musically. Because of their musicovocal (hey! a new word!) limitations, they weren’t able to deliver the requisite emotion through the music.
Depp seemed small in the role, and I’m not talking about physical stature. Bonham Carter was plenty big, which was why her weak singing voice fractured the character.
Not being a big follower of Broadway shows and/or singers who act or actors who sing, I don’t have many suggestions for alternative casting. Alison covered several of the bases above. One Broadway name that comes to mind is Raul Esparza (who did Company), but then you’d need a better-known female — and I can’t think of any offhand though I bet there are some.
Now don’t laugh — but John C. Reilly came to mind. I know he sings, but I can’t remember what kind of register he has. I’d be interested to see him audition to see whether he could do it. It would be a different kind of movie — and he might just have the acting range to pull it off, but I’d have to see him try it first.
It boils down to vision. Tim Burton’s vision just didn’t work for me given his casting choices. I think you’d have to find a different director, a different vision, and different stars — plus include more of the original material.
(Sweeney continued):
Hugh Jackman — maybe, but not with Burton at the helm.
Who’s the little squirt who played Toulouse-Lautrec in Moulin Rouge? Forgot his name — can he sing?
I think you’re referring to John Leguizamo, Pierre. If I’m not mistaken…
But I have no idea if he’s got the pipes…
John Leguizamo, John C Reilly, Hugh Jackman…see, those aren’t even choices I could see in a Tim Burton movie let alone this movie but they’re all reasonable.
Maybe it’s just me but I can’t get away from Depp. My brain keeps trying to plug other actors into his persona.
Crap, I’ve got it: DANIEL DAY LEWIS! Who cares if he can sing? We’ll just dub him later. Least we know he can carry the character.
(I kid, but honestly, maybe that’s what they should have done anyway?)
That settles it, Joel. DDL in everything.
I’d suggested Elsewhere that if DDL had played the young Briony in Atonement, we’d be having none of these discussions about the movie’s flagging Oscar hopes.
Thanks for your thoughts Pierre. It sounds like you feel Burton is jut a dead end for the piece. Hire Jackman and another director.
Ahh, but there’s the next question…which director?
That’s it, Craig! DDL as young Briony.
Honestly, I don’t know if DDL can sing or not,, joel, but he certainly would have brought that Shakespearean bent to the role.
I think Baz Luhrman would do something interesting with it, but it might be unwatchable. He’s so over-the-top with this over-the-top material, I’m afraid he’d go more Shawn of the Dead meets Rocky Horror Picture Show.
Of course, Bruce Campbell would be an interesting Sweeney Todd. At least, in my mind.
I think if you’re going DDL, then considering PT Anderson would be an interesting match. I still think he has a great musical in him somewhere just waiting to come out. And since I’m now hung up on making this a bit campier rather than morbidly bloody, I think Joss Whedon could do something fun and scary with it.
I don’t mean PTA should do something campy, just that Luhrman or Campbell likely means campy.
I suppose my speculation is useless until I see a version of the stage production, though I like to think of these kinds of things as something like Shakespeare that can be performed over and over sometimes in radically different ways while still retaining the original spark of the source material.
Purists would probably like to kill me for suggesting that.
Craig, Nathaniel Rogers expressed the same sentiment in his review of the film. He compared Sweeney to Shakespeare and wrote that it could stand up to any interpretation, any reworking, and even to weak links (for him the leads’ singing was the weak link).
I don’t think purists would kill you at all for thinking that.
Anyway, I’m seeing the movie this weekend, along with The Orphanage. I’ll let you know what I think.
I wonder if I ripped that idea off from that link of Nathaniel’s you sent me…I know I ripped it off somewhere…
I’m oddly excited for you to see Sweeney. Purely for my own selfish reasons because I want to know what you think. As I’ve said before, I’m leaning towards you being cool on it. Which is fine. I’m just saying.
Did you ever manage to catch Lust, Caution, Alison? I’m guessing that one’s gone from theaters by now.
I wanted to see it but couldn’t get to it. I’ll have to wait for it on DVD. :-(
Yeah Alison, you repeatedly promised to see Lust, Caution. Craig and I patiently awaited your verdict. Here is a prediction - I think you’ll like L,C at least as much as Sweeney.
I know, I know. But all the last minute stuff that I had to do for the holidays prevented it from happening.
I predict she will like LC a lot, but not Sweeney.
The bets have been made A, now you have to see ‘em! No pressure though…
:-D
I think you’re right Craig about Alison enjoying L, C more, but I think she’ll be entertained by Sweeney but express reservations. Well, now that we’ve sorted Alison’s experience of Sweeney out there isn’t any need for her to see it :-)
Leave it to Sartre and me to do the heavy lifting of movie enjoyment.
Thanks, guys. Maybe you could go back and see the movie for me. ;-)
Guess when LC is released in SA, 2 May!!!
It would be faster for me to order the dvd from Amazon in Feb than wait for me to see it in cinemas.
What’s the movie going scene like there in South Africa Nick? Do you mostly get American movies or do you get stuff from all over?
Not ever having seen a stage production of ST, I’m gonna go out on a limb & say that I think Ralph Fiennes would make an incredible Sweeney. Though I don’t know if he can sing. My first instinct is to say that Meryl Streep would have made an awesome Nellie Lovett if she were a bit younger. But she still looks fantastic. So I guess it would depend on which age range you’re going for.
What a lot of people aren’t aware of (probably since she hasn’t made a lot of use of it - except maybe in Postcards From The Edge) is that Meryl is actually a trained singer. Extraordinarily gifted woman. I think she’s capable of anything she puts her mind to.
But I also think Nicole Kidman would be great. Her voice is fairly melodious (if a little thin) & she’s definitely got the acting chops. Then probably Rob Marshall for director. I have seen the play Chicago & I was terrified that a first timer would ruin it. He did a brilliant job.
But I do agree heartily with joel that DDL would be an inspired choice.
I loves me some Meryl.
I’ve heard Maryl sings well in Prairie Home Companion.
Her singing in A Prairie Home Companion *is* good.
Sondheim is, apparently, very difficult to sing. I believe that, judging by the film.
Sorry, I thought we were talking about Maryl Stroop.
Oh, hell. I forgot about APHC. Thanks for that, sartre. LOL She does sing beautifully in that.
Saw that on a gorgeous summer evening with a lovely green eyed boy. I ain’t no Altman aficionado but that was damn good.
A perfect experience actually. And how many times do they come around?
Not often…
I loved the hell out of that movie. It was a prefect grace note to the end of the man’s career. If only I knew while watching it that that’s what it would be…
“It sounds like you feel Burton is jut a dead end for the piece. ”
That sounds so harsh, Craig. He did good things in Sweeney, I just disagree with the casting.
Meryl Streep, actually, started out more in light comedy and musical stuff and has expressed her surprise in interviews that she even was castable in straight dramas. Go figure.
Nicole Kidman would be an interesting piece although I doubt she’d let them dirty her up for the part. She held her own in Moulin Rouge though.
Maybe Sweeney was doomed to have difficulty in theaters no matter who was attached? They’d have to cut and they were going to have difficulty making Sondheim’s songs work with non-professional singers. At least, that’s what I’m hearing.
I’m curious to see the stage production to see how different it actually is from the film.
I think Sweeney would be a hard sell no matter what generation it made its film debut in, joel. In terms of stories, it’s rather…ODD. Kind of The Silence Of The Lambs of musicals, so to speak…
Some of the music is so beautiful it’s unbelievable. It drenches your senses. I loved Johnny & Helena.
But over all I didn’t care for the film. I should’ve known. The only Tim Burton movie I EVER liked was the original Batman with MIchael Keaton & Jack.
Craig, we get things from all over, most of the time we get the British stuff before the US, but usually they open in the US at the same time as in South Africa. Mostly we get the majority of the films showing from America, eventually, and have specialist cinemas for films like TWBB, No Country etc. It has nothing on the US movie-scene, clearly.
Well, I bet you get more British films and other foreign stuff than we do. There is a lot of stuff I think that just never makes it over here and things get crowded out by US stuff.
Perhaps, but I would trade places with you any day, the second I am finished highschool, I am on a plane to the USA.
We’ll be glad to have you Nick.
Thanks…The WGA Nominations have been posted over at wga.org, bte…..
Careful what you wish for Nick, the US is a wonderful country but it ain’t utopia. Crikey, they don’t even know what terms like fly-half/stand off or yorker refer to!
Haha, sarte, I am told that by so many people! It is a good point….!
I’m interrupting this discussion to announce that the WGA noms are in. Except for the Atonement snub, they’re really good, with more love for No Country, TWBB, Zodiac, Diablo Cody and Tamara Jenkins. I’m thrilled to see a nom for Jenkins.
I’m hoping Oscar will choose Atonement over Into the Wild.
I was just tapping them out Alison. Thanks.
TWbB and Into the Wild have some SAG, DGA, and now WGA love. They’re looking particularly good for joining No Country in the BP race. I suspect the WGA noms will go 4/5 or 5/5 with oscar so Jenkins is looking good and deservedly so.
Sorry to jump the gun, Craig. You know how excited I get when I see Diving Bell on a list of nominees. :-)
Heh heh. I need all the eyes and ears I can get around this joint so don’t hesitate to chime in. I just happened to be writing an email when Sarte’s heads-up came in.
Too bad my comments always spam, makes my news like old news. But that’s nobody’s fault :)