Tag Archives: Her

Academy Awards 2014: the winners and blingers of an Oscar night with no grouches

3 Mar

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That was actually a pretty great Oscar ceremony. Jennifer “J-Law” Lawrence took a little tumble before it even began this time, back on the red carpet. Any more trips and she’ll get sponsored by Expedia.com. As for the compere, Ellen Degeneres was never going to sail too close to the edge – a blessing, after the Seth McFarlane “boobies” embarrassment of last year – but she did bring a breath of fresh air.

She broke Twitter, briefly, by organising the most celebtastic selfie of all time (above), and, surreally, ordered in pizza. Chiwetel Ejiofor took the first slice; Harrison Ford looked at his dubiously, as though inspecting an archaeological relic. Ellen’s Oscars seemed to break down the barriers between celebrity and public, toppling the screen icons from a pedestal that most of them never wanted to be on in the first place. Though of course J-Law toppled from hers first.

Most of all, though, it helped that this was the strongest year for film in ages: there was never a moment where you thought, “the Oscar went to whaaaat?” And so, without further ado, the winners are…

Best Film: 12 Years A Slave. Whoop! Whoop! Whoop! So happy to see justice done. It is an extraordinary film. Chief producer Brad Pitt nobly and sensibly turned the speech over straight away to co-producer/director Steve McQueen, who was a sweet mess of nerves. He read out a long list of thanks, saying “I’m sorry about this” in a very British way for taking so long about it, and when he had finished, bounced up and down across the stage like a cuddly pogo stick. Brilliant.

Best Director: Alfonso Cuarón. I loved loved loved Gravity, but I wish Steve McQueen had won for 12 Years A Slave. Still, a worthy winner. Great to have two foreign art-movie directors vying for Hollywood’s most glittering prize.

Best Actor: Matthew McConaughey. Gutted that Chiwetel Ejiofor didn’t win this, but he’s unlucky to have come up against one of the strongest fields in ages. McConaughey is one of Hollywood’s own, and he was extraordinary in Dallas Buyers Club: a complete transformation. And he did say “all right all right all right” in his speech.

Best Actress: Cate Blanchett. Well of course. Always the bookies’ favourite, and it really couldn’t be otherwise. She absolutely carries Blue Jasmine, and what’s more, she’s about the only person ever in a Woody Allen film not to sound exactly like Woody Allen. “Julia hashtag suck it,” Blanchett said to Julia Roberts in her speech, continuing “The world is round, people!” Love her.

Best Supporting Actor: Jared Leto. He didn’t win me over. He was maybe as good as he could be in a part that was just a rainbow coalition of clichés, but I would rather have seen Jonah Hill win for his gutsy, literally balls-out performance in Wolf Of Wall Street.

Best Supporting Actress: Lupita Nyong’o. Yay!!! J-Law was fantastic in American Hustle, but we already know she’s that good. Lupita, however, is a new, fresh, raw talent, and so elegant and dignified off screen and in her speech: “When I look down at this little statue, may it remind me and every child that no matter where you are from your dreams are valid.” Somehow she makes this utterly heartfelt and charming, not hokey as you would expect.

Best Original Screenplay: Spike Jonze. Oooh, good for him! Her was a fresh, quirky, thought-provoking script, but I’m still surprised that the American Hustle bandwagon petered out quite so comprehensively as not to win this.

Best Adapted Screenplay: John Ridley for 12 Years A Slave. Fantastic to win this, I’m all for 12 Years winning as many as possible, though as Ridley himself said in the speech, the main credit goes to Solomon Northup. Scary speech by presenter Robert De Niro, incidentally: “The mind of a writer can be a truly terrifying thing,” he said. “Isolated, neurotic, caffeine-addled, crippled by procrastination, and consumed by feelings of panic, self-loathing and soul-crushing inadequacy. And that’s on a good day.” Thanks, Bob! Mostly, it’s scary because it’s true.

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How 2,000 film-makers – and Chris Jones – made 50 Kisses

10 Feb

The London indie film scene has never been stronger. With digital cameras and Kickstarter funding, sharing resources via Facebook or networking in pubs, film-makers are doing it for themselves. I’m old enough to remember one other DIY period as exciting as this. It was in music, and it was called Punk.

Like all underground movements, the Britpic scene has no official leader. But if you were to choose the Svengali, the Malcolm McLaren of film, it would be Chris Jones. The charismatic founder of the Guerilla Filmmakers’ Masterclass and the London Screenwriters’ Festival has, through his courses, blogs and breakfast seminars, motivated and connected more film-makers than anyone in Britain.

And now he has Frankensteined together a patchwork feature film that unites all this untapped talent. I was the sole journalist to sit through a special preview with Chris last week, and I was blown away.  The film is called 50 Kisses, it premieres at the Genesis Cinema in Mile End on Feb 13 only, and it’s being billed as the world’s first crowd-generated film.

Chris Jones, director of 50 Kisses

Chris Jones, director of 50 Kisses

In the beginning was the word: Chris Jones let it be known he was looking for two-page scripts.

It also started with a kiss: the scripts could be in any genre, period or location, but they must be set on Valentine’s Day, and they must include a kiss.

Chris got 1,870 scripts back. He and his script editors selected the 50 best, and threw them open to directors and producers.

Some scripts were filmed several times over by different teams in different ways; you can see some of the alternatives on http://www.50kissesfilm.com. Says Chris Jones, “One script about a gay hitman got 11 films made, one about a robot got nine. A few, to be honest, didn’t attract any producers. I think if we do a follow-up project, I’d say to writers: take more risks. Go to the crazy, go absolutely bat-shit bonkers and see what comes out.”

In the end, 127 completed short films were submitted, from which 25 made the final cut, and were stitched together into the feature-length 50 Kisses.

There are two films about zombie romance; two about a robot. There is a suicide, a deadly disease transmitted through saliva, and a girl held in chains by an overprotective mother. Then there are all the everyday day tales of loss and longing: young love, first love, unrequited love, geriatric love, love in sickness as well as health. I teared up at several points; laughed more than once.

Perhaps the simplest way of describing 50 Kisses is that it’s like Love Actually, only much more real and affecting. If just some of this DIY talent can break into features, the future of British film-making is in good hands.

After the screening, Chris had one last surprise in store: on Valentine’s Day, directly after the film is shown not just at the Genesis but in 17 countries where film-makers have organised their own premieres, 50 Kisses is going to be put online. In its entirety. For free.

“We only decided to do this four days ago,” says Chris. “We were toying with Blu-Ray, or DVD, and then we thought, the whole point of this exercise was to launch careers, not to make a couple of thousand quid. And the best way to get it in front of powerful people is just to put it out there.”

It’s a lovely thought: the collective hopes and dreams of 1,870 screenwriters and 127 directors, distilled into 25 three-minute love letters to British film, whispering sweet nothings into the world’s computers on Valentine’s Day. That should give Spike Jonze’s Her, which opens the same day, a run for its money.

The 50 Kisses world premiere is at the Genesis in Mile End, www.genesiscinema.co.uk, on Feb 13. It will then be available to view on Feb 14 on YouTube or at www.50kissesfilm.com