Most Hollywood stars usually support Democrats, but, like in everything in life, there are some exceptions: Clint Eastwood, Chuck Norris, Donald Trump and Kid Rock are all supporters of Mitt Romney’s campaign.

Clint Eastwood told Romney supporters in a Sun Valley fundraiser, “Now more than ever do we need Gov. Romney. I’m going to be voting for him.” In February, Eastwood told Fox News at the time that he was not affiliated with or supporting any politician. But now the ‘Mystic River’ director’s mind has changed.

Eastwood also said that he hoped Romney would be able to install a  “decent tax system that we need badly… so that there’s a fairness and people are not pitted against one another as who’s paying taxes and who isn’t.” Clint Eastwood has become a big supporter of Romney’s; he is arguably the most important celebrity in favor of the former Massachusetts Governor.

Former ‘Walker, Texas Ranger’ protagonist Chuck Norris has also shown his support for Mitt Romney. In an opinion article he stated “I believe that Mitt has the skills and organization to defeat Obama and stop his fundamental transformation of America. We all know what four more years of increased socialistic decisions would do to our country.”

Kid Rock is also doing campaigning in favor of Romney, the artist’s anthem ‘Born Free’ has become Romney’s official campaign song.

The famous Donald Trump has also endorsed Mitt Romney, “Mitt is tough. He is smart,” Trump said, with Romney at his side, at a brief announcement at a Las Vegas hotel bearing his name.

The ‘Apocalypse Now’ star Robert Duvall is also hosting a fundraiser for Romney in September. The National Journal has published on its site Duvall’s fundraising invitation at Middleburg, Virginia, in which the general reception will cost $2,500, a VIP photo reception at the entrance will cost $10,000, and a dinner will cost $25,000.

Another famous Hollywood celebrity that is supporting Mitt Romney is Jerry Bruckheimer, the film and TV producer, creator of ‘CSI’ and ‘Pirates of the Caribbean,’ who donated the maximum individual donation amount allowed to Romney’s campaign in March. Bruckheimer hasn’t always donated money to the Republicans, in the past he has used it to donate in favor of Democrats.

In 2008 President Obama had most celebrities’ support; Musicians like Will.I.Am produced viral campaign videos for him. In 2012 he still has most of the celebrity support, but Romney certainly has more celebrity power than McCain did. President Obama is still way ahead of Romney: he has recently dinned with George Clooney, exchanged quips with Spike Lee in a New York City townhouse and met with Lady Gaga in a fundraiser organized by Facebook Chief Operating Officer Sheryl Sandberg, in which the singer, one of the few people that has more Twitter followers than Obama, paid the maximum campaign donation of $35,800 for access to the event.

Image Courtesy of   Gage Skidmore

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Kristen Stewart, the famous Twilight starlet, recently topped Forbes’ highest-paid actresses list. She made an estimated $34.5 million from May 2011 to May 2012. $34.5 million may seem like a lot of money, but women in the acting business are paid less than men. The women who made it onto Forbes’ highest-paid actresses list only earn a total of $200 million, compared to the $361 million that the top men rake in. There are many factors that determine who ends up on Forbes’ list. Upfront pay, profit participation, residuals, endorsements, and advertising work are all considered. Agency fees and expenses related to having a celebrity lifestyle are not included. Managers, agents, lawyers, and other people who are in the Hollywood loop helped Forbes to come up with their estimates.

At 22, Stewart is the youngest actress on the Forbes list by 16 years.

Needless to say, Stewart’s reoccurring role as Bella Swan in the Twilight saga has helped her to reach the peak of her career and the top of the Forbes’ list. Her latest role as Snow White in “Snow White and the Huntsman” has also helped her revenue.

Veteran actress Cameron Diaz ranked second on the Forbes list. Diaz raked in $34 million over the same time-frame as Stewart. Her 2011 comedy, Bad Teacher, made $216 million in global ticket sales, which is more than double of what its budget was. “The Green Hornet” and “What to Expect When You’re Expecting” also helped Diaz to be ranked second.

Surprisingly, Sandra Bullock trailed $9 million behind Cameron Diaz. Bullock raked in $25 million. The 47-year old actress is still earning revenue from her 2009 Oscar winning hit, “The Blind Side”. The film earned $310 million.

During Christmas of 2011, Bullock’s film “Extremely Loud & Incredibly Close” only earned $48 million. Bullock is currently working on a big-budget sci-fi film directed by Alfonso Cuaron, Gravity. The film also stars George Clooney. “Gravity” is scheduled to be released in 2013.

Angelina Jolie and Charlize Theron rounded out the top 5 on the Forbes list. Jolie raked in $20 million while Theron raked in $18 million.

Kristen Stewart may be snatching the number one spot again next year on Forbes’ list of highest-paid actresses. Stewart has the highly anticipated last installment of The Twilight Saga: Breaking Dawn– Part 2 to look forward to later this year. She is currently working on the film Cali, which is scheduled to be released in 2013.

Image Courtesy of  Gage Skidmore

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NEW YORK, US – One of underground rock’s most unusual stories of the 1970s, the tale of an obscure debut LP by a Detroit singer-songwriter named Rodriguez becoming a source of hope and inspiration to the anti-Apartheid movement in South Africa, is the basis for the thought-provoking new film, Searching For Sugar Man.

The original motion picture soundtrack album will be available starting July 24, 2012 through Legacy Recordings, a division of Sony Music Entertainment. The vinyl version of the soundtrack will be released by Light In The Attic Records.

Searching For Sugar Man, a Red Box Films & Passion Pictures Production in association with Canfield Pictures & The Documentary Company, distributed by Sony Pictures Classics, premiered in New York on April 24, 2012 at the Tribeca Film Festival. The film opens in New York and Los Angeles on July 27, 2012 and will open in other markets throughout the month of August.

Directed by Malik Bendjelloul, Searching For Sugar Man tells a story that begins with the 1970 release of Rodriguez’s debut album, Cold Fact. In its Reissues Of The Year tally for 2008, Rolling Stone magazine called the album “A remarkable artifact of Michigan hippie soul by singer-songwriter Sixto Diaz Rodriguez.” The soundtrack album on Legacy will compile tracks from Cold Fact and its follow-up LP of 1971, Coming From Reality, reissued to critical acclaim in 2008 and 2009, respectively.

Celebrated Motor City producers Dennis Coffey and Mike Theodore discovered Rodriguez in the late 1960s in a local bar and were struck by his Dylanesque songwriting. A charismatic and mysterious artist behind his shades, Rodriguez had built a strong local following, a true folk hero in the purest sense.

Cold Fact was a fusion of gritty funk with “street-tough lyricism and psychedelic folk arrangements,” in the words of Doug Freeman of the Austin Chronicle. The album’s politically-charged “topical lyrics and druggy avant-garde arrangements” “folk-soul weirdness” and “lysergic gutter poetry” were unique even in the ’70s.

Nevertheless, the album did not succeed commercially, and despite the release of a second LP, Rodriguez drifted into obscurity. Rumors of his fate were widely and wildly exaggerated, ranging from reports of escalating depression to a sensationally gruesome suicide onstage, involving self-immolation.

Meanwhile, the LP had made its way around the world to South Africa, where it was banned by a repressive government. Copies were bootlegged and circulated, and Rodriguez inadvertently became the soundtrack of an emerging liberal African youth, whose resistance movement adopted Cold Fact as its rallying cry. Over the next two decades, Rodriguez became a household name in the country, where the number of copies of Cold Fact would have earned it platinum sales status.

Both sides of the story, Rodriguez’s life in Detroit and the subsequent impact of his music in the smoldering Apartheid era, pre-Nelson Mandela, proved fascinating to Stockholm-based documentary filmmaker Malik Bendjelloul. His subjects have included Kraftwerk, Bjork, Sting, Elton John, Rod Stewart, Madonna, Mariah Carey, U2, Kylie Minogue, Prince, and others.

His short documentary films for Swedish Television’s international cultural weekly show Kobra became the basis for such films as Men Who Stare At Goats (George Clooney) and The Terminal (Tom Hanks). The evolution of the financing, production, and filming of Searching For Sugar Man is as fascinating and complex as the life of Rodriguez himself.

“I describe myself as ‘musico-politico’,” Rodriguez said recently. “I was born and bred in Detroit, four blocks from the city center. Back then, I was influenced by the urban sounds that were going on around me all the time. Music is art and art is a cultural force. As far as my work from Detroit comparing to the South African Apartheid, the similarities echo. The placards of the 1970s in the United States read things like: We Want Jobs and Stop the War – I was looking at the music from a working class.

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Actor and activist George Clooney was arrested Friday morning in Washington D.C. as he alongside other activists and members of Congress stood up against the atrocities and massacre of Sudanese citizens by their own government.

Clooney and 17 other people were arrested by the uniformed division of the U.S. Secret Service on misdemeanor charges of crossing a police line following a peaceful protest on the steps of the Sudanese Embassy, Secret Service spokesperson George Ogilvie said. He said the embassy is private property and security protection is provided by the Secret Service.

The civil disobedience act also led to the arrest of Clooney’s father Nick Clooney, Enough Project Co-Founder John Prendergast, Martin L. King III, NAACP President Benjamin Jealous, President of United to End Genocide and former Congressman Tom Andrews, Jewish Council for Public Affairs President Rabbi Steve Gutow, Religious Action Center for Reform Judaism Director Rabbi David Saperstein, Jewish World Watch Executive Director Fred Kramer, American Jewish World Service Associate Director of Policy Ian Schwab, Congressmen Jim McGovern (D-MA), Al Green (D-TX), Jim Moran (D-VA) and John Olver (D-MA).

All were later released after paying a fine and waving their right to a hearing. The protest was organized by the Enough Project and United to End Genocide, two non-profit organizations working to end humanitarian crimes worldwide.

Prior to the arrests Clooney, among others, spoke to the hundreds of protesters demanding humanitarian aid immediately be available to the Sudanese people living in Nuba Mountains, the Sudanese government stop killing, raping and starving its own citizens.

“We are just trying to bring attention to a government attacking its own people – innocent women and children. It is not a war when you are bombing innocent women and children,” Clooney said. He told MSNBC’s Andrea Mitchell that he did not want to be arrested, but was proud to be standing on the right side of history.

The arrests came after police ordered the protesters to leave the premise and they did not. The protest continued as George Clooney and Prendergast formed a blockade about 10:45 a.m. in front of the embassy, symbolizing Sudan’s blockade of humanitarian organizations trying to provide support, food and medical supplies to the Sudanese people.

Six minutes later, Clooney and the other protesters were arrested.

Sudanese President Omar al-Bashir’s government began bombing and raiding villages in the Nuba Mountains last June. Enough Project spokesperson Matt Brown said the locals are targeted as part of an ethnic cleansing because they are Christian, dark-skinned Africans and are sympathetic to the South Sudanese government, which borders their region.

US-Aid projects a famine affecting 500,000 women, men and children could begin this month in the region as international food supplies are blocked and crops have been destroyed by al-Bashir’s military forces.

Al-Bashir is a war-criminal who has terrorized and killed millions of his own people during his 20 years in power. He killed millions of Sudanese living in Darfur from 2003 through 2009. A peace agreement, the Darfur Peace Agreement, was later reached.

“It is unacceptable and inexcusable that Sudan’s President Omar al-Bashir—an internationally criminal wanted for war crimes and genocide—is getting away with bombing, starving and displacing hundreds of thousands of innocent men, women and children in Sudan’s Nuba Mountains and Blue Nile State,” says United to End Genocide President Tom Andrews.

Twitter exploded when Clooney’s arrest was announced. Several people applauded his efforts to bring attention to the humanitarian crisis.

Other people joked about his arrest. Some called it a publicity stunt.

Ambassador Susan E. Rice, the permanent Representative of the U.S. to the United Nations, said she stands with Clooney on the crisis occurring in Sudan.

“I share George Clooney’s outrage at continued bombings, missile attacks & impending famine in Southern Kordofan. It must stop,” Rice tweeted.

European media personalities quickly also tweeted showing support for Clooney. Showbiz journalist, commentator and broadcaster Dan Wootton based in London wrote:

“I think you have to salute George Clooney. Finally a celebrity who’s been arrested because of a cause that he believes in.”

Ordinary American citizens also chipped in. Ohio resident Joshua White tweeted, “Love or hate George Clooney or his politics, but at least he backs it up. Dude got arrested today =)”

People who want to get involved in forcing the arrest of al-Bashir and alleviate the horrors being afflicted on the Sudanese people are encouraged to put pressure on national and international leaders.

Brown said western governments need to “…enact policies that would force the hand of the Sudanese government… Deal with him as a war criminal. Not a sovereign head of state. We want sanctions.”

Image Courtesey of  United to End Genocide

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A strong sense of place has always been a hallmark of director Alexander Payne‘s work but with ‘The Descendants’ it would become even more central. From the beginning, he and his crew of frequent collaborators were acutely aware that they were going where few filmmakers have gone before by following an intimate family drama into the lush fabric of Hawaii.

All of the conflicting juxtapositions of contemporary Hawaiian culture — modern and ancient, urban and wild, growth and preservation — became wrapped into the film‘s design, from the photography to the sets. The newest of the U.S. states, Hawaiian history goes back 1500 years, when Polynesian explorers first sailed canoes by the light of the stars to the fertile string of volcanic islands. Later, settlers arrived from across Polynesia – Tahiti, Samoa and Tonga – forging a distinctive matriarchal culture with its own language, customs, art forms and legends.

In 1810, King Kamehameha, Chief of the Big Island, united all the islands into one Hawaiian Kingdom. Soon after, Christian missionaries began to arrive, followed by colonialists from mainland United States. In 1893, a group of American businessmen overthrew the Hawaiian monarchy, paving the way for annexation. Meanwhile, the culture continued to evolve and adapt, merging elements of American values with native Hawaiian ways.

When Hawaii became a U.S. state in 1959, it was dubbed the ‘Aloha‖ state’, reflecting the impossible-to-translate Hawaiian word that conveys an open-hearted spirit rooted in a love of the land.

“My grandfather, he really loved this place. So did your mother. So does your mother.”

– Matt King.

To capture the islands as they are today — as rife with developers and suburbia as they are with laid-back surfers and Polynesian traditions — with a fresh eye, Payne reunited with director of photography Phedon Papamichael, who previously worked with him on ‘Sideways’. As soon as he read the script, Papamichael knew it was going to be something different. “It was a very dialogue-driven story, which usually means the film will be less visual,” he begins.

“But in the case, the opposite was true. Because of the way the Hawaiian setting is juxtaposed with the King family‘s struggles, the visuals take on a major role. It was going to be very important to capture the beauty and nature of the surrounding environment so you can understand the conflict Matt feels over selling his family‘s land.”

Papamichael divided the film between two Hawaiis: the more hectic, citified Hawaii of Honolulu and the stunning, natural Mecca of Hanalei Bay on the island of Kauai, draped with verdant, tropical rain forests and surrounded by sapphire seas. “We really wanted to give a feeling for the community in Honolulu but also the beauty of the coast so you understand what could be lost and the connection to history that is there.

That‘s why we decided to shoot wide-screen, which Alexander has only done once before, on ‘Election’,” he explains. “We decided that it would be a lot of fun to have that epic frame with these small, human figures confronted with the majesty of the landscape.”

At the same time, both men wanted the film to stay true to Payne‘s distinctively unadorned style, which is almost an anti-style. “I like to bring an almost documentary style to fiction filmmaking,” says Payne. “It gives the story a sense of reportage.” Papamichael concurs.  “With Alexander, one of the biggest assignments is always to make sure the photography doesn‘t get in the way of the story. He really loves realism, to the point that if we go

to a location and there are tree trimmers working nearby, he says ‘great‘ and he embraces that as part of what‘s going on in the scene,” he explains. “Or, for example, when we shot in the bar where George Clooney meets Beau Bridges, it was very important to Alexander to have the real locals who frequent the place be in there to get that feel of reality. The same goes for lighting. It‘s always very natural, to the point that the audience should never realize that they‘re watching a crafted film.”

He continues, “We really want the audience to be taken in by the characters without distraction. The emotions are so intense and the writing so strong, we don‘t need to add visual drama.” Hawaii, however, often brought its own drama. “The light there is challenging because it is constantly changing,” notes Papamichael.

“It can go from overcast to sunny in the time frame of one shot. Fortunately, both Alexander and George, being a filmmaker himself, are very good at reacting in the moment so you can switch scenes around. It gave us a lot of flexibility.”

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As Matt King, the protagonist of Oscar-winner ‘The Descendants’, tries to find his footing as a father to Alexandra and Scottie, he is surrounded by friends, foes and relations who keep throwing him off course. The cast of characters that complete the ensemble that the three Kings run into on their journey towards reconciliation are an accomplished ensemble of actors hand-picked by director Alexander Payne.

Note: There following may contain spoilers.

“The casting in this film provided a new and interesting challenge for John Jackson and me — to piece together not just a believable nuclear family but also an extended family and a community of friends as well — all of whom inhabit a fairly narrow enclave of class and race,” says Payne.

For the catalytic role of Brian Speer, the mysterious real estate agent Matt King is chasing throughout much of the film, Payne cast Matthew Lillard, the tall, versatile actor best known for his comic performances and as Shaggy in the Scooby-Doo movies. When Lillard read for the role, he was convinced it was the longest of long shots.

“I walked in, and there were like five great looking guys waiting to read, all of them with that California movie star thing, strong chins and pecs and biceps,” he recalls. “I thought to myself, ‘There’s just no way.‘ I already know that the chances of me playing George Clooney’s wife’s lover are pretty slim.”

Lillard gave it his all and was satisfied just to have elicited praise from Payne. But four months later he was stunned when he received a call from Payne saying “I‘d love to have you be a part of this movie.” Payne recalls that Lillard‘s speedy approach clinched it. “I like it when actors act fast. Later I told him that he should do more of his audition with his kids in the car,” remarks the director.

For Lillard, it was a once-in-a-lifetime opportunity. “Your whole life as an actor you look for the chance to be part of an experience that is this special,” he says. “I don‘t think I would ever have been the standard casting choice. I think I‘m outside the box, but that‘s what makes Alexander such a great director. He has the ability to make choices that set his body of work apart.”

As for Brian, who unwittingly becomes Matt King‘s greatest nemesis but also perhaps his liberator, Lillard says, “He‘s a real go-getter. He‘s a family man who truly loves his wife and kids as well, but he has a fatal flaw. He saw a financial opportunity with Matt‘s wife, only he got himself in too deep, too fast and suddenly, he‘s in the middle of an incredible situation.

What‘s fun about it is that George Clooney goes on this whole transformative journey of hunting my character. But then, Brian becomes a kind of oracle who sends him back to his family to find a way through.”

Another actress known primarily for her comedic abilities, Judy Greer, recently seen in the TV series ‘Mad Love’, was cast as Brian Speer‘s wronged wife, the seemingly soft-spoken Julie, who first runs into Matt King on a blissful Kauai beach. Greer was taken by the way her character defies expectations and is much more than comic fodder.

“She‘s a very modern mother figure,” Greer observes. “She‘s earthy and sensitive and committed to keeping her family together no matter what. I like that Alexander put a very calm and grounded human being into this situation.”

When the situation nevertheless explodes into chaos, it is Julie, not Brian, who finds herself at the center of a turbulent scene showing up at the hospital to make amends with Matt‘s comatose wife, only to find herself going off on a bedside rant. Greer could empathize with Julie‘s reasoning even if her behavior turns shocking. “I think Julie goes to see Elizabeth because she is confused and concerned,” says Greer. “Maybe she just wants to see the other woman.

When you find out your husband‘s been cheating, you‘re taken over by feelings of jealousy and inadequacy and anger and sadness and maybe she just wants to get a look at the woman who ruined everything she thought she had. She also has an incredible amount of compassion for Matt‘s situation. The beauty of the scene and the way that it is written is that it is all of these things at once. She becomes taken over by what she‘s really feeling.”

Image Courtesy of   Joe Seer / Shutterstock.com

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In the newly Oscar-winning film ‘The Descendants’, Alexandra‘s overbearingly boyish and goofy best friend Sid, played with abandon by rising teen star Nick Krause, is an interloper into the King family who winds up making his own iconoclastic mark on their road adventure. “Sid kind of serves as Alexandra‘s comic relief,” Krause says, so they hang out together, especially in troubled times.

Sid is so laid back that he‘s completely forgotten any social standards. He never knows what to say or how to put anything tactfully. Even though he always means well, he just doesn‘t know how to express it.

That dismaying lack of tact often leads Sid into trouble — as it does when Alexandra‘s grandfather hauls off and socks him for giggling at his wife. The scene became one of author Kaui Hart Hemmings‘ favorites on screen. “I like it because it’s absurd but it also feels so real,” she says. “It‘s almost all dialogue. I really like the moments in a film where not a lot happens, and yet a lot happens.”

“I mean, how often do old people just haul off and cold-cock you in the face?”

– Sid

Yet, no matter how much Sid provokes the people around him, he also becomes an unlikely uniting force. “I think Sid really grows to be a part of the family while they deal with all these crazy situations that are just stacked one on top of another,” Krause says. “His journey is about becoming part of a new family. He starts out as this kind of stoner guy meeting a friend‘s dad but by the end of the story, he and Matt have a deeper understanding of each other.”

Note: There may be spoilers in the following.

Producer Jim Burke sees Sid as an essential link in the story. “He winds up allowing Matt to connect to his daughters in a way that he never could have if Sid was not there,” says the producer. “Towards the end, he realizes Sid might be the only guy he has to talk to.”

Sid becomes his confessor, although a very unusual one. Like Sid, Matt‘s long-time friends Mark and Kai have a galvanizing effect on the King family — as the only ones who have the real scoop about with whom his wife was cheating. Taking the roles are two actors who both emerged from the comedy world, Rob Huebel and Mary Birdsong. Huebel was excited to be part of one of the film‘s most dramatic scenes, as Matt bursts into their house out of the blue, demanding immediate details on his wife‘s affair, even as she lies in a vegetative state.

Huebel and Birdsong had to walk a tightrope balanced between angst and absurdity. “It‘s a tricky scene because it‘s serious but it has to be funny, too,” notes Huebel. “Mark and Kai are horrified because they knew this was going on and we‘re supposed to be Matt‘s best friends. We try back-pedaling, we try getting out of telling him, we try defending Matt‘s wife, but it only makes Matt angrier. In the end, Mark wants to retain his friendship with Matt, so he tells him the identity of the man his wife was sleeping with. I think that‘s what most guys would do.”

The nervy, multi-layered scene worked, Huebel says, mainly because of Payne‘s ability to set his cast completely at ease. “He‘s just the most precise director I‘ve ever worked with,” he observes. “He had already imagined every nuance and every gesture by the time we were doing the scene and you really feel like ‘oh we‘re going to be fine, because he‘s driving the boat’.”

Birdsong sees Kai as being in a particularly precarious position when Matt finds out about the affair because her loyalties are split. “Matt‘s wife Elizabeth was her closest friend,” she explains. “Now she‘s torn between her devotion to Elizabeth and telling the truth. To her, Elizabeth was this amazing free spirit and now she wants to protect her.”

Like Huebel, Birdsong gives credit to Payne for taking a chance on casting actors from diverse backgrounds. “He has a very original and individual brain,” she describes. “And I think the casting of the film is a testament to his sensibility. He saw something in each of us that would help the story.”

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Of the main categories on the nomination list for the Academy Awards, I find that the supporting role nods offer the most confusion; a lot of contention always arise as the supporting characters can vary greatly in age, screen time and seriousness.

This years nominations have left me with two sore points; Jonah Hill for ‘Moneyball’ and Melissa McCarthy for last years hilarious ‘Bridesmaids’. But I’ll get back to those.

First of all, let us talk about those who were left out. The greatest surprise was the horrendous omission of Albert Brooks. In the run-up to the nomination announcement, it was predicted to be a split battle between Christopher Plummer for ‘Beginners’ and Brooks for the acclaimed ‘Drive’. The award showers in the run-up had pointed to this situation, even to Brooks as the possible winner this year, so for him to not even get a shot at the target was shocking. Fans were baffled over the final decision but Reuters could report that the man in question took the bad news in good humor, tweeting shortly after the announcement: “I got ROBBED. I don’t mean the Oscars, I mean literally. My pants and shoes have been stolen,” and later put a candid twist on Sally Fields notorious 1985 acceptance speech: “And to the Academy: “You don’t like me. You really don’t like me.”

Brooks was not the only snub; Shailene Woodly, who plays George Clooney’s daughter in The Descendants, was mentioned as a prime candidate, as well as the scene-stealing Patton Oswalt for the bittersweet comedy ‘Young Adults’. That Young Adults was left out completely is a whole other crime in itself.

There are of course the nods who came about despite an averagely performing package. Some speak against Janet McTeer and her role in the drama ‘Albert Nobbs’, saying she got the nomination at the expense of Woodly. One IMDB.com user went as far as to say “To me, McTeer completely overacted her part. [...] Contorting the face to look “manly” is one of the most simplistic and poorest forms of acting I can envision.” But in for those in favor; McTeer was subtle and endearing in her portrayal that reflects a unique situation – no one could even imagine that a woman would dress up as a man in 19th century Ireland. Both her and Glenn Close (who is also nominated) are meant to be women, pretending to be men. Not actual men. McTeer was on all accounts a scene-stealer, like Oswalt, and her nomination is if possible, more deserved than Close’s.

Then we have Max von Sydow, who alongside the nominated cast members of ‘The Artist’ makes 2012 the year where a whopping three acting nominations were given without a single word spoken (that is a lie; Jean Dujardin has one line). Much controversy has been dragging behind the 9/11 drama ‘Extremely Loud and Incredibly Close’ for stealing away a nomination for Best Picture despite mixed reviews. But von Sydow is a keeper; in silence he conveyed the delicate highs and devastating lows of contemporary human emotion and though the movie has been labelled an overall misfire (the New York Post called it “emotional blackmail” and the Toronto Star singling it out as ‘calculated Oscar bait’), you can’t deny a performance like that. Not to mention that some actually liked the overall film, thanks to him.

Much ado about nothing?

When the Academy pronounces the nominations, it is given without pattern nor order. Sometimes it feels like the nominations for supporting roles are made in an equally disorderly manner. The field is incredibly obscure and you ask yourself; on what basis is it decided what constitutes a worthy supporting part?

The first contention is screen time. A look back at the Oscar records show that screen time is no hindrance when it comes to dazzling the Academy. The shortest-ever winning performance for an Actor in a supporting role was Anthony Quinn for ‘Lust for Life’ in 1955, only dominating the screen for a mere eight minutes. Shortest Supporting Actress performance was won by Beatrice Straight in 1976 for a meager 5 minutes and 40 seconds. Judi Dench is another example when she won in 1998 for her eight minutes work in ‘Shakespeare in Love’.

In comparison, the shortest Best Actor performance to win was David Niven’s 15 minutes and 38 seconds in ‘Seperate Tables’. Next to him is Anthony Hopkins for 16 minutes in ‘The Silence of the Lambs’.

Clearly, time is not the greatest obstacle. Supporting parts are simply tough to evaluate because they usually do the background work that lifts everything else. And it varies how talented or important that lift is. Scene-stealers are naturally favored, but the Academy has an equally recurring tendency of nominating a main character as a Supporting performance if they ‘don’t really know where to put them’, e.g. they are reluctant to recognize a performance in the more significant Leading category.

This year our first question is why Bérénice Bejo was nominated in the Supporting category by the Academy — but as a Leading actress at the BAFTA awards. What constitutes a lead performance over a supporting one? Can there only be one main character? This is not the first time that the Academy makes these types of calculated mistakes and it’s a shame because a lead character being categorized with supporting characters will either rob them of their due diligence or destroy their chance of winning because the voters will be distracted by the misplacement. Bejo will not win this year.

Read the continuation of this debate here.

Image Courtesy of  ©Douglas Kirkland 2012

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‘The Descendants‘, George Clooney’s latest movie, tells the story of Matt King (George Clooney), who is living in Hawaii with his wife and two daughters. His wife suffers a massive head injuries during a boating accident and falls into a deep coma. Matt has always been busy with his job and his travelling so he decides to stay with his daughters and tries to protect them from their common tragedy. Meanwhile, Matt discovers the real truth about his wife; that she has been having an affair with a real estate guru. Alongside his daughters, Matt must learn how to deal with his wife’s infidelity, his life, and the meaning of family. The movie is a blend of comedy and serious emotion that will make any heart bleed if it has ever gone through an unexpected personal trauma.

The Descendants has been nominated for some of the main Oscar awards this year; looking at Best Picture, Best Director (Alexander Payne), Best Actor (Clooney), Best Adapted Screenplay (Alexander Payne, Nat Faxon and Jim Rash), and Best Editing (Kevin Tent).

The rest of the field for Best Picture is mirrored by different facets of cinema: “Hugo”; “The Artist”; “Midnight in Paris”; “The Help”; “Moneyball”; all have their stronger and weaker points. But the question is: Are the cinematic triumph of The Descendants strong enough to secure any of the five awards it has been nominated for?

George Clooney’s fans and critics believe that his performance is in a league of its own: “Clooney’s performance as Matt may be the best of his career,” says Phil Wallace of Picktainment.com. This seems to be true because he was capable of conveying to the audience the pain, the suffering and the strength of a husband and father who is thrown into the truth about his life. Clooney has never taken on a character like this before. Even thought Matt is vulnerable, a powerless father and a widower, Clooney shows that even a character like this is within his reach as an actor.

This year’s nominations are dominated by Michel Hazanavicius’s ‘The Artist‘, with 10 nominations, and Martin Scorsese’s ‘Hugo‘ with 11 nominations, giving The Descendants tough competition for the win. Although The Descendants may not sweep the winning table, no one can deny Clooney’s hard work and Alexander Payne, Nat Faxon and Jim Rush efforts with their screenplay, which may land them  the award for Best Adapted Screenplay.

Image Courtesy © Douglas Kirkland 2012

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When Kaui Hart Hemmings was first creating the character of Matt King — shell-shocked husband, inexpert father and reluctant Hawaiian land baron — she dared to dream of who might play him on the screen. The person that came to her back then was George Clooney, the Academy Award winning actor and filmmaker renowned for performances that are often as darkly funny as they are palpably human.

Clooney has established himself as one of today‘s leading men, but the chance to play a husband and father in ‘The Descendants’ is a notable departure from his usual roles. He was the smooth-talking convict in the Coen Brothers‘ screwball musical comedy ‘O Brother, Where Art Thou?’, the heist pro in the blockbuster Ocean’s Eleven series, the CIA agent in an Oscar winning performance in Stephen Gaghan‘s ‘Syriana’.

He was also nominated for an Academy Award for his performances as the law firm fixer in Tony Gilroy‘s thriller ‘Michael Clayton’ and the workaholic, airline miles collector in Jason Reitman‘s ‘Up In The Air’.

Clooney has also made his mark as a writer/director, garnering Academy Award nominations for Best Director and Best Screenplay for ‘Good Night, And Good Luck’, and directing and co-writing this fall‘s ‘The Ides of March’. Co-producer George Parra notes that the pairing of Payne and Clooney for the first time on this project was an intriguing match. “They‘re both incredibly talented and, after this movie, I think they will forever be friends.

They got along from day one. Alexander is the ultimate professional, very serious and polite and can be fun at times. But he‘s very serious when he‘s at work. George, on the other hand, is the ultimate prankster. He loves to laugh a lot and he‘s hysterical, so between their two personalities, the set had terrific energy.”

They were both open to great creativity and just letting the film happen. Once Clooney was cast in the central role, the challenge was to build the rest of the King family around him. Payne soon began an exhaustive series of auditions to find that tricky family chemistry made up of equal parts love, fury and miscomprehension, working closely with casting director John Jackson, who has collaborated with him since his first film, ‘Citizen Ruth’.

The director considers the auditions a significant part of the creative process. “We auditioned a ton of people for every part, even one line parts. I think auditions are good. I like to have actors come in and read the words,” Payne says. It was especially key to find two young actresses who were capable of holding their own against Clooney in the roles of his two willful and defiant daughters Alexandra and Scottie, who resent Matt for never having been an involved parent until now.

“I’m the back-up parent. The understudy.”– Matt King

For Alexandra, a feisty free spirit who worries that she takes after the mother she is angry with, Payne ultimately chose Shailene Woodley, best known for the television series The Secret Life of the American Teenager. Woodley, in her first major film role, struck Payne right away as ready to take on the emotional rigors of a role that would take her from a boarding school bad girl to a young woman trying to stitch her family back together.

“Like the rest of the cast, she gave the best audition,” recalls Payne. “It was as simple as that.” Woodley was thrilled because, by the time she auditioned, she was already in love with the story. “It‘s a heart-wrenching journey about growth,” she comments. “I love how everybody in the story grows in their ability to love, grows in maturity, in figuring out their individuality and who they are as a family.”

As for Alexandra, Woodley enjoyed the idea of taking her from a wild rebel with a chip on her shoulder to a young woman ready to battle for her loved ones. “She starts out as a teenager who feels like a victim — to her, the reason why her life is horrible is because her dad did this and her mom did that,” she observes.

“But during the course of the movie, she starts to realize that she‘s responsible for her own happiness and it isn‘t up to her parents. It‘s fun to watch her grow up in the moment.  She‘s always been a bit manipulative but now she‘s doing it to help her dad fight his demons.”

Alexandra‘s relationship with Matt is one that Woodley believes a lot of kids will relate to from their own experiences. “I think she loves her dad but she kind of looks at him as the childish one in their relationship and she‘s always felt like she needed to take on a parenting role with him,” Woodley describes. “It‘s only later that she learns to give him his own power as a father.”

Another big challenge for Woodley was finding all the multi-colored shadings of Alexandra‘s barrage of mixed feelings around her mother that are at once incredulous, angry, worried, sad and freaked out. Woodley had to literally dive deep, as this storm of emotions begins in a pivotal scene when her father tells her that her mother is not going to recover while she‘s taking a dip in the family pool. “She‘s in the pool, treading water and she has no idea how to react to this news,” explains Woodley.

“She feels trapped, so she submerges herself into the water, the one place where she can scream at the top of her lungs and not feel vulnerable. It was such an emotional release to go down there and scream and cry hysterically. It was heartbreaking for me to do, but also empowering.” Later, when Alexandra sees her once wildly vibrant mother unresponsive in a hospital bed, her raw emotions come to the surface.

“In that scene, I think part of Alexandra hates her mom and part of her just wants to be held and cry in her mother‘s arms for hours. It is very emotional,” says Woodley. “I think the little girl in Alexandra just yearns for the mother she always wanted but never had, but the young woman in Alexandra is starting to accept that it will never happen.”

Image Courtesy of   Joe Seer / Shutterstock.com

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Shailene Woodley says she‘s grateful to director Alexander Payne for giving her the trust and support to navigate the bumpy terrain of merging outrageous situations with intensely real feelings in the oscar-nominated ‘The Descendants’. “Alexander is up there with a few of the favorite people I‘ve ever met in my life.

He‘s got such heart and I‘ve learned from him as a director and as a person. When he gets excited, he doesn‘t hold it in. He literally jumps up and down and talks in this funky voice and goes up and hugs people. You can‘t help but feel excited about life when you‘re around him. He possesses a great energy and definitely shows it to other people. As a director, he helped me find things about myself that I never thought I could find.”

Woodley says Payne always pushed for one bottom line; naturalism. “He might say, ‘Oh, Shai, I don‘t think that‘s natural, you would never do that in real life,’” she recalls. “That‘s how he brings out the best in people.” That kind of naturalism turned out to be easier than expected when Woodley began performing alongside George Clooney, who obliterated the intimidation factor right away.

“He turned out to be completely down-to-earth,” she explains. “He‘s kind of a goofball, always doing something silly, which kept the set light. I felt privileged not only to work with him, but to get to know him.”

Even though Matt King is trying to re-establish a connection with his kids, he finds youngest daughter Scottie a complete mystery, almost an alien life form, with whom communication of any kind is an iffy prospect. To find a young actress who could handle the humor and heartache of playing a preadolescent eccentric, Payne saw more than 300 girls from around the country.

He still hadn‘t found the right candidate with shooting about to start. That‘s when he encountered Amara Miller, a promising nine year-old newcomer from Pacific Grove, California.

He received an e-mail with her videotaped audition and recalls that “about a minute into it I just said, ‘oh that‘s her.‘ I don‘t need to see her. I knew that she was the one. I just knew she would show up. And like many things in life, she did, but in the most unpredictable way.” Adds producer Jim Burke: “Amara walked on the set like an old pro. She‘s a natural.

She‘d never been in a movie before but she was amazing.” Although she had no previous acting experience (she was once in an elementary school play but she had no lines), Miller seemed to have an instinctual feel for Scottie‘s quirkiness and uniquely uninformed role in their family adventure.

“Scottie is the one who doesn‘t know what‘s happening in the family,” she describes. “She doesn‘t know her mom is dying or that she had an affair with another man. She thinks that when they go to Kauai to find the guy that they‘re going on vacation. She‘s just running around being herself, doing what she wants, in the middle of all this stuff.”

Without much guidance from her family, Scottie has developed an almost feral quality of independence. “She‘s a trouble-maker,” laughs Miller. “She‘s one of those little girls who doesn‘t really care if she gets in trouble. She‘s still going to do fun, wild things even if she does. She has a sassy attitude.

She goes after what she needs. What Scottie needs might be time and attention, but she‘ll do anything to get it, which led to some of Miller‘s most intriguing scenes.”

“I do get to flip off George Clooney,” she laughs. “He was like ‘what?‘ His facial expression was so funny.”

For Payne, working with Miller — his first time directing a child in a major role — was no different from the adult cast. “The great thing about working with Amara is that I didn‘t have to treat her like a little girl. I could just tell she was an instinctive actress. I could just say, ‘No, do it more like this.‘ Or, ‘Please put a small pause between these two lines.‘ The way to treat people in general, and actors in particular, is to tell them the truth,” he sums up. “I was always able to do that with Amara.”

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When author of The Descendants, Kaui Hart Hemmings, found out Alexander Payne was interested in adapting her book, she could hardly believe the news. “I just about died,” she laughs. “I mean he is my favorite director, I love the kind of movies he makes.”

After discussing the adaptation of Kaui Hemmings‘s book with many screenwriters, the producers at Ad Hominem selected the writing team of Nat Faxon and Jim Rash. Wonderful actors who continue to be fixtures at the Groundling Theater, Faxon and Rash had written a much admired screenplay, ‘The Way Back’, that suggested an ability to handle shifting tones of humor and pathos as would be required by ‘The Descendants’. All who read their elegant adaptation admired it. But when he decided to direct the film himself, Payne determined that the best way for him to forge a personal connection to the material was to adapt the book himself.

In his voice, Payne turned the focus in the screenplay on two dove-tailing journeys: the King family‘s trek to Kauai on the hunt for Elizabeth King‘s unwitting lover; and the pilgrimage of diverse friends and relatives to Elizabeth‘s bedside, where she becomes, in her comatose silence, a kind of grand confessor, bringing out secrets and suppressed emotions that might not otherwise see the light of day.

“One of the many things we learned in Hawaii is that people here know their genealogy like they do in no other place,” explains producer Jim Burke. “Everybody knows when their family first arrived on the island, and some go back six or seven generations and they feel a deep, deep connection to this place. We learned all this by meeting authentic descendants who have inherited land a lot like Matt.”

Hemmings was impressed with the adaptation. “I wasn‘t concerned about Alexander changing this or that, because he really got the tone of the book and that‘s all I cared about. He got that it‘s funny and it‘s sad at the same time. I also loved that he took the time to really get to know Hawaii.”

From the beginning, Payne and the production team felt it was essential to venture far from the well-beaten tourist paths to get to know the authentic Hawaii only locals ever see. As they did so, they developed a more nuanced understanding of what the term ‘descendants’ means on an island where ancestors have always been an important link in the chain of living history.

This helped to bring into focus Matt King‘s realization that he has become disconnected from his own feelings about the land he owns — and its past and future. Payne also relied on Hemmings to serve as an insightful guide into the alluring blend of American and Hawaiian cultures that imbues island life, from its politics to its traditions and relationships. “When we came over to the islands to start making the movie, Hemmings became a really big part of it, because this is her land. She knows these people.”

“She was able to give us a reality check and at the same time, Alexander was able to run all his ideas past Kaui to make sure they seemed right for the characters,” Burke continues. “We wanted to protect her story because we believed in it.”

“Alexander‘s voice is absolutely unique,” notes Burke, who reunites with producer Jim Taylor for their fifth collaboration with Payne. “You don‘t need to be told you‘re watching an Alexander Payne movie. And yet, each of his films is also quite different. I feel like The Descendants is the most different from his previous work.

It‘s a great story with great characters, but I think the thing that sets it apart is that it is very open to interpretation: none of the characters are entirely right and none of the characters are entirely wrong. It‘s not a movie everyone will view in the same way. It‘s a film that allows the viewer to participate and connect in their own way.”

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Leading online betting firm Sky Bet has updated its full list of Oscars betting [http://www.skybet.com/betting/tv-and-film-specials/oscars/t10003442.html] markets ahead of the 84th Academy Awards ceremony on Sunday. Black and white silent movie ‘The Artist’, which picked up the Producers Guild Award and also won the Golden Globe for Best Comedy/Musical, looks a shoo-in to win Best Picture at 8/1 ON, with the odds having been cut from a pre-Christmas 2/1.

The French tribute to the silent movie received ten Oscar nods, although it was beaten by Scorsese’s 3D charmer ‘Hugo’ (25/1), which received 11 nominations. ’The Artist’ dominates several other categories, with its helmsman Michel Hazanavicius, looking certain to win Best Director at odds of 1/10 after being hailed as outstanding director of the year at the Directors’ Guild of America Awards last month.

The film’s leading man Jean Dujardin shot to favouritism in the Oscars Best Actor betting after winning the BAFTA and now heads the betting at 8/11 (from 2/1). George Clooney was relegated to second favourite to take home the lead actor gong for his performance in comedy-drama ‘The Descendants’ and may now be backed at 11/10, having drifted from 2/5. Gary Oldmanis bidding for his first ever Oscar and is quoted at 20/1 to win for his performance in ‘Tinker, Taylor, Soldier, Spy’.

The lead in the Best Actress race has also changed over the past fortnight, with double Oscar winner and 17-time nominee, Meryl Streep, having been usurped at the top of the betting by ‘The Help’ star, Viola Davis. Davis is odds-on at 4/6 to prevent Streep (out to 11/10 from 1/2) claiming a third Oscar for her portrayal of Margaret Thatcher in ‘The Iron Lady’. It looks a two-horse race between Davis and Streep, with ‘My Week with Marilyn’ star, Michelle Williams, their nearest rival at 18/1.

Sky Bet’s Oscars betting expert, Helen Jacob, said: “The Artist seems way ahead of its rivals in the race to win Best Picture and Director but the lead acting categories are closer, with the favourites having flip-flopped in recent weeks.”

For Best Supporting Actor, Christopher Plummer (‘Beginners’) looks all but home and hosed at 1/33 and Octavia Spencer at 1/25 (‘The Help’) looks certain to land what could be the best actress double for ‘The Help’.

Sky Bet is also offering a number of novelty special bets on the Oscars ceremony itself, which takes place at the Kodak Theatre in Hollywood on Sunday, February 26th.

Veteran actress Meryl Streep accidentally swore onstage at the Globes and Sky Bet go 7/2 that the Oscars best actress winner turns the air blue again in her acceptance speech. It’s even money that the best actress cries during her speech and 10/1 that any recipient’s address consists of a single ‘Thank you!’

 Sky Bet Odds: Oscars Betting

Best Film

The Artist 1/16

The Descendants 10/1

Hugo 25/1

The Help 25/1

War Horse 40/1

Extremely Loud and Incredibly Close 80/1

Moneyball 80/1

Midnight in Paris 80/1

The Tree of Life 100/1

  Best Director

Michel Hazanavicius – The Artist 1/10

Martin Scorsese – Hugo 6/1

Alexander Payne – The Descendants 22/1

Terrance Malik – The Tree of Life 33/1

Woody Allen – Midnight in Paris 50/1

Best Actor

Jean Dujardin – The Artist 8/11

George Clooney – The Descendants 11/10

Gary Oldman – Tinker Tailor Soldier Spy 20/1

Brad Pitt – Moneyball 20/1

DemianBichir – A Better Life 50/1

Best Actress

Viola Davis – The Help 4/6

Meryl Streep – The Iron Lady 11/10

Michelle Williams – My Week With Marilyn 18/1

Glenn Close – Albert Nobbs 40/1

Rooney Mara – The Girl with the Dragon Tattoo 50/1

Best Supporting Actress

Octavia Spencer 1/25

Berenice Bejo 8/1

Jessica Chastain 25/1

Melissa Mccarthy 25/1

Janet McTeer 40/1

Best Supporting Actor

Christopher Plummer 1/33

Kenneth Branagh 14/1

Max Von Sydow 22/1

Nick Nolte 33/1

Jonah Hill 40/1

Oscars specials

Lead or supporting actress to cry during acceptance speech Evens

Lead or supporting actor to swear during acceptance speech 9/4

Lead or supporting actress to swear during acceptance speech 7/2

Lead or supporting actor to cry during acceptance speech 6/1

Any recipient’s speech to consist of single “thank you” 10/1

Streaker to run on stage and interrupt ceremony 16/1

Any of the 6 major award winners to drop the statuette 16/1

Any winner to fall over on stage 20/1

George Clooney win best actor and Meryl Streep win best actress 6/4

George Clooney win best actor and The Descendants win best picture 9/1

George Clooney to win an Oscar No 8/11 Yes Evens

For the full range of Oscars odds from Sky Bet, click here [http://www.skybet.com/betting/tv-and-film-specials/oscars/t10003442.html]

Image Courtesy of   https://www.facebook.com/TheArtist.TWC

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Oscar-winning actor George Clooney has a surprising relationship with the ill-fated RMS Titanic, as will be revealed in an upcoming documentary.

It has been said that Sarah Clooney, a distant relative from County Laois, was the person responsible for making the carpets which lined the ship, and that Clooney will learn more about her story when he makes a visit to Ireland later this in year. His familial link will be detailed in Gabriel Murray’s documentary “George Clooney’s Irish Roots — The Real Descendants”, a pun on his latest film release.

The Belfast Telegraph first reported on this story, explaining that:

Sarah Clooney worked in the carpet factory in Abbeyleix owned by Ivo de Vesci. She had originally come from Dunamaggin, Co Kilkenny but moved to Abbeyleix after her family were evicted from their land.

Sarah kept in contact with the famous actor’s aunt, Rosemary Clooney, and the pair shared correspondence over many years.

It is worth noting that several members of Clooney’s family have achieved notoriety in their own right. Aside from his aforementioned aunt who won both an Emmy and a Grammy award during her career, his father Nick Clooney has run for Congress while his cousin Miguel Ferrer has starred in such films as Robocop and Mulan.

As for Clooney’s Irish ancestors, the documentary, which is expected to finish production in the coming months, will provide further insight into those who have lived – and who still do – in Ireland. Alleged “parish records” have been discovered, in which full details of Clooney’s ancestry are noted, however, the exact extent of this information will not be revealed until Murray’s documentary airs later this year.

Incidentally, Clooney had told The Irish Examiner as recently as last October that he had plans of partaking in a bike tour across Ireland at some point in 2012, on the recommendation of U2 frontman Bono. Clooney said:

It’s finally happening … I ran into Bono here in Toronto, who was in town for the documentary about U2 and he’s as much of a bike nut as I am. He started telling me about lots of cool places I should check out, so I’ve committed to going there in April.

In the meantime, Clooney has plenty of professional business to keep him occupied as he attempts to win his second Oscar for Best Actor with the critically-acclaimed film The Descendants. Clooney has already won a Golden Globe and a Critic’s Choice Award this year for his role in the film as a man in the midst of his family’s collapse, and so it would seem fitting that he will dive right into his own personal family story once Hollywood’s 2012 awards season is at an end.

cinemafestival / Shutterstock.com

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The Descendants has been nominated for five Academy Awards including Best Picture, Best Director (Alexander Payne) and Best Actor (George Clooney).  Building on the success of the film, the The Descendants soundtrack, available now from Sony Classical, has been #1 on Billboard’s World Music chart for the last seven consecutive weeks.

From Alexander Payne, the creator of the Oscar-winning Sideways, set in Hawaii, The Descendants is a sometimes humorous, sometimes tragic journey for Matt King (George Clooney) an indifferent husband and father of two girls, who is forced to re-examine his past and embrace his future when his wife suffers a boating accident off of Waikiki.

The event leads to a rapprochement with his young daughters while Matt wrestles with a decision to sell the family’s land handed down from Hawaiian royalty and missionaries.  The film, from Fox Searchlight Pictures, opened in the U.S. on November 16th.

The Descendants, based on Kaui Hart Hemmings’ highly acclaimed novel of the same name, is scored exclusively with Hawaiian music. Hemmings, who comes from Hawaii, weaves into her writing the island themes of family, soil and inheritance, and the movie too has a strong sense of place, not least thanks to its soundtrack. Given the intention of the filmmakers to lend the movie a distinct Hawaiian flavour, the natural direction to take was to use the sounds of the islands, and the music plays a crucial part in evoking an authentic mood.

Most of the titles on the soundtrack feature established masters of Hawaiian music, whether modern and classical: names such as Gabby Pahinui, Ray Kane, Keola Beamer, Lena Machado, Sonny Chillingworth,Jeff Peterson, and Rev. Dennis Kamakahi.

The soundtrack of The Descendants not only serves to remind movie-goers of a memorable film, but also opens up a superb cross-section of Hawaiian music over the decades to listeners unfamiliar with this genre. It provides the best possible introduction to some of the greatest masters of this soulful music.

Tracklisting:

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The nominations for the 2012 BAFTA (British Academy of Film and Television Arts) Film Awards have been announced, and French silent film The Artist leads the field with twelve nominations including one for Best Film.

BAFTA’s announcement of the nominees comes just days after The Artist and The Descendants swept the board at the 69^th Annual Golden Globes Awards, and it seems likely that both films will experience similar success at Britain’s equivalent to the Academy Awards.

The two aforementioned films will go head-to-head in the categories of Best Film and Best Leading Actor (for Jean Dujardin and George Clooney), while their screenplays will each compete in the Original and Adapted Screenplay categories, respectively.

Other Golden Globes winners are included in this year’s nominations, namely: The Adventures of Tin Tin: The Secret of the Unicorn for Best Animated Film; Meryl Streep for her leading role as Margaret Thatcher in The Iron Lady; and Octavia Spencer for Supporting Actress in The Help.

Meanwhile, Martin Scorsese, has been nominated for his directorial job with Hugo and will also be the recipient of this year’s BAFTA Fellowship, placing him in such Academy ranks as, Sir Charles Chaplin, Steven Spielberg, Dame Maggie Smith, Sir Anthony Hopkins and Dame Judi Dench – all of whom have received the Fellowship since Alfred Hitchcock’s special recognition in 1971 for “outstanding achievement in the art forms of the moving image. It is the highest honour the Academy bestows”.

Unsurprisingly, Harry Potter and the Deathly Hallows – Part 2, the conclusion to the most successful film series in box office history and one which helped elevate the British Film Industry during the 2000s, failed to pick up any nominations for its acting, directing or screenplay; however, it did earn a place on the shortlist for Best Make Up & Hair, Sound and Special Visual Effects.

The Harry Potter film series has had mixed success during awards season in the past, but it was thought that a last-minute promotional push from Warner Bros. might help Deathly Hallows Part 2 achieve some recognition from the major award voters this season.

Nevertheless, the BAFTA voters have acknowledged one British cinema hit: Tinker Tailor Soldier Spy, Tomas Alfredson’s adaptation of the 1974 espionage thriller novel of the same name. Cast member Gary Oldman has been nominated for Best Leading Actor, while the film itself will vie for: Best Film, Best British Film, Best Director, Best Adapted Screenplay and Best Original Music, among several others.

The awards will be held on Sunday February 12 at London’s Royal Opera house, airing on BBC One, and will be hosted by Stephen Fry for the first time since 2006.

Image Courtesy of  http://www.mtv.co.uk

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The time for deliberation is almost over. The voting members of the Academy of Motion Picture Arts and Sciences have begun mailing out the nomination ballots for the 84th Academy Awards, scheduled to take place on Sunday February 26 and to be hosted by Billy Crystal.

The ballots themselves, which are to be completed by the 5,783 voting members of the Academy, must be returned by January 13 and will be announced on January 24, at which point firm-favourites and critics-choices will learn if their hopes of award-season glory have been warranted or wasted.

Some of those favorites include Meryl Streep and George Clooney, whose roles in “The Iron Lady“ and “The Descendants”, respectively, have already garnered them nominations from the Hollywood Foreign Press and the Screen Actors Guild (SAG).

Other actors expected to receive Academy Award nominations based on prior accolades this season include: Michelle Williams for “My Week With Marilyn”, Ryan Gosling for “The Ides of March” – for which, incidentally, Clooney has received a Golden Globe nomination in the directing field -, Leonardo DiCaprio for the biopic “J. Edgar”, and Viola Davis for Dreamworks’ adaptation of “The Help”.

Statistically, the Golden Globes and SAGs have been shown to be the primary indicators of who will achieve success at the Academy Awards. For example, the 2010-11 awards season saw David Fincher’s “The Social Network” compete against Tom Hooper’s “The King’s Speech” in many of the major categories, with Fincher’s film triumphing at the Golden Globes, Hooper’s film triumphing at the SAGs, and each film ultimately walking away with a handful of Academy Awards.

This ceremony is in fact the last in Hollywood’s award season, so if this year’s voting replicates last year’s, it may go down to the wire as to who will indeed succeed in the Academy’s Best Picture and Acting categories. Therefore, while there may be little in the way of surprises awaiting the Hollywood press on January 24 when the nominations are announced, there will be no doubt added anticipation over whether the voters will sway away from favoring the abundance of high-profile biopics making waves this season.

These are namely: “The Iron Lady”, a study of former British Prime Minister Margaret Thatcher; “My Week With Marilyn”, a week in the life of Marilyn Monroe; and “J. Edgar”, a study into the FBI director’s personal life and debated sexuality. Each film has already received multiple nominations from other major award bodies, but this may be a case where there are too many releases from the same genre which ultimately cancel each other out.

Aside from their acting nominations at the Golden Globes, none of the films managed to make the final cut into the Hollywood Foreign Press’ Best Motion Picture selection, so there may still be some spots up for grabs in the final Academy Award shortlist.

Whatever happens, it won’t be long until the public finds out.

Helga Esteb / Shutterstock.com

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Brad Pitt has been voted the Top Money-Making Star of 2011 in Quigley Publishing Company’s 80th Annual Poll of Motion Picture Exhibitors. This is Pitt’s sixth appearance in the Poll, but his first win. Exhibitors felt Pitt was responsible for more traffic to theatres than any other Hollywood star based on his performances this year in “Moneyball,” “The Tree of Life,” and “Happy Feet Two.”

The Quigley Poll, conducted each year since 1932, is an annual survey of motion picture theatre owners and film buyers, which asks them to vote for the ten stars that they believe generated the most box-office revenue for their theatres during the year. It has been long regarded as one of the most reliable indicators of a star’s real box office draw because the selections are made by professionals whose livelihood depends on choosing the films and actors that will bring audiences to their theatres. The Quigley Poll lists the results of all the Polls since Marie Dressler, Janet Gaynor, and Joan Crawford took the top three places in 1932.

George Clooney placed second this year based on “The Ides of March,” where he was also the director, producer, and co-writer, and “The Descendants.” Johnny Depp, last year’s winner, made it to number three this year with 2011 roles in “Pirates of the Caribbean: On Stranger Tides” and “The Rum Diary.”  Depp has placed in the poll seven times, as has this year’s number four, Leonardo DiCaprio, who starred in “J. Edgar.” Matt Damon, number five, had a very busy year with “Contagion,” “The Adjustment Bureau,” “Margaret,” and “We Bought a Zoo.”

Sandra Bullock, winner of 2009, placed number six, which marks her fifth appearance in the poll. She first placed in the survey in 1995. There were two first-timers this year, Bradley Cooper number seven and Ben Stiller number ten. Bradley Cooper was in “The Hangover Part II,” and Ben Stiller was in “Tower Heist.” Robert Downey, Jr. was number eight on the strength of “Sherlock Holmes: A Game of Shadows,” and Meryl Streep was number nine as ‘The Iron Lady” and is in the Top Ten for the fourth time.

Tom Cruise has not placed in the Poll since 2006, but he has been in the Top Ten 20 times since 1983 and has been voted number one the most of any actor – seven times. Tom Hanks, Clint Eastwood, Burt Reynolds, and Bing Crosby have all won five times. Clint Eastwood has been in the poll 21 times starting in 1968. Currently, exhibitors appreciate him more as a director that brings audiences to their theatres. John Wayne, Doris Day, and Shirley Temple each finished first four times, but John Wayne was voted one of the Top Ten Money-Making Stars an astounding 25 times from 1949 to 1974.

Exhibitors were also asked to name the Stars of Tomorrow for 2011, one actor and one actress who they feel will be Top Money-Makers in the years to come. The 2011 winners are Rooney Mara, who played Lisbeth Salander in “The Girl with the Dragon Tattoo,” and Jonah Hill, who had a breakthrough performance in “Moneyball” and starred in “The Sitter.”

Top Ten Money-Making Stars of 2011

1. Brad Pitt
2. George Clooney
3. Johnny Depp
4. Leonardo Di Caprio
5. Matt Damon
6. Sandra Bullock
7. Bradley Cooper
8. Robert Downey, Jr.
9. Meryl Streep
10. Ben Stiller

Stars of Tomorrow:

Rooney Mara
Jonah Hill

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The American Foundation for Equal Rights (AFER) and Broadway Impact have announced that Academy Award-winning actor George Clooney will star in the West Coast premiere of ‘8,’ a play chronicling the historic trial in the federal constitutional challenge to California’s Proposition 8, written by AFER Founding Board Member and Academy Award-winning writer Dustin Lance Black and directed by AFER Founding Board Member and acclaimed actor and director Rob Reiner.

The production is an unprecedented account of the Federal District Court trial in Perry v. Schwarzenegger, the case filed by AFER to overturn Proposition 8, which stripped gay and lesbian Californians of the fundamental right to marry.

Black, who penned the Academy Award-winning feature film Milk and the new critically-acclaimed film J. Edgar, based ‘8’ on the actual words of the trial transcripts, first-hand observations of the courtroom drama and interviews with the plaintiffs and their families.

‘8’ is set to have its West Coast premiere at the Wilshire Ebell Theatre on Saturday, March 3, 2012, in Los Angeles, for an exclusive, one-night-only fundraiser to benefit AFER.

An Academy Award-winning actor, producer, screenwriter and director, Clooney is also a committed human rights activist. In January 2008, he was designated as a United Nations Messenger of Peace. Clooney is the first of an all-star cast of high profile and award-winning actors to be announced.

He and others will play the roles of the legal team, plaintiffs and witnesses for both sides of the historic Proposition 8 case. Additional casting for the all-star benefit will be announced soon. ”It is astonishing that gay and lesbian Americans are still treated as second-class citizens,” Clooney said. “I am confident that, very soon, the laws of this nation will reflect the basic truth that gay and lesbian people – like all human beings – are born equal in dignity and rights.”

“This play will continue to show Americans – one by one – that prejudice and fear cannot stand up to truth and justice,” said AFER Board President Chad Griffin. “Our Constitution neither knows nor tolerates the treatment of gays and lesbians as second-class citizens. In its search for greater freedom, this generation has come to see that laws like Proposition 8 serve only to oppress.”

‘8’ had its much-heralded Broadway world premiere on September 19, 2011, at the sold-out Eugene O’Neill Theatre in New York City. The production brought in over one million dollars to support AFER’s efforts to achieve full federal marriage equality. Proposition 8 was struck down by the U.S. District Court in August 2010.

That ruling was appealed to the U.S. Court of Appeals for the Ninth Circuit by the anti-marriage proponents of Proposition 8. AFER’s legal team was at the Ninth Circuit last Thursday for a hearing to urge that court to unseal the trial video. The American public was not given a chance to witness the historic trial because the Proponents launched a desperate attempt to forever hide the video recording of the trial.

A ruling on the constitutionality of Proposition 8 and the release of the trial video is expected soon. The Perry case is widely anticipated to end up in the U.S. Supreme Court.

“People need to witness what happened in the Proposition 8 trial, if for no other reason than to see inequality and discrimination unequivocally rejected in a court of law where truth and facts matter,” said Black. “I’ve built my career around exposing and uncovering ‘the real story.’

The goal of ’8′ is to show the world that marriage equality is a basic constitutional right and that those who would deny this basic freedom from loving, committed couples have only vitriol and baseless hyperbole to fall back on. The facts are on our side and truth always finds the light. We are doing all we can to help speed that process along.”

In addition to its Broadway and Los Angeles productions, AFER and Broadway Impact are licensing ‘8’ to colleges and community theatres nationwide in order to spur action, dialogue and understanding. AFER and Broadway Impact are helping produce these staged readings across the country with a full slate set for 2012.

The story for’8’ is framed by the trial’s historic closing arguments in June 2010, and features the best arguments and testimony from both sides. Scenes include flashbacks to some of the more jaw-dropping moments of trial, such as the admission by the Proposition 8 supporters’ star witness, David Blankenhorn, that “we would be more American on the day we permitted same-sex marriage than we were on the day before.”

“Because this case involves the constitutional rights of millions of people, it is especially important for the public to see what happened during the trial,” said AFER Senior Project Director Adam Umhoefer. “Both sides had an equal opportunity and ample resources to assemble their strongest teams and put forth their absolute best arguments in a fair setting.

Viewed side-by-side, there is simply no question that there was only one decision the court could have reached. The moment we knew the trial would not be publicly broadcast, we immediately began planning to find a way to show the world what happened in this historic case. This play and our partnership with Broadway Impact allow us to do exactly that.”

“I was lucky enough to watch the initial closing arguments of Perry v. Schwarzenegger in San Francisco,” said Broadway Impact co-founder Rory O’Malley (Tony Award-nominee for The Book of Mormon). “We knew then and there that audiences needed to see and hear this story live, as we had done.

’8′ builds on a successful tradition of documentary theatre—plays like The Laramie Project and The Vagina Monologues, which inspire us with their combination of art and activism. We are thrilled to partner with AFER to bring this story to a national audience.” Tickets for the play will be in high demand and are expected to sell out. The proceeds will go directly to the fight for full federal marriage equality and to support educational efforts on the freedom to marry nationwide.

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The 5th Edition of the Lisbon and Estoril Film Festival has certainly ended on a high note. LEFF’11 had all the main ingredients to become its best edition to date (as was predicted last week) but only time could tell if this was truly going to be an edition to remember. The programme promised a week long of high-quality events and it surely delivered.

It is one of the youngest Film Festivals in Europe but other veterans should definitely learn a thing or two from LEFF. Paulo Branco’s Lisbon and Estoril Film Festival proved worthy of the buzz surrounding it in international media outlets.

Every screening began punctually (apart from minor technical glitches) and the price of the admission tickets was very cheap, considering they allowed access to premieres and masterclasses with actors, directors, and producers. Most of the screenings were presented by one of the actors in the film, a movie critic or producer and after it a small discussion regarding the film was held.

According to LEFF’s director Branco, this might have possibly been the best edition yet, and who are we to doubt his words? In a recent interview, Branco also admitted that upcoming editions should be held in both Lisbon and Estoril, in a partnership with Lisbon’s City Hall.

Even though most of the movies shown are not what one would expect to see in a regular movie theater, most of the screenings were sold out and were incredibly entertaining.

All of the movies were divided in categories: the Official Selection, Retrospective, Tribute, Cinemart (including features by Matthew Barney and Yasmina Reza), In Memoriam, Rare Filmmakers, Film Heritage Preservation (with the cooperation of the Martin Scorcese and the World Cinema Foundation), Cinema and History, and several Special Screenings of feature films and television series.

The big winner of the Festival was Twilight Portrait, by Angelina Nikonova, as it took home the award for Best Feature. Twilight Portrait tells the story of a social worker who decides to take on her dramatic past and it is Nikonova’s debut as a film director. Cédric Kahn’s Une Vie Meilleure won the Special Jury Award – João Bénard da Costa, as well as the Cineuropa Award.

Other special mentions include Here I am, by Bálint Szimler and Aman (Safe and Sound) by Ali Jaberansari. LEFF ended on a winning streak as Almodóvar’s latest (The Skin I Live In) was shown to an eager audience in Lisbon, with the presence of Jan Cornet and Marisa Paredes. In Estoril, Melancholia by Lars Von Trier closed the Festival but hopefully LEFF’s next edition will come soon enough.  

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The Lisbon and Estoril Film Festival (LEFF), formerly known as Estoril Film Festival, is making a name for itself as one of Europe’s leading film festivals. As a newcomer, the festival has been able to bring big names from the film industry since its debut in 2007. Some who have taken part in the event have included Spanish director Pedro Almodóvar, Oscar-winning actor John Malkovich, Catherine Deneuve, and Kathryn Bigelow.

The festival takes pride in awarding the best of the best in the movie industry while creating a meeting point for artists and performers of the trade in the capital of Portugal.

The best distinguishing feature is the fact that there is no red carpet at most of the screenings, even at the premieres. One could simply stand in line waiting to get inside and Paul Giamatti or David Cronenberg could walk by you and even stop by for a chat.

Movies competing in the official selection are mostly European films, and some of the movies shown are already generating Oscar buzz. The festival will premiere “A Dangerous Method” (David Cronenberg),” The Ides of March” (George Clooney), “Melancholia” (Lars von Trier), “Restless” (Gus van Sant). “Faust,” directed by Alexander Sokurov and the winner of the Berlinare and the Venice Festival’s Golden Lion, will also premiere at the festival.

This is undoubtedly LEFF’s best edition to date. It hosts a jury panel of world-renowned authors, such as Paul Auster and J.M. Coetzee, and will showcase the first images of Cronenberg’s “Cosmopolis,” starring Robert Pattinson. In addition, LEFF will also host several events simultaneously in some of Lisbon’s most iconic venues. The festival proves its versatility while dabbling in other areas, holding events specially aimed at college students, classes with Giamatti and Cronenberg, musical concerts, an international symposium on the future of the culture industries, ateliers, and several other exhibitions.

One of the main attractions of the festival is an exhibit on the Palestinian-Israeli conflict, which portrays the everyday life of a Palestinian village. The work is by photographer Kai Wiedenhöfer, winner of the first Carmignac Gestion Foundation Photojournalism Award.

If you happen to be in Lisbon in November 3 to November 14, be sure to check out LEFF. It is an event you don’t want to miss.

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The New York Film Festival comes to New York City for its 49^th annual showcase of new and emerging films in the entertainment industry. The yearly film festival will run from September 30 to October 16, celebrating up and coming filmmakers and actors.

The New York Film Festival was created in 1969 by The Film Society of Lincoln Center with aspirations of creating an event for filmmakers to show their movies. The love of art and film are combined during this festival and brings movie goers from all across New York City to exciting movie premieres.

International filmmakers are able to showcase their movies at the prestigious New York Film Festival. The Main Slate is the optimal venue to screen movies. Filmmakers from countries such as the United States, Iran, France, United Kingdom, Israel and Denmark are among those who will show their movies at the Main Slate.

In the movie entitled “Miss Bala,” a young Mexican woman competes in a beauty competition in Baja, where she gets involved in the ongoing narcotics battle in Mexico. “Miss Bala” depicts drug related gang violence and how it plays a role in Mexico.

“The Artist,” is a movie that pays homage to the original Hollywood entertainment business where the art of movie making was through black and white silent movies. “The Artist” highlights wonderful acting even though it is a silent movie and allows the audience to go back in time to when movies were first created.

Famous Hollywood actors can be seen in some of the movies on display at The New York Film Festival. “Melancholia” has actress Kirsten Dunst playing a bride in this science fiction movie. “The Descendants” ushers in George Clooney as a man who must cope with his wife who is in the hospital and his two daughters with whom he has shaky relationships.

Michelle Williams brings a performance as sex icon Marilyn Monroe in “My Week With Marilyn,” one of the most anticipated movies of The New York Film Festival.

Aside from the Main Slate where much of the popular movies are watched, there are also other special events going on during the festival. Documentaries are also a part of the film festival where the daily international lives of people are portrayed through film. “Tahrir” is a documentary of the recent revolution in Egypt, as seen through the voices of Egyptians on the streets of Cairo.

“Paradise Lost 3,” is an American documentary that follows the lives of Alabama teenagers who are in jail for murdering three children. These documentaries are just a couple among many others that use film to highlight unique, real life stories. World renowned talent made appearances at the New York Film Festival.

Internationally famed director Martin Scorsese spoke by video during a press conference on October 3. Scorsese talked about “George Harrison: Living in the Material World,” which is Scorsese’s new documentary. Special Anniversary Screenings of movies such as “The Royal Tennenbaums,” “Spirited Away” and “Howard’s End” will also be a part of The New York Film Festival.

Along with showing some of the world’s most talented actors and filmmakers, The New York Film Festival also gave the chance for bring up and coming movie makers to meet some famous directors and producers. The Emerging Vision event took place over the course of one day where 25 new and passionate film creators were given mentors to help produce high quality films.

The 25 chosen will have one year of ongoing guidance from professional directors and producers with the goal of helping young talents flourish in the entertainment industry. The New York Film Festival is a well respected annual event that gives both veterans and newcomers to the movie business a chance to share their talents for film with the world.
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