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Post by stephen on Mar 1, 2019 21:56:28 GMT
Could the fact that Swanson didn't win the Oscar back in '50 possibly improve Close's chances here, added on to the overdue narrative, since it's such a beloved role and performance that didn't get recognized? I know after this past season lots of stats and overdue stuff can be thrown out the window but still wanted to bring this up. I don't think that Swanson losing back in 1950 would have any bearing on Close's chances, as it wouldn't "redeem" Swanson in any way to reward Close. However, it could also be said that Swanson's performance is so indelible in cinema (arguably one of the most iconic performances of all time) that comparisons would be drawn nevertheless between the two, and if the new film doesn't live up to the lofty expectations set, it might be judged unfavorably in comparison rather than on its own merits. That's the hidden trap in remakes, re-imaginings and re-adaptations -- if you're taking a beloved property, you're coming in with a lot of baggage already. There are a lot of potential pitfalls to watch out for in doing something like this, which is what gives me pause when we see a first-time director attached to it.
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Post by pupdurcs on Mar 1, 2019 22:45:50 GMT
Yeah...as much as people want to see Close finally land the golden eunuch, I think people need to take a wait and see approach. A musical and a first time film director is hardly money in the bank. Critics could easily end up hating it.
A more foolproof or critic friendly director would inspire more confidence that the project would stick the landing. But I do think this might be her last chance in lead.
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Post by quetee on Mar 2, 2019 0:48:05 GMT
She's not winning until she is. Not getting my fucking hopes up this time until it happens. This one might at least get a few other nods (Production Design, Costume, Sound, maybe Makeup) and if they cast a big star for Joe, maybe even Actor or Supporting Actor. Despite what everyone said, The Wife was well received (it got a 77 Metascore), I doubt this one will get a better score. Chris Evans, Jake Gyllenhall, Chris Pine for Joe Gillis? Okay, I know I say this too much but Dan Stevens as Joe Gillis.
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Post by Zeb31 on Mar 2, 2019 3:03:57 GMT
This just in:
Also announced:
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Post by stephen on Mar 2, 2019 3:07:09 GMT
If she can nail Theresa May's "dancing", I'd be fine with her winning her fourth Oscar.
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Post by pupdurcs on Mar 2, 2019 3:10:56 GMT
This just in: Also announced: Lol! The Streep/Wright/McCarten Brexit film is scarily believable🤣 I know y'all made that shit up though
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Post by bob-coppola on Mar 2, 2019 3:34:36 GMT
I'd be dying to watch the 2020 Oscars if the line-up end up being Glenn Close, Amy Adams, Jessica Chastain, Emily Blunt and Michelle Williams. Whose overdue narrative would be stronger? Would it be the first time there's no Best Actress winner 'cause none of them got a vote? Would this be the first 5-way tie in Oscar history? That'd be interesting.
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Zeb31
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Post by Zeb31 on Mar 2, 2019 4:50:16 GMT
Getting MASSIVELY off-topic here, but-- I'd be dying to watch the 2020 Oscars if the line-up end up being Glenn Close, Amy Adams, Jessica Chastain, Emily Blunt and Michelle Williams. Whose overdue narrative would be stronger? Would it be the first time there's no Best Actress winner 'cause none of them got a vote? Would this be the first 5-way tie in Oscar history? That'd be interesting. Obviously it'd depend 100% on the project; Olivia Colman just came out of nowhere and won an Oscar over 7-time nominee Glenn Close, so anything can happen, yadda yadda yadda. With that said, though, if we're going by overdue narratives alone, Close's is handily the strongest. They're basically getting this entire film off the ground just to capitalize on her awards buzz, so I don't know if anyone has a better claim to that narrative than she does right now. There's a big gap after her. All four of those remaining actresses are highly respected and seem to be very well-liked by everyone they work with, but they're all young and highly in demand; none of them have ever been a serious threat for the win (except for maaaaybe Chastain in 2012, but then the race coalesced into Lawrence vs. Riva), and none can claim to have performances for which they're widely believed to have been robbed (so to speak) and which have people saying "how the hell didn't they win for that?", like Close does with Fatal Attraction and Dangerous Liaisons, or like Blanchett did with Elizabeth, or Viola Davis immediately following The Help etc. etc. I mean, Blunt has never even been nominated. Adams will be on her 7th nomination the next time she's up, which is pretty damn enviable, but what this past season showed us was that her due status is perhaps not as intense as one might expect from someone with as many nods under their belt as she has. Even in Regina King's absence she lost the SAG to an Oscar snubbee and the BAFTA to a previous winner, so clearly she's not at a point where she can rely on overdue sentiment to carry her case. (I mean, strictly speaking nobody can, is my entire point, but you see what I mean.) Same with Williams, who has 4 nods and massive critical support but whose project selection usually makes her fly under the radar as far as general audiences and the Academy are concerned. It speaks to how much Chastain has achieved in such little time that she's even in this conversation at all even though it hasn't even been 8 full years since she broke out and people actually became aware of her, so it might be way too soon for there to be any real overdue sentiment towards her in the industry. It'll probably take a few more years of consistently good work (like she's put in ever since she rose to fame) to really get there. And Blunt... well, being #6 stings, but as I'm sure she'd tell us, being #6 in two categories in the same year has gotta sting more. None of them can really compare to Close. With all of that said, though, I can see all four of them win eventually, perhaps in the near future. Adams's nomination count is next in line after Close's, so the overdue talk will really start kicking in in a few years. I'm not buying The Woman in the Window as her winning ticket, but something will certainly come up pretty soon. Chastain may have gotten blocked the last three times that she was in the conversation (coincidentally, all three of them in categories that wound up having Meryl Streep take up a filler slot ), but the fact that she was in contention in 5 out of the past 8 seasons (picking up at least a Globe nod in all of those instances) speaks to her power. It'll only help matters that she's getting seriously into producing now. Like Adams, she also tends to befriend the directors she works with and make multiple projects with the same people, so there's nothing stopping the likes of Nolan, Bigelow and Sorkin from giving her a call the next time they have a role for her (wasn't the case with Dunkirk and Detroit, with their whopping total of three female speaking parts total, but still). Looking forward to The Good Nurse, hope that gets off the ground soon especially if they replace Redmayne. Williams is always up to interesting stuff and is on a career upswing again following her pre-2016 break, so something is bound to pick up enough awards steam sooner or later. Not a Kelly Reichardt project, but another Manchester by the Sea. She has lots of intriguing stuff listed as upcoming on IMDB, This is Jane in particular. And for whatever reason, Blunt's always struck me as the type who wins on their first nod, probably in Supporting. She may not have broken through the nomination barrier yet, but that seems to be way more due to circumstance than any real resistence against her among her peers. I wonder how differently this past season would've transpired had she been nominated for A Quiet Place in Marina de Tavira's place. Most likely wouldn't have been enough to win over King, but things certainly would've been interesting.
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Post by Deleted on Mar 2, 2019 5:42:08 GMT
I don’t know if Herzog can sing or dance but I’m having a hard time picturing anyone but him as Max.
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Post by stabcaesar on Mar 2, 2019 15:33:23 GMT
Adams will be on her 7th nomination the next time she's up, which is pretty damn enviable, but what this past season showed us was that her due status is perhaps not as intense as one might expect from someone with as many nods under their belt as she has. Even in Regina King's absence she lost the SAG to an Oscar snubbee and the BAFTA to a previous winner, so clearly she's not at a point where she can rely on overdue sentiment to carry her case. (I mean, strictly speaking nobody can, is my entire point, but you see what I mean.) Same with Williams, who has 4 nods and massive critical support but whose project selection usually makes her fly under the radar as far as general audiences and the Academy are concerned. She's too sweet.
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Post by ibbi on Mar 2, 2019 16:27:07 GMT
Writer/Director duo sounds laaaaaaaaaaaaaaaaaaaaaaaaaaaaame. I mean at least they didn't hire Rob Marshall, but come on. Put some fucking effort in, you're making a movie called Sunset Blvd.
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Post by bob-coppola on Mar 2, 2019 22:02:11 GMT
Getting MASSIVELY off-topic here, but-- I'd be dying to watch the 2020 Oscars if the line-up end up being Glenn Close, Amy Adams, Jessica Chastain, Emily Blunt and Michelle Williams. Whose overdue narrative would be stronger? Would it be the first time there's no Best Actress winner 'cause none of them got a vote? Would this be the first 5-way tie in Oscar history? That'd be interesting. Obviously it'd depend 100% on the project; Olivia Colman just came out of nowhere and won an Oscar over 7-time nominee Glenn Close, so anything can happen, yadda yadda yadda. With that said, though, if we're going by overdue narratives alone, Close's is handily the strongest. They're basically getting this entire film off the ground just to capitalize on her awards buzz, so I don't know if anyone has a better claim to that narrative than she does right now. There's a big gap after her. All four of those remaining actresses are highly respected and seem to be very well-liked by everyone they work with, but they're all young and highly in demand; none of them have ever been a serious threat for the win (except for maaaaybe Chastain in 2012, but then the race coalesced into Lawrence vs. Riva), and none can claim to have performances for which they're widely believed to have been robbed (so to speak) and which have people saying "how the hell didn't they win for that?", like Close does with Fatal Attraction and Dangerous Liaisons, or like Blanchett did with Elizabeth, or Viola Davis immediately following The Help etc. etc. I mean, Blunt has never even been nominated. Adams will be on her 7th nomination the next time she's up, which is pretty damn enviable, but what this past season showed us was that her due status is perhaps not as intense as one might expect from someone with as many nods under their belt as she has. Even in Regina King's absence she lost the SAG to an Oscar snubbee and the BAFTA to a previous winner, so clearly she's not at a point where she can rely on overdue sentiment to carry her case. (I mean, strictly speaking nobody can, is my entire point, but you see what I mean.) Same with Williams, who has 4 nods and massive critical support but whose project selection usually makes her fly under the radar as far as general audiences and the Academy are concerned. It speaks to how much Chastain has achieved in such little time that she's even in this conversation at all even though it hasn't even been 8 full years since she broke out and people actually became aware of her, so it might be way too soon for there to be any real overdue sentiment towards her in the industry. It'll probably take a few more years of consistently good work (like she's put in ever since she rose to fame) to really get there. And Blunt... well, being #6 stings, but as I'm sure she'd tell us, being #6 in two categories in the same year has gotta sting more. None of them can really compare to Close. With all of that said, though, I can see all four of them win eventually, perhaps in the near future. Adams's nomination count is next in line after Close's, so the overdue talk will really start kicking in in a few years. I'm not buying The Woman in the Window as her winning ticket, but something will certainly come up pretty soon. Chastain may have gotten blocked the last three times that she was in the conversation (coincidentally, all three of them in categories that wound up having Meryl Streep take up a filler slot ), but the fact that she was in contention in 5 out of the past 8 seasons (picking up at least a Globe nod in all of those instances) speaks to her power. It'll only help matters that she's getting seriously into producing now. Like Adams, she also tends to befriend the directors she works with and make multiple projects with the same people, so there's nothing stopping the likes of Nolan, Bigelow and Sorkin from giving her a call the next time they have a role for her (wasn't the case with Dunkirk and Detroit, with their whopping total of three female speaking parts total, but still). Looking forward to The Good Nurse, hope that gets off the ground soon especially if they replace Redmayne. Williams is always up to interesting stuff and is on a career upswing again following her pre-2016 break, so something is bound to pick up enough awards steam sooner or later. Not a Kelly Reichardt project, but another Manchester by the Sea. She has lots of intriguing stuff listed as upcoming on IMDB, This is Jane in particular. And for whatever reason, Blunt's always struck me as the type who wins on their first nod, probably in Supporting. She may not have broken through the nomination barrier yet, but that seems to be way more due to circumstance than any real resistence against her among her peers. I wonder how differently this past season would've transpired had she been nominated for A Quiet Place in Marina de Tavira's place. Most likely wouldn't have been enough to win over King, but things certainly would've been interesting. Sure, Close's narrative is undeniably the strongest of them all. The simple notion that she's getting a Broadway musical made just to get her Oscar is proof of that. She only needs this movie to be good. Out of the other four, I don't really see Williams winning in the near future. Adams is the first in line: despite the Arrival snub, she has no trouble get in whenever she's good in a good movie. There's Big Eyes, but that was a Tim Burton stinker fighting for the #5 spot. Everytime she made a good/well-recieved movie, she got her due. She'll possibly get another with The Woman In The Window - most people aren't confident on this one, but Joe Wright is talented and gets good performances from his cast. I think we all agree this isn't a winning role, but she'll stay in the conversation and people actually want to see her winning. Then, comes Blunt. She has yet to be nominated, but as you said, she seems like the type of actor who wins in their first nod. She just needs to want an Oscar, which doesn't really seem the case with her choices. Any other person would be capitalizing in her double-snub goodwill to get more serious, character-driven vehicles made. Instead, she's making Jungle Cruise and sequels to A Quiet Place and Edge of Tomorrow. Her priorities clearly don't lie with winning awards right now, but she has the star-power to pull this off in her first nod like Bullock did. That's frustrating, seeing how good she was in Sicario. And then Chastain. Like Blunt, she just needs to ditch the action flicks scene and get her head back in the game. She achieved so much in so little time, it's impressive. Her 2010-2015 streak is so strong that, until very recently, my friends and I would use "is Jessica Chastain in this movie?" as a parameter to know if said movie would be good or not. Her game has been underwhelming since then, but the moment she forces Sorkin or Bigelow to write her a good role again, she'll certainly be back in the game. And Williams, as good as she is, she's just so understated. I honestly can see her flying under everyone's radar for the next 15 years or so. But if the 2020 BA contenders do turn out to be this group, I think I figured the most likely scenario: all of the get nominated everywhere, but come Oscar morning, Blunt finds out she missed and idk Elle Fanning took her spot for the Woody Allen movie. Fanning wins the Oscar and becomes everyone's favorite target since Paltrow.
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Post by Deleted on Mar 4, 2019 17:59:03 GMT
Chris Evans, Jake Gyllenhall, Chris Pine for Joe Gillis? Maybe Bradley Cooper?
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Post by bob-coppola on Mar 5, 2019 7:10:53 GMT
Chris Evans, Jake Gyllenhall, Chris Pine for Joe Gillis? Maybe Bradley Cooper? If he didn’t have that Bernstein movie, I think he’d be the perfect helmer for this project.
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Post by wilcinema on Mar 6, 2019 11:01:58 GMT
Chris Evans, Jake Gyllenhall, Chris Pine for Joe Gillis? Maybe Bradley Cooper? Too old, imo.
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Post by Deleted on Apr 4, 2019 12:59:57 GMT
What would you guys think of Lee Pace as Joe Gillis?
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Post by pacinoyes on Apr 12, 2020 16:41:16 GMT
An update ........and also she's got a new miniseries on her plate but it's not announced so she just hinted at it below. "I've always loved TV and when this was presented to me, I loved the premise of the story and the character. It will be something that'll be fun, creative and different. And by the end of the year, I really would love to work on the movie based on Sunset Boulevard the musical. That's always on my mind and I think we're getting closer ..."www.hollywoodreporter.com/news/how-im-living-now-glenn-close-1288088
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Post by pacinoyes on Dec 7, 2020 18:53:30 GMT
New.........From Vogue...........hmmmmmmm : www.vogue.com/article/glenn-close-broadway-for-bidenYour film adaption of Andrew Lloyd Webber’s Sunset Boulevard musical was in preproduction before the pandemic hit. What’s the latest update on Norma Desmond?
....... We have a fantastic script. I’m starring as well as producing, so I’ve been in the trenches with that one. We’re just waiting for an absolute green light, and I hope it’ll happen in the new year because we’re ready. I used to think I needed to play Albert Nobbs before I died, but now I think I need to do this. I can’t really put Norma to rest until I’ve explored her on film, so I hope that that happens.
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Post by theycallmemrfish on Dec 7, 2020 19:18:55 GMT
Translation: This shit better win me the god damned Oscar or so help me, I'm breaking into Gwenny's apartments and ripping that statue off her undeserving wall!
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Post by speeders on Dec 7, 2020 19:21:19 GMT
Olivia Colman probably needs to get a restraining order just to be save.
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Post by michael128 on Dec 12, 2020 4:40:56 GMT
Have you guys heard the grumblings that Catherine O’Hara might be replacing Close in this? Could be good.
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Post by mhynson27 on Dec 12, 2020 4:48:07 GMT
Have you guys heard the grumblings that Catherine O’Hara might be replacing Close in this? Could be good. Oh wow. Where did you hear that? EDIT: Ah, seems like it's just wishful thinking.
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Post by TerryMontana on Dec 12, 2020 14:03:19 GMT
Have you guys heard the grumblings that Catherine O’Hara might be replacing Close in this? Could be good. Oh wow. Where did you hear that? EDIT: Ah, seems like it's just wishful thinking. He made and spread the "news" on his own...
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Post by HELENA MARIA on Dec 12, 2020 14:36:27 GMT
Oh for God's sake! Just give the woman an Honorary Oscar already! 🙄
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Post by MsMovieStar on Dec 12, 2020 14:47:33 GMT
Oh honeys, shouldn't this have been made back in 1994 when she was riding the wave? The momentum seems gone.
I hate remakes and despite this being a musical we know it will have nothing on the original...
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