|
Post by quetee on Jan 8, 2019 19:17:07 GMT
This is Spike Lee's first DGA. Sit on that for a bit.
|
|
|
Post by quetee on Jan 8, 2019 19:19:51 GMT
This is actually a huge blow for Black Panther. The Dark Knight got a nod here. BP being weaker than it, which didn't even make it to the final five probably speaks over how low it must be Dark Knight got one cause they were not being snobs towards Nolan.
|
|
|
Post by bob-coppola on Jan 8, 2019 19:20:34 GMT
Yorgos Lanthimos is this year's Martin McDonagh. Actually, if anyone has to be this year's McDonagh, I'm thinking the closest comparison might be Farrelly. McDonagh was thought to be safe because he got Globe, DGA and BAFTA nods for what was widely assumed to be the Best Picture frontrunner; he was eventually overtaken by an out-of-left-field passion pick (PTA) whose film missed all the guilds but surged at the last minute to hit Picture and Director thanks to an unexpected wave of #1 support. I've had Farrelly in 4th place this whole time because apparently Green Book is something that the industry has collectively decided to make happen and I see no point in being skeptical anymore, but if any of the "safe" contenders (which McDonagh was thought to be and Lanthimos never has been) gets the boot because the directing branch of the Academy decide to think outside the box and nominate an artsier alternative (like Jenkins, who makes sense as a potential PTA-type spoiler), I think Farrelly might be the one to get left out. Just to be clear, I'm not necessarily expecting that to happen. McKay is the most vulnerable one here if you ask me (and I still think he might miss out to make room for Lanthimos given the differences in the DGA and the Academy's tastes), but him getting left out wouldn't be a McDonagh-level shock given that Vice isn't getting serious BP winner talk like Three Billboards was and Green Book is. I'm lighting all the candles in this house to pray for this.
|
|
|
Post by quetee on Jan 8, 2019 19:22:23 GMT
I'm going to check their history.
|
|
|
Post by stephen on Jan 8, 2019 19:22:42 GMT
Here's my hot take: I think Farrelly was better than Cooper and McKay. Yes, his direction was basic to the point of pedestrianism and I wouldn't nominate it, but it didn't at least distract from the viewing the way that McKay's over-stuffed ADD and Cooper's egotistic vanity did. Egoistic vanity? The movie had amazing direction. That Roy Orbison scene and *that scene* are proofs of it Yeah, I disagree wholeheartedly on that. To quote from my review on it: Cooper’s direction really got in the film’s own way. It felt like there was a five-hour cut of the film, and while they were cutting it down, Cooper insisted there be two seconds minimum of every scene they did shoot, making some transitions really bloody awkward. And I think if you cut out every time someone repeats themselves to Jackson Maine, the film might be a half-hour shorter. It was aggressively cut-happy, with some of the film's key emotional moments being undercut by cutaways or, in the case of that final ballad, those stupid spliced-in flashbacks. Cooper is afraid to just let the scene play out and feels the need to beat his audience over the head with constant reminders. I also don't think the Roy Orbison scene is anything worth praising, and *that scene* is nothing special. For my money, the only moment where I feel Cooper made the right directorial choice was keeping the camera on Sam Elliott's face while he was backing out of the driveway, and restraining himself from adding in a long heartbreaking soliloquy in place of the line they ended up using. In general, I think actors-turned-directors almost always bring a heightened sense of vanity and ego to their projects, particularly if they are starring in them. That's understandable. But Cooper's approach was pretty damned masturbatory, and not even in a sort of even-handed way. The film is called A Star Is Born, yet he utterly screws over Ally's growth and character development in the film's back half at the expense of doing his self-imposed addiction story.
|
|
The-Havok
Badass
Doing pretty good so far
Posts: 1,155
Likes: 552
|
Post by The-Havok on Jan 8, 2019 19:23:31 GMT
This is Spike Lee's first DGA. Sit on that for a bit. I hope that will make his haters shut up for a while.
|
|
The-Havok
Badass
Doing pretty good so far
Posts: 1,155
Likes: 552
|
Post by The-Havok on Jan 8, 2019 19:29:32 GMT
Egoistic vanity? The movie had amazing direction. That Roy Orbison scene and *that scene* are proofs of it Yeah, I disagree wholeheartedly on that. To quote from my review on it: Cooper’s direction really got in the film’s own way. It felt like there was a five-hour cut of the film, and while they were cutting it down, Cooper insisted there be two seconds minimum of every scene they did shoot, making some transitions really bloody awkward. And I think if you cut out every time someone repeats themselves to Jackson Maine, the film might be a half-hour shorter. It was aggressively cut-happy, with some of the film's key emotional moments being undercut by cutaways or, in the case of that final ballad, those stupid spliced-in flashbacks. Cooper is afraid to just let the scene play out and feels the need to beat his audience over the head with constant reminders. I also don't think the Roy Orbison scene is anything worth praising, and *that scene* is nothing special. For my money, the only moment where I feel Cooper made the right directorial choice was keeping the camera on Sam Elliott's face while he was backing out of the driveway, and restraining himself from adding in a long heartbreaking soliloquy in place of the line they ended up using. In general, I think actors-turned-directors almost always bring a heightened sense of vanity and ego to their projects, particularly if they are starring in them. That's understandable. But Cooper's approach was pretty damned masturbatory, and not even in a sort of even-handed way. The film is called A Star Is Born, yet he utterly screws over Ally's growth and character development in the film's back half at the expense of doing his self-imposed addiction story. Affleck record so far has been outstanding and ego free. How is The Town full of vanity. Shit, it and Argo was beloved by the French and directors. Not everyone is Angelina Jolie. I gotta say that I agree with you on him not prolonging the sensuality and emotional sequences. And yes, that Elliot scene is a really good example of Cooper's emotional intelligence. Not only it adds a powerful significance to the story but it also gives other overly technical directors a lesson. Not sure if that's more of an editing choice since he could have done that in a more seamlessly manner. Some cutaways were amazing though, Bresson and Mann came to mind when watching it
|
|
|
Post by hugobolso1 on Jan 8, 2019 19:38:58 GMT
Not Ramsay.-
|
|
|
Post by stephen on Jan 8, 2019 19:39:47 GMT
Affleck record so far has been outstanding and ego free. How is The Town full of vanity. Shit, it and Argo was beloved by the French and directors. Not everyone is Angelina Jolie. I gotta say that I agree with you on him not prolonging the sensuality and emotional sequences. And yes, that Elliot scene is a really good example of Cooper's emotional intelligence. Not only it adds a powerful significance to the story but it also gives other overly technical directors a lesson. Not sure if that's more of an editing choice since he could have done that in a more seamlessly manner. Some cutaways were amazing though, Bresson and Mann came to mind when watching it I did say "almost always," not "always." Affleck would be a surprisingly rare exception (although I think there is something to be said for the criticism he got for casting himself in the leading role of Argo, playing a character of Hispanic descent). I do think that he has shown remarkable restraint in basically playing unshowy characters in his films, instead allowing for other actors to have the opportunity to be showier. But then, you're also talking to the guy who gives Affleck Best Director for Live by Night, so there's that. I just think that the whole project of A Star Is Born, from conception to execution, was wrongheaded. There is good in it, and it's not like it's an unwatchably bad movie overall, but I feel like where it falls short is almost entirely due to Cooper's direction (and the script). The thing about every other version of the story is that even though the Norman/Jackson character has his issues and downward spiral, it never comes at the expense of the Esther/Ally character . . . except here. It feels so very much like Cooper wanted to have his cake and eat it too, and wound up falling short on both ends. I definitely don't think he was channeling Bresson or Mann, and even so, it doesn't really matter because the script leaves so many gaps in the Ally/Jackson relationship, leading to some off-the-wall moments or unreasonable character interactions, making any sort of artistic inspiration almost moot because it's wasted on bad scene-staging. Bottom-line: Cooper is no Eastwood. Clint has his own problems, but the one thing that he's good at is even-handed approaches to stories. He would've recognized that focusing too much on Jackson in the second half at Ally's expense ruins the general conceit of the story, and he would've resisted those urges to pander to that character, which Cooper seemed unable to do.
|
|
|
Post by DeepArcher on Jan 8, 2019 19:40:27 GMT
Godawful line-up. And here I thought Cooper's nominations in this category would be the most problematic ones. I thought for sure that Farrelly and McKay getting in at the Globes were the product of that group always having a couple of random ass directing nominations, and the fact that HFPA seemed to really love those films. I honestly never thought until now that they'd be real threats at the Oscars over Lanthimos, Coogler, even Jenkins. I do have to wonder if Lanthimos is still *too* eccentric for most tastes -- The Favourite has continually been referred to as his "most accessible" work, but on the contrary I got the impression that it would still be off-putting to a lot of people while watching the film, something that its negative RT audience score and such seem to reflect. While I think he's more or less guaranteed to get in at BAFTA and that should be a boost for him, I'm starting to think he's still a bit too outlandish to get recognition here. And then there's Coogler, whose snub kind of shocks me: he directed what is bound to be the technical award giant of the year, and he's already achieved a great deal of celebrity for the film's impact, even getting on the shortlist for TIME Person of the Year (but then again, so did Patty Jenkins last year). You'd have to assume that these factors are working in his favor, and I can't imagine he'd miss out on a nomination unless Black Panther *really* underwhelms with the Academy.
I'd like to think that Farrelly and McKay are not quite safe yet, as the Academy's voting period just began yesterday. Farrelly will surely be hurt by the ensuing Green Book backlash, and the fact that he made a total ass out of himself with his acceptance speech. McKay, on the other hand, has the very underwhelming response to Vice that should be working against him, yet it apparently might not be affecting his and the film's awards success as much as we assumed it would. Regardless, both Green Book and Vice should have deflated momentum right now in the middle of the Academy voting period, and that should at least make both of them vulnerable to their competition. Here's hoping they don't get in in favor of more inspired, and more deserving, choices!
|
|
|
Post by sterlingarcher86 on Jan 8, 2019 19:42:04 GMT
They are the opposite of snobs and that’s why they always pick such middlebrow and baity films. Okay then what is a better way to say it then........they exclude people. They have some sort of bias. Not my job to choose your words for you.
|
|
|
Post by RiverleavesElmius on Jan 8, 2019 19:42:15 GMT
Egoistic vanity? The movie had amazing direction. That Roy Orbison scene and *that scene* are proofs of it Yeah, I disagree wholeheartedly on that. To quote from my review on it: Cooper’s direction really got in the film’s own way. It felt like there was a five-hour cut of the film, and while they were cutting it down, Cooper insisted there be two seconds minimum of every scene they did shoot, making some transitions really bloody awkward. And I think if you cut out every time someone repeats themselves to Jackson Maine, the film might be a half-hour shorter. It was aggressively cut-happy, with some of the film's key emotional moments being undercut by cutaways or, in the case of that final ballad, those stupid spliced-in flashbacks. Cooper is afraid to just let the scene play out and feels the need to beat his audience over the head with constant reminders. I also don't think the Roy Orbison scene is anything worth praising, and *that scene* is nothing special. For my money, the only moment where I feel Cooper made the right directorial choice was keeping the camera on Sam Elliott's face while he was backing out of the driveway, and restraining himself from adding in a long heartbreaking soliloquy in place of the line they ended up using. In general, I think actors-turned-directors almost always bring a heightened sense of vanity and ego to their projects, particularly if they are starring in them. That's understandable. But Cooper's approach was pretty damned masturbatory, and not even in a sort of even-handed way. The film is called A Star Is Born, yet he utterly screws over Ally's growth and character development in the film's back half at the expense of doing his self-imposed addiction story. If *that scene* is the garage scene, then you are DEAD WRONG. The close-up of Cooper's face in that final scene was the single most haunting film image of the entire year. Beautifully, devastatingly acted AND directed.
|
|
The-Havok
Badass
Doing pretty good so far
Posts: 1,155
Likes: 552
|
Post by The-Havok on Jan 8, 2019 19:44:21 GMT
The Dark Knight had gotten into ACE, DGA and ASC. This is your king?
|
|
|
Post by stephen on Jan 8, 2019 19:46:37 GMT
Yeah, I disagree wholeheartedly on that. To quote from my review on it: Cooper’s direction really got in the film’s own way. It felt like there was a five-hour cut of the film, and while they were cutting it down, Cooper insisted there be two seconds minimum of every scene they did shoot, making some transitions really bloody awkward. And I think if you cut out every time someone repeats themselves to Jackson Maine, the film might be a half-hour shorter. It was aggressively cut-happy, with some of the film's key emotional moments being undercut by cutaways or, in the case of that final ballad, those stupid spliced-in flashbacks. Cooper is afraid to just let the scene play out and feels the need to beat his audience over the head with constant reminders. I also don't think the Roy Orbison scene is anything worth praising, and *that scene* is nothing special. For my money, the only moment where I feel Cooper made the right directorial choice was keeping the camera on Sam Elliott's face while he was backing out of the driveway, and restraining himself from adding in a long heartbreaking soliloquy in place of the line they ended up using. In general, I think actors-turned-directors almost always bring a heightened sense of vanity and ego to their projects, particularly if they are starring in them. That's understandable. But Cooper's approach was pretty damned masturbatory, and not even in a sort of even-handed way. The film is called A Star Is Born, yet he utterly screws over Ally's growth and character development in the film's back half at the expense of doing his self-imposed addiction story. If *that scene* is the garage scene, then you are DEAD WRONG. The close-up of Cooper's face in that final scene was the single most haunting film image of the entire year. Beautifully, devastatingly acted AND directed. Yeah, that scene did nothing for me on an emotional level, and if anything, it's emblematic of everything I find wrong about the movie as a whole. It spends far too much time focusing on Jackson at Ally's expense, and turns her into nothing but a supporting character in her own story. It's clear it worked for others (you guys and the DGA), but not me. Cooper is fine with lingering on Jackson's face in his big moment, but when it comes time for Gaga at the very end, he can't even hold the camera on her face for more than two seconds before he's splicing in flashbacks in it, undercutting the emotionality of her performance in that final song.
|
|
|
Post by RiverleavesElmius on Jan 8, 2019 19:51:52 GMT
If *that scene* is the garage scene, then you are DEAD WRONG. The close-up of Cooper's face in that final scene was the single most haunting film image of the entire year. Beautifully, devastatingly acted AND directed. Yeah, that scene did nothing for me on an emotional level, and if anything, it's emblematic of everything I find wrong about the movie as a whole. It spends far too much time focusing on Jackson at Ally's expense, and turns her into nothing but a supporting character in her own story. It's clear it worked for others (you guys and the DGA), but not me. Cooper is fine with lingering on Jackson's face in his big moment, but when it comes time for Gaga at the very end, he can't even hold the camera on her face for more than two seconds before he's splicing in flashbacks in it, undercutting the emotionality of her performance in that final song. Soooo...you're saying in that crucial heartbreaking last scene that's ALL ABOUT JACKSON, the camera should have focused on...Ally, who's not even there in said scene??? And I'd disagree that's it "her story". It's suppose to be THEIR STORY, both of them.
|
|
|
Post by quetee on Jan 8, 2019 19:54:15 GMT
The Dark Knight had gotten into ACE, DGA and ASC. This is your king? What does that have to do with anything. That wasn't Nolan's first DGA nod. My point is that some of these groups are simply snobs. Look at what is going on with Paul Schrader. The guy who wrote, Taxi Driver, Raging Bull and other movies can't score a WGA nod in this field? Are you kidding me. What the heck is going on with that especially since his film has received tons of accolades? When all is said and done, this is a peer system and sometimes people will make it personal rather than professional. If Paul gets snubbed at the Oscars, then my conclusion is that simply don't like him.
|
|
|
Post by stephen on Jan 8, 2019 19:56:30 GMT
Yeah, that scene did nothing for me on an emotional level, and if anything, it's emblematic of everything I find wrong about the movie as a whole. It spends far too much time focusing on Jackson at Ally's expense, and turns her into nothing but a supporting character in her own story. It's clear it worked for others (you guys and the DGA), but not me. Cooper is fine with lingering on Jackson's face in his big moment, but when it comes time for Gaga at the very end, he can't even hold the camera on her face for more than two seconds before he's splicing in flashbacks in it, undercutting the emotionality of her performance in that final song. Soooo...you're saying in that crucial heartbreaking last scene that's ALL ABOUT JACKSON, the camera should have focused on...Ally, who's not even there in said scene??? And I'd disagree that's it "her story". It's suppose to be THEIR STORY, both of them. I have no problem with the way he shot that scene itself (except that I got zero emotional reaction from it), but the whole point is that he, as a director, cared more about Jackson's journey than he did Ally's, and that scene is endemic of that in microcosm (allowing for a long shot of his own face, while denying the same for Gaga in her final solo). He should've allowed for Ally to have more agency and character focus in the second half of the movie, considering she's the title character. And even if you argue that it's "their story," it's barely even hers by the end because Jackson ate up all the focus.
|
|
|
Post by bruinjoe96 on Jan 8, 2019 19:58:48 GMT
This is actually a huge blow for Black Panther. The Dark Knight got a nod here. BP being weaker than it, which didn't even make it to the final five probably speaks over how low it must be It is a huge blow, but I don't think its game over for him just yet. I don't think Adam McKay and potentially Farrelly are safe, so maybe he can knock one of them out. I mean, PTA got in last year without DGA and before him Mel Gibson. At the very least, he gets a writing nomination.
|
|
The-Havok
Badass
Doing pretty good so far
Posts: 1,155
Likes: 552
|
Post by The-Havok on Jan 8, 2019 20:00:03 GMT
This is actually a huge blow for Black Panther. The Dark Knight got a nod here. BP being weaker than it, which didn't even make it to the final five probably speaks over how low it must be It is a huge blow, but I don't think its game over for him just yet. I don't think Adam McKay and potentially Farrelly are safe, so maybe he can knock one of them out. I mean, PTA got in last year without DGA and before him Mel Gibson. At the very least, he gets a writing nomination. I really hope Kendrick, SZA and Coogler are the only ones nominated. Jordan has no chance now
|
|
|
Post by wilcinema on Jan 8, 2019 20:21:14 GMT
Let's wait for BAFTA but at this point I'd be surprised to see Farrelly miss Best Director. He was nominated by the Globes and by the DGA, and the movie even won a Best Picture award on Sunday.
If someone gets the boot, it's McKay.
|
|
The-Havok
Badass
Doing pretty good so far
Posts: 1,155
Likes: 552
|
Post by The-Havok on Jan 8, 2019 20:44:24 GMT
Lynda Obst hated Farrelly and McKay. I say both miss over Lanthimos and Jenkins
|
|
|
Post by Billy_Costigan on Jan 8, 2019 20:50:29 GMT
Vice's direction is the worst aspect of the film. But by all means give him a nod over Chazelle, Jenkins, Coogler, and Lanthimos.
|
|
|
Post by sterlingarcher86 on Jan 8, 2019 20:51:59 GMT
Lynda Obst hated Farrelly and McKay. I say both miss over Lanthimos and Jenkins Huh? Why?
|
|
|
Post by Ryan_MYeah on Jan 8, 2019 20:53:59 GMT
Vice's direction is the worst aspect of the film. But by all means give him a nod of Chazelle, Jenkins, Coogler, and Lanthimos.
|
|
|
Post by JangoB on Jan 8, 2019 20:54:19 GMT
I think if anyone's missing at the Oscars, it's Farrelly. McKay's direction is very flashy while Farrelly's is the type of anonymous style-less direction that tends to miss even if the movie itself is very popular (Three Billboards, Lion, Hidden Figures, The Theory of Everything and so on).
|
|