I seen that. Oscar nominations are due today so we'll see how it shakes out..next week? I think they're announced next week, maybe the week after.
The Official 87th Academy Awards Thread
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I seen that. Oscar nominations are due today so we'll see how it shakes out..next week? I think they're announced next week, maybe the week after.
They could still pull a Braveheart
January 15th
i follow this stuff more closely than i do the NBA these days
Breh I haven't seriously followed the NBA in 2 years. Like seriously followed. I'm more casual now than I've ever been. But that's a good look, the 15th it is. We'll keep computers putin that day
Birdman and Foxcatcher...I'm going to see A Most Violent Year this week, so that may crack the space...I got Birdman as my definite #1 and Selma/Foxcatcher are wrestling for #2 right now...
Next month when we do top 10 2014 movies, I'll reveal the final list :saboflabbysick:
TheGodling
Los Ingobernables de Sala de Cine
January 15th
i follow this stuff more closely than i do the NBA these days
A day after the only cinema-related day on my agenda, the announcements of the IFFR program schedule.
@flyry I got an explanation as to why Interstellar got subbed for the PGA's and Selma, but I know which one you're interested in: according to Deadline, Paramount didn't send the producers guild any screeners of it because Nolan wants people to experience it on the big screen, although they did send blu ray copies to the Academy. They did the same with Selma, only sending screeners to Oscar voters. Normally the PGA goes for Nolan which is why it was news that he got snubbed.
http://deadline.com/2015/01/best-picture-wide-open-pga-1201341243/
http://www.hitfix.com/in-contention...e-universal-industry-and-guild-support-so-far
http://deadline.com/2015/01/best-picture-wide-open-pga-1201341243/
http://www.hitfix.com/in-contention...e-universal-industry-and-guild-support-so-far
StraxStrax
I'm selling these fine leather jackets
Whiplash
I really really like it. JK might take the best supporting Oscar. It's been a long time since I said this about a movie but it could've been longer, like 20-30 mins longer. Andrew and Fletcher are great together and Andrew and his father work very well but every other relationship feel empty or rushed. Same goes for the inner time of the movie, it could take place in a period of 2 months but if someone said "nah, it's like 6 months+" I'd not be shocked. With more character and world building this could've been the best movie of the year, for me anyway.
I really really like it. JK might take the best supporting Oscar. It's been a long time since I said this about a movie but it could've been longer, like 20-30 mins longer. Andrew and Fletcher are great together and Andrew and his father work very well but every other relationship feel empty or rushed. Same goes for the inner time of the movie, it could take place in a period of 2 months but if someone said "nah, it's like 6 months+" I'd not be shocked. With more character and world building this could've been the best movie of the year, for me anyway.
the next guy
Superstar
January 15th
i follow this stuff more closely than i do the NBA these days
and @TheGodling @StraxStrax Selma is too miliant for america take a look
http://www.nytimes.com/2015/01/01/m...n-b-johnson-in-selma-raises-hackles.html?_r=0
Was Lyndon B. Johnson a civil rights mastermind, or a reluctant follower pulled along by activists led by the Rev. Dr. Martin Luther King Jr.?
The question has long been a matter of contention, even flaring up in the 2008 presidential primary battle between Hillary Rodham Clinton and Barack Obama.
And now, it has also come to another hard-fought political campaign, the Oscar race, once again raising the fraught question of who makes history — and who gets to write it.
The new film “Selma,” directed by Ava DuVernay, has won rave reviews and awards buzz for its depiction of the tense maneuvering surrounding the protests in that small town in March 1965, as Dr. King (played by David Oyelowo) contended with racist authorities in Alabama as well as factions inside the civil rights movement.
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But it has also drawn some sharp criticism for its depiction of Johnson as a laggard on black voting rights who opposed the marches and even unleashed the Federal Bureau of Investigation in an effort to stop Dr. King’s campaign.
Film Shows a Selma Some Would Rather Not Revisit DEC. 24, 2014
Movie Review: In ‘Selma,’ King Is Just One of Many HeroesDEC. 24, 2014
With ‘Selma,’ Ava DuVernay Seeks a Different EqualityDEC. 3, 2014
Photo
Dr. King meeting with President Johnson in the Oval Office in 1964 before passage of the Civil Rights Act. With them are the activists Whitney Young, third from left, and James Farmer. Credit Universal History Archive/Getty Images
The charge began on Dec. 22, three days before the movie’s release, when Mark K. Updegrove, the director of the Lyndon Baines Johnson Library and Museum, wrote an article in Politico saying that the film was trying to “b*stardize one of the most hallowed chapters in the civil rights movement.” A few days later, Joseph A. Califano Jr., a former top domestic aide to Johnson, issued another salvo, in The Washington Post, accusing the filmmakers of deliberately ignoring the historical record.
The criticism of the film’s depiction of the president has come not just from Johnson loyalists, but from some historians who said they admired other aspects of the film.
“Everybody has to take license in movies like this, and it can be hard for nit-pickers like me to suspend nit-picking,” Diane McWhorter, the author of “Carry Me Home: Birmingham, Alabama: The Climactic Battle of the Civil Rights Revolution,” said in an interview.
“But with the portrayal of L.B.J.,” she continued, “I kept thinking, ‘Not only is this not true, it’s the opposite of the truth.’ ”
Fierce debates over the historical accuracy of movies, amplified by the heat of awards season, are nothing new. In 2013, Kathryn Bigelow’s “Zero Dark Thirty” was denounced as endorsing torture. Steven Spielberg’s “Lincoln,” another best picture nominee that year, drew criticism from historians who said it promoted an outmoded “great man” view of history and ignored the crucial role of African-Americans in emancipating themselves.
The dispute over “Selma,” the first major feature film squarely about Dr. King and the rare studio offering directed by an African-American woman, may have particularly charged present-day resonances.
Julian E. Zelizer, the author of the new book “The Fierce Urgency of Now: Lyndon Johnson, Congress and the Battle for the Great Society,” said it recalled the moment in the 2008 primary when Mrs. Clinton declared that Dr. King’s dream of equality only “began to be realized when President Johnson passed the Civil Rights Act” of 1964, prompting accusations that she was playing down Dr. King’s role as part of her own effort to best an African-American political rival.
“The debate isn’t just about L.B.J., but about how American politics works,” said Professor Zelizer, who teaches history at Princeton. “Is it a matter of powerful elected leaders, or average people who put their bodies on the line?”
The sparring over “Selma,” which is set for wide release on Jan. 9, has certainly taken on a populists-versus-establishmentarians tinge. In his op-ed article, Mr. Califano wrote that the Selma marches were “L.B.J.’s idea,” citing a transcript of a phone call two months before the marches in which Johnson urged Dr. King to generate white political support for a voting rights bill by seeking out “the worst condition that you run into” in the South and getting images of racist brutality widely circulated in the news media.
In a Twitter post on Sunday, Ms. DuVernay called the notion that Selma was Johnson’s idea “jaw dropping and offensive” to the “black citizens who made it so.” People, Ms. DuVernay added, should “interrogate history” for themselves. (A spokeswoman for Paramount Pictures, the distributor of “Selma,” said that Ms. DuVernay was not available for comment for this article.)
Gary May, a professor at the University of Delaware and the author of “Bending Toward Justice: The Voting Rights Act and the Transformation of American Democracy,” said the heightened rhetoric on both sides was unsurprising.
“Here you have the first film about King, and some people are coming in and saying, ‘The story is really about the white people,’ ” he said. “In historical truth, the story was really about everybody.”
Photo
Tom Wilkinson as Johnson and David Oyelowo as Dr. King in “Selma.” Some critics say that the film unfairly portrays Johnson as slow to support voting rights for blacks. Credit Atsushi Nishijima/Paramount Pictures
Johnson has been the focus of a rehabilitation campaign among historians and others eager to burnish a legacy shadowed by the Vietnam War and by a lingering popular view of him as “a Southern racist in liberal clothing,” as Professor Zelizer put it.
Professor May, who said he had communicated informally with Ms. DuVernay over the past year after sending her a copy of his book, said that at a preview screening for invited guests in November, some audience members hissed when Johnson appeared.
“On balance, the film is a positive force,” he said. But in the Johnson scenes, he said, “there is a problem with the tone.”
Some civil rights historians, while questioning Mr. Califano’s wording, agreed with his broader point that Johnson and Dr. King were partners, not adversaries.
“Selma was not Johnson’s idea, but he was happy that King was out there mounting a voting rights campaign,” said David J. Garrow, the author of “Bearing the Cross: Martin Luther King, Jr., and the Southern Christian Leadership Conference,” who has not yet seen the movie.
The movie’s depiction of Johnson’s attitude toward F.B.I. surveillance of Dr. King’s personal life, which began during the Kennedy administration, is particularly problematic, several historians said.
In an early scene, Johnson seems disgusted by J. Edgar Hoover’s suggestion that Dr. King — “a political and moral degenerate,” Hoover says — be taken down. But later the president, angered by Dr. King’s plans in Selma, asks to get Hoover on the phone. Soon after, Coretta Scott King is shown listening to a tape of anonymous threats, followed by the sounds of Dr. King moaning with a lover.
In fact, the tape, which Mrs. King listened to in January 1965, had been recorded and sent to the headquarters of Dr. King’s organization, the Southern Christian Leadership Conference, in late 1964 by the bureau’s intelligence division, and had no direct connection to Selma or to Johnson, Mr. Garrow said.
“If the movie suggests L.B.J. had anything to do with the tape, that’s truly vile and a real historical crime against L.B.J.,” he said.
It is true, historians say, that Johnson was hesitant to introduce a voting rights bill so soon after the passage of the Civil Rights Act. But Professor May noted that on Dec. 14, 1964, Johnson directed his attorney general, Nicholas Katzenbach, to begin drafting such a bill — a fact the film does not mention, he said.
Also omitted, Professor Zelizer said, is the fact that when the Selma marches began, Katzenbach was already negotiating secretly with members of Congress over the eventual bill.
“They obviously wanted to create a villain, and really miss who Lyndon Johnson was,” he said.
The movie, Professor Zelizer said, does a powerful job of depicting the courage of the activists, and the tactical genius of Dr. King. And it gets one thing absolutely right: the crucial role of the movement in pushing Johnson to act more quickly than he thought was possible.
“The real story wasn’t about a president who didn’t want voting rights,” he said. “It was about a president who couldn’t get them through. And it was the civil rights movement that made that possible.”
Exactly @the next guy . I study this for my dissertation and its a historical trend that whites do not like when you don't centralize their role in the civil rights movement. They want to emphasize their mobilization with black middle class organizations like NAACP and SCLC and devalue the black masses' organizing themselves...it's Fannie Lou hamer's idea of mobilization vs. organization...That's why they hated the Black power Era and what it stood for because it was about black autonomy and self-determination. Selma represents black autonomy and militancy that the white liberals were not comfortable with...yea you saw some out there, but many stepped back when the real shyt hit the fan...
Selma has no chance of winning best picture at all because of the realistic portrayal on film. Oh well, we know its a phenomenal film.
Selma has no chance of winning best picture at all because of the realistic portrayal on film. Oh well, we know its a phenomenal film.
And I'm still going to ride for it until they announce Boyhood as the winner.
Breh that's the front runner right now. Obviously shyt can change but if I was putting money on it I'd go with boyhood although it's the most obvious choice. Maybe the academy will surprise us. I hope so