Aaa... penari kabaret...aku pun x tengok sebab tak sukalah nyanyi2 cam hindustan...mmg inspirasi hindustan betul. Aku ingat masa ni Nicole boleh dapat pencalonan utk watak hantu dlm The Others sebab masa Golden Globe...Nicole tercalon utk kedua-dua filem. Tp dia menang Mouline Rouge tu. Masa Oscar tak lepas pula The Others...eee...benci sangat.
Actress Charlotte Rampling saysher comments about the Oscars diversity controversy have been "misinterpreted".
The star, 69, who is nominated in the best actress category for herrole in Andrew Haigh’s 45 Years, had previously said that the uproarover there being no black actors on the Oscars shortlistwasunfair to the white actors who were nominated.
She told French radio station Europe 1: "It's racist to white people."
"We can never know if it was really the case, but perhaps theblack actors did not deserve to be in the final straight."
Rampling is up against Kate Winslet, Jennifer Lawrence, Cate Blanchett and Brie Larson in the best actress categoryCredit:TAL COHEN
But in an interview with CBS News's Sunday Morning, Rampling saidthat she supported moves to increase diversity within the film industry.
"I regret that my comments could have been misinterpreted thisweek in my interview with Europe 1 Radio," she said.
"I simply meant to say that in an ideal world every performancewill be given equal opportunities for consideration. I am veryhonoured to be included in this year's wonderful group of nominatedactors and actresses."
She continued: "Diversity in our industry is an important issuethat needs to be addressed. I am highly encouraged by the changesannounced today by the Academy to diversify its membership."
On Friday, the Academy pledged to double the number of female andminority members by 2020.
Academy president Cheryl Boone Isaacs said: "The Academy isgoing to lead and not wait for the industry to catch up."
When asked in the Europe 1 interview whether the Academy of MotionPicture Arts and Sciences should introduce quotas, she said: "Whycategorise people? We live in countries where everyone is more or less accepted.
"There are always issues like 'He is less good looking', 'He istoo black'. There is always someone who says 'You are too...' So arewe going to say, 'We will categorise all that to make lots ofminorities everywhere?"'
Asked if the black community in the film industry felt like aminority, she replied: "No comment."
Rampling is up against Kate Winslet, Jennifer Lawrence, CateBlanchett and Brie Larson. Academy mulls changes to Oscars followingrace row
The actress echoed former Oscar winner Sir Michael Caine whotold BBC Radio 4's Today programme on Friday: "You can't vote foran actor because he's black. You can't say 'I'm going to vote for him,he's not very good, but he's black, I'll vote for him'."
Creditasey Curry
Earlier in the day, he said that nominations should be based solelyon performance.
"You have to give a good performance and I'm sure people have.I saw Idris Elba (in Beasts Of No Nation). Did he not get anomination? I thought he was wonderful." By Agency.
sudahlah kali pertama tercalon oscar, lagi mahu jd champ ...
Sorry nek,
Ioulls rasa tanpa kenyataan tu pun nek xleh menang. Sbb dah rasa aura Brie tu lagi kuat, walaupun Ioulls tetap suka Cate tapi kali ni Brie mungkin ke depan. Lagi pun crita Cate tu pasal lesbo kan. Ingat tak kes Brokeback dulu...?
Post time 25-1-2016 11:56 AMFrom the mobile phone|Show all posts
joey_mcintrye replied at 25-1-2016 09:09 AM
Sorry nek,
Ioulls rasa tanpa kenyataan tu pun nek xleh menang. Sbb dah rasa aura Brie tu lagi k ...
Aku tak leh bygkn nek ni gigih hadir majlis pre-oscar nominations semata2 utk gaining votes masuk top 5... Pastu komen sesuatu isu tak kena tmpt konon nk jd champion.. Say bye2 jelar utk menang
Oscars 2016: Best Actress nominees viewer's guide
Posted January 25 2016 — 11:00 AM EST No one was sure who would be nominated – and not everyone was thrilled – but when Chris Rock hosts the 88th annual Academy Awards on Feb. 28, a whopping 57 films will be represented. So to help you prep for the least predictable Oscar race in recent memory, EW has your inside scoop on who’s been nominated and why. Ahead, a look at the year’s best actress nominees. Pick up the latest issue of EW here.
Breaking out has two meanings for Brie Larson. It’s what her character in Room does after being held in a shed for seven years – and it’s what has happened to her career in the wake of the movie’s release. At just 26, Larson has been acting for two-thirds of her life, but it was her 2013 lead as a foster-home supervisor in the indie Short Term 12 that grabbed the attention of Room director Lenny Abrahamson, who cast her as his film’s strong but traumatized kidnapping survivor. “There’s a tremendous dignity about Brie,” he says, “but she’s also very candid. In her performance you can also see the teenager that her character was when she was taken, which is so crucial in the second half of the film.” For Larson, the parallels between her character’s journey and her own have now been thrown into high relief. “The story has so much to do with this beautiful allegory with growing up, of being young and living in a small space and seeing things in black and white,” she says. “It takes courage, when the moment happens, to step outside this small space into a world that’s bigger and more complex. That’s exactly what’s happening in my own life.” – JOE MCGOVERN, with additional reporting by Nina Terrero
For most of Brooklyn, Saoirse Ronan captures her character’s heartache over leaving her homeland for America with the subtlest of glances and quietest of movements. Her performance – charming, delicate, and nuanced – rises from her deep connection to the character. “This story is very much part of my history,” says Ronan, whose parents moved to New York in the ’80s before returning to their native Ireland to raise their family. “It was all so close to who I was.” The actress, who earned her first Oscar nomination at 13 for Atonement, says this familiarity posed some unique problems – and anxieties. “It was the first time I had felt actual fear going into a project,” she says. “I couldn’t hide behind some other world that I was becoming a part of or disappear into a completely different character than who I am.” – NINA TERRERO
It was her minor role in 1999’s The Talented Mr. Ripley, based on Patricia Highsmith’s novel, that inspired Blanchett to pick up an earlier, lesser-known paperback by the author, The Price of Salt. That 1952 book – which was so ahead of its time that Highsmith penned it under a pseudonym (and later retitled it Carol) – would provide the actress, 16 years after she first read it, with one of the defining roles of her career. “In the novel, Carol was so enigmatic and remote and unknowable, as most objects of desire are,” Blanchett says. “The film has a much more delicate, beautifully balanced perspective between Carol and Therese, but the interesting challenge for me was to still make Carol all of those elusive things while also depicting the quiet, private hell that she’s living in.” Director Todd Haynes praises her commitment to embodying characters so deeply that she almost becomes mistaken for them. “Watching her as Carol, you might think that the character is strongly relevant to her,” he says. “But in reality she’s nothing like Carol. Cate doesn’t have any of that mercurial fog or those neuroses. She does seem to know, though, about playing the object of desire.” – JOE MCGOVERN
For her third outing with David O. Russell – following 2012’s Silver Linings Playbook and 2013’s American Hustle – Jennifer Lawrence knew to expect the unexpected when it came to working with her renegade director. “I didn’t even bother reading the script,” she admits. “I never remember to read lines anyway – I always forget that’s part of my job – because things would change the night before and then again the next day.” She laughs. “It would kill David to make a movie the normal way.” Based loosely on real-life entrepreneur Joy Mangano – creator of, among other inventions, the best-selling Miracle Mop – Joy can credit the lion’s share of its pulse and energy to Lawrence, who appears in just about every scene and, over the course of 123 minutes, hits every conceivable emotional beat. “It’s about the business, it’s about the heart, it’s about the family, and it’s about the woman – and not about a mop,” she says. “Thank God, because I’m not a good mopper.” – SARA VILKOMERSON
Andrew Haigh’s marriage drama 45 Years is a movie of unspoken words, its air heavy with cold pockets of stillness, and that’s just the way Charlotte Rampling likes it. “When I read the script,” she recalls, “I was like, ‘Well, here we go. This suits me.’” Indeed it did. Just weeks shy of her 70th birthday, the British star of The Night Porter, The Verdict, and Swimming Pool has her first Oscar nomination – and it’s a sweeter treat considering that she earned it on her own terms. Her performance as Kate is a majestic showcase of her mercifully un-Botoxed face and the power of her melancholy smile. “The recognition is very touching to me because it’s for what I’ve always wanted to do,” she says. “I always wanted to get down and down and down into myself. I wanted that to be my journey through the acting world.” – JOE MCGOVERN
SAG Awards updates: Diversity wins, along with 'Spotlight,' 'Downton Abbey' and 'Orange Is the New Black'
"Downton Abbey," "Spotlight," and "Orange Is the New Black" won the ensemble awards at the 22nd Screen Actors Guild Awards in the Shrine Auditorium in Los Angeles, but diversity was the night's big winner. An array of actors claimed the awards in pointed contrast to the nearly all-white nominees for the upcoming Oscars. Balloting for the 116,741 voting SAG-AFTRA members was open during the #OscarsSoWhite backlash and closed only yesterday. The SAG Awards have proved to be a reliable indicator of the outcomes of the Oscar acting races.
MOVIES Outstanding performance by a male actor in a leading role
Bryan Cranston, Trumbo
Johnny Depp, Black Mass WINNER: Leonardo DiCaprio, The Revenant
Michael Fassbender, Steve Jobs
Eddie Redmayne, The Danish Girl
Outstanding performance by a female actor in a leading role
Cate Blanchett, Carol WINNER: Brie Larson, Room
Helen Mirren, Woman In Gold
Saoirse Ronan, Brooklyn
Sarah Silverman, I Smile Back
Outstanding performance by a male actor in a supporting role
Christian Bale, The Big Short WINNER: Idris Elba, Beasts of No Nation
Mark Rylance, Bridge of Spies
Michael Shannon, 99 Homes
Jacob Tremblay, Room
Outstanding performance by a female actor in a supporting role
Rooney Mara, Carol
Rachel McAdams, Spotlight
Helen Mirren, Trumbo WINNER: Alicia Vikander, The Danish Girl
Kate Winslet, Steve Jobs
Outstanding performance by a cast in a motion picture Beasts of No Nation The Big Short WINNER: Spotlight Straight Outta Compton Trumbo
best actor/actress oscar mcm dah tau sape dpt kecuali oscar wat pusingan 360..
last oscar tak follow sag utk kategori best actor sms thn 2003, sean pean menang best actor mystic river mengalahkan Johnny depp yg menang sag ( pirate of Caribbean )
utk best actress lak, thn 2011 di mana viola davis (help) menang SAG tp kalah dgn nek Meryl streep (iron lady)
kebarangkalian pemenang best actor oscar dpt kt org lain agak tinggi berbanding best actress
ok, menariknya kategori supporting actor/actress:
idris elba menang SAG mengalahkan pak cik rambo tp name dia tak de kt oscar..
so it is an easy win utk pakcik rambo la kan? pak cik rambo ni dh menang critic choice & golden globe lg..
best supporting actress boleh jd odd 70-30 dpt kt alicia vikander (menang critic choice & sag ) atau kate winslet (menang golden globe)
rooney mara dh ilang favor ..
tp nama jennifer jason leigh tak de kt sag, jd oscar pun leh wat pusingan bg kt Jeniffer jason ni menang instead..
mungkin BAFTA sebagai penentu
sekali orang lain menang...kempunan leo...hahahhaha
filem ni yg akn buat kejutan kt oscar thn depan https://en.wikipedia.org/wiki/The_Birth_of_a_Nation_%282016_film%29
dikatakan filem plg laris di festival sundane ni sejak 10 thn, dan telah pun menang grand price
kebanyakan filem yg menang grand price & audience award dlm festival ni akn masuk dlm oscar dgn senangnye
cthnye whiplash thn lepas
so black dh tak perlu rase kena snub lg utk oscar next year
How Sundance will factor into next year's Academy Awards
The independent film festival has long served a launchpad for future Oscar winners – and this year’s edition is sure to prove no different
Kenneth Lonergan’s devastating drama, Manchester By the Sea could be in the running for next year’s Oscars racePhotograph: Claire Folger/AP
Monday 1 February 2016 13.39 GMT
Last modified on Monday 1 February 2016 22.28 GMT
It might seem crass to discuss next year’s Oscars ahead of this year’s, which have been mired in controversy after – for the second year in a row – no actors of color were nominated. But thanks to the 2016 Sundance film festival, which wrapped on Sunday, there’s simply no avoiding the discussion.
The Park City event, founded by Robert Redford, has long served as a launchpad for future Oscar players (and in many cases, winners). In 1989, Steven Soderbergh’s sex, lies and videotape netted the audience award, receiving an Oscar nomination for best original screenplay a year later and months after winning the Palme d’Or at Cannes. In the years since, Sundance smashes such as Precious, Beasts of the Southern Wild, Fruitvale Station, Whiplash, Boyhood and most recently Brooklyn have gone on to break through to the mainstream to enter the awards race. A number of Sundance titles from this year’s edition are poised to join the ranks, chief among them: The Birth of a Nation.
Nigel M Smith reviews The Birth of a Nation from the Sundance film festivalAs the first film to center on the story of Nat Turner, a former slave in America who led a violent liberation movement in 1831 to free African Americans in Virginia, Nate Parker’s directorial debut had near-deafening buzz coming into Park City. Anticipation was so high that Parker received a standing ovation at the film’s premiere before it screened. His film was graced with an even lengthier one after it played, confirming The Birth of a Nation as an audience favorite. Buyer interest was immediate, with Fox Searchlight, the distributor that led 12 Years a Slave to Oscar victory in 2014, ponying up $17.5m for the film – a Sundance record.
[url=]Rebecca Hall at Sundance: Hollywood is scared of 'ugly' female characters[/url]
Although critical reaction has been decidedly mixed (the Guardian’s Lanre Bakare called it “heavy-handed”, while Variety’s Justin Chang praised it as “searingly impressive”), the powerful subject matter and timeliness in the wake of the #OscarsSoWhite controversy and the Black Lives Matter movement, is sure to push it the front of the pack when the race heats up. It led the Sundance winners on Sunday, claiming both the audience award and US grand jury prize, mirroring Whiplash’s victory in 2014. Like Whiplash, expect it to factor in the best picture Oscars race.
Possibly joining it is Kenneth Lonergan’s devastating drama Manchester By the Sea. Ecstatically received by critics, the latest from the You Can Count On Me writer/director sold to Amazon for $10m. Like all of Lonergan’s output, it’s relatively small scale, and therefore faces a bigger uphill battle than The Birth of a Nation. It’s expertly crafted screenplay shouldn’t go ignored. The same goes for the wrenching performance from Oscar-nominee Casey Affleck, who plays a janitor reeling from a family tragedy. Michelle Williams, as Affleck’s grieving ex-wife, only factors into a handful of scenes, but stuns in a pivotal sequence. She could very well earn her fourth Oscar nomination for her supporting turn.
Rebecca Hall is equally deserving of a nod for her astonishing work in Antonio Campos’ dark character study Christine, about Christine Chubbuck, the news anchor who achieved notoriety in the 70s for killing herself on live TV. Hall, who’s never been afforded a role this complex and demanding, delivers the performance of her career. The film is likely too grim to factor strongly into the discussion, but if the film’s eventual distributor (it’s currently without a home) plays its cards right, Hall will have a very busy autumn.
Molly Shannon at Sundance 2016. Photograph: Danny Moloshok/Invision/APMolly Shannon would also be wise to block some time off this fall for campaigning on behalf of her supporting performance in this year’s Sundance opener Other People, as a mother suffering from terminal cancer. Shannon quietly devastates in a role that proves the comedian is equally as skilled at drama.
Breaking Bad Emmy winner Anna Gunn also deserves a mention for her powerhouse performance as a ruthless senior investment banker in the taut feminist financial thriller, Equity.
Why Leonardo DiCaprio Is ‘Due’ for an OscarThe star of ‘The Revenant’ is the frontrunner for the Academy Award for Best Actor. And it’s OK to award an Oscar for a star’s impressive body of work.
We’ve all seen the unfortunate memes. Now, after four prior nominations, Leonardo DiCaprio is the odds-on favorite to win his very first Oscar this year, for his portrayal of a 19th century fur trapper who survives a vicious bear attack and then treks across the wilderness in search of revenge in Alejandro Gonzalez Iñárritu’s The Revenant.
The reason DiCaprio is destined for victory, according to many, is not because his performance stands head-and-shoulders above the pack, but rather because he’s “due.” That line of reasoning has struck many as wrong, since the Academy is expected to simply celebrate a given year’s finest work, not make up for past faux pas. The problem with such objections, however, is that they assume the Oscars are capable of accomplishing that mission—and they also mistake the real, lasting value of the awards in the first place. Which is another way of saying: If the Oscars are worth anything (a debatable point), DiCaprio should triumph precisely because he’s overdue.
While the Oscars aim to commemorate the best of the best, they often fail spectacularly at this task. As a reminder of the Oscars’ consistent wrongheadedness, one need only mention a few jaw-dropping, ire-raising decisions: Around the World in 80 Days being selected ahead of Giant and The Ten Commandments (not to mention the un-nominated The Searchers) for 1957’s Best Picture; Ordinary People trumping Raging Bull for 1981’s Best Picture; Driving Miss Daisy beating Do the Right Thing for 1990’s Best Picture; Adrien Brody besting Daniel Day-Lewis and Jack Nicholson for 2003’s Best Actor; Crash beating out Brokeback Mountain for 2006’s Best Picture; and The King’s Speech toppling The Social Network for 2010’s Best Picture.
Furthermore, when they’re not downright embarrassing themselves with selections such as these, the Oscars have a habit of spreading the wealth around in order to make sure that multiple nominees don’t go home empty-handed, thereby proving that the organization’s members don’t vote based solely on quality, but instead take into account other factors that have nothing to do with their ostensible duty.
In other words: The Oscars can’t be counted on to faithfully do what they’re supposed to do. They’re a gigantic, fickle group whose members are apt to be influenced by PR campaigns, popular sentiment, media narratives, and other assorted cultural forces. And compounding problems this year is the fact that there isn’t a single “correct” Best Actor pick. There’s no guiding consensus that any one of the all-white nominees (DiCaprio in The Revenant, Michael Fassbender in Steve Jobs, Eddie Redmayne in The Danish Girl, Matt Damon in The Martian, Bryan Cranston in Trumbo) delivered a jaw-dropping performance that towered above the rest; it’s an anything-goes category devoid of an inarguably illustrious standout.
For those reasons alone, DiCaprio is as deserving as anyone. The Revenant is a success both critically (83 percent on Rotten Tomatoes) and commercially ($142 million domestic box office and counting), and he’s the unquestionable center of its attention. DiCaprio may spend most of his screen time crawling around the snowy ground, grunting unintelligibly, and hiding inside animal carcasses, but regardless of whether or not he ate raw bison liver for the part (a production tall tale that’s certainly aided his cause), it’s the sort of commanding, larger-than-life movie star turn that singlehandedly carries a major motion picture, and is as magnetic as any big-time performance this year. Considering the category’s weak crop, as well as the Oscars’ dismal track record of pinpointing what’s “best,” DiCaprio is a worthy choice.
But there’s an even larger issue at play here, and it’s that, considering their consistent ineptness at identifying a given year’s best work, the Oscars’ value isn’t in assessing annual quality—rather, it’s in providing a historical perspective on the art form’s truly great artists. Their worth only comes from their macro, not micro, view of the movies.
This is why it’s fantastic that Denzel Washington won for Training Day; that Al Pacino won for Scent of a Woman; that Paul Newman won for The Color of Money; that Julia Roberts won for Erin Brockovich; that Martin Scorsese won for The Departed; that Jeff Bridges won for Crazy Heart; that Julianne Moore won for Still Alice. None of those were their finest achievements (not by a long shot), yet since the Oscars had already repeatedly failed to award those all-timers with the awards they so obviously deserved, they at least made sure that—in historical terms—they could say they recognized, and commemorated, cinema’s most distinguished actors and moviemakers. No matter that they did so late, and for “lesser” works.
For a body dedicated to honoring the preeminent members of their industry, handing out de facto career-achievement awards is a far, far preferable alternative to, say, not bestowing a single acting award upon Cary Grant, or Robert Redford, or Peter O’Toole, or John Barrymore, or Richard Burton, or Edgar G. Robinson, or Ralph Fiennes, or Bill Murray, or Samuel L. Jackson, or Glenn Close, or Joseph Cotton, or Harrison Ford, or Donald Sutherland, or Annette Benning, or Albert Finney, or Will Smith, or Johnny Depp, or Richard Gere, or Jim Carrey, or Myrna Loy, or John Travolta, or Gary Oldman, or Tom Cruise…
…Or DiCaprio, who’s already failed to nab trophy for his work in What’s Eating Gilbert Grape, The Basketball Diaries, Titanic, Catch Me If You Can, The Aviator, The Departed, Inception, The Great Gatsby, and The Wolf of Wall Street. The 41-year-old DiCaprio is the A-list leading man of his generation, an international superstar who routinely collaborates with many of his medium’s foremost auteurs, including Martin Scorsese, Quentin Tarantino, Steven Spielberg, Woody Allen, James Cameron, Clint Eastwood, Danny Boyle, Christopher Nolan, and now Iñárritu. In an open 2016 Best Actor field, he’s a man among men, and the only one who, if the Oscars are to be taken seriously as authorities on excellence, most needs to have a win under his belt—even if it’s for The Revenant, which might be a minor work in terms of the rest of his canon, but is certainly no more minor than Steve Jobs, The Danish Girl, Trumbo, or The Martian.
In order to build a track record of toasting brilliance, the Oscars have to stop wasting time feting one-hit wonders like Mira Sorvino, Adrien Brody, and Roberto Benigni—each of whom has the same number of Oscars as Al Pacino and Paul Newman for Chrissake!—and start dispensing statuettes to the industry’s inarguable legends, lest they look so clueless as to be absolutely useless. Barring the Academy suddenly choosing to give out retroactive Oscars, it’s better that they award thinly veiled career achievements to titans than continually ignore them (perhaps permanently) in favor of flavors-of-the-month in soon-to-be-forgotten roles and films.
Which is all to say that, for their own long-term health as a legitimate arbiter of greatness, the Oscars are best served by calling DiCaprio to Hollywood’s Dolby Theatre stage come Feb. 28.
Post time 23-1-2016 07:39 PM
Post time 23-1-2016 10:37 PM
Charlotte Rampling plays Kate in 45 Years
Credit
asey Curry
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