July 3, 2015

“When You Play the Game of Thrones, You Win or You Die” (But Mostly You Die)

Filed under: Books,TV — DB @ 9:00 am
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This post is intended for those who are up-to-date on Game of Thrones. If you have yet to start watching the series or are not caught up, turn away, for this post is dark and full of terrors.

It’s always hard to reach the end of a Game of Thrones season, knowing that you face a ten month wait for the show to return. But this season’s finale was especially hard, as it concluded with such a devastating scene. None of the previous finales have ended on such a down beat. Consider each year’s final shot. Season One: Daenarys arising from the ashes of a funeral pyre with three baby dragons. Season Two: Sam hiding behind a rock as an army of White Walkers marches past. Season Three: Daenarys being lifted and embraced by a horde of slaves she has just freed from bondage. And Season Four: Arya sailing for Braavos. In a world as notoriously bleak as the one presented in Game of Thrones, three of those are downright hopeful. The fourth, while not the most pleasant note to end on, is at least exciting, and the beloved character depicted is safe despite his proximity to danger.

Season Five’s final moments did not send us so gentle in that good night, any more than they did the character enduring them. Having arrived at the difficult decision to make peace with the wildlings and offer them passage into Westeros through the gates of Castle Black, all because he knew the threat of the White Walkers would require the combined efforts of all the living — whichever side of The Wall and wherever in the Seven Kingdoms they were — Jon Snow was betrayed by a band of his own men, stabbed repeatedly à la Julius Caesar, each of his killers repeating, “For the Watch” as they plunged their daggers into his torso.

There was no last minute savior, no Ghost to intervene and protect his keeper. (In fact, I wondered if the mutinous brothers also harmed Ghost, to ensure the direwolf wouldn’t be a problem?) The attack was made worse by having to watch Jon’s long-time nemesis Ser Aliser Thorne get the better of him, and because Jon’s squire Olly delivered the final blow. A lot of attention had been paid to Olly this season, particularly to his displeasure with Jon’s decision, given that his entire village was cut down in a wildling attack led by Tormund and Ygritte. Olly talked with Sam a few episodes before the finale, and Sam explained Jon’s actions by saying that sometimes men have to do what they believe is right even if no one else can see it. I could tell at the end of that scene that Olly took away the wrong message. There was something palpably ominous about his reaction to Sam, and I was sure that Sam’s words would motivate Olly toward some ill-advised action, though I didn’t know what, and couldn’t imagine it would be participating in Jon’s murder. (He wasn’t just one of the attackers, after all; he was the one who lured Jon outside and into the trap.) Of course, I couldn’t imagine that Jon would die at all. Not yet, certainly. No death since Ned’s felt as shockingly premature as Jon’s. But Ned’s death did much to set the tone for what the series was, and once we had a chance to absorb it, we could understand it. Making sense of Jon’s death is more difficult. So much so, that few people (if any) actually believe that Jon will remain dead, despite the morbid finality of the season’s closing image.

I admit that in the shock of the moment, such ideas didn’t enter my mind. There was no part of me that watched Jon fall and thought, “No, we’re not done with him.” I took what I saw at face value, and it was like a kick to the gut. Then right after the closing credits, the friend I watched with all season shared his theory with me. Maybe some of this would have occurred to me once I got over my grief and had more time to think about it. Maybe not. But his theory is one that I’ve since read in several places, and it seems entirely plausible. With Stannis defeated and presumed dead, Melisandre returned to Castle Black, clearly distressed by her king’s loss. This hasn’t been discussed much on the show — it’s more explored in the books, I think — but Melisandre believed Stannis to be Azor Ahai reborn. According to R’hllor — the foreign religion she brought to Westeros — Azor was a storied warrior who, thousands of years earlier, led a defeat against The Others — a.k.a. the White Walkers — by driving them out of Westeros and into the far north. Prophecies foretold the return of The Others, however, as well as the rebirth of Azor, who would lead a final war against the enemy that would decide the fate of the world. Now there’s a lot more to all this, and I don’t want to go too deep here, but that’s enough to address where Season Five left us. Melisandre now knows that her faith in Stannis had been misplaced, and we know that she took an interest in Jon. We also know that another priest of R’hllor — Thoros of Myr — has summoned his deity’s power to revive his friend Beric Dondarrion. Six times Beric has died, and six times Thoros has brought him back, crediting R’hllor, a.k.a. the Lord of Light.

And we know that Melisandre knows this. (Skip to the 2:40 mark.)

All of this is to say that we’ve seen the Lord of Light’s power to revive the dead. Melisandre is at Castle Black, Melisandre sees something in Jon Snow, and Melisandre will now be searching for a new embodiment of Azor Ahai. My understanding is that her interest in Jon, and his possible connection to Ahai, is given more attention in the books than in the show. This may or may not be telling. The show is deviating from the books more and more, with several incidents this season — including certain deaths — playing out differently or not at all in the novels. Jon’s death is the closing scene of George R.R. Martin’s fifth and most recent novel, A Dance with Dragons, just as it was the closing scene of the season, so what happens from here is pure speculation on the part of book readers and non-book readers alike. Co-showrunner D.B. Weiss and finale director David Nutter have stated that Jon is really dead, as has actor Kit Harington, explaining that he has been told he’s done and not returning to the show. But doth they protest too much? No other death on the show has led to so much reassurance from the cast and crew that the death is final. Yet no other death on the show has necessitated such emphasis. Even if we had a hard time emotionally accepting the deaths of Ned, Robb, Catelyn, Tywin or whichever characters you were sad to see go, we readily accepted them as part of the story, without questioning whether there was an open door. Not so with Jon’s death. Fans have long speculated that Martin’s story would build to Jon and Daenarys coming together to defeat the White Walkers. After all, his saga is called A Song of Ice and Fire, and Jon and Dany are considered the embodiments of those two elements.

Plus, it’s widely known that when Weiss and David Benioff approached Martin about obtaining the rights to adapt his novels for television, he tested them with the question, “Who is Jon Snow’s real mother?” Indeed, the question of Jon’s true parentage is maybe the most discussed topic in Martin’s fandom, and for Jon to die now would seemingly render all that talk moot. I suppose Jon’s lineage could prove important somehow even if he’s no longer around, but that seems like a stretch. He has no children, no full siblings (or so we assume, based on what we currently know of his family and what the prevalent theory entails), so what impact on the larger story could the answer have if Jon isn’t around to receive it? Maybe Martin has just been screwing with us, and the question about Jon’s mother has been a massive red herring all along, goaded by the author himself. Seeing how merciless he is with his characters, you couldn’t put it past him. And yet…it just doesn’t seem probable, does it? None of the characters we’ve lost to date, no matter how impactful they were to the show, feel as necessary to its ultimate destination as Jon. You could argue for Tywin, perhaps, but his death fuels the story arcs of Tyrion, Cersei and Jaime, and perhaps for an eventual collapse of House Lannister. Every other death, no matter how major the character, was understandable for the plot points and/or character development it set in motion. To be fair, other deaths may have seemed abrupt or premature at the time, without the advantage of hindsight, but I would argue that when a character dies, you can consider then and there how it could fuel other storylines. Jon’s death, if it sticks, could fit that pattern too, but it’s a more difficult path to envision.

So if there’s any truth to the rumors, what else can Harington, Weiss, Nutter and everyone else with the show say other than “Jon is dead,” “Kit is off the show,” etc.? The death is certainly presented as if it’s definitive, so if the character is to be revived and Harington is coming back, they clearly need to conceal that until the moment of revelation comes. That will pose quite a challenge to the production, ensuring that no leaked set photos hit the internet. And unless they want his return to be included in previews, like Gandalf’s was in The Lord of the Rings: The Two Towers, it means omitting Jon from all trailers and marketing materials next year, and keeping Harington away from all pre-season press.

Some final thoughts on this before moving on. The idea of Melisandre reviving Jon is the one I’ve seen most frequently over the past couple of weeks, but other speculation — drawing from Martin’s description of Jon’s murder — is that he could be a warg who somehow sends his consciousness into Ghost. His half-brother Bran is a warg — and then some — but while the books may have hinted at a connection between Jon and his wolf, the show certainly hasn’t played that card. Again, the show is breaking away from the books more frequently and more substantially, but if Martin intends Jon to be important to his series endgame, I don’t imagine Benioff and Weiss would stray too far from that. For all the time I’ve already spent on this topic, there’s so much more to be found out there — more details to the theories I’ve mentioned, alternate versions of those theories, and other theories altogether — about how Jon could come back, or why Jon is definitely dead, or how Jon could come back but not played by Kit Harington. Other clues from the show, other clues from the books…it’s all a bit overwhelming, frankly, so I’ll leave you to prowl the internet for clues on your own. You probably have already, considering that this post comes nearly three weeks after the finale. I’ll close the topic with this: after my friend shared his theory with me in the immediate aftermath of the episode, I did become hopeful that we haven’t seen the last of Kit Harington’s Jon Snow, even if the rest of my night remained shrouded in the kind of faux-yet-real depression that can only come from the death of a beloved fictional character. But the reading I’ve done since then has left me more uncertain that there’s a happy ending to this situation. Whatever happens, watching Jon’s murder was among the show’s most devastating moments to date for me, ending the season on an upsetting note that will make the wait for new episodes even harsher than usual.

Alright, enough of this morbid, Jon Snow-death talk. We have entirely different morbid death talk to get to. Jon wasn’t the only casualty of the finale, so let’s talk about Stannis. It was a big season for the man who would be king, as he plotted his path to the Iron Throne despite the fact that the whole reason he went to The Wall in the first place was because Davos and Melisandre realized that the threat of the White Walkers was more urgent than securing his crown. Unfortunately, things did not go well for Stannis, whose fate seemed sealed when he made the decision — difficult though it was — to sacrifice his daughter Shireen to Melisandre’s Lord of Light (our buddy R’hllor, discussed earlier). That choice didn’t sit well with his men. It cost him half his army, and the life of his wife Seleyse, who hung herself. Realizing hope was truly lost and that her flame visions of Stannis’ success had been snuffed out, Melisandre deserted him, leaving Stannis and his ragged, reduced army to make a futile stand outside Winterfell against Team Bolton. But after that inevitable defeat, it was Brienne who came upon the wounded Stannis, to exact the revenge she had desired ever since Stannis and Melisandre’s shadow baby killed Renly. Given all the build-up, their encounter — and Stannis’ entire unraveling — felt a little hasty and anti-climactic. This was my main problem with the finale: there was so much plot to get through that we didn’t get many of the character moments that felt so necessary. Brienne came to execute Stannis, but there was an abrupt, jarring cutaway as she swung the sword. Did she even do it? Is Stannis dead? Or did she maybe see some vulnerability in his final moments that gave her pause? That doesn’t seem likely, and yet the fact that we don’t see Stannis’ body or linger with Brienne casts a shadowbaby of a doubt. Assuming she does kill him, it would have been nice to stay with her for a few moments after finally carrying out that long-desired vengeance. How did she feel about it? We didn’t need to see a brutal image of the kill, nor did we need Podrick to show up and talk to Brienne about her feelings. But it would have been nice to see her face after that, to watch her take in the emotion and see what she did next, even if that was just turning around and walking back to her Sansa-watching perch.

And how about Sansa? Unwilling to bide her time any longer under Ramsay’s thumb, she stood up to Myranda even as she was threatened at arrowpoint. Thankfully, Theon finally stepped up, pushing Myranda over the wall to her death. With nowhere else to go as Ramsay and his men were returning from their defeat of Stannis’ army, Sansa took Theon’s hand and the two leaped over an outer castle wall. We didn’t see them land, nor did we revisit them, but the brief glimpse down over the wall we got reveals an awfully long drop, with no discernible soft or easy landing. It appears they’re jumping onto solid — albeit snowcovered — ground from an extreme height; as high, if not higher, than Myranda fell. So what did we miss? How are we supposed to believe they survived that jump? It won’t be long before Ramsay realizes they’re gone. Where can they go for safety before he can catch up with them? Will Brienne find and help them?  The cliffhanger was as frustrating as Sansa’s entire storyline this year. After spending so much time with Littlefinger last season, Sansa finally started to play the game with some smarts, and this season began with the promise of where that would go. Unfortunately, it went into the sick, twisted hands of Ramsay, where she became a victim all over again, even more so than she’d been in Joffrey’s court. Obviously we don’t know where Benioff and Weiss are taking this (Sansa does not marry Ramsay in the novels; she’s still in The Eyrie), and ultimately I’m willing to give them the benefit of the doubt since I recognize that we’re still in the middle of an unfolding story. But it was disappointing to see Sansa’s arc move backwards. Whatever happens, I would have liked to see Ramsay — high on his victory over Stannis — be jolted by the sight of Myranda’s bloody, broken body and the absence of Sansa and Theon. Another character moment that would have been great to witness.

But back to the pile o’corpses. Let us not forget Myrcella, who died in Jaime’s arms after a sweet moment in which they happily acknowledged each other as father and daughter for the first time. Ellaria Sand’s about-face in the previous episode, when she talked to Jaime about his relationship with Cersei and then admitted that Myrcella and Jaime were innocent of Oberyn’s death, felt like it was a step too far toward healing and reconciliation, considering how single-minded she had been in her desire to punish the Lannisters…even though Oberyn was not murdered. (I wish she would have addressed that fact at some point and actually explained her viewpoint, since interpreting his death as “murdered by the Lannisters” was so clearly off-base.) When she delivered Myrcella a goodbye kiss on the lips, I suspected there was poison involved, and so there was. Myrcella’s death doesn’t have much of an emotional impact on us since we spent so little time with her, but obviously it will have major ripple effects on Cersei, Jaime and everyone in Dorne. Cersei is already in a revenge frame of mind (we’ll get to that) but when she finds out her only daughter is dead, that dial is gonna crank to 11.

Then there was Ser Meryn Trant — a minor character, but one whose death was among the most brutal the show has ever presented. Seriously, Arya killed the fuck outta that guy. Trant’s death was so hideous and horrible that it actually felt disproportionate to the crime for which Arya had so long uttered his name — that being his role in wiping out the Starks at King’s Landing, and especially killing Arya’s dancing master Syrio Forel. Trant’s prediliction toward young girls was a new reveal, and one that made his demise a bit more satisfying, but still…the brutality of it felt more like the kind of death we wanted to see for Joffrey, or that we hope will befall Ramsay. Not that I wasn’t cheering and clapping when Arya butchered him, just because it was the first person she really went to town on and for so long now I’ve wanted that for her. Alas, I should have known Martin wouldn’t let her off the hook for disobeying Jaqen’s instructions and abandoning her assignment to kill the corrupt Thin Man. Any pleasure we derived from seeing her extract her revenge was short-lived, with Jaqen informing her that she stole a life from the Red God and would have to pay a price. I admit things got a bit confusing for me here, but it appears the girl who had sort of been Arya’s keeper at The House of Black and White died for Arya’s offense, and then Arya herself went blind. Is that permanent, or can the Red God restore her eyesight if she makes the proper penance? I don’t know, but it was a blow to see Arya debilitated in such a major way.

There were plenty of other deaths throughout the season, and we can’t linger on all of them. I mentioned Stannis’ wife, and of course his daughter Shireen. Burning that sweet little girl at the stake was just the worst, but it was just the kind of bold storytelling we’ve come to expect from this series. Ser Barristan Selmy’s death was a tough one for me; he’s been one of my favorite secondary characters from day one. Janos Slynt, the former Gold Cloak turned cowardly brother of the Night’s Watch, was decapitated after insulting the newly elected Lord Commander. It was great to see Jon step up and behead that prick. A less welcome death among the Watch was Maester Aemon, one of the few characters we’ve seen die of natural causes. And don’t forget all the way back in the first episode when Stannis executed Mance Rayder. I thought Mance’s role would expand this season, but that was not to be. Too bad. A good character, played by the terrific Ciarán Hinds.

Reflecting on the season, I have to keep it 100 and say there were some problems that needled at me. Let’s start with Dorne. When Season 4 ended, one of the earliest pieces of intel we heard about what lay ahead was that we would visit Oberyn’s homeland and meet his daughters, collectively known as the Sand Snakes. The introduction of Dorne was hyped up bigtime as the season approached. Unfortunately, the show largely failed to deliver. Considering all the buildup, there weren’t actually many scenes there, those we got were too spaced out across the season, and they weren’t that well executed from a storytelling point of view. It all seemed like a bit of an afterthought…except for the scene with Bronn and the Sand Snakes in jail. That was great, and not just for…well…obvious reasons. (I was worried for Bronn from the moment Jaime approached him about going to Dorne, but I was so happy that he was not among the season’s fatalities.) With Myrcella’s murder hanging in the air, I’m sure we haven’t seen the last of Dorne and its new set of characters, but I hope they are better handled going forward.

The rise of the Faith Militant was another of the season’s awkward subplots. Where did they come from, and how did they exert so much power so quickly? I loved the way Lancel Lannister was reintroduced as this newly pious zealot, and the High Sparrow was an excellent addition to the show. But the Militant as a whole and the way they were able to run unchecked played false to me. I know Tommen isn’t a strong ruler, but I just didn’t buy that he would be so impotent in dealing with them. If you’re a 12 year-old boy, or however old he is, and you’ve just gotten laid for the first time — with no less a sex goddess than Margaery Tyrell, who is now your wife and queen — you’ll do whatever you have to do so that your woman stays happy and you can continue getting laid. He’s the king, with an army at his disposal, and it was hard to believe that he wouldn’t unleash that force when Margaery was arrested, and then Cersei on top of that. So the meteoric rise to power of the High Sparrow’s flock, and their ability to retain their might, felt problematic from the start. The Sparrow himself was great, but the story around him could have fared better.

Something else which sat ill with me when a friend pointed it out (I didn’t think about it initially) was the apparent skill of Meereen’s mystery rebels, the Sons of the Harpy…especially when pitted against the Unsullied, who are supposed to be one of the best armies in the world. We don’t know who the Sons of the Harpy are, but our initial assumption was that they were members of Meereen’s wealthy class; slave owners who lost their slaves when Dany came to town. So as my friend pointed out after the episode in which the SOTH killed Barristan Selmy and badly wounded Grey Worm, slaughtering several Unsullied as well: how do a group of rich fat-cats display not just the fighting prowess but also the attack strategy that made the SOTH such an effective force? Wanting to play devil’s advocate and defend the show, I countered that they might not be rich Meereenese at all, but perhaps an outside army brought in to deal with Dany by those who oppose her. Yet they do seem like an insurgent force, don’t they? Perhaps that’s what they are, but not from Meereen. Maybe they’re from Yunkai or Astapor, the slave cities Dany freed before coming to Meereen. If they were outsiders, that might explain why their attack in the huge arena saw them killing indiscriminately, murdering even Meereen’s wealthy. Why would the rich in Meereen kill their own, after all? You may recall a scene from Season 3 in which a representative of Yunkai’s slavers met with Dany in her camp and told her that if she pursued an attack on the city, she would run afoul of their “powerful friends who would take great pleasure in destroying you.” Those powerful friends turned out to be the Second Sons, an army of sellswords who counted Daario Naharis among their leaders. Daario and the Second Sons now fight for Dany of course, but perhaps Yunkai had other powerful friends. Or perhaps some of the Second Sons have broken ranks.

Even if we assume that the SOTH are not just a bunch of wealthy rebels but rather a skilled fighting force with plenty of experience on their side, there’s still the question of why the Unsullied proved so ineffectual. Sure, in the alleyway attack that would be Barristan’s last stand, the Unsullied were outnumbered, and they put up a good fight. But from everything we’ve heard about them, shouldn’t they be more of a match for the SOTH? What about that aforementioned surprise attack in the arena? Jorah spots a SOTH assassin from the middle of the arena and hurls a spear to impale the attacker, but we could see Unsullied soldiers posted behind Dany’s coterie. Why did none of them, so much closer than Jorah, spot the would-be killer? And given their massive numbers, shouldn’t they have been able to overwhelm the SOTH? There are like, 8,000 Unsullied, aren’t there? Minus those who’ve died along the way, but still, they must outnumber this enemy, right? So it’s hard to accept the Sons of the Harpy inflicting the level of damage they did given the fighting force Dany has in her corner.

Shifting elsewhere in Essos, Arya’s experience at The House of Black and White posed one problem for me. Back when she and Jaqen parted ways at the end of Season 2, he invited her to come with him to Braavos and learn to be a Faceless Man. “A girl has many names on her lips,” he said to her. “Joffrey, Cersei, Tywin Lannister, Ilyn Payne, The Hound…names to offer up to the Red God. She could offer them all, one by one.” He said this after killing at least two Lannister guards in order to help her escape from Harrenhal, and those two men exceeded the three he had offered to kill for her in exchange for saving his life and two others back at the caravan. So once Arya makes it to Braavos and comes under Jaqen’s tutelage, why is she constantly told that she has to let go of being Arya Stark and become no one? He encouraged her with the promise of being able to sacrifice her enemies. When she takes action — prematurely, granted; she had another assignment and she cast it aside — she is punished for it. Back at The House of Black and White, Jaqen says, “That man’s life was not yours to take. A girl stole from the Many Faced God. Now a debt is owed. Only death can pay for life.” Did he owe a debt when he killed those soldiers at Harrenhal? Why is she not able to carry out the revenge with which he tempted her? Why would killing her assigned target have been an acceptable murder to the Many Faced God while Meryn Trant’s was not?

The combination of these issues made Season 5 a little less satisfying than the others…but only a little. Don’t think my confidence in the show has been shaken in any fundamental way. It remains my current pop culture obsession, and if I could fast forward to next April right now, pausing only for Star Wars: The Force Awakens, I would do so without hesitation. No discussion of the season would be complete without talking about the epic awesomeness that was Episode 8: Hardhome. The Army of the Dead attack on the wildling camp was not only a highlight of this year, but one of the best sequences in the show’s history. For me, much of what made it so impactful was the complete shock of it. It wasn’t something that happened in the books, so no contingent of viewers was waiting for it. It had the thrill and tension of the Red Wedding, without the potential for being spoiled, hinted at or telegraphed. More importantly, none of the previews or commercials for the season revealed it. The initial trailers for the season showed some quick shots of a battle in the snow, but if we made out anything from that, it was assumed to be a skirmish between the wildlngs and the Watch. And personally, none of those shots were on my mind during the scenes where Jon made his case to the wildlings to accept his offer and come south of The Wall. Those scenes were engrossing enough, so when the attack began, it carried the thrill of surprise. Then the escalation, the intensity…I don’t want to spout clichés, but it was literally heart-pounding, edge-of-your-seat stuff. Under the direction of Miguel Sapochnik, it was executed supremely well, right through to the final staredown between Jon and the Night’s King, and the quiet, unsettling sound effects — sans music score — over the end credits. (That silent yet loaded exchange between the two commanders, and indeed Jon’s entire performance at Hardhome, is one of the many reasons that his death feels so unlikely. Those two have to meet again, don’t they?)

Another of this season’s highlights, though it was brief, was the meeting of Tyrion and Daenarys. In fact, their two meaty scenes together came in Hardhome, helping to make that episode a standout this season. While a massive action sequence like the one at Hardhome has the ability to rock us, most of Game of Thrones best scenes involve characters talking. Tyrion and Dany are among the show’s more eloquent speakers, so their conversations were bound to be good, and then of course what Emilia Clarke and especially Peter Dinklage bring to them elevates the already fine material. Seriously, how great is Peter Dinklage?

The actor behind Tyrion is the cast’s standard bearer at the Emmy awards, and assuming he earns another nomination this year, it’s possible he’ll be joined by Lena Headey. She had a lot to work this this season as Cersei, culminating in that humbling Walk of Shame. When Cersei went to visit Margaery in her cell, playing the concerned ally, Margaery was having none of it. “Lies come easily to you, everyone knows that,” she said to Cersei. “But innocence, decency, concern — you’re not very good at those, I’m afraid.” It was those traits Cersei tried to access when confessing to the High Sparrow, and though her lack of true remorse or desire to repent was obvious, the High Sparrow agreed to let her return to the Red Keep. Little did she know what it would cost her. That long, dreadful walk — wisely and powerfully presented in its entirety — brought Cersei to a low she’s never experienced, but genuine piety is not in her toolbox. With Qyburn’s introduction of FrankenMountain, the look of steely resolve returned to Cersei’s eyes, and it’s safe to assume that her wrath will be more fiery than ever. (By the way, why no Littlefinger at the Red Keep awaiting Cersei’s return along with Qyburn, Pycelle and her uncle Kevan? He’s still in King’s Landing, as far as we know, and he’s still a member of the Small Council. Seems odd that such a skilled player wouldn’t make the calculated move of being there with a show of support — emphasis on “show” — for Cersei.)

No one knows what her next move will be, or what anyone’s next move will be, since we’ve pretty much reached the end of Martin’s published material. He is hard at work on Book 6, The Winds of Winter, and has even suggested that it could be published early next year, potentially offering time for readers to consume it before Season 6 premieres. That’s his hope, at least. “Maybe I’m being overly optimistic about how quickly I can finish,” he told Entertainment Weekly. “But I canceled two convention appearances, I’m turning down a lot more interviews—anything I can do to clear my decks and get this done.” That said, he also knows that his number one obligation is to the quality of the books, not to the ticking clock imposed by the show. Speaking at the U.S. premiere of Season 5 in April, he said, “There is more pressure every year. The main thing is to make the book as good as I can possibly make it. Fifty years from now nobody is going to care how frequently the books came out. They will care if the books are as good as they can possibly be, if the books stand the test of time. That’s what I struggle with as I write.”

During a talk at Oxford Union, Benioff addressed the crossroads that everyone connected to Thrones has reached, from Martin all the way down to the fans.

Luckily, we’ve been talking about this with George for a long time, ever since we saw this could happen, and we know where things are heading. So we’ll eventually basically meet up at pretty much the same place where George is going [in Book 7, A Dream of Spring]. There might be a few deviations along the route, but we’re heading towards the same destination. I kind of wish there were some things we didn’t have to spoil in terms of the books, but we’re stuck between a rock and a hard place. So the show must go on.

He added, “[A]t the same time, George has his process. And if it takes him 20 years to finish the series, that’s what it should take him. He’s writing, to my mind, the great fantasy epic of our time. So we can’t rush him and I wouldn’t want to rush him. [But] at the same time, we can’t put the show on hiatus.” Benioff also pointed out — as this season made abundantly clear for those who’ve read the books — that the degree of deviation from the source material which is now occurring on the show ensures that Martin doesn’t lose readers just because the show will finish before he does:

I think the thing that’s kind of fun for George is the idea that he can still have surprises for people even once they’ve watched the show through to the conclusion. There are certain things that are going to happen in the books that are different from the show, and I think people who love the show and want more — want to know more about the characters, want to know more about the different characters who might not have made the cut for the show — will be able to turn to the books.

Martin reinforced this in the same Entertainment Weekly interview mentioned above, wherein he talked excitedly about a new plot development he has devised for one of his characters that the show can’t replicate because of other choices that have already been made:

I’m still weighing whether to go that direction or not. It’s a great twist. It’s easy to do things that are shocking or unexpected, but they have to grow out of characters. They have to grow out of situations. Otherwise, it’s just being shocking for being shocking. But this is something that seems very organic and natural, and I could see how it would happen. And with the various three, four characters involved… it all makes sense. But it’s nothing I’ve ever thought of before. And it’s nothing they can do in the show, because the show has already — on this particular character — made a couple decisions that will preclude it, where in my case I have not made those decisions.

I would add that given how long it takes Martin to write the books, by the time he gets around to finishing A Dream of Spring it will probably be at least a few years after the show ends, allowing for a renewed excitement about returning to the world and characters he created after we’ll have missed them for a prolonged stretch.

And with that, let us ease the difficulty of another season gone with a new round of Fun with Thrones. All this talk of Martin finishing the books makes me think of this Robot Chicken segment, depicting the horror facing the author everytime he has to leave the house.

Anyone who enjoyed the bizarre web phenomenon Too Many Cooks last year might enjoy this GoT version of the mega-meme. I can’t say for sure, since I have yet to go down the Too Many Cooks rabbit hole myself.

The highest profile bit of Thrones comedy this year was probably from Red Nose Day, a charity event that aired on NBC recently and which, despite a reasonable amount of promotion, left me utterly clueless as to the cause for which it was raising money. Whatever it was, the powers behind it managed to draw a large number of GoT stars to participate in a segment about Coldplay attempting to create a Game of Thrones musical. Seeing is believing.

On a slightly more serious note — okay, a significantly more serious note, but still kinda fun — I stumbled upon this short animated examination about the economics of Westeros. This is surprisingly enjoyable.

Artist Mike Wrobel has continued his series of GoT characters dressed in 80s/90s garb

…and the Beautiful Death series lives on as well, as the mounting body count inspires more excellent work from artist Robert Ball. These can be seen at the Beautiful Death website, or on Ball’s personal site, where the images are a bit bigger. The little details of these are great, so bigger is better. (Note the third image below, by the way. It represents Stannis’ death…but again, no body. And there was no Beautiful Death art for Jon. That would be an unbelievable oversight, if he’s really dead. Just sayin’…)

Comic-Con comes a few weeks early this year — next week, in fact — and there will once again be a Game of Thrones panel, though for the first time, Benioff and Weiss are not attending. I’ve read some speculation that they’re skipping in order to avoid those tricky Jon Snow questions. Who knows. The panel will be mainly cast members, as well as an HBO executive. Without any key behind the scenes personnel, I don’t know if we’ll get any decent hints about what to expect next year, but maybe they’ll throw us a few bones. Emmy nominations will land shortly after Comic-Con wraps, and hopefully Thrones will be represented. I don’t see the show taking Best Drama this year — an award it has yet to win, but hopefully will before the end – but certainly Miguel Sapochnik deserves a directing nomination and arguably a win for Hardhome. Looking further ahead to early next year, we’ll see if Martin and Bantam Press can get The Winds of Winter out before April. And I really hope that the show returns to IMAX venues. The last week of this past January, Game of Thrones became the first TV series to be shown in IMAX theaters. The last two episodes of Season 4, which included the wildling attack at Castle Black, were converted into the large-screen format and presented at several IMAX locations around the country for a limited engagement. Just a week, I think. It didn’t sound worth it to me when I first read about it, but a friend wanted to go, so I figured sure, why not. And it was fantastic. The image quality was superb. Despite being filmed for a television screens, the visuals completely stood up to the demands of a giant screen. The episodes looked and sounded excellent, and the experience was totally worth the ticket price. It turned out be substantially more successful than either HBO or IMAX expected, and Benioff and Weiss were impressed with the results, so I’m hopeful it will happen again. The obvious choices for Season 5 would be episodes 8 and 9, rather than 9 and 10. I mean, Hardhome on IMAX will be phenomenal, and the following episode offers the arena sequence in Meereen that climaxes with Drogon’s arrival and Dany’s flight. I have to think all parties involved will make this happen. They’d better. I’ll need every bit of Thrones I can get to hold me over until the show comes back and Jon Snow rises from the dead…hopefully in better shape than these poor bastards.

April 11, 2015

Let the Game Begin

Filed under: TV — DB @ 5:30 pm
Tags: , , , , ,

This post is intended for those who are up-to-date on Game of Thrones. If you have yet to start watching the series or are not caught up, steer clear. There are more Season 1-4 spoilers to come than there were pots of Wildfire stored in King’s Landing.

So…where were we?

This game’s board continues to broaden, but before tomorrow night’s Season Five premiere, let’s see if we can catch up with where things stand for its many players. Before we begin, a statement of intention: there are many recaps available around the web, and most of them are probably more succinct than this one. But as I talk to people who are excited about the return of the show, I’m stunned by how few of them can even name the major characters. I hear things like, “Yeah, the chick with the dragons,” or “What’s his name, the brother whose hand got cut off, or “You know the one, oh, what’s his name, kid with the broken legs who can possess the giant.” I don’t understand how someone can be invested in a show, watch it week after week — even if only for ten weeks out of the year — and not know the names of the characters. I admit that I have a good memory for characters, story details, etc. (a knack which helped make me an effective recapper of Lost, thank you very much), but I don’t expect people to know the name of every Lannister soldier. Really though, you can’t name Dany or Cersei or Arya right off the top of your head? If that’s you, then you probably need a recap as detailed as the one I’m about to dish out. It may not be as entertaining as, say, this one…

…or as elegant as this one…

…but it will better prepare you for the new season. That I promise.

Having been accused of killing Joffrey (the title of Bill O’Reilly’s next book, FYI), Tyrion opted for a trial by combat rather than let dear daddy Tywin determine his fate. Wanting to ensure her brother’s death once and for all, Cersei chose as her champion the enormous Gregor Clegane, aka The Mountain Who Rides, aka The Mountain, aka That Crazy Motherfucker Who Chopped His Horse’s Head Off After Losing a Joust – a man who Tyrion’s sellsword pal Bronn would accurately describe as “freakish big and freakish strong.”  With Jaime unable to fight due to the loss of his hand, and Bronn unwilling to put his life on the line against The Mountain, Tyrion found a surprise champion in Dornish prince Oberyn Martell, who had journeyed to King’s Landing with his special ladyfriend Ellaria Sand for Joffrey’s wedding. Oberyn’s sister Elia had been married to the Mad King’s son Rhaegar Targaryen, but he left her for Ned Stark’s sister Lyanna, even though she was betrothed to Robert Baratheon. When Tywin and his army — allied with a rebelling Robert — stormed King’s Landing right around the time Jaime was earning the nickname “Kingslayer,” The Mountain killed Elia’s children and then raped her before killing her too. Oberyn has long sought vengeance on The Mountain, and on Tywin, who he is convinced gave the order. So Oberyn fought for Tyrion and appeared to mortally wound The Mountain, only to find his massive opponent had a few moves left…like the move where he crushed Oberyn’s head to a pulp with his bare fucking hands. Tyrion was condemned to death, but Jaime and Varys plotted his escape. Jaime got him out of his cell, and on his way to meet Varys, Tyrion couldn’t help but take a detour. He went to Tywin’s chambers and found his ex-lover Shae in his father’s bed. She went on the defensive and tried to kill him, but he choked her to death. Then he found Tywin sitting on the toilet, and put two arrows in him. By the time Varys got him to the ship that would carry him across the Narrow Sea to exile and maybe safety, the toll of bells signaled that Tywin’s death had been discovered. Varys knew he could not return to court, so he took a place on the boat alongside Tyrion.

In other King’s Landing news, Joffrey has been succeeded by his brother Tommen, a sweet, decent kid who is almost certainly doomed and who doesn’t to deserve to die the horrible death that will probably befall him eventually as the competitors for the Iron Throne close in. For the time being though, Tommen is king, and with Tywin dead, Cersei is now the true power in King’s Landing, answering to nobody. Margaery Tyrell, who was married to Joffrey for all of a few hours before he was gloriously poisoned — by her grandmother, the supremely awesome Olenna Tyrell, as it turned out — is now set to wed the much younger Tommen. This puts Cersei in a difficult position, since she detests Margaery…though in point of fact, Cersei detests almost everyone who isn’t a Lannister. And almost everyone who is a Lannister, really. But she also seems to recognize the need for an alliance with the Tyrells, the wealthiest family in the kingdoms second to her own.

Olenna’s murder of Joffrey was conducted in cahoots with Westeros’ schemer extraordinaire, Lord Petyr Baelish, aka Littlefinger. He arranged to have Sansa Stark unwittingly wear a poison-laced necklace to the wedding, where Olenna would have access. As Joffrey gasped his last breaths, Littlefinger had an accomplice whisk Sansa away and deliver her to Littlfinger’s ship anchored in the mists of the bay. The two sailed to the Vale and made for the fortress of the Eyrie, where Littlefinger married Sansa’s aunt Lysa Arryn, sister of her late mother Catelyn Stark. Lysa has always been a little crazy, however, and was convinced that Littlefinger had romantic designs on Sansa. She might have been right; he’s always been creepy, but the way he looks at her takes it to a whole other level. With Lysa unhinged by jealousy, Littlefinger decided the best thing for everyone would be if she weren’t alive anymore, so he pushed her ass out the moon door. Under Littlefinger’s tutelage, Sansa finally began to display some cunning, spinning a story to a small tribunal that held Littlefinger responsible for Lady Arryn’s death. Sansa convinced them that Lysa had killed herself, and that Littlefinger was her kind, brave savior and protector who rescued her from Joffrey’s clutches. Recognizing the creepy fixation he has on her — perhaps because she’s the daughter of his lifelong object of desire — Sansa began to use his feelings to her advantage. Considering the revelation that Littlefinger convinced Lysa to poison her husband — an act which set the whole game in motion back in the very first episode — it will be fun to see if Sansa can get him to lower his guard…and if she can play his own game better than he can.

Meanwhile, north of The Wall, Bran Stark continued his journey to find the three-eyed raven, accompanied by siblings Jojen and Meera Reed as well as faithful Hodor (Hodor.) Bran’s visions revealed their destination to be a weirwood tree, which they finally reached after a few setbacks — the last of which was an attack, just feet from their destination, by a band of wights — reanimated corpses with a connection to the White Walkers. They received help from a mysterious being who looked like a young girl — though she was probably something else entirely — but Jojen didn’t survive the attack. Once safely inside the tree, Bran, Meera and Hodor meet the raven in his human form…or human-like; I’m not really sure what this dude is, all gnarled up and looking as though he’s growing out of the tree’s branches. He tells Bran that he’s been waiting for him a long time, and that although he will never walk again, he will fly. So there’s that.

At Castle Black, a badly outnumbered Night’s Watch made a valiant stand against the first attack from wildling leader Mance Rayder’s army. Jon Snow further demonstrated his leadership by taking command when Ser Alliser Thorne was injured by fierce wildling Tormund Giantsbane, who was eventually captured. The Night’s Watch won the day but suffered heavy losses, including Jon’s friends Pyp and Grenn, and of course his wildling lover Ygritte, who died in his arms after taking an arrow from a young boy whose father she’d killed in an earlier village raid. Silver lining: Jon’s best bud Samwell Tarly survived, and was reunited with Gilly, the object of his affection. Knowing that the Watch will not be able to hold off another wildling assault, Jon ventured beyond The Wall to Mance’s camp, hoping to either kill the leader and thereby scatter his army, or perhaps reach some kind of agreement. Their talk was interrupted when a large army appeared out of nowhere and rode on Mance’s ranks. Wanting to avoid more bloodshed among his group, Mance surrendered to the new arrivals: Stannis Baratheon, accompanied by Davos Seaworth.

Stannis had been back on his rocky island of Dragonstone trying to figure out his next move after his loss to the Lannisters at Blackwater Bay (all the way back in Season Two, people). That defeat heavily depleted his resources, but he finally made some headway when, at Davos’ behest, he sailed across the Narrow Sea to visit the Iron Bank of Braavos. The Iron Bank had been funding the Lannisters as far back as Robert Baratheon’s rebellion, and funded the crown in the War of the Five Kings as well. The crown and the Lannisters — if the two are even considered separate entities at this point — are deep in debt to the bank, and when its representatives initially decline Stannis’s request for a considerable loan, Davos convinced them that backing Tywin Lannister is not a profitable move. Now armed with the funds necessary to reinvigorate his forces, Stannis has arrived beyond The Wall, where he and Davos meet Jon and Mance. This move is a such a big one for Stannis that he’s even brought along his priestess Melisandre, his wife Selyse and his daughter Shireen. There’s no Westeros Disney World, so I suppose The Wall is as good a place as any for a family trip.

With me so far? Cause we ain’t done yet. Ramsay Snow — the bastard son of Stark bannerman-turned-Robb Stark murderer-turned Warden of the North, Roose Bolton — completed a total physical and psychological breakdown of his prisoner Theon Greyjoy, reinventing him as a loyal servant called Reek. So loyal that when Theon’s sister Yara led a mission to rescue him, he refused to go with her. Roose tasked Ramsay with capturing Moat Cailin, a ruined but strategically necessary fortress that was occupied by Ironborn soldiers fighting for Theon’s father, Balon. Fucking with his plaything’s head even further, Ramsay had Reek pretend to be Theon Greyjoy and enter Moat Cailin with terms of surrender on behalf of Bolton. The weary Ironborn accepted, and were promptly killed by Ramsay’s forces. As a reward for his success, Roose stripped away the bastard surname of Snow from Ramsay and allowed his son to take the Bolton name. Theon went back to being Reek, because the only reward he ever gets these days is a warm bath.

There were some other duos making their way across Westeros who were more endearing than vicious Ramsay and tragic Theon. Jaime sent Brienne in search of Sansa, intending to honor his promise to Catelyn Stark that her daughters would be returned to her in exchange for his freedom. Lady Stark is dead of course, but Brienne is sent to find Sansa anyway and protect her. Accompanying her is Tyrion’s squire Podrick Payne, who the imprisioned Tyrion released from his service and sent away from King’s Landing to save him from any harm that might befall him for being associated with Joffrey’s accused killer. Brienne had little patience for Podrick at first, but the loyal boy started to grow on her, and proved knowledgeable about things such as family connections throughout the kingdoms. This led him to suggest that Sansa might be in the Eyrie with her aunt Lysa, so off they went. Before that, however, they stopped to eat at an inn — the same inn that purchased Arya’s former traveling companion Hot Pie from the Brotherhood Without Banners. When Brienne told him of their search for Sansa Stark, Hot Pie confided that he knew an Arya Stark and had been in her company not so long ago. He tells them where she was headed when they parted ways, and that her traveling companions included The Hound. As Brienne and Pod get close to the Eyrie, who do they encounter but that very pair.

After barely missing the Red Wedding at Walder Frey’s stronghold The Twins, they too had been journeying to the Eyrie. The Hound hoped to sell Arya to her aunt, but they arrived three days after Lysa’s death. They were making their way back across the Vale with no clear destination when they met Brienne and Pod, who recognized The Hound, allowing Brienne to realize that she’d stumbled upon the elusive Arya. She told Arya of the promise she made to Catelyn, but with The Hound interjecting, her story didn’t come off so clearly. Brienne and The Hound launched into an epic fight that ended with The Hound bloodied and broken. Arya hid herself, so Brienne and Pod ran off in the hopes of finding her again. When they were gone, Arya approached The Hound, with whom she had shared a reluctant bond. But as he begged her to finish him off and take him out of his misery, she merely regarded him with indifference, finally stealing his money and leaving him to die. She made her way to a port where she found a ship bound for Braavos. In a moment I’ve been waiting for since the end of Season Two, she offered the Braavosi coin given to her by Jaqen H’ghar to the ship’s captain, securing herself passage across the Narrow Sea in the hopes of finding H’ghar, the assassin who once offered to train her in his art. (Unfortunately, if she does hook back up with Jaqen, his transformation means he can probably no longer be played by the awesome Tom Wlaschiha, who was so good in the part. I just hope they aren’t stuck with that goofy looking guy from the end of the clip. I hate his stupid face.)

Which brings us to our final set of major players on the board. Daenarys’ invasion of Westeros continued to take a backseat to her insistence on freeing every single goddamn slave on the continent of Essos. After liberating the city of Meereen, she learned that other cities she had freed along the way were not faring so well once she’d moved on. She decided to earn her right to the Iron Throne by spending time first ruling in Meereen. It wasn’t without its challenges. Not all the slavers were the monsters she painted them as, and not all the slaves felt victimized by their situations. As she grappled with the subtleties of the slave city dynamics, she also had to face the fact that her growing dragons were beyond her control, terrorizing the countryside. She finally had to put them in chains and lock them in a large, windowless chamber…though she was only able to do this to two of them, as the third was off on an adventure somewhere, maybe getting domesticated by a scrawny, clever Viking kid. Still, having to lock up her dragons wasn’t the biggest setback Dany suffered. She learned — through the machinations of Tywin Lannister — that her closest friend and adviser Ser Jorah Mormont had been spying on her in the early days of their relationship, reporting on her to Robert Baratheon, who wanted her killed before she could try and re-take the Iron Throne for the Targaryens. Though Jorah had committed himself to her before too long, even stopping her from drinking poisoned wine, she could not forgive him for this initial betrayal, particularly the fact that he had informed her enemies she was pregnant with Khal Drogo’s child. She banished him from the city and told him she would have him killed if she laid eyes on him again. But it wasn’t all depressing news for Team Targaryen. With no small degree of bemusement, Dany finally gave into the romantic overtures of Daario Naharis, the captain of the Second Sons, a sellsword company now backing her along with the massive Unsullied army. Grey Worm, the commander of the Unsullied, has taken an interest in Dany’s translator Missandei. Although his castration as a child would seemingly curb any stirrings of desire, he is clearly enamored of her, and she appears to be receptive to his attention.

So…that’s where we were. And now we arrive at Season Five.

Some fine teasing on display in those trailers, and as the new episodes begin there are plenty of questions about what’s to come for those like me who haven’t read the books. Cersei’s no dummy; will she figure that Jaime helped Tyrion escape, and how will that affect their relationship? After being rather cold to him throughout most of last season, she came around at the end, even coming clean to Tywin with the truth that his twins’ incestuous relationship was no rumor. Granted, throwing herself at Jaime surely had the ulterior motive of getting him to choose her over Tyrion, but he didn’t put one before the other. So where will that leave them?

Is there more to come with The Mountain? He was barely alive after his fight with Oberyn, but Cersei allowed Qyburn to perform some sort of vague treatment on him. Qyburn is the former Maester — like Pycelle or Aemon or Luwin — who was expelled from The Citadel for his radical ideas and experimental techniques. He treated Jaime’s wrist after the hand was cut off, and helped Cersei with some undisclosed issues as well. I only bring up his attempts to save The Mountain because the show seemed to place suspicious emphasis on what would seem a minor story point. He ominously tells Cersei that even if The Mountain can be saved, the process “may change him…somewhat,” also indicating with barely contained delight that whatever happens, he won’t be weakened. I don’t know what Qyburn’s deal is, but after this scene, you know that dude is just a few imprisoned rapists away from inventing the first human centipede. So something tells me this is going somewhere.

When last we saw Sansa, Littlefinger and Lysa’s oddball son Robyn, they were embarking on a tour of the Vale. I thought and hoped they might cross paths with Arya and The Hound, but might they still stumble upon the latter? We didn’t actually see him die, and while there’s zero hope he could survive, maybe the travelers will come upon his body, causing them to wonder what brought him to the Vale.

Seeing Jon’s world collide with Stannis’ should make for some great material. There was a loaded moment in last season’s finale when Melisandre locked eyes with Jon across a burning pile of corpses. Is the Red Priestess going to bust a move on Jon? How will Stannis exert his power at The Wall? How will Mance deal with this turn of events? And will we see more from the White Walkers? One of last season’s most chilling events was when the last baby boy born to Craster was taken by a White Walker into what some kind of ceremonial tableau, where a Walker with a different look from the others we’ve seen so far touched an icy fingernail to the baby’s cheek and turned him into…well, into a White Crawler I guess. This scene garnered a lot of attention for being a significant plot development that had not been part of the books.

One of the impressive things about this saga is how it expands even as it contracts. Tyrion, Varys and Arya are now on the same continent as Dany, Jorah and Ser Barristan, and you can bet that some of those characters will cross paths eventually. And with the Jon and Stannis stories now intertwined, the world of the show could be seen as getting smaller. But then we’ll visit a new locale this season: the late Prince Oberyn’s home of Dorne. There, we’ll catch up with Cersei’s daughter Myrcella, who was sent there back in Season Two, and meet a number of new characters, including Oberyn’s older brother Doran, and three of his daughters. The vengeful girls are known as the Sand Snakes, and word is they will not take the news of their father’s death with peaceful acceptance. We’ll also get to better know the Sand Snakes’ mother Ellaria, whose part last season was smallish. But the move to Dorne and the aftermath of Oberyn’s death should provide her more to do. As the show’s co-creator D.B. Weiss says about actress Indira Varma, “Once you have someone of her caliber, you want to double down on that casting strength.” (Incidentally, with the enlarging of Myrcella’s role, a new actress has been cast in the part, just as Tommen was recast last season. The actress who played the role in Seasons One and Two took the news with a sense of humor.)

Just as the world simultaneously expands and contracts by means of locations and merging storylines, so too does this occur through character additions and deletions. Many die, but new ones get introduced. Along with all of these Dornish figures we’ll soon meet, another key arrival to the story will be a King’s Landing-based religious figure known as The High Sparrow, who could make life difficult for Cersei and Tommen. Whatever he does, he should be intriguing to watch as played by the veteran character actor Jonathan Pryce, who starred in Terry Gilliam’s Brazil and had major roles in such movies as Glengarry Glen Ross, the Pirates of the Caribbean series, Something Wicked This Way Comes, Evita and Tomorrow Never Dies.

And as we get to know these new arrivals, let’s not forget all the characters that are still out there, out of sight, but not out of mind. Not out of mine, anyway. The youngest Stark, Rickon, and his wildling protector Osha; Brotherhood Without Banners leaders Thoros of Myr and Beric Dondarrion; Robert Baratheon’s bastard son Gendry; Catelyn’s uncle Bryndyn “The Blackfish” Tully, who escaped the Red Wedding; Cat’s brother Edmure, who was the groom at that wedding and is apparently imprisoned by his now-father-in-law Walder Frey; Walder Frey himself, that treacherous lecher; and Benjen Stark, Ned’s brother, a ranger of the Night’s Watch who went beyond The Wall in Season One and hasn’t been seen since. Will any of these characters show up again this season? You can can be sure that at least some of them still have a part to play in the game, but when will they make their move?

One major character we won’t be seeing this year? Bran. In a bold move by showrunners Weiss and David Benioff, the clairvoyant Stark child, along with his companions Hodor (Hodor) and Meera Reed, has been benched for this entire season. One reason is that at this point, the show has apparently caught up with Bran’s storyline in the books, and from a standpoint of chronology, continuing would move beyond the timeframe that all of the other characters occupy. It may be worth noting here that Martin’s fourth and fifth books — A Feast for Crows and A Dance with Dragons — take place concurrently and do not both feature each and every major character. Crows follows one group of characters, while Dragons follows another group during the same time period. While each season of the TV show thus far has roughly corresponded to a book — with the third novel A Clash of Kings serving as the basis for Seasons Three and Four of the show — this hasn’t been an exact science. Benioff and Weiss have introduced some elements into the show earlier than they appear in the books, and other elements later. As such, they must have jumped ahead with Bran’s storyline and drawn from book four or five (whichever one he appeared in; I’m not sure). They have still made it clear that by and large, Season Five is based on Crows and Dragons. So again, pushing ahead with Bran’s story would move him too far beyond the other story threads chronologically. (I’m left to assume that his events in book four or five weren’t too far ahead of other characters’ events in book three, allowing them to avoid the issue of timing last season that they’re encountering now.)

To complicate things further, I’ve heard that Sansa’s storyline had also pretty much caught up to the books by the end of last season, yet she and Littlefinger are not getting sidelined like Bran. Now maybe I’ve been misinformed and there is still more Sansa action in the published books. But it could also be that the gap between Sansa’s story in Crows/Dragons and wherever it picks up in the next book is easier to bridge than the same gap for Bran. To that point — perhaps — Benioff and Weiss have further justified holding off on the Bran story by explaining that he’s about to enter a period of training, learning from the Three-Eyed Raven how to use his powers. Benioff puts it in terms of Star Wars: “It would be far less interesting, after The Empire Strikes Back to have an hour-long movie in between Empire and Return of the Jedi where Luke is training. It’s so much cooler to cut from end of Empire to beginning of Return, where he’s become the Jedi.” He elaborates, “It made sense to stop where we did. He’s now entering a training period which is going to take quite some time, much of which isn’t particularly cinematic. So rather than being stuck in a cave for a year, we figured it would be interesting to leave him out for a little bit, so when you see him again…”

I have to disagree on this point. I’ll bet that if Thrones wanted to devote an hour-long episode to Bran’s experience tapping into his abilities, they could make it pretty dramatic and compelling. I think it would be interesting to watch him grow and learn about his gifts. Surely they could draw enough from this premise to visit it periodically over the course of a ten-hour season. But Benioff mentions “being stuck in a cave for a year.” So if that isn’t just a random time period he’s tossing out there, but rather the actual amount of time in the story it will take Bran to do what he’s got to do, I can go with the Chronology Explanation, as it’s a more valid argument to me. Such a training period would  believably be prolonged enough that it might move Bran too far ahead in time than the other characters.

Whatever the case, it will be a shock when Bran returns in Season Six having grown another few inches and looking like a young man far removed from the adorable boy who got thrown from a window by Jaime Lannister. Of all the young actors on the show, Isaac Hempstead-Wright is already the one whose appearance has altered most dramatically with age. By the time we see him again, it will be a jarring sight.

This all brings us to another much-discussed element of the new season: diversion from the books. It was confirmed a few months ago that the sixth book, The Winds of Winter, will not be published in 2015. This news seemed to erroneously give way to the idea that starting now, the show will be carving its own path almost entirely. I’m not sure where this notion came from. As mentioned above, this season is primarily based on books four and five — Benioff and Weiss confirmed this in an interview at the recent premiere event in San Francisco — with the understanding that yes, as always, there will be differences. Asked about taking detours from the books, Benioff replied:

I think every season has been a little bit more. The first season was extremely faithful. The next season had a few more deviations. Each season has had to go a little more. If we were to remain entirely faithful to A Feast for Crows, half the characters — the most popular characters — would be absent from the screen this season. It’s always been about adapting the series as a whole and following the map George laid out for us and hitting the major milestones, but not necessarily each of the stops along the way. It’s an adaptation, it will have to adapt in order to survive. There are always going to be some people who want everything to remain exactly as in the books. For us, it was never a choice.

Producer Bryan Cogman added, “This is the riskiest season, from a storytelling perspective, and certainly the most difficult. We were faced with adapting two huge books and following up on arcs and themes that — while certainly inspired by the books — were a little more our own thing.” Those differences between the books and the show will include some deaths, as Martin stated that there will be characters who die on the show this year but are still alive in the books. However he also explained more recently that the death of a character on the show can carry a different weight than the death of that same character on the page, since the show has fewer main characters to work with than the book does. When it comes to deviations between the source material and the adaptation, we also have to keep in mind that Martin has told Benioff and Weiss the broad strokes of how the story ends, and we don’t always know if things from the show that aren’t in the books — like that White Walker ritual with the baby, for example — were invented by Benioff and Weiss, or are in fact things that Martin is planning but hasn’t gotten to yet. And all of this of course bleeds into the issue of the show catching up to and overtaking the books. There are new comments on that too, from all parties involved, but I think it makes more sense to save those for our post-season check-in…though I will add that for the first time, Martin did not write the script for one of this season’s episodes, choosing instead to devote his time to the The Winds of Winter. I think he made the right call.

Now…on to the fun stuff. Being the cultural phenomenon that it is, there’s always plenty of Thrones-centric fodder in the pop culture stratosphere, and here are the latest additions to my collection. First, how about this interactive map of Westeros and beyond, which not only serves the basic need of helping clarify the geography, but even allows you to trace the paths of various characters — in either their book journey or their TV journey — and even follow them only up to the point you’ve seen if you’re not caught up yet. I haven’t played around with that more advanced functionality yet, but this was helpful of late as I wanted to see where Braavos was in relation to Pentos.

As a fan of visual effects, I always enjoy seeing breakdowns like this one, which show all the ways that effects are used to enhance the scenery and make the entire world of the show believable. This reel is put together quite nicely.

Nerdist offered up this parody of the Taylor Swift song “Blank Space” called “Blank Page,” in which George R.R. Martin sings of his tendency to kill characters. The song’s amusing, but really I just enjoy the guy playing Martin. I wasn’t familiar with Swift’s tune, but it’s worth a listen for a better appreciation of what the parody is riffing on.

And this…this was just begging to happen. I’m surprised it took this long. [Note: It didn’t take this long, as it turns out. Several hours after this post went live, I realized that I actually included a similar but different GoT/Princess Bride mashup in another post a couple of years ago. It’s not inconceivable that there are others out there too. Oh well. This is still good.] 

Plenty of other amusing videos have made the rounds. Things can get awfully grim on the show, and most of the characters don’t like each other very much, so it’s nice to see some moments of levity on the set. The bloopers here are more amusing than hilarious; mostly flubbed lines. But it’s still nice to see them all having fun. Earlier this week, Seth Meyers offered a look at what Jon Snow might be like as a dinner guest. Answer: not great. There was also this Sesame Street clip that wasn’t as funny as some other TV show parodies they’ve done, but still worth a look. Because it’s Sesame Street. Doing Game of Thrones. Oh, and after the requisite Thrones-inspired couch gag a few years ago, The Simpsons dipped into the Westeros well again this year in an episode when Homer is given the opportunity to be the new face of Duff Beer.

The Simpsons, Sesame Street…there’s nothing like some good pop culture cross-pollination, and these minimalist Thrones-style house sigils, courtesy of artist Miguel Lokia, are another fine example. The Starks have “Winter is Coming,” the Targaryens have “Fire and Blood,” and the Greyjoys have “We Do Not Sow.” But what about these prominent families? (See here for others.)

Also in the Art of Thrones files, illustrators Peter and Radu came up with these travel posters that almost make you want to visit Westeros. Almost. (See here for larger versions, plus additional posters inspired by Harry Potter and Lord of the Rings.)

Finally, I came across an interesting story a while back that Martin has plans to republish a children’s story he wrote years ago called The Ice Dragon, which is set in the same world as his Song of Ice and Fire. If you’re anything like me, your reaction to that is something like, “George R.R. Martin wrote a children’s story???” Apparently so. In fact, now he’s even adapted Game of Thrones for kids.

And with that, I think I’d best go and emotionally prepare myself for the brutality, the distress and the bloodshed that shall begin anew tomorrow night. Gods, I love it.

March 15, 2015

25 Movies I’m Looking Forward to in 2015

Filed under: Movies — DB @ 9:00 am
Tags: , ,

I haven’t gotten around to posting about my favorite movies from 2014, but since that might take until sometime in late summer, why not go ahead and consider what the current year has to offer? Yes, we’re two and a half months into 2015, but the best is yet to come. How many of these movies will be on my Favorites of 2015 list? Find out when that post gets published in October 2016! Until then…

Director: Denis Villeneuve
Writer: Taylor Sheridan
Cast: Emily Blunt, Jon Bernthal, Josh Brolin, Benicio del Toro, Jeffrey Donovan
Release Date: September 18

Denis Villeneuve landed on my directors-to-watch list thanks to his impressive work on the 2013 kidnapping drama Prisoners, which was among my favorite films of that year. I wasn’t quite as high on his next film Enemy (actually made before Prisoners but released after), although there were things about it I enjoyed. His first true follow-up centers on a female FBI agent who is recruited into a CIA operation targeting the head of a Mexican drug cartel. In addition to my curiosity over Villeneuve’s upcoming projects, Blunt is a big part of the reason I’m anticipating this. She’s been killing it lately, and if she carries this film as well as I expect she will, the strength of her work — combined with excellent performances as anti-damsels-in-distress in Edge of Tomorrow and Looper — could send her already strong stock through the roof.

Director: John Wells
Writer: Steven Knight
Cast: Bradley Cooper, Daniel Brühl, Jamie Dornan, Lily James, Sienna Miller, Matthew Rhys, Omar Sy, Emma Thompson, Uma Thurman, Alicia Vikander
Release Date: TBA

Cooper plays a celebrated but wild chef in Europe whose bad habits derail his career and force him to rebuild his reputation. Buzz on the script, which has been kicking around for quite a while now, has been extremely strong, with word that the lead character is a meaty role for any actor lucky enough to play it. David Fincher was attached to direct Keanu Reeves at one point, and some other directors were involved before it went to John Wells. It will be interesting to see how the director of The Company Men and August: Osage County handles the material. Those movies showed he has a way with actors, but both were fairly talky. This film is rumored to have a different energy that will test his range. Still, all the ingredients seem to be in place for something tasty.

Director: Ron Howard
Writer: Charles Leavitt
Cast: Chris Hemsworth, Frank Dillane, Michelle Fairley, Brendan Gleeson, Tom Holland, Cillian Murphy, Charlotte Riley, Donald Sumpter, Benjamin Walker, Ben Whishaw
Release Date: December 13

This maritime epic tells the true story of the Essex — a whaling ship out of Nantucket — and its encounter with a massive sperm whale in the Pacific Ocean, an episode which would become the inspiration for Herman Melville’s Moby Dick. The movie was originally set for release this month, so trailers have been around for a while to tease what looks like a thrilling adventure with great cinematography from Slumdog Millionaire‘s Oscar winning Anthony Dod Mantle, who also collaborated with Howard and Hemsworth on the race car drama Rush. Until someone makes a film based on “The Mariner’s Revenge Song” by The Decemberists (seriously, that could totally be a movie), this might do nicely.

Director: John Hillcoat
Writer: Matt Cook
Cast: Casey Affleck, Clifton Collins, Jr., Chiwetel Ejiofor, Gal Gadot, Woody Harrelson, Michael B. Jordan, Anthony Mackie, Teresa Palmer, Aaron Paul, Michael Peña, Norman Reedus, Kate Winslet
Release Date: September 11

There’s not a lot to say yet on this one. We know it’s about a group of criminals and corrupt cops working together to plan a large-scale heist that, in order to pull off, will involve killing a rookie officer. It’s mainly here because of that cast. Cate Blanchett and Christoph Waltz were attached at one point, but scheduling conflicts prevented their involvement. Not that a good cast is ever a guarantee of a good movie, but I’d like to think that with so much talent involved, or trying to be involved, there must be something great on the page to attract them.

Director: Gus Van Sant
Writer: Chris Sparling
Cast: Matthew McConaughey, Ken Watanabe, Naomi Watts
Release Date: TBA

In what promises to be the feel-good comedy of the year, McConaughey plays a man who travels to Japan to take his own life in the woods at the base of Mount Fuji, an area known as “Suicide Forest” because it has attracted so many others with the same intention. An encounter with Watanabe’s character, who is lost in the woods, leads both men on a physical and emotional journey to find their way. We’ll see if this ends up being plot-driven, or if it’s more of a meandering meditation in the vein of Van Sant’s Elephant and Gerry. I always enjoy Watanabe’s performances, and this is also another nice move for McConaughey, who keeps picking interesting projects and quality directors.

Director: Peyton Reed
Writers: Adam McKay, Paul Rudd
Cast: Paul Rudd, Michael Douglas, Hayley Atwell, Bobby Cannavale, David Dastmalchian, Martin Donovan, Judy Greer, Wood Harris, Evangeline Lilly, Michael Peña, John Slattery, Corey Stoll, John Slattery, T.I.
Release Date: July 31

The Marvel machine rolls on this year, with two of the summer’s most anticipated movies coming from the comic giant’s stable. While you won’t find it on this list, I’m definitely looking forward to Avengers: Age of Ultron, but I give a spot to Ant-Man, just as I did last year to Guardians of the Galaxy, because it’s an unknown quantity that seems full of fun promise. Marvel’s movies continue to strike the right tone between action, comedy and just enough legitimate pathos to add some depth. Guardians, especially, was as much comedy as fantasy action, and the choices of Paul Rudd to play the lead role in Ant-Man, and Will Ferrell’s creative partner Adam McKay (director of Anchorman) to co-write it, indicates that another supremely entertaining movie is in store. The project was marred a bit by the departure of original director Edgar Wright (Shaun of the Dead, Scott Pilgrim vs. the World), whose vision apparently clashed with Marvel’s even after a long period of fruitful development. He brought most of the cast onboard before parting ways, and hopefully something of his spirit will survive to the finished film. He and his co-writer Joe Cornish retain story credit, while the actual script was rewritten by McKay and Rudd. McKay came close to directing it himself  a time commitment he was ultimately unable to make, but a near-miss that further suggests the tone we can expect from the movie.

Side-note: Those of you immersed in the Marvel film series will note that Hayley Atwell, from Captain America: The First Avenger and the Agent Carter TV series is set to appear in Ant-Man, as is John Slattery, who played Tony Stark’s father Howard in vintage footage during a brief scene from Iron Man 2, only to be replaced in Captain America and Agent Carter by Dominic Cooper. Perhaps Slattery is supposed to be an older version of Stark, but I don’t recall his scene in Iron Man 2 taking place so many years after the character’s time with Captain America and Peggy Carter that a markedly older actor would be required to play him. In fact, the switch from Slattery to Cooper has stood out to me as one of the few inconsistencies in the carefully constructed universe of Marvel’s movies. Maybe Ant-Man will clear things up for me.

Geek digression over.

Director: Jason Moore
Writer: Paula Pell
Cast: Tina Fey, Amy Poehler, Ike Barinholtz, Samantha Bee, James Brolin, John Cena, Rachel Dratch, John Leguizamo, Heather Matarazzo, Kate McKinnon, Bobby Moynihan, Maya Rudolph, Dianne Wiest
Release Date: December 18

Fey and Poehler play sisters who decide to throw a party at their childhood home before their parents sell it. But honestly, does it matter what the movie is about? Haven’t we gotten to a point where anything that Tina Fey and Amy Poehler do together is something we all just watch, no questions asked? If somehow your answer is “no”, consider that writer Paula Pell is a damn funny lady in her own right. She’s been with Saturday Night Live for years, including the Fey-Poehler era, and presumably knows exactly how to write to their strengths. Then there’s director Jason Moore, whose credits include Avenue Q on Broadway and 2012’s comedy gem Pitch Perfect. Satisfied?

Director: Scott Cooper
Writers: Scott Cooper, Mark Mallouk
Cast: Johnny Depp, Kevin Bacon, W. Earl Brown, Rory Cochrane, Benedict Cumberbatch, Joel Edgerton, David Harbour, Dakota Johnson, Sienna Miller, Julianne Nicholson, Jesse Plemons, James Russo, Peter Sarsgaard, Adam Scott, Corey Stoll, Jeremy Strong, Juno Temple
Release Date: September 18

Those of us who have been eager to see Johnny Depp wipe off the makeup, shed the silly voices and reconnect with his gifts as a dramatic actor may finally have found the movie we’ve been waiting for. Well…okay, he’ll still be in makeup. And…alright, he’ll probably be doing an accent. But the transformation will be in the service of something more serious than Jack Sparrow (great at first, getting old now), the Mad Hatter or Tonto. Depp will play “Whitey” Bulger, the infamous Boston crime figure who eluded capture for 16 years and was, for most of that period, number two on the FBI’s 10 Most Wanted list, second only to Osama Bin Laden. (Bulger was the inspiration for Jack Nicholson’s crime boss Frank Costello in The Departed). Further proof that Depp won’t be fooling around: Black Mass is directed by Scott Cooper, who previously helmed Crazy Heart, for which Jeff Bridges won an Academy Award, and Out of the Furnace, a brooding drama with superb performances from Christian Bale, Casey Affleck and Woody Harrelson. Cooper is a thoughtful filmmaker who always looks for a personal angle to keep him invested. Hopefully he’s found one here, as the project didn’t originate with him. He came on after Barry Levinson left. Even if this is more a director-for-hire job than his last two films, he’s a pretty good director to hire. Bulger’s story should provide him, his excellent cast, and the man who was once Donnie Brasco with a lot of material to dig into.

Director/Writer: Terrence Malick
Cast: Christian Bale, Cate Blanchett, Natalie Portman, Antonio Banderas, Wes Bentley, Jason Clarke, Brian Dennehy, Ben Kingsley, Joel Kinnaman, Thomas Lennon, Isabel Lucas, Nick Offerman, Ryan O’Neal, Teresa Palmer, Frieda Pinto, Imogen Poots, Shea Whigham, Michael Wincott
Release Date: December 11

Terrence Malick’s latest metaphysical drama debuted in February at the Berlin Film Festival, and secured U.S. distribution with a small indie company, although I can’t locate an actual story or article confirming the release date listed above, which started showing up around the web out of the blue. The movie centers on Bale’s character, an actor struggling with the same existential quandaries that most of Malick’s characters grapple with these days. The director shows no signs of moving back toward a more straightforward narrative. In fact, Cups is said to go even further toward the fragmented style of his recent films The Tree of Life and To the Wonder. I figure that by the time Malick’s next movie comes around, it won’t actually be a movie, but rather some kind of performance art piece where after buying your ticket, you’re taken to a beach or a field of tall grass and asked to stand around contemplatively while a voiceover talks cryptically of love, loss and God. Hey, I’ll still show up. Even in their sometimes frustrating abstraction, I find Malick’s work transfixing. To the Wonder was kind of a slog, but I’m hopeful that the urban, Hollywood setting of Cups on display in the trailer will inject a little more life into the proceedings.

Incidentally, Joel Kinnaman, while promoting another movie, was asked about working with Malick, and offered this classic response:

I had a one-day shoot, and I had a 17-page monologue. It was a crazy day. It was great to get to be part of the Malick world for a day. I have no idea what the movie’s about. I barely know who my character was. We’ll see if I’m in it or not. I remember, we’d be shooting, and I’d be on page 12 of my 17-page monologue, and I’d turn around and see that he was 100 yards away, shooting a pink dog.

That sounds about right.

Director: Jean-Marc Vallée
Writer: Bryan Sipe
Cast: Jake Gyllenhaal, Naomi Watts, Chris Cooper
Release Date: TBA

I don’t really know anything about this movie. Brief descriptions I’ve found say it’s the story an investment banker who re-examines his life after enduring a tragedy. That’s a pretty damn vague synopsis. But here’s what I do know: Jean-Marc Vallée, director of Dallas Buyers Club and Wild, is emerging as an excellent filmmaker who knows how to tell dramatic human stories that skillfully walk the line between naturalistic and cinematic; Jake Gyllenhaal is making great choices and inhabiting his characters with intense commitment; Naomi Watts, likewise, is also picking really good projects lately; and Chris Cooper can do no wrong. With that line-up of talent, this is a no-brainer for me, whatever it’s about.

Director/Writer: Jeff Nichols
Cast: Michael Shannon, Adam Driver, Kirsten Dunst, Joel Edgerton, Jaeden Lieberher, Sam Shepard, Paul Sparks
Release Date: November 25

Nichols, whose most recent effort was the terrific Mud another of my favorites from 2013 has his biggest film to date, both in scope and budget, with this sci-fi thriller about a father (Shannon, who has appeared in all of the director’s films) trying to protect his young son who has unique abilities that have caught the attention of both the government and a religious cult. Nichols has said that he’s going for something in the tone of John Carpenter’s Starman, the 1985 drama starring Jeff Bridges as a stranded alien who takes the form of a woman’s dead husband. Seeing the filmmaker apply his grounded style to this type of story has my curiosity piqued.

Peter Sohn, Bob Peterson
Bob Peterson, Enrico Casarosa
Judy Greer, Bill Hader, Neil Patrick Harris, John Lithgow, Frances McDormand, Lucas Neff
Release Date:
November 25

What if the dinosaurs had not been wiped out by an extinction event? That’s the question that sets up the first of Pixar’s two  count ‘em, TWO  new movies this year. Beyond, that, I’m not really sure what the movie is about, other than that it focuses on a teenage dino from a family of Apatosauruses and a human boy. Based on the kid’s garb in the teaser posters, it looks like we’re still dealing with prehistoric society, as opposed to a contemporary world where dinosaurs still exist; more The Flintstones than The Lost World: Jurassic Park. The movie may have changed considerably from inception to completion, having undergone an overhaul that saw original director Peterson replaced during production (not an uncommon or necessarily negative occurence at Pixar given the way they’re structured; Toy Story 2, Ratatouille, and Brave all hit similar roadblocks and turned out just fine). Toy Story‘s beloved Rex is not going to have his inferiority complex helped by the fact that Pixar is making an entire movie about dinosaurs and not including him, but for the rest of us, two new movies from Pixar  originals, at that  is cause for celebration.

Director: Judd Apatow
Writer: Amy Schumer
Cast: Amy Schumer, Barkhad Abdi, Dave Attell, Vanessa Bayer, Mike Birbiglia, John Cena, Jon Glaser, Bill Hader, LeBron James, Brie Larson, Norman Lloyd, Tim Meadows, Method Man, Ezra Miller, Randall Park, Colin Quinn, Tilda Swinton
Release Date: July 24

I’m not too familiar with Schumer. I don’t watch her Comedy Central series Inside Amy Schumer, but I’ve seen bits and pieces of her work, and I always like what I’ve seen. Here she plays a successful magazine writer whose anti-monogamy views are challenged when she meets a nice-guy doctor (Hader). Being largely in the dark about her, Apatow is the main the attraction for me. I’m a big fan to begin with, but I really like that he so supportive of other comedic voices. This is the first film he’s directing that he didn’t write, and it was simply because he wanted to be in business with Schumer, who he encouraged to write the film in the first place. He’s often perceived as a guy who makes dude movies, so I like seeing him show once again (he also works closely with Lena Dunham on HBO’s Girls) that he’s an equal opportunity comedian whose aim is to nurture funny people with unique voices.

Director/Writer: Cameron Crowe
Bradley Cooper, Rachel McAdams, Emma Stone, Alec Baldwin, Jay Baruchel, Michael Chernus, John Krasinski, Danny McBride, Ivana Milicevic, Bill Murray
Release Date:
May 29

This one was on last year’s list, but Sony bumped it from an intended holiday season release. The project has been bouncing around for a while, and it’s nice to see it finally coming in for a landing, especially since the trailer provides the impression that it will be vintage Cameron Crowe: charming, romantic, funny, earnest, and boasting a sublime cast. From what I’ve gathered, Cooper plays a defense contractor at a low point in his career who returns to a military base in Hawaii for a new operation. There, he confronts his past in the form of a now-engaged old flame and considers his future with a pilot involved in his project. Crowe has been a bit off his game with recent movies, and I would love to see him hit a home run with the kind of old-fashioned romantic comedy that has all but disappeared from the landscape.

Oh, a note to Sony and whoever made that trailer: while it’s true that Cameron Crowe is an Academy Award nominated writer, he’s also an Academy Award winning writer. That might have been the way to go.

Director: Ridley Scott
Writer: Drew Goddard
Cast: Matt Damon, Sean Bean, Jessica Chastain, Jeff Daniels, Chiwetel Ejiofor, Donald Glover, Kate Mara, Michael Peña, Sebastian Stan, Kristen Wiig
Release Date: November 25

Ridley Scott is amazing. At 77 years old, the guy is pretty much putting out a movie a year. So is Woody Allen, at age 79. But unlike Allen’s modest, dialogue-driven movies, Scott’s are large in scope, usually requiring massive production efforts, both pre and post. And the list of projects he has in development is lengthy. All that said, the films themselves can be hit or miss, and at this point he’s overdue for a hit. Whether or not The Martian will deliver I can’t say, but the potential is certainly there. In fact, the story behind the film might be worthy of a film itself. It’s based on novel by Andy Weir, who self-published it and then saw it explode on Amazon, earning praise for its detailed and carefully researched science as well as its wry humor and appealing central character. That would be an astronaut (Damon) who is accidentally stranded on Mars when his crew, believing him dead, departs without him. Scott has corralled a terrific supporting cast, and if the script and story are strong, his skill for creating arresting visuals while also coaxing good work from actors should serve this material splendidly.

Director: Steven Spielberg
Writers: Matt Charman, Joel Coen, Ethan Coen
Cast: Tom Hanks, Alan Alda, Eve Hewson, Domenick Lombardozzi, Billy Magnussen, Peter McRobbie, Amy Ryan, Mark Rylance
Release Date: October 16

The fourth collaboration between Spielberg and Hanks has been flying quietly under the radar. Hanks will play real-life attorney James B. Donovan, who was tasked with negotiating the release of an American pilot shot down over the Soviet Union while doing reconnaissance. The historical drama sounds like good material for Hanks, and another chance after Lincoln for Spielberg to put story front and center.


Director: Thomas McCarthy
Writers: Thomas McCarthy, Josh Singer
Cast: Billy Crudup, Michael Keaton, Rachel McAdams, Mark Ruffalo, Liev Schrieber, Jamey Sheridan, John Slattery, Stanley Tucci
Release Date: TBA

Sometimes you hear the plot of a movie, you see the cast, the director, and you just have a feeling it’s gonna be good. Well…I do, anyway. I have that feeling about this journalism drama, the true story of The Boston Globe’s investigative reports into sexual abuse of children within the city’s Catholic Archdiocese. The series exposed a scandal which had been known but ignored for years, and earned the Globe‘s Spotlight team a Pulitzer Prize for Public Service.

Tom McCarthy directed The Station Agent, The Visitor and Win Win, all warm relationship dramadies, but here moves into more straightforward dramatic territory. I’ve compared his films to those of Alexander Payne in the past, and griped that he doesn’t get the level of acclaim that he’s deserved. Maybe this movie will change that. I certainly hope so. This has tremendous potential. (For what it’s worth, I like the irony of the guy who played a journalist fabricating a story on The Wire now co-writing and directing a movie about journalism at its finest.)

Director: Brad Bird
Writers: Brad Bird, Damon Lindelof, Jeff Jensen
Cast: George Clooney, Pierce Gagnon, Judy Greer, Kathryn Hahn, Keegan-Michael Key, Hugh Laurie, Tim McGraw, Britt Robertson
Release Date: May 22

A decade or so ago, Walt Disney Pictures started looking inward, developing movies based on their theme park rides. Happily, that yielded Pirates of the Caribbean: The Curse of the Black Pearl. Less happily, it yielded Haunted Mansion and The Country Bears. The studio is still looking to its own vaults for inspiration, resulting in two newer trends: turning its animated films into live action ones (Alice in Wonderland, Maleficent, Cinderella, the upcoming The Jungle Book, Beauty and the Beast and Dumbo) and perhaps more oddly, making movies out of its business decisions. That trend kicked off with Saving Mr. Banks, and now we have the more mysterious Tomorrowland. There’s been a lot of secrecy around this project, originally titled 1952, but it does appear to involve the futuristic park that exists within the Magic Kingdom at Disneyland and Disney World  though to be fair, I think the idea was brought to Disney, as opposed to being generated within the studio. Damon Lindelof, who initially conceived of the story and eventually collaborated with Jeff Jensen  who covered Lindelof’s Lost for Entertainment Weekly and came up with theories as thrilling and creative as much of the show itself  and The Incredibles writer/director Brad Bird, has said the movie doesn’t actually take place in the park, but there is definitely a connection. What does seem clear is that the parties involved are aiming for a family-friendly sci-fi adventure that seeks to capture a tone of hope and optimism that’s become increasingly rare in our views of the future  real and imagined.

Director: Alejandro G. Iñárritu
Writers: Alejandro G. Iñárritu , Mark L. Smith
Cast: Leonardo DiCaprio, Lukas Haas, Tom Hardy, Domnhall Gleeson, Will Poulter
Release Date: December 25

While Birdman was soaring across the movie awards circuit in the last several months, its now Oscar-winning director Alejandro G. Iñárritu was keeping busy shooting his next project, a long-in-development story about a fur trapper in the 1800’s who is robbed and abandoned by his fellow travelers after being mauled by a bear. (Stephen Colbert’s gonna love this movie!) He survives, and goes after those who left him for dead. Just as Birdman was a sharp turn from the heavy dramas for which Iñárritu was known (Amores Perros, 21 Grams, Babel, Biutiful), The Revenant’s revenge drama roots are unexplored territory for him. And just as with Birdman, I imagine that this exercise in genre will have much more on its mind than simple brutality or emotional satisfaction.

Sam Mendes
Neal Purvis, Robert Wade, John Logan
Daniel Craig, Dave Bautista, Monica Bellucci, Jesper Christensen, Ralph Fiennes, Naomie Harris, Rory Kinnear, Léa Seydoux, Christoph Waltz, Ben Whishaw
Release Date:
November 6

I didn’t grow up immersed in the James Bond series, but while longtime fans understandably consider Sean Connery to be the quintessential Bond, can we all agree that the last installment, Skyfall, was among the four or five best  if not the single best  movie in the series? I’ll assume we can. As such, the weight of expectation here is considerable, as it often is with sequels. Director Mendes and writers Purvis, Wade and Logan are all returning, and while the chance of capturing lightning in a bottle twice in a row is unlikely, we can hope. Skyfall is special for many reasons, occupying a unique position in the Bond canon as both pivotal and transitional. Most Bond films are primarily just “the next adventure,” but this one, whatever it is, will be very much the result of Skyfall‘s events, to a degree that none of the previous 23 films  even Casino Royale‘s follow-up Quantum of Solace  have been so directly impacted by their predecessor. As for where the story might be headed, fans recognize SPECTRE as the criminal organization that Bond has contended with in several of the earlier films and in Ian Fleming’s books, and it will be fun to see how Mendes brings the group into the more gritty, contemporary milieu that the Daniel Craig era has ushered in.

Director: Pete Docter
Writers: Michael Arndt, Pete Docter
Cast: Lewis Black, Bill Hader, Mindy Kaling, Diane Lane, Kyle MacLachlan, Amy Poehler, Phyllis Smith
Release Date: June 19

Pixar’s second release this year  though it will be the first to hit theaters  is a pretty ingenious idea. As an adolescent girl facing the major life change of moving to a new city finds herself on an emotional rollercoaster, we go inside her head to see those emotions personified in the form of Joy (Poehler), Anger (Black), Disgust (Kaling), Fear (Hader) and Sadness (Smith, from The Office). That’s some inspired casting right there. This sounds like the perfect Pixar movie to me, something that will see the studio do what it does best: tell a universal story in a world related to but separate from our own, with plenty of fodder for humor but also a genuinely touching throughline. My expectations are high.

Director: David O. Russell
Writers: David O. Russell, Annie Mumolo
Cast: Jennifer Lawrence, Bradley Cooper, Robert De Niro, Diane Ladd, Virginia Madsen, Édgar Ramiriez, Elisabeth Röhm, Isabella Rossellini
Release Date: December 25

It’s not so much that this particular story excites me as it is that anything David O. Russell does these days excites me. With Joy, he re-teams with Lawrence, Cooper and De Niro for his third time in a row to tell the story of Joy Mangano, a Long Island housewife, single mother and aspiring inventor who struck gold with the creation of the Miracle Mop. Russell co-wrote the script with Annie Mumolo, who penned Bridesmaids with Kristen Wiig, and her comedic voice should nicely complement Russell’s, yielding a quirky biopic in the vein of Ed Wood and The People vs. Larry Flynt.


Director: Danny Boyle
Writer: Aaron Sorkin
Cast: Michael Fassbender, Jeff Daniels, John Ortiz, Seth Rogen, Michael Stuhlbarg, Katherine Waterston, Kate Winslet
Release Date: October 9

Another biopic, but another one that promises to be unconventional. Based on Walter Isaacson’s best-selling book about the Silicon Valley titan, Aaron Sorkin’s script is structured as just three lengthy scenes, each one taking place backstage at a seminal Apple product launch before Jobs steps in front of the curtain. Sorkin’s script is said to be a massive 181 pages (though earlier descriptions from the writer have described it as more along the lines of 90, so who knows) and as the set-up suggests, it will be extremely dialogue-heavy. No problem there. Sorkin’s dialogue, although self-plagiarized from time to time, can always be counted on to delight the ear.

I surprise myself that the movie places so high on my list, but when I crunched the numbers, did some computer models and ran it all by the boys in the lab, this is where it landed. Prime placement considering my disappointment that the original incarnation of the project fell apart. It was initially shaping up to reunite Sorkin with his Social Network director David Fincher, who wanted Christian Bale to play Jobs. I was over the moon at the thought of that line-up. Unfortunately, Fincher left the project, apparently because the studio (Sony, at the time; it’s since moved to Universal) wouldn’t meet his demands for salary and creative control. Trainspotting and Slumdog Millionaire director Danny Boyle came aboard, and courted Leonardo DiCaprio (great actor, but totally the wrong look), who opted to make The Revenant instead. Then Bale officially boarded, only to depart a short time later, stating that he didn’t feel he had a handle on the character. Sorkin championed Tom Cruise (could have been great), while the studio considered the usual A-list suspects regardless of whether they seemed right for the part (Matt Damon, Ben Affleck, Bradley Cooper). In the end, the part went to the versatile Fassbender.

I can’t help but be let down that it didn’t pan out with Fincher and Bale. Not for nothing though, the combination of Sorkin and Boyle is intriguing in its own right. Boyle’s movies are high-energy, lots of editing…there’s a thumping beat to his work that seems contrary to a project that will feature only three extended sequences and limited locations, so seeing how he approaches such unlikely material will be fun. And while Bale seemed like the perfect guy to take on Jobs, Fassbender is no slouch. I have every confidence he will give a performance worthy of such a fascinating figure. Apple’s slogan in the late 90’s was “Think Different.” Looks like with this unusual approach, that’s just what these filmmakers are going for. If they don’t end up doing a big thing badly, it could really be quite something. And you know it.

Director/Writer: Quentin Tarantino
Cast: Zoe Bell, Demián Bichir, Bruce Dern, Walton Goggins, Samuel L. Jackson, Jennifer Jason Leigh, Michael Madsen, James Parks, James Remar, Tim Roth, Kurt Russell, Channing Tatum
Release Date: TBA

Tarantino’s latest almost died on the vine. After completing the first draft of his script, he handed copies to six people, including actors Dern, Roth and Madsen, and one of his Django Unchained producers. Apparently one of them showed the script to their agent, and soon enough it had leaked online. The director was none too pleased about this, and decided to abandon the film, saying he might revisit it a few years down the road, and would perhaps publish it as a novel instead of filming it. He even sued Gawker for enabling wider dissemination of the script, though the lawsuit was dismissed by the court. Tarantino then staged a live read of the script at Los Angeles County Museum of Art, with an all-star cast of actors, (most of whom will reprise their roles in the film). Sometime between the leak and the live read however, Tarantino revised the script (the leaked version had only been his first pass) and decided to make the movie after all. The live read featured the initial draft, which is not the same version that will ultimately be filmed.

So that’s the behind the scenes drama. What can we expect for on-screen drama? The Western takes place in Wyoming a few years after the Civil War, and focuses on two bounty hunters escorting a female prisoner to her trial when a blizzard descends, forcing them to take shelter in a haberdashery. During their stop, they encounter a number of unsavory characters, some of whom may pose a threat to their assignment. I don’t think I’m going out on a limb to assume that tensions will mount, blood will be spilled, and a lot of tough-guy dialogue will be chewed with gusto. With the exception of Bichir, Leigh and Tatum, all the players here have worked with QT before…and since Roth, Madsen and Dern are still involved, there must be no hard feelings about that script leak.


Director: J.J. Abrams
Writers: Michael Arndt, Lawrence Kasden, J.J. Abrams
Cast: Mark Hamill, Harrison Ford, Carrie Fisher, John Boyega, Oscar Isaac, Daisy Ridley, Kenny Baker, Gwendoline Christie, Anthony Daniels, Warwick Davis, Adam Driver, Domnhall Gleeson, Peter Mayhew, Lupita Nyong’o, Andy Serkis, Max von Sydow
Release Date: December 18

I mean…come on. Was there even a question?

February 21, 2015

Oscars 2014: The Envelope Please

In past years, I’ve called this post “My Annual Absurdly Long Predictions Opus,” but that no longer felt right since this post is never actually as long as the one in which I attempt to predict the nominees — a stage at which many more movies are in play than now, when the field has been narrowed down. Sure, this piece is always long, but by my usual verbose standards it’s really not absurdly long. So beginning next year, I may transplant the “Absurdly Long” title to my nominations predictions post. For this one, I’ll take the opportunity of a fresh start to use an antiquated phrase that no one actually says at the Oscars or any other awards show anymore but which is somehow still a Thing in the culture.

Anyway, where were we we? Ahh yes, Oscar predictions. Last year, I worked backwards through the categories all the way up to Best Picture because there were some unique elements to the race that made that approach more logical. This year, I’m going to try it again, because it might just be a better way to go in general.

As usual, I’m afraid (and embarrassed) that I have nothing to offer you in the Documentary, Live Action and Animated Shorts categories, nor can I wade into Best Foreign Language Film or Best Documentary Feature. (Well…Doc Feature is probably going to be Citizenfour.) Maybe some day I’ll get my act together with these films. In the meantime…

The four nominees common to both categories are American Sniper, Birdman, Interstellar and Unbroken. Sound Mixing also has Whiplash, while Sound Editing has The Hobbit: The Battle of the Five Armies, which is the only nominee I’m willing to say has no real shot. In the absence of a clear below-the-line juggernaut like last year’s Gravity, any of these seem like conceivable winners. Sniper, Birdman and Unbroken each won an award from the Motion Picture Sound Editors, which breaks their discipline down into specific categories, while The Cinema Audio Society, which honors sound mixers, gave their award to Birdman (with Sniper, Interstellar and Unbroken all among the nominees.) My suspicion is that once you factor in votes from the Academy members outside of the sound field, Birdman falls away because most people won’t think of it as a “Sound” movie. Then again, it’s probably the most widely admired movie in each line-up, so that often makes the difference. Both categories could go any number of ways, with Sniper the likeliest candidate to double-up, but my guess is that they split this year. Sound Editing, which recognizes the creation of sounds that were not captured during filming, goes to American Sniper. Sound Mixing, which honors the blending of sound effects, dialogue, music and all other sonic components, goes to Whiplash.

Personal: I really have no horse in this race, but if not Whiplash for Sound Mixing, I’d love to see it go to Interstellar as a middle finger to everyone who complained about the mix and couldn’t see what director Christopher Nolan was going for.


For the first time since 2007, none of the Best Picture nominees are also up for Best Visual Effects. That’s worth noting  because without an obvious winner like Avatar or Gravity, this category is sometimes claimed by whichever Best Picture nominee is among the options, and that’s not always the movie with the most deserving visual effects work. Though to be fair, most of the post-2008 winners of this category — The Curious Case of Benjamin Button, Avatar, Inception, Life of Pi and Gravity — deserved the trophy. The only exception was in 2011, when Hugo somehow beat Rise of the Planet of the Apes (as well as the easily more deserving Harry Potter and the Deathly Hallows Part 2 and Transformers: Dark of the Moon). Voters have a chance to rectify that error this year by voting for what is hands-down the most impressive achievement in the category, Dawn of the Planet of the Apes. Building on the motion capture technology that was already impressive when it was used to help create Gollum in The Lord of the Rings: The Two Towers, Apes is a movie that puts these digitally-rendered characters front and center. Actors like Andy Serkis and Toby Kebbell perform the primates (exceptionally, I might add), but the figures we actually see in the movie are created by visual effects. These are lead characters, holding the camera in long close-ups and often conveying emotions silently. They do not exist without the visual effects work, and yet we never for a moment question their presence. We never stop to think, “Hey, this ape wasn’t actually there on set acting opposite Keri Russell or these other live human people.”  Yet they never come across as less than 100% real. It’s incredible, incredible work.

The question is, are voters really tuning into that? I fear that too many of them might not have seen Apes and/or don’t understand how impressive its effects are. The closest thing to a Best Picture nominee in the category is Interstellar, and they’ll probably go with that instead. Nolan’s sci-fi drama has lovely work for sure, but shows nothing that we haven’t seen in a dozen other outer space movies. There’s also the chance that voters could skip the prestige film and go for the super fun movie that they, like everyone else in America, loved: Guardians of the Galaxy. There will absolutely be people who vote for it because they want to see it win something. Will there be enough? Maybe, but I’m going with Interstellar all the same. I hope I’m wrong. I’d gladly surrender the bragging rights of a correct prediction in order for such an astounding accomplishment to be recognized.

Personal: I think it’s pretty clear that in my eyes there’s no contest. Dawn of the Planet of the Apes, all the way.


Only three nominees in this category, but none can be dismissed. Guardians of the Galaxy has aliens with blue skin, green skin, yellow skin, red eyes and all manner of other eccentric appearances, all of it elegantly and expertly applied. The Grand Budapest Hotel, with the exception of Tilda Swinton’s brief turn as an elderly countess, features more grounded work with lots of moustaches and carefully coiffed hair, plus Saoirse Ronan’s Mexico-shaped facial birthmark. Foxcatcher‘s makeup centers on making Steve Carell look like the creepy John du Pont by changing up his nose, teeth, eyes and hair. The work in all three films is highly effective, and all seem like plausible winners. Foxcatcher fans may want to throw it a bone, and many voters may choose this category over Visual Effects as a place to give something to Guardians. My sense is that the overall appreciation for Grand Budapest will extend here and carry it to victory, but anything feels possible.

Personal: I’m partial to the colorful, exotic work on Guardians of the Galaxy.

Gary Yershon’s nomination for Mr. Turner was a nice surprise, but we can rule it out right away. I’d give Hans Zimmer’s score for Interstellar better odds if the movie were nominated in some of the top categories. I’m not sure why that seems more important for its chances here than in the visual effects or sound categories, but it does. That leaves The Theory of Everything, The Imitation Game and The Grand Budapest Hotel. With the latter two, Alexandre Desplat collects his 7th and 8th nominations, all the more impressive considering that his first was only in 2006. He’s still awaiting his first win, and it could come for either of those Best Picture nominees, both of which feature distinctive scores that nicely complement their movies. The Theory of Everything seems to be the favorite, however. It won the Golden Globe, and its classical stylings are certainly pretty. But it also strikes me as having the least amount of personality among the contenders. As I think I say year after year, I’m always looking for a score that not only works for the movie but also as a listening experience on its own. I was pleased to see a recent interview with Desplat on In Contention in which he described that as something he strives for:

It’s the goal I’ve always tried to achieve, writing music for a film that can stand on its own. That’s the lesson that John Williams has given to all of us. And Bernard Herrmann has given all of us. And Nino Rota. And Georges Delerue: to write great music for a film that can stand on its own.
Jóhann Jóhannsson’s The Theory of Everything score definitely has recurring motifs, but to my ear it’s the least singular among the nominees. I like it, but think there are better choices to be made here. Sadly, my ear has no vote. Keeping that in mind, I’d say Theory may well prove victorious in the end, but I’m giving a slight edge to Desplat’s playful, Eastern European-influenced work on The Grand Budapest Hotel, which captured the British Academy Award (BAFTA) and just won a Grammy earlier this month.

Interstellar. Christopher Nolan’s movies are so visceral and physically affecting, and Zimmer’s music is often a big part of the reason. His work in Interstellar soars and carries us with it.
Should I be embarrassed that I didn’t know who Glen Campbell was until I started to hear about this song? Granted, I’m not much of a country music guy, but I know the names of most of the big artists in that genre all the same. Apparently Glen Campbell is a country legend, but somehow he was never on my radar. If anyone else is in the same boat, this article served as a nice introduction, even though it’s mostly specific to the documentary Glen Campbell: I’ll Be Me, which follows the tour he embarked on even as he fell victim to Alzheimer’s Disease. His nominated song, “I’m Not Gonna Miss You”, which frankly addresses his affliction, comes from that movie and won a Grammy a couple of weeks ago. It’s sweet and simple, and could be a sentimental favorite.
The catchiest of the nominees is surely The LEGO Movie‘s “Everything Is Awesome,” and I have no doubt it will capture a lot of votes, especially from fans of the movie disappointed by its absence from Best Animated Feature. But I don’t expect it to go all the way. Barring a swell of support for Campbell, I think the award will go to “Glory” from Selma. It’s a powerful song, and like “Everything Is Awesome,” some of its votes will probably come from people who thought Selma got the shaft. More people will vote for it for the former reason, but political motivations will help its case.

It would be a kick to see “Everything Is Awesome” take it, but mine eyes have seen the “Glory.”


I suppose I could offer some brief commentary on the other nominees, but what is there to say other than, “The Oscar goes to The Grand Budapest Hotel?”

The exquisite threads of Grand Budapest tower over the competition.


Pretty much the same can be said here. Admirable as the nominees are (though I’m still not sure how Interstellar got here), nothing holds a candle to the splendor of The Grand Budapest Hotel. These two design awards have been a long time coming to the work of Wes Anderson, and watching them both win will no doubt be among the ceremony’s more satisfying moments for me.
Personal: Take a guess.


Birdman is notably absent from this category, and many Oscar observers have pointed out that its omission bodes ill for the movie’s Best Picture chances, citing a favorite annual statistic that no movie has won Best Picture without an editing nomination since Ordinary People in 1980. Yes, that’s true. Even Driving Miss Daisy was nominated for Film Editing. At the same time, that factoid is one of those little pieces of Oscar trivia that holds true until it doesn’t. Birdman may or may not win Best Picture, but its lack of an editing nomination is not a signal of its fate, and won’t be a factor either way. Does anyone honestly think that the average voter is looking over their ballot and drawing a line between Best Picture and Best Film Editing?
The Imitation Game and The Grand Budapest Hotel can probably be ruled out, leaving American Sniper, Boyhood and Whiplash, all films in which editing feels more central to their film’s total accomplishment. I say “feels” because voters, and most of us laymen, are usually voting on instinct here, not on any real understanding of the craft. The same can be said for most categories of course, but you can look at costumes or sets or visual effects, or you can listen to music, and come away with a clear opinion. That doesn’t mean the most deserving work in those categories wins; it just means that most of us can judge design more easily than the elusive art of editing.
If Sniper wins here, it could signal bigger things to come. But I don’t think that will happen. It will come down to Whiplash and Boyhood, and I think the latter will emerge the winner for the sheer fact that editor Sandra Adair had to create a smooth and organic film from 12 years worth of footage, and did so with subtle, unassuming transitions. Whiplash is the more technically superior achievement, Boyhood the more emotionally effective one. Emotion will win the day.
Personal: I can’t argue with Boyhood, but I’d have to go with the intensity of Whiplash.


In the analysis of Best Visual Effects, I mentioned this was the first time since 2007 that none of the nominees were also in the running for Best Picture. This is also the first time since 2007 that there is no common nominee between Best Visual Effects and Best Cinematography. For the past five years, in fact, both awards have gone to the same film: Avatar, Inception, Hugo, Life of Pi and Gravity. That alignment has been controversial to many cinephiles, as it suggests a blurring between the two disciplines that is not actually real and does a disservice to the artists in both arenas. So it’s nice this year to see a slate of nominees free of those implications, where the look of the film is clearly the work of the team running the camera. The category is full of terrific work, and there were many more stellar efforts that deserved nominations. Still, impressive as each of these are, how does this not go to Birdman? The one-continuous shot illusion is stunning enough, but consider the physical challenges behind implementing it, plus actually making what’s in the frame look good on top of just impressing with the technical prowess. It’s a rock star achievement, and for pulling it off, last year’s winner for Gravity Emmanuel Lubezki — Chivo, as he’s known to his friends and collaborators — will become the fifth back-to-back winner in this category.

Personal: It will be sad to see the great Roger Deakins — nominated for Unbroken — remain Oscarless after his 12th time at bat, but as good as his work (and all the rest here) is, anything other than Birdman will be a disappointment.


Like Ben Affleck’s no-show in the Best Director category for Argo two years ago, the absence of The LEGO Movie is the kind of Oscar miss that really changes the race, because it so obviously would have won had it been here. But it’s not here, so who gets the gold? It’s unlikely that enough voters saw Song of the Sea or The Tale of Princess Kaguya for either to triumph, and even The Boxtrolls didn’t catch on as widely as Laika’s previous nominated films ParaNorman and Coraline. So it will come down to Big Hero 6 or How to Train Your Dragon 2, neither of which have a clear advantage or momentum over the other. There are those who think the sequel factor will hurt Dragon 2, and it may lose some votes on that count, but I don’t think most people will hold that against it. It was a well-reviewed box office hit, emotionally rich, beautifully animated, touching and funny. All of which apply to Big Hero 6 as well.

It’s pretty much a coin toss, and my guess is that it comes up tails. Because dragons have tails.

Personal: I was really sweet on Big Hero 6, and The Tale of Princess Kaguya was a quiet knockout. But I think I have to go with How to Train Your Dragon 2, partly to make up for the first film not winning. I didn’t enjoy the sequel quite as much, but I adore the original, which would have had my non-existent vote in 2010 had it not been up against the truly masterful, in-a-league-of-its-own Toy Story 3.

The tricky thing about the screenplay categories is that the actual screenplay is not really what’s being judged. We all know that voters are not reading each screenplay and casting their vote based on what comes across on the page. Rather, they’re watching the movie and then working backwards, evaluating the quality of the writing and the structure, but from a finished product that has inevitably evolved from what was on the page even in the final shooting draft. The Adapted Screenplay category complicates things even further, because it’s unlikely that all the voters have read the source material for all the nominees, so they aren’t really judging the most effective translation of that source material to the screen.

If they were, perhaps Inherent Vice‘s Paul Thomas Anderson would stand a better chance for being the first person to adapt Thomas Pynchon, and for doing it so well. (From what I hear anyway. I haven’t read Inherent Vice, or any other Pynchon, but I’ve gathered that PTA nailed it). As it is though, Anderson is probably dragging in last place. To my continued surprise, American Sniper seems to have a lot of support, and that might come through here, but I don’t (or perhaps won’t) see how it can win. The Theory of Everything took the BAFTA, though I’ve read that the movie was particularly well-received in England. I’d be surprised if it repeats here. I see it coming down to The Imitation Game and Whiplash. There was a time when The Imitation Game seemed like it could be the movie to beat for Best Picture, but it’s been largely sidelined by the unexpected strength demonstrated by Birdman and Boyhood. It remains popular with Academy members though, and this looks like the last best place to honor it. Whiplash has plenty of admirers too, and their support could turn the beat around in its favor. But I’m going with The Imitation Game.

Personal: Tough call between Imitation, Vice and Whiplash. Any of the three would make me happy, but I think I’d go with Inherent Vice. It was a crazy, twisty plot that even PTA himself has acknowledged was hard to follow and was secondary to mood and tone, and yet for all its sprawling threads, it really does cohere. Can I explain to you the details of what happens in the movie? No. Yet I can see how the pieces all fit together. And on top of that, it’s really funny and kinda sad and all-around bewitching.


Nightcrawler and Foxcatcher are on the outside looking in, leaving the category a three-way race between Birdman, Boyhood and The Grand Budapest Hotel…just like Best Picture and Best Director. In fact, it’s difficult to talk through this category without pulling those two in as well.  From the time award season began in early December, these have been the three most honored movies of the year. Each one is the work of a visionary filmmaker, and it so happens that each filmmaker is a nominee in all three categories. So if the voters want to send all of them home with a prize, the prevailing logic is that Budapest‘s Wes Anderson wins here, while Boyhood‘s Richard Linklater and Birdman‘s Alejandro González Iñárritu could go either way for Best Picture and Best Director. Those two gents are in a showdown for those top two categories, so really this is the only place Anderson has a shot to win. He’s got the Writer’s Guild of America (WGA) award, but didn’t have to face Birdman in that arena since it wasn’t eligible. He’s been nominated here before, he’s never won, and this movie has clearly captured the fancy of Academy members. On the other hand, Birdman is such an audacious piece of work, packed with rich ideas and operating on manifold levels. As for Boyhood, a couple of months ago it looked like it might be frontrunner here, but the screenplay isn’t the movie’s chief talking point. It’s now running in third, although if Academy members aren’t voting with the intention of making sure all three of these guys win something, then they may choose to give Linklater this award, save the two big ones for Birdman and send Anderson home empty-handed. I just don’t know. Will it be the honesty and simplicity of Boyhood, the fiery wit and boldness of Birdman, or the charm and utterly unique Wes Andersoness of The Grand Budapest Hotel? I’m betting on the latter.

Personal:  For me too, it comes down to Birdman and Budapest, and it’s a killer choice. If I rule out all other factors, I go with Birdman. But I would so love to see Wes Anderson win an Oscar, and who knows if he’ll ever be better positioned than he is right now. The Grand Budapest Hotel has a momentum that he’s never had before. In my first Oscar post of the season I talked about how little enthusiasm the Academy has shown to his films over the years. Grand Budapest has obviously struck a big chord with them, and with no way to know if this fortune will smile on him again, I’d love to see it capitalized on now. So this is tough for me. Birdman or Budapest. Either way I’ll be really happy and also little crestfallen.


Patricia Arquette’s buzz started when Boyhood debuted at Sundance, and when award season began, that buzz turned into booty. She’s won the Screen Actors Guild (SAG) award, the BAFTA, the Golden Globe, the Broadcast Film Critics Association (BFCA) award, the New York Film Critics Circle award, the National Society of Film Critics award, and by the count I’ve kept, 21 additional regional or national critics prizes. The next closest tally was 4 wins for Jessica Chastain, who was passed over by the Academy. Upsets can always happen, but with this kind of momentum, any other choice seems unfathomable. Arquette takes it.*

Personal: There’s really no performance here that I find Oscar caliber. Laura Dern’s part in Wild was too small; Kiera Knightley didn’t do anything particularly impressive in The Imitation Game; Emma Stone was strong in Birdman, but lots of other actresses could have played that part just as well; and Meryl Streep didn’t seem to have a take on her character in Into the Woods. I like all these actresses, and with the exception of Streep, who just didn’t do it for me in this role, they all did solid, enjoyable, moving work. But an Oscar? Meh. As for Arquette, I’ll say it: I don’t get what the big deal about her performance is. I enjoyed her, I agree she does a really nice job, but the kind of dominance she’s had confounds me. With no clear favorite, I’d give it to her or Emma Stone, and not be especially committed either way.

*Note to orchestra: Since Boyhood doesn’t have an instrumental theme, when Arquette wins, can you please play Hans Zimmer’s “You’re So Cool” from her great 1994 film True Romance as she walks to the stage? Thank you.


Like Arquette, J.K. Simmons’ domination began at Sundance and never wavered. He’s won all the same awards I mentioned by name above, and 24 more along the way. Only Edward Norton and Mark Ruffalo have siphoned awards away from him, and barely. Simmons is a respected character actor who’s earned fans and industry admirers with his varied work in movies and TV for years, and it’s rare for a guy in his position to get a role like this and a moment in the spotlight like the one afforded him by Whiplash. Everyone’s rooting for him. He’s got this in the bag.

Personal: Norton is so, so good in Birdman, and I wish the field were clear for him to take this. But like everyone else, I’m pulling for J.K. Simmons.


It’s nice when the narrative that a certain actor’s “time” has come is attached to a performance for which they actually deserve to win. Such is the case this year with Julianne Moore. Consistently one of our finest actresses in all manner of genres and styles, Moore has been nominated four times prior to this, been inexplicably ignored a few (seriously, no nomination for The Kids Are All Right?) and maintained a high position on the list of actors overdue for an Oscar. Her name comes off that list this year, thanks to her matter-of-fact, utterly truthful work as a successful academic facing early onset Alzheimer’s in Still Alice. She faced strong competition on the critic’s award circuit from Gone Girl‘s Rosamund Pike and Marion Cotillard of Two Days, One Night. But in the post-nominations phase, Moore has won all the big ones: SAG, BAFTA, BFCA, and Golden Globe. It’s her moment.

Personal: It really will be nice to see Julianne Moore finally holding that Oscar.


Despite their excellent work, Steve Carell and Benedict Cumberbatch are on the sidelines of this race. Bradley Cooper, who, I’m sorry, should be out in the parking lot somewhere, is being talked up as a potential spoiler in what we all assume will be a tight contest between Michael Keaton and Eddie Redmayne. One article I read made the good point that Cooper is a wild card. Having not been nominated for any other major awards, we don’t know how his presence might have impacted other contests that ultimately went to Keaton or Redmayne. American Sniper is a huge hit and a major conversation piece, but I just don’t buy that Cooper stands any real chance here. If I’m wrong, and he somehow pulls out a surprise win, I will launch a cyber attack on Hollywood that will make Sony’s hackers the Guardians of Peace look like some kindergartners playing on a hollowed-out Commodore 64.

The thing that makes trying to predict this category so hard is that both Keaton and Redmayne embody narratives that the Academy eats up like candy. In Keaton’s favor: he dominated the critics award circuit, and won the BFCA and the Musical/Comedy Golden Globe. He’s a beloved actor — well-liked, admired, versatile. Birdman is something of a comeback for him, which Oscar voters love. Also, he plays an actor. The Academy’s largest voting group are actors…and they will relate to this character in a big way. He gives an emotionally bare performance, the movie has earned broad support across the guilds — which means it’s admired by more than just actors — and he’s been clearly touched by the recognition he’s received, delivering good speeches at other award shows. (Why should that matter? It shouldn’t. But it does.) Also, the Best Actor award favors veterans over beginners. (Redmayne broke through in 2006, but his career is young and just taking off.)

In Redmayne’s favor: he won the Golden Globe for Drama, as well as the SAG and the BAFTA. Those two are big. Also big — huge, even — he plays a famous, respected, real-life figure and undergoes an incredible physical transformation in the process. Voters looooove transformations. (Sorry Steve Carell; I guess you were out-transformed this year.) Also, like Keaton, he’s been a big hit with his previous acceptance speeches, demonstrating great poise, eloquence, charm, and gratitude.

Clearly, Academy members face an impossible decision. I’d like to think Keaton will have the additional benefit of voters knowing that he probably won’t be in this position again, riding this high a wave of acclaim. But that was also true of Bill Murray in Lost in Translation and Viola Davis in The Help. Both deserved to win and had a momentum that doesn’t happen often if you aren’t someone like Sean Penn or Meryl Streep — the people Murray and Davis lost to, respectively. Still, despite the signs pointing to Redmayne, I have to go against the grain here. I really do think — not just because it’s what I want to see — that Michael Keaton will pull it off. But it’s a nailbiter, and I can’t deny that the tide seems to be with Redmayne.

Personal: I want Michael Keaton to win this Oscar. He has always been one of my very favorite actors, and what a vehicle this was for him. Redmayne did an amazing job as Stephen Hawking, and if he wins, there’s not much of an argument to make against it. But I badly want Michael Keaton to win this Oscar.

Normally this would be a pretty easy pick. Birdman is clearly loved within the industry, and director Alejandro González Iñárritu won the Director’s Guild of America (DGA) award. That should seal it right there. It probably does seal it right there. Only seven times in the 67 years of the DGA’s existence has the winner not gone on to win the Oscar, and in three of those cases the DGA winner wasn’t even nominated for the Oscar.

But here’s the thing that’s eating away at me: I just find it really hard to believe that Richard Linklater is leaving the Dolby Theater on Sunday without an Oscar. If I’m right — and who knows if I am? — the question becomes which category he wins: Original Screenplay, Director, or Best Picture. I’m guessing he wins here, for undertaking a daunting, against-the-odds passion project that no one has ever tried to do in this way before, and for pulling it off so beautifully. There are equally strong cases to be made for both him and Iñárritu, not least of which is that both of these guys took an incredible artistic risk with their respective movies. They each tried something fresh and daring, and they were each making deeply personal films with something to say about the human experience. History is on Iñárritu’s side thanks to that DGA award, but the DGA members only had this one chance to honor him. Academy members have other ways to bestow an Oscar on Iñárritu. With that in mind, and connecting it to my theory that Linklater’s goes home with an Oscar for something, I’m going out on a limb — a limb which, a month ago, wouldn’t have been a limb at all but rather the sturdiest part of the trunk — and calling it for Linklater.

Personal: When Boyhood came out, I thought Linklater would be a dark horse candidate for a Best Director nomination. I thought the movie might be perceived as too small, too simple to get him that recognition. But I really wanted it for him. The film is a visionary piece of work, and “visionary” doesn’t have to mean Gravity or Inception. Visionary doesn’t have to be grand. It can be small and intimate too. It took incredible balls and drive to conceive of and execute this movie, and the ability to inspire trust and faith in his actors, making them comfortable enough to bring their own personal life experiences to the table, is part of his achievement. It was moviemaking without a net, and I wanted to see Linklater recognized for that…and indirectly, for a career of moving smoothly and successfully between indies and studios, experimental and commercial. And it turned out he got the recognition, no uphill battle necessary.
Now that it comes time for the actual award, though, my heart is with Iñárritu. His directorial challenges seem even more varied, more risky, and ultimately more impressive to me. I’ll be happy with either outcome, but while I’m glad Linklater got the nomination, I want Iñárritu for the win.


Once again, and now in the end, it comes down to the birds and the boys, and while it could go either way, my money is on Birdman. Largely because nearly every industry guild or society has honored the movie, indicating support across all branches of the Academy. Birdman won the Producers Guild of America award, the DGA, the SAG award for Best Ensemble and the American Society of Cinematographers award. It’s been feted by the Art Director’s Guild and the Costume Designers Guild in their Contemporary categories; it’s won awards from the Makeup and Hairstyling Guild, the Motion Picture Sound Editors, and the Cinema Audio Society (all three of which honored other movies as well). The only guilds that didn’t recognize it are the WGA (where it was ineligible) and the American Cinema Editors. None of this means Boyhood can’t still win, but the wind really does seem to be beneath Birdman’s wings.

Is there anything else in the running that could emerge a surprise winner? American Sniper has a lot of fans, and everyone thinks highly of The Imitation Game as well. Boyhood and Birdman, for all the awards they’ve collected and the domination they’ve exhibited, are divisive movies. There are plenty of people who find Boyhood slow and boring. There are also plenty of people who find Birdman pretentious or annoying or who just don’t get it. Best Picture is chosen by a preferential ballot, which aims to award the movie with the broadest support. If Birdman and Boyhood are each championed and cast aside in somewhat equal measure, it’s not impossibe that something like The Imitation Game could sneak in. This helpful video, produced last year by The Wrap‘s Oscar guru Steve Pond, explains the preferential ballot. I included it last year, I’m including it again, and I’ll probably include it every year. If you like to know how the vote is counted, this is worth watching. It’s not just “the movie with the most votes wins.”

Normally I wouldn’t introduce the idea of a last minute shocker when there are one or two movies that are clearly ahead of the pack. But normally you wouldn’t have two movies in such a position that are as unconventional — and therefore as polarizing — as Birdman and Boyhood. In a year like this, it doesn’t seem impossible for a more consistently admired movie to work its way in. Were that to happen, The Imitation Game would probably be the one. (American Sniper has too much controversy of its own.) But I still think Birdman and Boyhood are the last two standing, with Birdman ultimately flying away the winner.

Most of the nominees are among my favorite movies of the year, but Birdman…there’s just nothing else like it.

And there we have it. From where I stand, we’re in for a pretty damn exciting Oscar night. Neil Patrick Harris is a consummate host, and although he — like Ellen DeGeneres and Seth MacFarlane in the two years before him — must stand in the shadow of Tina Fey and Amy Poehler’s killer Golden Globes gig…

…Harris has proven many times that he’s more than up to the task. From the first moment to the last, his turn at the helm of the 2011 Tony Awards is one of the best performances by a host I’ve ever seen.

Seriously…watch that clip. Brilliant writing first and foremost, but NPH crushed it. If some future award ceremony can get him, Fey and Poehler to host together, they might just conquer the world.

Anyway…Oscar show producers Neil Meron and Craig Zadan, back for their third consecutive year, once again seem to be obsessed with musical numbers that will probably wind up being a mixed bag. In addition to performances of the nominated songs by the likes of Common, John Legend, Tim McGraw, Adam Levine, Rita Ora, Tegan and Sara, and The Lonely Island, Meron and Zadan have recruited Frozen‘s Oscar winning songwriters Robert Lopez and Kristen-Anderson Lopez to write a number for NPH, plus they’ve lined up Lady Gaga, Jennifer Hudson, Anna Kendrick and Jack Black to perform. (It hasn’t been stated that Black and Kendrick are doing musical numbers, but the announcements made it sound that way.)

We’ll see how that stuff goes, but yay or nay, I at least expect NPH will be a dynamite host. And the real reason to be excited is, of course, the awards themselves. Most of the winners that are locked in, from Julianne Moore to the sets and costumes of The Grand Budapest Hotel, deserve their surefire victories. Then you’ve got those top races — Picture, Director, Actor and even Original Screenplay — that are so hard to call and will probably shake out in ways that result in simultaneous elation and heartbreak for us fans. (For the real Oscar geeks, even categories like Best Original Score, Best Visual Effects and Best Makeup and Hairstyling will have that effect.) Whatever happens, I’m really trying to appreciate the rarity of a year where the top contenders are all unique and quirky in a way that the Best Picture frontrunners usually aren’t. I mean, I liked recent winners Argo and The King’s Speech and 12 Years a Slave a great deal, and although I’d have picked Lincoln over Argo, or The Social Network or Inception or The Fighter over The King’s Speech, even those movies are pretty typical. Nothing wrong with that at all. But take a moment to relish the fact that the three movies duking it out this year are as out there and atypical as Birdman, Boyhood and The Grand Budapest Hotel. When I look at the 2014 award season and the movies it’s honored, even with the disappointing omissions (your day will come, Chadwick Boseman), I gotta say: everything is awesome.

(Nominee Luncheon. Click to enlarge and play Who Can I Recognize?)


February 14, 2015

Oscars 2014: And the Nominees Are…

Filed under: Movies,Oscars — DB @ 4:00 pm
Tags: , , , ,

Complete List of Nominees

Yes. The Oscars are next weekend. Which makes this post, like, three weeks overdue. So instead of devoting precious time to self-deprecating commentary about that, I’ll get right into it. As always, the morning of the Oscar nominations offered surprises both satisfying and disappointing. In a nice move that I hope becomes a new tradition, all 24 categories were announced live, instead of just the usual “top” ones. J.J. Abrams and reigning Best Director Alfonso Cuarón handled the first part, followed by Chris Pine and Academy president Cheryl Boone Isaacs with the big categories as well as some additional below-the-line races. As is my usual habit, I got up at 5:30 in the morning to watch the announcement live, and had to settle for local TV news coverage since apparently E! Entertainment Television — a channel entirely dedicated to covering the entertainment industry — didn’t feel that the Academy Award nominations merited interrupting a block of Keeping Up with the Kardashians. And the local news channel couldn’t be bothered to air the full announcement, cutting to a commercial in the middle of Abrams reading the nominees for Best Animated Feature. Nice move, dipshits. Luckily the event is preserved on YouTube, so I can go back and relive all the excitement for years to come.


Okay, so the excitement was minimal.  It could have used some of the playfulness that Seth MacFarlane and Emma Stone brought to the shorter announcement two years ago. Still, it was nice to see all the nominees get their due with a public acknowledgement instead of being relegated to a press release. And by the way, what was up with Isaacs bizarre pronunciations of really simple names and titles? I’ll forgive her the slip-up of calling Best Cinematography nominee Dick Pope “Dick Poop,” which she immediately corrected, but what about the way she kept saying Richard Linklater as if his name was a three-parter: Richard Link Later. Or the distinct emphasis she placed on “The” in The Theory of Everything when announcing Best Actress nominee Felicity Jones. I know it’s early in the morning, but these are not hard names.

I had a middling year in terms of my predictions. There was no category in which I went 100%, though perhaps the judges will give me partial points for Best Picture. I predicted there would be nine nominees, and there were only eight…but my nine included the eight that made it, so that’s something, right? In 12 categories, I was only off by one, which matches my guesses from last year. But my average was dragged down by having my single worst category since I’ve been keeping track, with only one of the five Best Sound Mixing predictions correct.

Here are some thoughts, category by category…omitting a few where I have nothing to say at this stage.

This was the fourth year that there could have been anywhere between five and ten nominees, and I said in my last post that I would continue to guess nine — the tally for the past three years — until I had evidence not too. Well, now I’ll have to figure out what to do next year, based on only eight movies making the cut this time around. The one I had anticipated which didn’t make it was Nightcrawler, which had reportedly been playing like gangbusters with Academy members. Those reports are probably true, but apparently there wasn’t quite enough support to hit the necessary number of votes that would have secured a nomination.

After all of my skepticism and fretting, the Academy finally embraced Wes Anderson, with The Grand Budapest Hotel scoring nine nominations, tying with Birdman for the most of the year. But the big story out of the nominations was the disappointingly weak showing for Selma, which did score one of the year’s coveted Best Picture nominations, but only managed one other, for Best Original Song. It was absent from key races in which many, including myself, thought — or at least hoped — it would be recognized. Ava DuVernay missed out on a Best Director nomination, David Oyelowo didn’t make the Best Actor list, and the screenplay was overlooked as well. Cinematography and Editing might also have been possibilities had the film been embraced. Selma‘s underwhelming presence, combined with the blinding whiteness of the 20 acting nominees, led some impetuous voices (Al Sharpton, special interest groups like ColorOfChange.org) to proclaim racial motivations, while more level-headed responses (producer Reginald Hudlin, author Mark Harris) understood that several factors were likely at play, and racism was among the lesser of them.

As the latter two commenters — and several others as well — have noted, the problem is not with the Academy but with the industry at large. The film industry simply doesn’t create enough opportunities — in any capacity, on either side of the camera — for non-whites, or to a lesser but still highly problematic extent, for women. (Jessica Chastain touched on this issue in a wonderful, eloquent speech the evening the Oscar nominations were announced, when she was presented with an award by the Broadcast Film Critics Association for her body of work in 2014.) So taking the Academy to task is the wrong battle right from the start. Yes, the 2012 Los Angeles Times report about the Academy’s demographics, which was referenced in almost all of these reactions to the Selma omissions, shows that the Academy is overwhelmingly white, male and older. But so is the entire industry (white and male, at least; I’m not sure about older). Until that changes, the Academy can only do so much. And it is doing something. The organization extended invitations to far more people in 2013 and 2014 than it typically used to per year, and the desire for greater diversity has been the driving force behind this. Even Spike Lee, a critic of the Academy’s problems in this area and someone who has been personally affected by them, acknowledges that efforts to broaden the membership have been happening (while mincing no words about Driving Miss Daisy‘s victory in the same year that his seminal race relations masterpiece Do the Right Thing earned only a Screenplay and Best Supporting Actor nomination). But it will still take time to flush out the ranks and turn this crusty Caucasian sausage party into a membership that has greater balance among races and genders.

I could go much further into all of this — it deserves its own post, really — but this piece is already weeks overdue, and most of what I’d say has already been well covered by others. To that point, this article from Vulture is a great overview of some of the problems that befell Selma‘s Oscar campaign, pairing nicely with observations in the Mark Harris piece linked to above. Also, to the discussion about DVD screeners not reaching key voting groups in time to make a difference, I would add Kris Tapley’s remarks from the comments section of an article he wrote on In Contention, where he points out:

With screeners going out around 12/19, arriving 12/21 — typically mailings for directors and actors don’t arrive direct. They go to agencies. Which were more or less closed by then for the holiday. I have little doubt a great many people didn’t get their screener until after the New Year, and by then, voting was already well underway (and I’ve even heard from some who got paper ballots a full week before the end of the year this season, which is odd).

In addition, Ava DuVernay herself said in an interview with Entertainment Weekly conducted about a month before the nominations were announced that she did not expect to be in the final five, citing her lack of connections within the Academy. I don’t think that necessarily makes a difference, as I’m sure some past nominees have received the nod from their peers without being entrenched in their ranks. But maybe we’re all a lot more shocked on her behalf than she is herself. I should also say that yes, Ava DuVernay would have been the first African-American woman nominated for Best Director (and only the fifth woman at all) had things gone that way, but that should not have been the reason to vote for her. The reason to vote for her should have been that she demonstrated superb directorial skill in realizing Selma. Simple as that.

Like Mark Harris, I won’t be so naïve as to say a form of institutionalized racism was not at play in any way. The EW article about DuVernay quotes an anonymous Academy member saying, “It’s almost like because she is African-American, we should have made her one of the nominees. I think that’s racist. Look at what we did last year with 12 Years.” That last bit could be interpreted in a few ways, and one of them (just one; I don’t know what this member intended to convey) suggests that by voting for 12 Years a Slave, the Academy has met its quota of acknowledging “the black experience.” Would it surprise me if there were a small number of voters who felt that way, whether or not the speaker was one of them? No, it wouldn’t. (For what it’s worth, some Oscar journalists have brought up the fact that many Academy members privately admitted to voting for 12 Years a Slave last year without having seen it.) I’d wonder, though, if voters who held that opinion would feel that honoring The Hurt Locker, The King’s Speech and The Artist over three consecutive years was too much recognition of “the white experience.” It’s also difficult to watch Selma take heavier hits over questions of its historical accuracy than films like The Imitation Game, American Sniper and Foxcatcher and not wonder why the film coming under the most vocal fire for dramatizing real-life events is the one directed by the black woman, depicting a story about black characters and their battle against an oppressive, largely white system. Of course, these annual attacks are ridiculous to begin with. These movies aren’t documentaries, and are not — contrary to what an another anonymous Academy member says in the EW piece, regarding Selma‘s depiction of Lyndon B. Johnson — “obligated to present it [history] correctly.” These movies are fictionalized versions of true events, and as such they are entitled to dramatic license.

At the end of the day though, I just don’t buy the racism thing. In the industry, yes, but not in the Academy. This is an organization that awarded Gone With the Wind‘s Hattie McDaniel an Oscar in 1939 (and don’t start in with the fact that she was playing a servant). If the number of black performers who have won since then is low compared to white performers, well again, the Academy can only reflect the industry. Have there been performances by black actors and actresses that should have been nominated and weren’t? Absolutely. Just like there have been performances by non-black actors that should have been nominated and weren’t. Bottom line, only five people get nominated per category, and outstanding work finds itself sidelined every year. But if the Academy were comprised of a bunch of racists, they wouldn’t nominate actors of color at all. Racism isn’t selective. It doesn’t come and go from year to year. If an institution and its members are racist, they’re consistently racist, at least until enough new people who embrace acceptance arrive in large enough numbers to change the institution’s actions. Selma and most of its filmmakers were not nominated this year, and no performers of color were nominated this year, and that’s unfortunate. But it’s not because one year after the success of 12 Years a Slave, Academy members’ latent racism suddenly flared up. In the last 10 years, Jamie Foxx, Morgan Freeman, Forest Whitaker, Jennifer Hudson, Mo’Nique, Octavia Spencer and Lupita Nyong’o have all won Oscars. In the same period, nominations have gone to Don Cheadle, Jamie Foxx (in addition to his win), Sophie Okenedo, Terrence Howard, Will Smith, Djimon Hounsou, Eddie Murphy, Ruby Dee, Taraji P. Henson, Viola Davis (twice), Morgan Freeman (in addition to his win), Gabourey Sidibe, Denzel Washington, Quvenzhané Wallis, Chiwetel Ejiofor and Barkhad Abdi. Other non-whites who have won in the same period? Well, only Javier Bardem and Penélope Cruz. But nominations went to Catalina Sandino Moreno, Penélope Cruz (twice in addition to her win), Adriana Barraza, Rinko Kikuchi, Javier Bardem (in addition to his win) and Demián Bichir. All totaled, yes, these numbers are far fewer than they are for white nominees. But if the industry makes fewer movies in which actors of various ethnicities have the opportunity to play great roles, the Academy is not to blame. Even if those movies and roles exist, they have to earn enough acclaim and attention to become part of the Academy conversation in the first place. And even then they have to be lucky enough to break into the list of five nominees. There are always politics at play when it comes to Oscar nominees and winners, but they’re seldom the politics of race. Ejiofor, Abdi and Nyong’o were all nominated last year, but Fruitvale Station‘s Michael B. Jordon and Octavia Spencer were not, nor were Forest Whitaker or Oprah Winfrey for Lee Daniels’ The Butler. Were those four actors the victims of a racist agenda? Or were they the victims of only five nominations available per category and a surplus of deserving contenders, just like Tom Hanks, Robert Redford, Oscar Isaac, Emma Thompson, Julie Delpy, Adèle Exarchopoulos and Daniel Brühl, among even more? If the Academy had a race problem, it wouldn’t have nominated or awarded all those people named above. If the Academy were not interested in non-white stories, its members wouldn’t have voted Best Picture nominations to Babel, Letters from Iwo Jima, Slumdog Millionaire, Precious, The Help, Beasts of the Southern Wild, Django Unchained, 12 Years a Slave and yes, Selma.

Keep in mind that while we talk about the Academy as this giant Thing!, it does not operate on a hive mentality. The Oscar nominations and winners are not decided by a committee sitting around a table arguing and debating. They are decided by roughly 6,000 individual people expressing their own opinions, and then having those opinions collected and tallied.

Finally, let’s remember this above all: no one is entitled to an Oscar nomination. The way people like Al Sharpton and others who decried the all-white acting races and the omission of Selma talk about the situation, you would think that Ava DuVernay or David Oyelowo or Get on Up‘s dynamo Chadwick Boseman were promised Oscar nominations only to have those promises revoked at the last minute. There will always be great work that is passed over for an Oscar nomination, and I have certainly spent my fair share of time ranting about such cases over the years. But it’s all part of the game, and sometimes the movie and the actor you want to receive that honor just doesn’t receive it. Even though everybody thinks they should have. Sometimes they just don’t. The complaining about it is part of what keeps us engaged with the whole circus in the first place. But when that complaining morphs into defiance and allegations and legitimate outrage, it’s time to take a few steps back, get some perspective on what we’re talking about, and demonstrate a little understanding of how processes work before you start convening panels to address them.

All of that said, Ava DuVernay should totally have been nominated.

Whew. I said I wouldn’t get get too deep into this, and look what happened. Okay, just a couple more observations about these two categories. Of the people who did get nominated for Best Director, four of them were widely expected. The fifth slot, which some thought would go to DuVernay and others thought might go to Director’s Guild of America (DGA) nominee Clint Eastwood, instead went to Foxcatcher‘s Bennett Miller. It wasn’t a total shock — he was considered a possibility — but few had him in their final five. Interestingly, Foxcatcher was not one of the eight Best Picture nominees, making Miller the first person to be nominated for Best Director without a Best Picture nomination since 2009’s expansion of Best Picture beyond five nominees. I do wonder — and I’m probably not alone — if Miller benefitted from a boost in support after Mark Schultz, played by Channing Tatum in Foxcatcher, went on a vicious social media tirade against the film and Miller in late December, suddenly attacking a project he had supported all along. He offered a reserved apology soon after, and several more apologetic tweets after the nominations came out, specifically addressing Miller at certain points, but that initial outburst was lathered in vitriol. Could it have moved some of Miller’s fellow directors to show their support by voting for him? Not that Miller couldn’t have simply earned the nomination 100% because members of the branch admired his work, but these outside factors always make one wonder.

Lastly, American Sniper made the Best Picture list too, though I can think of at least a half-dozen other movies more deserving. Sniper just isn’t that great. I didn’t dislike it, but it’s really nothing special and I’m baffled by all the love. If you watched the clip of the Chris Pine and Cheryl Boone Isaacs above, did you notice that each of Sniper‘s nominations elicited cheers and applause from some of the journalists in attendance? I don’t get it. The movie tread on familiar ground that was covered more compellingly and effectively in The Hurt Locker and last year’s Lone Survivor. It was solid, but by no means one of the year’s best movies. Yet America has embraced it like it was delivered forth by Jesus himself. It entered wide release the day after the nominations were announced, and won an enormous box office victory over Martin Luther King Jr. Day Weekend, bringing in unprecedented numbers for a January release and breaking records along the way. I could bring up the ironies around American Sniper doing such amazing business during that particular timeframe while the movie about the man whose legacy is meant to be honored and remembered on that day struggles to find an audience, but you probably see them for yourself. There’s a lot more to explore with this movie as well, regarding why it’s such a massive hit and why it’s been so controversial, but this time I really am avoiding those waters, if for no other reason than how little they have to do with the movie’s Oscar standing.

We sort of covered David Oyelowo in the previous section, so let’s see what else happened here. I’m not surprised Steve Carell was nominated. Despite his (and Foxcatcher‘s) inconsistent fortunes throughout Phase One of the season, I felt pretty sure that the acting branch would speak up for his unsettling, change-of-pace work. My mistake was thinking that in an effort to deal with a painfully overcrowded field, they would take the same course as BAFTA and shift him into Best Supporting Actor. (Also because that’s probably where he really belongs, though I can see the argument for Lead.) But they kept him in Best Actor, and so it turns out those four guys who seemed like locks as far back as October — Carell, Cumberbatch, Keaton and Redmayne — managed to stay in the game, leaving only one open spot and slew of worthy contenders. I can’t believe it was Bradley Cooper. I’m sorry, but no way. Cooper is great, and I was 100% enthusiastic about his previous two nominations, for Silver Linings Playbook and American Hustle. But this? No way. There is nothing about his performance or character even remotely as interesting or exciting as Jake Gyllenhaal’s in Nightcrawler, and nothing as powerful or magnetic as Oyelowo’s in Selma. Those were the two I thought would get in, but if not them, I can still name a dozen other performances more compelling than Cooper’s. I did name them, in the previous post. Ralph Fiennes, Chadwick Boseman, Matthew McConaughey, Miles Teller, Tom Hardy…literally every single person I listed would deserve this nomination more than Bradley Cooper. I don’t want to suggest he isn’t good in the movie. He is. But lots of people are good, even very good, in their movies. They don’t all deserve Oscar nominations though. We’re talking about one of the five best performances of the year? I’m sorry, but no way.

For all the emphasis we players of this Oscar nomination guessing game put on the precursor awards to guide our selections, sometimes the tea leaves aren’t worth a damn. Despite several nominations from regional critics organizations, and a handful of wins, Marion Cotillard had not been cited by the Hollywood Foreign Press Association, or the Screen Actors Guild (SAG). However to correct my last post, she was among the six nominees from the Broadcast Film Critics Association (BFCA), which makes her placement here slightly less unexpected…but not by much. It’s nice to see her back in the game since first winning in 2007 for La Vie En Rose, but few thought she’d make it. Her fellow nominees — Rosamund Pike, Reese Witherspoon (who also produced Pike’s film Gone Girl), Felicity Jones and Julianne Moore — were all expected to place, and most pundits were predicting Jennifer Aniston for the fifth spot, probably because she did have Golden Globe, SAG and BFCA nominations, and there wasn’t a large group of viable contenders to begin with. At least, not without looking to unusual suspects such as Jenny Slate (Obvious Child), Essie Davis (The Babadook) or Gugu Mbatha-Raw (Beyond the Lights). It’s rare for someone with all three of those nominations to miss with the Academy. Not unheard of (Leonardo DiCaprio for J. Edgar, Mila Kunis for Black Swan, Jonah Hill for The Wolf of Wall Street), but rare. I had a feeling Aniston wouldn’t make it, though I guessed — for lack of anything that made more sense to me, really — that Big Eyes‘ Amy Adams would take the open spot.

No surprises here. Despite his general awesomeness, I thought Duvall would be passed over, given the underwhelming reception for The Judge. I hoped that when the moment of truth came, voters would see through the film’s cliches, picking instead a role more interesting than the one that The Great Duvall was stuck with. But they went for it, making this category identical to the way it shook out with the Golden Globes, SAG and BFCA with Ethan Hawke, J.K. Simmons and Incredible Hulks Mark Ruffalo and Edward Norton filling out the list. (The BFCA added Inherent Vice‘s Josh Brolin to those five, and I would definitely rather have seen Duvall’s slot go to Brolin.) Duvall was good in The Judge because he’s always good, but that’s not good enough for an Oscar nomination.

Laura Dern was one of the bubble contenders for her role in Wild, and she managed to sneak in there, which stirs mixed feelings for me. On one hand, I’ve always been a champion for Dern, who I consider among our most underrated actresses. It’s really nice to see her recognized, 23 years after her only previous nomination (Best Actress in Rambling Rose). On the other hand, Dern’s time in Wild is brief, and while she does typically lovely work, she doesn’t get to do enough of it. I think I end up saying this about at least one acting nominee every year, but with rare exceptions a performance should have more presence and more meat than the one Dern has here in order to deserve an Oscar nomination. But here she is, and I can’t say I’m not happy to have her.

Also, nice to see someone else speaking up for Mr. Turner‘s shoulda-been-a-contender Dorothy Atkinson.

Apologies if I sound like a broken record, but American Sniper?!? Are you kidding me? For what?? Writer friends, please explain this to me, because I truly don’t understand. This movie just isn’t that good. I understand why it’s doing so well with audiences, but I can’t get my head around the award recognition, maybe even more so in this category than in Best Picture or Actor. I can honestly say that in a heartbeat I would have nominated Guardians of the Galaxy over this, and other genre fare like Snowpiercer, Edge of Tomorrow and Dawn of the Planet of the Apes. Under the Skin would have been a more deserving alternative too, but that movie was beyond the Academy’s sights. Wild was considered a good bet, and although Still Alice didn’t register in this category with other groups, it would have been worthy of a place here. Certainly more so than American Sniper. Best Screenplay. I can’t figure it.

Not that Sniper‘s nomination was a surprise. BAFTA called it out, and it got a WGA nod too. I just hoped the Academy would go for something more interesting. The true surprise in this line-up is the absence of Gone Girl. Gillian Flynn adapted her own novel and picked up a number of wins along the way from regional critics, with the BFCA being her most high-profile victory. In fact, across the entire landscape of precursor awards, Gone Girl won far more prizes for Adapated Screenplay than any other film. It seemed like a sure thing, and Academy members have shown their love of David Fincher’s work over the last few years. Not this time. Gone Girl‘s sole nomination went to Rosamund Pike.

The good news in this category is that the last minute shift from Original Screenplay didn’t throw off voters from nominating Whiplash. And Paul Thomas Anderson broke in for Inherent Vice, so that made me happy. That’s a movie that should have been a bigger player this year.

Everything was not awesome for The LEGO Movie. Here was a category where everyone got it wrong. Not only was The LEGO Movie‘s nomination a sure thing, but pretty much everyone assumed it would win. I have a theory about why some animators may not have voted for it, and I can’t explain it without giving a major spoiler. But those who have seen the movie know that it takes an unexpected turn toward the end, and it wouldn’t surprise me at all if some voters felt that the move was a betrayal, for lack of a better word. Maybe I’m way off base, and there’s no way to know without surveying members of the animation branch, but I could see that being a reason for casting it aside, even if I think my explanation would be an incredibly stupid reason not to vote for a creative and inspired movie worthy of recognition. I also heard reports that many members of the animation branch come from a hand-drawn tradition and a European background, and were maybe put off by the pop culture saturation of The LEGO Movie while also wanting to champion traditionally drawn films. So that might have been at play too.

As it is, the films that were nominated are all quite good. (Actually, I haven’t seen The Boxtrolls, but I heard good things and should finally be able to catch it this week.) I mentioned Irish filmmaker Tomm Moore’s Song of the Sea as a possibility, and he did make it, scoring his second nomination and once again taking people by surprise. People seemed equally caught off guard by the inclusion of The Tale of Princess Kaguya, though I’m not sure why. It comes from Studio Ghibli, the legendary Japanese company whose Spirited Away won this category in 2002, and which had Howl’s Moving Castle and The Wind Rises nominated in the years since. So Princess Kaguya was always a viable contender.

I missed by one in this category, but I’ll give myself a half point for even mentioning the possibility of a nomination for the Polish black and white film Ida, which also scored a nod for Best Foreign Language Film. Although…I described it as “a long longshot” so maybe a half point is too generous. I’ll take an eighth and be on my way.

Although Birdman seemed like a good bet here, I shouldn’t be surprised that it missed. I’ve said before that voters — even the editors themselves, at the nomination stage, apparently — often equate best editing and most editing. Birdman, with its numerous long takes, is definitely not among the year’s most edited movies. That doesn’t mean it wasn’t carefully and rather brilliantly put together however, with the editors crucially helping to seal the illusion of the movie appearing as almost one ongoing shot.

I won’t argue with the American Sniper nomination this time. It’s the sort of movie that does well in this category, and I did predict it, though I would much rather have seen the wonderful, more abstract editing of Wild nominated. That’s a big oversight.

Nothing to say here really, except finally, finally, finally, a Wes Anderson movie gets nominated for its set design. A long overdue honor for one of the most visually imaginative directors ever. No, I’m not overstating.

Also, I’m a little baffled by Interstellar showing up in this category. It picked up nominations from other groups along the way, so I knew it was a possibility and said so in the previous post. But the movie didn’t strike me as anything special in the design sense. Everything was well done, but there was really nothing out of the ordinary or so special as to seem worthy of singling out. Not when films like Snowpiercer, The Immigrant and Dawn of the Planet of the Apes were left out. Birdman, too, was the rare contemporary film that seemed to have a shot in this category, as the design of the aged, cluttered Broadway theater added immeasurably to the overall effect of the movie.

Okay, so I guess there were a few things to say here.

Just as with Production Design, it must be celebrated that a Wes Anderson movie finally scored a nomination in this category. I was also pleased that two of my personal picks — Inherent Vice and Maleficent — made the cut, displacing my predictions The Imitation Game and The Theory of Everything. The latter two did feature some fine costume work, but sometimes period films with Best Picture pedigree get swept into categories like this one at the expense of choices that exhibit a little more thoughtfulness. It’s especially nice to see the costume branch spring for Inherent Vice, which has the period piece factor that these voters love, but a more contemporary period than often gets recognized from a voting block that gravitates toward more historical eras like the one in the also-nominated Mr. Turner. The costume work in Vice goes a long way toward defining the characters, and also did more to capture a specific time and place than the costumes of Imitation and Theory, which seemed more likely to get nominated, so kudos to those who voted for it.

I still think Guardians of the Galaxy deserved a spot here, but with the inclusion of Budapest and Vice, I can’t complain.

Between the crazy number of potential nominees and the problematic method the selection, this category is always a crapshoot, so I was pleased to see four of my five predictions bear out. The one I missed was “Grateful,” from the very good, underseen romantic drama Beyond the Lights, about a talented singer who has been manufactured into a pop star and finally starts to take control of her image and her life. It’s a nice song that ties into the movie’s story, but the same could be said for a lot of songs that seem to get brushed aside by the rules that govern the voting in this category. I’m not sure what makes this one so special as to deserve recognition. It’s not particularly distinctive or powerful. Like I said, it’s nice, but there were more inspired choices to be made here.

Starting with some of the songs from Muppets Most Wanted, all of which were incorporated directly into the movie. I mention that because voters in the music branch are presented with clips of all the eligible songs exactly as they appear in their respective movies, the idea apparently being that songs should be judged as much for context as for musicality. If this is the goal, maybe the category needs to be clearly redefined — and renamed — as “Best Use of an Original Song.” And if that’s the thinking, then voters would have done well to include “Sing Along” from Rudderless, an intimate song performed in the movie’s final scene by Billy Crudup as a father grieving for his deceased son. Yet there lies one of the problems with this method of voting. A song like “Sing Along” really needs to be seen (or heard) in light of everything that’s come before it in order to be understood and appreciated, and with 79 eligible songs, there’s no way voters can watch each full movie to understand every song’s place within that movie. So really, the voters should just receive a CD with each eligible song and judge the song on its own merits. Maybe that ends up benefitting something like “Grateful” even more than the current system. I don’t know. What I do know is that a) the system as it exists contradicts itself at every turn, and b) this fine but average song being nominated over this hilariously clever and loopy one just ain’t right.

Thankfully, the voters didn’t ignore every silly option, giving a nod to “Everything is Awesome” from The LEGO Movie. It would not have surprised me if voters had skipped over this popular tune, which is insanely catchy but admittedly simple and repetitive. (The song appears multiple times in the movie, leaving me to wonder what clip was presented to music branch voters. The portions performed by Andy Samberg and his Lonely Island cohorts Jorma Taccone and Akiva Schaeffer only appeared during the end credits version, but they’re a big part of what makes the song so great.)

Although I predicted that The Hobbit: The Battle of the Five Armies would be nominated, I acknowledged why it might not be, and it turns out I was right to see its vulnerability. It became the first of Peter Jackson’s Middle Earth films to miss a VFX nomination. And unless Jackson dives into The Silmarillion, it will also be the last. Also falling short was Transformers: Age of Extinction, which I also predicted but felt was not a sure thing. As it is, we wound up with a strong, respectable slate. Now let’s see if the voters do the right thing when it comes time to pick the winner.

I did dreadfully in Sound Mixing, with American Sniper being my only correct prediction. I was on the fence about whether to go with Interstellar, which did end up getting nominated, because there were widespread complaints about the sound mix being unbalanced, with the sound effects and music score occasionally overwhelming the dialogue so that people couldn’t understand what was being said. Personally, I thought it was a deliberate creative decision intended to evoke accurate circumstances in which noise probably would make it difficult for you to hear someone talking to you. It detracted from the movie for some, but had the opposite effect for me, drawing me into the experience even more. I was happy when Nolan discussed the sound shortly after its release to confirm that his choices with the sound mix were absolutely deliberate. Nevertheless, I wasn’t sure how his approach would affect the film’s Oscar chances in the sound categories. I settled on the idea that the branch would overlook the movie, but I’m happy to see that they appreciated what Nolan was going for.

I also thought Into the Woods would follow the many musical or music-centric films that earned Mixing nominations before. The film missed out, but the branch did give a slot to Whiplash, which was nice to see. It was also great to see Birdman show up in both categories. I mentioned in the last post that the film’s drum-driven score was deemed ineligible for that category, but it’s such a vital component of the movie, and I feel like the two sound nominations acknowledge that, as the score does the job of sound effects and music at the same time. And may I say, having recently seen Birdman again, how ridiculous it is that the music score was not allowed to contend for a nomination? No other score all year was more at one with its movie than Antonio Sánchez’s for Birdman. But the music branch clings pig-headedly to a number of asinine rules that continually undermine the very achievements they are tasked with celebrating. They badly need to get their shit together.

Back to the topic at hand, the most interesting this about the nominations in these two categories is that they both ignored the summer blockbusters that usually find a home here. No Transformers (the first time in that franchise there hasn’t been a sound nomination), no Guardians of the Galaxy, no Godzilla, no Planet of the Apes, no Captain America, no Edge of Tomorrow or X-Men or Spider-Man. Instead the categories were populated by the more prestige films like Birdman, Unbroken, American Sniper and Whiplash. Yes, Interstellar and The Hobbit are in the blockbuster mold, but the Middle Earth movies have always been big players with the Academy, as have Christopher Nolan’s films.

I don’t usually cover this category because I never have the chance to see most of the movies, but it’s worth noting that the voters didn’t nominate Life Itself, the documentary about Roger Ebert. It seemed a likely contender, given the subject matter was man who loved movies and dedicated his life to celebrating them (and yes, often deriding them too). It’s also noteworthy because the film’s director, Steve James, has been here before. He’s had a few films that went into the nominations with big buzz only to be ignored, most notably Hoop Dreams, whose omission from this category in 2004 is widely held up as one of the most egregious oversights in Academy history.

Amusing sidenote: one of the five films that did get nominated this year is Finding Vivien Maier, and its nominated co-director is Charlie Siskel, nephew of Gene Siskel. Two ironic thumbs up.


Now then, sorry to rush out out of here without cuddling, but I’ve got another big post to write, and it involves me actually making some decisions about what I think will win. So we’ll get together again next weekend, and in the meantime you can amuse yourself with this classic Oscar moment of Jack Black and Will Ferrell.



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