One Easy Way To "Fix" The Oscars. Strangely, They Never Consider It.

Have you read this possible Academy date change article? Basically they want to move the Oscars up to January or early February in 2012. Every year we hear this discussion about how to shorten the season and compete with audience exhaustion involving all those months of precursor awards. These articles and this discussion always cracks me up because the media covering it and the Academy board of directors discussing it never have much imagination, and only reveal hair-pulling angst. "BUT HOW IS THIS POSSIBLE TIME WISE? WE'LL HAVE TO STREAM THE MOVIES ON COMPUTERS! OH MY GOD".

I'll tell you free of charge how this is possible. It's not even difficult. Merely change one of your major rules and you solve this dilemma. Instead of "You have to open between January 1st and December 31st for a one week theatrical engagement in the city of Los Angeles" try the following rule

Eligible films must open between January 1st and December 25th in the top eight markets in the US for a regular theatrical engagement.*

Easy-Peasy. Right there you've fixed a lot of the "time" problems in awards season. If distributors still want to do their totally old fashioned slow burn builds (never mind that most other forms of entertainment are working towards the "NOW NOW NOW" model) they can still do that. They just have to start earlier and be ready for Christmas. Because they have to be open by Christmas in the top markets, not just at one theater in Los Angeles by New Years Eve.  Immediately, you've prevented the glut because some films WILL start earlier in this instance. And they'll be better off for it anyway. Why not try to make your money in a season when people actually DO go to the movies. Why not use all those "best of the year" articles as free advertising. Right now they don't help -- do you think anyone other than movie-obsessives remembers these articles months later when these films make their way into small towns? You've lost your free advertising.

Newsflash! An audience that cares is more likely to watch. In order for an audience to care, they have to have access. The current system punishes audiences, punishes filmmakers who have to leave several months open for campaigning and publicity,  and rewards sneaky confusing releasing patterns from sly campaign-adept distributors that don't serve the movies or the audience or the critical discussion, only the campaign.

And come to think of it this change also helps stave off the argument that criticism is irrelevant. Think of how much more engaged informed audiences are. Why should people care about what film critics have to say about movies that they themselves will have to wait months to see. Should they be flagging all reviews to return to them in three to nine months when they've finally found access to the picture? People like to be part of the conversation. This is not rocket science. It's Psychology 101. Why should people care about something that has nothing to do with them?

If you want to "fix" the Oscars, you have to stop being so isolationist and catering your rules and eligibility requirements to suit 6,000 people in one city (who are going to be catered to no matter what the rules are anyway). Start thinking about the fact that audiences only care about films that they are able to see. You don't have to nominate actual blockbusters to be relevant... but you do have to have a process that somehow includes the audience and allows them to see films that you're talking about.

*I've heard the argument that this punishes the small films before. I don't believe so. I just believe it changes the field to allow them to reach more people if they can... and to do so in a more timely fashion when they can maximizes on the "talk" if they can muster it. In the end it's survival of the fittest, true, but it is anyway even if you don't change any rules. 

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Streep and Roberts for "August: Osage County"

The news, which isn't actual news yet so much as 'in talks' talking-points (the bulk of online movie articles), is this: Meryl Streep and Julia Roberts will take the plum Oscar bait roles of the pill-popping abusive matriarch Violet and eldest control-freak daughter Barbara in August: Osage County. The new (to feature directing) John Wells will sit in the director's chair instead of Mike Nichols as previously rumored.  It seems quite risky to give a project this complex and fraught with ways in which it could go wrong to a newbie but maybe his debut film (The Company Men) is unexpectedly rich?

 One of the most popular posts in the history of The Film Experience was our discussion of the casting of this genius actress-heavy play. It's THE stage-to-screen project to watch for any actressexual out there since the cast that matters is all female and the roles, to a one, are juicy with extra pulp. (The supporting female roles could put Oscars on shelves, too.)This news, if it does become actual news, is a weird sort of exciting/disappointing.

As many of you have gleaned I am something of an über Streep fan but I think she's wrong for this part. Streep has a glorious earthy warmth as a performer and Violet needs the opposite. Streep's most successful "cold" performances were in A Cry in the Dark (which came during the amazing chameleon years) and The Devil Wears Prada (see previous post) which came during her comedic ascendance. To do justice to Violet, she'd need to be as good as she was in both pictures... simultaneously. And sometimes when Streep goes cold (Doubt, The Manchurian Candidate) she pushes too much. Violet is more complicated than either the Prada or Cry roles and requires both jagged comic steel and dormant volcanic drama ... and both need to be channelled through a druggy fog for the entire film. In short: it's an A+ dream role, better than many whole Best Actress rosters combined.

I like Julia Roberts.

If Julia works as hard for August as she did for Erin Brockovich or Closer than she might absolutely nail the role of exhausted controlling Barbara. But how often does Julia work as hard as she does in those two movies? When you're a massive star with more innate charisma than most performers can muster over the entirety of a career, coasting is an ever present danger. If she coasts at all, you'll lose the electricity of the play. The play just crackles with the stuff. Any loss of that and you could have a disaster on your hands.

Streep is such a consummate performer that, whether miscast or not, many people will demand she win a third Oscar because she will be so spectacularly watchable in the end. Even if it's not quite what the movie needs. (We'll see. I can't say how badly I hope to be wrong.)

I watched the 3 hour play from the edge of my seat and loved-loved-loved. I will anxiously await the movie. But both casting decisions feel like the kind anyone could and would make without actually knowing anything about the play, the roles, the tone or what kind of movie it would need to be to be a great one. It reeks of corporate laziness. They are rather inarguably the most famous senior citizen actress and the most famous middle age actress; "STREEP | ROBERTS" will look great on a marquee. But it's sad to cast source material this magnificent with no regard for the actual source material, and all eyes towards some imaginary marquee.

Movies should come first, not their ad campaigns.
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Cast This: Gravity (Without Angelina Jolie)

It occurred to me a few weeks ago that I'd never mentioned Alfonso Cuarón's upcoming sci-fi epic Gravity. And here's a worrisome opportunity to do so. According to CHUD Angelina Jolie has passed on the big budget project for a second time. That type of a "no" can often doom an expensive project.

Gravity sans Jolie. What will they do?

Who will Alfonso Cuarón find to handle the heavy duty film-carrying demands of the role? The film concerns a man and a woman who are stranded in a space station. Or at least the woman iss (details are kind of unclear) The rest of the crew is dead. Robert Downey Jr has the principal male role but for whatever reason, it's a supporting gig. Gravity will rest on the female lead's shoulders. Most exciting from a filmmaking perspective is not, for me, the abundant groundbreaking CGI (as much as in Avatar) but that Cuarón wants to include long unbroken shots... one of them 20 minutes long.

Long unbroken shots are just about my favorite cinematic thing in the world after actresses so I should have mentioned this project long ago. This movie gives both. And Cuarón's already given plenty just by making Y Tu Mama Tambien and Children of Men. (Speaking of unbroken shots...)

Anyway, this has got to be a tough role to cast... and not just because of bankability issues. Not every actor would understand the shift in performance style required to carry huge metaphysical but also action-tinged sci-fi epics all by their lonesomes. Who were the last actors to do so? I guess Jodie Foster (Contact), Hugh Jackman (The Fountain), and George Clooney (Solaris) have all given that a go in their respective ways. Carrying a survival epic on your own? Tom Hanks in Castaway pops into mind... though that's decidedly earthbound. But we'll allow for him since he's also got the stranded in space thing with Apollo 13. Obviously you have to have a star people love to look at if they have to spend 90-120 minutes with primarily one face.


I always find it amusing/annoying that when big roles for women that don't seem to require a specific age range are being cast, studios always seem willing to consider any currently hot A list star of any age and virtually every 20something in town with any heat that month even though there's usually no proven bankability (which is how so many people end up starring in like 10 movies simultaneously and are never heard from again. Remember Kate Bosworth?). Studios will almost never bank on someone who once had heat and lost it despite the cold hard fact that showbiz is nothing if not a random chaotic collection of people who are walking embodiments of the cyclical nature of heat.

"Interested" lists always make me realize how rare and lucky we are as moviegoers when something accidental happens like when someone gives someone great a real shot even though they aren't perceived as "hot right now" or bankable or on every shortlist in town. Like Marisa Tomei in all of her Oscar nominated roles. She was never on the top of every list but she's so damn talented and reliably watchable. Or like Susan Sarandon in Bull Durham in '88. She had to fight to get that and then was magnificent obliterating any notions that she had already peaked. Many people even thought Streep was over in the early 90s, you know?

Who would you cast? Bear in mind we know virtually nothing about the role other than that it's a solo and the character has a daughter back on earth (so you can't skew as young as Ellen Page, or at least you probably shouldn't because why would someone leave a baby on Earth while they were space travelling?) They'll have to have chemistry with RDJ if he stays on, and they'll need to be comfortable in an effects heavy film (which is why I worry about the studio's interest in Natalie Portman. When exactly is she good in those situations even though she's often good elsewhere?). I'd be considering Gwyneth Paltrow first (I'm serious) and then probably Nicole Kidman. Hell, I'd even test Christina Ricci on account of the curveball aspect of it. There's a familiar interesting face that nobody would be expecting but that many people would enjoy and if she ever delivers big somewhere a million people are going to say "I knew she had it in her all along!". But as much as it surprises me to hear myself type it, the studio's rumored interest in Sandra Bullock makes total sense to me artistically even if they're probably only interested due to the monetary heat. Still, I can imagine her being a good match with RDJ and her uncomplicated but highly watchable acting style might actually be an assett to an effects heavy film. She's never tried one and maybe she'll want to stretch a little post-Oscar?

The possibilities are endless... aren't they?

I'll shut up now. I do go on. Your turn. Which actress would you love to see carrying a sci-fi epic for Alfonso Cuarón.
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Meryl Streep's "Iron Lady" and Her Political Films

Received a message on Twitter this morning requesting my thoughts on Meryl Streep as Margaret Thatcher. Seems she's in talks to star as the Iron Lady herself in an early 80s set film about the lead up to the Falklands War. [src]

My thoughts, eh?

Me think about Streep? Never! But with Great Hope Springs and this one, it seems that the two-time Oscar winner will just keep reaching for the bait until a third is hers.

Though I can already sense that the rest of the internet will be gung-ho about this idea, I would urge caution. Perhaps it's silly to get caught up in any "Meryl will win her third Oscar for Thatcher" speculation.

The rest of the internet seems to have forgotten that this film will supposedly reunite Meryl with her Mamma Mia! director Phyllida Lloyd. Since Lloyd couldn't even manage the basic building blocks of film in Mamma Mia! (camera placement, editing, etcetera) and since there'll be no buoyant ABBA tunes to gloss over film weaknesses, and since Thatcher won't give Streep the opportunity to win shocked/amused hearts by jumping around with boundless 'can-you-believe-I'm-practically-a-senior-citizen?' energy ... well, I can't really see this as a crowd pleaser or a serious Oscar bait project. Yet.

The cynicism comes from another more political place, too. Though I greatly admire Meryl Streep's political activism offscreen and love it when she gets political in her acceptance speeches at awards shows, I'm not sure she's a true fit for political films. The last time I saw Streep playing a conservative politican (The Manchurian Candidate) I found it to be one of her hammiest and most predictable performances. And the great actress's other recent political films Lions for Lambs and Rendition didn't interest the public or Oscar voters. In point of fact, none of her political films have.

from left to right: The Seduction of Joe Tynan, Plenty,
The Manchurian Candidate, Rendition, Lions for Lambs

Zero Oscar nominations for a movie set in the political world probably doesn't sound that shocking until you stop to consider this second fact: Meryl Streep has appeared in 43 pictures and she has been nominated for 16 of them. That 37% nomination ratio beats just about anyone in any field (save James Dean of course). Yet, this seems to be the genre that wins her no love.

But then there's the biopic factor. And that's significant. That could change things.

I am sad to imagine that Streep would have to resort to mimicry to win (For all that she's given the cinema, to use a commoner's tactic?) but it may come to that since they never have time for her as a "winner" and they always have time for biographical performances. Thatcher is certainly a well known figure with an instantly recognizable voice that people will love hearing Streep nail in the same way people loved those flouncy vowels from Julie & Julia. [Note: Julia could, come to think of it, destroy my thesis since she plays a government official's wife in that one and was nominated. But the kitchen is that film's true location, not the government.]

Here's a few pie charts I whipped up about the past decade in Oscar acting winning character trends: real people in blue, fictional characters in red.


One could argue that the Academy voters can only choose from what films are made and released and women are the leads in fewer pictures than men. It's possible (though I'd like to see statistics) that they get more "true story" opportunities than not because you can't exactly change someone's gender in a biopic for better bankability (let's leave the hugely depressing 'men are more bankable' factor out of the conversation). But regardless, it's clear that when it comes to the Best Actress category itself, The Academy values character creation less than character recreation. That totally disturbs me though I readily admit it disturbs me far more than it does your average Oscar watcher and more than once I've been told to shut up about it already. Maybe it's just a personal hangup.

So this is why I was rooting so hard for Meryl Streep to win in 2006 for The Devil Wears Prada and Johnny Depp to win in 2003 for The Pirates of the Caribbean. Creating a perfectly realized instantly classic character that people will obsess about for years to come, even if you're creating it from bits and pieces of real life figures of your choosing, is far more of an imaginative creative feat for an actor than recreating the vocal cadences and posture of a famous person.

"I said to myself. 'Go ahead, take a chance. Hire the smart fat girl'"

That's all.

Are you excited to see Streep as Thatcher or do you wish she'd hook up with a true auteur who would challenge her mightily. Was Adaptation (2002) the last time?
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Tony Awards Live Blogging 2010

6:49 Hi kids. Tonight is Tony night! The arrivals have been going on NY1 for approximately 45 minutes now but what do you now? Turns out my cable was all messed up so I spent the first 45 on the telephone with Monique trying to fix this damn thing. I was distracted by occasional glimpses of the stars. It's finally back on so I get the GLEE team.


Matthew Morrison, Lea Michelle and Jonathan Groff. Basically here's what happened

• Matthew Morrison is going to try to make the PBS taping of South Pacific before it closes (he originated the often shirtless Joe Cable role in the revival) but he doesn't know for sure if he'll be able to do it. Translation: I am way too important now. Everyone must cater to my needs.
• Lea is busy. She's singing "Don't Rain on My Parade" tonight. Didn't she sing that on Glee? She has no return to Broadway planned. Too busy. Translation: Pay me lots for a short run.
  
• Jonathan is about to do the revival of Death Match (fun play -- Christopher Reeve played this role in the 80s movie version) and hopes he can bring it to Broadway, too. "If it's any good," he says. No translation required.... so points for honesty.

6:57 Michelle Williams -- not the great actress but the Destiny's Child -- is on screen right now. "Broadway is a new form of expression for me." Translation: "I'm famous enough for stunt casting. Yay!" She's playing Foxy Roxie Hart in Chicago right now. That role is basically The Slut of All Time (sorry Liz). Everyone has played that role. Chicago is currently the 6th longest running show of all time.

7:00 A few minutes ago the legendary Bernadette Peters was on the screen (left) and proclaimed that she has a Mutual Appreciation Society going with Elaine Stritch. Incredibly they are both going to be taking over for Catherine Zeta-Jones and Angela Lansbury in A Little Night Music. Translation: It's going to be impossible to get tickets. They're both pure magic live. The legends are fully earned. Trust me. I've seen both live and would never trade those experiences.

7:18 Marian Seldes = Greatest Acceptance Speech of All Time. And it's not even being broadcast. I hate CBS and the way they treat the Tonys. She just won the lifetime achievement award. Made this expression...


...and then walked away from the podium.

Awesome, amazing, awezing. Amazsome?

Marian hasn't made that many movies but she's a stage legend. The last time I saw her on stage was in Edward Albee's The Play About the Baby which is basically an abstracted version of his own Who's Afraid of Virginia Woolf.

While Marian awezed in that show, I would also like to say that David Burtka performed completely starkers. And then Neil Patrick Harris went and snatched him up in the real world. Well, maybe it didn't happen in that order but David Burtka is a beauty, clothed or starkers, is my point and who wouldn't snatch him up? is my second point.

7:31 Memphis and Red are winning lots of tech prizes. Maybe they'll take Musical and Play, tonight? Fela just won Costume Design. American Idiot won lighting design. They are just speeding through these awards. Strangely they are playing CAMELOT's ballad "If Ever I Would Leave You" to celebrate a win for Greenday's "American Idiot" musical. Is there a round table in that show? Or a virtuous knight who gets a lot of royal action?

7:40 Somebody just threw glitter on stage at the Tonys. As if the Tonys needed any encouragement!

7:43 I keep missing things. Live Blogging is hard [/whine]

7:45 I'm always surprised when men thank their wives at the Tonys. I apologize for my reflexive homonormativity.

Now the show proper is being broadcast on CBS

8:02 Wow. They opened with a piano medley which broke into "Blue Suede Shoes" And Sean Hayes can really play the piano. Who knew? Kristin Chenoweth joins him to sing "Say a Little Prayer" and then we get a little Sherie Rene Scott. If I were someone famous, people would say... things ... about my love of blonde divas. I'm insatiable for them.

pint size greatness | regular sized greatness

It's like I'm Alfred Hitchcock only I don't want to visualize them as pretty corpses or terrorize them. Unless you count forcing them into a lifetime servitude of singing, dancing and acting for my entertainment as terrorizing. And you shouldn't. I'm a good grateful fan. Love those two girls.... so... much.

8:10 Green Day is performing. When one of their songs isn't playing I always forget that I like them. I also L-O-V-E that song that Billie Joe Armstrong did with the Go-Gos "Unforgiven". If you don't know that Go-Gos song, you must download it now. It's a beaut. Shoulda been a massive hit.

8:13 Mandatory reaction shots from movie stars: Will Smith, Michael Douglas, Catherine Zeta Jones. We'll get a lot of those tonight.

8:16 Sean Hayes just tongued Kristin Chenoweth. Hee. Kristin is highlarious as usual although her voice was not in great form earlier. Never heard her voice that weak. Maybe Sean Hayes has cooties.

8:19 Brilliant point from The Boyfriend. Look at Sean Hayes... He could play John Edwards "And you know that's a TV Movie waiting to happen." Look at him. You'll see it.

8:20 Katie Holmes is presenting "Film goes by at 24 frames per second..." Like you know that, Katie! If not for the teleprompter...

<--- OhMyGod. Scarlett Johansson is now a Tony Winner (Best Featured Actress, A View From the Bridge). She just called Ryan Reynolds "My Canadian who I live with" That's quite a weird new way to say "Husband."

8:32 Now that commercials are playing I am forced to consider that Scarlett Johansson may one day be a Triple Crowner. She just needs a deglam movie in about 6 years for the Oscar. The Emmy is easiest.

8:36 ----> Eddie Redmayne just won Best Featured Actor (Red). You've seen him getting randy with screen mommy Julianne Moore (Savage Grace) and trying to kill Cate Blanchett (The Golden Age) and now you just saw him win a Tony. And, as In Contention points out, he'll probably be the lead in Steven Spielberg's War Horse (2012). Could Oscar follow Tony?

8:40 Charming performance from La Cage Aux Folles which I've heard is great. "Zaza" targeted Matthew Morrison and Will Smith in the audience. Really really funny bit with being unable to tear herself away from Matthew Morrison but of course Will Smith had to act horrified that "she" sat on his lap. I hate it when Will Smith reminds me about what an ass he was about the kiss in Six Degrees of Separation (1993).


8:51 I totally can't keep up with this show. It's so speedy. Antonio Banderas was on a few minutes ago and he's SO going to have a major career revival: a Broadway starring role (Zorba the Greek revival) and a new Almodóvar role. Score times two.

8:53 They're talking about Next Fall which I think must be closing any second. I really want to see it. That was cute banter. Maybe it'll sell a few more tickets?

8:56 The Lovely Laura Linney is promoting her play Time Stands Still (I went to an evening where she spoke of this, too) which is returning to Broadway in the fall. But do you think she's thinking about ScarJo right now? Like 'Damnit. She won a Tony before me?'

8:57 That was generous. Jon Bon Jovi just did a live feed intro for Memphis from a stadium concert.

9:00 Commercials. Breathe.

9:04 Angela Lansbury. If she wins tonight, I think that's a record.

---> 9:07 Nope. Katie Finneran wins the category Best Featured Actress in a Musical Promises Promises. No record breaker for Lansbury just yet. I hear from everyone that Finneran is amazing. GREAT speech about focusing on what you love. This bit was so cute. 'Kristin Chenoweth lent me her eyelashes.' And she also informs that Angela Lansbury took her out to dinner. Classy.

9:10 Memphis performance "Never let anyone steal your rock n roll" Fun number but I feel like someone has stolen my showtunes tonight. Not that many yet.

9:20 Kristin Chenoweth and Sean Hayes, co-stars in Promises Promises are practically co-hosts tonight. She's SO much better in this setting than she was on the BFCA awards. She's just hilarious collapsing when she hears she wasn't even nominated. I guffawed, dear readers. (That means I literally LOL'ed, youngsters). She may have lent Finneran her eyelashes but she keeps several spares. Obviously. These lashes are extreme.


9: 24 Catherine Zeta-Jones singing "Send in the Clowns". Just sublime. Nobody can write a song like Stephen Sondheim. I love that he gets these huge birthday extravaganzas every few years. People are scared of losing him. Me, too. It's going to be so so sad. But if Luise Rainer can keep on ticking past 100, so can some of these other showbiz troupers. Random! I know that was random... but Send in the Clowns can send you spinning into all sorts of heartrending places.

P.S. I love CZJ as a musical star. I wish she would star in movie musicals all the time.

9:43 Commercials. But first we had a little Tony sponsored tribute to the NYPD from Kerry Washington. I love Kerry quite a lot as you know. But loving actresses is way more fun if Hollywood plays along. They need to give me more Kerry to love.

9:53 Best Actor and Best Actress went to Fences. That'd be Denzel Washington and Viola Davis (yay! Though I'm sad for Laura Linney who always loses both Oscars and Tonys despite being one of the most amazing actors on the planet).

I find it so odd that none of August Wilson's cycle plays have been made into movies. Don't you find that odd? Is there a playwright of similar stature that has never been translated?

Viola wins her second, Denzel wins his first

Viola gives a beautiful speech but part of me couldn't quite fall in love with it because when people talk about God in their acceptance speeches I always think "Does that mean God loves you more than the other nominees?" And in this case. Well... I'm pretty certain that God loves Laura Linney because, I mean, look at all the gifts he gave that woman! Anyway. I love Viola Davis, too. Denzel's speech was annoying. He didn't know the names. Denzel now has two Oscars and a Tony. But he's never going to be a triple crowner because he just doesn't do television. Not since St. Elsewhere.

10:11 SERIOUSLY? Promises Promises, a full on musical, just did a dance number with Sean Hayes sitting at a desk. Lame. This night is bereft of show tunes.

10:15 Sad Face. In Memoriam... the people the theater lost this year. The theater may lose me tonight if I don't get some show tunes. SAVE ME GLEE PEOPLES.

10:18 It happened ages ago but it's already burned into my mind so it's only fair that it's burned into yours, too. Sean Hayes with padding and Sean Hayes as Lil Orphan Annie.


The sun will not come out tomorrow.

10:20 Cate Blanchett and her Need To Be Ubiquitous share the stage to present Best Revival and Best Play. I kid, I kid. Fences wins Best Revival.

<--- EXCLUSIVE: CATE BLANCHETT TO PLAY TILDA SWINTON IN BIOPIC

10:22-10:35 It just occurred to me that I asked a television show to save me from the lack of showtunes at the Tony Awards. Something is amiss. That said, thank God (who loves Viola Davis more than Laura Linney) for Glee! Lea and Matthew perform actual showtunes. YAY.

P.S. I TOTALLY caught Will Smith enjoying Lea Michelle's Barbra Streisand number. Won't he worry that people will think he is... well... you know?

10:43 La Cage Aux Folles won Best Revival and now American Idiot is performing. This show looks fun.

10:47 I am not a fan of Sean Hayes but I think he's doing a really good job tonight. Here's why I know: I keep giggling about things he did minutes before minutes later. It's a hosting job that keeps on giving. That Spider-Man singing "don't rain on my parade" bit was priceless -- especially when he was scared of the spider on his chest after taking the mask off. Ha!

Well, you probably had to be there. But funny it was.

10:57 Someone much less composed than CATHERINE ZETA-JONES has possessed the body of Catherine Zeta-Jones. That was as spastic a reaction as I've ever seen at an awards show and that includes Meryl Streep marathon hug run at the SAGs and Ally Sheedy's freakout at the Indie Spirits twelve years back. CZJ was crazed. She almost did a spinning heehaw jig after hiking up her dress. She'll be calling her agent tonight demanding an HBO telefilm so she can grab that triple crown.

I'm sad for people who aren't movie stars tonight. Especially my Sherie Rene Scott. So much star-f***ing tonight.

11:02 Memphis closes the night with a Best Musical win. God loved Memphis most. Now I depart for the comments section to try to catch up with y'all.

Ellen Page: Will Inception and Freeheld Allow Her To Shine?

Regular readers may have gleaned that I have a growing fondness for Ellen Page. The fondness isn't overtly displayed but that's basically a matter of caution. Young obviously talented stars can have inexplicably short careers and young obviously untalented stars can have inexplicably long ones and you just never can tell. That's why it's safer to love actresses of a certain age and depth of filmography. If you can survive a good dozen years in the Hollywood rapids with all the tossing about, you're probably in it for as long as you have the stamina for it.

Too often Page is connected with Juno (2007), her starmaking role, and because that film is so divisive, she tends to be. Once the fog of Juno dissipates (let's give it one more year) people will probably wake up to the fact that she isn't that pregnant smartass. She was just very smart about how to walk in her shoes and find her voice.

If more people had seen Whip It (2009) they'd already know that Juno was neither fluke nor prison. Page can carry a film and shift to accommodate a different character without any visible strain. That's the mark of a confident charismatic actor, if not always a sure sign of inevitable A List stardom.

I don't think anyone fully knows Page's screen persona yet... including Ellen Page. That's an exciting thing -- particularly since Ellen herself seems eager to experiment with her image -- provided Hollywood comes through with roles that challenge her and tease that star identity out. As a movie star isn't she still in larva stage?

It's one of the reasons I think about her with caution. I have no idea who advised her to be that spokesperson for Cisco but a ubiquitous endorsement deal near the beginning of your acting career seems like a decision made with only short term goals in mind. Endorsements can raise your profile but they don't do a lot for conceptions about your gifts (if anything they detract) and they definitely don't increase audience affection. Commercials, especially those which air frequently, tend to bring irritation. Will anyone ever look at Justin Long and not think of "I'm a Mac". And isn't it a crying shame that people are far more likely to think of T-Mobile when they think of Catherine Zeta-Jones than they are to think of the Oscar winning role that directly preceded that deal? By all means make money with your celebrity but big noisy endorsement deals aren't a good idea unless you're wrapping up your movie stardom.

Page is one of several members of Young Hollywood's elite that people have held up as a casting possibility for David Fincher's version of The Girl With the Dragon Tattoo (2012). Varying reports tell us 'no, he'll go with an unknown' or 'it's definitely Carey Mulligan' or 'Kristen Stewart for the box office!' or what have you. Those rumors will keep rotating until some lucky girl signs the contract. Though I'd love to see Ellen try her hand at action, I doubt that that coveted role will land in her lap.


Next up for Ellen is Chris Nolan's Inception (pictured above). Page's role looks fairly large but I doubt it will be anything like a game changer. The cast is huge, Nolan tends to focus on the men in his movies and her role -- again just judging on promotional materials -- doesn't seem particularly interesting. I suspect she's the audience proxy... i.e. a structural device more than a character. You know the kind. Complicated stories with deeper than usual mythologies or concepts often require an outsider character to help the audience along. You can find countless examples in film or television of this template. The outsider is brought into a world they don't understand and the insiders (everyone else) explain and show the world/situation/plot to them and in so doing explain and show it to the audience watching. Whether or not the film lives up to expectations, what it will do for her career is an entirely different question.

But never mind all that because she's just signed on for Freeheld. That should keep our imaginations about her cinematic future occupied for now.

Freeheld is the true story of Laurel, a veteran detective who died of cancer. After diagnosis and with the knowledge of how little time she had left, she attempted to transfer her earned pension over to her life partner Stacie. Her elected officials wouldn't allow for it. So began a heated contemporary civil rights struggle in New Jersey. Sadly, the story will surely still resonate by the time the film arrives, whenever that will be, because such a vocal conservative portion of Americans still support discriminatory practices against their fellow citizens.

The real Laurel and Stacie in Freeheld (2007)

Page will play Stacie, the mechanic girlfriend. It's an interesting choice for the actress given the rumors that have swirled around her own sexuality. Page's arguably butch energy could be fascinating in this fresh context. She's done thrillers, sports films, scifi and comedies. A dramatic political movie with a romantic anchor sounds, if artistically successful, like a sure bet to help audiences and Hollywood to see her with fresh eyes. It could even be an Oscar film. The Academy loves a good social issues movie and the documentary won the industry's top prize.

Ron Nyswaner is writing the screenplay. While he's most famous for writing Philadelphia (for which he was Oscar nominated) we can only hope that he'll get at something deeper and less two dimensional than an Issue Movie. It's always hard to know if any movie's screenplay has been undermined or abetted by the other elements: acting, directing and executive decisions can significantly alter any screenplay. But I'm hoping that the relationship heart of this film will be a lot closer in quality to another film he wrote, The Painted Veil. That film, roundly ignored in the annual glut of December releases in its year, succeeded in churning up complicated emotions and true depth of feeling.

There's no word yet on which actress will play the Laurel role but one assumes it'll be hotly contested. At the very least she'll need great chemistry with Page. Laurel was nearly 50 years old when she died (Stacie was younger) and there's plentiful 40-50something actresses that'd be wise to start fighting for it. And besides... what woman wouldn't want to wrap her legs around Ellen Page in friendship?

How does Ellen Page strike you as an actress or star? Which older actress would you love to see paired with her? And if you've seen the Freeheld documentary (unfortunately I haven't), please speak up.
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August: Osage County (The Movie)

CAST THIS!

But before the movie... the tour! It starts in just under three weeks in Denver. I'm not getting paid for this but I'm going to shill because live theater needs to be promoted. It's so much cooler than TV ... even if Corporate America can't profit off of it as much (finite audience = number of seats in house) and thus makes it seem uncool by ignoring it or dismissing it as irrelevant.

Oscar winner Estelle Parsons, 81, headlines the August tour

And given that THE MOVIE -- all caps because if it's any good it'll be BIG -- is going to be the subject of much discussion whenever it begins to film and especially once it's in theaters, you'll want to be in the know early on. Even if you're not normally a theater person. If you haven't been following theatrical buzz and awardage these past couple of years, it's the latest from Tracy Letts who also wrote the incredible Bug which was made into a movie that a lot of people misunderstood or outright hated but I assure you that the play itself was phenomenal. They're much different beasts anyhow: Bug was taut, claustrophobic and tiny where August is messy (in the good sense), sprawling and very populated. It's a darkly funny drama about a family in crisis in Oklahoma. The father has disappeared and the daughters rush back home to deal with their abandoned and impossibly difficult pill popping mother. At three hours or so in length it's far more complicated than that but it's a great night out at the theater: funny, involving, memorable, dramatic. In short: if you're near it, get tickets. They're on sale now.

July: Denver August: San Francisco September: LA October: Portland and Seattle November: Toronto and Hartford December: DC January: Tempe, Dallas, Tulsa Feb: Chicago, Michigan, Iowa. It's also in Melbourne and then Sydney, Australia

<-- Parsons on the set of Rachel, Rachel with director Paul Newman

This will also give you the rare chance to see an Oscar winner live on stage. I stupidly missed Estelle Parsons here in NYC when she was playing Violet (one of the two lead roles, a combative mother and daughter) so I'm considering catching the show again in DC or Michigan if I can figures out the $. I always enjoyed Parsons as a comic foil on Roseanne and I love her work as the lesbian friend of Joanne Woodard in Rachel, Rachel (they were both nominated). That's such a fine underseen film so, rent it. Parsons won the Oscar as "Blanche" in Bonnie & Clyde (1967).

But back to August: Osage County
If you're game now, let's think up a dream cast.
Here are the main roles, in descending order of their "screen time" and the age according to the text (though obviously Hollywood will practice some creative license there)

Leads
Violet -Pill popping drug-addled matriarch, fond of devouring her young and filled with rage about her miserable childhood. She's also funny (65). Deanna Dunagan, left, originated the role on stage.
Barbara - Violet's eldest daughter, a college professor. Exhausted but controlling. Her marriage is failing (46)

Major Supporting Roles
Ivy -Violet's middle daughter who has never left home. A secretive plain jane type (44)
Karen -Violet's youngest. Flighty, willfully naive and eager to be loved. Newly engaged (40)
Bill -Barbara's husband, also a professor. He's left her for a student but comes back to Oklahoma with her to deal with the family crisis (49)
Jean -Barbara's daughter. A sexually precocious pot smoking vegetarian (14)
Mattie Fae -Violet's sister. Loud, flamboyant, nervous. Also fond of devouring her young (57)

Minor supporting characters
Charles -Mattie's husband. Calm, good natured (60)
Little Charles -Mattie's son, largely regarded as a shy loser (37)
Beverly -Violet's husband, a pontificating poetry-loving alcoholic. He disappears in the first act, setting the plot in motion (69)
Steve - Karen's insensitive businessman fiancé (50)
Johnna -empathetic Native American housekeeper and cook (26)
Sheriff Deon -Barbara's ex-boyfriend, on the search for Beverly (47)

The two lead roles and at least one of the supporting parts (Mattie Fae) are complete Oscar Bait roles: high drama, sneaky comedy, southern accents, total theatrical fireworks. The nearest film equivalent I can think of is Terms of Endearment but this is darker and more vicious, though also quite funny. And Violet is closer to Annette Bening's character in Running With Scissors in terms of how nightmarish she is as a druggy mother than to Shirley Maclaine's Aurora.


Working actresses in the right age range for the three daughters are too numerous to mention here but every actress in her late 30s to early young-looking 50s would be wise to already be prepping and campaigning for either Barbara, Ivy or Karen (or even Mattie Fae). Acclaimed juicy prestige material like this with so many roles for smart talented women doesn't come along regularly.

Though it's been assumed that Mike Nichols will direct and that Meryl Streep's talent and box office pull will win her the "Violet" role nothing is yet set in stone. The road from announcement to contract signing to pre-production can be quite volatile and with the Weinstein Co involved who the hell knows...

Other actresses in vaguely the right age range for the Violet or Mattie Fae parts (i.e. mid50s to mid70s) include: Judy Davis, Glenn Close, Kathleen Turner, Kathy Bates, Anjelica Huston, Dianne Wiest, Susan Sarandon, Sissy Spacek, Melinda Dillon, Diane Ladd, Jane Fonda among many others. It's an ideal movie for getting underused actresses back in play.


Is this all overwhelming to read? It was to type.

Some people have gone either further than me, like Walter Hollman (who you'll know from frequent comments right here) who has casting suggestions for every role.

I hope the lucky casting director takes this as seriously as one might take brain surgery. It's important! There are so many options. You could go real life mother/daughter (Diane Ladd & Laura Dern) you could experiment with co-stars with proven chemistry reuniting (Thelma & Louise as Violet & Mattie Fae?). You could use math multiplied by Oscar fever to try and create the single most nominated cast in the history of motion pictures. Whether or not you've seen the play, cast away in the comments. Would you cast by pure talent, family resemblance or gut instinct?

I can't remember who suggested it to me but the idea of Kathleen Turner in the Mattie Fae role fills me with utter delight. So let's start there. Comment away!