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2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2004

1-20 of 23 items from 2017   « Prev | Next »


Movie Poster of the Week: New York in the 1970s in Polish Posters

23 June 2017 6:55 AM, PDT | MUBI | See recent MUBI news »

Above: Polish poster for Escape from New York  (John Carpenter, USA, 1981). Designer: Wieslaw Walkuski.For three weeks in July, New York’s Film Forum is running a stellar series of more than 40 1970s New York-set films. As soon as I heard about the program I wanted to do a poster article on it, given that the 1970s was a heyday for American poster design. However, when I started to look at the posters I realized that many of them were so well known that rehashing their posters wasn’t that interesting. But in my search I started to notice how many of the films had Polish counterparts. It is interesting that so many of these American productions were released in Poland and it may have had a lot to do with the counter-cultural, anti-establishment bent of most of the films.While poster design in the U.S. had moved quite decisively from illustration to photography-based in the late 60s, Polish poster art was still mostly drawn and painted in the 1970s. There are a couple of exceptions here but the photos are collaged or posterized in a way that is quite different from the way they would be used in the U.S. Another interesting note is that very few of the posters make use of New York signifiers, with the obvious exception of the Statue of Liberty for Escape from New York, and a silhouetted skyline for Manhattan (notably the two films with the most New York-specific titles). Otherwise the posters seen here are typically idiosyncratic, eccentric, beautiful, alluring, occasionally baffling and, with the possible exception of Serpico, always strikingly unlike their American counterparts. This selection also feels like a tour of great Polish poster art in the 70s, with most of the major artists represented: Jakub Erol, Wiktor Gorka, Eryk Lipinski, Andrzej Klimowski, Jan Mlodozeniec, Andrzej Pagowski, Waldemar Swierzy, Wieslaw Walkuski and more. It seems as if every major designer got a crack at at least one of these challenging, thrilling films.Above: Polish poster for Manhattan (Woody Allen, USA, 1979). Designer: Andrzej Pagowski.Above: Polish poster for Marathon Man (John Schlesinger, USA, 1976). Designer: Wiktor Gorka.Above: Polish poster for All That Jazz (Bob Fosse, USA, 1979). Designer: Leszek Drzewinski.Above: Polish poster for Three Days of the Condor (Sydney Pollack, USA, 1975). Designer: J. Czerniawski.Above: Polish poster for The Hospital (Arthur Hiller, USA, 1971). Designer: Marcin Mroszczak.Above: Polish poster for Diary of a Mad Housewife (Frank Perry, USA, 1970). Designer: Eryk Lipinski.Above: Polish poster for Taxi Driver (Martin Scorsese, USA, 1976). Designer: Andrzej Klimowski.Above: Polish poster for Klute (Alan J. Pakula, USA, 1971). Designer: Jan Mlodozeniec.Above: Polish poster for Saturday Night Fever (John Badham, USA, 1977). Designer: Andrzej Pagowski.Above: Polish poster for The French Connection (William Friedkin, USA, 1971). Designer: Andrzej Krajewski.Above: Polish poster for Serpico (Sidney Lumet, USA, 1973). Designer: Jakub Erol.Above: Polish poster for The Panic in Needle Park (Jerry Schatzberg, USA, 1971). Designer: Tomas Ruminski.Above: Polish poster for Midnight Cowboy (John Schlesinger, USA, 1969). Designer: Waldemar Swierzy.Above: Polish poster for The Anderson Tapes (Sidney Lumet, USA, 1971). Designer: Jan Mlodozeniec.See New York in the 70s at Film Forum from July 5 to 27.Posters courtesy of Heritage Auctions. »

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Bruce MacCallum, Camera Operator, Dies at 70

14 June 2017 6:15 PM, PDT | Variety - Film News | See recent Variety - Film News news »

Bruce MacCallum, a camera operator on films including “Silence of the Lambs” and a longtime union activist, died Monday in Los Angeles. He was 70.

MacCallum started out in entertainment as an assistant to Dustin Hoffman, then moved into the camera department and worked on films including “Raging Bull,” “Married to the Mob,””All that Jazz,” “Witness,” and “Heartburn” as assistant cameraman.

He went on to become camera operator on “School of Rock,” “The Departed,” “I Am Legend” and “The Adjustment Bureau.”

More recently he worked on TV shows including “The Night Of” and “The Blacklist” as well as the recent feature “The Book of Henry.”

MacCullum helped train and mentor many fellow members of the International Cinematographers Guild (Icg, Iatse Local 600), where he served as National Assistant Secretary-Treasurer between 2007 and 2016.

He is survived by Linda, his wife of 32 years.

Related storiesJodie Foster Writes Heartfelt Tribute to Jonathan DemmeJodie Foster Pays Tribute to Jonathan Demme, »

- Pat Saperstein

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Bruce MacCallum Dies: Veteran Camera Operator And Union Activist Was 70

14 June 2017 4:47 PM, PDT | Deadline | See recent Deadline news »

Bruce MacCallum, a veteran camera operator and longtime union activist, died in Los Angeles on June 12. Most recently he was working in TV on HBO’s The Night Of and NBC’s The Blacklist. He was 70. Among the feature films MacCallum worked on during his long career were All That Jazz (1979), Witness (1985), The Silence Of The Lambs (1991), I Am Legend (2007) and The Adjustment Bureau (2011). MacCallum started his entertainment industry career in 1973 as a personal assistant… »

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Bruce MacCallum Dies: Veteran Camera Operator And Union Activist Was 70

14 June 2017 4:47 PM, PDT | Deadline TV | See recent Deadline TV news »

Bruce MacCallum, a veteran camera operator and longtime union activist, died in Los Angeles on June 12. Most recently he was working in TV on HBO’s The Night Of and NBC’s The Blacklist. He was 70. Among the feature films MacCallum worked on during his long career were All That Jazz (1979), Witness (1985), The Silence Of The Lambs (1991), I Am Legend (2007) and The Adjustment Bureau (2011). MacCallum started his entertainment industry career in 1973 as a personal assistant… »

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Bruce MacCallum, Veteran Camera Operator, Dies at 70

14 June 2017 4:44 PM, PDT | The Hollywood Reporter - TV News | See recent The Hollywood Reporter - TV News news »

Bruce MacCallum, a veteran camera operator and longtime union activist, died Monday in Los Angeles, the International Cinematographers Guild announced. He was 70.

MacCallum served as a camera assistant and operator for more than 40 years, with credits including All That Jazz (1979), Witness (1985), Heartburn (1986), The Silence of the Lambs (1991), I Am Legend (2007), Julie & Julia (2009), The Adjustment Bureau (2011), Winter's Tale (2014) and Broadway's Hamilton.

He was the recipient of the Camera Operator Lifetime Achievement Award in 2013 and was nominated for the 2017 Camera Operator of the Year Award in Television for his work (along with Ben Semanoff) on HBO's The Night Of. He »

- Mike Barnes

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Bruce MacCallum, Veteran Camera Operator, Dies at 70

14 June 2017 4:44 PM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »

Bruce MacCallum, a veteran camera operator and longtime union activist, died Monday in Los Angeles, the International Cinematographers Guild announced. He was 70.

MacCallum served as a camera assistant and operator for more than 40 years, with credits including All That Jazz (1979), Witness (1985), Heartburn (1986), The Silence of the Lambs (1991), I Am Legend (2007), Julie & Julia (2009), The Adjustment Bureau (2011), Winter's Tale (2014) and Broadway's Hamilton.

He was the recipient of the Camera Operator Lifetime Achievement Award in 2013 and was nominated for the 2017 Camera Operator of the Year Award in Television for his work (along with Ben Semanoff) on HBO's The Night Of. He »

- Mike Barnes

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The Furniture: All That Jazz and the Creative Erotics of Scaffolding

22 May 2017 9:00 AM, PDT | FilmExperience | See recent FilmExperience news »

"The Furniture" is our weekly series on Production Design. You can click on the images to see them in magnified detail. Here's Daniel Walber ...

All That Jazz (1979) is the only Palme d’Or winner to have won the Oscar for Best Production Design. I do not have an explanation for that. Luck of the draw, really. But, as we await the prizes at this year’s Cannes Film Festival, this odd piece of trivia is an excellent excuse to take a closer look at Bob Fosse’s masterpiece.

There are actually a few odd things about the film’s Oscar record. It’s not only a rare Oscar-winning remake, but a remake of another production design nominee: Federico Fellini’s 8½. The four designers who took home the prize for All That Jazz include not only production designer Philip Rosenberg and art directors Gary Brink and Edward Stewart but also Tony Walton, »

- Daniel Walber

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Cannes Film Review: ‘Ismael’s Ghosts’

17 May 2017 2:54 AM, PDT | Variety - Film News | See recent Variety - Film News news »

By far the most important ingredient for any artist is life experience: When storytellers try to tackle anything more realistic than a by-the-numbers superhero movie, it helps to have had your heart broken, perhaps to have lost a parent, to have been forced to choose between two lovers, to have fathered a child. With “Ismael’s Ghosts,” Arnaud Desplechin attempts to cram all this and more into a single film. A self-absorbed, nightmare-besotted director (played by Mathieu Amalric) is literally haunted by his past when his wife, presumed dead for 21 years, unexpectedly reappears midway through his latest production — but even though much seems to be informed by autobiography (or at least narcissism), precious little rings true.

As phony emotional showcases go, this one’s full of unintentionally comedic melodrama, rivaling cult favorite “The Room” at times as Amalric (reprising his role as the chronicallly unstable Ismael Vuillard from “Kings and »

- Peter Debruge

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Guest Post: How a Short I Wrote Ended Up Being Directed by Robin Wright and Premiering at Cannes

16 May 2017 9:01 AM, PDT | Women and Hollywood | See recent Women and Hollywood news »

The Dark of Night

Guest Post by Denise Meyers

I am the antithesis of what a successful screenwriter looks like: I am 57, female, and live in the fly-over zone.

I am also a great one for beating the odds, because on May 18, 2017, the short film I wrote, “The Dark of Night,” directed by Robin Wright and starring Leslie Bibb and Sam Rockwell, will make its debut at the Cannes Film Festival, opening for the Cannes Classics film block and the digitally remastered version of 1980 Palme d’Or winner “All That Jazz.”

So how in the hell did a dame from North Carolina get an A-list actress like Robin Wright to direct a 10-minute film without an agent or a manager, but with an outstanding cast and 80 crew members from “House of Cards?”

That’s a good question.

I started my career in the film industry in 1982 as an assistant to Jody Scott-Fox, a motion picture literary agent. After 12 years I managed to work my way to the middle as an assistant to a producer, then became a story analyst for several independent film companies.

With the dream of a career in film always just out of reach, I finally gave up, packed my bags and moved to Utah where I became the top-selling gourd artist in the nation. Odd transition, I know, but where I failed miserably in the film industry, I killed in the art business. My work sold for between $500 and $25,000, and I was in top galleries and magazines and on TV.

Then the economy crashed and so did my business. That’s when “the dream that wouldn’t die” reared its head again and I started writing with a vengeance.

“Ride the Wind,” a script I wrote about Jamaican-American motorcycle legend Bessie Stringfield, was selected as an Athena List winner in 2016, and “Lucky 13,” my script about the Women’s Airforce Service Pilots, was an Athena Finalist. The Athena List was founded by Melissa Silverstein and Kathryn Kolbert as the answer to The Black List — the predominately male online script service — to give writers like myself the same chance men have to get their work in front of the people who can help get it made.

Scriptd founder Denise Hewett, a force of nature in her own right, gave “Lucky 13” to Beau Gordon, who used to work for Kevin Spacey. Beau passed it along to Nini Le Huynh, Robin Wright’s assistant, and an amazing actress in her own right.

I sent Nini “The Dark of Night,” a short script I’d written that won Table Read My Screenplay Austin in 2015, as a project for Nini to star in. Not long after, she called to ask if I would mind having a small crew from “House of Cards” produce the film. Sure, I thought. And pinch me while you are at it.

Then it got better. A lot better. Robin Wright read the script and wanted to direct it.

Before we knew it, 80 crew members signed onto the project: Dave Dunlap, the Director of Photography, Jessica Wenger McPhail, the costume designer, Alphonso Carrion, the editor, Todd Halvern, the assistant Ad, Sharif Salama, the Upm, Cassandra McCarthy, Kara Tabor, Eric Goserud, and dozens of others.

We shot last December in Baltimore on the same set Barry Levinson used for the classic film “Diner.” The production design department did an outstanding job of turning an iconic restaurant into a 1930s film noir dream, and we shot the film in black and white. John Garfield and Lana Turner should have had it so good.

Nothing in life prepares you to walk the red carpet at the Cannes Film Festival, just like nothing prepares you to have Robin Wright direct a film you wrote as an exercise in getting out of your own head.

I still live in fly-over zone, and I don’t have an agent, but it’s okay. Because for the rest of my life, I will know I defied the odds and accomplished the impossible.

Not too bad for a 57-year-old screenwriter from North Carolina, wouldn’t you say?

In February 2017 Denise Meyers was named the winner of the Atlanta Film Festival Screenplay competition. In February 2016 she was an Athena List winner at the Athena Film Festival in New York. She is the only writer in the six-year history of the Athena Film to have two screenplays make it to the finals, “Ride the Wind: The Bessie Stringfield Story,” and “Lucky 13.” “Lucky 13” was a Nashville Film Festival finalist and placed in the top 15 percent of scripts submitted to the Nicholl fellowships. Meyers is a finalist for the Seriesfest Female Initiative for a limited series TV pilot about the all-girl bands of WWII. She recently completed “Truth Against the World,” a pilot based on the “The Dark of Night.”

Guest Post: How a Short I Wrote Ended Up Being Directed by Robin Wright and Premiering at Cannes was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »

- Women and Hollywood

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Cannes adds restored 'Bugsy Malone', 'Saturday Night Fever'

10 May 2017 9:14 AM, PDT | ScreenDaily | See recent ScreenDaily news »

Exclusive: Cannes Classics additions also include Michael Bay’s Bad Boys.

Cannes Classics is understood to have added three movies to its lineup in the shape of Bugsy Malone, Saturday Night Fever and Bad Boys.

Director Alan Parker has been closely involved in the restoration of his 1976 classic Bugsy Malone, which is due to get a Cinéma de la Plage (beach screening) on Friday May 19th.

The director’s cut of John Travolta dance drama Saturday Night Fever, which will celebrate its 40th anniversary this year with a Us re-release, is slated for a Cinéma de la Plage on Saturday 20th May.

The cut will include three scenes not in the original release.

Michael Bay’s 1995 action-comedy Bad Boys will also get a beach screening on Monday 22 May. The film’s star Will Smith is on the festival jury this year.

The trio are among the Classics lineup restored by distributor Park Circus, which has also »

- andreas.wiseman@screendaily.com (Andreas Wiseman)

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Play it again Cannes! by Richard Mowe - 2017-05-03 15:49:22

3 May 2017 7:49 AM, PDT | eyeforfilm.co.uk | See recent eyeforfilm.co.uk news »

In focus: David Hemmings in Antonioni’s trip around swinging London, part of Cannes Classics Photo: Cannes Film Festival

The Cannes Film Festival organisers have put the accent on heritage cinema with a particular connection to the Festival itself in the 70th edition.

The selection of some 24 titles and five documentaries, mainly in brand new copies, covers the years from 1946 to 1992 and includes René Clément’s The Battle Of The Rails, shown at the very first event, where it won an international jury award and a best director award.

Danielle Darrieux who has celebrated her 100th birthday, as she appears in Max Ophüls’ Madame De… in 1953. Photo: Cannes Film Festival

Other landmark titles announced today (3 May) are The Wages Of Fear by Henri-Georges Clouzot (shown in 1953); 1967’s Palme d’Or winner Blow-Up, Michelangelo Antonioni’s take on swinging London with David Hemmings, and the highly controversial (at the time in »

- Richard Mowe

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Cannes Classics 2017 Lineup Includes ‘Belle de Jour’ Restoration, Stanley Kubrick Doc and More

3 May 2017 7:08 AM, PDT | Indiewire | See recent Indiewire news »

The 2017 Cannes Film Festival has announced the lineup for Cannes Classics, a selection of vintage films and masterpieces from the history of cinema. This year’s program is dedicated primarily to the history of the festival, and includes one short film and five new documentaries.

Read More: Cannes Adds Roman Polanski Film to Lineup

Highlights from the lineup include “Belle du Jour” (1967), Luis Bunuel’s classic about a housewife who dabbles in prostitution, and “All That Jazz ” (1979) Bob Fosse’s story of a womanizing, drug-using dancer played by Roy Scheider. There is also the documentary “Filmworker,” which tells the story of Leon Vitali, an actor who abandoned his career after “Barry Lyndon” to become Stanley Kubrick’s right hand man and creative collaborator behind the scenes.

Rights holders to the films decide whether to screen them in 2K or 4K, or use an original print. Jean Vigo’s “L’Atalante, »

- Graham Winfrey

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New Kubrick Documentary, New Restorations Of ‘The Wages Of Fear’ & ‘All That Jazz’ Lead 2017 Cannes Classics Line-Up

3 May 2017 6:30 AM, PDT | The Playlist | See recent The Playlist news »

The classics strands at film festivals are frustrating things for critics. On the one hand, the chance to see shiny new restorations of some of the greatest movies ever made on the big screen in plush surroundings is as about as good a way to spend your time as we can imagine. On the other, if you’re there as press, it’s almost impossible to sneak off to one of those films without missing something you’re meant to be covering.

Continue reading New Kubrick Documentary, New Restorations Of ‘The Wages Of Fear’ & ‘All That Jazz’ Lead 2017 Cannes Classics Line-Up at The Playlist. »

- Oliver Lyttelton

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Kubrick, Cary Grant docs set for Cannes Classics

3 May 2017 6:16 AM, PDT | ScreenDaily | See recent ScreenDaily news »

Strand will focus on the history of Cannes for the festival’s 70th anniversary.

Cannes Film Festival (May 17-28) has unveiled the line-up for this year’s Classic programme, with 24 screenings set to take place alongside five documentaries and one short film.

Documentaries about cinema including Filmworker - which focuses of Stanley Kubrick’s right hand man Leon Vitali, who played a crucial role behind the scenes of the director’s films - as well as Cary Grant doc Becoming Cary Grant, are set to feature.

This year’s selection is also set to focus on the history of the festival itself, with prize-winning films such as Michelangelo Antonioni Grand 1966 Prix winning film Blow-Up and Henri-Georges Clouzot’s Le Salaire de la peur (The Wages of Fear) from 1952 screening.

Nagisa Oshima’s 1976 film Ai No Korîda (In The Realm Of The Senses/L’Empire Des Sens), Luis Buñuel’s 1967 classic Belle De Jour (Beauty Of The Day »

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Cannes Classics 2017 Line-Up Includes ‘The Wages of Fear,’ ‘All That Jazz,’ ‘L’Atalante’ & More

3 May 2017 5:05 AM, PDT | The Film Stage | See recent The Film Stage news »

While Cannes Film Festival premieres some of the best new films of the year, they also have a rich history of highlighting cinema history with their Cannes Classics line-up, many of which are new restorations of films that previously premiered at the festival. This year they are taking that idea further, featuring 16 films that made history at the festival, along with a handful of others, and five new documentaries. So, if you can’t make it to Cannes, to get a sense of restorations that may come to your city (or on Blu-ray) in the coming months/years, check out the line-up below.

From 1946 to 1992, from René Clément to Victor Erice, sixteen history-making films of the Festival de Cannes

1946: La Bataille du Rail (Battle of the Rails) by René Clément (1h25, France): Grand Prix International de la mise en scène and Prix du Jury International.

Presented by Ina. »

- Jordan Raup

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Sandy Wexler review – Adam Sandler's 90s-set comedy is strange yet strangely likable

14 April 2017 8:05 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

The actor’s latest film for Netflix is filled with annoyingly unfunny moments yet there’s a charm that’s tough to resist

With the artistic freedom given to him by his eight-picture Netflix deal, Adam Sandler has made his All That Jazz. The puerile comic despised by most critics wears his heart on his sleeve for Sandy Wexler’s very-long-for-an-Adam-Sandler-movie run time of two hours and 10 minutes. The result borders on outsider art, with scenes that stretch way past their warranty, and a tone that wobbles from immature slapstick to inelegant, spasmodic tugs at the heartstrings.

Related: Don't call it a comeback: the actors set to return to the A-list in 2017

Continue reading »

- Jordan Hoffman

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2017 Oscar Winners List

26 February 2017 5:25 PM, PST | MovieWeb | See recent MovieWeb news »

Tonight is Hollywood's big night, with the 89th Oscars being broadcast live on ABC tonight, starting at 8 Pm Et/5 Pm Pt. We'll be watching the awards being handed out live and updating this full list of winners as the telecast goes on. Jimmy Kimmel hosts this year's Oscar telecast, with La La Land currently the front runner to take home many of the major awards.

Academy members from each of the 17 branches vote to determine the nominees in their respective categories - actors nominate actors, film editors nominate film editors, etc. In the Animated Feature Film and Foreign Language Film categories, nominees are selected by a vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees. Active members of the Academy are eligible to vote for the winners in all 24 categories beginning Monday, February 13 through Tuesday, February 21.

Leading the way for this year's awards »

- MovieWeb

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Yes, Damien Chazelle’s ‘La La Land’ Really Will Win Director and Picture Oscars — Here’s Why

17 February 2017 2:17 PM, PST | Thompson on Hollywood | See recent Thompson on Hollywood news »

Late in the Oscar season, at the moment when voters actually fill in their ballots (the deadline is February 21 at 5 pm), it all comes down to what movies they have actually seen. What did they love the most, and is freshest in their minds? Which film aligns with the zeitgeist, delivering the message that 6,000 voters want to send?

The five directing nominations tend to line up with the strongest Best Picture contenders, although snubbed director nominee Ben Affleck did win Best Picture win for “Argo.” However, that underdog story became a narrative in itself that drove “Argo” to the win.

This year, the narratives include the aftermath of#OscarsSoWhite and the election of Donald J. Trump. Which will stick?

Here’s how the Best Director and Best Picture races are shaking out.

La La Land” is the magical, romantic, modern-yet-retro musical about artistic passion created by wunderkind Damien Chazelle and his gifted collaborators, »

- Anne Thompson

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Yes, Damien Chazelle’s ‘La La Land’ Really Will Win Director and Picture Oscars — Here’s Why

17 February 2017 2:17 PM, PST | Indiewire | See recent Indiewire news »

Late in the Oscar season, at the moment when voters actually fill in their ballots (the deadline is February 21 at 5 pm), it all comes down to what movies they have actually seen. What did they love the most, and is freshest in their minds? Which film aligns with the zeitgeist, delivering the message that 6,000 voters want to send?

The five directing nominations tend to line up with the strongest Best Picture contenders, although snubbed director nominee Ben Affleck did win Best Picture win for “Argo.” However, that underdog story became a narrative in itself that drove “Argo” to the win.

This year, the narratives include the aftermath of#OscarsSoWhite and the election of Donald J. Trump. Which will stick?

Here’s how the Best Director and Best Picture races are shaking out.

La La Land” is the magical, romantic, modern-yet-retro musical about artistic passion created by wunderkind Damien Chazelle and his gifted collaborators, »

- Anne Thompson

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Simon Callow webchat – your questions answered on chugging pints, Wagner and 44 years of acting

30 January 2017 6:11 AM, PST | The Guardian - TV News | See recent The Guardian - TV News news »

The actor and writer talked about Orson Welles, lost TV sitcom Chance in a Million, German nationalism, Jacqui Dankworth, Shakespeare and cellos

2.11pm GMT

It's been delightful if sometimes gruelling, webchatting to you all. Let's do it again sometime!

2.08pm GMT

Mike Thorne says:

I think it's quite important with Wagner to distinguish between German nationalism as espoused by the new German Reich, from Wagner's conception of a cultural phenomenon, which is a fundamental kind of Teutonic conception of life. Which is semi-mystical, and almost anthropological, with its roots as Wagner conceived of it, in pre-history. Whether this is an attractive or real thing or not is obviously a matter for discussion, but it's a different thing from a specific nationalism of a kind that Wagner was increasingly prevalent in the 19th century across Europe and beyond. Wagner was intellectually an extraordinary mix of influences, he was never as »

- Guardian Staff

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