Clive James: my gateway to infinity

Thursday, May 15th, 2008

In 2005 I finally managed to buy my domain name, clivejames.com, back from a British pirate. Before the pirate got hold of it, my domain name belonged to another Clive James, a jet-ski instructor in Miami. I waited a long time for him to have his accident, but when I lunged forward to grab the vacant domain name, it turned out that the pirate had already bought it. He sold it to me for only slightly less than it would have cost to sue him, but it was worth it.

My fledgeling multimedia website could now carry my name, an attribute that might come in useful when trying to attract the attention of anyone who remembered it from the days when I had my face on the box in the corner of the room, instead of on the screen of a computer.

By that time my plans for the website were already changing. My first idea was to set up an online archive of everything I had ever written. There were practical reasons for doing so. On the web, your books can be made available while occupying no physical space at all: a humble aim, surely. But I have to admit that megalomania was part of the initial impulse.

I was building a memorial to myself: not a very charming idea even when the pharaohs did it. Luckily I soon realised that the project might be more useful if I included the work of other people. Some of my own work included other people anyway.

I was already, in the Video section of the site, running little no-budget television interviews that I was making in my living room. Jonathan Miller, Cate Blanchett, Terry Gilliam, Julian Barnes, Ruby Wax, Ian McEwan, Martin Amis and others (the complete line-up of 25 half-hour interviews is still on the site, and still growing, with a new series of nine to be uploaded soon) all contributed their services for not much more than a takeaway Chinese meal and cab fare.

In the Audio section, I had been streaming dozens of radio dialogues that I had done with Peter Porter for the ABC in Australia. I had a Gallery section, and all its painters, sculptors and photographers were my guests (there are now 17 of them, with seven pages each).

Worldwide, there were journalists and essayists who were taking their business seriously. I wanted to help to shine a light on their best work. When I was a journalist, I had always thought that an individual piece was like an individual poem: if it was well enough done, it deserved to live. On the web, nothing need disappear.

There were poets who deserved a world stage. I wanted to help to provide that. If I could load my website with enough permanently valuable material, people from all over the world might visit, not just because it was an example of one writer expressing himself, but because the site itself was expressing a wide range of human creation.

A limitless range, in fact: because there were already countless good things glittering among the junk out there on the web, so a site’s grizzled proprietor could turn his years to use by guiding visitors to the treasure.

You could say that this was megalomania taken to a further stage and disguised as altruism. But whatever the motive, after five years of steady construction the site has become the focus of my later life. I used to do several different things for a living.

But they were all linked by writing, and now they are all happening in the one place, and I have to do a lot of extra writing to explain what’s going on. By the nature of the web, this explanatory writing has to be terse, but that requirement never hurts.

The site’s comprehensive redesign, which has just been completed, looks a lot less tentative. It looks, as we used to say in television, “meant”. And so it should, because a lot of people are giving their efforts to it for small financial reward.

They are headed by my copy editor, Cécile Menon, who can also converse with computers fluently enough to run the site. Powerfully persuasive for someone no bigger than a piaf, she recruits out in cyberspace the ghostly technical experts whose time is worth a fortune. Somehow she persuades them to work, like her, for a pittance. She is also gifted with adventurous taste.

Many of our painters and sculptors are found by her. Sometimes she has to convince me, but only by making me look more closely, and invariably they prove to have a quality that my unaided eye might have skated over. Thus my education continues, and I get the chance to write outside my usual frame of reference. In this way, one’s mental range is increased. It’s the thing I like most about the web. It can get you beyond yourself.

In that question lies the only thing for the aspiring webster to be scared of. You can throw a party, and nobody might come. There are at least seven million websites in the world, and about 90 million blogs, and it’s already obvious that when everyone on Earth is building a personal display case they won’t have time to look at anybody else’s.

As many lone bloggers have already found, their regular audience is only going to be a handful of people like them. Some of the handful are in Iceland or Venezuela, which can be a thrill, but on the whole, no matter how well the bloggers write, if they haven’t got a selling point beyond their own opinions they are digging their own graves under the impression that they are putting up a building.

But when I wake up sweating in the night, wondering if I am going broke to no purpose whatever, I can check the viewing figures and remind myself that at any given moment, as the sun comes up around the world, there are people online to find out what we’ve got to offer. Not a lot of people, perhaps, but they come from more than 50 countries.

Since most of them, if they decide to browse around, will read as well as look and listen, it’s a safe assumption that they are good at English, which they got from books. The fear that the web necessarily erodes the ability to read is groundless. The web is fundamentally literate, even if at a low level.

At an even lower level, alas, it is also frightening, because a huge percentage of it consists of pornography, eked out by masterclasses in bomb-making, conspiracy theory and religious terror. The word “jungle” is almost too genteel to apply. But if the whole thing really is a lethally dangerous primeval forest, then a crucial battle will be lost if clearings are not provided in which people can find nothing but civilisation.

I suppose the most glittering prize the web offers is that it gives you a chance to put your life on the line in a constructive way. Even the brightest young people, wherever they come from, are more likely to find an older voice worth listening to if it is talking about something beyond wealth and power. It can talk about value, saying not just “This is what I have done” but “This is what others have done, and I find it valuable beyond price”.

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Surviving the Adelaide Arts Festival

Thursday, March 20th, 2008

Not enough of the small music festivals that are proliferating in wineries, perhaps %26ndash; Coriole in the McLaren Vales, for instance, or Rochford Wines in the Yarra.
But certainly to all the majors in the state capitals plus Darwin and Canberra, with its National Folk Festival at Easter and its one-time Australian Theatre Festival.
I actually live in Sydney and it%26#39;s almost impossible to %26quot;do%26quot; a festival properly in your home town, because you%26#39;ve got silly things like the washing up to do, friends to visit and possibly even a job.
This hasn%26#39;t stopped me enjoying Sydney%26#39;s summer fun for 25 years, and encouraging others to come to a festival that%26#39;s gone from entertainment designed to keep Sydneysiders from heading %26quot;up the coast%26quot; to being a serious international player.
But a festival is all about intensity, a single-minded pursuit of the best, the most talked-about shows, whether they%26#39;re at 11 in the morning or after midnight the next day.
And though I retain a fondness for Perth, Australia%26#39;s oldest international arts festival which continues to inspire our remotest city, I simply have to report from the front in Adelaide.
For this biennial event %26ndash; the next is February/March 2010 %26ndash; has the arrogance to believe it%26#39;s %26quot;the%26quot; Australian arts festival, though deep down it knows it%26#39;s based on that epitome of Europeanness, the Edinburgh Festival.
Nevertheless, artists pour in in their thousands, the Aussie arts world gathers there to play and learn, and the planes are packed with visitors who are guaranteed all day long stimulation from not one, not two but about a dozen different festivals that never actually seem to come to blows.
For the main Adelaide Bank Festival of the Arts is but a big name, two-week backdrop. Think international operas, theatre companies and dancers for an almost four-week Fringe with at least 550 different acts, a Writers%26#39; Week that%26#39;s almost as famous as its parent, an Artists%26#39; Week for the visual arts, Womadelaide the exotic, an International Buskers Festival and a Fuse Festival which seemed to be more about the business of music than its performance.
And as the Writers%26#39; Week tents are packed with ardent listeners in straw hats from 10 in the morning %26ndash; it%26#39;s %26quot;always%26quot; sunny at Festival time, by the way and this year came up with a two-week heatwave hitting 40 degrees %26ndash; and there%26#39;s sure to be something starting at 11pm in the Garden of Unearthly Delights, a tented area for Fringe performance and snacks in the Eastern parks, you never need to get bored.
But you do have to plan. In my case that%26#39;s mostly to make sure I get fed between events, for only the Writers%26#39; Week is thoughtful enough to allow you to munch on a roll and drain a cold Cooper%26#39;s while listening to Geraldine Brooks, Germaine Greer or Ian McEwan.
And in my case, an empty stomach is a serious distraction to an alert mind.
Luckily Adelaide is filled with more cafes, bars and restaurants than could possibly be peopled during the 100 weeks between festivals so it%26#39;s usually possible to sustain the inner man, though never enough time to drink an excess of alcohol that would send me to sleep in the next show.
In fact, you really need to plan one night off to take advantage of one of the top-end restaurants and several of the top-end local wines then, talking to fellow diners, you%26#39;ll discover all the sensational %26quot;mustn%26#39;t-miss%26quot; events that you have missed.
Possibly even before the food, planning needs to start with the accommodation, which gets over-booked during this time of Adelaide mayhem. It does need to be near the action, not up in the Hills or down by the sea.
You just haven%26#39;t got time for that much travel, and the trains stop at midnight.
But even in the centre %26ndash; and Adelaide%26#39;s blocks are surprisingly large when you%26#39;re tramping them at both midday and midnight %26ndash; it%26#39;s worth hiring a bike to sail to the next glorious event. The city is nothing if not dead flat.
And then there%26#39;s the artistry. While you%26#39;re sitting around at home with a month or so to go, that%26#39;s the time to salivate over the official festival program and pick out the shows that are going to make you feel grand, you hope.
Remember that a festival is not like your usual theatre or ballet season %26ndash; runs can be as short as one night, and, by definition, not all the goodies are available at the same time.
But in five days at this year%26#39;s Adelaide Festival, I picked up on a last tour by the 77-year-old Ornette Coleman, his fingers flying and his lungs blowing like a 20-year-old%26#39;s; a soaring choral Miserere in the cathedral; the Germans adding sex and spice to an old favourite play like Cat on a Hot Tin Roof; and the Brits getting all post-colonial with an entirely Indian Midsummer Night%26#39;s Dream.
But having chosen and spread out your Big Shows, it%26#39;s vital to pick some possible losers as well.
Losers, you complain? Well I can assure you on the basis of this year%26#39;s festival, the Indian Dream was a loser for me because the poor old Poms don%26#39;t really understand physical theatre as many Australian directors do.
And The Word (a vital source of information) was that Goering%26#39;s Defence %26ndash; an unlikely show hearing why Goering was only trying to do the right thing during the War %26ndash; and The Window %26ndash; a beautiful play about, well, a window %26ndash; were much better nights in the theatre. Which is why you%26#39;ve left gaps in your schedule, to take advantage of hot stuff.
By now, too, you%26#39;ve picked up your Artists%26#39; and Writers%26#39; Week brochures and eagerly marked off the names of people you want to hear talk and tried to fit the times into your diary.
What have detective writer Peter Corris and Doris (Rabbit Proof Fence) Pilkington got in common? You could have found out in the East Tent at 2.15 on Monday; and chosen which one%26#39;s signature you%26#39;d queue for afterwards.
What are all those blank-faced blond Russian kids doing killing each other time after time in the video hit of the Venice Biennale now showing 10 to 5 daily in an Adelaide gallery?
Perhaps it would be safer to stick with the brilliantly explained Ngurrara Canvas at the SA Museum %26ndash; Aboriginal art as both land and land claim.
Which just leaves time to wind down in the deep cushions at the Persian Garden late night club, where, theoretically, everyone comes to report on their day and plan the next while nibbling Middle Eastern sweetmeats and trying to talk over the band.
I have to admit the club%26#39;s not worked for me since the brilliant Red Square was so good it became yet another festival in itself. Even better was being invited on to the Director%26#39;s table during David Blenkinsop%26#39;s long reign in Perth %26ndash; all the goss, the artists you%26#39;d just seen unwinding beside you and a sense of being at the beating heart of this diverse event.
And finding that heart is why concentrated cultural events %26ndash; think an operatic Ring Cycle or almost any one of Australia%26#39;s amazing 1300 festivals %26ndash; are increasingly challenging one-off gutsers like Formula 1 races or an endless parade of one-day cricket mis-matches for the mature tourist dollar.
IF YOU GO:
Visit: www.adelaidefestival.com.au

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This tale’s not for wagging

Monday, March 10th, 2008

%26bull; A%26E - Tom Cardy’s festival blog

%26bull; More festival stories

Catton, a university student who won last year%26#39;s Sunday Star-Times Short Story Competition when aged 22, was one of six writers in the Writers and Readers Week event yesterday.
The challenge involved visiting six mystery places around Wellington - including the SPCA, Parliament, the railway station and Les Mills gym - and writing 1200 words on a laptop, based on the day.
The writers read their finished work at the Pacific Blue Festival Club last night. The three judges chose Victoria University writer-in-residence David Geary as winner of the overall $2000 award. Catton won the people%26#39;s choice award.
Catton said she came into the competition with a blank slate. %26quot;If you plan ahead, you can commit yourself to an idea that doesn%26#39;t work on the day.%26quot;
One of the day%26#39;s most unexpected encounters was at the railway station when a girl stopped and played her a song on the violin she was carrying.
Last year Catton, a student in the Masters in Creative Writing programme at Victoria University, won the Adam Prize for her novel The Rehearsal which she is finishing now.
Other Wellington writers in Once Upon a Deadline were playwright and performer Jo Randerson, and playwright Briar Grace-Smith. They were joined by 2006 Sunday Star-Times Short Story Competition winner Sarah Laing of Auckland, and 2007 BNZ Katherine Mansfield Short Story Award winner Carl Nixon from Christchurch.
Writers and Readers Week opens today. International writers include Doonesbury cartoonist Garry Trudeau, novelist Ian McEwan, food writer Ruth Reichl and Nobel prize-winning economist Joseph Stiglitz.

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Amid the darkness, gems shine bright

Friday, February 22nd, 2008

Forget the bleakness of the movies. Disregard the fear, anger
and despair in There Will Be Blood, No Country For Old Men,
Michael Clayton and Atonement. The 80th Academy Awards
are the chance to celebrate what’s been great about the movies over
the past year.
It has been something special seeing Cate Blanchett transform
into Bob Dylan, Marion Cotillard into Edith Piaf, Javier Bardem
into a cold-blooded professional killer, Viggo Mortensen into a
tattooed Russian mobster and fresh-faced Ellen Page into a sparky
pregnant teenager.
But will any of them win Oscars? Days out, it remains a wide
open race in many categories. That coin toss from No Country For
Old Men - the one that determined whether a slow-drawling
petrol station attendant lived or died - might have been useful for
the academy’s 5800 members this year.
Let’s start with %26#133;
BEST PICTURE
The bookies have the corporate thriller Michael Clayton
at long odds, though Hollywood’s reverence for George Clooney could
help its slim chances. Like Little Miss Sunshine last year,
Juno seems too indie and comic to triumph at Hollywood’s
biggest show. The British period drama Atonement also seems
an unlikely winner for never quite delivering the emotional impact
of Ian McEwan’s celebrated novel. The epic oil drama There Will
Be Blood invested in grand themes and delighted many critics
but its climax and biblical extremes veered towards melodrama. The
towering achievement, despite
an ending that was more unsettling than satisfying, is the Coen
brothers‘ suspenseful Midwest thriller.
Likely winner No Country For Old Men.
Should win No Country For Old Men.
BEST DIRECTION
Masterful work from the Coen brothers, elevating the thriller
genre as Martin Scorsese did with The Departed did last
year, could win them their first directing Oscar in a career that
has included gems such as Barton Fink, Fargo and The Big
Lebowski. But an upset is definitely possible given the
wonderful inventiveness of Julian Schnabel’s The Diving Bell And
The Butterfly, which takes the viewer inside the mind of a
paralysed man, and the critical support for Paul Thomas Anderson’s
There Will Be Blood. The outsiders are Jason Reitman for the
cleverly idiosyncratic Juno and Tony Gilroy for Michael
Clayton.
Likely winner Coen brothers or Julian Schnabel.
Should win Coen brothers or Julian Schnabel.
BEST ACTRESS
The revered Julie Christie, the British star of Dr
Zhivago, Fahrenheit 451 and McCabe Mrs
Miller, is widely considered a certainty for her wrenching
performance as an Alzheimer’s patient in Away From Her,
which would repeat her 1966 Oscars win for Darling. But she
is up against a strong field. Ellen Page was a revelation in
Juno, Cate Blanchett dominated the screen in the muddied
Elizabeth: The Golden Age and Marion Cotillard was
exceptional as the singer Edith Piaf in La Vie En Rose. Only
Laura Linney, a struggling playwright in The Savages, is no
chance.
Likely winner Julie Christie or Marion Cotillard.
Should win Marion Cotillard.
BEST ACTOR
The bookies have Daniel Day-Lewis, who played a power-hungry oil
baron in There Will Be Blood, as the hottest favourite in
any Oscars category. While he lost when favourite for Gangs of
New York, the famously intense Irish actor previously won for
My Left Foot and seems unstoppable this year after
dominating the lead-up awards. The best of the other performances
came from
the magnetic Viggo Mortensen (Eastern Promises) and the
charismatic Johnny Depp (Sweeney Todd). George Clooney
(Michael Clayton)
has already won an Oscar recently. Despite excelling as the
father of a missing soldier, Tommy Lee Jones seems to
have little support for In The Valley Of Elah.
Likely winner Daniel Day-Lewis.
Should win Daniel Day-Lewis or Viggo Mortensen.
BEST SUPPORTING
ACTRESS
Sentiment ruled when the black veteran Ruby Dee, who played a
drug lord’s mother in American Gangster, won this award from
the Screen Actors Guild last month. But Amy Ryan has attracted
strong reviews as a single mother in the kidnap drama Gone, Baby
Gone, and Cate Blanchett was completely convincing as the young
Bob Dylan in I’m Not There. There’s no need for Tilda
Swinton (Michael Clayton) and the future star Saoirse Ronan
(Atonement) to worry about writing a speech.
Likely winner Cate Blanchett or Amy Ryan.
Should win Cate Blanchett
BEST SUPPORTING ACTOR
No contest. Javier Bardem as a monstrous killer in No Country
For Old Men has deservedly won everything going recently. His
closest rivals are Casey Affleck (The Assassination Of Jesse
James) and the veteran Hal Holbrook (Into The Wild),
with no chance for Tom Wilkinson (Michael Clayton) and
Philip Seymour Hoffman (Charlie Wilson’s War).
Likely winner Javier Bardem.
Should win Javier Bardem.
BEST ORIGINAL
SCREENPLAY
Thanks for coming, Nancy Oliver (Lars And the Real Girl),
Tony Gilroy (Michael Clayton), Brad Bird
(Ratatouille) and Tamara Jenkins (The Savages). One
of the best stories at the Oscars should be Diablo Cody’s
transformation from stripper to award-winning screenwriter for
Juno.
Likely winner Diablo Cody.
Should win Diablo Cody.
BEST ADAPTED SCREENPLAY
The Pianist screenwriter Ronald Harwood (The Diving
Bell And The Butterfly) and the actress turned writer-director
Sarah Polley (Away From Her) must be some chance. Less so
Paul Thomas Anderson (There Will Be Blood) and Christopher
Hampton (Atonement). But the Coen brothers should win for an
outstanding adaptation of a Cormac McCarthy novel.
Likely winner Coen brothers.
Should win Coen brothers.
BEST DOCUMENTARY
FEATURE
The Australian producer Eva Orner is nominated for Taxi To
The Dark Side, which examines the Bush Administration’s
sanctioning of torture in the fight against terrorism. It shapes as
an outsider against Michael Moore’s Sicko, on the failings
of the US health system, and No End In Sight, about the US
occupation of Iraq.
The biggest certainty is that there will be some shocks along
the way. Last year, it was Eddie Murphy getting beaten by Alan
Arkin. The year before, Brokeback Mountain by Crash.
Given the darkness of so many movies and the way a win can make and
break careers, it seems likely there will be blood.
The Academy Awards are on Sunday night in Los Angeles (Monday in
Australia).

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Watch out for…

Saturday, February 16th, 2008

Kind Friend: Rupert with a Valentine’s Day bouquet

%26bull; Rupert Friend, who will star opposite Michelle Pfeiffer in Cheri. Stephen Frears will direct from a screenplay by Oscar nominated Christopher Hampton based on a novella by Colette. (Hampton is up for an Oscar for adapting Ian McEwan’s novel Atonement.) This column broke the story that Pfeiffer was interested in the film last month. Since then, the actress has expressed her desire to do the project.
Rupert will play the title role. His character has a long affair and plenty of romps with an experienced courtesan (Pfeiffer) and the movie will explore the relationship and its break-up. He also portrays Prince Albert with the fabulous Emily Blunt as Young Victoria in the forthcoming film of the same name.

%26bull; Nicole Kidman and Cate Blanchett, both blooming and pregnant, will be superstar presenters at the Oscars next weekend. The two Australian actresses (and previous Oscar winners) will be travelling from Sydney to LA in the next few days. Cate is also a contender in this year’s best and supporting actress categories. Other Oscar presenters include James McAvoy, Seth Rogan, Cameron Diaz, Josh Brolin and last year’s honorees Helen Mirren, Jennifer Hudson, Forest Whitaker and Alan Arkin.

%26bull; Naomi Frederick, who plays Laura Jesson in Brief Encounter, now previewing at new theatrical venue The Cinema, on the Haymarket in London. It is a totally delightful and highly entertaining version of Noel Coward’s play Still Life which, in turn, became the movie Brief Encounter, directed by David Lean and starring Celia Johnson and Trevor Howard. This stage production, from theatre company Kneehigh and directed by Emma Rice, is highly imaginative, full of fun and anchored by a truly knockout performance by Ms Frederick as Laura, who slowly falls in love with a doctor (played by Tristan Sturrock) she meets in a station refreshment bar. I was shown to my seat by a 1940s-style usherette who asked me, and others, if we’d ever had a brief encounter. As we waited, a band played songs from the era. As I watched, I wondered why station buffets today don’t offer the sterling service seen both in Lean’s film and this fabulous show.
Give yourselves a treat and go and enjoy this exquisite Brief Encounter.

%26bull; Ryan Molloy, Stephen Ashfield, Glen Carter and Philip Bulcock, who star in the London production of smash hit musical Jersey Boys.
Director Des McAnuff has been rehearsing his cast in a church hall in London, but on Monday the company moves into the Prince Edward Theatre for further rehearsals. The show details the rise of Frankie Valli and the Four Seasons, who were responsible for hits such as Can’t Take My Eyes Off You, Big Girls Don’t Cry, Sherry, Oh What A Night and many others. Previews start at the Prince Edward on February 28 and I predict it will become a walloping great hit.

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Red carpet rolled out for Britain’s BAFTA awards

Saturday, February 16th, 2008

Australian actor Cate Blanchett is in the running for the best
leading actress award at Britain’s showpiece movie awards in London
today for her portrayal of Queen Elizabeth I in Elizabeth: The
Golden Age.
The British Academy of Film and Television Arts awards have
taken on extra significance this year after the US writers’ strike
reduced the Golden Globes, traditionally the second biggest film
awards after the Oscars, to a mere news conference.
Blanchett is up against Julie Christie who is tipped to extend
her collection of awards in the leading actor categories.
Daniel Day-Lewis is tipped to win best actor for starring in
There Will Be Blood as a ruthless oil baron.
Atonement, the film adaptation of Ian McEwan’s award-winning
novel about life and love in World War II, leads the way with 14
nominations.
The romantic drama is up for the best film and best British film
gongs, with Keira Knightley and James McAvoy also up for best
actress and actor.
Joe Wright is nominated for best director while Saoirse Ronan
has a best supporting actress nomination.
Elsewhere, Joel and Ethan Coen’s bleak No Country for Old Men,
and Paul Thomas Anderson’s There Will Be Blood each have nine
nominations.
La Vie en Rose, about the life of legendary French singer Edith
Piaf, has seven, including a best actress nomination for Marion
Cotillard.
The Bourne Ultimatum, the third in the action series starring
Matt Damon, has six nominations, with American Gangster, The Lives
of Others and Michael Clayton getting five each.
Screen icon Christie also features for her acclaimed performance
as an Alzheimer’s sufferer in Away from Her.
The British Academy Film and Television Arts awards — which
normally play second fiddle to the Golden Globes — could be seen
as one of the film industry’s main events of the year due to the
industrial action by screenwriters in the United States.
Striking Hollywood screenwriters said Saturday they had agreed a
deal to settle their three-month old dispute and could be back at
work next week if it meets with union members’ approval.
The strike severely disrupted Hollywood’s annual awards season,
leading to the cancellation of the Golden Globes awards after
actors vowed to boycott the event, and casting a shadow over
preparations for the February 24 Oscars.
The BAFTA awards ceremony takes place at the Royal Opera House
in central London.
Nominees:
– Best film:
American Gangster
Atonement
The Lives of Others
No Country for Old Men
There Will Be Blood
– Best director:
Joe Wright — Atonement
Paul Greengrass — The Bourne Ultimatum
Florian Henckel von Donnersmarck — The Lives of Others
Joel Coen/Ethan Coen — No Country For Old Men
Paul Thomas Anderson — There Will Be Blood
– Best leading actor:
George Clooney — Michael Clayton
Daniel Day-Lewis — There Will Be Blood
James McAvoy — Atonement
Viggo Mortensen — Eastern Promises
Ulrich Muhe — The Lives of Others
– Best leading actress:
Cate Blanchett — Elizabeth: The Golden Age
Julie Christie — Away From Her
Marion Cotillard — La Vie en Rose
Keira Knightley — Atonement
Ellen Page — Juno
AFP

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Red carpet rolled out for BAFTAs

Saturday, February 16th, 2008

CATE Blanchett is in the running for the best leading actress award at Britain’s BAFTAs in London today for her portrayal of Queen Elizabeth I in Elizabeth: The Golden Age.

The British Academy of Film and Television Arts awards (BAFTAs) have taken on extra significance this year after the US writers’ strike reduced the Golden Globes, traditionally the second biggest film awards after the Oscars, to a mere news conference. Blanchett is up against Julie Christie who is tipped to extend her collection of awards in the leading actor categories. Daniel Day-Lewis is tipped to win best actor for starring in There Will Be Blood as a ruthless oil baron. Atonement, the film adaptation of Ian McEwan’s award-winning novel about life and love in World War II, leads the way with 14 nominations. The romantic drama is up for the best film and best British film gongs, with Keira Knightley and James McAvoy also up for best actress and actor. Joe Wright is nominated for best director while Saoirse Ronan has a best supporting actress nomination. Elsewhere, Joel and Ethan Coen’s bleak No Country for Old Men, and Paul Thomas Anderson’s There Will Be Blood each have nine nominations. La Vie en Rose, about the life of legendary French singer Edith Piaf, has seven, including a best actress nomination for Marion Cotillard. The Bourne Ultimatum, the third in the action series starring Matt Damon, has six nominations, with American Gangster, The Lives of Others and Michael Clayton getting five each. Screen icon Christie also features for her acclaimed performance as an Alzheimer’s sufferer in Away from Her. The British Academy Film and Television Arts awards — which normally play second fiddle to the Golden Globes — could be seen as one of the film industry’s main events of the year due to the industrial action by screenwriters in the United States. Striking Hollywood screenwriters said Saturday they had agreed a deal to settle their three-month old dispute and could be back at work next week if it meets with union members’ approval. The strike severely disrupted Hollywood’s annual awards season, leading to the cancellation of the Golden Globes awards after actors vowed to boycott the event, and casting a shadow over preparations for the February 24 Oscars. The BAFTA awards ceremony takes place at the Royal Opera House in central London. Nominees: BEST FILM: American Gangster Atonement The Lives of Others No Country for Old Men There Will Be Blood BEST DIRECTOR: Joe Wright — Atonement Paul Greengrass — The Bourne Ultimatum Florian Henckel von Donnersmarck — The Lives of Others Joel Coen/Ethan Coen — No Country For Old Men Paul Thomas Anderson — There Will Be Blood BEST LEADING ACTOR: George Clooney — Michael Clayton Daniel Day-Lewis — There Will Be Blood James McAvoy — Atonement Viggo Mortensen — Eastern Promises Ulrich Muhe — The Lives of Others BEST LEADING ACTRESS: Cate Blanchett — Elizabeth: The Golden Age Julie Christie — Away From Her Marion Cotillard — La Vie en Rose Keira Knightley — Atonement Ellen Page — Juno

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No country for bad screenplays

Sunday, February 3rd, 2008

Brooke Busey-Hunt, who has a tattoo on her left buttock, has
said that if she fails at writing she will consider going back to
pole-dancing and what she calls “bed-dancing”, which she enjoyed in
an ironic, cheesy, reverse-voyeurism kind of way. Busey-Hunt,
clearly, is an eccentric, and a member of the legion of internet
exhibitionists.
It has just become obvious that she will not be going back to
work as a paid tease. Suddenly, at age 29, she is mildly rich and
famous. Busey-Hunt, a bookish vamp, now goes by the nom de plume
Diablo Cody. Under that name she has been nominated for an Academy
Award for best original screenplay for Juno, her first
feature film, one of four nominations. Diablo Cody must be a
favourite to win her category even if Juno is unlikely to
win best picture, for which it is also nominated, because it is not
a “big” film.
It may not be big but Juno is a diamond. Perfect. Ellen
Page plays the title role of Juno, named after Jupiter’s wife and
the queen of the Roman gods. Or as Juno explains in Juno,
“she was Jupiter’s wife %26#133; and really beautiful but really
mean, like Diana Ross”. Page plays the wisecracking,
Minneapolis-based, Patti Smith-adoring 16-year-old Juno (written by
the wisecracking, Minneapolis-raised, Patti Smith-adoring Diablo
Cody) at such a fine pitch that by the end you think, “She’s got to
be nominated for an Academy Award”, and the next day you read that
she has been nominated for an Academy Award. Ellen Page, too, must
be considered a favourite for best actress. Originality, wit and
sweetness don’t come along in one package very often.
Juno is part of the embarrassment of riches for the 80th
Annual Academy Awards, with the Oscars handed out on February 24.
We really are living in a golden age of cinematic literature and
film is the literature of our age. We are a fifth-generation cinema
culture and it shows. Filmmaking is imbued with the experiences of
several generations and more good and knowing and ironic films are
being made than ever before. Not a huge number but enough to keep
the Sundance Festival going and keep the Palace cinemas humming all
year.
Thus the quest for the great novel now pales beside the need for
great screenplays. People aren’t reading books any more in any
great numbers. The number of books purchased, per capita, is lower
than it was 25 years ago. An ardent but shrinking minority keeps
book publishing afloat. What most people are doing is watching,
trawling, playing, reacting. The attention span is becoming manic.
This increases exponentially as you progress down the age pyramid
towards the young.
Everything has speeded up. Watching classic films or old TV
shows, one is struck by the measured pacing and the long unbroken
sequences compared with the frenetic editing of today’s movies, TV
shows and advertising. The mass literacy of film and video is also
being driven from the bottom up, via the infinite blogosphere and
voyeursphere of the internet.
The sheer weight of this cultural shift towards the moving image
over the written word is reflected in both good and malign ways,
and one of the positive indicators is the outstanding shortlist for
the 2008 Academy Awards. Four of the five finalists for best
picture are superbly written and superbly acted films - No
Country For Old Men, There Will Be Blood, Michael
Clayton and Juno - which depict America at its best and
worst and show Hollywood at its best.
The best actor category is a particularly rich haul, with five
out of five great performances by great actors: Daniel Day-Lewis,
Johnny Depp, George Clooney, Tommy Lee Jones and Viggo Mortensen.
Given the stack of other charismatic, nuanced leading men,
including Javier Bardem, Josh Brolin, Matt Damon, Brad Pitt et al,
this is a boom age for leading men and, until a week ago, Australia
had four world-class ones, Hugh Jackman, Russell Crowe, Guy Pearce
and Heath Ledger.
The women are not quite as strong this year but there is one
spectacular actress, more like a miracle, named Cate Blanchett,
Melbourne-born and Sydney-trained who is generating awe in Los
Angeles, as evidenced by the two nominations she received this
year. She must be favourite for best supporting actress for her
mesmerising portrayal of a young Bob Dylan in I’m Not There,
a film which also features, poignantly, Heath Ledger playing a
troubled movie star.
It is surely a golden age when the Coen brothers, Ethan and
Joel, are making film after glorious film, when eccentrics like Wes
Anderson and Jim Jarmusch are pumping out movies for cult
followings, and when a new generation of talented filmmakers has
dominated the Academy Awards. For all the moaning about special
effects-driven blockbusters coming out of Hollywood, there is still
plenty of soul being put into film. Traditional literature has been
served well this year, with three of the films nominated for best
picture built on critically acclaimed novels: There Will be
Blood, based on Upton Sinclair’s Oil!, published in
1927; Cormac McCarthy’s No Country For Old Men (2005); and
Ian McEwan’s Atonement (2002).
Given that this is the Australia Day weekend, it is worth noting
that the Australian film industry has evolved into an adjunct of
the American film industry, and this is no bad thing. It is
something government funding can’t change, cultural nationalism
can’t fix, and second-rate local screenwriting has made
inevitable.
The film industry is now globalised, drawing talent from
everywhere to the great Hollywood dream factory. Australia has
become a noted sub-contractor, as Ledger and Blanchett made so
clear during the past sad and glorious week.

Tags: , , , , , , , , , , , , ,

Related posts

No country for bad screenplays

Friday, February 1st, 2008

Brooke Busey-Hunt, who has a tattoo on her left buttock, has
said that if she fails at writing she will consider going back to
pole-dancing and what she calls “bed-dancing”, which she enjoyed in
an ironic, cheesy, reverse-voyeurism kind of way. Busey-Hunt,
clearly, is an eccentric, and a member of the legion of internet
exhibitionists.
It has just become obvious that she will not be going back to
work as a paid tease. Suddenly, at age 29, she is mildly rich and
famous. Busey-Hunt, a bookish vamp, now goes by the nom de plume
Diablo Cody. Under that name she has been nominated for an Academy
Award for best original screenplay for Juno, her first
feature film, one of four nominations. Diablo Cody must be a
favourite to win her category even if Juno is unlikely to
win best picture, for which it is also nominated, because it is not
a “big” film.
It may not be big but Juno is a diamond. Perfect. Ellen
Page plays the title role of Juno, named after Jupiter’s wife and
the queen of the Roman gods. Or as Juno explains in Juno,
“she was Jupiter’s wife %26#133; and really beautiful but really
mean, like Diana Ross”. Page plays the wisecracking,
Minneapolis-based, Patti Smith-adoring 16-year-old Juno (written by
the wisecracking, Minneapolis-raised, Patti Smith-adoring Diablo
Cody) at such a fine pitch that by the end you think, “She’s got to
be nominated for an Academy Award”, and the next day you read that
she has been nominated for an Academy Award. Ellen Page, too, must
be considered a favourite for best actress. Originality, wit and
sweetness don’t come along in one package very often.
Juno is part of the embarrassment of riches for the 80th
Annual Academy Awards, with the Oscars handed out on February 24.
We really are living in a golden age of cinematic literature and
film is the literature of our age. We are a fifth-generation cinema
culture and it shows. Filmmaking is imbued with the experiences of
several generations and more good and knowing and ironic films are
being made than ever before. Not a huge number but enough to keep
the Sundance Festival going and keep the Palace cinemas humming all
year.
Thus the quest for the great novel now pales beside the need for
great screenplays. People aren’t reading books any more in any
great numbers. The number of books purchased, per capita, is lower
than it was 25 years ago. An ardent but shrinking minority keeps
book publishing afloat. What most people are doing is watching,
trawling, playing, reacting. The attention span is becoming manic.
This increases exponentially as you progress down the age pyramid
towards the young.
Everything has speeded up. Watching classic films or old TV
shows, one is struck by the measured pacing and the long unbroken
sequences compared with the frenetic editing of today’s movies, TV
shows and advertising. The mass literacy of film and video is also
being driven from the bottom up, via the infinite blogosphere and
voyeursphere of the internet.
The sheer weight of this cultural shift towards the moving image
over the written word is reflected in both good and malign ways,
and one of the positive indicators is the outstanding shortlist for
the 2008 Academy Awards. Four of the five finalists for best
picture are superbly written and superbly acted films - No
Country For Old Men, There Will Be Blood, Michael
Clayton and Juno - which depict America at its best and
worst and show Hollywood at its best.
The best actor category is a particularly rich haul, with five
out of five great performances by great actors: Daniel Day-Lewis,
Johnny Depp, George Clooney, Tommy Lee Jones and Viggo Mortensen.
Given the stack of other charismatic, nuanced leading men,
including Javier Bardem, Josh Brolin, Matt Damon, Brad Pitt et al,
this is a boom age for leading men and, until a week ago, Australia
had four world-class ones, Hugh Jackman, Russell Crowe, Guy Pearce
and Heath Ledger.
The women are not quite as strong this year but there is one
spectacular actress, more like a miracle, named Cate Blanchett,
Melbourne-born and Sydney-trained who is generating awe in Los
Angeles, as evidenced by the two nominations she received this
year. She must be favourite for best supporting actress for her
mesmerising portrayal of a young Bob Dylan in I’m Not There,
a film which also features, poignantly, Heath Ledger playing a
troubled movie star.
It is surely a golden age when the Coen brothers, Ethan and
Joel, are making film after glorious film, when eccentrics like Wes
Anderson and Jim Jarmusch are pumping out movies for cult
followings, and when a new generation of talented filmmakers has
dominated the Academy Awards. For all the moaning about special
effects-driven blockbusters coming out of Hollywood, there is still
plenty of soul being put into film. Traditional literature has been
served well this year, with three of the films nominated for best
picture built on critically acclaimed novels: There Will be
Blood, based on Upton Sinclair’s Oil!, published in
1927; Cormac McCarthy’s No Country For Old Men (2005); and
Ian McEwan’s Atonement (2002).
Given that this is the Australia Day weekend, it is worth noting
that the Australian film industry has evolved into an adjunct of
the American film industry, and this is no bad thing. It is
something government funding can’t change, cultural nationalism
can’t fix, and second-rate local screenwriting has made
inevitable.
The film industry is now globalised, drawing talent from
everywhere to the great Hollywood dream factory. Australia has
become a noted sub-contractor, as Ledger and Blanchett made so
clear during the past sad and glorious week.

Tags: , , , , , , , , , , , , ,

Related posts

No country for bad screenplays

Thursday, January 31st, 2008

Brooke Busey-Hunt, who has a tattoo on her left buttock, has
said that if she fails at writing she will consider going back to
pole-dancing and what she calls “bed-dancing”, which she enjoyed in
an ironic, cheesy, reverse-voyeurism kind of way. Busey-Hunt,
clearly, is an eccentric, and a member of the legion of internet
exhibitionists.
It has just become obvious that she will not be going back to
work as a paid tease. Suddenly, at age 29, she is mildly rich and
famous. Busey-Hunt, a bookish vamp, now goes by the nom de plume
Diablo Cody. Under that name she has been nominated for an Academy
Award for best original screenplay for Juno, her first
feature film, one of four nominations. Diablo Cody must be a
favourite to win her category even if Juno is unlikely to
win best picture, for which it is also nominated, because it is not
a “big” film.
It may not be big but Juno is a diamond. Perfect. Ellen
Page plays the title role of Juno, named after Jupiter’s wife and
the queen of the Roman gods. Or as Juno explains in Juno,
“she was Jupiter’s wife %26#133; and really beautiful but really
mean, like Diana Ross”. Page plays the wisecracking,
Minneapolis-based, Patti Smith-adoring 16-year-old Juno (written by
the wisecracking, Minneapolis-raised, Patti Smith-adoring Diablo
Cody) at such a fine pitch that by the end you think, “She’s got to
be nominated for an Academy Award”, and the next day you read that
she has been nominated for an Academy Award. Ellen Page, too, must
be considered a favourite for best actress. Originality, wit and
sweetness don’t come along in one package very often.
Juno is part of the embarrassment of riches for the 80th
Annual Academy Awards, with the Oscars handed out on February 24.
We really are living in a golden age of cinematic literature and
film is the literature of our age. We are a fifth-generation cinema
culture and it shows. Filmmaking is imbued with the experiences of
several generations and more good and knowing and ironic films are
being made than ever before. Not a huge number but enough to keep
the Sundance Festival going and keep the Palace cinemas humming all
year.
Thus the quest for the great novel now pales beside the need for
great screenplays. People aren’t reading books any more in any
great numbers. The number of books purchased, per capita, is lower
than it was 25 years ago. An ardent but shrinking minority keeps
book publishing afloat. What most people are doing is watching,
trawling, playing, reacting. The attention span is becoming manic.
This increases exponentially as you progress down the age pyramid
towards the young.
Everything has speeded up. Watching classic films or old TV
shows, one is struck by the measured pacing and the long unbroken
sequences compared with the frenetic editing of today’s movies, TV
shows and advertising. The mass literacy of film and video is also
being driven from the bottom up, via the infinite blogosphere and
voyeursphere of the internet.
The sheer weight of this cultural shift towards the moving image
over the written word is reflected in both good and malign ways,
and one of the positive indicators is the outstanding shortlist for
the 2008 Academy Awards. Four of the five finalists for best
picture are superbly written and superbly acted films - No
Country For Old Men, There Will Be Blood, Michael
Clayton and Juno - which depict America at its best and
worst and show Hollywood at its best.
The best actor category is a particularly rich haul, with five
out of five great performances by great actors: Daniel Day-Lewis,
Johnny Depp, George Clooney, Tommy Lee Jones and Viggo Mortensen.
Given the stack of other charismatic, nuanced leading men,
including Javier Bardem, Josh Brolin, Matt Damon, Brad Pitt et al,
this is a boom age for leading men and, until a week ago, Australia
had four world-class ones, Hugh Jackman, Russell Crowe, Guy Pearce
and Heath Ledger.
The women are not quite as strong this year but there is one
spectacular actress, more like a miracle, named Cate Blanchett,
Melbourne-born and Sydney-trained who is generating awe in Los
Angeles, as evidenced by the two nominations she received this
year. She must be favourite for best supporting actress for her
mesmerising portrayal of a young Bob Dylan in I’m Not There,
a film which also features, poignantly, Heath Ledger playing a
troubled movie star.
It is surely a golden age when the Coen brothers, Ethan and
Joel, are making film after glorious film, when eccentrics like Wes
Anderson and Jim Jarmusch are pumping out movies for cult
followings, and when a new generation of talented filmmakers has
dominated the Academy Awards. For all the moaning about special
effects-driven blockbusters coming out of Hollywood, there is still
plenty of soul being put into film. Traditional literature has been
served well this year, with three of the films nominated for best
picture built on critically acclaimed novels: There Will be
Blood, based on Upton Sinclair’s Oil!, published in
1927; Cormac McCarthy’s No Country For Old Men (2005); and
Ian McEwan’s Atonement (2002).
Given that this is the Australia Day weekend, it is worth noting
that the Australian film industry has evolved into an adjunct of
the American film industry, and this is no bad thing. It is
something government funding can’t change, cultural nationalism
can’t fix, and second-rate local screenwriting has made
inevitable.
The film industry is now globalised, drawing talent from
everywhere to the great Hollywood dream factory. Australia has
become a noted sub-contractor, as Ledger and Blanchett made so
clear during the past sad and glorious week.

Tags: , , , , , , , , , , , , ,

Related posts

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