Master Virgo wrote:I just hope that critics wouldn't rave the shit out of The Post and The Greatest Showman. On paper they seem to be bigger Oscar materials than Dunkirk is.£
The Greatest Showman is in no way a threat lol.
It's hard to say how strong The Post will be. I think it'll probably be nominated for Best Picture, but I'm becoming more doubtful of its chances of winning by the day. There's still no trailer and it won't premiere until at least next week. The film needs to screen immediately but if a trailer is this late, you have to imagine the film is still unfinished or running late in post production which would mean no screeners. It's already going to be difficult for the movie to build buzz with its late release.
Janky Sam wrote:The Greatest Showman is in no way a threat lol.
It is, if it gets raves.£[/quote
Nothing is 100% certain, of course, but many insiders on different Oscar sites have said this title is "purely a commercial play for Fox" and not an awards contender.
If The Greatest Showman wins, it's really gonna come out of nowhere. I don't think it can create enough buzz to be able to do anything in the Oscars race.
Most prediction sites has either Dunkirk or The Post as their favorites (allthough Dunkirk is ahead) followed by Billboards and Shape of Water.
Sanchez wrote:If The Greatest Showman wins, it's really gonna come out of nowhere. I don't think it can create enough buzz to be able to do anything in the Oscars race.
Most prediction sites has either Dunkirk or The Post as their favorites (allthough Dunkirk is ahead) followed by Billboards and Shape of Water.
Call me optimistic, but I'm fairly confident in Nolan's chances to win Best Director... even if "Dunkirk" doesn't win BP.
*knocks on wood*
Kicking off the Warner Bros. panel at Deadline’s The Contenders event, producer Emma Thomas and cinematographer Hoyte Van Hoytema were on hand to discuss Dunkirk, in conversation with Deadline’s Pete Hammond. Based on an unbelievable true story — and a quintessentially British one at that — the film centers on the hundreds of thousands of Allied soldiers who found themselves trapped on a beach in France, being bombarded by the Germans while awaiting rescue by sea during a pivotal moment in World War II.
“When we first thought about making this film, one of the reasons it appealed to us is that it felt like a story that hadn’t been told,” Thomas said. “We couldn’t understand why it hadn’t been told, given that it had themes that could appeal to anybody.”
Thomas also discussed the notion that Nolan’s film would be attempted without a script, and what ultimately unfolded in the process. “My immediate response was, ‘You’re insane,'” the producer recalled of early conversations with the filmmaker, who happens to be her husband. “But I completely understood where he was coming from. He had said from the beginning that he wanted to do something experimental and explore the boundaries of cinema.
“But it slightly annoys me that people think of it as a movie that didn’t have a script,” she continued. “The truth is, when you read the script, every beat is written. It’s a Chris Nolan movie.”
Although Dunkirk is set during the Second World War, Thomas doesn’t regard it as a war film per se. “It has all the trappings of a war film, but it’s all about how we were going to get the boys off that beach,” she said. “It’s all about how on Earth they’re going to survive.”
While the producer believes only Nolan could have tackled Dunkirk, she was also quick to heap praise on Van Hoytema, saying that only he could have shot such a complex epic. While the DP faced no small number of challenges on the film — including unexpectedly brutal weather conditions — he relished the challenge and the platform to explore different opportunities in large-format filmmaking.
“The challenge with the big cameras is that we didn’t want to be in awe of the size of the cameras and what those cameras meant,” Van Hoytema said. “We really tried to engineer and apply those cameras to those situations. Before then, it was seldom that people used close-ups in big-screen formats, but we put a lot of energy to bring it into tight situations and communicate intimate situations with it, as well.”
MyCocaine wrote:Also, commentaries has zero impact. They don't even watch the screener at times.
Put some thought into it next time. Otherwise don't bother submitting your opinion.
Perhaps instead of not speaking, you should consider what you just said in response to what I just said. Never once did I say that the Academy listens to commentaries. I clearly posted in another thread what the implications are. Word spreads by things directors say, all of the time. YouTube is the biggest culprit of influence in that regard. People listen to commentaries, and they talk. Things happen after that. Maybe next time a Jeremy Jahns wouldn't be so quick to talk about lack of investment of characters if Nolan had the right explanation in the commentary, because there is one to be had there.
I wish these forums had an "ignore" list, then we could place each other on that. I don't look at individual members when it comes to posts, but congratulations, your last few personal attacks have put you on my shit list. Good day, and don't expect a response from me again unless I deem it heavily contributional to the rest of the thread at hand.
(couldn't even come up with an original username, you had to steal it from Screen Junkies, or wherever the hell they stole it from)
Last edited by MuffinMcFluffin on November 5th, 2017, 12:33 pm, edited 1 time in total.
