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ZD30 Thread Part Deux

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  • babypook
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    #83392

    Continue…..

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    Max 2.0
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    #83394
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    Icky
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    #83395

    I almost wish someone would take the internet and stick it back up Al Gore’s ass….

    So, the people that financed this movie wants people to believe that
    torture never existed, but they also want to show people that torture is
    necessary, although in this movie no useful information was gathered
    out of the torture sessions. Is that the convoluted theory some have?
    This movie’s treatment has verified my suspicions about our current
    state: no one wants to be challenged. Everyone wants to be told that
    their opinion is the right one. Everyone wants their POV pushed
    vehemently- subtlety, ambiguity and thought provocation be damned. It
    seems that many who claim that this is propaganda are really angry
    because it’s not propaganda. But movies with a clear political agenda
    gets deemed “honest filmmaking” when it reflects the viewer’s opinions.
    Why can’t we be thankful for a movie that doesn’t tell us what to think
    but is much more interesting in making us think? I’ve felt so many
    “serious” movies in this post 9/11 world have been condescending and
    single-minded. I’m hoping ZDT represents a turn in that tread.

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    Scottferguson
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    #83396

    Tapley and Thompson totally concur with my thought that Bigelow’s snub is mainly related to misogyny – how dare Bigelow make such a big deal acclaimed movie after we just gave you our award – do you think you are as good as us?

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    Renaton
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    #83397

    Yeah, I don’t think the controversy would’ve hurt them that much. Remember how TKS had that whole nazi story going on the press that people were trying to push to create a backlash on the film? Obviously, this is different, because it’s a more recent and more publicized topic, and that has been used to promote the political agenda of people who don’t even really care about the film probably. But if, say, David Fincher had directed the film, he would’ve never been snubbed. I’m not one to make acusations of sexism for nothing, but I believe many probably think of her as “that woman director”, and that she doesn’t need any more recognition. I wouldn’t normally consider this possibility, but they can be very stupid sometimes.

    It seems like men get away with touchy subject matters much more easily than women. 

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    #83398

    And then why did they snub Affleck? Because he used to be an actor? I don’t buy this whole sexism thing. She would’ve never won in that case.

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    Scottferguson
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    #83399

    The Academy directors branch is mainly older white men. They are already threatened by a lot of younger, up and coming directors, American and international. Open the doors to a lot of women directors, they are even more threatened.
    One thing I felt while watching it was that I’d never seen a film of its scale and importance and success directed by a woman. There have been many terrific, some great film directed by women. But Agnes Varda, Jane Campion, Sarah Polley, Chantal Ackerman, Gillian Armstrong, Susanne Bier (to name a few examples) don’t make films like ZD30.

    She threatens them. And with the smear campaign, they had an excuse to it wouldn’t look so sexist. 

    (By scale I mean more expensive, action-oriented. She was offered  The Amazing Spider-Man job, which she turned down to do this. Those jobs pay great, and there aren’t that many. A woman being offered them is an issue).

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    #83400

    “One thing I felt while watching it was that I’d never seen a film of its scale and importance and success directed by a woman.”

    The Hurt Locker?  

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    Scottferguson
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    #83401

    The Hurt Locker and other of her films are precedents, but don’t come close.

    One amazing thing about this very complex and tricky production is the logistical accomplishment – it all came about after the Bin Laden raid (5/11), the script got written and a very complex shoot in a difficult place (India) commenced. Most women get to make smaller, lower-scale (often excellent) films. Women don’t make tentpole films.

    Before ZD30, among the top 100 grossing films in released in 2012, three years after Bigelow’s glass-ceiling-breaking win, only two were directed by women. Both were co-directors. One was a woman because she changed genders.    

    One of the few examples is Catherine Harwicke (the first Twilight). She was fired for being “difficult,” i.e., too much like a man. 

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    Renaton
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    #83402

    And then why did they snub Affleck? Because he used to be an actor? I don’t buy this whole sexism thing. She would’ve never won in that case.

    One snub is not directly correlated to the other. Bigelow and Affleck were probably snubbed by different factors.

    Oh, and the academy is not exactly the most pro-women association in the world, which always raises flags when issues regarding gender come up.  

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    Scottferguson
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    #83403

    I think his being a younger actor and overachiever hurt.

    Redford and Costner were awarded early, but they had huge Oscar bait movies. Eastwood waited 20+ years into his career. Beatty had been around nearly 20.  There was a breeziness to his film (I like the film) that took away from the gravitas directors often react to.

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    Icky
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    #83404

    The Hurt Locker is good at what it does. It was my fourth or fifth best movie of the year. But that was a fairly weak year for movies, imo one of the weakest of the last decade. ZDT is more audacious and ambitious and tells its story even better than THL. It’s my best movie of the year in a pretty good year for movies.

    I don’t like to make things all about race, gender or sexuality, and I don’t think Bigelow’s snub is all about that either. Amour and ‘Beast’s late buzz hurt both Bigelow and Affleck. Affleck’s movie star status hurt him, and he’s not as beloved and ass-kissed as someone like Clooney. I’m also sure a lot of voters felt that Bigelow and Affleck were safe bets and wanted to support “smaller” movies. But I can’t imagine a male filmmaker who just won a directing Oscar a few years ago and presents a movie this acclaimed and buzzed about- one that has BP and screenplay nods- would end up getting snubbed. Controversy or no controversy.

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    Renaton
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    #83405

    More than another nomination, I hope Bigelow gets to find a project at least close to as special as “the Hurt Locker” and “Zero Dark Thirty”. It would be a shame for her to have gone this far and be shut out because of political controversy or misogyny. We need more women in charge of films. There are a lot of talented women directors that could use a boos, and Bigelow could lead the way to some getting more recognition by the industry or at least help make Hollywood a little better for women  directors in the future, even if it’s just a tiny little bit.

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    Scottferguson
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    #83406

    The Hurt Locker is good at what it does. It was my fourth or fifth best movie of the year. But that was a fairly weak year for movies, imo one of the weakest of the last decade. ZDT is more audacious and ambitious and tells its story even better than THL. It’s my best movie of the year in a pretty good year for movies.

    I don’t like to make things all about race, gender or sexuality, and I don’t think Bigelow’s snub is all about that either. Amour and ‘Beast’s late buzz hurt both Bigelow and Affleck. Affleck’s movie star status hurt him, and he’s not as beloved and ass-kissed as someone like Clooney. I’m also sure a lot of voters felt that Bigelow and Affleck were safe bets and wanted to support “smaller” movies. But I can’t imagine a male filmmaker who just won a directing Oscar a few years ago and presents a movie this acclaimed and buzzed about- one that has BP and screenplay nods- would end up getting snubbed. Controversy or no controversy.

    I’d have to do some research, but the Affleck and Bigelow snubs have to rank among the greatest in Oscar director history – films that got great reviews, seemed to reach the public (which ZD30 now is) from previous Oscar winners who had their films nominated for best picture, from the DGA, and in other categories.

    Again, probably the double Spielberg snub is closest.      

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    Scottferguson
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    #83407

    More than another nomination, I hope Bigelow gets to find a project at least close to as special as “the Hurt Locker” and “Zero Dark Thirty”. It would be a shame for her to have gone this far and be shut out because of political controversy or misogyny. We need more women in charge of films. There are a lot of talented women directors that could use a boos, and Bigelow could lead the way to some getting more recognition by the industry or at least help make Hollywood a little better for women  directors in the future, even if it’s just a tiny little bit.

    That’s not a problem. She’ll have lots of financing, plenty of chances. I imagine she’ll return to the Iguazsu Falls region films Mark Boal wrote (where Brazil, Argentina, Paraguay come together, on the Paraguay side one of the biggest no-man’s-lands for illicit activities in the world). She is 61, so a film more than every 4 years will happen.  

    That film is as of now called Triple Frontier – some details:

    Back in 2010, Zero Dark Thirty director Kathryn Bigelow and screenwriter Mark Boal were coming off their Oscar wins for The Hurt Locker, and turning their attention to the crime drama Triple Frontier (also known as Sleeping Dogs). The details of the plot were unknown, but the film was billed as an action-adventure set in a border zone of South America known as “la triple frontera”, a haven for organized crime. Tom Hanks was attached to play one of the leads, and other stars were rumored for the picture including Johnny Depp, Sean Penn, Denzel Washington, and Javier Bardem. The plan was to start filming in March 2011. But then Bigelow and Boal decided to hit pause, and do an indie thriller before Triple Frontier. It’s worth noting that Variety shot down a rumor that “the plot concerns the hunt for Osama Bin Laden,” even though that rumor ultimately turned out to be true. However, at that time the indie thriller was about losing Bin Laden in the Tora Bora Mountains; once he was killed, the script had to be updated.

    So what happened with Triple Frontier? Hit the jump for more.

     

    In a piece about the working relationship between Bigelow and Boal, THR mentions that Will Smith was interested in Triple Frontier. While plenty of filmmakers would go out of their way to cast one of the biggest movie stars in the world since it would virtually guarantee a greenlight, Bigelow wasn’t interested. Her agents had to press Paramount to get the director and star to sit down, and she still remained uninterested in casting him.

    The future of the project remains unknown; Paramount balked at the price tag, which was rumored to be around $80 million. Obviously, if a star like Smith had come on board to star opposite Hanks, the studio probably wouldn’t be so resistant. If Zero Dark Thirty does as well with awards groups and audiences as it has with critics, then perhaps Bigelow will have the pull to get Triple Frontier off the ground with the cast she wants.     

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