thats MUM...with a U :p

*laughs* as if Kill Bill 2 needed an FYC. We know the board will go gaga for it as they usually do for similar films :razz:

THIS Is ROD. READ THIS PLEASEEEEEEEEEE.


Rod says...


NOMinate Closer for best director, picture, actress, supporting actress, supporting actor, adapted screenplay, and cinematography. And ensemble.

PLEASEEEEEE NOMINATE BEFORE SUNSET for best actress. PLEASE. Go see it now if you haven't. And you'll see why. Also consider it for best adapted screenplay, best director, best picture, best cinematography, and best actor (Ethan Hawke).

Maria Full Of Grace: Best Actress (!!!!!!!!!!!!!!!!!!!!!!!!). Breakthrough performance. Best Original Screenplay.

Gael Garcia Bernal for Best actor.

Dogville. Best Actress (Nicole Kidman) and Best supporting actress (Patricia Clarkson)!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! As well as best original screenplay, best director, and best supporting actor (Paul Bettany). And don't forget to nominated it for best ensemble as well (!!!!!!!)



Intermission: Best Ensemble.


Don't forget Eternal Sunshine....

BEST COMEDY- Meet the Fockers

"Focking funny!" Staci Layne Wilson, FANTASTICA DAILY
"This film has a lot more heart and it’s just a lot of fun throughout with all these wonderful actors." Richard Roeper, EBERT & ROEPER

BEST SUPPORTING ACTRESS- Barbra Streisand in Meet the Fockers

"Barbra Streisand has the show-stopping moments in this uneven comedy." Harvey S. Karten, COMPUSERVE

BEST DIRECTOR- Michael Mann

"Mann hits a new peak, orchestrating action, atmosphere and bruising humor with a poet's eye for urban darkness." -- Peter Travers, ROLLING STONE

this is a really fun thread

For which movie?

Anyways, there's quite a bunch of Motorcycle Diary supporters and I'm hoping some people rent the DVD as soon as it's released so it can make the ballots just in time! ...He speaks some of the best and most beautiful Spanish I've heard in the movie...it's not sloppy but eloquent, clear, and slow enough so the fluent English speaker can catch along without reading all of the subtitles =D>

ALSO. PLEASE CONSIDER:

"IN GOOD COMPANY" FOR BEST ORIGINAL SCREENPLAY:
Carter: "I think you have the potential to be an awesome wingman here."
Dan: "...what is the benefit for me to be an awesome wingman?"
Carter: "Well...you get to keep your job. That’s a pretty good benefit, don’t you think?"

"GARDEN STATE" FOR BEST ORIGINAL SCREENPLAY:
Sam: "Are you really retarded?"
Andrew: "No."
Sam: "Oh! Great job, man! I REALLY thought you were retarded. I mean, you're better than that Corky kid and he is actually retarded. If there was a retarded Oscar you would win, hands down, kick his ass!"

"THE MOTORCYCLE DIARIES" FOR BEST ADAPTED SCREENPLAY:
Ernesto "Che" Guevara: "At the risk of sounding ridiculous, let me say that the true revolutionary is guided by a great feeling of love."
*The screenplay itself is a combination of Che's book and Granado's book. I have Che's in Spanish, but it's not word-for-word. The quote above is the only one outside of the first one in the movie ("It started as a...") that I can provide. It's really a beautiful screenplay though and the comic scenes mix perfectly with the rest of the film.

"Moreno, with her wide, watchful eyes, owns the camera - and the film. Her performance is perfectly natural and profoundly moving. Maria Full of Grace is a remarkable picture, full of suspense and discovery. " Philadelphia Inquirer


"What ultimately makes Before Sunset so special (and maybe the most resonant, least self-conscious “great movie romance” of its era) is its deep-rooted honesty -- the way it takes the bitter with the sweet and somehow leaves us feeling elated. "

"Luminous, totally beguilling and seductively funny, she (Delpy) puts out an utterly real, in-the-moment performance that transcend acting"


"Kidman gives the most emotionally bruising performance of her career in Dogville, a movie that never met a cliche it didn't stomp on. In small roles in Dogville, Lauren Bacall, James Caan, Ben Gazzara, Chlo? Sevigny, Patricia Clarkson and Stellan Skarsgaard each make distinct, devastating impressions.
" - Rolling stone

Motorcycle Diaries [-o<

For your consideration:

BEST PICTURE
Sideways
Million Dollar Baby


BEST ACTOR IN A LEADING ROLE
Jamie Foxx, Ray
Paul Giamatti, Sideways


BEST ACTRESS IN A LEADING ROLE
Hilary Swank, Million Dollar Baby
Rachel McAdams, The Notebook


BEST ACTOR IN A SUPPORTING ROLE
Clive Owen, Closer
Morgan Freeman, Million Dollar Baby


BEST ACTRESS IN A SUPPORTING ROLE
Cate Blanchett, The Aviator
Virginia Madsen, Sideways
Natalie Portman, Closer

FYC: Best Movie, Best Overlooked Film, Best Actor, Best Actress, Best Director Best Adapted Screenplay (Original?), Best Editing, Best Sequel/Remake, & Best Song: Julie Delpy - A Waltz for a Night

Los Angeles Times, June 20, 2004

By James Verini, Special to The Times

(first half of article deleted)

What follows is a brief oral history, based on phone conversations,
of how and why Linklater, Hawke and Delpy conceived of this sequel
and made it.

Hawke: Rick really wants to capture you -- the person, not the
character. [On "Before Sunrise"] Rick asked me, "How would you get
this girl off the train?" And I would try out opening lines on Julie
and she would shoot them down until we got to the one that she
believed would get her off a train. With Rick you're always going
after a naturalism, and he leaves it up to you. He would say to
us, "OK, this next scene needs to be the best scene in the movie. I
don't know what's going to happen in it, but it needs to be the best
scene in the movie."

Linklater: We didn't know we were going to do a sequel. It started
percolating in the aftermath of "Before Sunrise," not because of
others' responses but because of our own collaboration. Whenever
Julie and Ethan and I were in the same city we'd get together and
talk about it. It wasn't until we all worked together on "Waking
Life" [2001] that we realized we had to do it. The first one was
much more of an outward-looking experience for the characters, a
physical adventure into the space of Vienna. This one could have
been in any city. It's all about them. My tag line through the whole
movie was, "If you didn't like the first one, you'll really hate
this one."

Delpy: I insisted at the end of "Before Sunrise" that Celine and
Jesse agree to meet again -- otherwise it was too much of a male
fantasy. On that one, the script was more solid when we began
rewriting, but in this one we were able to create the characters
almost from scratch again. It was much more interesting to write
Celine now than then, because she has so much more of a life. I want
to be a writer and director more than an actress. It makes me so, so
happy directing and editing. There was no point in doing the film if
I couldn't help direct, and that's what Rick wanted.

Hawke: It was like getting the band back together. There was an
immense creativity there. I did the first one because Rick wanted to
improvise on the script and because I liked Rick's insistence that
we stay with the reality of everyday life. It's like [Jesse] says in
the bookstore scene in the beginning of "Before Sunset": "I've never
been in a helicopter crash, I've never been in a gunfight." All it
was about was connecting with another human being. If you can
celebrate the minutiae of that kind of thing -- that's where the
real drama is.

Linklater: If you want to make something that's real you can't stick
with your preconceived notions and what reads well. We wanted the
conversation in this one to have this trajectory of reveal. We
worked it out on a chart. For a year we e-mailed and faxed revisions
to each other. It was pretty democratic. There were scenes that
Julie and I liked that Ethan didn't and vice versa. We'd cut them
out. It was still a huge challenge to be natural and realistic and
watchable and entertaining. We had to write it and rehearse it like
a play. A lot of it was an intuitive timing thing. We had one of the
longest, maybe the longest, cafe scene in history. It's 13 1/2
minutes long. Rohmer had some long cafe scenes, but I went back and
watched some -- the longest was four minutes.

Delpy: Ethan would write monologues and send them to me and I'd edit
them. I would write monologues and send them to him, then we'd send
them to Rick. Everyone contributed to it. When we saw each other,
we'd lock ourselves in a room and just write. It was very intense.
We worked in my apartment in Paris for four intense days. Two weeks
before the shoot we read through it and we cut out everything that
wasn't really entertaining and really interesting, anything that was
too self-righteous, and putting in anything more personal, more
emotional. The goal was to make it as fine as possible, sand it
down. For some reason I want to compare it to sanding a table.

Hawke: We had to keep the conversation changing shape and moving
forward. It needed to keep deepening. We read through the script
together, again and again, and were honest about it. I'd say, "I got
bored here," and Julie would say, "Well, I got bored here." Keeping
the conversation interesting was the challenge. It had to be
mathematical.

But it's still experimental. I mean, if you handed this script in in
film school you'd get a big fat F. The conversation is a metaphor
for the stages of a relationship: At first they're trying to impress
each other, then they try to get deep, then they get scared.

Linklater: It was important to avoid the cliche "Oh, they're
miserable, and it's not like youth." Many people have found this
movie romantic. They're both still vibrant, curious people and do
things that reflect that. It's like Jesse says: "My problems are
bigger, but I'm more equipped to deal with them." All you can do in
life is follow your impulses and end up where you are. I wanted it
to be like running into an old friend at an airport. You're so happy
to be there at that moment with that person. There's an interior
euphoria. Nothing else matters.

Hawke: In your early 20s life is full of romanticism and hope. In
your early 30s life becomes incredibly real. Thus the idea for the
film taking place in real time. All those sweeping takes -- life is
flying by them. In your early 30s you have to admit the mistakes
you've made throughout your life. The first one was like a dream.
But in this one they've awoken to reality -- and they have to deal
with the consequences of that dream. You make decisions in a moment
and then you spend years dealing with those decisions.

Delpy: Making these movies was like a relationship. You're together,
then you break up, then you have a few more relationships. Then
three or four years later you realize, "Wait, that was really good."
We went off and did our own things, but we never had that experience
again.

To me, writing about someone who has lost the idea of romantic
projections, who's disillusioned -- it can be sad but at the same
time, if you're a hopeless romantic, you'd better hang yourself.
Losing romantic ideas is good. It's better to be disillusioned than
to be romantic -- it's too painful to be romantic.

Linklater: This movie is all about them -- no one else exists. It's
like they say in the first one: "We've created our own time." We
watched "Before Sunrise" before we started. It scared us. The bar
was so high. You don't make a sequel and not go to some new level.
There's no place in cinema for these ideas, and I like doing films
like that. When someone says, "This should be a novel" -- that's
when I know I'm in the right place.

Hawke: It's getting harder and harder to do movies that don't set
out to be blockbusters. But with this we could make it however we
wanted it. These are my two best experiences in film, I think -- my
two favorite things I've worked on. And I think of the two of them
together as one film. I dream about making a third one. I see [Jesse
and Celine's] story as a kind of magnum opus.

I second that!

*Best Ensemble Cast*

FOR YOUR CONSIDERATION


Bryce Dallas Howard for Best Actress in The Village




"The film is saved by its acting - most notably Bryce Dallas Howard’s outstanding performance..." TALKING PICTURES



SAW for Best Horror Movie




"Not only is Saw a very impressive debut for Wan and Whanell, it is a masterpiece of horor and suspence that is easily the best film in the genre for many years." MovieWeb



James Garner for Best Supporting Actor in The Notebook




"Garner has a supporting role in The Notebook, but he's such a pleasure to watch that he elevates the quality of the entire film." St. Paul Pioneer Press



Sharon Warren for Best Supporting Actress in Ray




"Hovering over the entire production is the spirit of Charles' steel-willed mother who, as brilliantly portrayed by Sharon Warren, instills in her child the drive to survive." Orlando Sentinel


The Day after Tomorrow, Spider-Man 2 and I, Robot for Best Visual Effects

FYC:

Best Visual Effects and Best Art Direction: Sky Captain and the World of Tomorrow


Best Sequel/Remake: The Bourne Supremacy


Best Ensemble: Ocean's Twelve

I STRONGLY second that. And don't forget her for Breakthrough Performance

For Your Consideration...

Saw for Best Horror Movie



"...boasts an undeniably original premise and clever plot machinations that lift it several notches above the usual slasher film level." - Hollywood Reporter


The Grudge for Best Horror Movie and Best Remake



"...even if you know how The Grudge pulls your strings, you can't help but be yanked back in your seat by (director) Shimizu's superb pacing." - Chicago Tribune



Spider-Man 2 for Best Sequel, Best Visual Effects, and Best Picture



"It's a superhero movie for people who don't go to superhero movies, and for those who do, it's the one they've been yearning for." - Roger Ebert, Chicago Tribune

For Your Consideration...

Morgan Freeman for Best Supporting Actor in Million Dollar Baby





Clint Eastwood for Best Director for Million Dollar Baby




"...a masterpiece, pure and simple, deep and true."



Don Cheadle for Best Actor in Hotel Rwanda



"Don Cheadle is often the best thing in the films he appears in, even when he's playing just a small part." - E! Online

Second that!

Highly second this as well.

I was actually hoping/thought the song could surprise at the Oscars. They always seem to have some choices that come out of nowhere (and they did this year...Motorcycle Diaries, Chorus), so...this is a great song and deserves recognition as well.

And Before Sunset, hand down, deserves the best sequel award.

Oopsies, so he did. Congrats Zing, for not mentioning those people. :wink:

Then he would force you to go down on him, but this time, he won't be joking. But, he'll still smack you around.

FYC:



Best Film
Best Foreign Film
Best Actor: Tony Leung Chiu Wai
Best Supporting Actor: Anthony Wong Chau-Sang
Best Original Screenplay
Best Cinematography
Best Sound

I SECOND THAT!

I didn't consider this movie in my ballot (since I saw it in 2003), but I definitely agree with you on everything you listed! Awesome film, can't wait for Scorcese's version with Jack Nicholson, Matt Damon, Leonardo DiCaprio and Mark Walhberg in 2006.