Hail Caesar gets positive preliminary review 01/31/2016
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Hail Caesar gets positive preliminary review 01/31/2016
Ann Hornaday who is a movie critic for The Washington Post wrote a perspective of the "white" Oscars controversy and spoke quite a bit about Hail Caesar. She had good things to say!
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In Hollywood, must ‘white’ always equal ‘universal’?
Actor Will Smith and his wife, actress Jada Pinkett Smith, will not be attending this year's Oscars ceremony in protest because no actors of color were nominated. David Oyelowo, Lupita Nyong'o and others also have expressed frustration and are calling for greater diversity in the academy. (Editor's note: A previous version of this video misidentified Will Packer.) (Nicki DeMarco/The Washington Post)
Can a movie ever just be a movie again?
One of the consequences of the controversy swirling around this year’s Academy Awards, which have drawn fire for recognizing exclusively white artists in the major categories, is a new way of looking at what we once took for granted as “just a movie.”
In snubbing individual films and performances from 2015, and in recognizing a plurality of movies dominated by one ethnicity and gender, the message from the Academy of Motion Picture Arts and Sciences was clear: When it comes to narratives we accept as universal — as representing the world we all supposedly live in — the organization’s comfort zone, like its membership, is overwhelmingly white and male.
[The Academy is promising to change. Did the #OscarsSoWhite boycott actually work?]
To be clear, the academy didn’t have an enormous pool to choose from in a year that didn’t witness such watershed artistic achievement as “12 Years a Slave,” which won best picture two years ago. But therein lies precisely the rub.
As the director Ava DuVernay observed in The Washington Post in 2012, the contemporary drama is the last frontier in the representation of people of color: Noting the enduring popularity of historical dramas and comedies, she speculated that fewer than 10 percent of movies in release each year “are contemporary dramatic representations of black people.”
Interestingly enough, it’s just that brand of contemporary drama that was ignored when Oscar nominations were announced this year. Whereas the academy has a history of rewarding movies about African American historical figures or race as an issue or problem, its members are far less willing to recognize dramas that aren’t “about” race, but happen to feature black protagonists. It’s a myopia that many observers claim led to such films as “Concussion” and “Beasts of No Nation” being overlooked (and the films “Creed” and “Straight Outta Compton” receiving nods only for the white people on their creative teams).
Academy President Cheryl Boone Isaacs is trying to address that myopia in the rule changes she announced Friday, whereby some longtime members would no longer be eligible to participate in Oscar voting if they haven’t been active in the industry for the past 10 years. Isaacs’s goal is that, by 2020, the academy’s membership will be far more balanced in regard to age, gender and ethnic identity and thereby less prone to take for granted a cinematic universe defined and dominated by homogenous narratives.
[Academy announces major changes to membership amid #OscarsSoWhite backlash]
The new measures already have encountered pushback within the Academy, with disgruntled members accusing their leadership of ageism, undue haste, flouting participatory due process and, that perennial canard, “political correctness.” The specific effects of the changes remain to be seen, especially when loopholes and special pleadings come into play. But one immediate consequence will almost certainly be that everyone, from industry professionals to Friday-night filmgoers at the multiplex, will now watch movies with sharpened attention to the demographic details.
As we parse our entertainment for representational politics, it stands to reason that we’ll be policing our own tastes and reflexive reactions. And this is where things might get a little bit gnarly. As white-guy movies go, it doesn’t get much pastier than “Spotlight,” a multiple Oscar nominee and my personal favorite film of 2015. Would the addition of one African American character have improved or detracted from the verisimilitude of a story set in white, Catholic South Boston? By praising “Spotlight” for its artistry and technical prowess, am I perpetuating a bias in Hollywood toward telling white, male-driven stories? Is the price of being “woke” that pleasure now comes with an asterisk?
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George Clooney as Baird Whitlock in "Hail, Caesar!” (Courtesy of Universal Pictures)
The question occurred to me as I was watching “Hail, Caesar!,” a new, bracingly brilliant comedy by Joel and Ethan Coen. The film features Josh Brolin as a movie studio “fixer” in the 1950s, and George Clooney as one of his stars who goes missing. An homage to bygone film genres and Hollywood’s sordid underbelly, “Hail, Caesar!” is a classic screwball caper flick that has the added benefit of brilliantly questioning the realities and norms that the Dream Factory so reliably churns out, and that we blithely consume like so many Junior Mints.
“Hail, Caesar!,” by the way, also inhabits a virtually all-white world, a fact made glaringly salient by the Oscars controversy and Clooney’s recent observation in Variety that the movie industry is “moving in the wrong direction” when it comes to casting actors of color. “I don’t think it’s a problem of who you’re picking,” he said, “as much as it is: How many options are available to minorities in film, particularly in quality films?”
Clooney received some pushback of his own after making the comment, with critics asking how often he had leveraged his own star power to ensure diverse casting in his movies. (“George Clooney Criticizes Oscar Diversity, Does Not Make Diverse Films,” snarked one headline.) More actors proceeded to weigh in, bringing a simmering soup to a a rolling boil just in time for “Hail, Caesar!” to plop into the pot, its sole character of color a Latin American starlet based on Carmen Miranda (blessedly free of a fruit hat).
The great strength of “Hail, Caesar!” is that it’s unmistakably a Coen brothers movie: Its pervasive whiteness is of a piece with the filmmakers’ well-established house style, in this case deployed on behalf of a highly pitched version of Hollywood they’ve made a career of both celebrating and lampooning. But in the sensitized atmosphere of the current Oscars race, what Coen fans once saw as just another artifact of a stylized, slightly surreal artistic sensibility is now beginning to look creakily archaic — even with the brothers’ patented quote marks around it.
Of course, “Hail, Caesar!” is just one of hundreds of films that are released each year with limited palettes, as any glance at Fandango or the posters in your corner multiplex will prove. Of the eight nominees for best picture this year, five were about White Guys Doing Very Important Things — some of them marvelously well. But taken as a group, they suggest that Hollywood has yet to break the persistent habit of telling one kind of story, valorizing some characters over others and representing one reality as universal. The question for audiences, in a post-#OscarsSoWhite world, is: How much more of this cinematic monoculture are we willing to accept?
Even while we joyfully immerse ourselves in the imaginary-yet-realistic worlds the movies create, it’s important and even healthy to realize that they’re the product of a system that historically has been deeply mistrustful of both imagination and realism.
In fact, this is precisely the kind of double-consciousness that has been the purview of people of color and other marginalized groups for the past century, as they’ve contended with a medium that has either ignored them entirely or rendered them with such contempt that they may as well have been invisible. Because of campaigns such as #OscarsSoWhite, everyone has been invited to adopt a critically engaged vision of what audiences heretofore accepted as “neutral” entertainment, whether that means questioning a movie whose hero is yet another Man on a Mission, raising a skeptical eyebrow when a filmmaker confuses “universal” with “white,” or wondering why all of the female roles in a movie are merely decorative rather than substantive, dynamic and fully realized. This isn’t about “political correctness” or even “diversity,” with their intimations of box-checking and scorekeeping, but simple cultural literacy.
As “Hail, Caesar!” itself suggests, movies were never “just” movies. They’ve always been texts, inscribed with the anxieties, aspirations and assumptions of the artists who made them and the audiences that embraced them. The best of those texts are magnified rather than diminished by being seen through more than one lens. The more lenses we have at our disposal, the more sophisticated we become as viewers. And the more discerningly we can assess the confections that the Dream Factory continues to whip up.
Last edited by Katiedot on Mon 01 Feb 2016, 10:39; edited 2 times in total (Reason for editing : added text)
Donnamarie- Possibly more Clooney than George himself
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Re: Hail Caesar gets positive preliminary review 01/31/2016
Donna,
thanks for the article. It combines the ongoing race / minorites discussion with 'Hail Caesar' very carefully I think.
There's just one point of view I'd like to add:
When you make a movie that sets in the past you have to be careful of what you add. 'Hail Caesar is set in the 1950s, so to get to the spirit of that era you can't just African America actors because you want to because at that time I can't remember any movie with a colored actor. If you think back to 'Good Night and Good Luck' it would have been the same: There weren't any African Americans working at a TV station - maybe except as a cleaning stuff. So if they had added a few it would mean to change the past, and I remember George and Grant talked about making this movie and having to be very careful to get everything right for those who critizised the movie. Or 'Argo' - I remember Ben saying that they tried to get the tone of the 1970s right, and that meant that at the whole CIA there was no woman working except as a secretary. So if he had added women in leading position to this movie it would - historically - been a huge mistake.
Of course there are many movies where it wouldn't make any difference, we've already talked about that.
thanks for the article. It combines the ongoing race / minorites discussion with 'Hail Caesar' very carefully I think.
There's just one point of view I'd like to add:
When you make a movie that sets in the past you have to be careful of what you add. 'Hail Caesar is set in the 1950s, so to get to the spirit of that era you can't just African America actors because you want to because at that time I can't remember any movie with a colored actor. If you think back to 'Good Night and Good Luck' it would have been the same: There weren't any African Americans working at a TV station - maybe except as a cleaning stuff. So if they had added a few it would mean to change the past, and I remember George and Grant talked about making this movie and having to be very careful to get everything right for those who critizised the movie. Or 'Argo' - I remember Ben saying that they tried to get the tone of the 1970s right, and that meant that at the whole CIA there was no woman working except as a secretary. So if he had added women in leading position to this movie it would - historically - been a huge mistake.
Of course there are many movies where it wouldn't make any difference, we've already talked about that.
carolhathaway- Achieving total Clooney-dom
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Re: Hail Caesar gets positive preliminary review 01/31/2016
Hooray! Really can't wait to see this when it comes out.bracingly brilliant comedy
Katiedot- Admin
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Re: Hail Caesar gets positive preliminary review 01/31/2016
[You must be registered and logged in to see this link.] via youtube I just foyund this new interview
Had.e6- Clooneyfan
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Re: Hail Caesar gets positive preliminary review 01/31/2016
Here you go!
[please use the 'youtube' button on this website for sharing videos instead of just posting the link]
[please use the 'youtube' button on this website for sharing videos instead of just posting the link]
Katiedot- Admin
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Re: Hail Caesar gets positive preliminary review 01/31/2016
Chariot training....everyone should do it...
What Would He Say- Mastering the tao of Clooney
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Re: Hail Caesar gets positive preliminary review 01/31/2016
Can someone lend him a pair of gloves ?
I Can't stand his picking
Almost Constantly
I Can't stand his picking
Almost Constantly
it's me- George Clooney fan forever!
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Re: Hail Caesar gets positive preliminary review 01/31/2016
Hmm
A bit rude to the interviewer
At the start
No ?
And in case
Why?
A bit rude to the interviewer
At the start
No ?
And in case
Why?
it's me- George Clooney fan forever!
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Re: Hail Caesar gets positive preliminary review 01/31/2016
That's certainly true to an extent. But the Coen Brothers' casts are typically white as the driven snow, even a little number called "O Brother Where Art Thou" which is set in the Deep South. No reason in the world one of the three leads couldn't have been black, or at least one or two of the supporting characters. The idea that these three guys would traverse the South in the 1920s and only run into a single black person (the guy on the train tracks who foretells the plot of the film - falling into the "magical negro" stereotype which makes it even more cringeworthy) is a little silly. And Ben was so concerned with historical accuracy he might have considered stepping aside and allowing an actual Latino actor play the real-life Latino person he portrayed in the film. There's all kinds of excuses as to why they can't do it, but when they do have the opportunity to make it right, they don't. That's the problem.carolhathaway wrote:Donna,
thanks for the article. It combines the ongoing race / minorites discussion with 'Hail Caesar' very carefully I think.
There's just one point of view I'd like to add:
When you make a movie that sets in the past you have to be careful of what you add. 'Hail Caesar is set in the 1950s, so to get to the spirit of that era you can't just African America actors because you want to because at that time I can't remember any movie with a colored actor. If you think back to 'Good Night and Good Luck' it would have been the same: There weren't any African Americans working at a TV station - maybe except as a cleaning stuff. So if they had added a few it would mean to change the past, and I remember George and Grant talked about making this movie and having to be very careful to get everything right for those who critizised the movie. Or 'Argo' - I remember Ben saying that they tried to get the tone of the 1970s right, and that meant that at the whole CIA there was no woman working except as a secretary. So if he had added women in leading position to this movie it would - historically - been a huge mistake.
Of course there are many movies where it wouldn't make any difference, we've already talked about that.
Missa- Clooney-love. And they said it wouldn't last
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Re: Hail Caesar gets positive preliminary review 01/31/2016
Missa,
I agree with you about 'O Brother', no question they should have African Americans on that movie. I was just thinking about the ones George and/or Smokehouse were responsible for.
But I agree about 'Argo' and Tony Mendez' role. One interesting thing George said was the ither day that when you want a movie to be financed you're presented a list of five actors and you have to get one of them or you won't get the money. So it has to start at that point - and I'm not saying that that was the reason Ben Affleck got the part instead of - let's just say - Javier Bardem.
I agree with you about 'O Brother', no question they should have African Americans on that movie. I was just thinking about the ones George and/or Smokehouse were responsible for.
But I agree about 'Argo' and Tony Mendez' role. One interesting thing George said was the ither day that when you want a movie to be financed you're presented a list of five actors and you have to get one of them or you won't get the money. So it has to start at that point - and I'm not saying that that was the reason Ben Affleck got the part instead of - let's just say - Javier Bardem.
carolhathaway- Achieving total Clooney-dom
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Re: Hail Caesar gets positive preliminary review 01/31/2016
Very positive reviews in the UK:
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and
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and
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party animal - not!- George Clooney fan forever!
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Re: Hail Caesar gets positive preliminary review 01/31/2016
Another review - or opinion, anyway - along with another report of the highlights of the press conferences. From the EFM (European Film Market) Dailies at filmmaker.com:
Berlin 66 opened rousingly on Thursday, February 11 with multiple screenings of the new Coen Bros. Hollywood send-up "Hail Caesar" and a turn away overflow press conference crowd for the Jury led by Meryl Streep which was an event in itself. Day one, one might say, was all about Streep, the Coen Brothers and actor George Clooney in his best jesting form and looking great in a slick black leather jacket at the Hail Caesar press conference table.
First off, a few words about the film. Manohla Dargis, in her sparkling NY Times review hit the nail squarely on the head when she called the film an "off center comedy" ~ as off center (flip-floppily structured) as it gets with chuckles and belly laughs all the way. To put it mildly, this in not the Co' Brothers most serious film, but it is arguably their funniest ever with a string of brilliant off-beat pearls by actors all of whom shine in their unexpected off-the-wall castings. Basically this is a spoof of fifties Hollywood but much more than that, loaded with absurd humor of the kind that almost harks back the Marx Brothers era.
One at a time:
Jeff Brolin, tremendous as the blustering bigger than life studio head draped in a double breasted suit and topped with a bulky fedora, who regularly unloads his guilt in the catholic confessional box;
Clooney as a clueless movie star who gets kidnapped by the Communists and walks around through the whole picture clad in his clanky starring role Julius Caesar paraphernalia, down to leather sandals with protruding toes;
Scarlet Johansson as a snarling sinful take on Fifties simon-pure superstar bathing beauty, Ester Williams!;
Channing Tatum leading a bunch of sailors in white in a sly slightly homoerotic take on a Gene Kelly MGM dance number -- to me, the highlight of the picture with surprisingly adept tap dancing, jumping from table to table -- this section had me stomping along to the beat in my seat --
New face Alden Ehrenreich as an hilarilious acrobatic Roy Rogers ripoff whistling to his white horse then doing handstands in the saddle pursued by the bad guys -- and performing incredible rope magic, even with a strand of spaghetti in a restaurant for his girlriend --but this is only Half of cowboy star "Hobie Doyle's comedic turn -- he is next engaged to fill in for an ailing actor in a drawing room drama exchanging ten gallon cowboy headgear for a tux and Bow tie, and called upon to mouth a bit of sophisticated dialogue which is like a foreign tongue to him -- the extended scene where his English director (Ralph Fiennes) patiently re-shoots his flubbed entry scene over and over painfully correcting the perplexed actor's stumbling delivery of his single line -- (t'were as though...) -- is a real rib tickler.
Another highlight in this linkup of comical skits strung together by the ridiculous premise of Caesar discovering God on his knees at the foot of Jesus on the cross --the whole "Hail Caesar" business being a kind of takeoff on early fifties religious extravaganzas such as "The Robe" -- A satire of all-powerful Hollywood Gossip columnists who could make or break careers -- such as Louella Parsons and Hedda Hopper, both played sniffingly by Tilda Swinton --- All in all a hilarious piece of extra savvy entertainment and a glorious procession of contemporary stars revealing unexpected comedic chops --
Well, okay, it did get to be a bit much by the end, but a very good time was had by me -- if not by All -- of the serious minded film critics and international press people around me.
As far as I could tell from my front and center first row seat, I was the only one in the entire audience to burst out laughing or constantly snickering throughout the proceedings. I'll just hafta see it again with a native American audience to appreciate the collective cackle noticeably absent at this ultra-sober festival screening.
The crammed over flow press conference after the screening was almost equally comical. One Polish gal addressed a long long long question to Gorgeous George, who finally replied: "Are you flirting with me? ~ it won't work because I'm a married man now!" ~ which brought a roar of glee from the house. Most questions were, in fact, addressed to Clooney, who between sly quips that brought smiles from his colleagues at the table, finally summed it all up by saying that it was a privilege to work with such talented directors as the Coens, and above all -- FUN all the way.
On the serious side one woman expressed the view that with the refugee crisis now besetting Europe, shouldn't people "in the public eye", such as the Coen Brothers, be making films on that subject? Josh Coen responded with due respect, but firmly, that it is not the job of filmmakers to engage in politics but rather to be true to their art ~ and that is hard enough.
As for the other big event of the day, the jury press conference was basically orchestrated by Jury president Meryl Streep looking demurely majestic at center table. She noted that this was her very first time ever to sit on a film jury, let alone as president, and that she was very much looking forward to this new experience. Questioned as to the lack of empowerment of women in the film industry she pointed out that this jury was predominantly female -- four women out of a team of seven. Clive Owen sitting next her was asked if, as an actor, he would be paying more attention to the acting than anything else in making his judgements. To this his reply was "No"--what counts for him is the overall effect of the picture, not just the acting. English film critic Nick James of the prestigious film journal Sight and Sound observed that it is quite a rare thing for a critic to be seated on a jury such as this, and felt honored to be so chosen. A chinese woman asked Ms. streep if, having acted recently alongside a major Chinese actor, she has started seeing more Chinese cinema. Not really, said the American actress -- "I can't even keep up with all the films friends of mine are in!" -- La Streep obviously has many friends in the business.
Tonight -- the big opening night Red Carpet Gala with every Berlin celebrity who is anybody expected to turn out --but, having already seen the opening film "Hail Caesar", I'll probably take a rain chekk on that and rest up for the onslaught of films and events in the week ahead.
Ps: At the Polish stand on a quick tour of the European Film Market, EFM, in the classic Gropius Building, I found out that Polish Grand Master Andrzej Wajda has just finished a new film "Afterimages", which will open in Warsaw on March 5, the director's Ninetieth birthday -- Long live the king!
Berlin 66 opened rousingly on Thursday, February 11 with multiple screenings of the new Coen Bros. Hollywood send-up "Hail Caesa
[You must be registered and logged in to see this image.]Berlin 66 opened rousingly on Thursday, February 11 with multiple screenings of the new Coen Bros. Hollywood send-up "Hail Caesar" and a turn away overflow press conference crowd for the Jury led by Meryl Streep which was an event in itself. Day one, one might say, was all about Streep, the Coen Brothers and actor George Clooney in his best jesting form and looking great in a slick black leather jacket at the Hail Caesar press conference table.
First off, a few words about the film. Manohla Dargis, in her sparkling NY Times review hit the nail squarely on the head when she called the film an "off center comedy" ~ as off center (flip-floppily structured) as it gets with chuckles and belly laughs all the way. To put it mildly, this in not the Co' Brothers most serious film, but it is arguably their funniest ever with a string of brilliant off-beat pearls by actors all of whom shine in their unexpected off-the-wall castings. Basically this is a spoof of fifties Hollywood but much more than that, loaded with absurd humor of the kind that almost harks back the Marx Brothers era.
One at a time:
Jeff Brolin, tremendous as the blustering bigger than life studio head draped in a double breasted suit and topped with a bulky fedora, who regularly unloads his guilt in the catholic confessional box;
Clooney as a clueless movie star who gets kidnapped by the Communists and walks around through the whole picture clad in his clanky starring role Julius Caesar paraphernalia, down to leather sandals with protruding toes;
Scarlet Johansson as a snarling sinful take on Fifties simon-pure superstar bathing beauty, Ester Williams!;
Channing Tatum leading a bunch of sailors in white in a sly slightly homoerotic take on a Gene Kelly MGM dance number -- to me, the highlight of the picture with surprisingly adept tap dancing, jumping from table to table -- this section had me stomping along to the beat in my seat --
New face Alden Ehrenreich as an hilarilious acrobatic Roy Rogers ripoff whistling to his white horse then doing handstands in the saddle pursued by the bad guys -- and performing incredible rope magic, even with a strand of spaghetti in a restaurant for his girlriend --but this is only Half of cowboy star "Hobie Doyle's comedic turn -- he is next engaged to fill in for an ailing actor in a drawing room drama exchanging ten gallon cowboy headgear for a tux and Bow tie, and called upon to mouth a bit of sophisticated dialogue which is like a foreign tongue to him -- the extended scene where his English director (Ralph Fiennes) patiently re-shoots his flubbed entry scene over and over painfully correcting the perplexed actor's stumbling delivery of his single line -- (t'were as though...) -- is a real rib tickler.
Another highlight in this linkup of comical skits strung together by the ridiculous premise of Caesar discovering God on his knees at the foot of Jesus on the cross --the whole "Hail Caesar" business being a kind of takeoff on early fifties religious extravaganzas such as "The Robe" -- A satire of all-powerful Hollywood Gossip columnists who could make or break careers -- such as Louella Parsons and Hedda Hopper, both played sniffingly by Tilda Swinton --- All in all a hilarious piece of extra savvy entertainment and a glorious procession of contemporary stars revealing unexpected comedic chops --
Well, okay, it did get to be a bit much by the end, but a very good time was had by me -- if not by All -- of the serious minded film critics and international press people around me.
As far as I could tell from my front and center first row seat, I was the only one in the entire audience to burst out laughing or constantly snickering throughout the proceedings. I'll just hafta see it again with a native American audience to appreciate the collective cackle noticeably absent at this ultra-sober festival screening.
The crammed over flow press conference after the screening was almost equally comical. One Polish gal addressed a long long long question to Gorgeous George, who finally replied: "Are you flirting with me? ~ it won't work because I'm a married man now!" ~ which brought a roar of glee from the house. Most questions were, in fact, addressed to Clooney, who between sly quips that brought smiles from his colleagues at the table, finally summed it all up by saying that it was a privilege to work with such talented directors as the Coens, and above all -- FUN all the way.
On the serious side one woman expressed the view that with the refugee crisis now besetting Europe, shouldn't people "in the public eye", such as the Coen Brothers, be making films on that subject? Josh Coen responded with due respect, but firmly, that it is not the job of filmmakers to engage in politics but rather to be true to their art ~ and that is hard enough.
As for the other big event of the day, the jury press conference was basically orchestrated by Jury president Meryl Streep looking demurely majestic at center table. She noted that this was her very first time ever to sit on a film jury, let alone as president, and that she was very much looking forward to this new experience. Questioned as to the lack of empowerment of women in the film industry she pointed out that this jury was predominantly female -- four women out of a team of seven. Clive Owen sitting next her was asked if, as an actor, he would be paying more attention to the acting than anything else in making his judgements. To this his reply was "No"--what counts for him is the overall effect of the picture, not just the acting. English film critic Nick James of the prestigious film journal Sight and Sound observed that it is quite a rare thing for a critic to be seated on a jury such as this, and felt honored to be so chosen. A chinese woman asked Ms. streep if, having acted recently alongside a major Chinese actor, she has started seeing more Chinese cinema. Not really, said the American actress -- "I can't even keep up with all the films friends of mine are in!" -- La Streep obviously has many friends in the business.
Tonight -- the big opening night Red Carpet Gala with every Berlin celebrity who is anybody expected to turn out --but, having already seen the opening film "Hail Caesar", I'll probably take a rain chekk on that and rest up for the onslaught of films and events in the week ahead.
Ps: At the Polish stand on a quick tour of the European Film Market, EFM, in the classic Gropius Building, I found out that Polish Grand Master Andrzej Wajda has just finished a new film "Afterimages", which will open in Warsaw on March 5, the director's Ninetieth birthday -- Long live the king!
Way2Old4Dis- Mastering the tao of Clooney
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Similar topics
» Screenplay Review – Hail, Caesar!
» Hail Caesar! Available on DVD and Blu-ray 6/08/2016
» 2 February 2016: Hail Caesar Premiere
» Cannes Film Festival 2016: pre-program - release date of "Hail, Caesar!"
» 'Hail, Caesar!' to Open 2016 Berlin Film Festival in Berlin on 11th Feb 2016
» Hail Caesar! Available on DVD and Blu-ray 6/08/2016
» 2 February 2016: Hail Caesar Premiere
» Cannes Film Festival 2016: pre-program - release date of "Hail, Caesar!"
» 'Hail, Caesar!' to Open 2016 Berlin Film Festival in Berlin on 11th Feb 2016
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