Deadline Hollywood - Oscar Preview - 11/11/15

PRESENTS

NOVEMBER 11, 2015 OSCAR PREVIEW

PA S S I O N

P L AY Oscar winners Tom Hooper and Eddie Redmayne, along with newcomer Alicia Vikander, bring The Danish Girl to life.

D BENICIO D E L T O RO PAU L DA N O JO E L E D G E RT O N

Plus!

AN EARLY LOOK AT THE FOREIGN & DOC OSCAR RACES

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FOR YOUR CONSIDERATION IN ALL

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BEST CAST • BEST PICTURE

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PUBLISHER

Stacey Farish EDITOR

Anna Lisa Raya

CONTENTS NOVEMBER 11, 2015

CREATIVE DIRECTOR

Craig Edwards

DEADLINE COEDITORS

Nellie Andreeva Mike Fleming Jr.

DEADLINE AWARDS COLUMNIST

Pete Hammond

DEADLINE CONTRIBUTORS

Anita Busch Anthony D’Alessandro Lisa de Moraes Jeremy Gerard Patrick Hipes Ali Jaafar David Lieberman Ross Lincoln Dominic Patten Erik Pedersen Denise Petski David Robb Nancy Tartaglione

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AWARDSLINE CONTRIBUTORS

TABLE READ Steve Jobs composer Daniel Pemberton; Gold Derby actor charts; party pics and more

Chris Chapman Dan Doperalski Matthew Grobar Eric Schwabel Joe Utichi

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ADVERTISING INQUIRIES

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FIRST TAKE Behind the scenes on Bridge of Spies

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A PASSION PLAY Two Oscar winners and a rising star aligned to bring long-gestating The Danish Girl to life.

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THE DIALOGUE Benicio Del Toro Paul Dano Joel Edgerton

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FEST DISPATCHES A look back at Deadline posts from the fall film fest circuit

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A FOREIGN AFFAIR Rounding up the foreign language film Oscar contenders

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THE DOC BLOC What documentaries look poised for the shortlist?

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THE GAME CHANGERS Hair/make-up work helps position three actors for Oscar contention.

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FINAL FRAME The long road to Oscar ON THE COVER: ALICIA VIKANDER, TOM HOOPER AND EDDIE REDMAYNE PHOTOGRAPHED

BY CHRIS CHAPMAN THIS PAGE: EDDIE REDMAYNE PHOTOGRAPHED

BY CHRIS CHAPMAN

D E A D L I N E .C O M / AWA R D S L I N E

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★ | first take

A Winning Pair S E PTE M BE R 2 01 4 , N E W YO R K , NY

Inspired by his own father’s journey to Russia during the Cold War and the incredible true story of American lawyer James B. Donovan, Steven Spielberg (above) continues to supplement his resume of historically-based dramas with 1950s-era spy pic Bridge of Spies, which marks the director’s fourth collaboration with Tom Hanks (left)—their first in 10 years. Though Spielberg has his roster of frequent collaborators, scheduling conflicts gave the director the opportunity to work with some fresh faces, among them Academy Award-winning production designer Adam Stockhausen (The Grand Budapest Hotel) and composer Thomas Newman, who stepped in after John Williams, who has composed every Spielberg film for over 30 years, was forced to back out of the film due to health issues. —Matthew Grobar

PHOTOGRAPH BY JAAP BUITENDIJK

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★ | table read

CHARTED TERRITORY

Checking in with Gold Derby’s Oscar Odds

STEVE JOBS COMPOSER DANIEL PEMBERTON BRINGS A TECH GENIUS TO LIFE.

BY ANTHONY D’ALESSANDRO

One of the few good things to come from

the day. “It’s almost nostalgic, but it’s a vision of

Ridley Scott’s 2013 noir The Counselor was Brit-

the future,” he says.

ish composer Daniel Pemberton, whose work

For the film’s second act, set at the San

drew the attention of Steve Jobs director Danny

Francisco Opera House, Pemberton played

Boyle. What resonated with Boyle was how

around with classical orchestration. He

Pemberton pushed the boundaries by mixing

returned to introspective techno ambience in

original sound design with traditional orches-

the film’s final 1998 sequence, capturing the

tration in personifying Counselor’s gritty crime

emotional drama of Jobs sparring with Steve

tones. For the director, that musical style was

Wozniak as well as his teenaged daughter.

ripe for sonically portraying the nimble mind

For a film that’s a warts-and-all story about

of the Apple founder, while also capturing the

a revolutionary genius, Boyle had Pemberton

frantic pace of Aaron Sorkin’s three-act script.

raise the tone to an optimistic sound, as we see

For Steve Jobs, Pemberton originally toyed with the idea of using sounds from the Macintosh computer in the opening part of the film

Jobs make an emotional breakthrough with his daughter.

“Here we have an unconventional biopic, so

that is set around its 1984 launch, but that was

we approached the music in a similarly uncon-

too limiting. So he rooted his sound in the era

ventional way,” Pemberton says. “We took that

by using Yamaha and Roland SH-1000 synthe-

great Apple slogan ‘Think Different’ to heart

sizers, which were primary instruments back in

when approaching the score.”

SITE PLAN Naming movie websites just got easier.

a pragmatic solution when the desired .comending site name already is taken, oftentimes by cyber-squatters.

There’s now a new web extension that might

Movie websites and the URLs that are selected

change things: .film. It’s the latest “generic Top

for them vary from the standard—12 Years a Slave

Level Domain” (gTLD) to launch since exten-

had 12yearsaslave.com—to something altogether

sions were expanded two years ago (there are

different. For example, Beasts of the Southern

now 753 such gTLDs, including .news and .tech).

Wild’s website was named welcometothebath-

Septembers of Shiraz, starring Salma Hayek and

tub.com. This year’s Straight Outta Compton is

Adrien Brody, and February, directed by Oz Per-

straightouttasomewhere.com. Sometimes the

kins and featuring Kiernan Shipka, are the first

naming of the URL is to be creative; sometimes it’s

films to take advantage of the .film extension.

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Michael Fassbender (Steve Jobs)

10

22

5/2

2á

Leonardo diCaprio (The Revenant)

8

17

7/2

3á

Eddie Redmayne (The Danish Girl)

2

16

13/2

4â

Johnny Depp (Black Mass)

2

13

8/1

5á

Matt Damon (The Martian)

0

15

17/2

6á

Michael Caine (Youth)

0

10

18/1

7â

Bryan Cranston (Trumbo)

0

6

28/1

8á

Tom Hanks (Bridge of Spies)

0

4

40/1

9â

Will Smith (Concussion)

0

2

100/1

10 á

Ian McKellen (Mr. Holmes)

0

2

100/1

BEST SUPPORTING ACTOR

ODDS

Boom

1á

EXPERTS PREDICT TO WIN EXPERTS PREDICT NOMINATION

Sonic

ODDS

BEST ACTOR

EXPERTS PREDICT TO WIN EXPERTS PREDICT NOMINATION

As of press time, here is how GD’s experts ranked the Oscar chances in the Best Actor and Best Supporting Actor races.

1â

Michael Keaton (Spotlight)

8

19

10/3

2á

Idris Elba (Beasts of No Nation)

4

18

9/2

3á

Mark Rylance (Bridge of Spies)

2

18

11/2

4á

Mark Ruffalo (Spotlight)

3

14

13/2

5á

Tom Hardy (The Revenant)

2

8

12/1

6á

Paul Dano (Love and Mercy)

2

8

14/1

7â

Benicio Del Toro (Sicario)

0

6

25/1

8â

Samuel L. Jackson (The Hateful Eight)

1

3

33/1

9â

Joel Edgerton (Black Mass)

0

5

33/1

Jacob Tremblay (Room)

0

4

40/1

10 â

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HOLLYWOOD FILM AWARDS LOS ANGELES, NOV. 1 (Clockwise from above): Hateful Eight’s Channing Tatum; Saoirse Ronan, with her New Hollywood Award for Brooklyn, and Ryan Gosling; Hollywood Supporting Actor Award winner and Sicario star Benicio Del Toro; Black Mass star Johnny Depp; The Danish Girl’s Amber Heard; Vin Diesel and Jordana Brewster, who accepted the Hollywood Blockbuster Award for Furious 7, with Kurt Russell; The Danish Girl star Alicia Vikander, winner of the Hollywood Breakout Actress Award, with Armie Hammer; Concussion’s Will Smith, who won the Hollywood Actor Award; and Carey Mulligan, with her Hollywood Actress Award for Suffragette.

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BAFTA BRITANNIA AWARDS, LOS ANGELES, OCT. 30 (From left:) Star Wars: The Force Awakens star Harrison Ford, who was honored for his worldwide contribution to entertainment; Lily Collins; The Big Short’s Steve Carell; Brooklyn star Saoirse Ronan.

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pete hammond

Warner Bros; Concussion and The Walk from Sony; Paramount’s The Big Short; and Bridge of Spies from Disney/Dreamworks.

Here is an even more intriguing question: Can Netflix, which is trying to upset the apple cart in terms of distributing Oscar-quality films, get their biggie Beasts of No Nation into the race despite its debut on their streaming service day-and-date with its limited theatrical release? The boxoffice numbers were AWOL, but Netflix says the streaming turnout was significant.

How will awards season treat the film? If it lands significant nominations it could be a seminal moment for the industry, as well OSCAR DISRUPTOR Will Netflix’s Beasts of No Nation change campaigning?

as for the way campaigns usually work.

On Your Mark...

crowded every year, especially in the Best

With more distributors getting into the Oscar game, there are many more films in the race. Our inveterate Awards Columnist puts it all in perspective.

DiCaprio, Redmayne and Carell, will there

The acting races seem impossibly Actor contest. This year the same may be true in the Best Actress race, as well as both supporting categories. In addition to be room for Michael Caine (Youth), Tom Hanks (Bridge of Spies), Bryan Cranston (Trumbo), Ian McKellen (Mr. Holmes),

Deadline just held its fifth annual The Contenders

Rogue Nation, Warner Bros’ Mad Max: Fury

Johnny Depp (Black Mass), Will Smith

event at the Directors Guild of America on Nov. 7. While our home

Road and the upcoming Star Wars: The

(Concussion), Michael Fassbender (Steve

for the event was the same as last year, the names of those con-

Force Awakens actually land Best Picture

Jobs), Joseph Gordon-Levitt (The Walk) or

tending films are, of course, different—even if some talent from

noms? What about this summer’s ani-

Matt Damon (The Martian)? How about

them are back for another go ’round in the Oscar madness.

mated boxoffice winner from Pixar, Inside

non-pro Geza Rohrig in Hungary’s foreign

Out? Now there is a quartet of pics that

language film entry, Son of Saul?

Alejandro G. Inarritu, who won three Oscars for Birdman, is back with The Revanant starring Leonardo DiCaprio (who was promi-

really could boost ratings for the Oscar-

nent on the circuit just two years ago with The Wolf of Wall Street).

cast. Certainly the studios will be going for

than usual with familiar names like the

Will Inarritu repeat so soon? Can four-times-nominated DiCaprio

it but will the voters? So many Academy

aforementioned Lawrence (Joy) and

finally break his Oscar curse? Last season’s Best Actor winner

members cite Mission Impossible or Mad

Bullock (Our Brand Is Crisis) as well as

Eddie Redmayne (The Theory of Everything) also returns to the

Max when I ask them what films they really

Maggie Smith (Lady in the Van), Carey

awards drill with a stirring performance in The Danish Girl. Can he

like. But when it’s time to mark those bal-

Mulligan (Suffragette), Brie Larson (Room),

be the first back-to-back Oscar winner since Tom Hanks in 1993-

lots these films often only get craft noms.

Helen Mirren (Woman in Gold), Lily Tomlin

94? Redmayne’s big competition last year, Michael Keaton, is back

The Best Actress race is more crowded

The competition is steep among the

(Grandma), Saoirse Ronan (Brooklyn),

for a second consecutive try, this time in the Supporting Actor

more likely awards magnet pictures this

Charlize Theron (Mad Max: Fury Road),

category for the widely acclaimed Spotlight. But he might be facing

year, such as indies Spotlight, Brooklyn,

Charlotte Rampling (45 Years), Emily

off against his co-star Mark Ruffalo, who, you guessed it, was nomi-

The Danish Girl, Room, The Hateful Eight,

Blunt (Sicario), Sarah Silverman (I Smile

nated last year for Foxcatcher. As was Steve Carell, who could be

Carol, Trumbo, Love & Mercy, Youth, 45

Back) and Blythe Danner (I’ll See You in My

returning to the race this year with The Big Short. Relatively recent

Years, Sicario and 99 Homes. The field is

Dreams). Let’s not forget previous winner

Best Actress winners Cate Blanchett (2013), Jennifer Lawrence

so crowded it caused some pics to drop

Blanchett, who has two performances

(2012) and Sandra Bullock (2009) also are back in the hunt this

out, such as Sony Classics’ Hank Williams

competing for one slot (Truth and Carol).

year, but there are plenty of new names and Oscar-less veterans

biopic I Saw The Light, which was pushed

Throwing a wrench into things are two

going for the gold. But we’ll get to that in a second.

to next year. And it’s not just the indies and

arguably leading roles—from Alicia Vikan-

First, the big question: Can some of the year’s biggest block-

specialty divisions working on all burners.

der in The Danish Girl and Rooney Mara in

busters break into the race? After all, that was a key goal when the

Outside of the blockbuster realm in

Carol—being campaigned for Supporting

Academy of Motion Picture Arts and Sciences made the switch

which they regularly traffic, the major stu-

from five Best Picture nominees to a possibility of 10. So far results

dios are competing more heavily than ever

in that experiment have been spotty, with the Academy still favor-

with a lineup that includes 20th Century

Oscar contest and now we have a stellar—

ing smaller, more personal films such as 12 Years a Slave, The Artist,

Fox’s The Revenant, The Martian and David

and staggering—number of films to parse

The King’s Speech and The Hurt Locker.

O. Russell’s Joy; Universal’s Steve Jobs and

through this season. Brace yourselves. It’s

Straight Outta Compton; Black Mass from

going to be a long race.

Is there a chance that films like Paramount’s Mission Impossible:

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Actress, confusing voters’ choices.

It feels like we just got over the last

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Passion P L AY AN OSCAR-WINNING DIRECTOR. A N O S C A R - W I N N I N G AC T O R .

A P RO M I S I N G N E WC O M E R .

F O C U S F E AT U R E S ’ T H E DA N I S H G I R L , O N PA P E R , S E E M E D R I S K Y OV E R A D E C A D E AG O W H E N I T WA S A F I G M E N T O F T H E I M AG I N AT I O N O F I T S P RO D U C E R S . B U T T H E S TA R S A L I G N E D — L I T E RA L LY — T O B R I N G T O G E T H E R P E R H A P S T H E O N LY T R I O T H AT COULD’VE MADE THIS TIMELESS AND T I M E LY L OV E S T O RY C O M E T O L I F E .

BY P E T E H A M M O N D

P H O T O G RA P H S BY

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you have on your plate, the better. When I am on holiday it can take me days to do virtually nothing, whereas when I’ve got lots of things going on I tend to be able to focus more,” Redmayne says on a rare day off from yet another major project, J.K. Rowling’s Fantastic Beasts. He’s now trying to squeeze in promotional time for Danish Girl during breaks from that production.

His journey with Lili has been interconnected from one set to another. At one point when he was shooting Jupiter Rising, co-director Lana Wachowski, herself a transgendered person, helped him out. “I started educating myself and I mentioned Lili’s story to her, and she was passionate about both Lili and Gerda and talked to me about their art and really told me where to start,” Redmayne recalls, adding that everywhere he went during the promotion of Theory of Everything he would meet people from the trans community. It all added up. “The script, when Tom handed it to me in a plain brown envelope during the Les Mis “barricades” scene, was unlike anything I had ever read. It was a love story and I felt it showed to me that love was about souls rather than (something) defined by anything else—gender or bodies. It was something other,” he says.

“There was one trans woman I met in Los

THE FILM ADAPTATION OF DAVID EBERSHOFF’S

bestselling 2000 novel The Danish Girl was a passion project for everyone who came into contact with it, including tenacious producers Gail Mutrux and Anne Harrison and screenwriter Lucinda Coxon, who never gave up during the 12 years the film took to get off the ground. Such duration shouldn’t come as a surprise to anyone in this town, but what is unique to this film is the real-life love story of Einar and Gerda Wegener, happily married artists whose relationship is put to the ultimate test when Einar transitions into a woman, Lili Elbe. Lili was one of the first people to undergo gender reassignment surgery in 1920s Europe and her transformation is at the heart of the film. That The Danish Girl finally could be made and come out, quite coincidentally, at a time when the transgender movement has hit a peak in terms of public awareness is pure kismet for a passion project that brought together THE CHANGE-UP ARTIST determined director Tom Hooper, freshlyThe role of Lili Elbe has been with Eddie minted Oscar winner Eddie Redmayne Redmayne now for a few years, since he and Swedish actress Alicia Vikander, who first received the script for The Danish Girl suddenly is one of the hottest new stars on from Tom Hooper, who was then directing the scene. The story the film has to tell is him in a scene for Les Miserables and unquestionably remarkable and moving, and handed it to him between takes. It would the story behind its journey to the screen is be just a matter of time (well, years) before the film finally became a “go,” but even just as extraordinary. Here, the director and through Les Mis, Jupiter Rising, The Theory his two stars discuss how the The Danish Girl of Everything and its Oscar campaign— was a life- and career-defining experience.

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Angeles and she said that she would give anything, anything to live an authentic life.

That, in a sense, involves ultimately looking into yourself and finding yourself.”

Redmayne’s physical transformation in portraying Stephen Hawking in last year’s Theory of Everything is what many people believe propelled him to the Best Actor Oscar. Lili Elbe is yet another stunning metamorphosis for Redmayne, one that is sure to land him a consecutive nomination in January.

❦ ❦ ❦ TWIST OF FATE For Alicia Vikander the opportunity to play Gerda was fated. “I remember I had heard about this film, Hollywood had been trying to get it made for a long time,” she says.

“I even had friends who were on previous (casting) rounds years ago. But I think it was one year ago when I sat on the tube in London and read about the fact that Tom Hooper and Eddie Redmayne announced they were finally going to try and get the

which had him coming back and forth to

story told. I thought, ‘Wow, that is incredible

Los Angeles—and his own wedding, Lili

casting. I really look forward to seeing that

always was there in Redmayne’s head.

film.’ ” Two days later, Vikander’s agent

“I’m one of those people who, the more

called informing her there was a second

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“EXHILARATING.

A bracing portrait of a young girl and her teenage sisters coming of age.”

Ann Hornaday, WASHINGTON POST

“Gets the heart racing.

A BEAUTIFUL DEBUT.” Jay Weissberg, VARIETY

“A declaration of a

NEW, POWERFUL CINEMATIC VOICE.” Colleen Kelsey, INTERVIEW

“MARVELOUS.

Seductive and entertaining… has a sparkling spirit and tempo all its own.”

David Ansen, THOMPSON ON HOLLYWOOD

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BRAVE HEART Coming off back-to-back Best Picture Oscar nominations for The King’s Speech and Les Miserables (with a win for the former as well as the Best Director trophy), Tom Hooper probably could have called the shots on any film he wanted to make.

But he knew exactly what he wanted to do next and he was ready.

The project actually came through his longtime casting director Nina Gold in late 2008. “I was on the phone doing that usual complaint that directors often do, which is, ‘Where are all the great scripts?

They’re so hard to find,’ ” he says, noting that Gold then handed him the unmade script for The Danish Girl. “I was in early prep for King’s Speech. This was just an extraordinarily moving script. I mean, it made me cry, which I don’t think I had done with a script before. What really moved me was the love story at the center of it. I had that moment in my life where I could make a passion project. You know, I could make one of those films that was considered difficult to finance, difficult to get made. Maybe I could be the one to get (The Danish Girl) made.”

While the project had been around for over a decade, now it had hit the zeitgeist.

The transgender conversation seems to be everywhere—in such TV shows as Amazon’s Transparent and Caitlyn Jenner’s reality series—and it puts a smile on Hooper’s face because that had not been the case until this year, long after he first laid eyes on the script. “I suppose the good part of that is it means the culture’s changing, and it means the culture can change fast,” he says. “And it means that brilliant shows like Transparent and Orange Is the New Black have made transgender narratives exceptional in the mainstream, female role and she should read for it.

When the time came for the audition,

on two different sides of the road, parallel to one another. The braveness and the

and that’s only a good thing.”

For Hooper, this film was a no-brainer.

Vikander thought she blew it because

courage that they had to support each

“This is what I wanted to make, and in the

Hooper just sat there. Unbeknownst to

other, above anything, was what got to me

end I feel like you’ve just got to follow your

her, he was weeping. Needless to say,

from day one.”

heart,” he says. “For me, I have to fall in

those first glimpses of what would be a

And the chemistry with her co-star was

love. If I’m not in love with a project, I don’t

devastating performance got her the part.

instant. “Eddie is probably one of the most

want to spend two, three more years of

Vikander has been grateful to Hooper

humble, sweet and wonderful people that

my life on something. There are people

and Redmayne ever since for helping

I’ve ever met,” she says. “While we were

who would’ve happily seen me not do this,

her navigate the way into Gerda. “From

filming, he actually jumped on a flight just

supposedly because they thought it was

the start, Tom told me his vision for this

before the Oscars and went straight to L.A.

risky or whatever, but it was what my heart

woman, who really is able to almost love

Then, of course, he came right back, on

told me to do.”

another person more than herself, or at

Tuesday morning, straight from the airport,

least be able to look aside of a difficult

back to his trailer, and he probably did one

path,” Vikander says. “It’s an extremely

of the most difficult scenes in the film,

unique love story about the struggle of two

straight off the plane,” she says. “I thought

people who go through a big change, but

that was extremely admirable. He could

together—going through a transition but

just be 100% of his role with us.”

16

THIS WAS JUST AN EXTRAORDINARILY MOVING SCRIPT. IT MADE ME CRY, WHICH I DON’T THINK I HAD DONE WITH A SCRIPT BEFORE.

P H O T O G RA P H S BY C H R I S C H A PM A N / C H R I S C H A PM A N PHO T O.C OM F U R N I T U R E C O U RT E SY K L AUS BY N I E N KA M PE R / K L AUS N.C OM

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“It’s the gift of writer-director Muylaert to pay attention to the farcical elements and to clothe serious issues in unforced, naturalistic human situations. In this she is helped enormously by star Casé, whose bravura performance as the engagingly grumpy Val adds life to every situation. Casé’s work is so realistic that viewers unfamiliar with her history will think they’re watching the real thing. And in the best possible sense, they are.”

– Kenneth Turan

“ This densely-layered yet fast-paced drama…dissects with both chilling precision and humor such matters as class differences, real mothers vs. caretakers, and whether privilege and one’s own station are things that can be questioned or changed. The beauty of the ingeniously constructed screenplay is that it feels like a story-driven narrative while it explores a lot of complex ideas... One of Brazil’s best and most beloved actresses, Casé here makes a welcome return to features after years in TV. ” – Boyd Van Hoeij

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Showcases an indelible star turn from popular local thesp Regina Casé.”

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D

THE DIALOGUE ACTORS

BENICIO DEL TORO

PAUL DANO

JOEL EDGERTON

SICARIO (LIONSGATE)

LOVE & MERCY (ROADSIDE ATTRACTIONS)

BLACK MASS (WARNER BROS.)

“I’ve done many, many movies that take place in that drug world. So I know a little bit of what’s going on. I’ve made friends with the DEA.”

“I really needed to try and tap into Brian Wilson’s spirit. The way was through the music. By listening to the studio sessions, that’s how I gained my impression of the 1965 Brian.”

“With difficult accents like John Connelly’s, if I need to talk like him all day I’ll do it. But “method” is a very loose and weird and indefinable term.

Where’s that line?”

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Benicio

So in order for the studio to allow us to do the scene that is in the film, we shot the

DEL TORO

★

★

★

★

other scene. I think when they screened the movie, when they did the report cards and all, people reacted to the scene that’s in the film now.

Oh my god.

Who would have thunk it?

The actor’s understated ways resonate in his dark, mysterious character in Sicario.

BY PETE HAMMOND

In the final scene with Emily Blunt’s character you mention how she reminds you of your daughter, who died horrifically. And then a few moments later, in a great twist, you have a gun pointed at her neck. What was it like for you to shoot such an intense scene?

(Denis) got everyone out of the stage, and

B

enicio Del Toro made his first film appearance as Duke, The Dog Faced Boy in 1988’s Big Top Pee Wee. That gig might not have suggested what was to come in the next quarter century; Del Toro continually has surprised and thrilled audiences with an acting talent second to none. Winning the Supporting Actor Oscar for 2000’s Traffic and getting another nomination for 21 Grams, the actor should be in Oscar’s line again for his riveting turn in the drug cartel drama Sicario, in which he plays Alejandro, a mysterious hit man who may or may not be on the side of the good guys. Del Toro has played variations of this kind of role in many films (Savages, Escobar: Paradise Lost) but he’s never before gone so deep by saying so little. It might be his best work yet.

we sat there and spent about two hours deconstructing the scene, sitting there and going through it. I do remember on the very first day, when we did the first take, and we put the gun to her chin, Emily broke down (crying). And I knew right then and there that the scene was good. It was really one of those moments where everybody felt it.

You feel when moments like that happen when you’re acting. You feel that everything has changed.

She’s great in this film, by the way.

Emily’s fantastic. I think she struck home

I’ve seen you in many movies dealing

experience I’ve met people who have had

in a really strong way. Her strength that

with drugs from a number of different

tragic moments like that, that mark them

she gives to the character is really, really

angles but I’ve never seen you play a

forever. My experience is that they don’t

beautiful.

character like this.

open up their story to you in the first 24

I got the script and I thought it was original

hours they know you. So (Villeneuve) then

And she’s the audience’s eyes here.

in its content but I also thought structurally

gave those lines to Josh (Brolin), a smaller

Your character is so interesting—it’s

it was very interesting. We follow the Emily

version of it, and Josh did a terrific job.

like, which way do you go? How far do you go? And there’s that gray line

Blunt character for the entire film and then suddenly, we go into the world of Alejandro

Denis Villeneuve has called you his

between good and bad and what side

for the last third. I wasn’t sure it could work.

muse. That’s quite a compliment.

you’re on. And through her watching all

Then I met Denis Villeneuve, the director.

He probably said that about all the other

this, I think the audience gets that.

His enthusiasm was great, as was his vision

actors in the film, because what I notice

I also wanted to add that when she did the

and his sensibility to that world. I’ve done

about him, and I think this is a quality of

scene on the balcony—I learned this later—

many, many movies that take place in that

what I consider a good director, or the best

she told Denis that she wanted to shoot

world. So I know a little bit of what’s going

that I’ve worked with—they have this thing;

me. And Denis said, “No, no, madame. If you

on. I’ve made friends with the DEA.

they get really talented people around them

do, you’re just like him.” There is an element

and they get that talent to give them 110%.

of strength in the fact that she doesn’t

The script wasn’t exactly what you

He just has that thing where he’s pulling the

shoot. To me, that’s the real strength; oth-

wound up filming, in terms of your

strings and you don’t see how he’s pulling

erwise, she becomes a wolf.

character?

the strings. He’s a motivator. I think that’s

They kind of put that weight on me, that I

really what puts him there.

A sequel to Sicario recently has been

there was a scene where we’re going into

Let me ask you about that dinner scene

est in appearing in that or has it been

Juarez and we’re about to cross the border.

at the end. Was it written differently?

discussed?

In that scene, Alejandro had this monologue

There was a version where I let the kids

I don’t know. I read about it like you did, but

where he explained to Emily’s character his

and the wife go. Denis and myself were

nobody talked to me about a sequel. Hey,

back-story—what happened to him and his

very keen on the version that you see now,

my team would love the idea. You never

family and basically his motivation. In my life

but the studio was concerned about it.

know, but it would be great if it happens.

announced. Do you have any inter-

cut the dialogue. Halfway through the film

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Paul

this person; he owed him something. But he also had a bad feeling for this person.

DA N O

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★

★

The film focuses on the making of “Pet Sounds” but only briefly eludes to Brian’s career opus, “Smile.”

Brian didn’t have the support system he needed (for “Smile”), not until he met (his

★

wife) Melinda Ledbetter. Brian was met

Portraying the young Brian Wilson was a big set of shoes to fill, but Dano pulls it off.

B Y A N T H O N Y D ’A L E S S A N D R O

with a lot of resistance and negativity during his early life. I think with “Smile” there were just too many things going on with them. Yes, there was the mental illness and the drugs and he couldn’t push past the current. He needed someone to help him do it. That scene you spoke about where his father sells the library to A&M, essentially Brian’s response was, “I can’t push

hile Paul Dano caught our attention playing a Nietzsche-obsessed teenager who doesn’t speak in 2006’s Little Miss Sunshine, it’s interesting to note that the 31-year old actor had been practicing his craft since childhood; at the age of 12 he made his Broadway debut opposite Oscar-winner George C. Scott and Charles Durning in Inherit the Wind. One of Dano’s many strengths are his cherubic looks, which easily hook the moviegoer. Luckily that’s never typecasted him into any Mr. Nice guy roles. Rather, Dano’s face is a window to an array of eclectic souls, some fierce—such as his enraged preacher Eli Sunday in There Will Be Blood—and some satirical, such as the philosophical Hollywood thespian Jimmy Tree in Youth. In Bill Pohlad’s Love & Mercy, Dano turns another page as an actor, this time portraying a real-life icon— Brian Wilson—the young, emotionally tortured musical genius behind The Beach Boys.

W

against this any longer. I’m going to bed.”

That’s one of the reasons for Brian not finishing “Smile.” I think “Smile” and the 1967 sessions are unbelievable.

You can see that Brian tirelessly worked his symphonic band around the clock during the recording of “Pet Sounds,” but he was always a warm guy to them, not a taskmaster.

It was so exciting to be working with The Wrecking Crew. These guys looked up to him. When they talk about him, they loved him. They were getting to do stuff that they didn’t know was in their wheelhouse.

Generally, there was a lot of inspiration in the room back and forth. He was always

How did the opportunity come about to

I needed to know I was the right person.

play Brian Wilson?

Through my research, I felt deeply con-

I read the script and saw that Bill (Pohlad)

nected right away.

You had access to Wilson in preparing

was directing it and Oren Moverman was

I learned to play piano. I played some guitar.

for the role, but he’s different from

a writer on it, and I’m a fan of them both.

I studied what Brian does with his left hand

the young Brian you play onscreen.

The script was really challenging but I felt

when he performs… On set, I would start

What did you get from him to help you

they had something by trying to look at two

singing with my voice and as the song built,

create the character?

points of his life intensely, instead of a birth-

it transitioned to the actual vocals on a

I didn’t meet Brian until I had worked on

to-present day biopic. There was a real

Beach Boys song. “Caroline, No” starts with

the part for three or four months. I felt like

experience to be had with the character.

me singing and ends with the real track.

what you’re saying—he’s different now,

I’ve since become an obsessive fan of The

I can’t tell when it transitions, the sound

he’s open and sensitive and a raw per-

Beach Boys, but didn’t know a lot about

designer did a beautiful job.

son—I didn’t want to be tempted toward

(Wilson’s) life, the extent of his relationship

searching for something in there.

mimicry. I really needed to try and tap into

with his father. Here was a guy who made

Wilson’s father Murry has been painted

his spirit. The way was through the music.

music that was generally happy, but he

elsewhere as a real tyrant. But in Love

There were plenty of photographs, videos

had a traumatic life. There was a story to

& Mercy he isn’t as severe. When he

and magazine articles at my disposal.

tell, but I felt that this was not an easy one.

reveals that he’s sold the band’s cata-

There were a number of people who had

I was willing to take the risk. Bill had been

log, it crushes Brian.

worked with him. Listening to the studio

thinking of me for a while for the role. I sing

His father did give him gifts in certain ways.

sessions is how I gained my impression

a little and Bill offered me the option to sing.

He mortgaged their business to get the first

of the 1965 Brian. Before meeting him I

He had a lot of faith in me. Before I even

album done. He was aggressive about get-

didn’t want to go in there like a journalist

accepted the role I did some research—not

ting the band out there. He put instruments

asking a thousand questions. I just tried

only because there’s a responsibility to his

in their hands. But there was also a side of

to follow his sense. He enjoyed it when we

fans or Brian for anyone playing this role,

him that was a tyrant. To portray Murry one

talked about the music. That’s being at

but he’s a sensitive and special person.

way is wrong. Brian felt something good for

home for him.

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Joel

f--k?” There’s that scene where Corey Stoll slaps down tickets to Fenway Park—that,

EDGERTON

★

★

★

★

The Aussie actor deftly plays counterpoint to Johnny Depp’s Whitey Bulger in Black Mass.

BY ROSS LINCOLN

to me, was my moment. The audience has been sucked into John’s side of the story, but Corey comes in and demands to know why nobody has asked the right sort of questions. As an audience it’s like, “YES! How did this go on for so long?”

How do you compare Connelly to Johnny Depp’s Bulger?

I think the difference between Jimmy and John is that John was spinning plates, expending a lot of energy pretending to be something he wasn’t, to be things to certain people in certain situations. He was expanding and diminishing himself according to the situation. Jimmy didn’t need to;

A

t the center of Black Mass is Boston gangster James “Whitey” Bulger, whose criminal empire was made possible thanks to his relationship with disgraced FBI agent John Connelly. Having grown up in the same south Boston neighborhood, Connelly recruited Bulger as a federal informant and ended up instead feeding him information and protecting him from federal scrutiny. Joel Edgerton plays Connelly as a half-naïve sycophant, half-complicit huckster in a performance that differs as sharply from Johnny Depp’s flamboyant portrayal of Bulger as the two men did in real life. Edgerton based his portrayal on existing video footage and the testimony of FBI agents who knew Connelly, but fleshed it out by looking at the way Connelly’s spiral was in many ways a normal experience. “I don’t believe people are intentionally going, ‘Today I’m going to be a bad person,’ Edgerton says. “I think John thought in the end what he was doing was actually virtuous... I think that he lost sight.”

he owned the ground he was on.

How in character did you need to be?

I’m looking to inhabit a character for as long as I need to, to not look foolish onscreen. Like with difficult accents like John’s, if I need to talk like him all day I’ll do it. But “method” is a very loose and weird and indefinable term. Where’s that line? There’s something that Ben Kingsley said to me once, that he’s looking for those moments where, when he watches a movie and looks on the screen, even for one moment he says, “I don’t remember that moment, I don’t recognize myself in that moment.” If what interests you in character work is character acting, (then)

John Connelly has been depicted in

John’s conscience would have said, “Now

searching for those characters as far from

media coverage in contradictory ways.

is the time to pull out of this thing.” But the

you as possible makes me feel safer than

How did you view his character?

weight of locality, loyalty, culture, color of

playing a character like myself. That can

It’s the difference between whether John

skin gave him a cloudiness from which he

really only be achieved by having a thor-

is sort of an angel corrupted by a series

found it hard to find his way back—even if

ough understanding of who you’re playing.

of events, or a corruptible man given the

he wanted to find his way back.

And then allowing yourself to be blind to

fertile ground with which to really dance

that moment when “Action” is called. That

with that corruption. I’ve long held this

How did you prepare for the role?

to me is the joy of acting and unfortunately

belief that people are already what they’re

I had lots of footage of John, that’s how

that means sometimes I need five minutes

capable of becoming. Quite often people

vocally and physically I got to get a sense

of one day that makes the whole day

will say, “Look at him, he’s changed,”

of him. I spoke to a lot of FBI agents, and

worthwhile. Directing is a different story.

or “Look at her and the monster she’s

actually two pearls of wisdom about John

Directing is a constant series of challenges

become.” I believe that monster exists in

really embodied the performance. One guy

all day that makes the day worthwhile.

many forms already; the circumstances

said John was a real “peacock,” which kind

that you surround yourself with allow that

of said a lot about his puffiness, the way

Speaking of that, do you plan to follow

monster to grow.

he manicured himself. Another one said

up your directorial debut The Gift?

John was “whoever he needed to be with

I’m avoiding the concrete just yet, but

Do you think John could have gone

whomever he was with.” Someone else

I’m interested in writing another piece to

either way?

in the FBI said he’s one of those people

direct, and I’m also looking at other things

It’s interesting isn’t it? Like at what point

who put it all out there, who was kind of

that have already been written. All I’ll say

do you realize you’ve gone so far that you

challenging people to (realize what he was

for certain is that I’m definitely doing it

can’t go back? You’ve gone three-quarters

doing). So every time I would tell a lie as

again because it just gave me so much.

of the way across the river and you’re tired,

John I’d think, “How well does he tell this

I’m terrified of doing the second one. You

you can’t swim back, you just gotta keep

lie?” or “Is he aware that the other person

know, I waited 40 years to direct a film, so I

swimming. I think there was a point where

knows he’s lying, but he doesn’t give a

don’t want to rush the second one.

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The Danish Girl’s Eddie Redmayne greets fans at TIFF.

FEST DISPATCHES

Before we start to get too deep into this awards season, let us look back at what transpired at the fall fests— Venice, Telluride, Toronto—often a bellwether of the films that will stand the test of time when it comes to Oscar campaigns. Here are some highlights that ran in Deadline from Awards Columnist Pete Hammond and International Editor Nancy Tartaglione.

Aman Hotel after the gala world

September 6

premiere of The Danish Girl wowed

Telluride Film Festival

the Lido. The period transgender

My colleague Nancy Tartaglione

drama received a 10-minute stand-

extensively covered the World

ing ovation in the Sala Grande—not

Premieres at the Venice Film Fes-

a common happenstance for a film

tival of Spotlight and Black Mass,

here. Star Eddie Redmayne, who

and both movies have been just

earlier today called his role as Einar

as enthusiastically received here

Wegener/Lili Elbe “a dream come

at Telluride in their North American

true,” is again firmly on the awards

debuts. And next week both head to

trail. —N.T.

the Toronto International Film Festival. No rest for the weary...

Telluride Film Festival

Johnny Depp is almost unrec-

“I just didn’t want it to end. I kept

ognizable as Whitey Bulger and is

September 3

about—journalism and the Catholic

saying, ‘keep going, keep going.’ My

scary as hell playing this “don’t mess

Venice Film Festival

Church—the sustained press screen-

heart was just pounding.” That’s

with me” hardcore criminal who

In what’s been the warmest recep-

ing applause sounded a ringing

what I immediately heard from

outsmarts the FBI, particularly agent

tion I’ve seen for a film this year

endorsement for the out-of-compe-

people sitting right behind me as

John Connolly. Australian actor and

in Venice, Tom McCarthy’s Spot-

tition title. —N.T.

credits rolled on this morning’s highly

director Joel Edgerton plays Connolly

light hit the Lido today, bringing

emotional screening of Room, a

and he could well be in contention

awards buzz and leaving the press

September 5

demanding, at times grueling, at

for a Best Supporting Actor nomina-

corps exclaiming “Bellissima!”

Venice Film Festival

times joyous, but ultimately richly

tion in addition to an obvious Best

Given this is a film whose subjects

Universal and Working Title execs

satisfying triumph of independent

Actor shot for Depp, back in strong

the audience knows a thing or two

were celebrating tonight at Venice’s

filmmaking at its very best. —P.H.

form with this role…

28

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★ | f i l m f e s t i va l s premiere. And if there was a link to today’s big premieres it was Oscar, Oscar, Oscar. Everywhere you looked there were Oscar winners with new hopeful films being unveiled for the first time.

September 13 Toronto International Film Festival After The Danish Girl’s World Premiere in Venice earlier in the week there was lots of anticipation for the North American premiere here yesterday, and I can say director Tom Hooper’s beautiful production of this long-in-development project was definitely worth the wait…

Bleeker Street had its own big gala last night for the World Premiere of the Hollywood 1950s blacklist movie Trumbo, which is about Michael Keaton and Rachel McAdams celebrate Spotlight in Telluride, above.

(From left): Mark Ruffalo and wife Sunrise Coigney in Venice. Trumbo’s Bryan Cranston, Elle Fanning and director Jay Roach at the film’s premiere in Toronto.

famed screenwriter Dalton Trumbo.

This film packs a punch. I understand it got a five-minute standingO after its public screening that went on so long director Jay Roach decided to bring it to a halt. —P.H. Cate Blanchett already has the highly praised Cannes entry Carol firmly planting her in the running for Best Actress. Her riveting

response to the World Premiere

that Birdman and Michael Keaton

turn as Mary Mapes in Truth could

light, director Tom McCarthy has

screening Friday night of Our Brand

left the Lido empty-handed last year.

thicken the plot. There is no way

pulled off a masterful tale of the

Is Crisis at the Toronto International

Catholic Church scandal in Boston...

Film Festival, you can definitely

did take a nod was Charlie Kaufman

into supporting nods, which is often

This one has a superb ensemble

count the Blind Side Academy

and Duke Johnson’s stop-motion

the case when an actor has two

including Michael Keaton, Mark Ruf-

Award winner in on the race again.

brainteaser Anomalisa, which

competing leading roles in the same

falo, Rachel McAdams, Liev Schreiber,

Bullock nails this role in every way.

scooped the Grand Jury Prize. Also

year, so what happens? My personal

John Slattery, Stanley Tucci, Billy

I think it ranks as her finest perfor-

getting his fair share of applause was

opinion is that the Mapes role is just

Crudup, Brian D’Arcy James and oth-

mance ever. —P.H.

Abraham Attah, the Beasts of No

so overwhelmingly powerful that it

Nation star who won the Best New

would be hard to deny her a nod.

Young Actor award. —N.T.

This is going to be a real Solomon’s

As for Open Road’s Spot-

ers in a film that truly embodies the

Among the popular choices that

word “ensemble.” This is a textbook

September 12

example of what the SAG ensemble

Venice Film Festival

award should be all about.

Alfonso Cuaron’s jury for the

Toronto International Film Festival

either role could be shoehorned

choice for the actors branch. —P.H.

As for Oscars, the film, which was

72nd Venice Film Festival spread

Martians, drones, drug dealers, poli-

September 20

written by McCarthy and Josh Singer,

out its prizes across several well-

tics and lots more entered the con-

Toronto International Film

could be a Best Picture player, the

received titles tonight, but it also

versation at Friday’s edition of the

Room has won the much desired

first for Open Road which I still think

shut out some performances and

Toronto International Film Festival,

and sometimes Oscar predictive

got robbed last year with the superbly

critical favorites... Despite wide-

which featured numerous World Pre-

Grolsch People’s Choice Award.

creepy and great Nightcrawler. —P.H.

spread praise throughout the fest,

mieres including 20th Century Fox’s

The film won high praise in its World

the folks that didn’t get Lido call-

highly awaited The Martian, Eye in

Premiere at Telluride and received

September 11

backs for tonight’s awards ceremony

the Sky, Our Brand Is Crisis and I

a raucous reception at TIFF as well.

Toronto International Film Festival

included The Danish Girl’s Eddie

Saw the Light. In addition to all

This touching and rather remarkable

Sandra Bullock is back in the Oscar

Redmayne and Alicia Vikander...

that, Cannes Film Festival discov-

movie could become the real “dis-

ery Sicario got its North American

covery” of this awards season. —P.H.

race, no question. After great

30

It might be worth remembering

D E A D L I N E .C O M / AWA R D S L I N E

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★ | foreign films

A

FOREIGN AFFAIR Deadline’s International Editor breaks down the foreign language film landscape for the upcoming awards season.

By Nancy Tartaglione

Hou Hsiao-Hsien’s The Assassin represents Taiwan’s entry in the foreign film race.

There are 81 films vying for the Foreign Language Oscar this year; that’s two down from last year’s record 83, but it doesn’t mean the pack is any less rich with subjects and auteurs from around the world. Each year the Foreign Language Film Award Committee faces an increasing embarrassment of riches, which it has to whittle down to just nine films for the shortlist, then five for the nominations.

And, it also sometimes embarrasses itself, as when it previously shut out such lauded movies as 4 Months, 3 Weeks, And 2 Days (OK, that was in 2008 and some rules have changed, but this is a hard one to live down); The Intouchables in 2012 or even last year’s Force Majeure. Who will be the snubbees this year? It’s really anybody’s guess, but with such a strong group of films there will have to be some.

32

What we can take a look at is how the field is shaping up in terms of the films with lots of buzz and

Picture Arts and Sciences voting block weighs in for the winner.

Festivals are usually a very strong

strong chances to advance when

predictor of what will jump out

the shortlist is unveiled in December.

later on down the line. Last year

The Phase One committee deter-

was heavily weighted towards May

mines six of the candidates on that

Cannes premieres. Four made the

roster. The other three entries are

shortlist and three ultimately were

determined by the Foreign Language

nominated. While the 2015 submis-

Film Award Executive Committee.

sions include a cornucopia of movies

Lastly, 30 higher-profile Academy

that strolled a Riviera red carpet ear-

members choose the five nominees

lier this year—including one potential

after viewing the shortlist finalists.

frontrunner—there also are key titles

Then the entire Academy of Motion

that began their careers in February

D E A D L I N E .C O M / AWA R D S L I N E

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★ | foreign films might hook the Academy. The dramedy from Grímur Hákonarson is the story of two estranged brothers who run separate sheep farms. When a scourge threatens their respective flocks, they put down the staffs and come together to save the animals.

Also out of the Fortnight, Colombia’s Embrace of the Serpent (Oscilloscope) by Ciro Guerra employed a real life Shaman to star in the epic journey through the Amazon. AFI is screening.

Later on in the festival circuit, in Venice, came A War by Tobias Lindholm. The Danish helmer has been through the Oscar circus on the periphery before, having scripted longtime collaborator Thomas Vinterberg’s nominated The Hunt.

A drama about life and decisions Trying to get a foothold in the crowded Foreign Language Film Oscar race are, clockwise from top, Brazil’s The Second Mother, Denmark’s A War and Hungary’s Son of Saul.

on and off the battlefield, the film wowed the Horizons section when it premiered to a 15-minute standing ovation. Magnolia is releasing with an AFI screening set. Austria’s arthouse horror/thriller Goodnight Mommy (Radius) by Severin Fiala and Veronika Franz is looking to break any genre bias. It ran in Horizons and has heat on it. Jordan’s Theeb (Film Movement) and Italy’s Don’t Be Bad

in Berlin and, notably, Venice in

more confusing with El Club, El Clan

from its early press screenings and

September.

also is directed by a Pablo, Trapero

ultimately moved the jury to hand it

in this case. Both are playing the AFI

the Grand Prize. Nemes’ holocaust

is Norway’s The Wave, a disas-

Film Festival.

drama sees an Auschwitz prisoner

ter drama that could impress the

and member of the Sonnerkom-

Academy with its technical prowess.

The Berlinale has been a strong supplier of awards season fare in the past few years, spawning such favor-

Other notables out of Berlin

also are being buzzed.

Among other titles making waves

ites as A Royal Affair and The Broken

include The Second Mother from

mando who must burn the bodies

Magnolia has U.S. on this one. Also

Circle Breakdown. The 2015 vintage

Brazil’s Anna Muylaert. The story of

of the dead. When he discovers the

intriguing, the Cuba-set, Spanish-

was notable for Pablo Larrain’s El

a mother and daughter’s difficult

body of a boy he takes for his son, he

language Viva, which is Ireland’s

Club (Music Box), among others.

reunion won the Panorama Audience

attempts to find a rabbi to arrange

entry, was a real crowd pleaser in Tel-

The Chilean movie about a quartet

Award. Oscilloscope is releasing

a clandestine burial. Sony Pictures

luride. Canada’s Felix and Meira was

of exiled priests won the Grand Jury

domestically. Ixcanul (Kino Lorber),

Classics is handling.

very well received when it screened

Prize. Larrain’s subject, although

from Guatemala’s Jayro Bustamante,

difficult, is especially timely and

is set on the side of a volcano with

Hsien’s The Assassin (Well Go)

releasing. Also of note: the Israeli

told through a darkly comic lens. It

an arranged marriage as the back-

scored the veteran Taiwanese helmer

Film Academy’s Best Picture winner

should not be confused with El Clan

drop. The film won the Alfred Bauer

his first directing prize. The story of a

Baba Joon; Czech Republic’s Home

(Fox International Productions),

Prize in Berlin and got a lot of posi-

young girl exiled from her village, who

Care; and Korean box office hit The

the Argentine drama that won the

tive buzz from Academy types when

trains as an expert martial artist, is

Throne.

directing prize in Venice and also is a

it played Telluride.

Hou’s first Wuxi film. The director

The only newcomer this year is

uses shadow and lingering shots

Paraguay with director Arami Ullón’s

strong entry in this field. A box office

Later in the year, Cannes offered

Also off of the Riviera, Hou Hsiao-

in Los Angeles; Oscilloscope is

smash at home, it could follow in the

a group of smart, often sting-

with actors untrained in swordplay to

Cloudy Times. There’s precedent

footsteps of last year’s nominated

ing artistic splashes. Son of Saul,

create a world that’s at once lyrical

here: Mauritania’s Timbuktu made

Wild Tales. This one is based on the

a first time feature by Hungary’s

and haunting.

history last year when it was the first

true story of the criminal Puccio

László Nemes (a Deadline Director

family of the 1980s. To make matters

to Watch), wowed the Croisette

34

From Directors’ Fortnight, Iceland’s Rams (Cohen Media Group)

entry from that country and its first ever nomination.

D E A D L I N E .C O M / AWA R D S L I N E

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11/6/15 12:42 PM

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★ | documentaries

THE

DOC BLOC

The Academy’s doc shortlist is still weeks away, but here’s a glimpse at some of the films making waves in the crowded category.

By Joe Utichi

Even with 124 films qualifying for a run at the Documentary Feature Oscar this year, the longlist from the Academy of Motion Picture Arts and Sciences isn’t as extensive as in previous years.

But as the doc branch sets to work narrowing the list down further, there’s a sense that this year’s race is still up for grabs.

While CitizenFour came out of last year’s New York Film Festival as the doc to beat, the class of 2015 comes from all corners. Amy is the boxoffice hit on everyone’s lips but Michael Moore’s return to form with Where to Invade Next looks set to give it a run. There are returning doc directors like Alex Gibney and Amy Berg as well as films from fresh-faced newcomers to the Oscar race, such as Cartel Land and Sherpa.

And then there’s Joshua Oppenheimer. Many felt he was robbed of his moment when The Act of Killing lost out to 20 Feet from Stardom in 2014. Re-examining the Indonesian genocide this year with The Look of Silence, could this be his moment?

There’s still time before Oscar announces its shortlisted 15 docs next month, so with an open field ahead, here’s an educated guess at what that list might look like.

36

Amy

coalition stepping in to fight and

Asif Kapadia’s look at the tortured

protect the ordinary citizens caught

life of Amy Winehouse, which just

in the crossfire.

nabbed a nom from the International Documentary Association’s doc

Going Clear: Scientology and the

awards, leads the charge for music-

Prison of Belief

themed pics, battling with the likes

Alex Gibney’s other film, Steve

of Amy Berg’s Janis: Little Girl Blue

Jobs: The Man in the Machine, will

and Brett Morgen’s Kurt Cobain:

go toe-to-toe with a big-budget

Montage of Heck. Kapadia’s previous

feature version of the same story

film, Senna, didn’t qualify for an

from Danny Boyle and Aaron

Oscar, but won big at BAFTA.

Sorkin. Going Clear, which features interviews with a number of high-

Cartel Land

profile ex-Scientologists, already has

Matthew Heineman’s exposé of

challenged its biggest opponent: the

Mexican drug cartels and the lives

church itself.

they tear apart is a fearless example of a doc’s power to look behind the

He Named Me Malala

headlines. The film follows a civilian

An Inconvenient Truth Oscar winner

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★ | documentaries

(Clockwise from right): Malala Yousafzai is an ordinary teen in He Named Me Malala; civil unrest in Winter on Fire; revisiting a story of genocide decades later in The Look of Silence; Alex Gibney takes on Scientology in Going Clear.

Listen to Me Marlon

Obaid-Chinoy and Andy Schocken,

There are plenty of films about film

follows a group of Pakistani

this year—including Ingrid Bergman:

classical musicians as they travel

In Her Own Words and Hitchcock/

to New York and work tirelessly to

Truffaut—and many of them share

keep their traditions alive.

a similar theme: the stars talking about themselves. Stevan Riley’s

What Happened, Miss Simone?

film, also an IDA nominee, draws on

Taking its title from an essay

hundreds of hours of audiotape from

by Maya Angelou, Liz Garbus’s

Marlon Brando to weave its tale.

intimate portrait of Nina Simone finds extraordinary strife and life-

The Look of Silence

dominating frustrations behind the

The Act of Killing hadn’t been

icon. When the filmmaker chooses

released when Oppenheimer

to include Simone’s rendition of

followed an optometrist named

“Don’t Let Me Be Misunderstood,”

Adi as he confronted the people

the stakes are laid out. But Garbus’

responsible for his brother’s death

IDA-nominated film rises to the

in the Indonesian genocide of the

challenge.

1960s. Most documentarians favor a hands-off approach, but it has

Where to Invade Next

been Oppenheimer’s gentle nudging

Michael Moore travels the world

of his subjects that has resulted in

“invading” other countries for

breakthroughs more than 40 years

their best ideas, such as France’s

after the fact. It just got an IDA nom.

high-quality school meals, Italy’s five-week vacations and Germany’s

Prophet’s Prey

unionized workforce. Moore’s

Amy Berg’s other film of the year,

trademark brand of good humor

Prophet’s Prey, focuses on the

blended with home truths received

victims of Warren Jeffs and his

a rapturous welcome at its Toronto

Fundamentalist Latter-Day Saints

International Film Festival premiere.

church. It details Jeffs’ capture,

Has Moore got his groove back?

credited largely to the tenacity of private investigator Sam Brower and

Winter on Fire

journalist Jon Krakauer (who’s also in

It’s hard not to think of Les

the film Meru and wrote the book on

Miserables while watching Evgeny

which Everest partially is based).

Afineevsky’s frontline documentary about the student demonstrations

Sherpa

in Ukraine over the winter of 2013-

While the aforementioned Meru

14. There are makeshift barricades,

details a mountaineering expedition

12-year-old revolutionaries and

Davis Guggenheim didn’t know

while colleges’ coffers are stoked

from the perspective of the

stirring unrest. But there also is

what to expect when he knocked

by fraternities and football. The

mountaineers, Jennifer Peedom’s

police brutality scarcely laid so

on Malala Yousafzai’s door. The

filmmaker pulls no punches when it

film travels to Everest to give much-

bare, and this doc is no romance.

Nobel prize-winner turns out to be

comes to joining those dots.

delayed credit to the Sherpa people who keep that mountain open. At

The Wolfpack

brothers, giggling over Roger Federer

Iris

basecamp for the 2014 avalanche,

Taking the top doc prize at

and demanding that the U.S.

The final film for documentarian

Peedom finds an incredibly tense

Sundance, Crystal Moselle’s

Commander-in-Chief halt drone

Albert Maysles, who died shortly

relationship between local guides

film sure has changed the lives

warfare in the Middle East.

after the film’s release, this is a

and their foreign climber clients.

of it subjects, the Angulo family

a typical teen: teasing her younger

touching profile of fashionista

teenagers, who had rarely left their

The Hunting Ground

Iris Apfel, whose inimitable style

Song of Lahore

New York apartment and lived

It’s hard not to be seriously troubled

is drawn from a total lack of

When Sharia Law was imposed in

vicariously through the films of

by the information contained within

pretension. What makes the film

Pakistan in the 1970s, it challenged a

Martin Scorsese and Christopher

Kirby Dick’s searing examination of

such a treat is Maysles’ contrasting

tradition of classical music that had

Nolan. Since its release the boys

sexual assault on college campuses.

of Apfel’s modesty with the big egos

stood for centuries. Song of Lahore,

have traveled to their Mecca:

Alleged victims are shrugged off

of fashion.

from Oscar-winner Sharmeen

Hollywood, CA.

38

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★ | crew call | Hair & make-up

THE

GAME CHANGERS Hair and make-up transformations in three films were essential for the actors to disappear into their roles.

By Anita Busch

Whether it’s creating a psychopath, a new gender or a new age, this year hair and make-up professionals deftly transformed three of the best actors working today— Johnny Depp, Eddie Redmayne and Sir Ian McKellan—into onscreen personas in Black Mass, The Danish Girl and Mr. Holmes, respectively. These artists’ work could help each of these gents earn a Best Actor Oscar nomination.

Two of the make-up artists have worked with their actors on multiple films—Joel Harlow with Depp and Jan Sewell with Redmayne. The third, Dave Elsey, who made the 76-year-old McKellan into younger and older versions of Sherlock Holmes, was able to realize a childhood dream with the literary character.

What’s Old is New

perfect fit for the Bill Condon-

Mr. Holmes

directed Mr. Holmes. The make-up artist knew every detail of the

In fact, you could call Elsey a super-

physical appearance of the fictional

fan of Sherlock Holmes. He grew up

character: thin, strong cheekbones,

in London, where Sir Arthur Conan

a prominent nose. He also had

Doyle wrote the iconic crime fiction

seen every film version of Sherlock

detective novels, and near the Whi-

Holmes going back to the 1920s, from

techapel district, where the real-life

Eille Norwood to Basil Rathbone to

Jack the Ripper killed his victims. “I

Christopher Lee and beyond in the

grew up in that kind of world,” Elsey

detective role.

says. “Those were the kind of fairy

Elsey wanted to stay true to the

tales I got when I was younger. So

novels’ description while not losing

Sherlock Holmes was with me for a

McKellan’s visage. “He looked very

very long while.”

Sherlockian already, so we (Elsey

In other words, Elsey was the

40

and his collaborator, wife Lou) just

D E A D L I N E .C O M / AWA R D S L I N E

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11/6/15 2:45 PM

for YoUr conSiDerATion BEST DOCUMENTARY FEATURE / 88th ACADEMY AWARDS®

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beautiful rage...

Lindsey

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Benn German

provokes anger andMedea goosebumps” Ron Tariq

Jesse

Rylance

Jackson

Benjamin

Brian

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Eno

Glover Damon

Branson Loach Benn MedeaChomsky Tony Hans Richard Tariq

Albarn

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15Feb2003

SARA AHMED SARA REZA MOROVAT ANDREIMOROVAT ENOIU ANDREI ENOIU AHMED REZA

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The story of the largest global protest that would change the world forever

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★ | crew call | Hair & make-up wanted to sharpen him,” he says.

prosthetics, and shaved McKellan’s

“I find with Sherlock Holmes films

forehead back to create widow

they can fall down if you don’t get

peaks like Eille Norwood’s. Creating

the resemblance right.” Elsey first

the younger Sherlock was more of a

sculpted four different cheekbones

challenge.

and paid attention to the hawk-like

“Ian’s face is quite smooth, actu-

nose. The challenge was in making

ally, so that helped. I had this idea

the 76–year-old actor look 10 years

that if I could flatten his eyebrows

younger and then 17 years older.

down and then stick the cheek pieces

Elsey says he was inspired by the

on, I could smooth his eye bags out

legendary make-up artist Dick Smith.

and make it work,” says Elsey. Key to

“I tried to imagine what Dick would

bringing Holmes to life was McKellan

do,” Elsey says. “I tried to implement

himself, who never strayed from char-

his approach in this make-up. You

acter. “When Sherlock is younger, Ian

wanted to use different techniques

came leaping into the make-up trailer,

with McKellan’s face.” So, for the

and when he was old, we’d have to

Masculine/Feminine

“I literally tried all the wigs based on

older Sherlock, he and Lou used

help him out of the trailer and get a

The Danish Girl

the paintings (Gerda) had done,”

old-age stipple in conjunction with

walking stick,” he says.

she says. “That’s how we found that Jan Sewell, the make-up and hair artist on The Danish Girl, started

lovely look.”

Key to the male/female transfor-

Partners in Crime

believable,” Harlow says. “When you

out at the BBC. “What was so

mation was actually over-feminizing

Black Mass

zoom in close, you don’t want to see

amazing about training there is

Redmayne as Lili. “It is commonly

the (wig) lace, so we punched the

that they taught us to do make-

known that transgender people,

hair into the silicon.”

up, hair and special effects,” she

when they start (their transforma-

says. “I was very lucky. I was there

tions), can overly feminize, so that’s what we did at first,” Sewell says.

Longtime collaborators Joel Harlow and Johnny Depp worked hand-

Like Elsey, Harlow was fascinated

in-hand when prepping the role

as a kid with movie magic. He grew

15 years before I went freelance.”

of mobster Whitey Bulger in Black

up in North Dakota and, because

That experience was a launching

Mass. Depp was keen on getting a

of the weather, would spend a lot

pad for Sewell’s 30-year career,

into Lili, Sewell stopped over-femi-

particular look for the sociopathic

of time indoors. “So I would sculpt

which has included everything

nizing; the look changed to become

head of Boston’s Winter Hill Gang

and end up destroying my parent’s

from hair, make-up and prosthetic

more natural. “At first, (Redmayne)

and the duo wanted the psychopa-

house, but it was fun,” he says.

design. She’s even put prosthetics

had to look like a man from the ’20s…

thy to emanate from every pore—the

His passion initially caused him to

on Josh Brolin in Everest.

I pushed his male look more at the

crazy blue eyes, the bad teeth, the

pursue a career in animation, “but

Sewell and Redmayne had

beginning and brought his jaw line

eerie smile. Having worked together

I saw John Carpenter’s The Thing

collaborated before on two films,

and cheekbones out,” she says. “As

on 10 films—including the Pirates

and realized (make-up) was what

Les Miserables and The Theory of

we made the transition I used (a

of the Caribbean series and Alice in

I really wanted to do rather than

Everything, which won Redmayne

hair piece knotted on a string) on

Wonderland—there was a shorthand

stop-motion.”

the Best Actor Oscar. With Danish

top of the head and placed it in the

Girl—about one of the first people

first wig to have the hair growing. As

to undergo gender reassignment

he became more feminine, I could

from his cheeks and the bottom of

surgery—Sewell had the chal-

pull the hair out more and sweep

his nose to the middle of his fore-

lenge of transforming Red-

it over his forehead. But then we

head, Harlow literally transformed

mayne from a male—artist Einer

had to go back to Eddie being more

Depp into a different face. Unlike

Wegener—into Lili Elbe.

masculine.”

between the two.

Using a prosthetic nose that went

McKellan or Redmayne, he became

“If you look at the real pictures,

However, after Einer transitions

The production needed Red-

almost unrecognizable. But the most

(Einar) was a middle-aged man

mayne to, on any given day, have

remarkable parts of the changeover

by the time he truly became Lili.

multiple looks. “You have to know

were the wigs and eyebrow pieces

That was not the story that we

your continuity to be able to do

that were used. Make-up effects

wanted to do,” says Sewell, who

that,” Sewell says. “We worked the

hair stylist Khanh Trance used

researched Einar’s artist wife,

same way we did for Theory. Every

human hair and punched through

Gerda, and the colors she used to

morning we’d go through the (pro-

every strand to help produce the

paint portraits of Lili.

duction) bible and we’d talk about,

realism. She did this on 45 forehead

Sewell and her team tried out

‘This is an emotional scene and I

pieces and each took a whopping

eight differently colored wigs

want to over-feminize again.’ And

22 hours to make. Even the eye-

on Redmayne, including blonde

that’s what is so great about working

brows had to be done by hand. “The

and dark brown, but with the

with Eddie. He is taking you along the

movie hinged on the make-up being

actor’s coloring red worked best.

journey with him.”

42

D E A D L I N E .C O M / AWA R D S L I N E

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F O R Y O U R C O N S I D E R AT I O N B E ST D O C U M E N TA RY F E AT U R E

“BLINDINGLY BEAUTIFUL AND METICULOUSLY ASSEMBLED.” —JEANNETTE CATSOULIS

“SPECTACULAR! MERU WILL OPEN YOUR EYES.” —KENNETH TURAN, LOS ANGELES TIMES

“TERRIFYING YET BEAUTIFUL.” —MICHAEL O’SULLIVAN, THE WASHINGTON POST

“EXTRAORDINARY.”

—DAVID EDELSTEIN, NEW YORK MAGAZINE

++++ “BREATHTAKING.”

— TOM KEOGH, THE SEATTLE TIMES

“ONE OF THE BEST DOCUMENTARIES OF 2015.”

—NEWSWEEK

“STUNNING! THIS IS THE RARE DOCUMENTARY THAT DEMANDS TO BE SEEN ON THE BIG SCREEN.” —G. ALLEN JOHNSON, SAN FRANCISCO CHRONICLE

“THIS IS ONE OF THE MOST BEAUTIFUL AND ONE OF THE MOST FRIGHTENING MOVIES OF ANY KIND THIS YEAR.” —RICHARD ROEPER, CHICAGO SUN-TIMES

BELIEVE IN THE IMPOSSIBLE A FILM BY JIMMY CHIN AND ELIZABETH CHAI VASARHELYI

AMPAS and GUILD MEMBERS SCREENING Thursday, November 12th, 7:30pm Ocean Screening Room, 1401 Ocean Ave. #110, Santa Monica CA 90401 RSVP: meru@acmepr.net

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merufilm.com musicboxfilms.com facebook.com/musicboxfilms

© SOUTHPORT MUSIC BOX CORPORATION

11/6/15 11:32 AM

OSCAR® ENTRY TURKEY BEST FOREIGN LANGUAGE FILM

WRITER & DIRECTOR

KAAN MÜJDECİ “imposing... muscular” Variety / “unflinching...strikingly photographed...” The Hollywood Reporter •OFFICIAL SELECTION•

•OFFICIAL SELECTION•

Abu Dhabi International Film Festival BEST ACTOR AWARD, CHILD PROTECTION AWARD for Best Script

•OFFICIAL SELECTION•

Karlovy Vary International Film Festival

Sarajevo International Film Festival

•OFFICIAL SELECTION•

Best Actor Award

•OFFICIAL SELECTION•

Tokyo International Film Festival

•OFFICIAL SELECTION•

Jerusalem International Film Festival

•OFFICIAL SELECTION•

Stockholm International Film Festival

•OFFICIAL SELECTION• •OFFICIAL SELECTION•

Odessa International Film Festival

Festival of Black Lights Tallinn Film Festival

Saturday, November 14, 2pm Rodeo Screening Room, 150 S. Rodeo Drive, Beverly Hills 90212 - Q&A w/director Monday, November 16, 7pm Landmark, 10850 West Pico Blvd., Los Angeles 90064 - Q&A w/director - AMPAS FL ONLY Wednesday, November 18, 7pm Landmark, 10850 West Pico Blvd., Los Angeles 90064 - Q&A w/director - AMPAS FL ONLY Monday, November 23, 7pm Raleigh Studios - Chaplin Theater, 5300 Melrose Ave., Van Ness Gate, Los Angeles, CA 90038 - AMPAS FL ONLY RSVP: SivasRSVP@yahoo.com

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WINNER

WINNER

HOLLY WOOD FILM FESTIVAL

HEARTL AND FILM FESTIVAL

WINNER

WINNER

BEST DOCUMENTARY

AUDIENCE CHOICE

VAIL FILM FESTIVAL

NEW HAMPSHIRE FILM FESTIVAL

BEST DOCUMENTARY

GR AND JURY AWARD

F O R

YO U R

CO N S I D E R AT I O N

BEST DOCUMENTARY FEATURE BEST ORIGINAL SONG “ STEM TO THE ROSE ”

WINNER

CLEVEL AND INT’L FILM FESTIVAL BEST FILM

WINNER

CLEVEL AND INT’L FILM FESTIVAL STUDENT CHOICE

WINNER

CLEVEL AND INT’L FILM FESTIVAL AUDIENCE CHOICE

WINNER

BELOIT FILM FESTIVAL BEST DOCUMENTARY

EXPERIENCE THE FILM EVERYONE’S TALKING ABOUT “An Oscar Contender.” ®

“As entertaining as it is inspiring.”

— Jamie Lee Curtis & Christopher Guest —

“Simply the best film you and your family might ever get to see.”

— Ted Danson —

“I will drag everyone I know to experience this film, because I know they need to see it and they will thank me for it afterwards.”

“A wonderful documentary.”

“Deeply moving and inspirational.”

NOW BACK IN THEATERS — LAEMMLE’S PLAYHOUSE 7 FOR AMPAS AND GUILD SCREENINGS VISIT WWW.SUPERFILMSAWARDS.TV BECOMINGBULLETPROOFMOVIE.COM

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F O R

Y O U R

C O N S I D E R A T I O N

BEST FOREIGN LANGUAGE FILM OFFICIAL SELECTION – KAZAKHSTAN

“A ruggedly attractive epic.”- Variety

A film by Yermek Tursunov

SCREENINGS: OFFICIAL AMPAS FOREIGN LANGUAGE COMMITTEE SCREENING MONDAY, NOVEMBER 16, 9:25PM • Samuel Goldwyn Theater • 8949 Wilshire Blvd., Beverly Hills AMPAS & HFPA members WEDNESDAY, NOVEMBER 18, 7:30PM • Landmark Theatre • 10850 Pico Blvd., Los Angeles THURSDAY, DECEMBER 3, 5:00PM • Wilshire Screening Room • 8670 Wilshire Blvd., Suite 112, Beverly Hills

Please Join Us • RSVP: Stranger.Awards@gmail.com

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STRANGER / AWARDSLINE FULL PAGE Bleed

11/5/15 3:49 PM

★ | final frame

JANUARY

A24 nabs domestic distribution rights to The End of the Tour before the start of the Sundance Film Festival. • Fox Searchlight buys Brooklyn at the fest for $9 million.

• I Smile Back is nominated for the Grand Jury Prize.

FEBRUARY

45 Years stars Charlotte Rampling and Tom Courtenay win best actress and actor awards at the Berlinale and director Andrew Haigh is nominated for the Golden Bear. Sundance Selects acquires North American rights for the film.

MARCH

I Smile Back is picked up for distribution by Broad Green Pictures. • Netflix acquires Cary Fukunaga’s 1 Beasts of No Nation for a reported $12 million, making the film the streaming service’s first narrative feature.

MAY

2 Sicario director Denis Villeneuve is nominated for the Palme D’Or at Cannes. • Disney premieres Inside Out at the fest. • 3 Carol star Rooney Mara wins the Best Actress Award, tying with Emmanuelle Bercot for Mon Roi. • Truth scores a $6 million distribution deal with Sony Pictures Classics. • Sony Pictures Worldwide Acquisitions makes a multi-territory deal for Thomas McCarthy’s 4 Spotlight, starring Michael Keaton and Mark Ruffalo. • Warner Bros.’ Mad Max: Fury Road opens with $45 million in domestic boxoffice (eventually making more than $370 million worldwide).

3

1 2

4

JULY

Quentin Tarantino teases The Hateful Eight at Comic-Con in San Diego. • 5 Inside Out bests Jurassic World at the box office over the July 4 weekend.

AUGUST

Straight Outta Compton wins its opening weekend boxoffice with $60 million in domestic ticket sales.

SEPTEMBER

The Venice Film Festival hosts world premieres of Black Mass, The Danish Girl, Spotlight and Beasts of No Nation. Tom Hooper wins the Queer Lion award for 6 The Danish Girl. Beasts director Cary Fukunaga wins the CICT-UNESCO Enrico Fulchignoni Award. The film’s young star, Abraham Attah, wins the fest’s Marcello Mastroianni Award. • 45 Years, Room, Carol, Spotlight, Beasts of No Nation, Suffragette, Anomalisa and 7 Black Mass screen at the Telluride Film Festival. • Sicario, Truth, The Danish Girl, Our Brand is Crisis, Youth, The Martian and Trumbo screen at the Toronto International Film Festival. • Room wins the Grolsch People’s Choice Award in Toronto. • A year after Broad Green picked up 99 Homes, the film wins the Grand Prize at the Deauville American Film Festival.

5 9 8

OCTOBER

Suffragette opens the London Film Festival in its European premiere. • 8 Room is nominated for best film in London. • The Walk opens the New York Film Festival. • 9 Steve Jobs screens as the Centerpiece of the New York Film Festival and closes the London Film Festival in its European premiere.

NOVEMBER

By the Sea, Concussion and The Big Short have world premieres at AFI.

THE ROAD TO OSCAR 48

6 7

If recent Oscar winners have proven anything, it’s that a successful awards campaign can start more than a year before the actual ceremony. Like the 2016 presidential hopefuls, this year’s contenders are in it for the long haul. Here are just some of the campaign stops several awards season players already have made. By Matthew Grobar

D E A D L I N E .C O M / AWA R D S L I N E

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“I N W H A T I S S U R E T O B E A N O S C A R® - N O M I N A T E D ROLE, EDDIE REDMAYNE EMANATES AN EMOTIONAL URGENCY IN LILI WITH A POTENT MIX OF PAIN AND LONGING THAT OOZES FROM EACH M A N N E R I S M .”

ERIN WHITNE Y, THE HUFFIN GTON POST

FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

BEST PICTURE • BEST ACTOR EDDIE REDMAYNE BEST SUPPORTING ACTRESS ALICIA VIKANDER

“A L I C I A V I K A N D E R CONJURES SOMETHING DAZZLING AND UNEXPECTED. SHE IS STUNNING AND E X T R A O R D I N A R Y.” CHRIS NASHAWATY, ENTERTAIN MEN T WEE KLY

#TheDanishGirl

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For more on this film, go to www.FocusGuilds2015.com

MOTION PICTURE: © 2015 UNIVERSAL STUDIOS. ALL RIGHTS RESERVED. ARTWORK: © 2015 FOCUS FEATURES LLC. ALL RIGHTS RESERVED.

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“PROVOCATIVE,

HILARIOUSLY FUNNY...

MOORE’S LATEST FILM IS

HIS MOST BOLD AND MOST SOPHISTICATED. Instead of pointing out our flaws, he

imagines our possibilities. And instead of wallowing in fear and panic, he offers practical ideas for productive change.”

– Sophia A. McClennen Salon

WINNER

WINNER

WINNER

CHICAGO

CHICAGO

AUDIENCE AWARD

FOUNDER’S AWARD

INTERNATIONAL FILM FESTIVAL

INTERNATIONAL FILM FESTIVAL

HAMPTONS OFFICIAL SELECTION

OFFICIAL SELECTION

NEW YORK

TORONTO INTERNATIONAL

FILM FESTIVAL

INTERNATIONAL FILM FESTIVAL

CENTERPIECE

AFI FEST

FILM FESTIVAL

CENTERPIECE

CLOSING NIGHT

CHICAGO INTERNATIONAL

PHILADELPHIA INTERNATIONAL FILM FESTIVAL

F O R

AUDIENCE AWARD

FILM FESTIVAL

Y O U R

CENTERPIECE

DENVER INTERNATIONAL FILM FESTIVAL

“IMPASSIONED. WHERE TO INVADE NEXT offers hope and is

MR. MOORE’S MOST FAR-REACHING FILM.” – Stephen Holden The New York Times

C O N S I D E R A T I O N

“UNDENIABLY BEST SHARP DOCUMENTARY AND BUOYANT...

F E AT U R E

a cinematic statement of ideological principles.”

– Justin Chang, Variety

“MOORE HAS ALWAYS BEEN A GUERRILLA FILMAKER,

but in WHERE TO INVADE NEXT, his provocations dig deep below the surface of politics.

HE HAS MADE AN ACT OF GUERRILLA HUMANITY.” – Owen Gleiberman BBC

Where to Invade Next A NEW COMEDY BY

MICHAEL MOORE

“HEARTFELT. MOORE’S FILM IS FUNNY, but it’s also as serious as a heart attack. There’s nothing mock about his outrage;

IT’S SINCERE AND ULTIMATELY HOPEFUL. AND WHEN YOU’RE DONE LAUGHING, WHERE TO INVADE NEXT IS A MOVIE THAT STINGS.”

– Chris Nashawaty Entertainment Weekly

Invading Soon Prepare To Be Liberated.

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