my son study hard????
sugar curiouse....?
http://current.com/tags/77125722_oscars/
http://www.scribd.com/
http://www.simplyscripts.com/
http://www.simplyscripts.com/movie.html
http://88.80.13.160.nyud.net/leak/indiana-jones-4.pdf
Indian Jones and the City of the Gods - November 4, 2003 draft script by Frank Darabont (story by George Lucus) - hosted by:
wikileaks.org - in pdf format
Famed archaeologist/adventurer Dr. Henry "Indiana" Jones is called back into action when he becomes entangled in a Soviet plot to uncover the secret behind a mysterious artifact.
Information courtesy of imdb.com
tagged w/ Oscars
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With “Jennifer’s Body” writer Diablo Cody unleashes the comedy and horror of being a teenager in a surprising way. Now blond, but still bad and beautiful, Cody gets candid with Jorge Carreon in a Personalities Interview for Examiner.com on her demonic need to express herself.With “Jennifer’s Body” writer Diablo Cody unleashes the comedy and horror of... more -
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"SUMMER is Hollywood’s silly season, but it’s also when the big studios dominate chatter and screens with blockbuster blowouts like “Transformers: Revenge of the Fallen.” Fall, on the other hand, is the industry’s serious season, when the studios trot out the kind of aesthetically ambitious, modestly priced work that dominates Top 10 lists and tends to clean up at the Oscars.
In the last two years, however, several studios have shut down or absorbed the specialty divisions that provided them with some of their most critically praised titles, films like “Good Night, and Good Luck” and “There Will Be Blood.” Financing has dried up as the economy has gone sour, and even well-regarded films have struggled to turn a profit. All of which makes us wonder if these types of serious, middle-size movies will become an endangered species." (more @ link)"SUMMER is Hollywood’s silly season, but it’s also when the big studios dominate... more -
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"FROM the tattoo on Diablo Cody’s bicep to Lone Scherfig’s leopard-spot pumps, it was impossible not to notice: The 34th Toronto International Film Festival opened on Thursday with the women in charge.
While still struggling to find their place in the movie industry at large — the number of directors at American studios remains well over 90 percent male — female filmmakers have managed to occupy some of this 10-day festival’s most valuable slots: those showcase screenings and press conferences in the first couple of days, when everyone is still paying attention.
Thursday’s most raucous event was almost certain to be the 11:59 p.m. red-carpet debut of 20th Century Fox’s “Jennifer’s Body,” directed by Karyn Kusama (“Girlfight”) from a script by Ms. Cody (“Juno”), in which Megan Fox plays a high school sex bomb who, quite literally, turns into a man-eater.
According to Natalie Johnson, a spokeswoman for Fox, tickets to the midnight show at the landmark Ryerson Theater, which seats more than 1,200, were gone within two hours of going on sale last week. (“Hell is a teenage girl,” runs a theme-setting line from the film.)
“Jennifer’s Body,” which opens in commercial theaters next Friday, got its first festival screening at noon on Thursday. Several hundred press and film industry types, normally a jaded bunch, were lined up for a look at the Kusama-Cody-Fox combination’s take on female vengeance.
The audience was laughing in all the right places, a good sign for the film, which is walking a fine line between comedy, horror and a postpunk feminism that is telegraphed by the title’s cute pink script in the opening credits.
But the deeper question is whether the Toronto festival’s first couple of days might help propel a clutch of female directors to the front of Hollywood’s award race.
Something like that happened in 2003, when a Toronto screening of “Lost in Translation” put Sofia Coppola on the path to a best-director Oscar nomination. She is one of only three women ever to earn that distinction, the others being Lina Wertmüller for “Seven Beauties” and Jane Campion for “The Piano.”
None of them won the directing Oscar. But 2003 became known as a good year for women, as Niki Caro, directing “Whale Rider”; Catherine Hardwicke, directing “Thirteen”; Patty Jenkins, with “Monster”; and Shari Springer Berman, with “American Splendor,” all joined Ms. Coppola in making a strong impression.
Ms. Campion is back in contention for prizes this year with “Bright Star,” a romance about the poet John Keats and his muse Fanny Brawne, from the new film company Apparition. The film began screening here Thursday, as Ms. Campion and her team, including the actors Ben Whishaw and Abbie Cornish, gathered in advance of a Friday night presentation ahead of its commercial opening next week.
By Thursday morning Ms. Scherfig, a Danish director, was already in motion. Preparing for a 6 p.m. screening of “An Education,” her offbeat romance from Sony Pictures Classics, Ms. Scherfig was at the Four Seasons Hotel, doing the occasional press interview and getting ready for a reunion with her cast members, who include Peter Sarsgaard and Carey Mulligan.
“For me it was never an issue to project anything that had to do with gender,” Ms. Scherfig said of her own take on filmmaker demographics. “All my films have had men in their late 30s in the lead.”
This stop was not Ms. Scherfig’s first — she and the film had just dropped in from a festival in Telluride, Colo., and had made a splash at the Sundance festival in January in Park City, Utah — nor the last, as she was planning to head for yet another festival appearance in London.
Ms. Caro was also expected in Toronto with her latest film, “The Vintner’s Luck,” which was to be toasted at a New Zealand film cocktail party Friday, ahead of a weekend screening. Other women with films in the Toronto festival include Rebecca Miller..." more @ link
part of Movie News:
http://current.com/groups/movie-news/"FROM the tattoo on Diablo Cody’s bicep to Lone Scherfig’s leopard-spot pumps, it... more -
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The kick-off of the Venice Film Festival tomorrow marks the annual turning point for the fall awards season. Over the next 19 or so days, Venice, Telluride this weekend and Toronto next week will offer both industry, and in Toronto’s case the public, a glance at dozens of films that may or may not factor into this year’s big race. From new works by the Coen Brothers, Steven Soderbergh and Michael Moore, to films that could rocket out of nowhere to feature prominently during awards season, these fests should take us a few decent-sized steps away from the state of mostly ignorant speculation we’re currently in.The kick-off of the Venice Film Festival tomorrow marks the annual turning point for... more -
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August 27, 2009
 |  Oscar 2010 – Germany The White Ribbon representing Germany in the race for the Oscar The independent expert jury, which was appointed by German Films to select the German entry to compete for the Oscar for best foreign language film, has decided under the chairmanship of Alfred Hürmer to submit the film The White Ribbon [ trailer] by Michael Haneke.
The jury on its decision: " The White Ribbon convinces through its narrative and aesthetic quality as well as its extraordinary characterisation of a village community in Germany at the beginning of the 20th century." http://www.awardsdaily.com/?paged=5 |
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