January
31st 2006
|
The
nominees speak
USA TODAY's Donna Freydkin, Will Keck, Whitney Matheson, Karen Thomas
and Susan Wloszczyna are tracking down the nominees to get their initial
reactions.
2:05
p.m. Jake Gyllenhaal's on set in Los Angeles, shooting Zodiac and
getting ready to film a seven-page scene with Mark Ruffalo. Gyllenhaal
didn't watch the nominations but got a call from his agent with the news
that he'd earned a best supporting actor nomination for playing a gay cowboy
in Brokeback Mountain.
"My
phone voicemail was filled with messages so she couldn't leave a message so
she called me at my house," he says. Tonight, he'll "definitely be
doing something" to celebrate, he says.
As for
Brokeback's eight nominations, says Gyllenhaal, "the more attention
that it gets and the more it's championed by audiences and critics, the more
people are likely to see it." He chatted with castmates Heath Ledger
and Michelle Williams this morning. "Heath and I talked and I got a,
'Congratulations, mate!'" he says. And Gyllenhaal, who was dating
Kirsten Dunst, has no word on who'll be his Oscar date. "I don't
know!" he laughs. —D.F.
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posted by Ally
- credits: USATODAY.Com
-
|
January
31st 2006
|
Academy
of Motion Picture Arts and Sciences
78th Annual Academy Awards Nominations
Best motion picture of
the year
“Brokeback
Mountain” (Focus Features)
A River Road Entertainment Production
Diana Ossana and James Schamus, Producers
“Capote” (UA/Sony Pictures Classics)
An A-Line Pictures/Cooper’s Town/ Infinity Media Production
Caroline Baron, William Vince and Michael Ohoven, Producers
“Crash” (Lions Gate)
A Bob Yari/DEJ/Blackfriar’s Bridge/ Harris Company/ApolloProscreen GmbH
& Co./Bull’s Eye Entertainment Production
Paul Haggis and Cathy Schulman, Producers
“Good Night, and Good Luck.” (Warner Independent Pictures)
A Good Night Good Luck LLC Production
Grant Heslov, Producer
“Munich” (Universal and DreamWorks)
A Universal Pictures/DreamWorks Pictures Production
Kathleen Kennedy, Steven Spielberg and Barry Mendel, Producers
PERFORMANCE BY AN ACTOR IN A LEADING ROLE
Philip Seymour Hoffman - CAPOTE
Terrence Howard - HUSTLE & FLOW
Heath Ledger -
BROKEBACK MOUNTAIN
Joaquin Phoenix - WALK THE LINE
David Strathairn - GOOD NIGHT, AND GOOD LUCK.
PERFORMANCE BY AN ACTOR
IN A SUPPORTING ROLE
George Clooney - SYRIANA
Matt Dillon - CRASH
Paul Giamatti - CINDERELLA MAN
Jake Gyllenhaal -
BROKEBACK MOUNTAIN
William Hurt - A HISTORY OF VIOLENCE
PERFORMANCE BY AN ACTRESS
IN A LEADING ROLE
Judi Dench - MRS. HENDERSON PRESENTS
Felicity Huffman - TRANSAMERICA
Keira Knightley - PRIDE & PREJUDICE
Charlize Theron - NORTH COUNTRY
Reese Witherspoon - WALK THE LINE
PERFORMANCE BY AN ACTRESS
IN A SUPPORTING ROLE
Amy Adams - JUNEBUG
Catherine Keener - CAPOTE
Frances McDormand - NORTH COUNTRY
Rachel Weisz - THE CONSTANT GARDENER
Michelle Williams -
BROKEBACK MOUNTAIN
Best animated feature film of the year
“Howl’s Moving Castle” (Buena Vista)
Hayao Miyazaki
“Tim Burton’s Corpse Bride” (Warner Bros.)
Tim Burton and Mike Johnson
“Wallace & Gromit in the Curse of the Were-Rabbit” (DreamWorks
Animation SKG)
Nick Park and Steve Box
Achievement in art direction
“Good Night, and Good Luck.” (Warner Independent Pictures)
Art Direction: Jim Bissell
Set Decoration: Jan Pascale
“Harry Potter and the Goblet of Fire” (Warner Bros.)
Art Direction: Stuart Craig
Set Decoration: Stephenie McMillan
“King Kong” (Universal)
Art Direction: Grant Major
Set Decoration: Dan Hennah and Simon Bright
“Memoirs of a Geisha” (Sony Pictures Releasing)
Art Direction: John Myhre
Set Decoration: Gretchen Rau
“Pride & Prejudice” (Focus Features)
Art Direction: Sarah Greenwood
Set Decoration: Katie Spencer
Achievement in cinematography
“Batman Begins” (Warner Bros.)
Wally Pfister
“Brokeback
Mountain” (Focus Features)
Rodrigo Prieto
“Good Night, and Good Luck.” (Warner Independent Pictures)
Robert Elswit
“Memoirs of a Geisha” (Sony Pictures Releasing)
Dion Beebe
“The New World” (New Line)
Emmanuel Lubezki
Achievement in costume design
“Charlie and the Chocolate Factory” (Warner Bros.)
Gabriella Pescucci
“Memoirs of a Geisha” (Sony Pictures Releasing)
Colleen Atwood
“Mrs. Henderson Presents” (The Weinstein Company)
Sandy Powell
“Pride & Prejudice” (Focus Features)
Jacqueline Durran
“Walk the Line” (20th Century Fox)
Arianne Phillips
Achievement in directing
“Brokeback
Mountain” (Focus Features)
Ang Lee
“Capote” (UA/Sony Pictures Classics)
Bennett Miller
“Crash” (Lions Gate)
Paul Haggis
“Good Night, and Good Luck.” (Warner Independent Pictures)
George Clooney
“Munich” (Universal and DreamWorks)
Steven Spielberg
Best documentary feature
“Darwin’s Nightmare” (International Film Circuit)
A Mille et Une Production
Hubert Sauper
“Enron: The Smartest Guys in the Room” (Magnolia Pictures)
An HDNet Films Production
Alex Gibney and Jason Kliot
“March of the Penguins” (Warner Independent Pictures)
A Bonne Pioche Production
Luc Jacquet and Yves Darondeau
“Murderball” (THINKFilm)
An Eat Films Production
Henry-Alex Rubin and Dana Adam Shapiro
“Street Fight”
A Marshall Curry Production
Marshall Curry
Best documentary short subject
“The Death of Kevin Carter: Casualty of the Bang Bang Club”
A Dan Krauss Production
Dan Krauss
“God Sleeps in Rwanda”
An Acquaro/Sherman Production
Kimberlee Acquaro and Stacy Sherman
“The Mushroom Club”
A Farallon Films Production
Steven Okazaki
“A Note of Triumph: The Golden Age of Norman Corwin”
A NomaFilms Production
Corinne Marrinan and Eric Simonson
Achievement in film editing
“Cinderella Man” (Universal and Miramax)
Mike Hill and Dan Hanley
“The Constant Gardener” (Focus Features)
Claire Simpson
“Crash” (Lions Gate)
Hughes Winborne
“Munich” (Universal and DreamWorks)
Michael Kahn
“Walk the Line” (20th Century Fox)
Michael McCusker
Best foreign language film of the year
“Don’t Tell”
A Cattleya/Rai Cinema Production
Italy
“Joyeux Noël”
A Nord-Ouest Production
France
“Paradise Now”
An Augustus Film Production
Palestine
“Sophie Scholl - The Final Days”
A Goldkind Filmproduktion and Broth Film Production
Germany
“Tsotsi”
A Moviworld Production
South Africa
Achievement in makeup
“The Chronicles of Narnia: The Lion, the Witch and the Wardrobe”
(Buena Vista)
Howard Berger and Tami Lane
“Cinderella Man”
(Universal and Miramax)
David Leroy Anderson and Lance Anderson
“Star Wars: Episode III Revenge of the Sith”
(20th Century Fox)
Dave Elsey and Nikki Gooley
Achievement in music written for motion pictures (Original score)
“Brokeback
Mountain” (Focus Features) Gustavo Santaolalla
“The Constant Gardener” (Focus Features) Alberto Iglesias
“Memoirs of a Geisha” (Sony Pictures Releasing) John Williams
“Munich” (Universal and DreamWorks) John Williams
“Pride & Prejudice” (Focus Features) Dario Marianelli
Achievement in music written for motion pictures (Original song)
“In the Deep” from “Crash” (Lions Gate)
Music by Kathleen “Bird” York and Michael Becker
Lyric by Kathleen “Bird” York
“It’s Hard Out Here for a Pimp” from“Hustle & Flow” (Paramount
Classics, MTV Films and New Deal Entertainment)
Music and Lyric by Jordan Houston, Cedric Coleman and Paul Beauregard
“Travelin’ Thru” from “Transamerica” (The Weinstein Company and
IFC Films)
Music and Lyric by Dolly Parton
Best animated short film
“Badgered”
A National Film and Television School Production
Sharon Colman
“The Moon and the Son: An Imagined Conversation”
A John Canemaker Production
John Canemaker and Peggy Stern
“The Mysterious Geographic Explorations of Jasper Morello” (Monster
Distributes)
A 3D Films Production
Anthony Lucas
“9”
A Shane Acker Production
Shane Acker
“One Man Band”
A Pixar Animation Studios Production
Andrew Jimenez and Mark Andrews
Best live action short film
“Ausreisser (The Runaway)”
A Hamburg Media School, Filmwerkstatt Production
Ulrike Grote
“Cashback” (The British Film Institute)
A Left Turn Films Production
Sean Ellis and Lene Bausager
“The Last Farm”
A Zik Zak Filmworks Production
Rúnar Rúnarsson and Thor S. Sigurjónsson
“Our Time Is Up”
A Station B Production
Rob Pearlstein and Pia Clemente
“Six Shooter” (Sundance Film Channel)
A Missing in Action Films and Funny Farm Films Production
Martin McDonagh
Achievement in sound editing
“King Kong” (Universal) Mike Hopkins and Ethan Van der Ryn
“Memoirs of a Geisha” (Sony Pictures Releasing) Wylie Stateman
“War of the Worlds” (Paramount and DreamWorks) Richard King
Achievement in sound mixing
“The Chronicles of Narnia: The Lion, the Witch and the Wardrobe” (Buena
Vista)
Terry Porter, Dean A. Zupancic and Tony Johnson
“King Kong” (Universal)
Christopher Boyes, Michael Semanick, Michael Hedges and Hammond Peek
“Memoirs of a Geisha” (Sony Pictures Releasing)
Kevin O’Connell, Greg P. Russell, Rick Kline and John Pritchett
“Walk the Line” (20th Century Fox)
Paul Massey, D.M. Hemphill and Peter F. Kurland
“War of the Worlds” (Paramount and DreamWorks)
Andy Nelson, Anna Behlmer and Ronald Judkins
Achievement in visual effects
“The Chronicles of Narnia: The Lion, the Witch and the Wardrobe” (Buena
Vista)
Dean Wright, Bill Westenhofer, Jim Berney and Scott Farrar
“King Kong” (Universal)
Joe Letteri, Brian Van’t Hul, Christian Rivers and Richard Taylor
“War of the Worlds” (Paramount and DreamWorks)
Dennis Muren, Pablo Helman, Randy Dutra and Daniel Sudick
Adapted screenplay
“Brokeback
Mountain” (Focus Features)
Screenplay by Larry McMurtry & Diana Ossana
“Capote” (UA/Sony Pictures Classics)
Screenplay by Dan Futterman 167B92
“The Constant Gardener” (Focus Features)
Screenplay by Jeffrey Caine
“A History of Violence” (New Line)
Screenplay by Josh Olson
“Munich” (Universal and DreamWorks)
Screenplay by Tony Kushner and Eric Roth
Original screenplay
“Crash” (Lions Gate)
Screenplay by Paul Haggis & Bobby Moresco
Story by Paul Haggis
“Good Night, and Good Luck.” (Warner Independent Pictures)
Screenplay by George Clooney & Grant Heslov
“Match Point” (DreamWorks)
Written by Woody Allen
“The Squid and the Whale” (Samuel Goldwyn Films and Sony Pictures
Releasing)
Written by Noah Baumbach
“Syriana” (Warner Bros.)
Written by Stephen Gaghan
-
posted by Ally
- credits: OscarWatch.Com
-
|
January
23rd 2006
|
|
"Bush
Hesitates to Give Take on 'Brokeback' "
WASHINGTON -- President Bush has long cultivated the image of a macho
rancher, frequently donning his boots and Wrangler jeans to clear brush on
his sprawling Texas property. But he was decidedly noncommittal today —
and even a bit nonplused — when asked for his reaction to the most
talked-about ranching film in years: "Brokeback Mountain."
"I hadn't seen it," Bush told thousands of students and professors
at Kansas State University, responding to a query from an audience member.
"I'd be glad to talk about ranching, but I haven't seen the
movie."
The movie, featuring the love story of two gay cowboys, this month won the
Golden Globe award for best motion picture drama and top honors from the
Producers Guild of America and is showing remarkable success —even in
conservative, red-state towns and cities that helped reelect Bush.
But if Bush intends to see it, he showed no such desire today when the young
man in the crowd raised the idea toward the end of a lengthy, unscripted and
unexpected question-and-answer session.
"You're a rancher," the questioner said to Bush. "A lot of
here in Kansas are ranchers. I was just wanting to get your opinion on 'Brokeback
Mountain,' if you've seen it yet." The hall filled with nervous
laughter as Bush smirked.
"You would love it," the questioner persisted. "You should
check it out."
-
posted by Ally
- credits: LATimes.Com
-
|
January
23rd 2006
|
|
Profile:
JAKE GYLLENHAAL RIDES ALONG WITH BROKEBACK MOUNTAIN'S UNCONVENTIONAL LOVE
STORY
Having won three Golden Globe awards thus far, BROKEBACK MOUNTAIN continues
it’s steam-locomotive push towards the 2006 Oscars. A major part of the
magic of that film is the star-crossed lover chemistry onscreen between
Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal), two gay rough
and tumble cowboys in Wyoming.
Gyllenhaal doesn’t focus on the "big" issues of having on-screen
sex with a male co-star, instead he delves deeper into the real heart of the
character’s problems. Gyllenhaal feels that his character, while not being
able to be as isolated as Ledger’s, is just as alone in his sense of
connecting to the world around him, and ultimately with his relationship to
the man he loves. The film changed Gyllenhaal’s views on intimacy between
couples and forced him to go to a place he had not been to before as an
actor, and made him more accepting of the plight of the gay community for
acceptance.
"I think it's about the struggles of two people dealing with intimacy,
to me ultimately," says Gyllenhaal. "This thing that you see in
movies all the time is 'Oh it's supposed to happen between these two
people.' Particularly a guy and a girl; and you are supposed to get the
girl, you are supposed to lose the girl, and you are supposed to get the
girl again. If I learned anything I think it's just like working with
[director] Ang Lee, there is a real benevolence in everything he does. I
remember when I saw SENSE AND SENSIBILITY, my Mom always says that I walked
out saying 'I feel so clean.' And I think you walk out of this film feeling
kind of devastated in a lot of ways, but also feeling like a real sense of
benevolence and I think the process of making the film produced that too. I
mean yes he manipulated us. Yes in a way he very gently abused us, but I
walked out of this experience going, there is a real kind of benevolence. If
Heath and I could do it then it should be okay for the real people who are
really doing this to do it."
The sex scenes were not a big issue to the young actor, who treated them
just as if they were any other part of the movie. There of course, was
good-natured joking on-set during those moments, which are some of the most
intense in the movie, but to Gyllenhaal the lovemaking scenes were a dance
choreographed by director Lee.
"We talked about it, we joked about it, and we would poke fun while we
were doing it here," reveals Gyllenhaal. "It's one of those things
where you kind of don't make it into the biggest deal. It would have put too
much pressure on a scene if we were like 'What do we have to do? Oh my God,
we have to do this!' To me the physical stuff was easy. It's choreography,
it's a dance. That's how we did it. Just like in [Lee’s] CROUCHING TIGER,
HIDDEN DRAGON, the fight scenes were like love scenes. Everybody draws a
metaphor for those scenes. They do have choreography to them, they are very
aggressive. For us it was like we were doing a dance, we were choreographing
a fight scene, there was a choreography and so for me it was just getting
the steps right for the camera and it's amazing as an actor, how the things
you are feeling translate and when you are not feeling it how that
translates."
Gyllenhaal does admit however, that the sex scenes with co-star Anne
Hathaway, who plays his wife in the film, were a bit easier for him to do.
"Oh, now it gets more complicated," says Gyllenhaal with a laugh.
"It was easier for me to, I mean, yeah she is a very beautiful girl.
That's all I can say. She's a very, very beautiful girl. She's very
beautiful."
Gyllenhaal feels that while both his character and Ledger’s deal with
being gay and closeted, Gyllenhaal had to deal with the fact that his
character Jack Swift was far more open and less apologetic that Ledger’s
character Ennis.
"I walked all those scenes with Anne thinking she knows," reveals
Gyllenhaal. "I never was hiding anything from her as actor. I just
thought ‘oh we both know, I'm going off to fishing she knows what I am
going to do. How could she not?’ I think Heath's whole thing was hiding
and hiding and hiding and hiding and hiding."
On the other hand Gyllenhaal also feels, that maybe because of the
differences in the two characters, Ledger gets to portray someone who stays
more faithful to the relationship than Gyllenhaal does.
"In some ways I think maybe Ennis' love is stronger because there is a
faithfulness to that and I think you see it happen," he admits. "I
think Jack eventually says ‘I'm going to have to go on with my life, I'm
going to have to find somebody else and find intimacy with him.’ He does,
at the end his Dad says he brought some other guy here and they were going
to want to work on a farm."
In the end, Gyllenhaal chocks up his on-screen romantic chemistry with
co-star Ledger to the simple bonds of trust and friendship that they formed
while making the movie.
"For Heath and I, I think it's a friendship and a trust that as actors
we were going to go someplace that we both were afraid of and we knew that
we were," says Gyllenhaal. "We just trusted each other. I think in
that trust was chemistry and there was a real connection in that. He was a
great guy and we were just kind of friends from the beginning. We both
admired what it took to play both the characters we were playing and we knew
at a certain point we only had each other because we never knew how people
were going to respond to the movie, so we kind of just joined up and said
'Fuck 'em, lets go for it.' And we did and I think you probably see that. I
think that's a lot of the chemistry. At a certain point it's pretty mundane
and pretty cold on a set no matter what you are doing or who you are doing
it with but Ang did it in such a tasteful way that it's kind of hard to look
at it. There are probably things that if he asked me to do I would have
probably said no, but it was just done in my opinion a really respectful and
very beautiful way."
-
posted by Ally
- credits: IfMagazine.Com
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|
January
23rd 2006
|
|
Capitalizing
on increased exposure from the Golden Globe awards, Brokeback Mountain
galloped into 1,196 venues, up 513 from last weekend, and saw business grow
28 percent to $7.4 million. The cowboy love story was No. 1 from Tuesday to
Thursday, and it had its highest weekend rank yet at No. 5. With $41.7
million in the till, key Oscar nominations and further expansions could
propel the picture past $100 million.
Another
major Oscar contender, Walk the Line, crossed the $100 million mark
on Saturday, its 65th day of release. Also enjoying Golden Globe coverage
and a subsequent expansion, the Johnny Cash biographical drama spiked 73
percent over the weekend to $3.1 million at 1,125 theaters.
Together, Brokeback
Mountain and Walk the Line had among the biggest post-Golden
Globes jumps on record. Historically, the Globes effect is negligible, with
business frequently dropping after best picture wins, and both movies'
up-ticks were just as likely caused by increased advertising, expansions and
the general scuttlebutt.
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posted by Ally
- credits: BoxOfficeMojo.Com
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|
January
23rd 2006
|
'Brokeback'
turns into front-runner
By Greg Hernandez, Staff Writer
"Brokeback
Mountain," a movie about a tortured romance between two cowboys, took
on Academy Award front-runner status Sunday night when it received the top
honor at the 2006 Producers Guild of America Awards.
"Brokeback"
producers Diana Ossana, who co-wrote the script, and James Schamus won the
PGA's coveted Darryl F. Zanuck Producer of the Year Award - an accurate
indicator of the best picture Oscar in 11 of the past 16 years.
"This has been a
ridiculously great year for American movies," said Schamus, referring
to the high number of independent films catching the public's attention and
winning awards.
"We're all competing
against each other, but sometimes it's worth stepping back and seeing that
it hasn't been this way since the late '60s and early '70s," added
Schamus, president of Focus Features, the studio that released "Brokeback."
Starring Heath Ledger and
Jake Gyllenhaal and directed by Ang Lee, "Brokeback" had a
production budget of just $14 million and has grossed $42.1 million to date.
The film had already been named best picture by several critics groups and
won the best picture-drama award at last week's Golden Globe Awards. On
Sunday, it triumphed over the producers of "Capote,"
"Crash," "Good Night, and Good Luck," and "Walk the
Line."
Other PGA winners included
the producers of: "Wallace and Gromit: The Curse of the
Were-Rabbit" (animated film); "The Life and Death of Peter
Sellers" (long-form television); "Lost" (episodic television
drama); "Entourage" (episodic television comedy); "The Ellen
DeGeneres Show" (variety television) and "60 Minutes"
(nonfiction television).
Also honored by the PGA on
Sunday were Clint Eastwood, who received the guild's Milestone Award; Roger
Corman, who was given the David O.Selznick Achievement Award; and Norman
Lear, recipient of the PGA's Achievement Award in television.
"I've been an
independent producer all my life and it's very gratifying to be accepted
into the establishment of the PGA," said Corman. "I'm delighted to
be recognized by my peers."
Eastwood, who won virtually
every major award last year for "Million Dollar Baby" except the
PGA prize, was happy to be getting recognition from his colleagues.
"Some projects are
tough and the last two I did nobody wanted to do," Eastwood said.
"I helped get them done and that's probably the best thing I can
do."
"Good Night, and Good
Luck" producer Grant Heslov received the Stanley Kramer Award, which is
given to movies with relevant social themes.
David Strathairn, who
portrayed veteran newsman Edward R. Murrow in "Good Night," said:
"The fact that it's being honored with this award is an indication of
its importance and artistic achievement."
The PGA also awarded AOL
Chairman and CEO Jon Miller with The Vanguard Award.
The PGA Awards, hosted by
Queen Latifah, were held at the Universal Hilton with Felicity Huffman,
Philip Seymour Hoffman, Patrick Dempsey, Sandra Oh, Stockard Channing and
Alfre Woodard among the presenters.
-
posted by Ally
- credits: DailyNews.Com
-
|
January
20th 2006
|
Brokeback
Mountain climbs to top of box office
In
the wake of its Best Drama win, Brokeback Mountain experienced a
post–Golden Globes bounce Tuesday. The film, which was in ninth place over
the four-day holiday weekend, soared to the top of the chart for the first
time the day after the Globes as it picked up an estimated $735,000 in
683 theaters, besting the weekend winner, Glory Road, which grossed
$693,713 in 2,222 theaters. (Reuters)
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posted by Ally
- credits: Advocate.Com
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|
January
20th 2006
|
The next
Orange British Academy Film Awards will be held on Sunday 19
February 2006 at the Odeon Leicester Square in London. The full list of
nominees is below.
THE
ORANGE BRITISH ACADEMY FILM AWARDS
2005
NOMINATIONS
(presented in 2006)
FILM
BROKEBACK
MOUNTAIN - Diana Ossana/James Schamus
CAPOTE - Caroline Baron/William Vince/Michael Ohoven
THE CONSTANT GARDENER - Simon Channing Williams
CRASH - Credits TBC
GOOD NIGHT, AND GOOD LUCK - Grant Heslov
THE ALEXANDER KORDA
AWARD for
the Outstanding British Film of the Year
A COCK & BULL STORY - Andrew Eaton/Michael Winterbottom/Martin
Hardy
THE CONSTANT GARDENER - Simon Channing Williams/Fernando Meirelles/Jeffrey
Caine
FESTIVAL - Christopher Young/Annie Griffin
PRIDE & PREJUDICE - Tim Bevan/Eric Fellner/Paul Webster/Joe
Wright/Deborah Moggach
WALLACE & GROMIT: THE CURSE OF THE WERE-RABBIT - Peter Lord/David
Sproxton/Nick Park/
Steve Box/Mark Burton/Bob Baker
THE CARL FOREMAN
AWARD for
Special Achievement by a British Director, Writer or Producer in their First
Feature Film
DAVID BELTON (Producer) - Shooting Dogs
PETER FUDAKOWSKI (Producer) - Tsotsi
ANNIE GRIFFIN (Director/Writer) - Festival
RICHARD HAWKINS (Director) - Everything
JOE WRIGHT (Director) - Pride & Prejudice
THE DAVID LEAN AWARD
for Achievement in Direction
BROKEBACK
MOUNTAIN - Ang Lee
CAPOTE - Bennett Miller
THE CONSTANT GARDENER - Fernando Meirelles
CRASH - Paul Haggis
GOOD NIGHT, AND GOOD LUCK - George Clooney
ORIGINAL
SCREENPLAY
CINDERELLA MAN - Cliff Hollingsworth/Akiva Goldsman
CRASH - Paul Haggis/Bobby Moresco
GOOD NIGHT, AND GOOD LUCK - George Clooney/Grant Heslov
HOTEL RWANDA - Keir Pearson/Terry George
MRS. HENDERSON PRESENTS - Martin Sherman
ADAPTED SCREENPLAY
BROKEBACK
MOUNTAIN - Larry McMurtry/Diana Ossana
CAPOTE - Dan
Futterman
THE CONSTANT GARDENER - Jeffrey Caine
A HISTORY OF VIOLENCE - Josh Olson
PRIDE & PREJUDICE - Deborah Moggach
FILM NOT IN THE
ENGLISH LANGUAGE
DE BATTRE MON COEUR S'EST ARRÊTÉ (The Beat That My Heart Skipped)
- Pascal Caucheteux/Jacques Audiard
LE GRAND VOYAGE - Humbert Balsan/Ismaël Ferroukhi
KUNG FU HUSTLE - Stephen Chow/Chui Po Chu/Jeff Lau
JOYEUX NOËL (Merry Christmas) - Christophe Rossignon/Christian Carion
TSOTSI - Peter Fudakowski/Gavin Hood
ACTOR IN
A LEADING ROLE
DAVID STRATHAIRN - Good Night, And Good Luck
HEATH LEDGER -
Brokeback Mountain
JOAQUIN PHOENIX - Walk the Line
PHILIP SEYMOUR HOFFMAN - Capote
RALPH FIENNES - The Constant Gardener
ACTRESS IN A
LEADING ROLE
CHARLIZE THERON - North Country
JUDI DENCH - Mrs. Henderson Presents
RACHEL WEISZ - The Constant Gardener
REESE WITHERSPOON - Walk the Line
ZIYI ZHANG - Memoirs of a Geisha
ACTOR IN
A SUPPORTING ROLE
DON CHEADLE - Crash
GEORGE CLOONEY - Good Night, And Good Luck
GEORGE CLOONEY - Syriana
JAKE GYLLENHAAL -
Brokeback Mountain
MATT DILLON - Crash
ACTRESS IN A
SUPPORTING ROLE
BRENDA BLETHYN - Pride & Prejudice
CATHERINE KEENER - Capote
FRANCES McDORMAND - North Country
MICHELLE WILLIAMS -
Brokeback Mountain
THANDIE NEWTON - Crash
THE ANTHONY
ASQUITH AWARD for Achievement in Film Music
BROKEBACK
MOUNTAIN - Gustavo Santaolalla
THE CONSTANT GARDENER - Alberto Iglesias
MEMOIRS OF A GEISHA - John Williams
MRS. HENDERSON PRESENTS - George Fenton
WALK THE LINE - T Bone Burnett
CINEMATOGRAPHY
BROKEBACK
MOUNTAIN - Rodrigo Prieto
THE CONSTANT GARDENER - César Charlone
CRASH - J Michael Muro
MARCH OF THE PENGUINS - Laurent Chalet/Jerôme Maison
MEMOIRS OF A GEISHA - Dion Beebe
EDITING
BROKEBACK
MOUNTAIN - Geraldine Peroni/Dylan Tichenor
THE CONSTANT GARDENER - Claire Simpson
CRASH - Hughes Winborne
GOOD NIGHT, AND GOOD LUCK - Stephen Mirrione
MARCH OF THE PENGUINS - Sabine Emiliani
PRODUCTION
DESIGN
BATMAN BEGINS - Nathan Crowley
CHARLIE AND THE CHOCOLATE FACTORY - Alex McDowell
HARRY POTTER AND THE GOBLET OF FIRE - Stuart Craig
KING KONG - Grant Major
MEMOIRS OF A GEISHA - John Myhre
COSTUME DESIGN
CHARLIE AND THE
CHOCOLATE FACTORY - Gabriella Pescucci
THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE - Isis
Mussenden
MEMOIRS OF A GEISHA - Colleen Atwood
MRS. HENDERSON PRESENTS - Sandy Powell
PRIDE & PREJUDICE - Jacqueline Durran
SOUND
BATMAN BEGINS - David G Evans/Stefan Henrix/Peter Lindsay
THE CONSTANT GARDENER - Joakim Sundström/Stuart Wilson
CRASH - Richard Van Dyke/Sandy Gendler
KING KONG - Hammond Peek/Christopher Boyes/Mike Hopkins/ Ethan Van der Ryn
WALK THE LINE - Paul Massey/D M Hemphill/Peter F Kurland/Donald Sylvester
ACHIEVEMENT IN
SPECIAL VISUAL EFFECTS
BATMAN BEGINS - Janek Sirrs/Dan Glass/Chris Corbould
CHARLIE AND THE CHOCOLATE FACTORY - Nick Davis/Jon Thum/Chas Jarrett/Joss
Williams
THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE - Dean
Wright/Bill Westenhofer/Jim Berney/Scott Farrar
HARRY POTTER AND THE GOBLET OF FIRE - Jim Mitchell/John Richardson
KING KONG - Joe Letteri/Christian Rivers/Brian Van't Hul/Richard Taylor
MAKE UP & HAIR
CHARLIE AND THE CHOCOLATE FACTORY - Peter Owen/Ivana Primorac
THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE - Howard
Berger/Gregory Nicotero/Nikki Gooley
HARRY POTTER AND THE GOBLET OF FIRE - Nick Dudman/Amanda Knight/Eithne
Fennell
MEMOIRS OF A GEISHA - Noriko Watanabe/Kate Biscoe/Lyndell Quiyou/Kelvin R
Trahan
PRIDE & PREJUDICE - Fae Hammond
SHORT ANIMATION FILM
FALLEN ART - Jarek Sawko/Piotr Sikora/Tomek Baginski
FILM NOIR - Osbert Parker
KAMIYA'S CORRESPONDENCE - Sumito Sakakibara
THE MYSTERIOUS GEOGRAPHIC EXPLORATIONS OF JASPER MORELLO - Anthony
Lucas/Julia Lucas/Mark Shirrefs
RABBIT - Run Wrake
SHORT FILM
ANTONIO'S BREAKFAST - Howard Stogdon/Amber Templemore-Finlayson/Daniel
Mulloy
CALL REGISTER - Kit Hawkins/Adam Tudhope/Ed Roe
HEAVY METAL DRUMMER - Amanda Boyle/Luke Morris/Toby MacDonald
HEYDAR, AN AFGHAN IN TEHRAN - Homayoun Assadian/Babak Jalali
LUCKY - Bex Hopkins/Avie Luthra
19 January 2006
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by Ally
- credits: BAFTA.Org
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January
20th 2006
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JARHEAD
FIRES INTO UK BOX OFFICE
Gulf war movie JARHEAD has
shot straight to the top of the UK box office chart in its first week of
release.
The SAM MENDES-directed
movie, starring JAKE GYLLENHAAL and JAMIE FOXX, took GBP1.9 million ($3.4
million) in its first weekend, beating out monster movie remake KING KONG,
which fell to fifth place with GBP1.27 million ($2.3 million).
CS Lewis's THE CHRONICLES OF
NARNIA: THE LION, THE WITCH AND THE WARDROBE is at number two, and is now in
its sixth week in the top ten, earning GBP1.37 million ($2.46 million).
Romantic comedy JUST FRIENDS
took GBP1.28 million ($2.3 million) in third place followed by BROKEBACK
MOUNTAIN which stayed at fourth with GBP1.27 million ($2.28 million).
New entry MEMOIRS OF A
GEISHA made it to number six, followed by REESE WITHERSPOON's spooky
romantic comedy JUST LIKE HEAVEN at seven and CHEAPER BY THE DOZEN 2 at
eight.
WOODY ALLEN's latest
offering MATCH POINT was at number nine before the charts longest stayer -
HARRY POTTER AND THE GOBLET OF FIRE, which has stuck to the top ten for nine
weeks and has taken a total of GBP48 million ($86.4 million).
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posted
by Ally
- credits: ContactMusic.Com
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January
17th 2006
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JAKE
GYLLENHAAL AND ANG LEE TO ACCEPT AWARD AT HUMAN RIGHTS CAMPAIGN NEW YORK
GALA DINNER
Golden Globe Winners Brokeback Mountain, Transamerica Accelerate
Understanding
WASHINGTON — On the heels of four Golden Globe awards, including best
drama, Brokeback Mountain star Jake Gyllenhaal and director Ang Lee will
both be honored with the Human Rights Campaign’s Equality Award at this
year’s Greater New York Gala Dinner to take place on Feb. 11, 2006.
“These two films have ignited a firestorm of honesty that is sweeping the
nation,” said HRC President Joe Solmonese. “At dinner tables across the
country the conversation about gay, lesbian, bisexual and transgender
equality is being informed with true portrayals of American life.”
This past summer, HRC honored Felicity Huffman at its San Francisco Gala
Dinner for her work in fostering understanding of transgender Americans.
This year’s HRC Greater New York Gala Dinner will be held at the
Waldorf-Astoria Hotel with the dinner and program beginning at 7:30 p.m. For
tickets, visit www.boxofficetickets.com/hrc
or call 1-800-494-TIXS (8497).
“We are honored to be awarding both Jake Gyllenhaal and Ang Lee with the
Human Rights Campaign’s Equality Award,” said Solmonese. “Their work
on this film has helped reshape the debate and changed the cultural fabric
of our country.”
Also being awarded an Equality Award from HRC will be NBC’s “Law and
Order: SVU” and HBO’s “Oz” actor Chris Meloni. Meloni has been a
vocal supporter of the GLBT community by doing such important work as
starring in public service announcements for NBC discussing discrimination
and violence against gay, lesbian, bisexual and transgender people.
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posted
by Ally
- credits: HCR.Org
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January
17th 2006
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Jake
Gyllenhaal: 'Will Strip For Chicks'
By Jennifer Cox
Jan 17, 2006
Brokeback Mountain star Jake Gyllenhaal says he doesn't mind being dubbed as
bi-sexual by fans of his new film. Now the hunky breakout actor also says he
doesn't mind stripping to impress women.
The Online Sun gives this account:
Jake Gyllenhaal says the way to a woman's heart is to cook her a romantic
dinner - or to do a striptease.
He told Bravo magazine: "If I meet somebody, I always show her my real
face straight away.
"Fresh produce is the most important ingredient when you try to win a
woman's heart.
"Only then does cooking for two become an intimate pleasure.
"I'd cook loads of pasta, tasty vegetables and lamb's lettuce with
tomatoes."
However, he added: "If I could impress her with a striptease, I
would."
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posted
by Ally
- credits: NationalLedger.Com
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January
16th 2006
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The
crop of young male actors taking over our screens
Girls think Jake Gyllenhaal is gorgeous, boys reckon he's cool - and the
25-year-old is the leader of a pack of film stars with both box-office clout
and art-house cred. But do any of these guys have what it takes to become
the next George Clooney, asks David Thomson. Or will they take a wrong turn
and go the way of Ben Affleck?
Jake Gyllenhaal handles
himself like a pro at every turn. He has all the best deprecating jokes
about an overnight sensation such as himself. He is a cool dude, which is
the kind of young man young men today appreciate. He wonders with a dry
voice and a dreamy gaze whether he'll be around long enough for people to
learn how to spell his name. And he has a cynical version of how the fickle
waves of fashion wash over someone like Jake: "First, it's 'Who is Jake
Gyllenhaal?' Then it's 'Get me Jake', then it's 'Get me someone like Jake
Gyllenhaal,' and finally it's 'Jake Gillenhall? Who's he?'"
In truth, that quick tour of
the ups and downs might make a pretty good movie one day. It's also the kind
of story that Jake has known most of his life. You see, he didn't exactly
blow in from Wyoming on the Greyhound bus, as dumb and naïve and wistful as
some midnight cowboy in the big city. Truth to tell, Jake is the son of
Stephen Gyllenhaal, a film director of taste and accomplishment, even if he
has never quite found himself in the big time that has gathered around his
son's slim shoulders, and of Naomi Foner, an experienced screenwriter.
Jake was born not in the
shadow of Brokeback Mountain, but in a place called Los Angeles. He grew up
amid show business talk, with dinner plates and screenplays-in-progress
fighting for room on the table. Jake's sister, Maggie, is also an actress
(she was very striking in Secretary), and Jake graduated from
Hollywood-Westlake High School, which is one of the inside schools in town,
before he dropped out of Columbia after two years. I'm sure his parents were
distressed at that, but I'm also sure that it was a household where every
inhabitant - including the dog - knew that you don't expect the postman to
knock twice. If you're being offered, you jump. That's how Jake Gyllenhaal,
just 25, gets to be opening in three films in one season - Proof; Jarhead;
and Brokeback Mountain. Look, Paul Newman taught the kid to drive, and
Newman is a "go-for-it" guy who knew that James Dean's dying was
the greatest opening he was ever going to get.
Gyllenhaal has made over 15
films already and he was beginning to be noticed in Donnie Darko, Lovely
& Amazing and The Day After Tomorrow, but his breakthrough film,
clearly, is Brokeback Mountain, in which he and Australian actor Heath
Ledger defied a good deal of career advice and took on the roles of lovelorn
ranch hands in Wyoming in the Sixties, guys hardly accustomed to use the
word "love", let alone follow any homosexual urgings, but who find
themselves passionate tent-mates in Ang Lee's picture from the Annie Proulx
story.
Brokeback Mountain is not a
hit in the style of King Kong or The Lion, the Witch and the Wardrobe, but
it is drawing steady, sympathetic audiences on the art-house circuit; it has
been banned already at one theatre in Utah; and it is gathering awards and
nominations by the armful. It will be there on Academy Awards night, and I'd
guess that the new host Jon Stewart is already calculating just what jokes
he can make about the movie without offending. Jake Gyllenhaal is finding
himself mentioned in the same breath as Montgomery Clift, who played a
famously tough cowboy in Red River (1947), and who was gay, or bisexual,
despite the resolute straight styling of his part in that film. Everyone
today is tender enough to insist that Jake and Heath are straight arrows -
it's just that they're good enough as actors to evoke the gay sensibility.
Meanwhile, Brokeback
Mountain is serving as a focus to the intriguing crop of very young male
actors who are taking over our screens. In a way, I think, that's a trend
that began with Leonardo DiCaprio in Titanic. Nine years ago, that epic went
from being a dreaded failure to a blockbuster in a matter of weeks - and as
business experts pondered why, they reached the conclusion that teenage
girls were going back over and over again to see Leonardo.
Notice that that passion has
hardly lasted: his following diminished drastically with Gangs of New York
and The Aviator. Neither of those films was as romantic as Titanic. But Leo
had clearly aged - and being a teenager doesn't last very long. Still, the
industry knows demographics now if it knows nothing else, and the trend was
plain in TV, in the burgeoning world of arty fashion magazines and in
movies, that "girls" got off on ogling pictures of young guys in
very much the same way, for decades, men had made an industry out of wanting
to look at women. And every four or five years, you've got a whole new
generation of teenagers.
Heath Ledger is, in fact,
the leading figure of this generation, and according to most judges its
outstanding actor. Born in Perth, Western Australia, and about 20 months
older that Gyllenhaal, Ledger gives a very subtle, yet savagely repressed
performance in Brokeback Mountain, to such an extent that he is likely to be
nominated for best actor, while Gyllenhaal is placed as a supporting actor.
But Ledger's distress in the Ang Lee picture makes a terrific contrast with
his sexual aplomb as Casanova, the film in which he shows how well suited he
would be to play Errol Flynn, if ever anyone had that idea. Ledger really
arrived on American screens in 2000 as the son in Mel Gibson's The Patriot.
But he has moved fast: A Knight's Tale; Monster's Ball; The Four Feathers;
Ned Kelly; The Brothers Grimm.
There are others. Hayden
Christensen, born in Canada in 1981, is best known for his dark and
smouldering Anakin in the two final episodes for Star Wars - Attack of the
Clones and Revenge of the Sith - but he also played the disgraced American
journalist Stephen Glass in Shattered Glass, and he has a string of new
pictures in production. Michael Pitt is American, also born in 1981, and he
had his breakthrough in the Bernardo Bertolucci film, The Dreamers, before
doing Wonderland, Jailbait and Last Days. James Franco, aged 28, arrived as
James Dean in a TV film; he's Tristan now in Tristan & Isolde and the
lead in the Naval Academy drama Annapolis.
If you want an English
candidate, there is Orlando Bloom, already 29, but very handsome, and a
veteran of the three Lord of the Rings pictures, as well as Pirates of the
Caribbean, one of the gang in Black Hawk Down, also in Ned Kelly, Paris in
Troy and Balian in Kingdom of Heaven.
But as soon as one mentions
Orlando Bloom, some problems arise in the absolute acceptance of this young
gang. Troy and Kingdom of Heaven did no good to anyone's career - there are
some films it's simply better to avoid. And though Bloom was there all along
in Lord of the Rings, I think there's no doubt but that the trilogy did much
more to boost the standing of Viggo Mortensen, who is all of 47! Indeed,
Mortensen stands up for a quite different tradition: that of learning your
craft gradually; improving over the years; and becoming a very good actor
who can hold the screen with simplicity and confidence - as witness his work
in A History of Violence.
Every one of the kids knows
how tough it is to keep in place. They are all loners, without the support
of studio contracts, and promoted largely by agencies that have a hundred
other pretty boys on their books if one "star" goes out of
fashion. This is the cruel condition that was once felt most forcibly by
young actresses who were told to make an impact very young, be obliging and
obedient and pray that their looks lasted until 30.
In other words, these young
men are under terrible pressure to make the right choices - which means, be
in the right films. The recent history of Hollywood is littered with movies
that introduced a whole team of very young talent. Remember Francis
Coppola's The Outsiders, from 1983, with this cast list - C Thomas Howell,
Matt Dillon, Ralph Macchio, Patrick Swayze, Rob Lowe, Emilio Estevez, and
Tom Cruise. It's not quite that everyone else has faded away, but 23 years
ago I don't think Cruise would have been the automatic favourite to survive.
That he did win out has something to do with his screen presence and his
grin, but rather more with his instincts as a businessman and a
career-maker.
Ben Affleck is still only
33. A few years ago, there were those who regarded him as an institution in
the making. He and his pal Matt Damon had written Good Will Hunting, and
Affleck was a heart-throb star - but one of his vehicles was the disastrous
Pearl Harbor, and then came Gigli. Equally, Jude Law, still only 34, seemed
poised to be a screen sensation after his Dickie Greenleaf in The Talented
Mr Ripley. He was being offered a host of pictures, and he chose to do Cold
Mountain, I Heart Huckabees, Sky Captain and the World of Tomorrow, the
dreadful remake of Alfie, Closer (where he was the one callow person in the
picture) and The Aviator (where he had just a cameo as Errol Flynn). He is
young enough to make a comeback - he has All the King's Men finished, as
well as Breaking and Entering - but his fortunes show how many other
elements beyond an actor's control must fall in line if he is to do well.
Jake Gyllenhaal has shown a
pleasing readiness to experiment: he did Kenneth Lonergan's This Is Our
Youth on the London stage in 2002 (and won a prize for it). But he is shrewd
enough in the ways of the business to know this: if early success inflates
your pay level (from $1m a picture - a fabulous fortune for any young actor)
to say $10m, or more, then you make yourself a liability, all the more
vulnerable to the potential of some new kid, six months younger than you
are, who is prepared to take the lead role in a new picture for so much less
than your dignity will allow.
This does not mean that all
the young men mentioned here are not desperate to act - to do good work. But
they can easily lose control of their own careers if they trust too much to
the agents and lawyers who "look after them". That's why every
young star in this year has reason to look at George Clooney with immense
respect.
As a matter of fact, Clooney
will only be 45 this year. I know, he seems older sometimes, and in part
that's because he winces a little at having been a pretty boy himself once
in those years when he was a big attraction on ER and not much else. He had
some very routine years, smirking his way through bad pictures, and flopping
in anything more adventurous. But then something happened: moviegoers began
to realise that they liked him, or trusted him. And then he branched out
suddenly and made a very adventurous film, Confessions of a Dangerous Mind.
It didn't do too well, but it was clear that Clooney knew how to direct.
Well, in 2005 he has had a
better year than Heath Ledger - acting in and directing Good Night, and Good
Luck, and acting in Syriana. Sure, he can say, with his grin, you have to
make a few Ocean's 11 pictures to be able to do Good Night, and Good Luck.
But that's how the real business has always worked. And George Clooney knows
something that every kid is going to have to learn - that you might as well
take full responsibility for what you make.
Because sooner or later,
you're going to get the blame anyway. And Clooney knows this - he might have
learnt it from his aunt, the singer Rosemary - that the longer you stay
around the more the public thinks you're good company.
'Brokeback Mountain' is out
now; 'Proof' is out on 10 February
-
posted
by Ally
- credits: Independent.Co.Uk
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January
13th 2006
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Jake
Gyllenhaal
by Scott Tenorman, January 13th, 2006
Actor Jake Gyllenhaal wowed millions in the title role of his breakthrough
film, Donnie Darko. He then starred in underwhelming action flick The Day
After Tomorrow and indie offering The Good Girl. He has now hit the A-list
with Brokeback Mountain, playing a gay cowboy, and Jarhead, which opens
today, as a marine waiting for action in the Gulf.
Did your role in Jarhead make you question your mortality?
No. I've had people very close to me die recently and that's made me
question my mortality. This didn't do that as much as it made me realise
that no matter what I feel, it's OK. Feelings never killed anybody.
Sam Mendes directed the film. Does he shout on set?
He did once and we still joke with him about it. There were 1,000 extras and
no one was listening to [actor] Chris Cooper. Sam just felt there needed to
be a bit of respect, so he got up on stage and shouted: 'Shut the f*** up!'
There's speculation Jarhead and Brokeback Mountain will see you nominated
for Oscars. How do you feel about that?
There's a lot of talk about things like that when you work with directors
such as Ang Lee or Sam Mendes because they are expected to win Oscars.
Frankly, you don't say no to either of them. You beg them, no matter what it
is you're going to be doing in their films - whether it's wearing a Santa
cap over your dick [in Jarhead] or making love to Heath Ledger [in Brokeback
Mountain].
Did your co-stars give you grief about that Santa hat scene?
When you spend that much time in such close quarters with people, if
someone's wearing a Santa hat on their dick, it's kind of like 'whatever'.
The film is based on a book by ex-marine Anthony Swofford. What's your
favourite book?
JD Salinger's Franny And Zooey.
What about Salinger's The Catcher In The Rye? Your character in 2002's The
Good Girl was obsessed with it.
I've read that many times. I went on a family vacation to Hawaii when I was
12 and my sister [actress Maggie Gyllenhaal] gave it to me for Christmas. I
couldn't put it down. My production company is called Nine Stories
Productions, a homage to Salinger's book of short stories.
When you spend lots of time with people, if they wear a Santa hat on their
dick, it's like 'whatever'
Your mother Naomi Foner is a screenwriter. Did you meet big stars when you
were a child?
Paul Newman taught me how to drive. When I was 15, my mum was writing a
script with him and we went out to the racetrack. He threw me in the
passenger seat and started driving. We're 100ft from a wall, going 60 miles
an hour and he hits the brake and turns the wheel - and the car spins three
times. Then he turns to me and goes: 'That was what you don't do.'
Your father Stephen is a director. Was there any possibility of you not
following him in the family business?
Probably not. Acting was always a passion of mine but now I'm thinking there
may be things that I'm just as interested in.
Like what?
Cooking is just as much of a passion. My best friend is a chef and all my
closest friends are chefs. I think performing has always been a big thing
for me and I think cooking is another type of performance.
Do you think you'll ever give up acting?
Maybe. My friend Peter [Sarsgaard, his Jarhead co-star and his sister's
fiancé] taught me that whatever you are feeling is OK. If you are acting
and you don't want to act, then fine. Peter said he's been treating his
talent like it was a two-cent whore. He's having his way with it and not
appreciating it. Whatever you are doing, if you lose an appreciation for it,
it's time to rethink that.
Young women seem to like you. Are you a sex symbol?
[Laughs] I don't know what I am. I know I was kind of an It-guy for a long
time.
You're also popular with gay people thanks to Brokeback Mountain. Are you
comfortable with that?
I'm comfortable with whatever status I have. I've been called 'the thinking
woman's sex symbol' but doesn't every woman think? A lot of young girls come
up to me and they're so cute and sweet. Then I might be at a street fair and
a guy with his butt cheeks hanging out of his trousers will tell me he likes
my movie. It's a pretty interesting existence.
60 SECONDS EXTRA!: Do you and your sister compare notes?
All the time. I'd phone Maggie while we were making Jarhead and say: 'I'm
feeling this way and I don't understand.' And she'd say: 'But that sounds
perfect for the film.' She came to the set and said: 'I have some notes if
you want to hear them.' I was like, 'YESSS!'
-
posted
by Ally
- credits: Metro.Co.Uk
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January
13th 2006
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‘I’ll
do pretty much anything for a film’
By
Eileen Condon
HIS name might not be the easiest to pronounce but you’d better get used
to it as Jake Gyllenhaal looks set to be the one to watch in 2006.
Barely weeks into the New Year, he already has not one but two Oscar-tipped
movies. And if anything will prove this young actor’s versatility it’s
Jarhead and Brokeback Mountain, as the two films couldn’t be more
different.
Jarhead, from Oscar-winning British director Sam Mendes, stars Jake as a
rough and ready marine sent out to fight in the first Gulf War. In contrast,
Brokeback Mountain, directed by Ang Lee, is the gentle, gay love story of
two Montana cowboys (Jake and Australian actor Heath Ledger).
Both films have caused controversy – Jarhead for its brutally nihilistic
portrayal of American marines and Brokeback for the intimate love scenes
between the two male leads.
But far from being concerned, Jake is one actor who is delighted to be
pushing back boundaries.
“When the story and the people involved are as good as they are, then I
will do pretty much anything for a film,” he says with his endearingly
lopsided grin. “If you don’t believe it you only have to look at the
past few movies I’ve done and you will understand it.”
Even so, the actor admits he did have some trepidation when it came to
getting intimate with Ledger.
“I wondered if he could do those scenes,” he says. “But we talked a
lot, and when it came to doing them it felt like we were both, ’Are you
ready? Yeah, let’s go’ and we went straight into the deep end. We knew
we had to consummate this somehow because it’s not just a story about
friendship. We knew we were going to have to commit,” he adds.
The chemistry obviously worked because the film has already won a clutch of
Golden Globe nominations and there’s talk of a Best Supporting Actor Oscar
for Jake, who turned 25 just before Christmas.
It’s a pretty impressive start to 2006 for the star, who until now has
been known for his intense and brooding roles in films such as Donnie Darko
and Moonlight Mile.
Although he proved he was more than capable of big blockbuster fare in
2004’s explosive The Day After Tomorrow, it’s Jarhead that will really
show moviegoers he’s got the brawn as well as the brains.
He says of his role as marine Anthony Swofford: “I’d read the book and
came away really moved by it. It was purely emotional and without any of the
clichés of other war stories.
Landing the role meant the star had to undergo a dramatic transformation,
beefing up his naturally lean physique and shaving off his luxuriant mop of
jet black hair.
“Yeah, I was at first a little terrified of myself without the hair,” he
says, rubbing his hands through the newly restored locks. “But then I
really got into it. It really empowers you. And I remember putting on my
flak jacket for the first time and feeling all the energy in my body turning
inward.
“I’m so used to not having to protect myself like that and it gave me a
great insight into what these guys go through for real.”
Jake and his co-stars, who include Flightplan star Peter Sarsgaard and Oscar
wining actor Jamie Foxx, were also put through their paces in a four-day
boot camp at a real Air Force base.
“We were running drills and sleeping out in the field,” Jake grimaces.
“They did the necessary beating up and then the rest of the movie was that
too. I mean, the first day was me getting my head slapped 100,000 times and
getting it slammed into a chalkboard, so that kind of gives you an idea of
what was to come,” he adds with a laugh.
Suffering for his art has certainly paid off for the handsome actor. He’s
now overtaken sister Maggie as the most famous member of the talented
Gyllenhaal household – their father is director Stephen Gyllenhaal and
mother is screenwriter Naomi Foner.
But while things go from strength to strength on the career front, Jake’s
love life is looking less than rosy as he recently broke up with Spiderman
actress Kirsten Dunst. The pair also split temporarily earlier in 2005, but
this time it looks as if it’s over for good.
It’s doubtful the handsome star will be on his own for long. He’s now
regarded as one of the biggest heart-throbs in Hollywood, as well as one of
the most talented.
It’s hardly surprising then that he’s more than a little excited about
what’s to come in 2006.
“Sam Mendes and Ang Lee have changed my life regardless of the result of
any of these films,” he says with a big grin. “I’m so happy with the
response that has happened with Brokeback and we’re just beginning to see
how people are responding to Jarhead.
“But to me the processes of both movies have changed my life and that’s
what I take away with me.
“Everything else is just fun.”
Vital statistics
Real name: Jacob Benjamin Gyllenhaal (Pronounced Jill-en-hall)
Birthdate: December 19, 1980
Significant other: Recently split from actress girlfriend Kirsten Dunst
Career high: Riding into surefire success with cowboy love story Brokeback
Mountain, the recipient of seven Golden Globe nominations.
Career low: A brief spell as a lifeguard – he didn’t save a single life.
Famous for: His on-off relationship with Kirsten Dunst.
Words of wisdom: “The truth is that most films that make a lot of money
no-one remembers, and I’m not interested in making films that no-one
remembers.”
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posted
by Ally
- credits: NewsandStar.Co.Uk
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January
13th 2006
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Jake
Gyllenhaal, Charlize Theron Among Those Honored at the Festival
The 17th Annual Palm Springs
International Film Festival’s Gala Awards Presentation was held in the
remodeled Palm Springs Convention Center on Saturday, January 7, 2006. The
facility looked fantastic, seemingly constructed to house star-studded
events. If it hadn’t been for the fact there weren’t any lights set up
along the red carpet, it would have been easy to mistake the locale for the
setting of a major Hollywood premiere.
The lights may have been
missing in action but the stars shined without their assistance. Accepting
awards at the annual film festival were Felicity Huffman (Breakthrough
Performance), Jake Gyllenhaal (Desert Palm Achievement Award, Actor),
Michael London (Producer of the Year), Terrence Howard (Rising Star Award),
Thomas Newman (Frederick Loewe Award for Film Composing), Charlize Theron
(Desert Palm Achievement Award, Actress), David Cronenberg (Sonny Bono
Visionary Award), and Shirley MacLaine (Lifetime Achievement Award).
Other celebrities on hand at
the event included William H Macy, Virginia Madsen, Andrew Stanton, Carol
Connors, Denise Brown, Ludacris, Paul Haggis, Fionnula Flanagan, Kevin
Zegers, Kalani Queypo, Tippi Hedren, Gary Sinise, Sally Kellerman, Keanu
Reeves, Kathy Bates, and Catherine Hardwicke.
Highlights from the Gala:
Jake Gyllenhaal’s buddy
Peter Sarsgaard (who’s also dating Jake’s sister Maggie) introduced the
talented young actor by saying Gyllenhaal really wanted to do a song and
dance for the audience. Jake was greeted by laughter when he then came on
stage singing “Night Fever.” Gyllenhaal also joked that he really wants
to star in a musical but after doing a gay cowboy movie, he thinks that
might leave audiences seriously questioning his sexuality. On a more serious
note, Gyllenhaal confessed he wasn’t sure what to make of receiving the
festival’s Achievement Award. "It's sort of a little bit absurd to me
at this point that I would be honored. But I'm also proud of the work that
I've done. So I think that, to me, it's about all the stuff I've done. I
think it's good stuff."
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January
13th 2006
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Jake's
juggernaut
For this unstoppable actor, embracing a risky role
is just part of job as artist
LAWRENCE TOPPMAN
Movie Critic
TORONTO
- Play a cannibalistic serial killer or a prostitute who murders
her clients, and what happens? Oscars, salary boosts and agents who have to
take out another phone just to handle the demand for you.
Play a gay man, and you're
"a risk. Yeah, we heard that. But if I'm doing a movie that's not a
risk -- and I have -- I'm wasting my time. Everything an actor or artist or
writer is doing should be courageous. So it's redundant to think of this as
a risky choice, because that's the job of art."
Jake Gyllenhaal is sitting
in an interview room at the Toronto International Film Festival last
September, the morning after "Brokeback Mountain" has had its
North American premiere.
There's no talk yet of
Oscars or Golden Globes or magazine covers. But critics have already
declared Gyllenhaal and Heath Ledger "brave" for playing cowboys
who fall in love in Wyoming in 1963 and maintain a 20-year affair, despite
raising families.
"It doesn't take much
courage to say `I'm going to be in an Ang Lee movie.' In a weird way, people
saying it's brave to take this role kind of belittle Ang, one of the best
directors of our times."
Gyllenhaal was just 1 year
old when "Making Love" came out in 1982, shocking Middle America
with the first mainstream depiction of male lovers. He was in grade school
in 1993, when Will Smith was playing a gay character and Denzel Washington
famously advised him, "Don't be kissin' no man!" (Smith didn't.)
Gyllenhaal is so New
Hollywood that this history doesn't worry him. The Gyllenhaal Express won't
be derailed: He's just done well-received work in "Proof" (as
Gwyneth Paltrow's love interest) and "Jarhead" (as a Gulf War
Marine), and he'll be seen next year in "Zodiac," as the man who
tracked a San Francisco killer in the '60s and '70s.
He's made 12 movies in the
last five years, from the cult favorite "Donnie Darko" to
"The Day After Tomorrow," the hokey blockbuster about a new ice
age. (He's said he took it to see if he could carry an action movie; it
grossed $187 million domestically.)
Sitting opposite him in a
hotel suite, you can see why directors won't leave Gyllenhaal alone. He's
almost indecently handsome: broad-shouldered, six feet tall, square-jawed in
the manner of a cowboy hero, with blue eyes that look gray if light hits
them right and a shock of black hair that comes to a peak in the front.
He's often played the young
guy older women find irresistible: Paltrow in "Proof," Jennifer
Aniston in "The Good Girl," Ellen Pompeo in "Moonlight
Mile," Catherine Keener in "Lovely & Amazing." His
addicted fans call themselves "Gyllenhaalics," and he's an A-list
leading man at 25. (He pronounces his name "JILL-en-hall," if
you're wondering.)
His family groomed him for
the position he occupies. Father Stephen Gyllenhaal has directed films and
TV episodes since Jake was a boy. Mother Naomi Foner, Oscar-nominated for
her "Running on Empty" script, recently wrote "Bee
Season." Older sister Maggie Gyllenhaal, who has appeared opposite Jake
three times, has a flourishing film career. (A difference between them: She
collected a B.A. in English from Columbia University in 1999; he quit after
two years to act.)
Maybe that's why he says
"I have always felt confident. That's 80 percent of being an actor, and
it's what I look at when I scrutinize male actors my age: that ambition and
drive and confidence. The last 20 percent of it is experience in life. If
you're hesitant as a performer, if you don't believe your own (emotional)
choices, there's no reason to be acting, because it's such a powerless
job."
Being confident doesn't
always mean being sure. Gyllenhaal started "Brokeback" with no
idea how to play a character so different from himself: a man whose
homosexual impulses literally overpowered him, a guy who married and had a
child and ended the film just short of 40.
"(Toward the end,) I
had a mustache, my hair was grayer, I had a belly, all the external stuff. I
was bending down to grab a rifle and leaning over reeeeeeeally slowly. And
the 40-year-olds on the set were saying, `What the hell do you think we're
like?' "
"(It happens) all the
time that you're about to start a movie and you have no idea what you're
doing. On `Brokeback,' I felt that way, but I embraced it. I just asked
myself, `Where am I going now, in this scene? I won't worry about where I'm
going next.' "
Unlike some contemporaries,
Gyllenhaal does theater: He made his London stage debut in 2002 in Kenneth
Lonergan's "This is Our Youth," winning the Evening Standard's
Newcomer of the Year award. There he caught the eye of "Jarhead"
director Sam Mendes, who told Premiere magazine, "He has a combination
of soulfulness and man of action. ... His soul is accessible."
In an ideal world, says
Gyllenhaal, he'd do one play for every three movies. "You get heavy and
tired making movies constantly, and the stage works the mind in a more
spontaneous way. I find it intimidating, but it really makes you feel more
alive to push a story forward every night.
"Recently, though,
stage projects I've been asked to do have not been as fascinating as movies
I've been given. There have been a lot of revivals, musical revivals or
ideas that have been done." (Yes, he can sing, too. He and "Brokeback"
co-star Ledger auditioned for "Moulin Rouge," losing the lead to
Ewan McGregor.)
One more thing distinguishes
Gyllenhaal from much of his acting generation: political activism, instilled
by left-leaning parents.
"Things are building up
now," he says hopefully. "(My parents') generation responded after
things built up: civil rights or the Vietnam War, when people they knew were
dying. It's an unfortunate part of human nature, but it takes something like
that to wake up a generation. We've been protected in such a way we feel
safe.
"After (Hurricane)
Katrina, you could see how much power celebrities have to help. Just the
comfort someone might feel in New Orleans if one (of us) showed up -- even
if it's not raising money, there's a feeling that there's somebody of a
certain stature around. This is a job everybody should do, and I don't know
why they don't."
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by Ally
- credits: Charlotte.Com
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January
13th 2006
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WANTED
(preferably alive): Gyllenhaal and Lee
By Camille Ricketts
Editor-in-Chief / Thursday, December 8, 2005
Jake Gyllenhaal saunters
into the room, a long-in-the-limbs manchild garbed in navy blue. It’s
immediately obvious that his groomed stubble is the only accessory removing
him from your average high school student. The “Jarhead” muscles have
apparently deflated, and his slender frame seems vastly more fitting and
youthful. He’s trailed by Ang Lee, a gentle-looking Asian man in his 50s
who dons an oversized sweatshirt and looks like the perfect person to share
a hot chocolate and the Sunday Times crossword puzzle with.
Intermission was fortunate
enough to catch them at a press junket for “Brokeback Mountain,” a film
that showcases them both at the pinnacle of their abilities, at least so
far. And yet, making the rounds for perhaps the most important and
stereotype-shattering romance made in the last ten years hasn’t shaken
their modesty even an inch. Gyllenhaal counters Lee’s airy and aloof
self-deprecation with a surprising intensity, and their banter hits at a
close bond.
Lee emphasizes that
“Brokeback” was not made to support gay rights, or to enter into the
national debate on the subject in any context. Gyllenhaal, on the other
hand, clearly thinks the film sends a bold message — absolutely necessary
for a country that might not necessarily be ready to receive it. The
following interview explores these themes.
QUESTION: There has been a
lot of talk about how this movie has been labeled “the gay cowboy
movie.” How do you feel about that?
ANG LEE: Well, we invite all
of those people to come see it. So far most of the people who have seen it
left saying that it was just a love story.
JAKE GYLLENHAAL: We actually
had one journalist first report on it as “the gay cowboy movie” and then
apologize after he saw it... I have to say that if I would have been given
the script a few years ago, or if it had been pitched that way to me, I
wouldn’t have taken it.
AL: I don’t have a problem
with it being called that really. What I do worry about is people think it
would be a funny movie like “Blazing Saddles” or something.
Q: Why did you both decide
to take on this project in the first place if you knew it would be so
controversial?
AL: It was just a great
piece of writing. That was what was so attractive to me.
JG: The story on its own
carries real weight. It has power to it. I’m a city kid, so I’ve never
ridden a horse, and it was going to be a new experience. I think in the end
that worked out for me because my character Jack is in a lot of ways always
pretending to be better at things than he is.
Q: How was it filming some
of the more graphic sexual instances? How did you go about doing that?
AL: We found that the best
thing to do was just roll the camera and see what happens. We couldn’t be
shy.
JG: I’ve done love scenes
with women I haven’t been attracted to, and women I probably should have
been less attracted to, so it wasn’t that much of a stretch. Most of the
love scenes come out of fighting between the two guys, and the fighting was
something familiar. Plus, hey, we’re all human beings, we all have lips,
you just get in there and do it.
Q: For Jake, you filmed
“Brokeback” before “Jarhead,” how was it to switch between two very
different roles?
JG: I actually have a friend
who is a soldier right now in Iraq and when I told him I was going to be
playing a marine the first thing he said was ‘Oh man, not the gay
cowboy.’ But really, I like working in this gray area. In a lot of ways I
considered this one role preparation for the other.
Q: Your co-star Heath Ledger
will next be appearing as Casanova, the greatest lover of women of all time.
Do you feel like you need to find a new role to validate your sexuality?
JG: I don’t need to play
any role to affirm my sexuality. I don’t feel like I need to affirm
anything to anyone. When someone offers you a job playing Casanova, you take
it whether you’re gay or straight.
Q: Ang, what greater themes
do you want to get across in this film, underneath the fact that it is a
love story between two men?
AL: I really believe it is
about free will versus social obligations. As the story unfolds we see what
society does to the characters, and not only that but what the characters do
to themselves because of how they think society will perceive them.
Q: Why is it that most of
the love scenes in the movie start off violent with a lot of tension between
you and Heath?
JG: I think we were both
dealing with it being uncomfortable, and the fighting was just a more
comfortable, easier place to go. That’s how Heath and I related to each
other. But there were other, harder, more tender scenes too. I have
ex-girlfriends coming up to me after they see it saying ‘Hey, that’s not
how you treated me!’
Q: Do you think this is
important that this film, with this message, come out at this point in time?
If so, why?
AL: It’s a love story.
Love stories are important to come out anytime. I’m always looking for new
material. I didn’t do it because it was timely. People started trying to
make this story into a move eight years ago and couldn’t figure out how to
do it. I figured I couldn’t wait for the whole world to be ready for it
before I made it. It was definitely not calculated.
JG: Annie actually wrote a
note in the limited edition of the story she gave me saying that the name of
my character Jack Twist actually refers to the strength a rodeo rider must
have in his legs to hold on to a bull, and that it is symbolic of the
strength you need to hold on to something you truly believe in that makes
you feel alive. I think our generation feels like maybe, hopefully somewhere
out there is a majority that has a different mentality toward this subject.
Like I said, at age 16 I would have said no way to this movie. It gives me
hope that we’re all growing.
Q: How was it to have Jake
playing the clearly gayer cowboy?
AL: There is really no clear
indication how gay Heath’s character is. Yes, you can say Jake’s
character is more gay, but they are both family men as well. Ennis (Ledger)
just hasn’t ever known any other lifestyle. It’s not like he would ever
go off to San Francisco.
JG: I think my character is
just more open and progressive. There’s a stereotype that if I’m the
more gay character then I also have to be more feminine, and Heath has to be
more of the John Wayne type. I think this doesn’t hold exactly true.
Q: Jake, how was it to work
with Ang Lee for the first time?
JG: I’ve gotta say that at
times it could be very confusing. He would say things all the time... like
with Annie (Hathaway) and me, he would say ‘You go together like milk and
water,’ and I’d think what the heck does that even mean? Milk and water
don’t really go all that well together, but then again if you pour milk
into water is could kinda spread out all pretty? Is that what he means? Who
knows?
Q: Was it difficult to play
such a large range of ages? What did you do to make it clear that you were
getting older?
JG: It’s somewhat
subjective how much time passes in the movie, but really we focused on
making our voices deeper, slowing our mannerisms. There’s a point in the
movie where I’m supposed to be about 40 carrying a saddle to the truck.
The first time we ran it I was all ‘Errrgh’ and stooped over, and some
of the 40-year-olds on the set were like ‘Hey, we’re 40, not 80.’
Q: What about Oscar buzz? Do
you think this film will get some attention in that area?
AL: All I know is that Oscar
buzz just means we have to work longer promoting things and giving
interviews.
JG: When you work with Ang
Lee, it’s inevitable.
Q: Ang, did you ever
consider hiring actual gay actors to play the lead parts in this movie? Is
there a reason you didn’t?
AL: I just have to go with
the best actors possible for the roles I’m working with. I didn’t even
ask the people I interviewed whether they were straight or gay. (Turns to
Jake) I assume you’re straight? Yes?
JG: That’s a good
supposition, Ang.
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by Ally
- credits: StandfordDaily.Com
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January
10th 2006
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Utah
theater pulls "Brokeback Mountain"
SUMMARY: A suburban Salt Lake theater owned by the Utah Jazz's Larry Miller
abruptly reneges on its plans to show the popular gay love story.
SALT LAKE CITY -- A movie
theater owned by Utah Jazz owner Larry Miller abruptly changed its screening
plans and decided not to show the film "Brokeback Mountain." The
film, an R-rated Western gay romance story, was supposed to open Friday at
the Megaplex at Jordan Commons in Sandy, a suburb of Salt Lake City.
Instead, it was pulled from the schedule.
A message posted at the
ticket window read, "There has been a change in booking and we will not
be showing 'Brokeback Mountain.' We apologize for any inconvenience."
Cal Gunderson, manager of
the Jordan Commons Megaplex, declined to comment.
The film, starring Heath
Ledger and Jake Gyllenhaal, is about two cowboys who discover feelings for
one another. The two eventually marry women but rekindle their relationship
over the years.
The movie's distributor,
Focus Features, said that hours before opening, the theater management
"reneged on their licensing agreement" and refused to open the
film.
Gayle Ruzicka, president of
the conservative Utah Eagle Forum, said not showing the film set an example
for the people of Utah.
"I just think (pulling
the show) tells the young people, especially, that maybe there is something
wrong with this show," she said.
Mike Thompson, executive
director of the gay rights advocacy group Equality Utah, called it
disappointing.
"It's just a shame that
such a beautiful and award-winning film with so much buzz about it is not
being made available to a broad Utah audience because of personal
bias," he said.
If you'd like to know
more, you can find stories related to Utah theater pulls "Brokeback
Mountain".
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posted
by Ally
- credits: Yahoo.Com
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January
10th 2006
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Brokeback
Mountain
wins three top film awards, including best picture and best director for Ang
Lee.
The film stars Australian
Heath Ledger, but it was Philip Seymour Hoffman's entrancing portrayal of
Truman Capote that captured the best actor honour today at the 11th annual
Critics' Choice Awards.
George Clooney received the
Freedom Award, a special tribute "for illuminating our shared values of
freedom, tolerance and democracy" through Good Night, and Good Luck,
his film about US television reporter Edward R Murrow and the McCarthy
communist witchhunt era.
Oscar winner Julia Roberts,
making her first public appearance since having twins, presented the award.
Reese Witherspoon was named
best actress for her sassy performance as June Carter in the Johnny Cash
biopic Walk the Line.
Michelle Williams of Brokeback
Mountain tied for the award for best supporting actress with Amy Adams
of Junebug.
Paul Giamatti, whose Sideways
co-star Thomas Haden Church was named best supporting actor last year, took
the honour this year for his role as a fight promoter in Cinderella Man.
Freddie Highmore won his
second award for best young actor for his role in Charlie and the
Chocolate Factory.
Last year, it was for Finding
Neverland.
The awards were presented by
the Broadcast Film Critics Association at the Santa Monica Civic Auditorium.
Another special award, for
Distinguished Achievement in Performing Arts, went to the movie epic King
Kong, for "revolutionary cinematic achievement in synthesising
visual effects with an actor's performance to create the character."
Andy Serkis, whose movements
and expressions were captured to animate the big ape, was among those on
hand to accept.
The complete
list of winners:
Picture: Brokeback
Mountain.
Actor: Philip Seymour Hoffman, Capote.
Actress: Reese Witherspoon, Walk the Line.
Supporting Actor: Paul Giamatti, Cinderella Man.
Supporting Actress: (tie) Amy Adams, Junebug, and Michelle
Williams, Brokeback Mountain.
Acting Ensemble: Crash.
Director: Ang Lee, Brokeback Mountain.
Writer: Paul Haggis and Bobby Moresco, Crash.
Animated Feature: Wallace & Gromit: The Curse of the Were-Rabbit.
Young Actor: Freddie Highmore, Charlie and the Chocolate Factory.
Young Actress: Dakota Fanning, War of the Worlds.
Comedy: The 40 Year-Old Virgin.
Family Film (live action): The Chronicles of Narnia: The Lion, the Witch
and the Wardrobe.
Picture Made for Television: Into the West.
Foreign Language Film: Kung Fu Hustle.
Song: Hustle & Flow, written by Al Kapone and performed by
Terrence Howard, from the film Hustle & Flow.
Soundtrack: Walk the Line.
Composer: John Williams for Memoirs of a Geisha.
Documentary Feature: March of the Penguins.
Special Awards:
Freedom: George Clooney.
Distinguished Achievement in Performing Arts: King Kong.
- AP/AAP
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by Ally
- credits: Yahoo.Com
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January
9th 2006
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Gyllenhaal's
got the music in him
Things got pretty raucous at Saturday night's Palm Springs Film Festival
Gala Awards when Peter Sarsgaard presented pal Jake Gyllenhaal with the
Desert Palm Achievement-Actor award.
"First, I want to say some nice things about Jake," Sarsgaard
said. “He's got great hair. An amazing head of hair. And the thing about
"Jarhead" is that he shaved it all off! Also, Jake is a fantastic
singer and I think its only a matter of time before you get to hear him
sing. And I will dance,” said Sarsgaard, doing some suave Hustle steps.
"So you gotta sing, Jake, if I dance. Let's get this party
started!"
With that intro, Gyllenhaal, laughing so hard he could barely speak, came
out on stage, stepped up to the mike and sang, in a falsetto voice,
"Fever Night, Fever Night, Fe-vah! You know how to do it!”
“Wow! Okay, let’s get raucous!," said Gyllenhaal, when he finished.
“Listen, I’ve already played a gay cowboy. If I do a musical number,
people will really start to question me. So I’ll stay away from music for
a while but don’t think that it's not beating deep, deep in my veins. Very
deep.”
He explained that his love of story telling is what keeps him acting.
"If the story moves me, I will do anything to be in it. I’ll play any
part, even craft services. But I prefer theatrical work. But I would do
that. No, no actually, I wouldn’t.”
Winding up his acceptance speech, Gyllenhaal spoke of how “films take me
to places I never thought I would get to, and over walls that I never
thought I could get over. When I think about that it's just.. I dunno… I
forgot.”
As the audience roared, Gyllenhaal continued, “Let’s be real. I forgot.
And I was almost there. It was really gonna be good.”
That’s okay, Jake. There’s still time to practice an Oscar speech. And
maybe even a musical number.
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by Ally
- credits: LaTimes.Com
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January
7th 2006
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Official
DVD Cover Artwork for Jarhead
Director Sam Mendes Movie Jarhead
Thanks to DVD Active, Universal has revealed the official cover artwork for
Jarhead which stars Jake Gyllenhaal, Peter Sarsgaard, Jamie Foxx and Chris
Cooper. The film will be released in both a single-disc special edition ,
and a two-disc collector's edition (with collectible photo book). The discs
will be presented in a 2.35:1 Anamorphic Widescreen presentation, along with
English, French and Spanish Dolby Digital 5.1 Surround tracks. No news yet
on any of the bonus materials. Stay tuned, for we will bring you further
details as soon as they arrive. "Jarhead" will be available to own
when it hits store shelves March 7, 2006.
Jarhead (the self-imposed moniker of the Marines) follows "Swoff"
(Jake Gyllenhaal), a third-generation enlistee, from a sobering stint in
boot camp to active duty, sporting a sniper's rifle and a hundred-pound ruck
on his back through Middle East deserts with no cover from intolerable heat
or from Iraqi soldiers, always potentially just over the next horizon.
Swoff and his fellow Marines sustain themselves with sardonic humanity and
wicked comedy on blazing desert fields in a country they don't understand
against an enemy they can't see for a cause they don't fully fathom.
Jamie Foxx portrays Sergeant Sykes, a Marine lifer who heads up Swofford's
scout/sniper platoon, while Sarsgaard is Swoff's friend and mentor, Troy, a
die-hard member of STA-their elite Marine Unit. An irreverent and true
account of a war that was antiseptically packaged a decade ago, Jarhead is
laced with dark wit, honest inquisition and episodes that are at once
surreal and poignant, tragic and absurd
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posted
by Ally
- credits: MoviesOnline.Ca
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January
7th 2006
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Gyllenhaal
saw 'Brokeback Mountain' as an opportunity
Sandi Davis
Entertainment Writer
BEVERLY HILLS, Calif. -- Director Ang Lee knew people would walk out of "Brokeback Mountain." But he made the movie anyway, creating a
world in which two cowboys could love each other for 20 years. Review
He cast young actors Jake Gyllenhaal and Heath Ledger as the star- crossed cowboys who meet in the 1960s while herding sheep on
Brokeback Mountain. One chilly night, they share a tent and something happens they can't begin to explain or understand. After
both vow, "I'm not queer," they spend the next 20 years meeting
for fishing and hunting trips in the mountains, each leaving a wife and children at home.
Gyllenhaal, seated in a Beverly Hills hotel room, was relaxed and smiling, comfortable with his movie role and his life.
He explained how he was able to kiss Ledger in the movie and make it seem real.
"You know, in some ways it's different because usually I'm doing the exfoliating," he said, referring to rubbing shaving stubble against
a woman's face. "Not really literally, but figuratively, yeah, there have been scenes I've done in movies where I haven't been totally
attracted to the woman that I was doing a scene with, which was similar to this experience."
The 25-year-old actor said the intimate scenes with Ledger were done in service to a story he thought was beautiful.
"I think the story is so much more than the consummating of the two guys physically. It had to be done to push the benevolence of the
story. As soon as you see that first scene, people either say, 'Oh my God, I'm here,' or 'Oh my God, I'm out of here,'" he said. "A
majority of people say, 'I'm here now.' And, we both knew the movie needed it.
"It's kind of like diving into the deep end. I know it sounds odd, but there are a lot of things I've done against my nature. I don't
know if I'll ever do them again, but I learned a lot from them. And to me, not doing them would be really missing out. We have a very
short time, and if you do it in a movie, it's like you learned something from it."
Lee described the scene between Jack Twist (Gyllenhaal) and Ennis Del Mar (Ledger).
"I remember one moment thinking th
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