December 19, 2011

The St. Louis Film Critics, a professional association of working film critics in the St. Louis-area, announced the winners of their annual St. Louis Film Critics Awards on Monday, December 19, 2011. The yearly awards are given to recognize the best in cinema for the year.

Member film critics voted for the winners of the SLFC Awards on December 17 and the results were revealed to SLFC members at the association's annual Awards Party on Sunday, December 18. The winners are announced to the public Monday, December 19, at 10 a.m., by press release and on the association's website www.stlfilmcritics.org. Both SLFC Awards nominees and winners are posted on the SLFC website. Nominees are listed alphabetically.

The winners and runners-up of the 2011 St. Louis Film Critics' Award are:

Best Film

The Artist

runner-up: The Descendants

Best Director

Michel Hazanavicius (The Artist)

runner-up: Terrence Malick (The Tree of Life)

Best Actor

George Clooney (The Descendants)

runner-up: Ryan Gosling (Drive)

Best Actress

Rooney Mara (The Girl With The Dragon Tattoo)

runners-up - tied: Meryl Streep (The Iron Lady) and Michelle Williams (My Week With Marilyn)

Best Supporting Actor

Albert Brooks (Drive)

runner-up: Alan Rickman (Harry Potter And The Deathly Hallows, Part 2)

Best Supporting Actress

Bérénice Bejo (The Artist)

runners-up - tied: Octavia Spencer (The Help) and Shailene Woodley (The Descendants)

Best Original Screenplay

Michel Hazanavicius (The Artist)

runner-up: Will Reiser (50/50)

Best Adapted Screenplay

Alexander Payne, Nat Faxon, Jim Rash and Kaui Hart Hemmings (novel) for The Descendants

runner-up: Steven Zaillian, Aaron Sorkin, Stan Chervin and Michael Lewis (book) for Moneyball

Best Cinematography

Emmanuel Lubezki (The Tree Of Life)

runners-up - tied: Jeff Cronenweth (The Girl With The Dragon Tattoo)

and Janusz Kaminski (War Horse)

Best Visual Effects

Harry Potter And The Deathly Hallows, Part 2

runner-up: Rise Of The Planet Of The Apes

Best Music

The Artist

runner-up: Drive

Best Foreign-Language Film

13 Assassins (Japan)

runner-up: Winter in Wartime (Netherlands)

Best Documentary

Being Elmo

runner-up: Tabloid

Best Comedy

Bridesmaids

runner-up: Midnight In Paris

Best Animated Film

The Adventures of Tintin

runner-up: Rango

Best Art-House or Festival Film

- for artistic excellence in art-house cinema or a festival film; limited to films that played film festivals, film series or in limited release in St. Louis, at one or two cinemas

We Need To Talk About Kevin

runner-up: Win Win

Best Scene

- favorite movie scene or sequence

The Girl With The Dragon Tattoo: the opening titles sequence

runner-up: The Artist: the dance scene finale

To be eligible for an award, a film must have been shown in the greater St. Louis area in a theater or at a film festival or series, or made available to SLFC members by screening or screener during the past year. Films opening in limited run elsewhere for Oscar qualification but which will open in the St. Louis area early in the next year are eligible, provided the are made available for viewing by the member film critics.

The mission of the St. Louis Film Critics association is to promote appreciation of great cinema in St. Louis and to promote St. Louis as an area that appreciates great cinema. The member film critics review films for a variety of media, including print, radio, television and Internet in the greater St. Louis Area. SLFC also presents awards at the St. Louis International Film Festival and St. Louis Filmmakers Showcase, both presented by Cinema St. Louis.

For further information on the SLFC Awards, the St. Louis Film Critics association or the association’s other film awards and activities throughout the year, contact the SLFC at stlfilmcritics@gmail.com or visit the SLFC website www.stlfilmcritics.org

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ST. LOUIS FILM CRITICS

AWARDS NOMINEES

FOR 2011 ANNOUNCED

Winners to be announced December 19

The St. Louis Film Critics, a professional association of working film critics in the St. Louis-area, announced their nominees for the annual St. Louis Film Critics Awards on Monday, December 12, 2011. The yearly awards are given to recognize the best in cinema for the year.

Winners of the St. Louis Film Critics' Awards will be announced on Monday, December 19 by press release and on the association's website www.stlfilmcritics.org. The award winners will be decided by SLFC members' votes by midnight on Saturday, December 17. Both SLFC Awards nominees and winners will be posted on the association’s website www.stlfilmcritics.org. Nominees and winners are listed alphabetically.

The 2011 St. Louis Film Critics' Award nominees are:

Best Film

The Artist

The Descendants

Drive

My Week With Marilyn

Tree of Life

Best Director

David Fincher (The Girl With The Dragon Tattoo)

Michel Hazanavicius (The Artist)

Terrence Malick (Tree of Life)

Alexander Payne (The Descendants)

Nicolas Winding Refn (Drive)

Best Actor

George Clooney (The Descendants)

Jean Dujardin (The Artist)

Michael Fassbender (Shame)

Ryan Gosling (Drive)

Gary Oldman (Tinker Tailor Soldier Spy)

Brad Pitt (Moneyball)

Best Actress

Viola Davis (The Help)

Rooney Mara (The Girl With The Dragon Tattoo)

Elizabeth Olsen (Martha Marcy May Marlene)

Saoirse Ronan (Hanna)

Meryl Streep (The Iron Lady)

Michelle Williams (My Week With Marilyn)

Best Supporting Actor

Albert Brooks (Drive)

John Goodman (The Artist)

John Hawkes (Martha Marcy May Marlene)

Jonah Hill (Moneyball)

Alan Rickman (Harry Potter And The Deathly Hallows, Part 2)

Best Supporting Actress

Bérénice Bejo (The Artist)

Cate Blanchett (Hanna)

Jessica Chastain (Tree Of Life)

Octavia Spencer (The Help)

Shailene Woodley (The Descendants)

Best Original Screenplay

Woody Allen (Midnight In Paris)

Michel Hazanavicius (The Artist)

Seth Lochhead and David Farr (Hanna)

Terrence Malick (Tree Of Life)

Thomas McCarthy and Joe Tiboni (Win Win)

Will Reiser (50/50)

Best Adapted Screenplay

Hossein Amini and James Sallis (book) for Drive

Alexander Payne, Nat Faxon, Jim Rash and Kaui Hart Hemmings (novel) for The Descendants

Jason Segel, Nicholas Stoller and Jim Henson (characters) for The Muppets

Tate Taylor and Kathryn Stockett (novel) for The Help

Steven Zaillian, Aaron Sorkin, Stan Chervin and Michael Lewis (book) for Moneyball

Best Cinematography

Jeff Cronenweth (The Girl With The Dragon Tattoo)

Janusz Kaminski (War Horse)

Emmanuel Lubezki (Tree Of Life)

Guillaume Schiffman (The Artist)

Newton Thomas Sigel (Drive)

Best Visual Effects

Captain America

Harry Potter And The Deathly Hallows, Part 2

Rise Of The Planet Of The Apes

Super 8

Tree Of Life

Best Music

The Artist

Drive

The Girl With The Dragon Tattoo

The Muppets

Tree of Life

Best Foreign-Language Film

13 Assassins

I Saw The Devil

Point Blank

Trollhunter

Winter in Wartime

Best Documentary

Being Elmo

Buck

Conan O'Brien Can't Stop

The Interrupters

Tabloid

Best Comedy

Bridesmaids

Crazy, Stupid, Love

Midnight In Paris

The Muppets

Paul

Rango

Best Animated Film

The Adventures of Tintin

Kung Fu Panda 2

Puss In Boots

Rango

Rio

Best Art-House or Festival Film

- for artistic excellence in art-house cinema, limited to films that played at film festivals or film series or those that had a limited-release here, playing one or two cinemas.

Beginners

Martha Marcy May Marlene

Tucker and Dale vs Evil

We Need To Talk About Kevin

Win Win

Best Scene

- favorite movie scene or sequence

The Artist: the dance scene finale

Drive: the beating in the elevator scene

Drive: the opening get-away scene

The Girl With The Dragon Tattoo: the opening credits

Hanna: Hanna's escape from captivity sequence

Melancholia: the last scene

To be eligible for an award, a film must have been shown in the greater St. Louis area in a theater or at a film festival or series, or made available to SLFC members by screening or screener during the past year. Films opening in limited run elsewhere for Oscar qualification but which will open in the St. Louis area early in the next year are eligible.

The mission of the St. Louis Film Critics association is to promote appreciation of great cinema in St. Louis and St. Louis as an area that appreciates great cinema. The member film critics review films for a variety of media: in print, on radio, television and Internet in the greater St. Louis Area. SLFC also presents awards at the St. Louis International Film Festival and St. Louis Filmmakers Showcase, both presented by Cinema St. Louis.

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'The Cherry Orchard' National Theater broadcast will screen at Tivoli, July 23 and 30

Chekhov’s “The Cherry Orchard,” in a version by Andrew Upton and starring Zoë Wanamaker as Ranyevskaya, is the next in the series of National Theatre Live broadcasts to cinemas and performing arts venues around the world.

In St. Louis, the performance broadcast will be shown at the Tivoli Theater, 6350 Delmar Boulevard in the University City Loop area.

Directed by Howard Davies, who was described by the London Evening Standard as “Britain’s most consistently satisfying interpreter of Russian drama,” the production will be filmed live at the National’s Olivier Theatre and broadcast to screens in the UK and Europe on 30 June and varying dates internationally. More information is available at www.ntlive.com.

Set at the very start of the twentieth century, “The Cherry Orchard” captures a poignant moment in Russia’s history as the country rolls inexorably towards 1917.

Ranyevskaya (Zoë Wanamaker) returns more or less bankrupt after ten years abroad. Luxuriating in her fading moneyed world and regardless of the increasingly hostile forces outside, she and her brother snub the lucrative scheme of Lopakhin, a peasant turned entrepreneur, to save the family estate. In so doing, they put up their lives to auction and seal the fate of the beloved orchard.

The cast also includes Claudie Blakley (as Varya), Mark Bonnar (Trofimov), Pip Carter (Yepihodov), Kenneth Cranham (Firs), Conleth Hill (Lopakhin), Gerald Kyd (Yasha), James Laurenson (Gaev), Tim McMullan (Simyonov-Pischik), Emily Taaffe (Dunyasha), Charity Wakefield (Anya) and Sarah Woodward (Charlotta).

Zoë Wanamaker’s leading roles at the National have included Much Ado About Nothing, The Rose Tattoo and The Crucible. Her other theater appearances include All My Sons (West End), Awake and Sing (Lincoln Center, New York – Tony Award nomination), The Boston Marriage and the title role in Electra at the Donmar Warehouse (Laurence Olivier Award for Best Actress, also in New York). Her extensive television work includes My Family, Poirot, Dr Who, Miss Marple, Gormenghast and Love Hurts; films include Harry Potter and the Philosopher’s Stone and My Week with Marilyn.

National Theatre Live performances are filmed live in high definition and broadcast via satellite to almost 400 cinemas around the world, live in Europe and some US cities, and time-delayed in countries further afield. There are over 100 venues in the UK alongside venues in the USA, Canada, Australia, New Zealand, South Africa, Scandinavia and Europe. The performances at the National are nominated in advance to allow cameras greater freedom in the auditorium.

“The Cherry Orchard” screening runs 3 hours, including pre-show and intermission. The broadcast at the Tivoli Theater is on July 23 and 30 at 11 a.m. Tickets are $20.

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Happy Bastille Day!
Classic French Film Festival begins July 14

Webster University Film Series Presents
The Classic French Film Festival presented by Cinema St Louis

Thursday, July 14 at 7:30pm
THE LAST METRO (Le dernier metro) (François Truffaut, 1980, France 131 min.)
  - Gérard Depardieu and Catherine Deneuve star as members of a French theater
company living under the German occupation during World War II. Against all
odds a Jewish theater manager in hiding; a leading man who’s in the
Resistance; increasingly restrictive Nazi oversight the troupe believes the
show must go on. Equal parts romance, historical tragedy, and even comedy, THE
LAST METRO is Truffaut’s ultimate tribute to art overcoming adversity.

Other festival films this weekend:
Friday, July 15 at 7:30pm - MISSISSIPPI MERMAID (La sirène du Mississipi)
Saturday, July 16 at 7:30pm - SMALL CHANGE (L'argent de poche)
Sunday, July 17 at 7:30PM - SOFT SKIN (La peau douce)

The Classic French Film Festival will run Thursday - Sunday throughout July.
Admission to The Classic French Film Festival is $10 for general public and $8
for Cinema St. Louis and Alliance Française members.  The films are shown in the
Winifred Moore Auditorium, located on the campus of Webster University, 470
E. Lockwood, Webster Groves, MO 63119.   

For more information please visit: http://www.webster.edu/filmseries or
cinemastlouis.org

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Talking with 'Cars 2' director of photography and former St. Louisan Jeremy Lasky

Click here to read my interview in the St. Louis Jewish Light

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Talking with 'Scream 4' star Emma Roberts

by Cate Marquis

With “Scream 4,” director Wes Craven re-launches his popular “Scream” horror film series. Ghost Face and a lot of the original cast are back but there are some new faces as well. One of those is Emma Roberts. Roberts, who is the niece of Julia Roberts and the daughter of Eric Roberts, has appeared in numerous films such as “It's Kind of a Funny Story.” With her newest films now hitting screens, the Current spoke with her by phone, during a roundtable interview with college journalists.

The Current: “What were your memories of the original films growing up?”

Emma Roberts: “Um, for me, I mean, they scared me a lot, especially the first one. Just because, I don't know, 'Scream,' they all have a sense of realness to them because when you think about the logistics of it, it's really simple. It's like someone who dislikes you that's literally going to kill you with a knife. And that is scary because most other scary movies are about, like, the supernatural, ghosts or that kind of stuff. It's never so simple and that's what really, really freaked me out.”

TC: “The 'Scream' series has a lot of really strong female actors and I was wondering if you were kind of nervous joining that tradition?”

ER: “I was more excited than anything else just because when I auditioned, I didn't think I was going to get the part at all. And when I did, I think my excitement overshadowed any feelings of doubt or hesitation because I was literally screaming with excitement when I got the part. It was really just fun to work with Hayden Panettiere, who's become a good friend, and Neve Campbell and Courtney Cox, because they're all so different and also so much fun to be around.”

TC: “You have been very open about being extremely terrified of horror films. On set, you might be an easy target for pranks. So were there any pranksters and, if so, what were the big pranks pulled on you while on set?”

ER: “Believe it or not, Wes Craven was the biggest prankster of everyone, which I was surprised. He got everyone, I mean everyone. He would have someone dress up as the 'Scream' guy and put him in places during a scene that he was not supposed to be. So there was a scene where Hayden had to open a closet and no one was supposed to be in there and this guy just jumps out ans scares the cr*p out of her. And I saw it happen and then of course I fell for it a couple of days latter. I was absolutely terrified. And I kept asking if he was going to make a blooper reel to watch because there's so really really funny scares.”

TC: “Since this is a college press interview, I thought I would ask - now that you are a slasher flick veteran, what advice would you give to young, attractive college students how might find themselves prey to a systematic serial killer?”

ER: “That's a really good question. I would say... don't ...go...to parking structures at night without a friend. And don't - of course, of course - don't every say 'I'll be right back' because you probably won't be, ever.”

TC: “You have said you are terrified of scary movies. Does doing 'Scream' at all work against your fear for watching scary movies? Does it help knowing it is all kind of fake?”

ER: “I really thought so. And then the other night, I woke up at four in the morning and never went back to bed because I was so scared. I had had a nightmare about 'Scream' because I had been doing all this press and I guess I had this anxiety about it. Because I literally didn't go back to bed because I had this dream that the guy was chasing me.”

TC: “Do you think you'll ever do another scary movie again?”

ER: “Yeah, why not? You don't know yet if I am going to be in 'Scream 5' or if there is going to be a 'Scream 5.'”

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'Hanna' star Saoirse Ronan speaks

Despite her young age, Irish actress Saoirse Ronan as piled up some impressive film credits since she debuted at twelve in “Atonement,” including the starring role in “Lovely Bones.” Ronan turned sixteen while filming her latest, the thriller “Hanna.” The Current spoke with her during a roundtable phone interview with college journalists.

The Current: “Your role in 'Hanna' was unlike anything else you have done so far. What did you learn about yourself, both speaking personally and as a actress, over the course of this project?”

Saoirse Ronan: “Gosh, hmmm. I think Hanna is quite a simple, fresh young girl and I think because she is so …. she's not judgmental or prejudiced or anything like that. I feel like that really influenced me, I think, when I came away from the experience. I wasn't like that anyway but it certainly made me think about things in a different light. And as an actor, it really felt like a collaboration between (director) Joe Wright and myself. We had worked together before on another film a few years ago and we'd always had a great relationship. And I think it really developed into a terrific working relationship on this.”

TC: “You mentioned working with director Joe Wright on “Atonement.” How was your experience working on this film, which is very different, changed by that previous experience?”

SR: “Well, we had had a great experience when we worked together on 'Atonement.' Joe never treated me like I was a kid when I was twelve years old, and he certainly didn't when we did 'Hanna' together. I could see in myself that I had definitely grown as an actor, you know, I had worked on quite a few films between 'Hanna' and 'Atonement' and I think he could see that too. I guess it left us with more creative freedom. We were able to try different things, and I felt like I was a bit more in control of what I could do. He knows me professionally very, very well. So, yeah, it's kind of like a puppeteer (laughs). He knew what strings to pull.”

TC: “What attracted you to this role?”

SR: “That is was different. I always like to do something different because it is more challenging. And also the fact that I'd get to do an awful lot of physical activity. I've never done anything like that before and I have always been quite an athletic person, so I thought it would be fun and it would be tough work.

TC: “What do you look for in a project?”

SR: “It's the whole thing. A well-written script, for one. But it is quite an impulsive thing as well. If I read a script and I am still thinking about it hours and hours later, and I find myself acting it out, it is something that I am interested in. I also like things that are weird. I like strange stories and dream-like stories too. I think that is good to do reality-type things but also it is good to have an escapism.”

TC: “How much of the stunt work did you do on your own?”

SR: “I pretty much did everything, which I didn't expect. I trained and learned the choreography and I thought I would probably do most of it. But I kind of did everything, except what was really, really dangerous and my insurance wouldn't cover and the producers would go crazy.”

TC: “The film features a score by the Chemical Brothers. Are you a fan?”

SR: “I became a big fan when we started playing their music on set. Joe (Wright) played 'Push the Button' all the time. They are great, they are so innovative.”

TC: “I would like to ask you about your experience working this great cast. You got to work with Cate Blanchette and Eric Bana, big stars but you also worked with a wonderful supporting cast, Tom Hollander, Olivia Williams and Jason Flemyng. As a very talented but very young actor, what did you feel you learned from working with that cast?”

SR: “It was terrific to work with them. I am glad you mentioned the supporting actors as well, because we really did have a terrific supporting cast on this movie. Everyone did something really interesting. With Cate, I guess one of the most interesting people to talk about and as we all know a wonderful actress, to observe how she works on set is quite fascinating really. She's really focused and very, very professional, and you can see she cares about what she does and for a young actor, that is a great thing to see. Eric I worked with probably more than anyone else and got to know him really well. We have a bit of brother-sister relationship, we're always fooling around. We did all our (fight) choreography together and that was fun. And it was also great as well to have young people on the film, like Jessica Barden and little Aldo (Maland) who played Miles. It was nice to have that fresh energy around too.”

TC: What was it like traveling to so many locations?

SR: It was great actually, it is always graet to ravelm I am have been very lucky catually in the films I have worked on so far, always in really interst=ing places, all around Europe, the States, New Zealand and placeslike taht. In this film, we went to three different countries. We were in Finland where we did most of the exterior stuff. We shot all around Germany, Berlin, Hmaburg and Bavaria. And then we want to Morroco as well. I actually shot there the year before, I did another film there called The Way Back. So I knew what to expect and everyone else was very excited the sun but I warned them. It was the Sahara Desert and it is a tough place to be,

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St. Louis-born director James Gunn debuts film 'Super' here April 15, with Q&A at Tivoli

Here's the scoop:

Writer/director James Gunn, a St. Louis native, will appear at the Tivoli Theater, 6350 Delmar, in the University City Loop, for the local debut of his new film “Super” on Friday, April 15. There will a Q&A with Gunn after the 7 p.m. show and he will introduce the 9:30 p.m. show.

"Super" is a quirky, dark comedy about an ordinary man who decides to re-make himself as a super hero called the Crimson Bolt. It stars Rainn Wilson of TV's The Office, along with Ellen Page, Liv Tyler and Kevin Bacon.

In honor of Super's debut, local super pizzeria Pi will offer a specialty pizza at their Delmar location, 6144 Delmar. The "SUPER Meatball & Cheese" pizza has meatballs, red peppers, mozzarella, ricotta and parmesan cheeses, white onions, mushrooms and basil. The meatballs are made with hormone-free beef and pork.

Director/writer James Gunn attended St. Louis University High School and then went to college at St. Louis University. He grew up as part of a large Irish Catholic family and began making his own movies at age 12, often featuring his brothers, zombies and gore. 

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The original Angry Birds:

TCM Classic Film Festival brings Hitchcock's 'The Birds' and star Tippi Hedren for free screening at Hi Pointe

St. Louis will be host to Turner Classic Movies’ Ben Mankiewicz and star Tippi Hedren for a special, free screening of Alfred Hitchcock's classic “The Birds” at the HiPointe Theatre on Monday, April 4.

THE BIRDS (1963) 

Monday, April 4, at 7:30 p.m. (CT)

Hi-Pointe Theatre, St. Louis, Mo

(http://www.hi-pointetheatre.com/)

– Hosted by Ben Mankiewicz, with special guest Tippi Hedren

FREE but tickets are required for entry.

Tickets available March 21 at http://www.tcm.com/roadtohollywood.

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Here are the details from the press release:

Turner Classic Movies Expands Road to Hollywood Tour to 10 Cities,

With Free Screenings Leading Up to the Launch of the TCM Classic Film Festival

All Screenings Free to Public; Tickets to be Available at tcm.com/roadtohollywood

As part of the buildup to the 2011 edition of the TCM Classic Film Festival in Hollywood , Turner Classic Movies (TCM) is expanding its second annual Road to Hollywood tour to 10 cities nationwide. The Road to Hollywood tour features free screenings of classic films, along with live appearances by such enduring stars as Ernest Borgnine, Angie Dickinson, Tippi Hedren, Shirley Jones, Jane Powell, Angela Lansbury, Burt Reynolds and Eva Marie Saint.

TCM host Robert Osborne and weekend daytime host Ben Mankiewicz will appear in five cities each to introduce the screenings. “Last year, we had a great time going on the road and bringing a taste of our first TCM Classic Film Festival to fans all over the country,” Osborne said. “With twice the number of cities on this year’s tour, there will be even more chances to connect directly with members of our TCM family. We look forward to meeting them and sharing with them our mutual enthusiasm for great films.”

The 2011 edition of TCM’s Road to Hollywood will stop in twice as many cities as last year, with screenings in Seattle (March 3); Cleveland (March 16); Tampa, Fla. (March 21); Chicago (March 24); New York (April 2); St. Louis (April 4); Long Island (Huntington, N.Y.) (April 13); Austin, Texas (April 16); San Francisco (April 20); and Los Angeles (April 21). The tour serves as an exciting prelude to the second annual TCM Classic Film Festival, which is set to take place in Hollywood April 28 – March 1.

Visit the TCM’s Road to Hollywood website for a complete list of screenings: http://www.tcm.com/roadtohollywood.

About the TCM Classic Film Festival:

The multi-faceted TCM Classic Film Festival – which runs from April 28 – May 1, 2011, in Hollywood – will be packed with more than 50 screenings, including special introductions, guest appearances, panel discussions and more. Vanity Fair is once again joining TCM as a festival partner. The magazine will produce the exclusive, opening-night after-party that will follow the red-carpet gala screening of An American in Paris. TCM host and film historian Robert Osborne will serve as official host of the festival.

Leslie Caron, Mickey Rooney, Debbie Reynolds, Shirley Jones, Jane Powell and Roger Corman are just a few of the notable stars slated to appear during the festival. Throughout the festival, TCM will celebrate movie music, with multi-film tributes to George and Ira Gershwin, composer Bernard Herrmann and singing cowboy Roy Rogers. The festival will also celebrate the musical legacy of Walt Disney, including his Silly Symphonies and Laugh-O-Gram shorts.

Among the numerous films slated for the 2011 TCM Classic Film Festival are La Dolce Vita (1960), Seven Brides for Seven Brothers (1954), A Streetcar Named Desire (1951), Went the Day Well? (1942), Citizen Kane (1941), Fantasia (1940), Dodsworth (1936), Hoop-La (1933), The Cameraman (1928) and The Merry Widow (1925), to name a few. TCM is dedicated to showcasing the best possible projection, including digital, 35mm and 70mm prints. Most of the films presented during the TCM Classic Film Festival have been digitally restored and remastered.

The Hollywood Roosevelt Hotel, which has a longstanding role in movie history and was the site of the first Oscars ceremony, will once again serve as the official hotel for the festival, as well as home to Club TCM, a central gathering point for attendees. The Hollywood Roosevelt will also offer special rates for festival goers. Screenings and events will be held at Grauman’s Chinese Theatre, the Chinese 6 Multiplex and the Egyptian Theatre.

About Turner Classic Movies (TCM):

Turner Classic Movies is a Peabody Award-winning network that presents great films, uncut and commercial-free, from the largest film libraries in the world. Currently seen in more than 85 million homes, TCM features the insights of veteran primetime host Robert Osborne and weekend daytime host Ben Mankiewicz, plus interviews with a wide range of special guests. As the foremost authority in classic films, TCM offers critically acclaimed original documentaries and specials, along with regular programming events that include The Essentials, 31 Days of Oscar and Summer Under the Stars. TCM also stages special events and screenings, such as the TCM Classic Film Festival in Hollywood ; produces a wide range of media about classic film, including books and DVDs; and hosts a wealth of materials at its Web site, www.tcm.com. TCM is part of Turner Broadcasting System, Inc., a Time Warner company.

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2010 Oscar night's few surprises include more for 'Inception,' less for 'True Grit'

by Cate Marquis

The 2011 Academy Awards went to the expected winners in the top six categories, leaving the biggest surprises to the other awards. Best Supporting Actress winner Melissa Leo was the surprise of the night but not so much for her Oscar win.

As expected, “The King's Speech,” the history-based tale of Britain's King George VI struggle to overcome stuttering, took Best Picture, with Best Director for Tom Hooper, Best Original Screenplay for David Seidler, who had been a stutterer as a boy, and Best Actor for Colin Firth.

Natalie Portman won Best Actress for “Black Swan,” Christian Bale won Best Supporting Actor and Melissa Leo won Best Supporting Actress both for “The Fighter.”

“Inception” snagged more awards than expected, with four out of eight nominations, while the Coens' excellent “True Grit” was snubbed, winning none of its ten nominations. This was especially disappointing in the case of the great cinematographer Roger Deakins, who has been nominated 9 times with no wins.

One-time front-runner for Best Picture “The Social Network” won only three Oscars, including Aaron Sorkin's for Best Adapted Screenplay and Wally Pfister's for Best Cinematography. There had been some speculation its director David Fincher might take Best Director but in the end it was “The King's Speech's” night.

“The Fighter's” Melissa Leo had been assumed to have a lock on Best Supporting Actress until a personal Oscar campaign irritated some Academy voters. Clearly, Leo was surprised to win, and apparently had no speech prepared, leading her to loose the F-bomb, which seemed to shock even her after it slipped out. It was bleeped on U.S. TV but there was not doubt any lip-readers and it did go out on international broadcasts. She apologized in backstage interviews.

Leo's win was announced by presenter Kirk Douglas, one of many Old Hollywood touches in a program that had been billed as aimed at a younger demographic, with co-hosts James Franco and Anne Hathaway. Douglas was a real trooper, flirting with Hathaway and jokingly postponing announcing Leo's win, but his frail appearance made one wish he had a co-presenter to lean on a bit.

Other memorable acceptance speeches included “The King's Speech” Seidler, when the white-haired scriptwriter quipped that his father always said he would be a late bloomer and thanked the Queen for not putting him in the Tower of London for his own use of the F word in the film. Charles Ferguson, director of Best Documentary winner “Inside Job,” reminded the audience that none of the perpetrators of the Wall Street melt-down had yet gone to jail. A couple of acceptance speeches made a point of thanking their union crews and “Best Song” composer Randy Newman, whose family has won more Oscars than any other, was teasing and funny in accepting his award for “Toy Story 3” song “We Belong Together.” Natalie Portman was gracious and emotional accepting her win for Best Actress, as was Christian Bale in accepting his award for Best Supporting Actor, which he did using his rarely-heard native Welsh accent.

Hathaway and Franco started out well with a light touch, in an “Inception”-inspired video that touched on every Best Picture nominee, by entering the dreams of previous host Alec Baldwin in search of hosting advice. But they tended to lose steam later. While Hathaway gamely tried to keep things bright and upbeat, Franco looked bored and barely present. Maybe next time they will pair Hathaway with a host with some stand-up experience and blend old and new that way.

This Oscar broadcast was billed as a younger, hipper one but there was plenty of the past. Clips of past winners like Gone With The Wind and past hosts appeared throughout, with Bob Hope in a nice video segment and Billy Crystal as an awards presenter.

Some may have felt that the awards dragged (when don't they say that?) but things seemed improved by the lack of production numbers that always slow the proceedings down and a switch to more video footage and more relaxed comedy touches. As always, the ceremony wasted excessive time on people walking on and off stage while cutting short time for acceptance speeches. The laundry lists of thank-yous may be dull but not allowing winners a few comments on how the film came about or the meaning of the win seems wrong.

Here are awards announced at the 2011 Academy Awards, Feb. 27, 2011 (winners in bold):

BEST PICTURE
"The King's Speech" (The Weinstein Company)
"Black Swan" (Fox Searchlight)
"The Fighter" (Paramount)
"Inception" (Warner Bros.)
"The Kids Are All Right" (Focus Features)
"127 Hours" (Fox Searchlight)
"The Social Network" (Sony Pictures Releasing)
"Toy Story 3" (Walt Disney)
"True Grit" (Paramount)
"Winter's Bone" (Roadside Attractions)

BEST ACTOR
Colin Firth in "The King's Speech"
Javier Bardem in "Biutiful"
Jeff Bridges in "True Grit"
Jesse Eisenberg in "The Social Network"
James Franco in "127 Hours"

BEST ACTRESS
Natalie Portman in "Black Swan"
Annette Bening in "The Kids Are All Right"
Nicole Kidman in "Rabbit Hole"
Jennifer Lawrence in "Winter's Bone"
Michelle Williams in "Blue Valentine"

BEST SUPPORTING ACTOR
Christian Bale in "The Fighter"
John Hawkes in "Winter's Bone"
Jeremy Renner in "The Town"
Mark Ruffalo in "The Kids Are All Right"
Geoffrey Rush in "The King's Speech"

BEST SUPPORTING ACTRESS
Melissa Leo in "The Fighter"
Amy Adams in "The Fighter"
Helena Bonham Carter in "The King's Speech"
Hailee Steinfeld in "True Grit"
Jacki Weaver in "Animal Kingdom"

BEST DIRECTOR
"The King's Speech" Tom Hooper
"Black Swan" Darren Aronofsky
"The Fighter" David O. Russell
"The Social Network" David Fincher
"True Grit" Joel Coen and Ethan Coen

BEST CINEMATOGRAPHY
"Inception" Wally Pfister
"Black Swan" Matthew Libatique
"The King's Speech" Danny Cohen
"The Social Network" Jeff Cronenweth
"True Grit" Roger Deakins

BEST ANIMATED FEATURE FILM
"Toy Story 3" (Walt Disney) director Lee Unkrich
"How to Train Your Dragon" (Paramount) directors Chris Sanders and Dean DeBlois
"The Illusionist" (Sony Pictures Classics) director Sylvain Chomet

BEST DOCUMENTARY FEATURE
"Inside Job" directors Charles Ferguson and Audrey Marrs
"Exit through the Gift Shop" directors Banksy and Jaimie D'Cruz
"Gasland" directors Josh Fox and Trish Adlesic
"Restrepo" directors Tim Hetherington and Sebastian Junger
"Waste Land" directors Lucy Walker and Angus Aynsley

BEST FOREIGN LANGUAGE FILM
"In a Better World" (Denmark)
"Biutiful" (Mexico)
"Dogtooth" (Greece)
"Incendies" (Canada)
"Outside the Law (Hors-la-loi)" (Algeria)

BEST ADAPTED SCREENPLAY
"The Social Network" Aaron Sorkin
"127 Hours" Danny Boyle & Simon Beaufoy
"Toy Story 3" Michael Arndt, John Lasseter, Andrew Stanton & Lee Unkrich
"True Grit" Joel Coen & Ethan Coen
"Winter's Bone" Debra Granik & AnneRosellini

BEST ORIGINAL SCREENPLAY
"The King's Speech" David Seidler
"Another Year" Mike Leigh
"The Fighter" Scott Silver, Keith Dorrington, Paul Tamasy & Eric Johnson
"Inception" Christopher Nolan
"The Kids Are All Right" Lisa Cholodenko & Stuart Blumberg

BEST VISUAL EFFECTS
"Inception" Paul Franklin, Chris Corbould, Andrew Lockley & Peter Bebb
"Alice in Wonderland" Ken Ralston, David Schaub, Carey Villegas & Sean Phillips
"Harry Potter and the Deathly Hallows Part 1" Tim Burke, John Richardson, Christian Manz & Nicolas Aithadi
"Hereafter" Michael Owens, Bryan Grill, Stephan Trojanski & Joe Farrell
"Iron Man 2" Janek Sirrs, Ben Snow, Ged Wright & Daniel Sudick

BEST ART DIRECTION
"Alice in Wonderland" Robert Stromberg & Karen O'Hara
"Harry Potter and the Deathly Hallows Part 1" Stuart Craig & Stephenie McMillan
"Inception" Guy Hendrix Dyas, Larry Dias & Doug Mowat
"The King's Speech" Eve Stewart & Judy Farr
"True Grit" Jess Gonchor & Nancy Haigh

BEST COSTUME DESIGN
"Alice in Wonderland" Colleen Atwood
"I Am Love" Antonella Cannarozzi
"The King's Speech" Jenny Beavan
"The Tempest" Sandy Powell
"True Grit" Mary Zophres

BEST FILM EDITING
"The Social Network" Angus Wall & Kirk Baxter
"Black Swan" Andrew Weisblum
"The Fighter" Pamela Martin
"The King's Speech" Tariq Anwar
"127 Hours" (Fox Searchlight) Jon Harris

BEST MAKEUP
"The Wolfman" Rick Baker & Dave Elsey
"Barney's Version" Adrien Morot
"The Way Back" Edouard F. Henriques, Gregory Funk & Yolanda Toussieng

BEST ORIGINAL SCORE
"The Social Network" Trent Reznor & Atticus Ross
"How to Train Your Dragon" John Powell
"Inception" Hans Zimmer
"The King's Speech" Alexandre Desplat
"127 Hours" A.R. Rahman

BEST ORIGINAL SONG
"We Belong Together" from "Toy Story 3" Music and Lyric by Randy Newman
"Coming Home" from "Country Strong" Music and Lyric by Tom Douglas, Troy Verges & Hillary Lindsey
"I See the Light" from "Tangled" Music by Alan Menken, Lyric by Glenn Slater
"If I Rise" from "127 Hours" Music by A.R. Rahman, Lyric by Dido & Rollo Armstrong

BEST SOUND EDITING
"Inception" (Warner Bros.) Richard King
"Toy Story 3" (Walt Disney) Tom Myers and Michael Silvers
"Tron: Legacy" (Walt Disney) Gwendolyn Yates Whittle and Addison Teague
"True Grit" (Paramount) Skip Lievsay and Craig Berkey
"Unstoppable" (20th Century Fox) Mark P. Stoeckinger

BEST SOUND MIXING
"Inception" Lora Hirschberg, Gary A. Rizzo & Ed Novick
"The King's Speech" Paul Hamblin, Martin Jensen & John Midgley
"Salt" Jeffrey J. Haboush, Greg P. Russell, Scott Millan & William Sarokin
"The Social Network" Ren Klyce, David Parker, Michael Semanick & Mark Weingarten
"True Grit" Skip Lievsay, Craig Berkey, Greg Orloff & Peter F. Kurland

BEST ANIMATED SHORT FILM
"The Lost Thing" Shaun Tan & Andrew Ruhemann
"Day & Night" Teddy Newton
"The Gruffalo" Jakob Schuh & Max Lang
"Let's Pollute" Geefwee Boedoe
"Madagascar, carnet de voyage (Madagascar, a Journey Diary)" Bastien Dubois

BEST LIVE ACTION SHORT FILM
"God of Love"
"The Confession"
"The Crush"
"Na Wewe"
"Wish 143"

BEST DOCUMENTARY SHORT SUBJECT
"Strangers No More"
"Killing in the Name"
"Poster Girl"
"Sun Come Up"
"The Warriors of Qiugang"

© Cate Marquis

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Free 'Oscar Night Party' Sunday, Feb. 27 at Tivoli
Watch Academy Awards on theater big screen with St. Louis Film Critics 

Will "The King's Speech" or "The Social Network" take home the big prize, and what will be the most shocking upset at this year's Academy Awards on Sunday, Feb. 27? Cheer on your favorite nominees and win movie-related prizes at an Oscar Night Party co- hosted by the St. Louis Film Critics Association and Landmark Theatres.

The live ABC Oscars telecast will be shown in the Tivoli Theatre's 450-seat main auditorium beginning at 7 p.m. Doors open at 6 p.m., and seating is not reserved. Admission is free, but a canned goods donation, to be collected for Operation Foodsearch, is encouraged. Concessions will be available for purchase.

Participants will be given 2011 Academy Awards nomination ballots, courtesy of the Tivoli management.

St. Louis Film Critics will award prizes for contests, including trivia questions before the show starts and during commercial breaks.

The Tivoli Theatre, restored to its original 1924 splendor in a 1995 renovation, is located at 6350 Delmar Blvd. in St. Louis. It is listed in the National Registry of Historic Places.

For more information, visit the www.stlfilmcritics.org website. The Tivoli phone number is (314)995-6270.                                                                                                                                                                                                                                                                                                                         ***************************************************************************************************** 

Top Ten Films of 2010 - favorite films of the year

by Cate Marquis

The year's end is not only the holiday season but also “good movie season.” The end of the year brings a flood of outstanding films, rushing to qualify for Oscar consideration. This is the best time of year to go out to a movie, with more wonderful films trickling in during January and even February.

It is traditional for a film critic to compile a top ten list of the year's best movies. So below are my favorites from 2010, in alphabetical order. Since there were so many good movies this year, I am going to go beyond the top ten, to offer top five lists of some categories of films, including foreign-language films, often the best films in theaters during the doldrums of weaker films released in spring, and documentaries, which may break through to the big Oscar awards this year.

These are just my personal favorites. Tastes vary and your favorites may be different. Some choices had to be made, so other good films are listed at the end. Many of these films are still in theaters or are will be in the next month.

Top Ten Films of 2010

127 Hours - The true story of a hiker trapped for days until he escaped by severing his forearm seems like an unlike premise for a film but Slumdog Millionaire” director Danny Boyle transforms it into a visually dynamic, engrossing, sometimes funny and ultimately uplifting adventure tale. Do not be deterred by squeamishness about the final scene, which actually plays like an inspiring escape.

Black Swan - A mad psycho-sexual thriller, from Darren Aronofsky (“Requiem for a Dream”), set in the competitive world of ballet which features remarkable acting performances from the mostly female cast, a far cry far from the usual pretty ballet film.

Inception - “Batman” director Christopher Nolan's film is complex visually and intellectually challenging but the human element of longing and loss is what lifts this film beyond science fiction special effects extravaganza. However, the effects are amazing. Perhaps the most creative film of the year.

Inside Job - This outstanding documentary unravels the facts around the economic collapse and the on-going economic disaster for middle and lower-income people, with plenty of blame for both political parties. An eye-opening, fact-filled yet riveting documentary that digs deep.

The King’s Speech - Colin Firth and Geoffrey Rush give great performances as sparing partners in director Tom Hooper's history-based drama about helping the future King George, father of the present Queen of England, overcome a stutter.

Micmacs - French director Jean-Pierre Jeunet, whose films include “Amelie” and “City of Lost Children,” weaves his fantasy-comic magic in a hilarious, charming, Keatonesque tale of a bunch of social outcasts wrecking havoc on a pair of war profiteers.

Scott Pilgrim vs the World - An breathtakingly creative adaptation of a graphic novel by “Shaun of the Dead” director Edgar Wright. The film crafts a fresh take on the romantic comedy by combining old-school video game imagery with a hero quest as a slacker musician battles seven evil exes to win a girl in entertainingly comic fashion.

Social Network - A remarkable drama based on the founder and founding of Facebook, who refused to cooperate on the film. The lack of cooperation freed director David Fincher to create a more dramatic fictionalized tale of ambition that has a Shakespearean feel.

True Grit - Ethan and Joel Coen's western drama-adventure is more a fresh, gritty adaptation of the novel than a re-make of the John Wayne film. Terrific acting and wonderful photography in a powerful tale.

Winter's Bone - A harrowing, crime mystery tale that gives a remarkable glimpse inside the insular, traditional world of the deep Ozarks, with some astonishing acting. A breakout hit from the Sundance film festival.

Other worthy films: The Fighter, Biutiful (opening later this year), Made in Dagenham, The American, The Town, Ghost Writer, Fair Game

TOP FIVE LISTS

There were so many good films in certain categories that they deserved their own Top Five lists. Again, they are in alphabetical order.

Top Five Foreign-Language Films of 2010

Biutiful - This moving Spanish-language drama stars Javier Bardem as a single father and small-time crook struggling to support his family while dying of cancer. It was screened for critics but has not yet opened in St. Louis. Scheduled to open February 4 at Plaza Frontenac.

Farewell - A moving, touching French and Russian-language film about an unlikely friendship between the Cold War-era Russian spy whose intelligence helped bring about the collapse of the Soviet Union and a French engineer pressed into service as a conduit for information to the west. More a personal tale than conventional spy thriller, this emotionally gripping tale is sometimes tense, sometimes funny and an illuminating look at a historic turning point.

Micmacs - One of the best comedies of the year, a French-language creative charmer from “Amelie” director Jean-Pierre Jeunet, starring the wonderful Dany Boon

A Prophet - An ever-surprising, twist-filled French language crime thriller about a young Arab-French man rising to power within a French-Corsican crime organization.

White Ribbon - This was the scariest film I saw this year, although it played elsewhere in 2009. Beautiful black and white imagery frame a moody mystery set in a small German town just before World War I but the film takes us beneath the idyllic surface for a psychological thriller that foreshadows the rise of the Nazis.

Other good foreign-language films: North Face, Army of Crime, Lebanon, Ajami. all three Girl With the Dragon Tattoo films

Top Five Documentaries of 2010

Big Uneasy - This entertaining, fact-packed update on what is really going on in New Orleans post-Katrina, from part-time resident Harry Shearer, focuses on what has been largely forgotten in the intervening years: the role that poor levee design and faulty water control played in the disaster. The film, which played at the St. Louis Film Festival, introduces you to people who call New Orleans home and explores how the city is being set up for another disaster by shoddy rebuilding.

A Film Unfinished - Outstanding photography and artistic film-making enhances this re-examination of footage of an unfinished Nazi propaganda film about the Warsaw Ghetto, found after the war. The already known footage is re-evaluated in light of a newly-found reel of out-takes that reveals how scenes were staged. Combined with diaries and survivor interviews, this film's dark, atmospheric photography creates a powerful sense of mystery as it pieces together the facts and explores the nature of propaganda versus reality.

Inside Job - This thorough, engrossing exploration of what happened before and since the economic collapse has plenty of damning evidence on both Republican and Democratic politicians. A powerful must-see film that may have a shot to be the first documentary nominated for a Best Picture Oscar.

Restrepo - A journalist and photographer shooting a documentary about soldiers in Afghanistan in a presumably quiet area unexpectedly find themselves in the center of the hottest fighting. A remarkable, harrowing, soldier's-eye view of the experience of warfare.

The Tillman Story - In another examination of reality versus propaganda, this surprising documentary reveals the real Pat Tillman, as his counter-culture California family fought to uncover the truth of how he died. The family then tried to stop the Bush administration from exploiting his death by presenting a false image of who the pro-football-player-turned-soldier was and how he died.

Other good documentaries: The Beaches of Agnes, Exit Through the Gift Shop, Waste Land, The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers, Last Train Home

Top Five Comedies of 2010

The Good, the Bad, the Weird - A Korean “western” that is a high-energy, entertaining comic send-up of Italian “spaghetti westerns” with martial arts action, slapstick chases and a dash of Indiana Jones.

I Love You Phillip Morris - Not about cigarettes but an absurd, very funny comic love story, inspired by a true story, about two gay con-mennn, played by Ewan McGregor and Jim Carrey, with a kind of “Raising Arizona” craziness.

Kick-Ass - A surprising, hilarious tale of kids acting out fantasies of being super heroes, this comedy was the sleeper hit of last summer.

Micmacs - This charm-filled, whimsical and clever comedy has an anti-war theme and lots of magical Keatonesque comedy. See descriptions above

Scott Pilgrim vs the World - Endlessly creative, endlessly funny, director Edgar Wright re-invents the romantic comedy for the video-game generation but with enough comic energy to entertain any generation.

Other good comedies: It's Kind Of A Funny Story, Machete, The Other Guys, Tamara Drewe

Top Five Animated Films of 2010

Despicable Me - Pure fun for kids, sly humor for grown-ups, this comedy focuses on an evil mastermind who unexpectedly discovers the fun side of life, and another side to himself, thanks to a couple of kids.

How To Train Your Dragon - One of several very good animated kid's films this year. This one has plenty to entertain the adults as well, plus more of a worthy life lesson embedded in the story than some of the more just funny animated films this year.

Megamind - Another polished animated comedy about bad guy who finds his inner good guy, also entertaining comedy for kids and adults alike.

Toy Story 3 - A funny and touching wrap-up to the Toy Story series. The more sentimental slant is a bit more for the adult viewers than the kids but it is still a worthy finish for the characters' story arc.

A Town Called Panic - A weirdly-funny, charming, silly and highly-creative claymation and stop-motion animation with toys, this is one of the most creative and entertainingly crazy films of the year. The film is French but dubbed dialog for animated toys actually makes it funnier.

Top Five Art-House and Festival Films of 2010

(These are films that played in limited release or at film festival or series.)

Animal Kingdom - An unforgettable, tense, heartbreaking Australian crime thriller. Based on a real event in 1980s, it centers on an orphaned teen turned over to his nearest relatives, who happen to be the most notorious crime family in Melbourne.

Anton Chekhov's The Duel - This indie film is an adaptation of Chekhov's story about a spoiled young aristocrat growing tired of his beautiful mistress set in the Russian Crimea resort area. It has the lush photography, sets and costumes one might expect in a literary drama but this strong film surprises by offering some frank, raw drama and one of the most boldly unlikeable characters, along with fine acting.

Made in Dagenham - A warm, wonderfully inspiring tale about the women who fought for equal pay for equal work at a Ford plant in 1960s Britain.

Nowhere Boy - A moving coming-of-age drama about a poor English boy from a broken family. The boy is John Lennon, and the film also covers the early formation of his band, the Beatles. Far from the usual music biopic, this color-drenched, well-acted film is a powerful family drama that plays like fiction.

The Square - This chilling, modern Australian modern film noir weaves a tale of a prosperous builder finds himself drawn into crime by series of chance events, tempted by the chance to escape with his young working-class mistress.

Other good indie/fest films: City Island, Room and a Half, Big Uneasy, Chameleon, A Year Ago In Winter, Another Year

© Cate Marquis

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Winners of the
2010 St. Louis Film Critics Awards

Winners announced Monday, December 20, 2010 on professional association's website: www.stlfilmcritics.org

The St. Louis Film Critics, a professional association, announced the winners of its annual St. Louis Film Critics' Awards on Monday, December 20, 2010 at 10 a.m. Central Standard Time. The association gives these awards to recognize the best in cinema for each year.

Winners of the St. Louis Film Critics Awards, along with the nominees, are posted on the association's website: www.stlfilmcritics.org. The results of voting were announced to members at the SLFC's annual awards party at C. G. Muggs restaurant in Webster Groves, Mo.

Winners of the 2010 St. Louis Film Critics' Awards:

Best Film

The Social Network

runner-up: The King’s Speech

Best Director
David Fincher (The Social Network)

runner-up: Christopher Nolan (Inception)

Best Actor
Colin Firth (The King’s Speech)

runner-up: James Franco (127 Hours)

Best Actress

Natalie Portman (Black Swan)

runner-up: Jennifer Lawrence (Winter’s Bone)

Best Supporting Actor
Christian Bale (The Fighter)

runner-up: Geoffrey Rush (King's Speech)

Best Supporting Actress
Melissa Leo (The Fighter)

runner-up: Hailee Steinfeld (True Grit)

Best Cinematography (photography, not special effects)

True Grit (Roger Deakins)

runner-up: 127 Hours (Enrique Chediak and Anthony Dod Mantle)

Best Music (soundtrack or score)
Social Network

runners-up: Inception & Black Swan (tie)

Best Visual Effects

Inception

runner-up: Scott Pilgrim vs The World

Best Original Screenplay
The King’s Speech (David Seidler)

runner-up: Inception (Christopher Nolan)

Best Adapted Screenplay

The Social Network (Aaron Sorkin)

runner-up: Winter’s Bone (Debra Granik and Anne Rosellini)

Best Foreign-Language Film

Micmacs

runners-up: Biutiful, The Girl With The Dragon Tattoo & A Prophet (tie)

Best Documentary

The Tillman Story

runner-up: Waiting for Superman

Best Comedy

Scott Pilgrim vs the World

runner-up: Micmacs

Best Animated Film
Toy Story 3

runner-up: How To Train Your Dragon

Best Artistic/Creative Film (for excellence in art-house cinema)

Micmacs

runner-up: Scott Pilgrim vs. The World

Moving the Medium Forward (for technical/artistic innovative that advances the medium)

Inception

runner-up: Scott Pilgrim vs. The World

Special Merit (for best scene, cinematic technique or other memorable aspect or moment)

(a tie)

- 127 Hours: the zoom-up scene beginning with a tight shot on Aron (James Franco) screaming which pulls up to a wide shot of a large land area, showing how isolated he was.

- Inception: the zero-gravity hotel hallway fight scene with Joseph Gordon-Levitt.

runners-up:

- Harry Potter and Deathly Hallows, Part 1: the “obliviate” scene in which Hermione erases her parents' memories of her.

- Kick-Ass: the Hit-Girl kill spree.

- Easy A: the John Hughes tribute near the beginning.

To be eligible for an award, a film must have been shown in St. Louis, by theatrical release, at a film festival or film series, or made available for viewing by the SLFC member film critics during the past year.

The St. Louis Film Critics association also confers annual awards at the St. Louis International Film Festival and St. Louis Filmmakers Showcase, both presented by Cinema St. Louis, and sponsors film-related events throughout the year. The mission of the SLFC association is to promote St. Louis as an area that appreciates great cinema and appreciation of great cinema in St. Louis. The member film critics review films for a variety of media, including print, radio, television and Internet in the Greater St. Louis Area.

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Q&A with Edgar Wright, director of “Scott Pilgrim vs World,”  released on DVD Nov. 2010

(excerpts from a phone interview with the director)

Question: Were you always a fan of 'Scott Pilgrim versus the World' comic books? If so, what were your major concerns translating the comic book into the movie?

Answer: I just started reading it as soon as it was published in 2004. I read the first volume when it came out and you know I was already in conversation with Bryan Lee O’Malley he wrote the book before the second one was published and so we were already working on the film as he was writing.

So I think very early on we figured how we weren’t going to be able to...translate all of the book into the film and how to make the film different and stand alone as its own piece. I just tried to kind of involve Bryan with each step and there are great things that are in the book that are not in the film.

But there are also things that work on the page in some respects. So I think the two things were kind of like companion pieces, really, like the book will always be there and the film is a version of it. So yes, I don’t really – you know my concern was really about getting the tone of the books across of kind of capturing (Katayanagi) and how to kind of translate that visual imagination to the screen.

Interview with Edgar Wright:

Q: 'Scott Pilgrim' has a lot of those moments – I know when I saw it had me saying you know I’ve never seen something like that before. I know that... you’re influenced by people like John Landis and Brian DePalma and John Carpenter. (Yet) even nowadays, I’m like, I’ve never seen some of that before. Is that something you consciously aimed for when you were making 'Scott?'

A: It was definitely one of the things that was irresistible to me making this film was because I felt like something, nothing quite like it really existed, you know. You know you certainly have ... a lot of kind of amazing visual fantasy and action, and like a lot of foreign films sometimes.

You know a lot of western films don’t ... break the rules quite as much and I think that was what was kind of fun for me was the idea of ... making something that ... wasn’t completely bound to any reality.

The things that you accept in comics, you can’t often do on the big screen, but we wanted to play with the universe a little bit. So in that sense, there’s a difference of rules to a sort of a normal genre film, but that was the intention, (to) really to try and do something that I’ve haven’t really seen before.

Q: How did you actually plan those action scenes. Did you lift many of the images from the comic books, did you drop the storyboard, or did you just tell someone in computer design give me something dramatic?

A: Kind of a bit of a mix of the first two. We didn’t really do too many animatics like ... you see on the Blu-Ray. The only times we did kind of animatics was the scene with the dragons and for the scene sliding down the rail. But even those had been sort of heavily storyboarded before.

So what we did is we took kind of hero frames from the comic and a couple of the slides, (and) kind of strongly... matched the comic, like the Patel fight and parts of the Todd Ingram fight. But then other ones, like the fight with Lucas Lee and the you know the Gideon fight at the end, are very different.

So it was a mix of, you know, what we’d written, what was in the comics, like my storyboards. And then on top of that, you know you have an amazing list of collaborators on a film like this. So my brother, who is kind like a conceptual design person, and Brad Allen the stunt coordinator, had like three ideas for your every one.

And then, like you said, the visual effects kind of people as well. So it’s definitely a collaboration but if you look on the Blu-Ray, you can see the storyboard for every single scene. And you can see for the most part how closely they resemble the finished thing. And we did also a comparison on the Blu-Ray between the comic and the film, for the moments (that) are sets in the page.

Q: This makes two films, Shaun of the Dead and this film, where you’ve done something really fresh and original, really exciting. So why did you choose this particular comic book for this film. I mean what drew you to this particular project?

A: I just liked the first book...I felt it connected with you, the characters. I really liked ... the central metaphor in 'Scott Pilgrim,' of like dealing with sort of excess baggage and having to fight for love. And then, that visual metaphor, taking that kind of (thing) as far as it could possibly go.

I thought it was amazing, it was sort of like... a great kind of visual metaphor for relationship and gave so much scope. (That visual metaphore) might have just worked in the comic book, but for the film, (I wanted) to have some if it, and create something which is like half like a romance, half like a massive Kung Fu extravaganza.

That sort of material doesn’t come along very often. I tend to write my own stuff but it was one of the few times somebody sent me something and I read it and thought oh, I’ve got to do this.

Q: I was wondering what is it that you wish you had done, something you didn’t accomplish that you wish you had in directing the movie?

A: The last three films I’ve made, I didn’t feel like any of them are like perfect and I think you’re always striving for perfection. I don’t sit back there and say it’s perfect, you know like there’s things that I'd kind of like to change if I had to do it all over again.

But in some cases you don’t necessarily want to say what those are because you, you know you want the chance to kind of get it right yourself in another film essentially. So in terms of visually, I don’t feel like there was anything else I wanted to do... with the effects and the fights or anything.

We more than accomplished what we set out to do. And so it’s something like this is a really just a tricky balancing act. And it was interesting test screening for it, because you had to kind of like please the people who wouldn’t normally watch an action film and then you also have to please action fans who wouldn’t normally watch romantic comedy. So that was the biggest challenge.

And it was a really tricky balancing act and you’re constantly tweaking that. So, yes, there’s things I’d change if I did it over again but on the other hand I’m incredibly proud of it.

Q: What types of technical challenges and/or production considerations did the unique video game elements pose you, the cast and the crew while filming 'Scott Pilgrim versus the World?'

A: I think I tried to make it very... clear to the cast what we were making. And on the Blu-Ray, you see like a test film that we shot back in like July 2008 and that was really a way of showing the studio what we were after. And also, you know, show the cast what exactly we were going to make.

And so I wouldn’t say (it was) the video game element that proved anything of a challenge because that was kind of like a surface layer and if anything, we just kind of tried to choose our moments to put that in or throw that away. And you know we tried to make it like so that would increase throughout the film.

But it was more just the technical challenges, with the actors being in all the fights, because unlike a super hero film where people are wearing masks, nobody really wears any masks in this film. So it made the execution of the fight scenes overly ambitious because you actually see the actors in the fight frequently. And so they all trained for a very long time and it made those scenes incredibly meticulous and painstaking. But you know that was definitely the biggest challenge.

Q: Seeing that Bryan Lee O’Malley was still working on the books themselves while you guys were making the movie, (did that have) a lot of influence (on) the movie production, did you guys have any influence on how he made the books or did he just kind of do his own thing then mail you the script when he was done?

A: I’m going like guess myself and (co-writer) Michael Bacall. We went to Toronto in 2005, I think so, very early on, to meet Bryan. He’d already kind of mapped out the other books in a rough form (and) we asked him to map them out in a more concrete kind of fashion, which he did.

And I think a very early draft of our script kind of exists, dating back to 2006 when there was only three books published. And there was some little pieces of that which Bryan then used in the comic but only the odd line and odd kind of idea for a scene.

So the two things kind of influence (each other) quite a lot throughout because there were also things in the film, which refer back to early drafts of his script for the book, like the idea of the twins being musical artists is something that came from Bryan. And he didn’t end up using it in the book but we used in the film. So you know throughout that kind of five-year period, there’s lots of places where the two things intersect.

And then even, I think, in the final book six, the fact that Scott has been away from Toronto for a long time and then comes back and everything’s changed mirrors how Bryan Lee O’Malley was feeling because he’d moved away from Toronto and he came back to the city to make the film. And so like some of that comes into the books - he was writing book six when we were filming and we had a copy of it as he was doing it.

And you know eventually we changed some things to kind of reflect volume six. But it was a good process throughout - like Bryan was involved (at) every stage...he would be the person I would try and get the OK on. And even down to casting and the look of props and things, I tried to keep (him) involved throughout.

Q: One of the things I love about your film-making...(is) the kinetic energetic value. And I was wondering what experiences, either in film or in your TV work, kind of influenced the style of film-making you have?

A: I don’t know. I mean it’s a trick you would ask that because I’m a big fan of film and TV and comedy and animation... I’m 36 years old so that’s kind (of) 36 years of influence. I can’t pinpoint it down to one single person.

I have plenty of favorite directors and those go from Alfred Hitchcock to Scorsese to the aforementioned John Landis and John Carpenter, Sam Raimi, the Cohen Brothers, Sergio Leone, Woody Allen. There are so many people that I kind of grew up with and have influenced me in tiny ways.

And I think really that sometimes your sense of humor is honed by what you find funny growing up and what things you connect with and you don’t. And so I don’t know, it’s a tricky one to answer. I’m a huge fan of film/TV music and animation, so I feel like (its) nearly four decades worth of that.

Q: Are you a big fan of the genres that you lampoon, like zombie movies and buddy-cop movies?

A: I am. I mean, to be honest, the reason why we made those films is because we love them like so. They’re certainly not – they’re not really supposed to be spoofs particularly, they are comedies. But you know with – 'Hot Fuzz' and 'Shaun of the Dead,' me and Simon would always bristle at the words a little bit because most of those spoofs are by people who kind of hate those films.

You watch 'Scary Movie' or 'Epic Movie,' it seems like the makers have complete disdain for the movies that they’re lampooning. And that was never the case with 'Shaun of the Dead' and 'Hot Fuzz.' I mean I think you can tell watching them that we have a real affinity for that genre and we like to think of them more as valentines. It’s the same with 'Scott Pilgrim' - it’s not a send-up of any genre in particular, it’s trying to create its own reality really.

I mean, you know, there are elements of Kung Fu in it but you know I’m a huge martial arts fan. And you know working on the film (with) Jackie Chan (on a) kind of fight score was a dream come true. So I like to think that we’re paying tribute to those genres and of course I’m a huge fan of (them).

Q: We were wondering if there was any specific images to a film or video game that you couldn’t include in the movie, for being too obscure or any other reason.

A: Not really, I mean like – it doesn’t really kind of happen like that. They come about quite organically in the script writing process and you know contrary to popular belief I don’t kind of just try and cram (in) as many references as possible.

They all have to be kind of organic to the scene, really. And other things come about just in set-dressing and trying to work out what the characters would like. So no, there was nothing. There was no reference to any obscure film 'oh, I wish that was in there' - not really.

Q: How would you say that the Internet and the Internet community have helped 'Scott Pilgrim' thrive beyond its initial theatrical run and kind of made it have this almost cult following that some have said almost paralleled 'The Big Lebowski?'

A: I don't know. I mean it's kind of too early to tell, really. But I don't know. I mean it's – all I can kind of say is that really that it's interesting just hearing people's stories on the Internet of like how many times they saw it.

I think, you know, through Twitter and through our own Facebook page and stuff like that, you kind of hear lots of stories about people who saw it. Like saw (it) many, many times and dragged their friends to see it and kind of became evangelists for the film. There's one guy in Seattle who's seen it 31 times and he photo blogged his ticket stubs to prove it.

So I guess like that's the thing. And we started doing screenings, like we did the screening... in Los Angeles at midnight and you know it was completely sold-out. And this was just after it finished its theatrical run and we turned up to surprise the audience. And I brought like 11 of the cast with me which was – which is really like – and you know the cast all willingly came along. It wasn't like a studio thing. It was just kind of like a bit of a hoot to turn up to the midnight showing.

So I don't know. I think sort of – I would hope it's helpful in a way. I like it when people are talking on the Internet about their responses to the film. You know more than a lot of film sites these days (that) spend twice as much time talking about box office prospects and box office results than they do about the films themselves.

So it's nice to kind of then also hear like the fan's response to just the material, really. And what they took away from the film and things they spotted and what people kind of saw on a second and third watch. So that's very gratifying and it's nice.

Starting this week, from the Blu-Ray (release), we're doing a couple of screenings and it'd be really fun if we could just sort of see it with a crowd, most of whom have seen it before. So that's really nice.

I feel as if the Internet has been very kind of kind to me over the years in terms of all of the things I've done: 'Spaced,' 'Shaun of the Dead' and 'Hot Fuzz.' You know 'Spaced,' the TV show that me and Simon Pegg did, you know like its following started on the Internet. And that was definitely a huge part of it being kind of like having its own cult.

'Scott Pilgrim' is still kind of fresh but maybe that same thing will happen. I'm very overwhelmed by the response I get to the film from fans, and that kind of means everything to me.

Q: The movie seems to have a lot of references to many things that would be like part of the college-age generation. To what degree do you identify with the generation that you portrayed?

A: I feel like I identified with it a lot, which is what attracted me to the books. I felt like that, 'Scott Pilgrim' particularly, I felt like I'd been a lot like him when I was a teenager. And I feel, in terms of the, you know, the kinds of the passions of the characters – you know, a lot of people made comments about it being a very young film. And being so very contemporary and maybe not appealing to anybody over 30.

But most of the interests within the film are all very – you know, have all been around for like decades. And even the video game references I feel are a lot more nostalgic than contemporary.

(And certainly) the ideas like garage rock and video games and comics – are not purely the subjects of 2010, several things that have been around for at least 30 years or more – forty years now.

So yes, I feel like I identify with characters though. I feel like I've definitely been there, I've definitely kind of like chased a few Ramonas in my time, I guess. And I've been like Scott Pilgrim and been a bit kind of, you know, selfishly wrapped up in my own kind of like bubble of existence when I was a teenager. So I definitely can vibe with a lot of the books. And that's what attracted me to it.

Q: Can you describe any type of maybe (visual) process you went through as you were directing a few of the scenes, like maybe before you directed it and during it?

A: Well basically it really just starts with storyboards, you know. You run the script and usually the fight scenes in the script – I don't tend to go into it in a lot of detail because it seems like kind of wasted energy because you know end up drawing them.

And then like I would draw all kinds of very rough storyboards which would then be (refined) by my brother and some other people, which was a huge job. The storyboards for the film, I must have taken over a year, all-in-all. They're all on the Blu-ray. That's 300 pictures or more, 300 pages, each of which has six panels on them. And then like you go through a process of making that.

In some cases you just shoot exactly what's on the storyboard. In some cases, you have to expand it a little bit. So people make models to show how something could work you know. Some of the additional effects, people make (animatics) to sort of see some things and kind of moving beyond just the drawings. And you know in some cases the stunt team try and do videos with the anchors and stunt people to show what something would look like moving.

So it's an incredibly complex film. So you have like five different teams of people kind of working on that. But everything comes from like a drawing scribbled on a piece of paper. And in some cases they really are scribbles.

There's one sequence in the film where Scott is kind of (fooling) up which I drew on just the back of a kind of piece of notepaper. And you know sent it to (director of photography) Bill Pope and he understood it, and then we shot that. And it looks exactly like what I drew in a very scrappy fashion.

Q: You've been hired as one of the writers for 'The Adventures of Tin Tin' which is being directed by Steven Spielberg and produced by Peter Jackson. How awesome does that feel?

A: It was awesome. What wasn't awesome is that I practically wasn't on the set at all because I was filming 'Scott Pilgrim' at the same time.

So as awesome as getting that gig was and working on the script, which I did for about two or three months in 2008. I worked on it for a little bit and that was amazing, but I wasn't actually like witness to any of the (making of the film) because I was in Toronto.

So it's still 100 percent awesome. But of course I would have loved to have seen (it in action) a bit more.

Q: Edgar, could you just talk briefly about how your relationship with (musician) Nigel Godrich just came about and how he ended up doing some of the score elements for 'Scott Pilgrim?' I just think that's so cool that you were able to end up…

A: Yes. Well we've friends – we met through mutual friends about eight or nine years ago. So we had various mutual friends and then we became very good friends. And we had always intended on doing something together. We were both fans of each other's work.

And then 'Scott Pilgrim' was the first thing that came up where... he was the person closest to me that I wanted his advice on how to pull off the music. And we kind of got involved in that capacity, in helping get the bands together who contribute to the sound track.

And then doing the score, I think was just a challenge to him because he'd never done it before, and I thought it'd be great. So it's his first ever score and I think he found it very challenging doing it, something like the one thing in music that he hadn't done. But I think he's done an amazing job. And I (am pleased with that) and he found it kind of like a really fulfilling challenge.

Q: What was your favorite fight scene to make during 'Scott Pilgrim vs. The World?'

A: To actually shoot? Hmm, that's – what's funny is that kind of – they take as long to film as they are fast to watch. You know they're very painstaking, and so like it's such more fun to edit than to get it together really.

The one that I love watching the most – I mean I like all of the fight scenes - I think I like the one with the twins and the dragon, watching that finish, because it finished so late, like probably about a month before the film. And so whenever I watch that one I am always like taken aback by just how much work (went) into it.

It's fun to shoot all of the fights, but they're very painstaking. They're incredibly painstaking.

Q: Edgar, whenever I would describe this movie to my friends, I'd always say it's like a John Hughes film produced by the Shaw brothers.

A: I appreciate that very much.

Q: Obviously besides using the (graphic) novel as a template, did you look at any particular films as an inspiration for the film's visual style?

A: Not any one specific film. There's little nods to films within it. Like you know everything from like the Hong Kong action to – I mean you know a lot of Hong Kong films kind of pushed the boundaries of visuals and what you might accept, especially in the fantasy and comedy and action being in the same movie.

There wasn't really any one film that I could show to the cast and say 'it's like this.' It's like this, you know, I would sort of screen things that were gently like connectives, like 'Phantom of the Paradise' or 'Beyond the Valley of the Dolls' and you know things like that, or like little touchstones. Nothing that was like the story, that was exactly like the film.

Q: Edgar, I know you're big on talking about other movies that you love that inspired you. And I know on a lot of your DVDs and stuff you really pack it full of extras which make it worse going out there and buying. Like you've got the commentary with (Tarantino) on 'Hot Fuzz' and this one looks pretty packed as well. Is that something that is important to you to do for fans or aspiring filmmakers?

A: I guess so, although you know like when I grew up though, DVDs didn't exist. Like so and I didn't even have a VCR until I was like 17, 18. So the whole kind of 'making of' thing – like the first time we ever did it was with 'Space' in like 1999 which is around the time that DVDs really started to explode.

So I guess then like if anything, it wasn't so much being inspired by other filmmakers and seeing how they made DVDs because you know I am older than DVDs. But it was more like when we did our first DVD and we put extras on, we were aware that like the fans really responded to it and appreciate it. And we realized that you can never go into enough detail.

And I think also, especially with somebody that's got program – you know in this day and age you do everything on a computer and it's all on like a hard drive. It's not like it used to be where everything's going to be on film or on tape.

Like but when we're doing the extras for this Blu-ray – we're sitting there with the film but with all this other material amassed from two years. And my thought more – you know aside from the fans is like – well we better document this stuff before it's too late, because if we don't put it on the Blu-ray now it's just going to get lost forever. It's going to be on some hard drive somewhere and that's it. So we should really preserve it some – you know preserve it.

So I think that's really like what it becomes about is that it’s about making market document as a process and you know people are – with something like this because it’s something that’s very unique and I don’t think it’s likely that something else is going to be made like this again.

It seems kind of like right to show how it was made you know and I would hope – I would hope that (inspiring) filmmakers – I mean I know that they do because they tell me about the extras on my stuff but you know definitely all presented to inspire people.

Q: Could I ask you just sort of what are some of your favorite movies to watch for Halloween?

A: I actually watched the movie for Halloween last night. I had some friends over and after much debate we watched the early '70s version of 'Tales from the Crypt' with Joan Collins which was authored with Joan Collins and Peter Cushing which is like one of the earliest anthropology films in the '70s.

But I'm a big horror fan so like those you know those all manner of amazing Halloween films. I mean you know the original Halloween is probably your first – that’s probably the best one. But in terms of what I watched last night I watched that - 'Tales from the Crypt,' 1972.

Q: I wanted to ask about 3D. You must have been under some pressure to do your film in 3D and I think you did the right thing resisting it. Could you not comment on that?

A: You know what, nobody suggested it.

Q: Really?

A: It was never suggested to us about doing 3D. I think the thing is it would have just been prohibitively expensive. It would have been impossible to shoot it in 3D because shooting in 3D takes at least five times longer. So there is no way we would have been able to make this film in 3D without it costing three times as much.

And then even in terms of like nobody ever really brought up the conversion idea. I think it’s very fast cut and it’s not designed for 3D. You know the best kind of 3D films that has come out are ones that have been shot with 3D in mind which means a different kind of copy and paste and you know like going over and really using the frame.

I mean there is definitely bits within 'Scott Pilgrim' that would look cool in 3D but because it was never designed with that in mind, I think it was would have been just a complete headache for all concerned to even get into that. So it never came up genuinely.

Q: So now that you're done with 'Scott Pilgrim' and stuff are you going to finish off the Trilogy and do the end of the world movie or just see what happens?

A: I haven't really figured that out at the moment. I just took like – you know once I've done like the promotion for this film, I'm going to get back into writing stuff and I have a couple of things I need to finish off. You know including that one, so it’s a matter of kind of getting back to the drawing board I suspect.

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2010 St. Louis International Film Festival, Nov. 11-21

The big film news in St. Louis right now is the St. Louis International Film Festival. It is so big, the story is featured on the 'front page,' at the top of the home 'Film Reviews' page. Link to the home page to read more.


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SLIFF 2010 interview with renowned editor/documentarian Chuck Workman

Chuck Workman's legendary skill as a film editor and documentary filmmaker has won him wide-spread acclaim. Workman, whose montages are featured during the Oscars ceremonies, is one of the directors attending the St. Louis International Film Festival.

The editor/director speaks and shows clips from his famous Oscar-winning montage of film history highlights, “Precious Images,” at the Tivoli Theater on Saturday, Nov. 20 at 11 am. The talk is followed by a screening of one of Workman's few narrative films, “A House On A Hill,” about an architect rediscovering his artistic vision. Another Workman film, “Visionaries,” a documentary about avant-garde cinema, screens Saturday Nov. 20 at 5:30 pm, also at the Tivoli

Here are excerpt from a recent interview with Chuck Workman:

Cate Marquis: “A film you did several years ago made me fall in love with film editing.”

Chuck Workman: “Probably 'Precious Images.' That is one of the two films being shown here.”

CM: Besides that very famous film and your newest documentary, you are showing a narrative film. A narrative film is an unusual project for you.”

CW: “It is. It is something I wanted to do and I suddenly had the opportunity to do it, and I did. Then I spent back and forth with it, because it was not a studio film, it was an independently-financed film. I shot it in like 200 and 2001. Then 9/11 happened and everything stopped in terms of independent film production and distribution. So even though it was given a little bit of a life, a beginning of a life, at film festivals, nothing happened with this film for like two years, three years.

Then it came out, played in a few places, got some nice reviews, a couple bad ones but basically very good ones. So its like a child - I got to bring my little kid along. I try to get it shown as much as possible. It really shows things I am interested in as a filmmaker, and I hope that comes through.”

CM: “I thought is was interesting that both this film and 'Visionaries' are about modern art - modern architecture and avant garde cinema.”

CW: “Yeah. I did a film about Andy Warhol called 'Superstar' about 20 years ago that is still being played. Then I did another one about the Beat Generation, called 'The Source (which includes dramatic recreations starring Johnny Depp).' Those are both documentaries, so 'Visionaries' is the third in this kind of story about breakthrough artists, of the '60s mostly, who kind of changed the way we look at art. But (the fictional) 'House on the Hill' is really more about the artist himself...what he had to do to kind of continue to do his work his way. That is a very important subject to me.”

All the artists I have been able to portray have been very individual artists, who did their work their own way...without comprising too much. And that is interesting to me. I find I have to compromise a lot.”

CM: “I think that is a challenge for most artists who aren't independently wealthy.”

CW: “Well it goes back before Mozart, that's a good example. You live to do what you do, for people who don't really understand what you are doing but you want to reach them anyway. You can't just be arrogant about it. You want people to be reached by your work. It is always a tricky compromise about how far you go.”

CM: “I think that is a common stereotype about artists, about doing art only from themselves, but every artist I know wants his/her work to reach people, to say something to them.”

CW: “If you do it just for yourself, yes, it is an interesting kind of a thing, but really you are thinking about reaching others. Even if it is a small group. It does not have to be a mass (audience) thing like a Hollywood movie. There is always a part of the audience who will understand little things that you are doing, so I try to get that in there. Like when I started working on the Oscars, when a billion people are looking at it, I found I could do the same thing, I could work almost in the same style, as in more obscure things, and people would get it. So that is really encouraging to me, that I wouldn't have to compromise my style too much. But of course, the subject matter changes, with the Oscars, you are dealing with very popular movies and stars, things like that.”

CM: “Like I said, you work made me fall in love with editing. It is almost like you are a sculptor of film.”

CW: “I might use that. Wow that's a great line.”

CM: “Go ahead. It made me realize that film was not just about storytelling but that there was so much you could in the image itself too.”

CW: “The idea of storytelling is really overrated. The mass audience distributors, the people who make Hollywood films and television, make sure that certain bases are stepped on in every piece that they do, so the audience gets something they accept, and then you riff on that. It is as if you have blue progression and you can't leave it. There are great blues artists but still, (that rule) is limiting.

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2010 St. Louis Jewish Film Festival runs June 13-17

by Cate Marquis

Documentaries “Inside Hana's Suitcase” and “Yoo Hoo Mrs. Goldberg,” Israeli drama “For My Father” and Australian claymation “Mary and Max” are among the highlights of the 2010 Jewish Film Festival.

The JFF takes place Sunday, June 13 to Thursday, June 17, at Landmark's Plaza Frontenac Cinema, with 16 films, 9 narrative features and 7 documentaries from countries around the world. The films range from light-hearted and family-friendly to searing and adult-oriented and the features include comedies, romances and dramas. Several are local premieres. Most films are introduced, by speakers with expertise on the topics.

“It is like a whole collage of very interesting films. We called it 'A Cinematic Journey,'” Zelda Sparks, JCC Cultural Arts Staff, said about the variety of films. Countries represented include America, Israel, Australia, Peru, France, Tunisia, Canada, Czech Republic, Germany and Britain.

This year's festival has 7 Israeli films. “That's a lot,” Sparks said. “(Israeli filmmakers) are cranking out some really good quality. The industry has really jumped forward enormously in the last years. We are getting a lot of good things from Israel.” Among them are both this year's opening night film, “A Matter of Size” and the closing night film “Eli and Ben.”

To read more, follow this link to St. Louis Jewish Light:
http://www.stljewishlight.com/features/arts_culture/article_6734e48c-756a-11df-88bc-001cc4c03286.html

To read full reviews of select films at JFF and capsule reviews of other films, see Movie Marquee Film Reviews page

or follow this link to St. Louis Jewish Light:
http://www.stljewishlight.com/features/arts_culture/article_6734e48c-756a-11df-88bc-001cc4c03286.html

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Interview:

Coen brothers film 'A Serious Man' star Michael Stuhlbarg has serious acting chops

by Cate Marquis

Joel and Ethan Coen wanted an actor unfamiliar to film audiences to play the lead role of Larry Gopnik in their darkly comic “A Serious Man.”

Although, Michael Stuhlbarg might be unfamiliar to movie-goers, the Julliard-trained actor is certainly not unknown on Broadway, where he has a stunning resume. He was nominated for a Tony Award and won a Drama Desk Award for his performance as the disturbed brother in “The Pillowman.” He has played a number of Shakespearean roles, and appeared in both the stage and film versions of Tim Blake Nelson's “The Grey Zone,” which is set in a Nazi death camp. He has also appeared in supporting roles in the films “A Price Above Rubies” and the Ridley Scott/Leonardo DiCaprio Mideast thriller “Body of Lies.”

However this is Stuhlbarg's first lead role in a film. Stuhlbarg's resume leans to drama but “A Serious Man” is most definitely comedy, albeit of the dark Coen brothers type. Stuhlbarg's character Larry is deluged with enough troubles to rival Job. We spoke to Stuhlbarg by phone shortly before the film opened.

Cate Marquis: “Given the story in this film and that it is the Coen brothers, readers are going to want to know: Are you Jewish?”

Michael Stuhlbarg: “Yes. I went to Yom Kippur services this year with my Dad.”

CM: “What was it like to work with the Coens? Were you a fan of their work beforehand?”

MS: “I was absolutely a fan of theirs beforehand. And working with them, you know, I had heard things about what they would be like and I found this to be very true: Once they choose their actors to play the roles they want them to play, they let the actors do their work and they are very much hands-off in terms of letting us do what it is we feel the role dictates to us. I found that to be very true. I wrote them about three pages of questions before we started shooting and they answered all of them very generously, and for those questions that they couldn't answer, they let me answer them. Once we got on the set, we had the occasional conversation here and there about a few things but on the whole, we just went about our work. And I found them very amiable and very fun.”

CM: “I thought you did a brilliant job with this character, in the difficult job of making him sympathetic rather than just a victim. How did you prepare for this role?”

MS: “One of the things I was concerned about at the beginning of the process is that Larry is a physics professor, and I was going to be responsible for conveying a couple of complicated ideas, the Schrodinger's Cat paradox and the Uncertainty Principle, to a group of students. I used my resources to find a professor of physics and he very generously explained these subjects to me and helped me get these ideas firmly into my head, so I could do what was being asked of me. That was a big concern of mine.

Also, I spent some time with familiarizing myself with the general arc of the character. Because I knew we were going to be shooting it out of sequence, I felt is was my responsibility to at least have some idea as to what the events that happened to him over the course of this story meant to him, so that when I showed up on the day, I would remember what it was he had gone through and try to factor that into how I was going to respond. “

CM: “What you do think of your character, Larry Gopnik?”

MS: “I think he was a man who did not question a lot about his life at the beginning of the movie. I think he was content in his work and in his family, and as things start to go a little wrong, he starts to ask questions about why these things are happening to him. And I think he changes over the course of this, from somebody who does not think about faith so much to someone who tries to throw these questions at a spiritual guide in his community. And I think he still has questions at the end of the movie.”

CM: “The production notes for the film describe it as being about faith, among other things. Larry seeks out three rabbis in the film, a young one, a more senior rabbi, who tells an odd tale about a message written on teeth, and then the wise old Rabbi Marshak, who rarely speaks to anyone.”

MS: “Between Larry and (his wife) Judith, Judith was the more religious and faithful. That was a decision that Sari Lennick (who plays Judith) and I came upon in our discussions of the characters. I think when Larry is presented with visiting the (first) rabbi, he goes along with it, sort of with a grain of salt. Then I think he tries to put into practice the wisdom they gave him. I think Larry tries to utilize any bit of knowledge they can send his way, and I think it only gets him so far. I think the quote at the beginning of the movie is kind of about faith: “receive with simplicity everything that happens to you.” Faith is something very simple but it is difficult to maintain in hard times.”

CM: “The Coens have talked about how they enjoyed coming up with ways to make poor Larry miserable. What was your reaction to Larry when you read the script? The script overall?”

MS: “When I read the script for the first time, I was being asked to audition for both Larry and Uncle Arthur so my first impression was kind of split in two. I was trying to follow two different journeys in the movie. I don't really remember by initial response to Larry, I just remember laughing a lot.”

CM: “In some ways, this is a return to an earlier style of Coen brothers films, in that it is very dark and very funny.”

MS: “Yeah, it is sort of a distant cousin of 'Barton Fink' and 'The Big Lebowski.' It fits between them kind of well.”

CM: “The film starts with a made-up little Yiddish folk tale set in a 19th century Polish shtetl. How do you see that story connecting to the rest of the film?”

MS: “I heard Joel and Ethan (Coen) talk about it before and I think they seem to think it doesn't really have any connection to the rest of the piece. I think the quote (at the beginning of the film) has a kind of resonance for it, in terms of trying to “receive with simplicity” those things that come into your life, that intuition gets complicated so I don't think they necessarily followed that. But I am sure people will come up with all sorts of interesting ideas and they have so far. People have said 'well, maybe they are old relatives of the Gopniks' or something like that. Someone even said they thought they saw a picture of Fyvush Finkel's character, Reb Grosvenor (the possible dybbuk), in Rabbi Marshak's office, which would be interesting. I'll have to check that out. I think they were just interesting in throwing that in there to begin the film in a very provocative way.”

CM: “Two on-going themes in the film are a line out of a Jefferson Airplane song, 'when the truth is found to be lies, and all the joy within you dies, don't you want somebody to love,' and the '60s TV show 'F Troop.' What do those mean for the film?”

MS: “I think 'F Troop' was on TV when Joel and Ethan were growing up and perhaps they wanted to throw that in there to go with the period, and maybe they spent some time watching it growing up, In terms of the Jefferson Airplane song, there are a couple of references,. That wasn't something they threw in at the last minute, that song had been in the script from the moment I read it. I think the idea (from the song lyrics) of truth found to be lies, and all the joy with in you dying, when those things happened to you, don't you want somebody to love - I think that has an interesting resonance in terms of Larry's journey, in terms of everything collapsing for him and really wanting to have someone to love. At the end of his journey, I am sure at the end of the movie, it not only ties in beautifully with in terms of story, it is wonderful for the period as well. It does those two things really beautifully.

CM: “In some ways, this is the Coens' most autobiographical film, at least for the externals, being set in the Minneapolis, among the Jewish community, where they grew up, and set in 1967.”

MS: “I enjoyed playing within the confines of the time period. I think they set up those strictures in order to what the time period was like, with the clothing, and the knick-knacks on the shelves, the cars that were driven. It was fun. Part of the thing I love about acting is the chance to throw myself into different periods and imagining what it would be like.”

CM: “The film was shot on location in Minneapolis. As a New York actor, was it different working in a Midwestern Jewish community?”

MS: “There are some things that make it unique to that place in the world but there are a lot of similarities to Jewish communities everywhere.”

(from St. Louis Jewish Light)