Academy Award winning actress Marion Cotillard
At the 2009 Spike TV Scream Awards
Duration : 0:2:6
Oscar-winners Harvey Lowry and Todd Tucker of DRAC Studios
November 19th, 2011
Oscar Winner for Best Actor, Colin Firth in ‘The King’s Speech’
November 2nd, 2011
Oscar Winner for Best Actor, Colin Firth in ‘The King’s Speech’
Golden Globe nominee for Best Motion Picture – Drama (See-Saw Films and Bedlam Productions; The Weinstein Company), Best Performance by an Actor in a Motion Picture – Drama (Colin Firth), Best Performance by an Actress In A Supporting Role in a Motion Picture (Helena Bonham Carter), Best Performance by an Actor In A Supporting Role in a Motion Picture (Geoffrey Rush), Best Director – Motion Picture (Tom Hooper), Best Screenplay – Motion Picture (David Seidler), Best Original Score (Alexandre Desplat)
BAFTA nominee for Best Film (Iain Canning, Emile Sherman, Gareth Unwin), Outstanding British Film (Tom Hooper, David Seidler, Iain Canning, Emile Sherman, Gareth Unwin), Best Director (Tom Hooper), Original Screenplay (David Seidler), Leading Actor (Colin Firth), Supporting Actor (Geoffrey Rush), Supporting Actress (Helena Bonham Carter), Original Music (Alexandre Desplat), Cinematography (Danny Cohen), Editing (Tariq Anwar), Production Design (Eve Stewart, Judy Farr), Costume Design (Jenny Beavan), Sound (John Midgley, Lee Walpole, Paul Hamblin, Martin Jensen), Make Up and Hair (Frances Hannon)
Duration : 0:3:4
FULL 83rd Oscars annual 2011 academy awards Watch in 1080p HD_chunk_6.mp4
October 19th, 2011
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Jackman was adamant about doing his own stunts for the movie.’We worked a lot on the movement style of Wolverine, and I studied some martial arts. I watched a lot of Mike Tyson fights, especially his early fights. There’s something about his style, the animal rage, that seemed right for Wolverine. I kept saying to the writers, ‘Don’t give me long, choreographed fights for the sake of it. Don’t make the fights pretty.’Jackman also had to get used to wearing Wolverine’s claws.’Every day in my living room, I’d just walk around with those claws, to get used to them. I’ve got scars on one leg, punctures straight through the cheek, on my forehead. I’m a bit clumsy. I’m lucky I didn’t tell them that when I auditioned.’Jackman, at 6′2½ (1. 89 m), stands a foot taller than Wolverine, who is said in the original comic book to be 5′ 3′. Hence, the filmmakers were frequently forced to shoot Jackman at unusual angles or only from the waist up to make him appear shorter than he actually is, and his co-stars wore platform soles. Jackman was also required to add a great deal of muscle for the role, and in preparing for the fourth film in the series, he bench-pressed over 300 pounds. An instant star upon the film’s release, Jackman later reprised his role in 2003’s X2: X-Men United, 2006’s X-Men: The Last Stand, and X-Men Origins: Wolverine, which was released 1 May 2009. Jackman starred as Leopold in the 2001 romantic comedy film Kate & Leopold, a role for which he received a Best Actor Golden Globe nomination. Jackman plays a Victorian English duke who accidentally time-travels to 21st-century Manhattan, where he meets Kate (Meg Ryan), a cynical advertising executive. In 2001, Jackman also starred in the action/drama Swordfish with John Travolta and Halle Berry. This was the second time Jackman worked with Berry, and the two have worked together twice more in the X-Men movies. He also hosted an episode of ‘Saturday Night Live’ in 2001. In 2002, Jackman sang the role of Billy Bigelow in the musical Carousel in a special concert performance at Carnegie Hall with the Orchestra of St. Luke’s. In 2004, Jackman won the Tony Award and the Drama Desk Award for Outstanding Actor in a Musical for his 2003–2004 Broadway portrayal of Australian songwriter and performer Peter Allen in the hit musical The Boy from Oz, which he also performed in Australia in 2006. In addition, Jackman hosted the Tony Awards in 2003, 2004, and 2005, garnering positive reviews. His hosting of the 2004 Tony Awards earned him an Emmy Award for Outstanding Individual Performer in a Variety, Musical or Comedy program. Jackman co-starred with Daniel Craig on Broadway at the Schoenfeld Theatre in a limited engagement of the play A Steady Rain, opening in previews on 10 September 2009 and closing on 6 December 2009. After 2003’s X2: X-Men United, Jackman played the title role of monster killer Gabriel Van Helsing in the 2004 film Van Helsing. Jackman and the film were noted in Bruce A. McClelland’s book ‘Slayers and Their Vampires: A Cultural History of Killing the Dead’. Jackman was one of the choices to play James Bond in 2006’s Casino Royale, but eventually lost out to Daniel Craig. Jackman starred in the 2006 film The Prestige, directed by Christopher Nolan and co-starring Christian Bale, Michael Caine, and Scarlett Johansson. As Robert Angier, Jackman portrayed a magician who built up a rivalry with contemporary Alfred Borden in attempt to one-up each other in the art of deception. Jackman stated that his main reason for doing The Prestige was to work with the musician David Bowie, who played scientist Nikola Tesla. Jackman portrayed three different characters in Darren Aronofsky’s science-fiction film The Fountain: Tommy Creo, a neuroscientist, who’s torn between his wife, Izzi (Rachel Weisz) who is dying of a brain tumor, and his work at trying to cure her; Captain Tomas Creo, a Spanish Conquistador in 1532 Seville; and a future astronaut, Tom, travelling to a golden nebula in an eco-spacecraft seeking to be reunited with Izzi. Jackman said The Fountain was his most difficult film thus far due to the physical and emotional demands of the part. Jackman also starred in Woody Allen’s 2006 film Scoop opposite Scarlett Johansson. He rounded out 2006 with two animated films: Happy Feet, directed by George Miller, in which he voiced the part of Memphis, an emperor penguin; and Flushed Away, where Jackman supplied the voice of a rat named Roddy who ends up being flushed down a family’s toilet into the London sewer system. Flushed Away co-starred Kate Winslet and Ian McKellen (Jackman’s fourth time working with him). In 2007, Jackman produced and guest-starred in the
Wikipedia: http://en.wikipedia.org/wiki/Hugh_Jackman
Duration : 0:14:56
Heath Ledger – Oscar Winner, BAFTA, Golden Globe & SAG Winner! Stephen Holt Show-Dec.2005
October 17th, 2011
Stephen Holt interviews the late Heath Ledger, Dec.2005 about “Brokeback Mountain” for which he was soon to become an Oscar Nominee for Best Actor…R.I.P. Heath, your beautiful, brave talent changed the world..
“Brokeback” images, etc. courtesy of Focus Features
Duration : 0:4:23
Marion Cotillard hosting French oscars
October 9th, 2011
Academy Award winning actress Marion Cotillard hosting French oscars called Césars as President of Ceremony in 2010. I don’t owe the rights for the speech!
Duration : 0:3:43
FULL 79th Oscars annual academy awards Watch in 1080p HD_chunk_7.mp4
October 1st, 2011
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In support of the American effort in World War II, the statuettes were made of plaster and were traded in for gold ones after the war had ended. The root of the name Oscar is contested. One biography of Bette Davis claims that she named the Oscar after her first husband, band leader Harmon Oscar Nelson; one of the earliest mentions in print of the term Oscar dates back to a Time magazine article about the 1934 6th Academy Awards and to Bette Davis’s receipt of the award in 1936. Walt Disney is also quoted as thanking the Academy for his Oscar as early as 1932. Another claimed origin is that the Academy’s Executive Secretary, Margaret Herrick, first saw the award in 1931 and made reference to the statuette’s reminding her of her ‘Uncle Oscar’ (a nickname for her cousin Oscar Pierce). Columnist Sidney Skolsky was present during Herrick’s naming and seized the name in his byline, ‘Employees have affectionately dubbed their famous statuette ‘Oscar”. The trophy was officially dubbed the ‘Oscar’ in 1939 by the Academy of Motion Pictures Arts and Sciences. Another legend reports that the Norwegian-American Eleanor Lilleberg, executive secretary to Louis B. Mayer, saw the first statuette and exclaimed, ‘It looks like King Oscar II!’. At the end of the day she asked, ‘What should we do with Oscar, put him in the vault?’ and the name stuck. Since 1950, the statuettes have been legally encumbered by the requirement that neither winners nor their heirs may sell the statuettes without first offering to sell them back to the Academy for US$1. If a winner refuses to agree to this stipulation, then the Academy keeps the statuette. Academy Awards not protected by this agreement have been sold in public auctions and private deals for six-figure sums. While the Oscar is under the ownership of the recipient, it is essentially not on the open market. The case of Michael Todd’s grandson trying to sell Todd’s Oscar statuette illustrates that there are some who do not agree with this idea. When Todd’s grandson attempted to sell Todd’s Oscar statuette to a movie prop collector, the Academy won the legal battle by getting a permanent injunction. Although Oscar sales transactions have been successful, some buyers have subsequently returned the statuettes to the Academy, which keeps them in its treasury. Since 2004, Academy Award nomination results have been announced to the public in late January. Prior to 2004, nomination results were announced publicly in early February. The Academy of Motion Picture Arts and Sciences (AMPAS), a professional honorary organization, maintains a voting membership of 5,835 as of 2007. Academy membership is divided into different branches, with each representing a different discipline in film production. Actors constitute the largest voting bloc, numbering 1,311 members (22 percent) of the Academy’s composition. Votes have been certified by the auditing firm PricewaterhouseCoopers (and its predecessor Price Waterhouse) for the past 73 annual awards ceremonies. All AMPAS members must be invited to join by the Board of Governors, on behalf of Academy Branch Executive Committees. Membership eligibility may be achieved by a competitive nomination or a member may submit a name based on other significant contribution to the field of motion pictures. New membership proposals are considered annually. The Academy does not publicly disclose its membership, although as recently as 2007 press releases have announced the names of those who have been invited to join. The 2007 release also stated that it has just under 6,000 voting members. While the membership had been growing, stricter policies have kept its size steady since then. Currently, according to Rules 2 and 3 of the official Academy Awards Rules, a film must open in the previous calendar year, from midnight at the start of January 1 to midnight at the end of December 31, in Los Angeles County, California, to qualify (except for the Best Foreign Language Film). For example, the 2010 Best Picture winner, The Hurt Locker, was actually first released in 2008, but did not qualify for the 2009 awards as it did not play its Oscar-qualifying run in Los Angeles until mid-2009, thus qualifying for the 2010 awards. Rule 2 states that a film must be feature-length, defined as a minimum of 40 minutes, except for short subject awards, and it must exist either on a 35 mm or 70 mm film print or in 24 frame/s or 48 frame/s progressive scan digital cinema format with native resolution not less than 1280×720. Producers must submit an Official Screen Cred ELLEN DEGENERES m
Wiki: http://en.wikipedia.org/wiki/Academy_Award
Duration : 0:15:26
2011 Oscar Montage Winners
September 26th, 2011
A compilation of 2010’s 10 nominees for best picture along with the winners for best supporting actor, best supporting actress, best actor, best actress, best director, and best adapted screenplay.
*no copyright infringement intended on any of the clips or music…strictly for entertainment purposes
Duration : 0:4:50
Children of Men nominated at 2007 Oscars.mp4
September 16th, 2011
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The film has been noted for its use of Christian symbolism; for example, British terrorists named ‘Fishes’ protect the rights of refugees. Opening on Christmas Day in the United States, critics compared the characters of Theo and Kee with Joseph and Mary, calling the film a ‘modern-day Nativity story’. Kee’s pregnancy is revealed to Theo in a barn, alluding to the manger of the Nativity scene, and when other characters discover Kee and her baby, they respond with ‘Jesus Christ’ or the sign of the cross. To highlight these spiritual themes, Cuarón commissioned a 15-minute piece by British composer John Tavener, a member of the Eastern Orthodox Church whose work resonates with the themes of ‘motherhood, birth, rebirth, and redemption in the eyes of God.’ Calling his score a ‘musical and spiritual reaction to Alfonso’s film’, snippets of Tavener’s ‘Fragments of a Prayer’ contain lyrics in Latin, German and Sanskrit sung by a mezzo-soprano. Words like ‘mata’ (mother), ‘pahi mam’ (protect me), ‘avatara’ (saviour), and ‘alleluia’ appear throughout the film. The adaptation of the P. D. James novel was originally written by Paul Chart, and later rewritten by Mark Fergus and Hawk Otsby. Developed by producers Marc Abraham, Eric Newman, Hilary Shor and Tony Smith, Beacon Pictures brought director Alfonso Cuarón on board in 2001. Cuarón and screenwriter Timothy J. Sexton began rewriting the script after the director completed Y tu mamá también. Afraid he would ’start second guessing things’ Cuarón chose not to read P. D. James’ novel, opting to have Sexton read the book while Cuarón himself read an abridged version. Cuarón did not immediately begin production, instead directing Harry Potter and the Prisoner of Azkaban. The director’s work experience in the United Kingdom exposed him to the ’social dynamics of the British psyche’, giving him insight into the depiction of ‘British reality’. Cuarón used the film The Battle of Algiers as a model for social reconstruction in preparation for production, presenting the film to Clive Owen as an example of his vision for Children of Men. In order to create a philosophical and social framework for the film, the director read literature by Slavoj Žižek, as well as similar works. The film Sunrise was also influential. A Clockwork Orange helped contribute to the futuristic, yet battered patina of 2027 London. Children of Men was the second film Cuarón made in London, with the director portraying the city as a character itself, shooting single, wide shots of the city. While Cuarón was preparing the film, the London bombings occurred, but the director never considered moving the production.’It would have been impossible to shoot anywhere but London, because of the very obvious way the locations were incorporated into the film,’ Cuarón told Variety.’For example, the shot of Fleet Street looking towards St. Paul’s would have been impossible to shoot anywhere else.’ Due to these circumstances, the opening terrorist attack scene on Fleet Street was shot one-and-a-half months after the London bombing. Cuarón chose to shoot some scenes in east London, a location he considered ‘a place without glamour’. The set locations were dressed to make them appear even more run-down; Cuarón says he told the crew ”Let’s make it more Mexican’. In other words, we’d look at a location and then say: yes, but in Mexico there would be this and this. It was about making the place look run-down. It was about poverty.’ He also made use of London’s most popular sites, shooting in locations like Trafalgar Square and Battersea Power Station. The power station scene (whose conversion into an art archive is a reference to the Tate Modern), has been compared to Antonioni’s Red Desert. Cuarón added a pig balloon to the scene as homage to Pink Floyd’s Animals. Other art works visible in this scene include Michelangelo’s David, Picasso’s Guernica, and Banksy’s British Cops Kissing. London visual effects companies Double Negative and Framestore worked directly with Cuarón from script to post production, developing effects and creating ‘environments and shots that wouldn’t otherwise be possible’.'In most sci-fi epics, special effects substitute for story. Here they seamlessly advance it,’ observes Colin Covert of Star Tribune. Billboards were designed to balance a contemporary and futuristic appearance as well as easily visualizing what else was occurring in the rest of the world at the time, and cars were made to resemble modern ones at first glance, although a closer look made them seem unfamiliar. Cuarón informed the art department that the film was the ‘anti-Blade Runner’, rejecting technologically adva
Wikipedia: http://en.wikipedia.org/wiki/Children_of_Men
Duration : 0:13:42
Oscars 2011 Colin Firth Acceptance Speech HD
September 14th, 2011
Colin Firth’s acceptance speech at the 2011 Oscars ceremony. Mind Corporation, Molinare, Mindcorp, Andrew Robinson
Duration : 0:3:30