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Sunday, 28 February 2010
Julianne Moore is often singled out as an unfortunate actress. The woman has been nominated four times and lost each. What's interesting though is that on each occasion Moore was probably not even the top 3 when it came to the voters. I'd have easily voted for her in 1997 and probably 2002 and she was a close runner up in 1999. The reason I mention Julianne, is that if I had to think about a male counterpart to Julianne the person that I'd immediately refer to is Ed Harris. Like Julianne, he too has had four losing nominations with never a chance at winning; and like Julianne he gave a performance of a lifetime - as far as I'm concerned anyway - in 2002. This performance is often regarded as the ultimate hambone, but I don't agree. Obviously. It's a performance I persist should have won an Oscar.
#12 Ed Harris in The Hours (2003)
The Hours is a woman's story, we know that: yet I really love it. The men never really get the chance to shine as the ought - even though John C. Reilly is fine and Stephen Dillane is subtly moving. Still, with all the crutches thrown his way Ed Harris carves an outstanding performance, in my opinion at least. Richard is Clarissa's friend - though I hesitate at the connotations of the word. They once had a relationship - a tenuous one by the looks of it - and though he has changed his preference the two remain friends, lovers even (without sex). The time of the film is indeterminate, mid nineties we can assume; and Richard is an AIDS victim collecting a prestigious award.
It's difficult to write about Ed without mentioning Meryl because his performance is in some ways a subset of hers, which I've mentioned recently. I mentioned that each segment has its similarities, but it's all really pronounced - saturated almost - in Clarissa's arc. Richard represents the husband figure the two previous woman share, but Harris' Richard is just a bit smarter the rest. Perhaps it's his illness, but the strange clairvoyance he possesses never fails to unnerve me. It is he after all who gave Clarissa her title of Mrs. Dalloway. Richard loves to tease Clarissa, it's obvious, and in that first scene it's difficult to feel any sympathy for Ed - despite his plight. But no one can do line readings like Ed. I love when Clarissa asks him if he's eaten: Well can you see it? Is it here? Do you see any breakfast lying around? I must have eaten it, mustn't I? Ed is appropriately macabre, almost comical as Richard.
But then, I think about how difficult a role to pull of this is - which makes me love it even more. It's not difficult to write this off as the typical histrionic diva-esque role. Richard exists almost as a character in a Greek tragedy, and in some ways he's similar to Kidman's Virginia. He just doesn't fit in his surroundings, and it's obvious. He's almost ridiculous opposite the subtlety of Meryl's Clarissa, but that's why I respect Ed so much. He makes it work. That clairvoyance is a key to Clarissa and to the entire film, since The Hours really is all about diving Woolf's Mrs. Dalloway over and over. He has the power lines and he doesn't undersell them, but he doesn't over sell them either. Oh, Mrs. Dalloway...always giving parties...to cover the silence... It's not a line to take for granted.
Ed has it hard because he's an important character with little screen time and he needs to make the little screen time work for him. That longing look as he looks at a photo of his mother is pathetic...as is his suicide. Isn't it strange that he and Streep shine in reading a line that's almost the same. She tells Louis Don't touch me. He tells her Don't come near me. We know what's coming, but we can't look away. But I still have to face the hours... It's not my favourite arc, but that moment is one of the most striking for me. Streep's harrowed face and Ed's expressionless one. Absolute perfection.
But what do you think? Yay or nay for Harris' Richard?
Saturday, 27 February 2010
Hello people. I'm still having the most annoying internet problems so posts may be slow within the forthcoming few days. Apologies. However, tomorrow one of the greatest Oscar traditions (no joke) is occurring. StinkyLulu is hosting his 2009 Supporting Actress Smacdown...I may not be online to post the link but REMEMBER to head over to his site and take part!!!!!
Okay, as you were.
Not to rehash the obvious, but my thoughts on Meryl Streep are not a secret to you. Still, it’s not like I hate the woman and I do appreciate those moments when she impresses me. She has always had a knack for showing the utmost vulnerability and I do like her when her voice is unaccented. This performance marks my favourite of hers since her 1985 Karen in Out of Africa.
#13 Meryl Streep in The Hours (2003)
It’s no coincidence that her character’s name is Clarissa Vaughn; the similarities to Virginia Woolf’s Mrs (Clarissa) Dalloway are not accidental. With the exception of the resplendent Redgrave, Streep seems to be the perfect person to illustrate Clarissa (Vaughn’s and Dalloway’s) sereneness and composure even if that shot of her in front of the mirror is anything but serene. One of Streep’s selling points has always been the astute way she uses her face and I love that meeting she has with Eileen Atkins in the flower shop. She twists her face into an almost imperceptible scowl as Atkins speaks of Richard’s book. Subtlety at its best. But of course she really starts “acting” when she meets Richard’s flat. Strange that I say “acting” though, because the very reason I am so enamoured with this performance is because of Meryl’s fluidity here. When I look at her, I don’t see Streep in makeup or with an accent “acting” – I see Clarissa Vaughn – a real woman, through and through. From the most subtle of looks – like that look as she travels up the elevator, Clarissa is an enigma but still completely real.
Streep and Harris really do shine opposite each. It’s easy to write off the chemistry that the two share; a bit too much like the gay man and the straight woman (Will & Grace) but it’s not a cliché and seeing as thus ruins the beauteous rapport between the two. Like the entire ensemble, none are just saying lines to the other. Each word from Richard elicits a response – sometimes palpable, sometimes downplayed – from Streep and it’s all completely real. Clarissa’s motives do cause me to wonder though. What is the drive behind her devotion to him? Guilt? Love? Friendship? What makes the film so good is that the drive behind it is unimportant because whatever *it* is, it’s absolutely moving.
As autonomous as each story is, The Hours thrives on the similarities between each segment and the commonality of the visitor is potent in each. Virginia has Vanessa, Laura has Kitty and Clarissa is thrown by Louis. It’s hard to judge a performance so saturated with emotion, but this meeting is one of Streep’s strongest. She is so thrown by Jeff that we can’t help but sympathise with her, that moment of extreme vulnerability – uncommon for someone so composed – is especially moving. I love her reading of the line “Don't touch me.”. It’s this moment that throws her portion of the narrative in a different direction. The scars from this meeting are almost visible as she returns to Richard’s for that fateful final visit: which my favourite moment of hers and she sells it, completely.
She is already frazzled as she enters the room, and it’s difficult to remain indifferent to the obvious change in Richard. This doesn’t even seem to be the same man we saw earlier and Clarissa knows this. Her pleas with Richard are so profound and watching Harris’ gaunt figure at the window is all too ominous and the subsequent fall never fails to throw me. As I said, Streep’s Clarissa depends on reactions and Streep’s reaction is key here. Simply sublime. It is (of course) the peak of her performance, not in the literal sense but emotionally. She’s broken afterwards and continues the rest of the film dejectedly; only her portion has a twist the others don’t. She has a second visitor. It is Julianne’s moment but Meryl never takes the bait to be non responsive (but she never goes out of the way to make it too much) and that’s why her Clarissa works.
I can’t share the general love for Streep, though I continue to respect her for continued productivity and even though it’s rare that I adore a performance of hers, the one rare Clarissa Vaughn makes up for the Julia Childs and Sister Aloysius.
What were your thoughts on Meryl here? Is it a favourite of yours or do your prefer her other work?
Thursday, 25 February 2010
If 2009 has offered nothing, it has given us a wide array of good, great and some excellent supporting performances. I’m not sure how I’d rank last year against the others of the decade, but it certainly wasn’t the horrid year it was made out to be by some – especially for the supporting women. I ended up singling out eleven excellent performances but there were so many more on the sidelines I wish I could have mentioned. So I’ll give them their moment. In another year any of these could have made my top 10. Here are 25 good supporting performances of 2009…in ascending order beginning with....
TIER FOUR
TIER THREE
TIER TWO
TIER ONE: My Nominees & Runners Up
What are your thoughts on 2009's Supporting Women? Do any of these 25 make your actual list of nominees?
Wednesday, 24 February 2010
If I had labelled this list “the most iconic” performances of the last decade, there’s a possibility that this could have found its way at the very top. The word iconic is not one that I use lightly, but when a mere image – a stick, a beard, a horse can signify so much and when a believed character is so potently created on screen it can’t help but become iconic, and though he’s not at the very top on the list of my favourites – he’s close.
#13 Ian McKellen in The Lord of the Rings: The Fellowship of the Rings (2001)
I never was one to lump all three Lord of the Rings films together. Still, it does have its benefits – I’m never certain where one begins and one ends and sometimes I end up choosing one or the other on the strength of the story (Tolkien’s) more than on the strength of Jackson’s filmmaking – which is consistently strong throughout. Even if I’m to judge McKellen’s Gandalf sometimes I wonder if his arguments with Worm Tongue (The Two Towers) or those with Ian Holm (The Return of the King) aren’t all equal, sometimes superiror to his work in the first instalment. It is a quandary; I’ll single out his work in The Fellowship as the key even if his work in the other two is in no way less.
The essence of Gandalf – Tolkien’s creation and McKellen’s incarnation – is his trustworthiness. How does one create someone so amicable, the youngest child would not hesitate to approach but formidable enough that the greatest entities would doubt (if only momentarily) before crossing. It’s a bit of an incongruity perhaps, but it’s one that is not apparent when McKellen is at the helm. One thing I constantly appreciate about his Gandalf throughout is his subtlety even while painting a character than exists in such broad strokes. It’s the eternal difficulty of creating such a character; Gandalf is the emblematic fatherly figure, the wise one but McKellen’s Gandalf is neither too wise nor too paternal. The moment where I always get drawn to his brilliance occurs when Bilbo shows him that fateful ring. One can almost hear the very words forming in his head – he’s shocked, confused, aroused, and anxious all at once and that brief, but significant burst of anger always surprises me. Gandalf is written in broad strokes, but McKellen doesn’t play him likewise.
He is consistent though. Each member of the fellowship, all at the Council of Elrond, even – know of the danger that lies ahead, but sometimes it seems Gandalf alone truly realises the gravity of the journey ahead, or perhaps its McKellen alone with so little screen-time signifies how worried he is. His simple act of closing his eyes as Frodo volunteers to be the ring bearer is possibly the most significant sigh of the film; in fact all the moments of extremely subtle facial acting can be accounted to McKellen. I always am impressed by his talent, even those moments that could become clichéd or cyclical are never thus with him: like his irritated look at Pippin when he wakes the Orcs in the cave (a look that is mirrored in The Return of the King with that ball…).
One thing that continues to puzzle me is Gandalf’s exit in The Fellowship of the Rings. His final line – fly you fools – more than being a significant line always piques my interest. Certainly, Gandalf is not immortal or omniscient – perhaps it’s that wry look on McKellen’s face as he delivers the line, but I always think that Gandalf knew he’d be getting out of that cave, by hook or by crook. It’s a question I can debate forever; it can’t be proved - for obvious reasons. Nevertheless, it’s these provocative moments that I return to each time I see The Fellowship. Only few actors could boast of such moments. Unlike the majority, when we return to McKellen’s performance new things arise each time. His Gandalf is not just a literary character, but an iconic person.
Previously...
James McAvoy in Atonement
Brad Pitt in Burn After Reading
...Gah! I hope not. Did you miss me on the blogosphere? Well I'm back...or did you not notice I was gone? It was unintentional, I'm convinced my computer hates me...but I won't get into all that etc... But I haven't been on line since Friday night which is a looooooooong time for me. Did anything happen in the last three days? Did Carey Mulligan suddenly become the Oscar frontrunner? Did AMPAS retract their nomination of The Blind Side? No...? Okay, back to regular programming.
Saturday, 20 February 2010
I like to rethink my favourite parts of films as the year ends. Of course it’s a work in progress. Quite often a favourite does not mean that said film is my favourite and sometimes it does. It’s the moment of the film you remember most, the scene that makes you shed a tear or makes you laugh…the scene that brings my nostalgic memories or worry for the future. It’s the power of films as such. So I’m unveiling my 25 scenes of 2009. I did not include openings or endings because they often serve a completely different purpose, maybe I’ll recap my favourite of each later, perhaps. I can’t say. I tried as much to prevent repeats, but I couldn’t. The fifteen runners up will be listed in alphabetical order and then the top ten by favouritism. It’s purely subjective though, so bear with me.
[Click on the links for my reviews]
500 Days of Summer: “Just Friends”
I know quite a few were bowled over by this, and I suppose there were many more obviously funny or romantic scenes that I could have chosen – the greeting card moments come to mind, but this is the single moment of 500 Days of Summer that I carried in my memory after seeing it. The preamble of it begins at a club as a persistent patron asks to buy Summer a drink. Tom gallantly gets into a fist fight and he is nonplussed when Summer is miffed on their return home. She grimly responds that they’re just friends when Levitt gives his best scene. His response is so real and so emotional as he leaves – it’s the most poignant part of the film.
Brothers: “The Second Dinner”
MaGuire’s breakdown as the end was a contender but the film finest scene occurs with the ensemble present as they all gather for Maggie’s birthday. Sam is already on edge and the tension is palpable.Isabelle opens the door to see her Uncle there with his new date, and she’s already upset. Grace can feel something is amiss and Izzie just keeps pushing it further and further. Sam keeps telling her to stop playing with the balloon with leads to her (fraudulent) claim – you’re just mad because Mom would rather sleep with Uncle Tommy than you. It’s piercing, it’s surprising and it’s incredibly memorable. I love Jake’s reaction as he looks down, as if disappointed and Natalie’s Grace is not so much aghast as saddened and of course Tobey and his perpetual look of bewilderment. A wonderfully directed scene.
Duplicity: “Getting A Copy of the Plan”
Duplicity thrives on the mystery, and that ridiculous hair growth scheme. My favourite part occurs when Julia’s Claire must find the blueprints and fax it to her allies in the dead of night. The fine editing is in place and Julia, Clive and the rest of the ensemble do fine work – considering that many of them are already lying to begin. Gilroy
An Education: “An Important Loss”
This scene is just a tidbit, but it stands out. The tale of “Mr. Rochester” has travelled to The Head Mistress, whose office Jenny is called to. It’s a monologue really, and Emma sells it completely – “There may well have been the odd sixth form girl who has lost an important part of herself – perhaps the best part – while under our supervision. These things happen, regrettably. If however we are made aware of this loss, then of course the young lady in question would have to continue her studies elsewhere, if she still has any use for A-Levels. Is that clear?” It is perfection.
It’s one of the most chilling parts of the novel and it translates well to screen. Gambon and even Radcliffe sell the emotional weight of the scene and it is sooooo beautiful to look at. The mosaic image is palpable; the cinemotgraphy is enchanting the visual effects are always subtle but never underwhelming. The finest part of an already good film.
The Hurt Locker: “A Suicide Bomber”
The scenes don’t seem to have a specific beginning or end, though I did appreciate the cameo of the always wonderful Ralph Fiennes, but the film makes it point in when a suicide bomber enters the picture. Jeremy Renner’s guilt as he’s unable to defuse the bomb is potent and the tension is built up so heavily. It’s a powerful scene.
In the Loop: “First Press Conference”
This another film with continuous pieces of brilliance, the one that stands out is the first press conference as a self conscious Tom Hollander all but sinks his career. It’s the first time we see the wonderful Mimi Kennedy (who I cannot stop singing praises to) and the diffidence of Hollander and the obvious humour of the situation cannot be ignored. Such an uncomfortable moment for the characters, such a lovely moment for the audiene.
I didn’t expect this to be my favourite of the film, but weeks after it’s the one that I remember vividly. Susie’s sister enters Harvey Jackson
Nine: “Be Italian”
Need I go on? It's more than the hook being catch, because it's not my favourite song. But the choreography is sensational, the imagery is lovely, the sand in the tambourines, the dancing whores. It's a number that completely satisfies.
Precious: “The First Class”
Precious soars highest when it comes down to the simple things, like Each One, Teach One. The chemistry of the girls is lovely to watch and Paula Patton oversees it all with such candour. I love Jo Ann’s colour choice – fluorescent beige and I love Gabourey’s delivery here – so blunt, and yet a little shy – I can cook. If only the entire film could have felt so sure of itself.
The Princess & the Frog: “Almost There”
It’s the token “I want” solo number [Part of this World, Belle, Reflections] and Anika owns it with those vocals, and of course the design is beautiful too.
The Road: “Goodbye, Wife”
I really wish Charlize had more to work with in The Road, she’s phenomenal with her slight role. Her departure from the film is heart-rending and I love Viggo’s reaction. It’s the saddest moment of the film, which is strange considering it’s all rather depressing.
I didn’t like this much, but it has one of the best scenes this year, when Judith asks for a divorce I thought the Coens’ were on to something. The dialogue here is brilliant.
Judith: Sy and I have become very close…. In short: I think it’s time we start talking about a divorce.Larry: Sy Ableman.Judith: This is not about Sy.Larry: You mentioned Sy.
It all leads to one of my favourite lines this year “I haven’t done anything. This is not some flashy thing. This is not about woopsy-doopsy." I am so going to use that in a conversation some time.
I’ve told you before I was very impressed with Ms. Moore’s bit role in A Single Man, and of course she’s in a favourite scene of mine. As she and Colin dance it’s a really lovely moment in the film (though I suppose it’s not as important as some of the more obvious ones) still, the scene and the subsequent confessions is just sublime in my eyes. Perfection.
Where the Wild Things Are: “Meeting the Wild Things”
Whatever it’s errors Jonze captures the wonder of this other world brilliantly. Max's meeting with the wild things is funny, and sweet and magical all at once. It's also a surprisingly strong acting moment for Records who meanders through brilliance and mediocrity for me. Of course Catherine O’Hara’s Judith is a good source of laughter here already setting the pace for her excellent voice work to come.
So these are the fifteen runners up, tomorrow I’ll be back with my ten favourite scenes of the year from 9 good films. Interestingly enough one of the films listed there isn’t even in my top twenty, but you’ll see tomorrow.
The biopic is a good way for a woman to get recognised, there are a few on my list. I’d probably single out 2002 and 2000 as the years with the strongest Oscar Best Actress lineup, and incidentally on both turns the winners was the woman in the biopic. Incidentally, both of these performances have suffered backlash like a number of winners but none more than the next performance I will cover. Of course, it doesn’t faze me. I am continually enchanted by this performance.
#14 Julia Roberts in Erin Brockovich
"They're called boobs, Ed."
Even if Steven Soderbergh decides to retire he will always have 2000 standing as a testimony of his talents. The one double whammy of Erin Brockovich and Traffic remains as two formidable examples of his talents, and all in one year. I’ve already singled out the former as a favourite film of mine and Julia’s eclectic performance stands as driving force behind that love. Erin Brockovich is an excellent film, whether or not it is admitted and yet of the last decade no Best Actress winner – not even Theron’s Monster or Mirren’s The Queen depends as completely on their leading lady as much as Erin Brockovich depends on Julia.
The opening scenes of Erin Brockovich are a perfect showcase for Julia featuring two great scenes running almost one after the other. The first is the opening interview as Erin interviews for a job. It’s a job that she probably doesn’t want, but for the money, and you can tell that her heart isn’t completely in it, but Julia sells it completely, including that wry sidelong look as she realises there’s no chance of her getting hired. After her car accident we switch to another quasi-monologue as she’s examined at her trial. We watch Erin/Julia as she feigns virtue and we watch as slowly the true Erin – hard as nails and sharp as ever – slowly comes forth. What makes these images of harshness from Erin so much more powerful is the scene immediately after the trial where we switch to her and her sick daughter. Her deception at the store to get that cough medicine is comical and sad all at once, and it’s a testimony to Julia’s talent that not only does she make it work, she makes it resound.
The running loop throughout the narrative is Erin’s devotion to her children and regardless of how far out she goes in her quest we never doubt this unwavering devotion. It’s this devotion to her children that makes George so attractive to her, and it’s a key part of Julia’s brilliance in the role. The film is the David and Goliath story and it’s the rare person that cannot relate to the candour and sheer enthusiasm of Erin. But Erin is not perfection; and Julia is not afraid to show us that. We watch, sometimes cringing, as Erin (sometimes impassively) crushes everyone in her way. It’s not exactly that she has a mean streak, but she’s resolute in her quest and she doesn’t allow for comprises. Julia doesn’t sugar coat this.
From start to finish Julia impresses as Erin. Is the role tailor made for her? Possibly. Could anyone have done it as well? I doubt. Before and since Julia has contributed some great roles to film, but Erin Brockovich is that rare gem of a role that comes along that defines (and redefines) an actors’ career. It’s Kate’s Tracy Lords, it’s Julie’s Maria Von Trapp, it’s Jane’s Bree Daniels. Julia’s Erin is in no way better (or worse) than these. It’s the role I remember her most for, it’s the role I remember most steadfastly from 2000, and without inhibition I regard it as one of the great treasures of the last decade.
Has time made you think otherwise, or do you still appreciate Julia’s Erin?
Previously...
Friday, 19 February 2010
Here is the second entry in my running feature on the fifteen male performances of the last decade. I’m on to a supporting performance that amused me much in 2008 that unfortunately saw little love from the Awards bodies, but that doesn’t stop me from remembering it here.I suppose it would seem like an off kilter choice, but isn't that why you love me?
#14 Brad Pitt in Burn After Reading (2008)
"I thought you might be worried about the security of your shit."
I’ve never been too fond of the Coen Brothers. They have their ardent supporters, of which I am not one. It’s sort a knee jerk effect actually. A favourite film of mine The English Patient trumped a critical smash of theirs Fargo and the backlash against the former was unabated...and it’s been pretty much downhill since then, especially considering that I didn’t even like Fargo. But I digress. Burn After Reading is one of the most atypical comedies I have seen. It made the top ten of 2008 (#6) and featured one of the best ensemble performances bringing together everything the Coens were notorious for – irreverence, dark humour, witty dialogue and surprises. And in a task of great characters stood Brad Pitt’s Chad.
Chad plays the friend to our female protagonist Linda played by Frances McDormand. The two work in a gym; and Chad is the prototypical exercise obsessed man child. I saw man child because I’m not sure how old Pitt’s Chad is supposed to be. He looks younger than he did a decade ago in Fight Club and he sounds even younger than he did in Thelma & Louise. It’s the ultimate vacuous male and Brad pulls out all the stops for the performance playing Chad for all the comedic effect necessary.
The scene that stands in my memory as Brad’s big scene occurs in the middle. After he and Linda have found that very "important" disk he places a call to the irate John Malkovich. His inane telephone abilities are hilarious and it leads to the strongest scene of the film. Actors’ act – we know that, but it’s chilling to see Brad Pitt (as we know him) completely immersed in Chad. There are no traces of the suave, svelte celebrity: all that is there is an empty (albeit good looking) idiot. And it doesn’t go downhill from that scene. He and McDormand continue their crazy antics leading to a ridiculous attempted exchange which culminates in Brad suffering a broken nose. I love his delivery of his line “He took my bicycle.” It’s so ridiculously childish, and yet so goddamn hilarious.
The thing with the Coens’ though is that they are as impertinent as it comes and even though Chad is the light of Burn After Reading he’s extinguished before long, though I will admit in hilarious fashion. It’s probably a good time to note that despite all his insipidity Chad is actually a good person, sort of. I always marvel at his devotion to McDormand’s Linda. She really is quite nasty at times, but for inexplicable reasons Chad latches onto her, nonetheless. I’m not quite sure if he is gay (his sexuality is actually never examined), or has some twisted school girl crush on her or is just really loyal. Whatever the reason he breaks into ( ) to help her and after some funny antics George Clooney (the bastard) shoots him. Dead. And that’s the end of Chad.
Burn After Reading probably won’t work for all, I know a few who hate it much actually. But I can’t resist its brilliance – especially the tour-de-force performance of Mr. Pitt. I’ve said it before, and I’ll say it again. Despite his obvious celebrity his acting talent is vastly underrated and when little gems like this come along to remind us I’m always ready to appreciate it.
Were you a fan of Burn After Reading? And Brad's antics?
Previously...
Tom also givesa somewhat scathing review, even though these were not my exact issues with it he does raise some searing points.
Glenn Dukes contemplates if a Gabby Sidibe upset is in the making. It's an interesting thought, and he brings precedental proof. Sort of.
And Alex reviews Bullock's Leigh Ann going through the five Oscar nominated women.
And on to Nine. Well, you know my thoughts now...Jose gives a well thought out review being able to see the goodness of Nicole's small, but integral role, among other things.
And Peter gives us ten great shots of the year. Yes, Nine is there. Deal with it.
Bryce has seen Shutter Island and has praises to heap, unlike most he's loving it. But I'll be loving it too, this IS Scorsese.
I don't watch the Olympics, but you don't have to to enjoy the hilarity of this post.
Anna wants to know what you want from her, so head over and tell her.
Univarn reviews The Time Traveller's Wife which I will probably never watch, Bana and McAdams (bland and blander), but he's reticently positive...
What are your thoughts on James Cameron? Mike gives his. Sort of. Is he your least favourite of the five nominated directors?
And Heather is giving Brad Pitt some loving, looking at ten of his films she loves. It's a good list anyway you look at it.
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