Hollywood
Harry Potter 3 director gets VES Visionary award
Today, the Visual Effects Society (VES), the industry’s professional honorary society, named acclaimed filmmaker Alfonso Cuaron as the recipient of its Visionary Award in recognition of his extraordinary career including his landmark achievement on this year’s hugely acclaimed Gravity.
The award will be presented to him at the 12th Annual VES Awards on 12 February, 2014 at the Beverly Hilton Hotel.
The VES Visionary Award, bestowed by the VES Board of Directors, recognises an individual who has uniquely and consistently employed the art and science of visual effects to foster imagination and ignite future discoveries by way of artistry, invention and groundbreaking work. VES will honor Cuaron for his consummate artistry, expansive storytelling and profound ability to use and pioneer technology and visual effects to bring his unique visions to life.
A three-time Oscar nominee, Cuaron directed, co-wrote, produced and edited the drama Gravity, which is one of the most acclaimed films of this. The accolades that Cuaron and the film have received to date include: Best Director and Best Picture awards from the Los Angeles Film Critics Association; four Golden Globe nominations, including Best Picture, Best Director, and Best Actress (Sandra Bullock); and ten Broadcast Film Critics Association nominations, including Best Picture, Best Director, Best Actress, Best Visual Effects, Best Cinematography, Best Editing and Best Art Direction.
Cuaron made his feature film directorial debut in 1992 with Solo Con Tu Pareja, the biggest box office hit in Mexico that year, which brought him an Ariel Award as the film’s co-writer. Cuaron made his American feature film debut in 1995 with the widely acclaimed A Little Princess, followed by Great Expectations in 1998. He then wrote and directed Y Tu Mama Tambien for which he received his first Oscar nomination for Best Original Screenplay as well as BAFTA Award nominations for Best Foreign Film and Best Original Screenplay. He went on to helm Harry Potter and the Prisoner of Azkaban, the third film in the most successful motion picture franchise of all time. Cuaron’s 2006 hit, Children of Men was celebrated by critics and film fans for its groundbreaking techniques. The film brought two Oscar nominations to Cuaron, for Best Adapted Screenplay and Best Editing.
“Alfonso pushes the known boundaries of filmmaking,” VES Board Chair Jeffrey A. Okun said in a release. “He has been at the forefront in using visual effects to tell remarkable, highly nuanced stories that change the way we think about what is possible to achieve. Throughout his career, Alfonso has shown a rare talent for using cutting-edge technology to engage us in his deeply visceral storytelling and create unforgettable cinematic experiences.”
Earlier, Christopher Nolan and Ang Lee have won the VES Visionary Award.
Hollywood
Did the ballet and opera controversy cost Timothée Chalamet his Oscar?
The actor’s ‘dying art forms’ comments may have danced away his Oscar chances.
LOS ANGELES: Last night, the 98th Academy Awards delivered a performance that wasn’t in the script, as Michael B. Jordan clinched the Best Actor statue, leaving Timothée Chalamet’s widely predicted win to pirouette away into the night. While Chalamet was long considered the frontrunner for his starring turn in Marty Supreme, many are whispering that a singular, ill-timed performance, not on screen but on the campaign trail, may have rewritten the finale.
For months, the narrative surrounding the race had a singular star, Chalamet, the critics’ darling and the bookies’ bet. However, the closing numbers saw a dramatic plot twist. Chalamet found himself upstaged not just by his fellow nominees but by the ghost of public opinion, following remarks he made during a Variety and CNN actor-on-actor conversation in February.
What started as a breezy discussion turned distinctly frosty when Chalamet, the conversation’s designated trendsetter, took aim at some classical institutions. “I don’t want to be working in ballet or opera, where no one is interested anymore,” he said, before branding them “dying art forms.”
The backlash was swift and, unfortunately for Chalamet’s campaign, star-studded. For the film industry, an establishment that often fancies itself as the glamorous custodian of the high arts, the actor’s comments didn’t just strike a bum note. They sounded like a discordant symphony. Academy heavyweights, including Jamie Lee Curtis, Whoopi Goldberg and Steven Spielberg, publicly voiced their disapproval. Spielberg himself countered that the “cinematic experience” and classical performance are bound by a similar dedication to audience engagement, effectively suggesting that Chalamet’s view was perhaps a bit too modern for its own good.
The conversation quickly became a media maelstrom. In a masterstroke of high-culture clapback, renowned ballerina Misty Copeland didn’t just issue a statement. The Academy even choreographed a surprise performance by her for the ceremony itself, a powerful, wordless rebuttal that many saw as a direct riposte to Chalamet’s dismissive claims. Even regional arts institutions joined the choreography. The Seattle Opera offered a cheeky “TIMOTHEE” discount, granting a 14 percent markdown to prove that people do, in fact, care.
Did this cultural counterpoint truly cost Chalamet his win? While some industry insiders argue that Michael B. Jordan’s complex dual performance in Sinners, a performance that also swept the SAG Awards, had simply built up too much momentum, the timing of Chalamet’s comments was undeniably poor. Coming as final Oscar voting began, they arguably soured his narrative and made a vote for him feel, to some, like a vote against artistic unity.
Even the ceremony itself wasn’t finished with the narrative. Host Conan O’Brien, whose sharp tongue is a celebrated feature of these galas, didn’t miss a beat. “Security is extremely tight tonight,” O’Brien jibed during his opening monologue, glancing toward the front row. “I’m told there are concerns about attacks from both the opera and ballet communities. They’re just mad you left out jazz!”
The laughter that followed was pointed, a final public curtain call for a controversy that Chalamet likely wished had closed weeks ago. Whether it was a case of genuine peer disapproval, a sudden surge in support for Jordan’s powerhouse performance, or simply a case of poor footwork on the campaign stage, the ballet and opera debacle has now cemented its place in Oscar history. Chalamet’s experience serves as a clear memo to future contenders. Even when you are the headline act, a solo performance can still fall flat if you forget to play to the entire house.
