JT Leroy: Blessing or curse?
Both. It’s really both. Personally, it’s a blessing because it was a very important thing in my life to make this movie, and curse because it was a very hard thing to make. The whole hoax thing… Like everybody, I believed that this was really JT’s life. I had to, you know. Laura â€” who now I call "Laura"; for me it was "Emily" all this time â€” she tried actually to tell me a bunch of times that she had written it, and I dismissed it. I dismissed it because I didn’t want… I was like, This woman, she’s crazy, why does she want to take advantage… she wants to say that she wrote it? I thought maybe she had helped.
The furor over the "Crash" win may have obscured the Razzies (or beat them at their own game) â€” for the record, the Jenny McCarthy-scripted "Dirty Love" (which actually premiered at Sundance last year) won Worst Picture. The rest of the lucky winners are here.
Er, the furor over the "Crash" win may have obscured the Independent Spirit Awards â€” where they managed to give "Crash" a side prize while still crowning "Brokeback Mountain" Best Feature. Eugene Hernandez at indieWIRE has coverage and the complete list of winners.
At the Boston Globe, Wesley Morris argues that "Brokeback" suffered because it wasn’t actually a political film â€” it has politics thrust upon it.
Ang Lee‘s adaptation of Annie Proulx‘s short story was not out to attack us with a statement. It really is just an unhappy love story that happens to have enormous social relevance because its protagonists are two men. Yet the movie’s biggest supporters may have turned an otherwise innocent film into a cause that got on voters’ nerves. The dialogue became quotable, and the poster was mocked, lessening the emotional seriousness and making for a once-in-a-lifetime pop-culture phenomenon.
"Crash," which many Los Angelenos have come to regard as gospel, was the logical beneficiary.
The Reeler reviews the Oscar liveblogs.
After 40 years my memories had shaped themselves into a novel, but only three years later they were mutating again.
Hazy figures now had names and personalities, smiles and glances that I had seen in a dozen other films: John Malkovich, Nigel Havers, Miranda Richardson. With them was a brilliant child actor, Christian Bale, who uncannily resembled my younger self. He came up to me on the set and said: "Hello, Mr Ballard. I’m you." He was followed by an attractive young couple, Emily Richard and Rupert Frazer, who added: "And we’re your mum and dad."
Who will deny that America has seldom needed a redemptive myth as badly as it does now? On the evening of February 23, 2006, I attended the movie’s last screening at BAM, along with a rapt audience of 19. Many had obviously seen The New World before. Now it was about to vanish from their world. Sitting closest to the screen, a few remained in their seats for the entire bird-call-scored credits, waiting until the last avian note faded to silence in the empty room.
+ The Ghost of JT Leroy: Asia Argento’s Deceitful "Heart" (IFC News)
+ 26th Annual Golden Raspberry Award "Winners" (Razzies.com)
+ "Brokeback," "Capote," "Crash," "Transamerica" Honored With Spirit Awards (indieWIRE)
+ Hollywood isn’t being straight with gay community (BostonGlobe.com)
+ Mel Gibson’s Oscar Moment, in Maya (Time)
+ One Final, Excruciating Date With Oscar: Reviewing the Liveblogs (The Reeler)
+ Look back at Empire (Guardian)
+ Paradise Now (Village Voice)