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Editor’s Note: Spoilers ahead for the ending of “Once Upon a Time in Hollywood.”
Quentin Tarantino’s longtime first assistant director William Paul Clark didn’t start out in the pictures — he climbed his way up the ranks after wanting to escape the hollow life of being a stockbroker. Going back to 1994’s “Pulp Fiction,” he’s been the keeper of many of Tarantino’s secrets, and there are many, as the filmmaker is notorious for keeping his scripts under lock and key, going to lengths as great as supervising the investors reading his scripts.
Such was the case for the super-secret last act of “Once Upon a Time in Hollywood,” in which Tarantino rewrites the gruesome Cielo Drive murder of Sharon Tate and her friends to instead brutally butcher the Manson family acolytes who try and kill her. According to a new interview with Filmmaker Magazine with Clark about the film, the last act was sequestered in a vault and only given to those who absolutely needed to read that portion of the script.
“We kept the third act in a safe in the accounting department. You come, you get the script, you go into the little room, you go read the third act,” Clark said. “When you're done, you give the script back, they put it back in the safe and you leave. You take some notes. If you need to refer to something again, you go back.”
Clark also said the safe needed to be carried with the crew even during production. “When we got out on location, we just brought a safe and you go to the producer's trailer if you need to read it. The hardest part was getting over the fear of not having the material at your fingertips all the time. Once people got over that fear, it wasn't an issue,” he said.
After the Cannes premiere of “Once Upon a Time in Hollywood,” Tarantino was quick to urge press to keep spoilers on the QT. There was, at one point shortly after, a fake plot synopsis on Wikipedia that said the film ended with Bruce Lee busting into Tate’s house and offing the Manson clan.
William Paul Clark added endings are often a source of mystery on a Quentin Tarantino set, including with 2009’s revisionist Holocaust-era epic “Inglourious Basterds,” and 2012’s Antebellum revenge film “Django Unchained.” “Well, the ending for ‘Inglourious Basterds’ wasn't in the script anywhere,” Clark said. “That was completely reworked by him over the Christmas holiday that we had taken and never put into script format. It was basically an outline with little snippets of dialogue. He wrote this out by hand and handed me a stack of yellow ruled paper.”
Meanwhile, for “Django,” Clark said, “The final shootout…where we killed around 40 overseers...
In Hollywood, independent cinema is mostly made up of auteur filmmakers, producers, financiers, and up-and-coming talent who want to take a chance on a movie becoming a surprise hit or sparking a career that will bring them into the big leagues of Tinseltown. But in Wakaliwood, a makeshift production studio in Uganda, independent cinema is purely a passion driven by determined filmmaker Isaac Nabwana or Nabwana I.G.G., who continually rounds up volunteer actors, homemade props, crudely constructed camera equipment, and self-made computers, all so he can make blockbuster action movies.
Once Upon a Time in Uganda formerly known as Lights, Camera, Uganda is a new documentary that follows American actor and festival programmer Alan Hofmanis as he abandons his life in New York City to help the man known as “Africa’s Tarantino” get on Hollywood’s radar with his unique, bombastic brand of action comedy movies made possible by a passionate community in the slums of Uganda.
Director Cathryne Czubek A Girl and a Gun and co-director Hugo Perez Neither Memory Nor Magic take us on a journey into Wakaliwood through the eyes of Alan Hofmanis after discovering Isaac Nabwana’s bonkers action movies by way of a viral movie trailer on YouTube in December of 2012. Hofmanis was compelled to find Isaac, if only to meet him, but their meeting turned into a partnership that lasts to this very day and has turned Isaac’s films into midnight movie sensations around the world.
Initially, some of the story is told with dramatic but stylish reenactments that shift seamlessly from the more natural documentary-style filmmaking into action-inspired, saturated color palettes and shots. But this is only to set the stage early on. Once Hofmanis is firmly in Uganda and working with Isaac, we get a stream of footage from their early meetings when Hofmanis had some extra pounds and a trim haircut and beard to the more recent years where he’s lost a significant amount of weight and let his hair grow out into thick, salt-and-pepper locks. That’s just what happens when you give up everything you have in New York and move to an impoverished African nation to make movies for zero profit.
The bulk of Once Upon a Time in Uganda focuses on the makeshift production process that Isaac has created. You’ll see how a chain gun was created with a small engine and spare metal parts. You’ll marvel at the homemade jib arms made to create sweeping action shots. You’ll laugh heartily when you see a squib is just a magnum condom filled with fake blood that explodes in spectacular fashion. And you’ll be surprised by just how impressive the martial arts moves appear to be in endless fight scenes. Isaac has even built his own computers from spare parts so he can edit what he shoots. And there’s an...
Meanwhile six-time nominee 'Little Women' only won one award, for costume design, in an awards ceremony that featured numerous onstage comments praising the work of female directors.
The 2020 Oscars marked another disappointing awards ceremony for the team behind Netflix's Martin Scorsese-directed mob drama, The Irishman. After being shut out at the Golden Globes and Screen Actors Guild Awards, the epic, decade-spanning and decade-in-the-making story starring Robert De Niro and Oscar nominees Al Pacino and Joe Pesci failed to win any of the 10 Oscars for which it was nominated.
Still, Scorsese got a few shout-outs from the stage, with Chris Rock and Steve Martin mentioning the film and the director in their monologue and best director winner Bong Joon Ho taking a minute to note how, as an aspiring director, he was particularly inspired by Scorsese, comments that prompted the Academy Awards audience to give Scorsese a standing ovation.
Meanwhile, other top nominees had a relatively disappointing night, with six-time nominees Jojo Rabbit, Marriage Story and Little Women only taking home one award each. Little Women's prize was arguably the lowest profile award of those one by Jojo Rabbit and Marriage Story, only taking home the prize for best costume design. It's poor showing was somewhat ironic given that a theme throughout the show was praising the work of female directors, like Little Women helmer Greta Gerwig, despite the fact that none were nominated for best director again this year. Jojo Rabbit won best adapted screenplay while Marriage Story's Laura Dern won the best supporting actress award she was expected to take home
While Once Upon A Time in Hollywood won two awards, for production design and best supporting actor Brad Pitt, writer-director-producer Quentin Tarantino didn't win any of the awards for which he was nominated including high-profile prizes best original screenplay, best director and best picture.
Similarly, 11-time nominee Joker only won two awards, for best score and best actor Joaquin Phoenix, high-profile victories but a significant drop, numbers-wise, from its leading spot among nominated films.
Also while Parasite was predicted to do well at the 2020 Oscars, with the best picture race shaping up as a battle between the Bong Joon Ho film and Sam Mendes' 1917, many pundits expected 1917 to win best picture or for Mendes to win best director, if not both, particularly after 1917 won the top prizes at the BAFTA Awards last week, in the middle of Oscar voting, after winning the top prizes at the DGA Awards and PGA Awards. And while 1917 won three awards, all were in technical categories.
Other multiple Oscar nominees that were shut out included Harriet and The Two Popes.
Source: Hollywood Reporter
The Television Academy is adjusting the eligibility and voting deadlines for this year’s Primetime Emmy calendar in response to concerns made by TV communication executives and awards strategists in the current coronavirus climate.
The dates for the Creative Emmy Awards and Primetime Emmy shows remain unchanged respectively on Sept. 12-13 and Sept. 20, and will only be moved should state and national safety directives deem them to be, should the coronavirus worsen.
This morning’s big changes involve the entry deadline moving close to four weeks from May 11 to June 5, and the Phase one voting period jumping from June 15-29 to July 2-13 with the new nominations announcement date being July 28 instead of July 14. The Phase one period thus shrinks from 15 days to 12 days.
Phase 2 voting, which was originally set for Aug 17-31, will start slightly later, and shave off four days, now occurring between Aug. 21-31.
Also being extended is the eligibility date for hanging episodes for regular series and limited series, as the TV Academy takes into account production and programming delays. Now, all hanging episodes must broadcast or post on an accessible platform by June 30, instead of May 31. Both regular and limited series must still premiere by the end of this year’s eligibility date which remains May 31. A minimum of six episodes continues to be required for a show to be qualified in the series category. A limited series in its entirety must air or post on a platform before June 30, and if it doesn’t, then the limited series will qualify in the 2020-2021 Emmy year.
Meanwhile, all TV Academy FYC events “whether with a live audience, streaming or recorded for posting on a viewing platform” per the org remain suspended for the current Emmy season.
In recent weeks, the TV Academy appeared to be standing firm on their original voting and eligibility dates. However, TV publicists and Emmy campaign strategists reportedly voiced their reservations about promoting too heavily and too soon, thus wanting to exercise a greater degree of sensitivity in a spring that’s been rocked by COVID-19: Many productions have shut down, leaving many out of work, and the whole atmosphere across the nation is rather dour as we all self quarantine. Emmy season has traditionally been decked with glam marketing, billboards, food trucks, stunt events, big DVD boxes and soirees. Earlier this year, to tame some of that, the TV Academy banned DVD mailers to voters, and in doing so, favored online screeners. The hope here with the TV Academy’s tweaking of the FYC calendar is that we’ll be on the other side of the curve in regards to coronavirus, and in a lighter-spirited environment. Between the entertainment capitals, New York City currently counts 23K COVID-19 cases and 365 deaths as of yesterday while Los Angeles counts 1,2K cases...